<!doctype html public "-//W3C//DTD W3 HTML//EN">
<html><head><style type="text/css"><!--
blockquote, dl, ul, ol, li { padding-top: 0 ; padding-bottom: 0 }
--></style><title>UNSW Media Seminar</title></head><body>
<div align="center"><font size="-2">UNSW Media Film & Theatre
Seminar</font></div>
<div align="center"><font size="-2">Wednesday 18 October</font></div>
<div align="center"><font size="-2">5 p.m. Webster 327</font></div>
<div align="center"><br></div>
<div align="center"><br></div>
<div align="center"><font size="+3" color="#007700">Vanishing
Point</font></div>
<div align="center"><font size="+1" color="#007700">Spatial
Composition and the Virtual Camera</font></div>
<div align="center"><br></div>
<div align="center"><font size="+2" color="#663300">Mike
Jones</font></div>
<div align="center"><font color="#663300">Powerhouse
Museum</font></div>
<div><br></div>
<div><font size="+1"><i>"Fictional cinema, as we know it, is based
upon lying to the viewer. A perfect example is the construction of
cinematic space." </i> Lev Manovich</font></div>
<div><font size="+1"><br></font></div>
<div><font size="+1">This paper examines new aesthetic modes of
cinematic space. Specifically the paper will examine the Virtual
Camera, derived from computer generated 3D graphics and layer-based
motion graphics, as a construct for spatial composition, scenic
depiction and viewer immersion that possesses distinct and unique
qualities of engagement. Under influence of the Virtual Camera,
at once both a hybridized and re-mediated means of moving image
acquisition, cinema is shifting from a long established mode - the
duopoly between composition in the frame and the staging for the
camera, to a new mode entailing a composition of space and a staging
of the camera. The paper will examine the Virtual Camera in the
framework of four key cinematic and narrative concepts - Diegetic
positioning; Mediated and Unmediated engagement; Immediacy and
Hypermediacy within the process of re-mediation as well as Diegesis
and Mimesis in narrative condition. This examination will also
scrutinize the impact of the Virtual Camera on production process and
conceptual assembly of cinematic media.</font></div>
<div><br></div>
<div><i>Mike Jones is a media producer, writer, journalist and
educator. He has written two books on cinema and software, pens
monthly technology reviews for</i> Videocamera<i> magazine and
currently serves as manager of the Vectorlab digital media studio at
the Powerhouse museum.</i></div>
<div><br></div>
<x-sigsep><pre>--
</pre></x-sigsep>
<div><tt><font size="-1" color="#000000">Dr James Donald<br>
Associate Dean (Education), Faculty of Arts and Social Sciences<br>
Professor of Film Studies, School of Media, Film and Theatre<br>
University of New South Wales<br>
Sydney<br>
NSW 2052<br>
Australia<br>
<br>
Telephone<x-tab> </x-tab>(02)9385 4858<br>
Mobile<x-tab>
</x-tab><x-tab> </x-tab>0433
126445</font></tt></div>
<div><tt><font size="-1"
color="#000000">Facsimile<x-tab>
</x-tab><x-tab> </x-tab>(02)
9385 6812<br>
<br>
International<br>
Telephone<x-tab> </x-tab>+612 9385 4858<br>
Mobile<x-tab>
</x-tab><x-tab>
</x-tab>+61433 126445</font></tt></div>
<div><tt><font size="-1"
color="#000000">Facsimile<x-tab>
</x-tab><x-tab> </x-tab>+612
9385 6812</font></tt></div>
<div><font face="Helvetica" size="-1" color="#000000"><br>
<br>
<br>
</font></div>
</body>
</html>