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Stephen Prince

Digital visual effects bridge art and science in ways that have expanded the expressive tools available to filmmakers. Digital imaging also has enlarged a domain for realism in cinema based on indexical and perceptual factors. Examining these factors, the article questions the visual skepticism that often surrounds discussion of visual effects in film studies. A conjunction of art and science has characterized cinema throughout its history, especially in the era of “philosophical toys” from which the medium originated. The article examines that era in light of what it suggests about digital imaging today and the aesthetic forms that it enables.

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Murray Smith

: consider, for example, lens and film stock artifacts—lens flare, racked focus, visual distortions arising from wide or telephoto lenses, visible grain or pixilation, and color grading. Far from being marginal, exceptional qualities of the look of a film

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Alan Voodla, Elen Lotman, Martin Kolnes, Richard Naar, and Andero Uusberg

camera, which renders the look of the object much flatter. The latter image has lower contrast because most of the shadows fall off-camera. 4. Catchlight/eyelight: absent (low-contrast) and present (high-contrast). In addition to drawing attention to

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Steven Eastwood

-life contextual-gaze experience. We see a person looking and we deduce to who or what the look is directed. Sometimes we mistakenly react to a person as though they are looking at us when in fact they are not. Similarly, probability but not certainty of shot

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Carl Plantinga

contribute to this mood of melancholic foreboding and determination in the face of threat. Filmed with a chroma-key technique, the visual design of the film replicates the look of the Frank Miller comic series on which the film is based. Much of the film is

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Los Roldán and the Inclusion of Travesti Narratives

Representations of Gender-Nonconforming Identities in Argentinian Telenovelas

Martín Ponti

makeup and clothing as incompatible with the look of the company, which is a cosmetics company. These distinctions are evident from the interview between Laisa and her brother's personal assistant throughout part of the eighth episode. Figure 3

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Andrew J. Webber

otherwise by her performances in casting. However, the look of the lead character helps to attach to the film the uncomfortable label of “beautiful,” as in the critical endorsement on the cover of the DVD: “A beautiful survival story, set against the dying