LEADER 00972cam0-2200349---450- 001 990005821160403321 005 20130410130905.0 010 $a2-09-190067-2 035 $a000582116 035 $aFED01000582116 035 $a(Aleph)000582116FED01 035 $a000582116 100 $a19990604d1993----km-y0itay50------ba 101 0 $afre 102 $aFR 105 $ay---e---00--- 200 1 $aDidactique du vocabulaire français$fJacqueline Picoche 210 $aParis$cNathan$d1993 215 $a206 p.$d21 cm 225 1 $aFac$iLinguistique 610 0 $aLingua francese$aInsegnamento 676 $a448.007 700 1$aPicoche,$bJacqueline$0132778 801 0$aIT$bUNINA$gRICA$2UNIMARC 901 $aBK 912 $a990005821160403321 952 $a407.1 PIC /1$bLINGUE 2767$fDECLI 952 $a448.007 PIQ 1$bDIP.FIL.MOD. 8408$fFLFBC 959 $aDECLI 959 $aFLFBC 996 $aDidactique du vocabulaire français$9567569 997 $aUNINA LEADER 01230cam0-22003251i-450- 001 990006286850403321 005 19980601 035 $a000628685 035 $aFED01000628685 035 $a(Aleph)000628685FED01 035 $a000628685 100 $a19980601d1952----km-y0itay50------ba 101 0 $afre 102 $aFR 105 $ay-------101yy 200 1 $aActes du Ve Congrès International de Droit Pénal tenu a Genève du 28 au 31 juillet 1947 sous les auspices du gouvernement de la Confédération suisse$fpubliés par Jean Graven$gavec le concours de Vespasien-V. Pella 210 $aParis$cLibrairie du Recueil Sirey$d1952 215 $a276 p.$d24 cm 676 $a345$v20$zita 702 1$aGraven,$bJean 702 1$aPella,$bVespasien V. 710 12$aCongrès international de droit pénal,$d5.$f<1947 ;$eGenève>$0407129 801 0$aIT$bUNINA$gRICA$2UNIMARC 901 $aBK 912 $a990006286850403321 952 $aCONGRESSI P 19$b51555$fFGBC 952 $aCONGRESSI P 13$b43436$fFGBC 959 $aFGBC 996 $aActes du Ve Congrès International de Droit Pénal tenu a Genève du 28 au 31 juillet 1947 sous les auspices du gouvernement de la Confédération suisse$9640056 997 $aUNINA LEADER 03344nam 2200565 450 001 9910818255503321 005 20240112051618.0 010 $a1-4773-2531-X 010 $a9781477325315 024 7 $a10.7560/325308 035 $a(CKB)5860000000041528 035 $aEBL6961300 035 $a(OCoLC)1264723434 035 $a(AU-PeEL)EBL6961300 035 $a(DE-B1597)627861 035 $a(DE-B1597)9781477325315 035 $a(MiAaPQ)EBC6961300 035 $a(OCoLC)1338018509 035 $a(EXLCZ)995860000000041528 100 $a20240112d2022 uy 0 101 0 $aeng 135 $aurbn#---||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 14$aThe Empire of Effects $eIndustrial Light and Magic and the Rendering of Realism /$fJulie A. Turnock 205 $aFirst edition. 210 1$aAustin, TX :$cUniversity of Texas Press,$d[2022] 210 4$d©2022 215 $a1 online resource (321 p.) 300 $aDescription based upon print version of record. 311 0 $a1-4773-2530-1 320 $aIncludes bibliographical references and index. 327 $tFrontmatter --$tContents --$tAcknowledgments --$tIntroduction: The ILM Version --$tOne. ILM Versus Everybody Else --$tTwo. Perfect Imperfection --$tThree. Retconning CGI Innovation --$tFour. Monsters Are Real --$tFive. That Analog Feeling --$tCONCLUSION. Unreal Engine --$tAppendix: List of Films Mentioned in the Text --$tNotes --$tBibliography --$tIndex 330 $aJust about every major film now comes to us with an assist from digital effects. The results are obvious in superhero fantasies, yet dramas like Roma also rely on computer-generated imagery to enhance the verisimilitude of scenes. But the realism of digital effects is not actually true to life. It is a realism invented by Hollywood?by one company specifically: Industrial Light & Magic. The Empire of Effects shows how the effects company known for the puppets and space battles of the original Star Wars went on to develop the dominant aesthetic of digital realism. Julie A. Turnock finds that ILM borrowed its technique from the New Hollywood of the 1970s, incorporating lens flares, wobbly camerawork, haphazard framing, and other cinematography that called attention to the person behind the camera. In the context of digital imagery, however, these aesthetic strategies had the opposite effect, heightening the sense of realism by calling on tropes suggesting the authenticity to which viewers were accustomed. ILM?s style, on display in the most successful films of the 1980s and beyond, was so convincing that other studios were forced to follow suit, and today, ILM is a victim of its own success, having fostered a cinematic monoculture in which it is but one player among many. 606 $aCinematography$xSpecial effects 606 $aMotion picture industry$xHistory 606 $aRealism in motion pictures 615 0$aCinematography$xSpecial effects. 615 0$aMotion picture industry$xHistory. 615 0$aRealism in motion pictures. 676 $a777 700 $aTurnock$b Julie A.$01631142 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910818255503321 996 $aThe Empire of Effects$93969811 997 $aUNINA