My Account Log in

5 options

The Empire of Effects : Industrial Light and Magic and the Rendering of Realism / Julie A. Turnock.

De Gruyter University of Texas Press Complete eBook-Package 2022 Available online

View online

EBSCOhost Academic eBook Collection (North America) Available online

View online

EBSCOhost Ebook Public Library Collection - North America Available online

View online

EBSCOhost eBook Community College Collection Available online

View online

Ebook Central Academic Complete Available online

View online
Format:
Book
Author/Creator:
Turnock, Julie A., author.
Language:
English
Subjects (All):
Cinematography--Special effects.
Cinematography.
Motion picture industry--History.
Motion picture industry.
Realism in motion pictures.
Physical Description:
1 online resource (321 p.)
Edition:
First edition.
Place of Publication:
Austin, TX : University of Texas Press, [2022]
Summary:
Just 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.
Contents:
Frontmatter
Contents
Acknowledgments
Introduction: The ILM Version
One. ILM Versus Everybody Else
Two. Perfect Imperfection
Three. Retconning CGI Innovation
Four. Monsters Are Real
Five. That Analog Feeling
CONCLUSION. Unreal Engine
Appendix: List of Films Mentioned in the Text
Notes
Bibliography
Index
Notes:
Description based upon print version of record.
Includes bibliographical references and index.
Description based on print version record.
ISBN:
1-4773-2531-X
9781477325315
OCLC:
1264723434

The Penn Libraries is committed to describing library materials using current, accurate, and responsible language. If you discover outdated or inaccurate language, please fill out this feedback form to report it and suggest alternative language.

Find

Home Release notes

My Account

Shelf Request an item Bookmarks Fines and fees Settings

Guides

Using the Find catalog Using Articles+ Using your account