Moving Images, Understanding Media

196 Moving Images: Making Movies, Understanding Media

through abstract and representational patterns. Th e history of animated fi lm

is full of examples ranging from American studios such as UPA—which oft en

produced commercials for corporate clients while inspiring fellow animators

with their pioneering style—to the intricate stop motion work of such masters

as Jan Švankmajer and the Brothers Quay.

A Moving World

In many ways, the development of motion picture creative traditions, formats,

and usages serves as a mirror to the world in which the moving image has

evolved. Th e economic parameters and uses of motion pictures are inextricably

linked to the progress of modern commerce and advertising. Th e science of

the cinema refl ects understanding and progress in the full range of scientifi c

domains, from biology to chemistry to physics, as they have developed from

the late nineteenth century to today. Th e themes and dramatic content of

motion pictures typically stem quite directly from the societies and times

in which they are produced. Reciprocally, the moving image also has had a

powerful impact on the history of the twentieth century and fundamental

modes of human communication and perception.

Many occupations use the moving image at the core of their activities.

Professionals in cinema and television production rely directly on the

moving image for their livelihood, and it stretches into an expansive range

of domains, including journalism, industrial activities, education, sports,

military, gaming, the legal system, and many applications in the arts. Th ere

is also a great deal of amateur use of motion pictures, for personal records

and exchanges among families and friends and for establishing new lines of

communication.

Figure 5-28 Visuals can

communicate through

the singularity of a unique

image or in the context of

sequences that provide

cause and effect or related

meanings. (Courtesy of Carl

Casinghino)

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