Primetime digital documentary animation: the photographic and graphic within play
Primetime digital documentary animation: the photographic and graphic within play
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黄金时段数字纪录片动画：游戏中的摄影和图形
DOI：
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发表时间：
2008
期刊：
影响因子：
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通讯作者：
C. Hight
中科院分区：
文献类型：
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作者：
C. Hight
在黄金时段电视纪录片系列中越来越多地使用基于数字的动画技术，这需要在竞争更加激烈的电视广播环境中出现的纪录片类型面临的一些挑战的背景下来看待。自20世纪90年代以来，电视制片人寻找一个更电影化和流行的美学已经整合了计算机媒体成像（CMI）和计算机生成成像（CGI）到纪录片的实践，分层到一个文本中，无论是在帧或序列。这些动画技术的使用方式可以分为三种主要模式：“象征性的展示”、“图形真实性”和“侵入性监视”。这些模式的发展扩大了（电视）纪录片的表现手段，并与社会和历史知识的更有趣和分层的中介的出现密切相关。
Abstract The increased use of digital-based animation techniques within primetime television documentary series needs to be viewed in the context of a number of challenges to the documentary genre emerging from a more competitive television broadcasting environment. Since the 1990s television producers looking for a more cinematic and popular aesthetic have integrated computer-media imaging (CMI) and computer-generated imaging (CGI) into documentary practice, layered into a text either in-frame or in-sequence. Patterns in the ways these animation techniques have been used can be grouped into three key modes: ‘symbolic expositional’, ‘graphic vérité’ and ‘invasive surveillance’. The development of these modes has expanded the means of (television) documentary representation, and been closely associated with the emergence of more playful and layered mediations of social and historical knowledge.