Recursos de colección

RiuNet. Repositorio institucional de la Universitat de Valencia (76.513 recursos)

RiuNet es el Repositorio Institucional de la Universitat Politècnica de València, gestionado por la Biblioteca, cuyo objetivo es ofrecer acceso en Internet a la producción científica, académica y corporativa de la comunidad universitaria con la finalidad de aumentar su visibilidad y hacerla accesible y preservable.

Con A de animación

Mostrando recursos 1 - 20 de 35

  1. The neverending Wall. Diario de producción de un cortometraje

    Carpizo, Silvia; Moo, Jose
    [EN] This article introduces The Neverending Wall,an animated short film directed by Silvia Carpi-zo, where a serial of walls are animated through 2D digital techniques and their integration with live action. The plot is based on a universal con-cept of struggle, as a nod to the human essence and a claim to individual expressiveness. A single character, Seele, will make his way through the world's largest outdoor gallery, the East Side Gallery, the last stretch of the well-known wall of shame, the Berlin Wall: 1300-meters lenght wall still standing on foot.The film has been produced thanks to ICAA, CulturArts IVAC,...

  2. Teatro cinema: espacio animado, narración gráfica y puesta en escena de la obra historia de amor

    Conde Aldana, Juan Alberto; Cristancho Hernández, Juan Manuel
    [EN] The use of film and video projections in thea-trical staging and scenography is a common strategy in contemporary theatre. Animation is also part of the possibilities offered by audiovi-sual language to dramatic performance. In this context, the Chilean company Teatro Cinema has pioneered the transformation of dramatic space through the use of digital technologies. By offering spatial compositions that bring to-gether drama and cinema languages in original ways, Teatro Cinema goes beyond the basics bi-dimensional projections to a brand new tridi-mensional spatiality. In this paper we propose a review of the play Historia de amor (Love Story), in which...

  3. Sobre cómo William Kentridge llegó a la luna. Journey to the moon.

    de León Yong, Tania
    [EN] Journey to the Moon (2003) is a short film by William Kentridge, multidisciplinary artist. He was born in South Africa, and studied Political Sciences and African Studies, Visual Arts and Theater. His work, distant from recipes and formulas, comes out from a personal need to make drawn images. It is characterized by the mixing of drawing, sculpture, graphics, performance, ani-mation and theater. With this film Kentridge homages to the magician and cineaste Georges Méliès, reinterpreting his famous A Trip to the Moon (Voyage dans la Lune 1902).

  4. Nuevas formas de llevar una ópera al teatro. Un caso de estudio. La flauta mágica de la compañía 1927 y de Kosky: animación 2d, nuevas tecnologías digitales y estilo vintage

    Sansone, Vincenzo
    La ópera, un género que a menudo se asocia al pasado, está más viva que nunca. Gracias a la aportación de directores y experimentadores provenientes del teatro, la ópera se ha convertido en uno de los campos por excelencia para la experimentación contemporánea, sobre todo en relación con el uso de nuevas tecnologías. Una verdadera paradoja. Un ejemplo es la puesta en escena de La flauta mágica de Mozart de la Komische Oper de Berlín, concebida y realizada por la compañía británica 1927 y por el director australiano Barrie Kosky en 2012. Es una representación atípica y extraña que utiliza...

  5. La postproducción tridimensional de largometrajes con Blender. Aproximación a los flujos de trabajo con software libre en el desarrollo de secuencias de animación

    Roque López, Miguel Ángel
    [EN] In this article we will look at the evolution and challenges involved the digital postproduction of the film El Hereje, produced in 2015, where have been used three-dimensional graphics ge-nerated by free software Blender. We will cross the different stages of the visual effects of a fea-ture film analyzing the problems and solutions employed in this production. The postproduc-tion of this film has been made by the research group IDECA belonging to the University of Castilla-La Mancha, being the first long feature made in Spain under these conditions

  6. La escalada de la animación. Desde los escenarios de Karel Zeman al encuentro con Josef Svoboda

    Machuca Casares, Blanca
    [EN] Puppet theater is one of the most important traditions at Czech Republic, which has cana-lized the development of stop-motion anima-tion and theater. Karel Zeman entered in fil-mmaking through stop-motion, like Jiří Trnka and Hermína Týrlová. At the same time, news stage installative techniques were developed by the Lanterna Magika, a new teatral company, and, especially one of its founders, the stage de-signer Josef Svoboda, who combined real actors with animation. As well, one of the most rele-vant features of Karel Zeman as a filmmaker was the use of diferent kind of space according to what the Mise-en-scène needed, a...

  7. La animación experimental en el territorio de los afectos

    Traslaviña, Cecilia
    [EN] This article is based on my great interest in expe-rimental animation for several years. It has been the focus of interest in my classes at the Faculty of Arts of the Javeriana University in Bogotá, since it has opened the door to understand the multiple expressive possibilities of animation in relation to the arts. In the same way, it has been very enri-ching in my practice as a teacher and animator, to have met many animators from different corners of the world both in festivals and as guests we have had in the university to discuss and stimulate crea-tion...

  8. Kathy Rose y Miwa Matreyek: danza animada y representación

    Tomlinson, Lynn
    [EN] Live performance combined with projected animation is both very new, with advances in projection mapping and motion sensors, and very old, harkening back to pre-cinematic pro-jected séances, magic lantern shows, and to Winsor McCay’s vaudeville performances with his ‘trained’ animated dinosaur, Gertie. Two contemporary artists create and choreograph one-woman performances populated not only with their own bodies, but also with various ani-mated figures, forms, and designs. Kathy Rose began as an animator, and then later performed with her projections. Miwa Matreyek uses her own figure as a silhouette in her performances, and creates remarkable imagery with two pro-jectors and...

  9. Esculpiendo el fotograma. La elaboración de maquettes en el proceso de producción de largometrajes animados

    Encinas Salamanca, Adrián
    [EN] From early animated feature films to present day, sculpture has played a key role in approa-ching the design of the characters in three dimensions, since the small-scale sculptures, internationally called “maquettes”, offer an inva-luable help to assess its visual potential from all angles. This work has been perfecting over time to become an indispensable role within any of the great studios of animated cinema. The fo-llowing pages, written by the indefatigable stop-motion animation chronicler, Adrián Encinas, will account for one of the most spectacular creative steps in the process of producing the great animated feature films of all time

  10. El estudio de dibujos animados CIFESA y las películas de Rigalt-Reyes

    González-Monaj, Raúl
    [EN] The golden age of the Spanish animation (1939-1955) —when over one hundred of short-films and other five feature-length animated films were produced— has always been interesting because of the difficult post-war context in which it developed. But it becomes more challenging if we focus on its beginnings, mostly times a self-learning period, and even more if we move away from the epicenter of Barcelona city. This is the story of the first Valencian animators that we have recorded, the practically unknown team of Carlos Rigalt and José Mª Reyes.However, in this essay, an enigmatic side is also added to...

  11. Editorial

    Lorenzo Hernández, María; Herráiz Zornoza, Beatriz
    Editorial del séptimo número de Con A de Animación.

  12. DOT. La animación en espectáculos de teatro

    Herráiz Zornoza, Beatriz
    [EN] In the following article Beatriz Herráiz talks about the children's and family show DOT, created by the Valencian company Maduixa Teatre. The writer of this text is herself the de-signer and animatior of the audiovisual device for this piece of theater and dance, which scenery consists of just one screen. All the action takes place in this white wall that introduces the spectator to a world of full fantasy. At the moment Beatriz Herráiz researches on the possibilities of projection of images in small formats: themicroprojection.

  13. DECORADO (una vida en escena), de Alberto Vázquez

    Navarro Álvarez, Adriana
    [EN] Alberto Vázquez is one of the most well-known Spanish animation director. He is an author who draws and tells stories, and, through his last masterpiece, Decorado, he shows us his goût for different types of cartoons and humor of different filmmakers (for example, the use of ornate spellings and engraving typical of Terry Gilliam, as well as the animal characters based on the underground-style of Robert Crumb are a clue to follow).As the animated curtain rises, with apparent simplicity and, as disturbing as effective, this short film transports us to a territory that (dis)connects us to the analogue of...

  14. Cuatro ediciones de Prime the Animation!

    Álvarez Sarrat, Sara
    [EN] Prime the Animation!, the international show-case of student short films commemorating the International Animation Day at Universitat Po-litècnica de València, celebrated its fourth edi-tion in October 2016. The exhibition, organized annually by a team of professors and students of the Faculty of Belles Arts, prepares in 2017 its transformation into a festival. After these years of experience, we take stock and point out the keys that have allowed us to consolidate this ini-tiative.

  15. César Díaz Meléndez: commissioned animator de día, animador independiente de noche

    Lorenzo Hernández, María
    [EN] César Díaz Meléndez (Madrid, 1975) is one of the most multidisciplinary Spanish animators españoles — and one of the best valued interna-cionally. Working since 1994, and after having contributed to dozens of animated productions for TV and cinema — including Las tres mellizas(Robert Balser, Baltasar Roca, 1995) and El Cid: The Legend ( José Pozo, 2003) —, he started to al-ternate his personal filmography —like Docu-mentales animados (2002), No corras tanto (2008) or the most recent and well-known Zepo (2014), animated exquisitely with sand — with his comis-sioned work in stop-motion films, like the Goya Award winner short film...

  16. Barry Purves, el animador escénico

    Gil Soriano, Marta
    [EN]Barry Purves’s filmography is world-wide known in animation festivals. Barry J C Purves (Woodbridge, UK, 1955), an aspiring actor, unexpectedly became an animator after doing a test with puppets for Cosgrove Hall Films, where he produced commercial works for more than ten years. His awakening came with Next (1990), made for Aardman, and since he founded Bare Board Films masterpieces such as Screenplay(1992), Rigoletto (1993), Achilles (1995) or Tchaikovsky - An Elegy (2011) have followed his fil-mography. These puppets have great realism and convey powerful emotions but above all, the Purves personal films establish privileged rela-tions with the entire legacy...

  17. Adagio. La materialidad como elemento narrativo y simbólico

    Gordeeff, Eliane
    [EN] The goal of the article is to depict how some as-pects of the material of Stop motion animation can complement and help its narrative. Theses analyses were about the short Adagio (Garri Bardin, 2000) under the concepts of semiotics, of the cinema, of the narrative and based on the interview with the director. Therefore, it was possible to see how the expression can be pre-sented by means of physical, representative and / or symbolic of the material utilization in the preparation of images. Consequently, this study expands the understanding of the aesthetic ri-chness of animation — as an art,...

  18. Why not make it move?

    Sanz Melguizo, Julio
    [EN] The paper reviews the legacy of Saul Bass, seminal graphic artist in the history of commu-nication and indisputable responsible for incor-porating film design as relevant discipline, from its disappearance twenty years ago until today. Graphic visual language resources are analyzed and how they use have transcended graphics applied to media for print. It also emphasizes the contemporary design of title sequences of these two decades and how audiovisual lan-guages of today have taken contributions from Bass. In this latest revision we try to avoid the big names, entering certain works that help us think about the great master’s legacy...

  19. Secuencias de títulos de animación en series de ficción. Un paisaje general

    Solana, Gemma; Boneu, Antonio
    [EN] Gemma Solana and Antonio Boneu are the authors of Uncredited, Diseño Gráfico y Títu-los de Crédito, the first book on film credits in Spain. If in such publication they display the film history credits, in this text they proceed the same way with fiction and animation se-ries, covering some of the major milestones in the history of this genre

  20. Redefiniendo una escuela de animación

    García Moreno, José
    [EN] The Animation Department at Loyola Mary-mount University (LMU) was founded in the 90’s based on the pedagogical idea of the auteur model that Dan McLaughlin used successfully at the University of California, Los Angeles (UCLA): one student, one film. In 2007, a cu-rricular innovation redefined its pedagogical approach. A new approach promoted critical thinking for purposes of development and con-ceptualization, promoted teamwork and diver-sity in student projects. An intense program based on the analytic virtues of observatio-nal drawing supported all of these. The chan-ge elevated the value of production but most importantly it unleashed an unexpected social and artistic...

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