Advanced search in Research products
Research products
arrow_drop_down
Searching FieldsTerms
Any field
arrow_drop_down
includes
arrow_drop_down
Include:
The following results are related to Digital Humanities and Cultural Heritage. Are you interested to view more results? Visit OpenAIRE - Explore.
16 Research products, page 2 of 2

  • Digital Humanities and Cultural Heritage
  • Other research products
  • 2022-2022
  • FI
  • English
  • Theseus

10
arrow_drop_down
Date (most recent)
arrow_drop_down
  • Open Access English
    Authors: 
    Raibman, Veronika;
    Country: Finland

    Animation is principally associated with the American production of cartoons which to this day takes the leading position in the worldwide industry. Simultaneously, animated films created in the Soviet Union are mostly unknown be-yond the post-Soviet states due to the decades-long Iron Curtain and isolation despite their immense cultural value and impact to the people acquainted with them. The objective of this work was to gather information about the origins of the American and Soviet animation, to study the key points of the development of animation in both countries in the 20th century and to compare the animated films produced by the United States and the Soviet Union. Firstly, the thesis provided an outlook on the key points of the development of animation and historical impact on its cultural role in the USA and USSR based on an extensive review of scientific literature. Secondly, the examples of the American and Soviet animated adaptations of the same books were presented, analysed and compared. The findings demonstrated that against the censorship and lack of access to the innovative technologies, Soviet animation developed its unique way of ex-pression acquiring profound, hidden sense, aiming to deliver cultural values to both children and adults and mastering the sound and the image to deepen the meaning of the story and characters. In its turn, American animation, being a pioneer in the technical development, was able to innovate and master the techniques of creating animated films, yet being perceived as a genre for chil-dren from its origins, it maintained the entertaining spirit rather than attempted to hide a deeper meaning and concentrate on the delivery of the moral value of the story.

  • Other research product . 2022
    Open Access English
    Authors: 
    Nagornijs, Glebs;
    Country: Finland

    Logline: Young painter Viktor leaves his family farm to pay off their debts, but in the city he gets addicted to the imaginary utopic world of his mentor, Armand. Synopsis: Young painter VIKTOR leaves the family farm to pursue a painting career in the city. Viktor believes that his visions of a “higher realm” will bring him a lot of money and success in the big city. He promises his father to send money and help with their debts. Father is not happy with this, but he lets Viktor try his luck. In the city, Viktor visits the exhibition of the established painter ARMAND. Viktor reveals “his visions” to Armand, who teaches him about different layers of the world. One of which is the “higher realm” – a better world that Armand is building, which can be accessed through imagination. Viktor learns how to enter it through paintings. In exchange, Viktor paints a “higher realm” for Armand. As a result, Viktor gets addicted to entertainment in both the real world and the “higher realm”, until he discovers that the “higher realm” is an illusion. Behind the façade, the “higher realm” is a dark industrial prison. Armand traps people and uses their imagination to create the illusion of a “higher realm”. In one of Armand’s paintings, Viktor finds DAEMON, who is Armand’s hiding conscience. Daemon reveals to Viktor that Armand wants to control the whole world through his “fake realm”. True “higher realm” can only be reached if you defeat your inner demons and Armand failed at that. Viktor lures Armand to Daemon and together they defeat him. Viktor gives his life energy to prisoners, waking them from a coma and becoming older in the process. Armand’s “realm” turns to ashes. Viktor returns to normal life and proceeds to sell all the expensive things that he has previously bought – he sends money to his father. Viktor goes to the orphanage and offers his service as a painter, which he previously declined. When Viktor paints for the orphanage, he closes his eyes and sees the door opening to his own “personal realm”. Viktor enters his “personal realm” and finds himself in the vast desert. Viktor proceeds forward to explore his “personal realm” to someday gain access to the “true higher realm”.

  • Open Access English
    Authors: 
    Cockroft, Joshua;
    Country: Finland

    The written thesis, Representing the Hidden – Opening Doors as a Photographer, accompanies the photographic project titled To Serve the Living. To Serve the Living is a subjective photographic study of the funerary industry in Finland, and it looks at the large-scale, yet hidden industry of laying a body to rest. The project offers a safe space for viewers to consider themes relating to mortality and death. To Serve the Living is presented as a gallery exhibition, consisting of framed silver gelatin print photographs of locations such as funeral directors’ offices, crematoriums, morgues, and of those who work in these places. The written thesis discusses the practical challenges faced in making the work, namely organising access to these locations, and the ethical decisions made, such as showing images of a subject considered taboo. The goal of the written thesis was to understand the intentions of the practical project and help contextualise it in the framework of contemporary photography. The written thesis uses case studies of two photographers, Lynne Cohen and Edouard Jacquinet, to help define the practice of subjective documentary photography. Lopputyöni kirjallinen osa, Representing the Hidden – Opening Doors as a Photographer, valottaa valokuvallista lopputyötäni Elävien palveluksessa. Elävien palveluksessa on subjektiivinen valokuvallinen tutkielma kuolemaan liittyvistä käytännöistä Suomessa. Lopputyösarjassani tutkin tätä merkittävää mutta suurelta osin piiloon jäävää toimialaa. Valokuvatutkielmani tarjoaa katsojalle turvallisen kontekstin, jossa pysähtyä pohtimaan kuolemaan ja kuolevaisuuteen liittyviä teemoja. Valokuvasarjani lopullinen esitysmuoto on gallerianäyttely, joka koostuu kehystetyistä hopeagelatiinivedoksista. Kuvien aiheena ovat muun muassa hautaustoimisto, krematorio, ruumishuone sekä ihmiset, jotka työskentelevät näissä paikoissa. Lopputyöni kirjallinen osa käsittelee käytännön haasteita, joita kohtasin valokuvatutkielman tekovaiheessa, kuten kuvauslupien neuvotteluja alaan liittyvien eri toimijoiden kanssa sekä eettisiä päätöksiä, joita jouduin tekemään käsitellessäni aihetta, joka on monilta osin tabu. Kirjallisen työni tavoite on selventää lopputyösarjani motiiveja sekä kontekstualisoida lopputyöni suhteessa nykyvalokuvaan. Kirjalliseen osaan kuuluu kaksi tapaustutkimusta, joiden avulla pyrin määrittelemään, mitä subjektiivinen dokumenttivalokuvaus on. Näissä tapaustutkimuksissa käsitellen Lynne Cohenin ja Edouard Jacquinetin valokuvasarjoja.

  • Open Access English
    Authors: 
    Heikkinen, Joa;
    Country: Finland

    Tässä opinnäytetyössä pohdin intuition käyttöä elokuvanteossa. Taiteelliseksi opinnäytetyöksi luomani lyhytelokuva ”Cuckoo’s Play” oli vuoden pituinen matka. Sen aikana tutkin taiteelliselle prosessilleni olennaisia kannustimia ja löysin teoreettisesti sekä käytännöllisesti hyödynnettäviä intuitiivisia metodeja. Tutkin intuition ydintä ja sen yhteyttä elokuvantekoon sekä osuutta taidesuuntauksissa. Opettelin hiljaista tietoa hyödyntävien käytäntöjen tiedostamista, sekä harjaannutin itseäni liikkuvan kuvan käytännöistä voidakseni kehittää omaa elokuvallista kieltäni. Minulle selvisi, että hiottu intuitio voi potentiaalisesti olla elokuvantekijälle innovatiivisen luovuuden perusjuuri; hiljaisen tiedon tarjoamat nopeat ja kattavat vastaukset auttavat luomaan uusia maailmoja, jotka vaativat mielikuvitusta, kokonaisuuden hahmottamista sekä taitoa toimia. Luottamalla intuitioon ja hyödyntämällä sitä taiteellisessa prosessissa, usko omaan visioon ja sen toteuttamiseen helpottuvat. Voidakseni selittää intuitiota metodiikkana, taiteen harjoittamisen välineenä, on merkittävää tutkia sitä henkilökohtaisella tasolla. Minulle tämä tarkoittaa lyhytelokuvani ”Cuckoo’s Playn” kehityksen analysoimista, sanoinkuvaamattoman prosessin pukemista sanoiksi. Tutkin tätä paradoksaalista yhteyttä lähestymällä aihetta elokuvanteon vaiheiden näkökulmasta. Näin ollen viritän omat aistimukseni ja ymmärrykseni voidakseni perustella intuitiivista tietoa. Symbolistisen ja surrealistisen taiteen ja ilmaisun puolestapuhujana käytän prosessin kuvailuun metaforallisia keinoja. Tässä opinnäytetyössä käsittelen intuitioon liittyviä käytäntöjä kuten havaintoja, flow-tilaa, ideapalaveria ja improvisaatiota voidakseni tarkastella niitä taiteen tekemisen kontekstissa. Katson symbolistien ja surrealistien sisäisiin maailmoihin ja tutkin elokuvantekoa valikoitujen ohjaajien töiden kautta. Pohdin elokuvaa ilmaisukeinona sekä teemoja työskentelyssäni. In this thesis I contemplate the use of intuition in filmmaking. For one full year, I was on an expedition, creating a short film “Cuckoo’s Play” for my artistic thesis. During this time I examined the necessary catalysts for my artistic process and found intuitive methods to put into theoretical and practical use. I researched the core of intuition and its nexus to filmmaking and its part in art movements. I studied the acknowledgment of customs that utilize the silent knowledge and educated myself on the practices of moving image in order to shape my cinematic language. I found that for a filmmaker refined intuition has the potential to be the fundamental root of innovatory creativity; the quick and comprehensive responses of the tacit knowledge can help in creating new worlds that demand imagination, perception of the entirety, and the ability to execute. Trusting intuition and utilizing it in the artistic process makes it easier to keep faith in the vision and complete the project at hand. In order to explore intuition as methodology, a device for artistic practice, a personal investigation is crucial. In this thesis I dissect the development of my film “Cuckoo’s Play” and it’s indescribable process into words. I explore this paradoxical connection by approaching the subject from the perspective of the stages in filmmaking. This allows me to tune into the resonance of my sensation and understanding, making the rationalization of intuitive knowledge possible. As an advocate of symbolistic and surrealistic art and expression, I feel compelled to describe parts of the process as metaphorical sensations. In this thesis, I open up intuition-related concepts like observations, flow, brainstorming and improvisation to view them in the context of creating art. I look inside the world of Symbolists and Surrealists and into inspiring works by selected directors. I ponder film as a medium and think about my thematic frame.

  • Open Access English
    Authors: 
    Khoshnaw, Yara;
    Country: Finland

    Yemen has been at the center of geopolitical and economic rivalries for at least the colonial era, and this literature-based thesis shows the continued strategic importance of the country. We will also analyze the strategic significance of the Saudi-led coalition in Yemen from the historical past. It is imperative to examine geopolitical factors involved in Yemen's regional relations, especially those of Saudi Arabia and Iran, given their complexity. Due to its strategic location along the Bab al-Mandab strait, Yemen has played an important role in geopolitics in the region. This is followed by a critical comparison of arguments and theories. This leads to a substantive dialogue concerning the background of geopolitics and the major arguments that are introduced. Following the introduction, a literature review will provide a more comprehensive overview of the research topic. A critical evaluation of the arguments and theories, together with a background on Yemen and the Saudi-led coalition, will be included in the review. This will be followed by a discussion of the objectives, questions, and main findings. A discussion of the research methods and methodology will follow. We will conclude the research with a preliminary conclusion. While my research questions are answered through a review of theory, I will nevertheless rely largely on qualitative research based on secondary data in this thesis, such as previous research regarding Yemen in different nations and states.

  • Open Access English
    Authors: 
    Lindfors, Janna;
    Country: Finland

    The purpose of this thesis was to examine the use of personal and collected material in a narrative artwork in the field of contemporary art. The main objective was to define how telling a story with different source material varies in a narrative artwork and compare how this affects the spectator. The aim was to define whether the use of artist’s own experiences in a narrative artwork can reach a more intimate and relatable experience for the spectator. This thesis discusses the works of five contemporary artists: Laurie Anderson and Outi Heiskanen using intimate and personal subjects and Johanna Lecklin and artist duo Tellervo Kalleinen and Oliver Kochta-Kalleinen using art to transmit others’ stories. The artistic project of the thesis – a two-channel video installation Illan tullen – As the Evening Falls – was used as a case study to further examine the difference between the artistic process of using a personal story with strong emotional bond, in comparison with strangers’ thoughts collected through the internet. The video installation As the Evening Falls was exhibited in the degree show Embers of the Fine Art study path at Gallery Himmelblau in March 2022. The themes explored in the artwork were fear, loss and death from the perspective of a story from family history, childhood memories and collected stories of adults.

Advanced search in Research products
Research products
arrow_drop_down
Searching FieldsTerms
Any field
arrow_drop_down
includes
arrow_drop_down
Include:
The following results are related to Digital Humanities and Cultural Heritage. Are you interested to view more results? Visit OpenAIRE - Explore.
16 Research products, page 2 of 2
  • Open Access English
    Authors: 
    Raibman, Veronika;
    Country: Finland

    Animation is principally associated with the American production of cartoons which to this day takes the leading position in the worldwide industry. Simultaneously, animated films created in the Soviet Union are mostly unknown be-yond the post-Soviet states due to the decades-long Iron Curtain and isolation despite their immense cultural value and impact to the people acquainted with them. The objective of this work was to gather information about the origins of the American and Soviet animation, to study the key points of the development of animation in both countries in the 20th century and to compare the animated films produced by the United States and the Soviet Union. Firstly, the thesis provided an outlook on the key points of the development of animation and historical impact on its cultural role in the USA and USSR based on an extensive review of scientific literature. Secondly, the examples of the American and Soviet animated adaptations of the same books were presented, analysed and compared. The findings demonstrated that against the censorship and lack of access to the innovative technologies, Soviet animation developed its unique way of ex-pression acquiring profound, hidden sense, aiming to deliver cultural values to both children and adults and mastering the sound and the image to deepen the meaning of the story and characters. In its turn, American animation, being a pioneer in the technical development, was able to innovate and master the techniques of creating animated films, yet being perceived as a genre for chil-dren from its origins, it maintained the entertaining spirit rather than attempted to hide a deeper meaning and concentrate on the delivery of the moral value of the story.

  • Other research product . 2022
    Open Access English
    Authors: 
    Nagornijs, Glebs;
    Country: Finland

    Logline: Young painter Viktor leaves his family farm to pay off their debts, but in the city he gets addicted to the imaginary utopic world of his mentor, Armand. Synopsis: Young painter VIKTOR leaves the family farm to pursue a painting career in the city. Viktor believes that his visions of a “higher realm” will bring him a lot of money and success in the big city. He promises his father to send money and help with their debts. Father is not happy with this, but he lets Viktor try his luck. In the city, Viktor visits the exhibition of the established painter ARMAND. Viktor reveals “his visions” to Armand, who teaches him about different layers of the world. One of which is the “higher realm” – a better world that Armand is building, which can be accessed through imagination. Viktor learns how to enter it through paintings. In exchange, Viktor paints a “higher realm” for Armand. As a result, Viktor gets addicted to entertainment in both the real world and the “higher realm”, until he discovers that the “higher realm” is an illusion. Behind the façade, the “higher realm” is a dark industrial prison. Armand traps people and uses their imagination to create the illusion of a “higher realm”. In one of Armand’s paintings, Viktor finds DAEMON, who is Armand’s hiding conscience. Daemon reveals to Viktor that Armand wants to control the whole world through his “fake realm”. True “higher realm” can only be reached if you defeat your inner demons and Armand failed at that. Viktor lures Armand to Daemon and together they defeat him. Viktor gives his life energy to prisoners, waking them from a coma and becoming older in the process. Armand’s “realm” turns to ashes. Viktor returns to normal life and proceeds to sell all the expensive things that he has previously bought – he sends money to his father. Viktor goes to the orphanage and offers his service as a painter, which he previously declined. When Viktor paints for the orphanage, he closes his eyes and sees the door opening to his own “personal realm”. Viktor enters his “personal realm” and finds himself in the vast desert. Viktor proceeds forward to explore his “personal realm” to someday gain access to the “true higher realm”.

  • Open Access English
    Authors: 
    Cockroft, Joshua;
    Country: Finland

    The written thesis, Representing the Hidden – Opening Doors as a Photographer, accompanies the photographic project titled To Serve the Living. To Serve the Living is a subjective photographic study of the funerary industry in Finland, and it looks at the large-scale, yet hidden industry of laying a body to rest. The project offers a safe space for viewers to consider themes relating to mortality and death. To Serve the Living is presented as a gallery exhibition, consisting of framed silver gelatin print photographs of locations such as funeral directors’ offices, crematoriums, morgues, and of those who work in these places. The written thesis discusses the practical challenges faced in making the work, namely organising access to these locations, and the ethical decisions made, such as showing images of a subject considered taboo. The goal of the written thesis was to understand the intentions of the practical project and help contextualise it in the framework of contemporary photography. The written thesis uses case studies of two photographers, Lynne Cohen and Edouard Jacquinet, to help define the practice of subjective documentary photography. Lopputyöni kirjallinen osa, Representing the Hidden – Opening Doors as a Photographer, valottaa valokuvallista lopputyötäni Elävien palveluksessa. Elävien palveluksessa on subjektiivinen valokuvallinen tutkielma kuolemaan liittyvistä käytännöistä Suomessa. Lopputyösarjassani tutkin tätä merkittävää mutta suurelta osin piiloon jäävää toimialaa. Valokuvatutkielmani tarjoaa katsojalle turvallisen kontekstin, jossa pysähtyä pohtimaan kuolemaan ja kuolevaisuuteen liittyviä teemoja. Valokuvasarjani lopullinen esitysmuoto on gallerianäyttely, joka koostuu kehystetyistä hopeagelatiinivedoksista. Kuvien aiheena ovat muun muassa hautaustoimisto, krematorio, ruumishuone sekä ihmiset, jotka työskentelevät näissä paikoissa. Lopputyöni kirjallinen osa käsittelee käytännön haasteita, joita kohtasin valokuvatutkielman tekovaiheessa, kuten kuvauslupien neuvotteluja alaan liittyvien eri toimijoiden kanssa sekä eettisiä päätöksiä, joita jouduin tekemään käsitellessäni aihetta, joka on monilta osin tabu. Kirjallisen työni tavoite on selventää lopputyösarjani motiiveja sekä kontekstualisoida lopputyöni suhteessa nykyvalokuvaan. Kirjalliseen osaan kuuluu kaksi tapaustutkimusta, joiden avulla pyrin määrittelemään, mitä subjektiivinen dokumenttivalokuvaus on. Näissä tapaustutkimuksissa käsitellen Lynne Cohenin ja Edouard Jacquinetin valokuvasarjoja.

  • Open Access English
    Authors: 
    Heikkinen, Joa;
    Country: Finland

    Tässä opinnäytetyössä pohdin intuition käyttöä elokuvanteossa. Taiteelliseksi opinnäytetyöksi luomani lyhytelokuva ”Cuckoo’s Play” oli vuoden pituinen matka. Sen aikana tutkin taiteelliselle prosessilleni olennaisia kannustimia ja löysin teoreettisesti sekä käytännöllisesti hyödynnettäviä intuitiivisia metodeja. Tutkin intuition ydintä ja sen yhteyttä elokuvantekoon sekä osuutta taidesuuntauksissa. Opettelin hiljaista tietoa hyödyntävien käytäntöjen tiedostamista, sekä harjaannutin itseäni liikkuvan kuvan käytännöistä voidakseni kehittää omaa elokuvallista kieltäni. Minulle selvisi, että hiottu intuitio voi potentiaalisesti olla elokuvantekijälle innovatiivisen luovuuden perusjuuri; hiljaisen tiedon tarjoamat nopeat ja kattavat vastaukset auttavat luomaan uusia maailmoja, jotka vaativat mielikuvitusta, kokonaisuuden hahmottamista sekä taitoa toimia. Luottamalla intuitioon ja hyödyntämällä sitä taiteellisessa prosessissa, usko omaan visioon ja sen toteuttamiseen helpottuvat. Voidakseni selittää intuitiota metodiikkana, taiteen harjoittamisen välineenä, on merkittävää tutkia sitä henkilökohtaisella tasolla. Minulle tämä tarkoittaa lyhytelokuvani ”Cuckoo’s Playn” kehityksen analysoimista, sanoinkuvaamattoman prosessin pukemista sanoiksi. Tutkin tätä paradoksaalista yhteyttä lähestymällä aihetta elokuvanteon vaiheiden näkökulmasta. Näin ollen viritän omat aistimukseni ja ymmärrykseni voidakseni perustella intuitiivista tietoa. Symbolistisen ja surrealistisen taiteen ja ilmaisun puolestapuhujana käytän prosessin kuvailuun metaforallisia keinoja. Tässä opinnäytetyössä käsittelen intuitioon liittyviä käytäntöjä kuten havaintoja, flow-tilaa, ideapalaveria ja improvisaatiota voidakseni tarkastella niitä taiteen tekemisen kontekstissa. Katson symbolistien ja surrealistien sisäisiin maailmoihin ja tutkin elokuvantekoa valikoitujen ohjaajien töiden kautta. Pohdin elokuvaa ilmaisukeinona sekä teemoja työskentelyssäni. In this thesis I contemplate the use of intuition in filmmaking. For one full year, I was on an expedition, creating a short film “Cuckoo’s Play” for my artistic thesis. During this time I examined the necessary catalysts for my artistic process and found intuitive methods to put into theoretical and practical use. I researched the core of intuition and its nexus to filmmaking and its part in art movements. I studied the acknowledgment of customs that utilize the silent knowledge and educated myself on the practices of moving image in order to shape my cinematic language. I found that for a filmmaker refined intuition has the potential to be the fundamental root of innovatory creativity; the quick and comprehensive responses of the tacit knowledge can help in creating new worlds that demand imagination, perception of the entirety, and the ability to execute. Trusting intuition and utilizing it in the artistic process makes it easier to keep faith in the vision and complete the project at hand. In order to explore intuition as methodology, a device for artistic practice, a personal investigation is crucial. In this thesis I dissect the development of my film “Cuckoo’s Play” and it’s indescribable process into words. I explore this paradoxical connection by approaching the subject from the perspective of the stages in filmmaking. This allows me to tune into the resonance of my sensation and understanding, making the rationalization of intuitive knowledge possible. As an advocate of symbolistic and surrealistic art and expression, I feel compelled to describe parts of the process as metaphorical sensations. In this thesis, I open up intuition-related concepts like observations, flow, brainstorming and improvisation to view them in the context of creating art. I look inside the world of Symbolists and Surrealists and into inspiring works by selected directors. I ponder film as a medium and think about my thematic frame.

  • Open Access English
    Authors: 
    Khoshnaw, Yara;
    Country: Finland

    Yemen has been at the center of geopolitical and economic rivalries for at least the colonial era, and this literature-based thesis shows the continued strategic importance of the country. We will also analyze the strategic significance of the Saudi-led coalition in Yemen from the historical past. It is imperative to examine geopolitical factors involved in Yemen's regional relations, especially those of Saudi Arabia and Iran, given their complexity. Due to its strategic location along the Bab al-Mandab strait, Yemen has played an important role in geopolitics in the region. This is followed by a critical comparison of arguments and theories. This leads to a substantive dialogue concerning the background of geopolitics and the major arguments that are introduced. Following the introduction, a literature review will provide a more comprehensive overview of the research topic. A critical evaluation of the arguments and theories, together with a background on Yemen and the Saudi-led coalition, will be included in the review. This will be followed by a discussion of the objectives, questions, and main findings. A discussion of the research methods and methodology will follow. We will conclude the research with a preliminary conclusion. While my research questions are answered through a review of theory, I will nevertheless rely largely on qualitative research based on secondary data in this thesis, such as previous research regarding Yemen in different nations and states.

  • Open Access English
    Authors: 
    Lindfors, Janna;
    Country: Finland

    The purpose of this thesis was to examine the use of personal and collected material in a narrative artwork in the field of contemporary art. The main objective was to define how telling a story with different source material varies in a narrative artwork and compare how this affects the spectator. The aim was to define whether the use of artist’s own experiences in a narrative artwork can reach a more intimate and relatable experience for the spectator. This thesis discusses the works of five contemporary artists: Laurie Anderson and Outi Heiskanen using intimate and personal subjects and Johanna Lecklin and artist duo Tellervo Kalleinen and Oliver Kochta-Kalleinen using art to transmit others’ stories. The artistic project of the thesis – a two-channel video installation Illan tullen – As the Evening Falls – was used as a case study to further examine the difference between the artistic process of using a personal story with strong emotional bond, in comparison with strangers’ thoughts collected through the internet. The video installation As the Evening Falls was exhibited in the degree show Embers of the Fine Art study path at Gallery Himmelblau in March 2022. The themes explored in the artwork were fear, loss and death from the perspective of a story from family history, childhood memories and collected stories of adults.