Publications
S. Martin Shelton publishes extensively on motion-media topics. Here is a
sample of his most recent and upcoming publications:
Books:
Communicating Ideas with Film, Video, and Multimedia:
A Practical Guide to Information Motion-Media
Publisher: Southern Illinois University Press, 2004
Paper - $39.50
Book
Synopsis
Awards
Society for Technical Communication - 2004-2005 Southern California Spotlight
Competition:
- Best of Show
- Distinguished Technical Communication Award in the Book category
Comments from Judges:
- "If I were still teaching I would use this book."
- "An excellent book, it gets straight to the point."
- "A great resource for media professionals."
Comments from graduate film students at a major university:
- "Why haven't we been taught this before?"
- "I never thought about using film to communicate."
- "You're telling me new stuff!"
Please visit Amazon.com
or Barnes and Noble to peruse readers' critiques.
Monographs:
Fundamentals of Photographic Optics
Publisher: Shelton Communications Press, 2010
ISBN: 9780692008003
21 pages, distributed on a CDR
Price: $25.00
Call Shelton Communications at (512) 864-7700 for addional details.
Synopsis:
In this monograph, Shelton explains the basic mathematical formulas that deal with photographic optics.
He discusses the basic concepts of light. He displays the optical formulae in large, bright colors and discusses how to
use them. Shelton solves sample problems and then tasks the reader to solve a problem dealing with that formula. He uses color
illustrations to show the various optical concepts on which these formulas apply, such as f-number and aperture,
depth-of-field, hyperfocal distance, circle of confusion, and achromatic lenses.
A Survey of Reality in the Five Film Genera
Electronic publishing, please contact us for a copy @ $35.
Synopsis:
There is no reality in film. There is only the audience's perception
of reality. And, it is the audience's perception of reality in film that engenders
empathy and thus acceptance—that point at which the audience willingly
suspends disbelief in the false reality on the screen and joins the filmmaker
in the
scenario. However, without audience empathy and acceptance, except for certain
types of films, most films will probably fail—no matter how expertly
produced or what the goal of the film is: to turn a profit or motivate the
audience. That is, the audience's feeling or sense of reality is the foundation
of the
effectiveness of a film. My monograph discusses my perception of reality
in the five film genera that I have defined as information, documentary, narrative,
enrichment, and experimental. I have drawn the scope of these genera on my
developed Film Reality Scale and have plotted representative films on this
scale.
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