Recursos de colección

RiuNet. Repositorio institucional de la Universitat de Valencia (102.815 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.

Mostrando recursos 1 - 17 de 17

  1. 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...

  2. 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

  3. Qué es Motion Graphics

    Alonso Valdivieso, Concepción
    [EN] What exactly are ‘Motion Graphics’? Many people still aren’t entirely sure. Taken literally they are just graphics in motion, but they also mean much more than that. Motion graphics use incredibly expressive techniques and as a result are often found in advertising, corporate videos, credit sequences, etc. They can translate a complex idea into a clear message with just a few seconds of animation.At the same time they have a very particular, simple and stylish aesthetic. But, if any anima-tion could match these characteristics, what is the difference between Motion Graphics and other types of animation? We will try...

  4. Pablo Núñez. Los créditos de la imaginación

    González-Monaj, Raúl
    [EN] If you are someone who waits to read every feature film’s ending credits, if you are interes-ted in these more than in films themselves, you have probably seen a trademark repeted in each Spanish production from 70’s to nowadays. We refer to Pablo Nuñez/Storyfilm, the responsible company for wrapping and introducing with style the film and certifying each professional involved. But Pablo Núñez is not only respon-sible for typing nearly 2.400 feature films, but he is a true Renaissance man at the audiovisual field, able to invent professions and to imprint the most absolute modernity in everything he has...

  5. La animación española en el escaparate internacional. Crónicas desde Stuttgart y Annecy

    Álvarez Sarrat, Sara; Herráiz Zornoza, Beatriz; Navarro Álvarez, Adriana
    [EN] The Spanish animation has had an exceptio-nal showcase in 2015: for the first time two of the biggest International animation festivals, the Trickfilm Festival Stuttgart, (Germany)and the veteran Festival International du Film d’Animation in Annecy (France), agreed to invite Spain for showing its production in ani-mation. Adriana Navarro, Sara Álvarez and Beatriz Herraiz and tell us the highlights from both festivals

  6. Jamie Caliri: pasión por contar historias

    López Izquierdo, María Angeles
    [EN] Jamie Caliri’s work is known by its quality and warmth. He is a director best known for his opening credits and spots. He has won se-veral awards, including an International Emmy Award and three Annie Awards. The following text reviews his work, stressing its evolution and main features.

  7. Gravity falls, títulos de crédito como carta de presentación

    Delamorclaz Ruiz, Carolina
    [EN] This is a journey through the opening credits of Gravity Falls. In less than 40 seconds we get a rough idea about the story of the series, cha-racters and many references about American culture and folklore, its past and present. Alex Hirsch, strongly influenced in his childhood by shows like The X-Files or The Simpsons, delivers his particular approach to the essence of the Eighties; a work of mystery and comedy with a large dose of autobiographical elements.

  8. Experiencias de videomapping en la animación contemporánea. Formas híbridas y nuevos contextos

    Furió Vita, Dolores
    [EN] What are the features of the expanded animation? How can the new techniques of videomapping contribute to contemporary animation? The displacement of animation from theaters to museums and galleries evidences the overflow into new media and territories. It opens a new way to relate traditional animation, installation, video and digital media. This article comes from moving image artists, experimenting from the early avant-garde and the precinema, such as optical devices and other early visual media, up to the digital era and the videomapping. The dematerialization of the artwork, the theatrical staging and new narratives, they call all together for...

  9. El camino de la coproducción en el largometraje de animación vasco

    Junguitu Dronda, Maitane
    [EN] The Animation of the Basque Autonomous Country, although it has not been recognized neither by the Academia or by the industrial environment, is one of the biggest cinematogra-phic exponent of the territory. With 40 features films released between 1985 and 2014, the co-llaborations of the film production companies have been increasing. During the first decade, there were only examples of totally Basque productions. After the second decade, the co-productions between Basque and Spanish en-terprises have grown, and in the last years we also found international co-productions.As the varieties of co-productions raised, the plots of some films still showed a...

  10. El armario de McLaren: expresión y ocultación del deseo homosexual en la filmografía de Norman McLaren, a través de la reinvención del cuerpo y el espacio

    Martí López, Emilio
    [EN] Norman McLaren’s homosexuality has not been taken into account in readings of his work, which is often characterized as abstract and highlighted for its technical value. We propose to bring his sexual orientation to the foreground, outing his work from the episthe-mological closet where it remains cornered. We will use the surreal Love on the Wing as an entry to that hidden and codified in order to thus interpret the birds that appear in his films as representations of the author’s homosexual desire, as well as all the flying and mutating ele-ments, which participate in a dialogue among his...

  11. DVEIN. El 3D que respira

    Herráiz Zornoza, Beatriz
    [EN] DVEIN is a studio settled in Barcelona, which has created several opening credits for festivals, television branding, advertising and videoclips. In this interview, the group starts a journey through his professional career and tells the way they are currently working

  12. Cocoe. La conspiración gráfica

    Rodríguez, Sergio
    [EN] Cocoe is a studio formed by David Duprez and Gabriel Suchowolski, devoted to Motion Design for advertising and television. They have produced several bumpers for TV channels such as La Sexta or Boing, as well as commercials for Telefónica, Repsol, Ibercaja or Letras del Tesoro; they have even dared with animated graphics for the feature film Gabor (Sebastian Alfie, 2013). Their work focuses mainly on ani-mation, developing research processes for most of his pieces, that combine animation with pro-gramming language

  13. Carles Porta. 20 años de imagen gráfica del Animac

    Álvarez Sarrat, Sara
    [EN] NIMAC celebrates its 20th anniversary, and from the beginning, Carles Porta signed the festival’s graphic image. From an interview with the author, we dive into in the evolution of the festival and the challenges it brought to his work. Carles Porta, author of the amazing posters and bumpers for the festival, talks about this project that has allowed him to reinvent himself at each edition.

  14. Belli Ramírez, dirección de producción para proyectos de animación

    Meneu Oset, Juan Ignacio
    [EN] Belli Ramírez is a Production Director, Pro-duction Consultant and a teacher. Her pro-fessional experience began in 1992 at D’Ocon Films, as a production assistant. Later, from 1994-1999, Belli worked at Neptuno Films as a Production Manager. The company produ-ced television series broadcasted worldwide. Her curiosity led her to join an internatio-nal production in Australia at Animal Logic studios. There she worked on the film Legend of the Guardians: The Owls of Ga’Hoole. (Zack Snyder, 2010). She has co created, with some partners, the animation studio Able & Baker where they are developing several projects. Belli is a restless entrepreneur...

  15. Animando los títulos cinematográficos: de los pioneros a Saul Bass

    Blancas Álvarez, Sara
    [EN] The emergence of Saul Bass in the design of title sequences in 1954 (Carmen Jones, Otto Preminger), and his dedication to this field un-til 1995 (Casino, Martin Scorsese), represented a period of experimentation and continuous change in motion graphics. During this period Bass designed the title sequences for fifty-three films, which allowed him to explore the various expressive possibilities the film medium offered him: live action images and animation, abstract and figurative images, static and moving text. However, his proposals always followed his “simple idea” concept. This paper first offers a journey from the origins of film industry, iden-tifying...

  16. Animación de guerrilla

    Torrecillas, Mario
    [EN] Last October premiered in Spain El rey de la Habana, the latest film by Agustí Villaronga. Its opening credits were created by PDA (Pe-queños Dibujos Animados). Although the co-llective is mainly engaged with workshops for children worldwide, its leader Mario Torrecillas combines this task with other professional crea-tions. Throughout the following writing, Mario himself reveals how came the process of desig-ning and animating these opening credits

  17. 20 años sin Saul Bass

    Herráiz Zornoza, Beatriz
    En este 2016 se cumplirán 20 años sin la presencia de esta figura del diseño y la animación, al que podemos atribuir el mérito de haberse convertido en el padre de los títulos de crédito cinematográficos.

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