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001    ocn171548120|z(ocolc)171110543 
005    20110714233403.0 
008    070905s2008    ne a          001 0 eng   
015    GBA772602|2bnb 
016 7  013888314|2Uk 
019    171110543 
020    9780240520605|qpaperback 
020    0240520602|qpaperback 
035    (OCoLC)ocn171548120 
035    (OCoLC)171548120|z(OCoLC)171110543 
035    501286 
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       |dSTF|dCDN 
042    ukblcatcopy 
049    RIDM 
050  4 TR897.5|b.P87 2008 
082 04 778.5347|222 
090    TR897.5 .P78 2008 
100 1  Purves, Barry.|0https://id.loc.gov/authorities/names/
       nr2005028909 
245 10 Stop motion :|bpassion, process and performance /|cBarry 
       J.C. Purves. 
264  1 Amsterdam ;|aLondon :|bElsevier/Focal,|c2008. 
300    xix, 347 pages :|billustrations (some color) ;|c26 cm 
336    text|btxt|2rdacontent 
337    unmediated|bn|2rdamedia 
338    volume|bnc|2rdacarrier 
500    Includes index. 
505 0  Cover -- TOC$Contents -- Principal Credits -- Stills -- 
       Foreword -- Introduction -- Section 1: Passion -- 
       CH$Chapter 1 Smoke and Mirrors -- The animation trick -- 
       Pepper's ghost -- CH$Chapter 2 Evolving into Stop Motion -
       - Messing with time -- Physicality -- Texture -- 
       CH$Chapter 3 Puppets -- Response to stop motion -- The 
       puppet family -- The puppet and puppeteer -- CH$Chapter 4 
       Recurring Images -- Birds -- Swan Lake -- Puppets 
       elsewhere -- CH$Chapter 5 Getting Personal -- Early 
       animation -- Attempts at acting -- Section 2: Process -- 
       CH$Chapter 6 Ideas and Storytelling -- Starting somewhere 
       -- A different perspective -- Narrative structure and 
       artifice -- CH$Chapter 7 Shaping Ideas -- Next -- Screen 
       Play -- Rigoletto -- Achilles -- Gilbert and Sullivan -- 
       CH$Chapter 8 Different Techniques -- Replacement puppets -
       - Pixilation -- Cross-over techniques -- Cut-outs -- Sand 
       -- Claymation -- Personal approaches -- CH$Chapter 9 
       Preparation -- Storyboards, animatics, previz -- Sets and 
       design -- Using the camera -- Water -- Props -- Gilbert 
       and Sullivan - The Very Models -- Colour -- Costume -- 
       Visual concepts -- Section 3: Performance -- CH$Chapter 10
       Getting Moving -- Being an animator -- Film grammar -- 
       Acting -- Scale -- Walking -- Body language -- Pushing the
       puppet's laws -- Hands-on -- CH$Chapter 11 On the Set -- 
       Securing a puppet -- Letting a gesture read -- Shape of 
       movements -- Physical quirks -- Hard things to animate -- 
       On the studio floor -- CH$Chapter 12 Using the Body -- 
       Silent comedy and mime -- Falls -- Jerky movements -- The 
       illusion of movement -- Dance -- The role of puppets -- 
       CH$Chapter 13 Production -- Designing puppets to act -- 
       Voices -- Eye acting -- Shakespeare -- Puppets for Screen 
       Play -- Puppets for Rigoletto -- Staging -- Rushes -- 
       Editing -- Music -- Series -- Feature films -- Framing -- 
       CH$Chapter 14 Directing -- Directors -- Directing Gilbert 
       and Sullivan -- Favourite films -- CH$Chapter 15 Widening 
       the Scope -- Animation in a bubble -- Festivals -- Theatre
       work -- Effect on people's lives -- Extreme puppets -- 
       Transference -- CH$Chapter 16 Finale -- Career -- 
       IDX$Index 
520    Award-winning animator Barry Purves offers honest insight 
       into the creative process of making stop motion animations
       with puppets and models, using his own classic films to 
       illustrate every step along the way. Features advice on 
       everything from the initial concept, to scriptwriting and 
       costume through to directing, animating and 
       postproduction. 
655  7 Animation (Cinematography)|2lcgft 
901    MARCIVE 20231220 
935    501286 
994    C0|bRID