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山东师范大学2012年硕士研究生入学考试影视学基础理论试题。
山东师范大学2011年硕士研究生入学考试影视学基础理论试题。
Fractal curves were generated on square initiators and rated in terms of complexity by eight viewers. The stimuli differed in fractional dimension, recursion, and number of segments in their generator...
Affine Distortions of Pictorial Space:Some Predictions for Goldstein (1987) That La Gournerie (1859) Might Have Made
Affine Distortions Pictorial Space Some Predictions Goldstei La Gournerie Might Have Made
2015/8/13
Goldstein (1987) studied the perception of pictures seen from the front and the side. Several distinctions arose from his results and analysis, but only one is central to the reanalysis presented here...
If virtual reality systems are to make good on their name, designers must know how people perceive space in natural environments, in photographs, and in cinema. Perceivers understand the layout of a c...
Images,imagination,and movement: Pictorial representations and their development in the work of James Gibson
Images,imagination movement Pictorial representations development work James Gibson
2015/8/13
For more than 30 years James Gibson studied pictures and he studied motion, partic-ularly the relationship between movement through an environment and its visual consequences.For the latter, he also s...
Reconceiving perceptual space. H. Hecht.
Gustave Caillebotte,French Impressionism,and mere exposure
Gustave Caillebotte French Impressionism mere exposure
2015/8/13
Gustave Caillebotte was a painter, a collector of some of his colleagues’ most renowned works, and a major force in the creation of the late 19th century French Impressionist canon. Six studies are pr...
The mere exposure effect and aesthetic preference. In P. Locher
mere exposure effect aesthetic preference Locher
2015/8/13
The mere exposure effect and aesthetic preference. In P. Locher.
The end of art?
end art
2015/8/13
Martindale (2009) suggests that all of art is coming, or has already come, to an end. Following Hegel’s lead, he suggests that all new art must communicate whilebeingrecognizablynew.Thesetwocriteria—c...
For the film goer who sits to the front and side of a movie theater, the virtual space "behind"the screen undergoes affine and perspective transformations. These transformations should, one would thin...
Visual Activity in Hollywood Film: 1935 to 2005 and Beyond
film motion movement frames shots
2015/8/13
The structure of Hollywood film has changed in many ways over the last 75 years, and much of that change has served to increase the engagement of viewers’ perceptual and cognitive processes. We report...
The changing poetics of the dissolve in Hollywood film
changing poetics dissolve Hollywood film
2015/8/13
Most films contain many shots knit together by several types of transitions,andbyfarthemostprevalentisthecut.Overthelast70years, fadesandwipes have become increasingly rare. Dissolves have also dimini...
In a recent issue of Projections, Cutting, Brunick, and DeLong (2011b) reported that the structure of film acts—the four relatively equal-length stretches of film determined by the progression of the ...
Coloring the Animated World:Exploring Human Color Perception and Preference through the Animated Film
Animated World Exploring Human Color Perception Preference through Animated Film
2015/8/13
Animated films present a unique set of challenges and questions to scholars examining films from a cognitive perspective. When the confines of the real world don’t exist as they do in live action film...