Kooperativer Bibliotheksverbund

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Format: 1 Online-Ressource (ix, 401 Seiten)

ISBN: 9781849802406

Note: Includes bibliographical references (p. 362-388) and index , pt. I. Introduction : theory and history -- pt. II. Ultimate causes : a fixed or malleable context -- pt. III. The driving forces -- pt. IV. Devising appropriate narratives -- pt. V. Conclusions , This fascinating book considers one of the most important problems in economics: the inception of modern economic development. There is at present no satisfactory explanation of the inception of modern economic development; an excessive focus on either pure theory or on unique histories limits the explanatory power. This book realises the need to integrate the two approaches, moving beyond the proximate causes of economic theory to review the role in an analytic narrative of significant ultimate causes - geography, risk environments, human capital, and institutions

Additional Edition: Erscheint auch als Druckausgabe ISBN 1847207812

Additional Edition: Erscheint auch als Druckausgabe ISBN 9780857933867

Additional Edition: Erscheint auch als Druckausgabe ISBN 9781847207814

Language: English

Subjects: Economics

Keywords: Wirtschaftsentwicklung ; Entwicklungstheorie ; Globalisierung

DOI: 10.4337/9781849802406

URL: Volltext  (URL des Erstveröffentlichers)

URL: Volltext  (Deutschlandweit zugänglich)

URL: Deutschlandweit zugänglich

URL: FULL  ((Currently Only Available on Campus))

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Format: 215 S.

ISBN: 9783257235241

Content: Wie die kleine Fern das Schweinchen Wilbur mit der Flasche aufzieht. Das aufregende Leben mit den anderen Tieren und die wunderbare Freundschaft zwischen Wilbur und der klugen Spinne Charlotte, die sogar dafür sorgt, daß Wilbur im ganzen Land berühmt wird.

Note: Altersempfehlung: ab 8

Language: German

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Format: 1 online resource (274 pages)

Edition: 1st ed.

ISBN: 9781841503523

Content: Directors and Designers offers the reader insights into the working relationships of people in these significant and creative roles. It charts an understanding of the way in which these roles have developed over the last century with specific chapters on both the personalities and on the works created by these directors and designers. White has selected chapters which look at theatre and site-specific performance, the phenomenological, contested readings and mis-readings that can occur; the power of place and space and the signifying practices of scenography. The use of simultaneous playing spaces of the stage as a feature of twentieth century performance practice, alongside exemplars of collaborative models possible between directors and designers are also addressed in this volume. A string of visual languages for theatrical communication and aesthetics, space and the cognitive reception of design by the audience, and the manipulation of space by the director and designer, illuminate the creative relationship for the reader

Note: Front Cover -- Preliminary Pages -- Contents -- Part I: Setting the Scene -- Chapter 1: Back and Forth to Russia: Scenography as an Academic Study from Moscow 1994-St Petersburg 2004 -- Part II: Performing Partners -- Chapter 2: Hand in Glove: The Designer as Director as Designer -- Chapter 3: Political Performing Partners: Director Lee Strasberg, Scene Designer Mordecai Gorelik, Playwright John Howard Lawson and the Group Theatre -- Chapter 4: The Director, the Designer and the Ghost/Creative Team in Site-Specific Performance Practice -- Chapter 5: Director Petr L& -- eacute -- bl and Designer William Now& -- aacute -- k: To a Man -- Chapter 6: The Organics of the Rehearsal Room: Contemporary Directing Practice and the Director-Designer Relationship -- Chapter 7: Collaborative Models: Mielziner, Williams and Kazan -- Chapter 8: Problematics of Theatrical Negotiations: Directing, Scenography and State Ideology -- Chapter 9: Methodological Practices for Directing and Designing -- Chapter 10: The Digital Platform as a Communication Tool -- Part III: Metaphors, Meta-Theatre and Methodologies -- Chapter 11: The Seductive Scene or Reclaiming Spectacle -- Chapter 12: Metatheatre: A Discourse on Contemporary Staging -- Chapter 13: A Metaphorical Mise-en-Sc& -- egrave -- ne: Elia Kazan and Max Gorelik at The Group Theatre -- Chapter 14: Ideational Conflict and Resolution in the Design Process: Positive Outcomes from Negative Relationships -- Chapter 15: Design as Action: Jean Cocteau and the Ballets Russes -- Part IV: Postscript to the Director -- Chapter 16: From Hamlet with Love: A Letter to the Other -- Bibliography -- Notes on Contributors -- Index -- Back Cover

Additional Edition: Print version White, Christine Directors and Designers Bristol : Intellect, Limited,c2010 ISBN 9781841502892

Language: English

Keywords: Electronic books

URL: Full-text  ((OIS Credentials Required))

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Format: 1 online resource (268 pages)

Edition: 1st ed.

ISBN: 9781841502960

Content: Modes of Spectating investigates the questions posed by new artistic and technological mediums on the viewer experience. Oddey and White analyze how gaming and televisual media and entertainment are used by young people and the resulting psychological challenges of understanding how viewers navigate these virtual worlds and surroundings

Note: Front Cover -- Preliminary Pages -- Contents -- Introduction: Visions Now: Life is a Screen -- Part One: Interactive Media and Youth Culture -- Chapter 1 Altered States -- Chapter 2 A Quick Walk Through Uncanny Valley -- Chapter 3 Spectatorship and Action Research Performance Models -- Part Two: Imaginative Escape -- Chapter 4 The Active Audience: The Network as a Performance Environment -- Chapter 5 The Audience in Second Life: Thoughts on the Virtual Spectator -- Chapter 6 Cultural Use of Cyberspace: Paradigms of Digital Reality -- Chapter 7 Observing the Interactive Movie Experience: The Artist& -- apos -- s Approach to Responsive Audience Interaction Design -- Part Three: Identity and the Self-conscious Spectator -- Chapter 8 Interior Spectating: Viewing Inner Imagery in Psychotherapy -- Chapter 9 Tuning-in to Sound and Space: Hearing, Voicing and Walking -- Chapter 10 Picturing Men: Performers and Spectators -- Chapter 11 Haptic Visuality: The Dissective View in Performance -- Chapter 12 Touched by Human Hands: City and Performance -- Part Four: The Site of Spectating -- Chapter 13 Dwellings in Image-spaces -- Chapter 14 Embodiment, Ambulation and Duration -- Chapter 15 Odd Anonymized Needs: Punchdrunk& -- apos -- s Masked Spectator -- Chapter 16 Sites of Performance: The Wollstonecraft Live Experience& -- excl -- -- Selected Bibliography -- Authors Biographies -- Index -- Back Cover

Additional Edition: Print version Oddey, Alison Modes of Spectating Bristol : Intellect, Limited,c2009 ISBN 9781841502397

Language: English

Keywords: Electronic books

URL: Full-text  ((OIS Credentials Required))

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Format: 1 online resource (512 pages)

Edition: 1st ed.

ISBN: 9781136139345

Note: Cover -- Half Title -- Title Page -- Copyright -- Table of Contents -- Preface -- Introduction -- First ... A Reality Check -- Your Own Personal Animation Course -- 2D Or Not 2D? - That Is the Question -- However ... -- Prerequisites for Study -- Equipment -- Let the Fun Begin! -- Acknowledgments -- PART 1: How to Be an Animator -- 10-Step Foundation Course -- Masterclass 1: Animation Basics -- Key, Breakdown, and In-Between Positions -- Creating Key Positions -- Creating the Breakdown Position -- Top Pegs/Bottom Pegs -- Charting Explained -- In-Betweening -- Flipping as Opposed to Rolling -- Arcs and Paths of Action -- Timing and the Spacing of Drawings -- Suggested Reading -- Assignment 1 -- Masterclass 2: The Bouncing Ball -- Weight, Mass, and Flexibility -- Gravity and the Path of Action -- Key Positions -- Squash -- Stretch -- Timing -- Weight -- In-Betweening the Bouncing Ball -- Distorting Mass and Volume -- The Descending Bounce -- Flip Your Drawings ... Always! -- Final Double-Checks -- Suggested Reading -- Assignment 2 -- Masterclass 3: Generic Walks -- The Lower Body -- Walk Cycle -- Shooting a Walk Cycle -- In-Betweening on One's -- Testing the Walk -- The Upper Body -- Suggested Reading -- Assignment 3 -- Masterclass 4: Personality Walks -- Hip and Shoulder Rotation -- Overlapping Action on the Hands -- Overlapping Action on the Head -- Rotation on the Head -- Keeping Good Balance Throughout -- In-Between Placement and Timing -- Double-Bounce Walk -- Chart Timing and Variation -- Observation and Reference Footage -- The Animator's Survival Kit -- Suggested Reading -- Assignment 4 -- Masterclass 5: Generic Runs -- Key Generic Run Stages -- Run Exercise -- Additional Pointers for Runs -- Head-On Runs -- Suggested Reading -- Assignment 5 -- Masterclass 6: Quadruped Walks -- Front Legs -- Rear Legs -- Synching the Legs Together , Adding the Body -- Neck and Head -- Adding the Tail -- Moving Background -- Multilayered Backgrounds -- Nonwalk Pans -- Realistic Quadrupeds -- Suggested Reading -- Assignment 6 -- Masterclass 7: Weight -- Standard Rubber Ball -- Ping-Pong Ball -- Bowling Ball -- Comparing the Three Versions -- The Pose Is Everything -- Tips -- Suggested Reading -- Assignment 7 -- Masterclass 8: Anticipation -- The Benefi ts of Anticipation -- Anticipations Are for Everything -- Suggested Reading -- Assignment 8 -- Masterclass 9: Dialog -- Body Language -- Facial Animation -- Lip Synching -- Two-Character Dialog -- Further References -- Suggested Reading -- Assignment 9 -- Masterclass 10: Final Project -- Staggers -- Successive Breakouts of Joints -- Eye Blinks -- Eyebrows -- Always Gravity! -- Conclusion -- Suggested Reading -- Assignment 10 -- PART 2: How to Make an Animated Film -- Production Challenge -- Film Production 1: Exploring Ideas, Storytelling, and Scriptwriting -- Meaning and WTF? -- Assignment -- Film Production 2: Concept Art, Viz Dev , and Camera Maps -- Concept Art -- Camera Map -- Assignment -- Film Production 3: Character Design -- Style -- Personality -- Attitude -- Proportion -- Head Heights -- Silhouette -- Detail -- Process -- Warm-Up Exercise -- Assignment -- Film Production 4: Thumbnails -- Assignment -- Film Production 5: Storyboards -- Process -- Final Check -- Assignment -- Film Production 6: Filmmaking Techniques -- Framing -- Transitions -- Staging -- Continuity -- Crossing the Line -- Assignment -- Film Production 7: Audio Record -- Guide Track -- Final Track -- Assignment -- Film Production 8: Animatic and Bacher Boards -- Bacher Boards -- Animatic Process -- The Animatic Is Your Film Bible -- Check Your Scene Timings -- Assignment -- Film Production 9: Background and Environment Layouts -- Distance and Perspective , Appendix 5: Exposure, Exhibitions, and Festivals -- Appendix 6: Exposure Sheets and Production Folders -- Appendix 7: Glossary -- Index , Focus of Attention -- Silhouetted Action -- Process -- Dividing the Layout -- Pose Test Animatic -- Assignment -- Film Production 10: Color Script -- The Right Time to Do the Color Script -- Process -- Professional Approach -- Size of Artwork -- Don't Ignore the Color Script! -- Four Valuable Tips -- Assignment -- Film Production 11: Audio Breakdown -- Assignment -- Film Production 12: Block in Key Poses -- Assignment -- Film Production 13: Placement and Timing -- Assignment -- Film Production 14: Two-Dimensional In-Betweening -- Assignment -- Film Production 15: Rolling, Flipping, and Pencil Testing -- Flipping -- Full-Scene Flipping -- Pencil Test -- Assignment -- Film Production 16: Clean-Up -- Line Quality -- Shapes, Dimensions, and Volumes -- Assignment -- Film Production 17: Scanning -- Peg Bar -- Secure the Field Guide Scanning Area -- Scanner Size -- Assignment -- Film Production 18: Background and Environments -- Compositional Color Values -- Horizontals and Verticals -- Light Source and Contrast -- Perspective and Lines of Focus -- Verticals in Panning Shots -- Light Against Dark, Dark Against Light -- Areas of Greatest Contrast -- Use Your Eyes -- Assignment -- Film Production 19: Coloring -- Flat-Colored Backgrounds -- Imported Background Artwork -- Assignment -- Film Production 20: Compositing -- Layers -- Transparency -- Cycle Animation -- Depth of Field -- Titles and Eff ects -- Assignment -- Film Production 21: Rendering -- Screen Format Ratio -- Resolution -- Frame Rates -- Assignment -- Film Production 22: Final Edit -- Scene Edit -- Music -- Sound Effects -- Final Audio Mix -- Music and Eff ects Track -- Assignment -- APPENDIXES -- Appendix 1: About the Accompanying DVD -- Appendix 2: About the Desktop Academy -- Appendix 3: About the Animaticus Foundation -- Appendix 4: About the DigiPen Institute of Technology

Additional Edition: Print version White, Tony How to Make Animated Films Independence : CRC Press LLC,c2009 ISBN 9780240810331

Language: English

Keywords: Electronic books

URL: Full-text  ((OIS Credentials Required))

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Format: 163 pages , chiefly illustrations (colour) , 30 x 30 cm

Edition: 1st edition

ISBN: 9780977719334 , 0977719332

Content: "Independently and through prestigious commissions, photographer Jenny Okun has traveled the world for more than twenty-five years creating dazzling, multi-layered interpretations of buildings by Frank Gehry, Richard Meier, Richard Rodgers, and many other renowned architects. Commissions have included the J. Paul Getty Museum; the Tate Modern; and the Whitney Museum of American Art. This is the first major book of Okun's photography. 'Okun's artwork,' writes Craig Krull, 'consists of large-scale color photographic abstractions of architectural works. Rather than produce literal representations of buildings, Okun distills the essential qualities of form, texture, color, and detail . . . developing a Cubist interpretation of forms.' 'Looking at architecture,' Okun has written, 'is like listening to music. Both are dramatic forms that reveal multiple, repeating themes. Above all, both need time. Just as a symphony cannot be experienced in a few seconds, it is impossible to see a whole building, all at once. When I photograph a building, I feel as if I am conducting with my camera, as I explore the architect's themes in time and space. The harmonious overlapping shapes create new playful variations on the theme of the original architecture.' The preface to the book is by Pritzker Prize-winning architect Thom Mayne. With essays by Henry T. Hopkins and Michael Webb."

Note: Jenny Okun : fragment / Thom Mayne -- Jenny Okun / Henry T. Hopkins -- Reconstructing reality / Michael Webb -- [Photographs] -- Acknowledgements / Jenny Okun

Language: English