19 records matched your query
03941aam a2200505 i 4500 001 453FE24C4EAA11EDAB62559A42ECA4DB 003 SILO 005 20221018010048 008 210730t20222022txua b 001 0 eng c 010 $a 2021036678 020 $a 9781477325308 020 $a 1477325301 035 $a (OCoLC)1264172391 040 $a TxU/DLC $b eng $e rda $c DLC $d OCLCO $d OCLCF $d BDX $d YDX $d OCLCO $d UKMGB $d ERASA $d TOH $d ORE $d YDX $d YUS $d NUI $d SILO 042 $a pcc 050 00 $a TR858 $b .T87 2022 082 00 $a 777 $2 23 100 1 $a Turnock, Julie A., $e author. 245 14 $a The empire of effects : $b Industrial Light & Magic and the rendering of realism / $c Julie A. Turnock. 250 $a First edition. 264 1 $a Austin : $b University of Texas Press, $c 2022. 300 $a ix, 310 pages : $b illustrations ; $c 24 cm 520 $a "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 and Magic. The Empire of Effects digs into the history of ILM, showing 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 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. Today the irony of digital realism is compounded by another: a victim of its own success, ILM fostered a cinematic monoculture in which it is but one player among many"-- $c Provided by publisher. 504 $a Includes bibliographical references (pages 229-293) and index. 505 0 $a Introduction: The ILM version -- ILM vs. everybody else : effects houses in the digital age -- Perfect imperfection : ILM's effects aesthetics -- Retconning CGI innovation : ILM's rhetorical dominance of effects history -- ILM's international standard of effects realism in the global marketplace -- Disney, Marvel Studios, and the ILM aesthetic -- Conclusion: Unreal engine : ILM in a Disney world. 610 20 $a Industrial Light and Magic (Studio) $x History. 610 27 $a Industrial Light and Magic (Studio) $2 fast $0 (OCoLC)fst00618011 650 0 $a Cinematography $x History. $x History. 650 0 $a Digital cinematography $x History. 650 0 $a Computer animation $x History. 650 0 $a Realism in motion pictures $x History. 650 0 $a Motion pictures $x History. $x History. 650 0 $a Motion picture industry $x History. 650 0 $a History. 650 7 $a Cinematography $x Special effects. $2 fast $0 (OCoLC)fst00861506 650 7 $a Computer animation. $2 fast $0 (OCoLC)fst00872015 650 7 $a Digital cinematography. $2 fast $0 (OCoLC)fst00893633 650 7 $a Motion picture industry. $2 fast $0 (OCoLC)fst01027150 650 7 $a Motion pictures $x Aesthetics. $2 fast $0 (OCoLC)fst01027288 650 7 $a Realism in motion pictures. $2 fast $0 (OCoLC)fst01091239 655 7 $a History. $2 fast $0 (OCoLC)fst01411628 776 08 $i Online version: $a Turnock, Julie A. $t Empire of effects $b First edition $d Austin : University of Texas Press, 2022 $z 9781477325315 $w (DLC) 2021036679 941 $a 1 952 $l OVUX522 $d 20231117015158.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=453FE24C4EAA11EDAB62559A42ECA4DBInitiate Another SILO Locator Search