LEADER 01862nam 2200397 450 001 996280475403316 005 20230421083708.0 010 $a1-5090-4636-4 035 $a(CKB)3710000001402971 035 $a(NjHacI)993710000001402971 035 $a(EXLCZ)993710000001402971 100 $a20230421d2017 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$a2017 IEEE 18th International Symposium on High Assurance Systems Engineering (HASE) /$fInstitute of Electrical and Electronics Engineers (IEEE) 210 1$aPiscataway, New Jersey :$cInstitute of Electrical and Electronics Engineers (IEEE),$d2017. 215 $a1 online resource $cillustrations 311 $a1-5090-4637-2 330 $aA key question of HASE 2017 is What design innovation is needed to bring about systems whose operation in accordance with functional and non functional requirements is assured with a very high probability? HASE 2017 will focus on this and related questions answers to which are of paramount importance to engineers who design and build interdependent complex systems that impact individuals, entire cities and even nations. 517 $a2017 IEEE 18th International Symposium on High Assurance Systems Engineering 606 $aComputer input-output equipment$vCongresses 606 $aReliability (Engineering)$vCongresses 606 $aSoftware engineering$vCongresses 615 0$aComputer input-output equipment 615 0$aReliability (Engineering) 615 0$aSoftware engineering 676 $a621.3984 801 0$bNjHacI 801 1$bNjHacl 906 $aPROCEEDING 912 $a996280475403316 996 $a2017 IEEE 18th International Symposium on High Assurance Systems Engineering (HASE)$92545971 997 $aUNISA LEADER 03344nam 2200565 450 001 9910795869703321 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$dİ2022 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.$01578758 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910795869703321 996 $aThe Empire of Effects$93858379 997 $aUNINA