"Labubu craze" refers to the global hype surrounding toy figures of the character Labubu, a sharp-toothed "elf" with a mischievous smile, which gained popularity primarily through the influence of social media and sales in blind box packaging. The trend, which originated in Asia and also spread to the Netherlands, led to significant attention on platforms like TikTok and Instagram, and significant growth for the company that produces the figures, Pop Mart.
In Search of Humanity is his most comprehensive retrospective to date. Including paintings, cultural ready-mades, works made from LEGO bricks, sculptures, installations, photography, and video works, the exhibition presents an impressive overview of Ai Weiwei's over-four-decades-spanning career and features key works from all his different creative periods.
The simplest transition between shots it is a straight cut, which is an abrupt transition between two shots. Another type of transition is called a fade, in which the overall value of the scene increases or decreases into a frame of just one color. For example, a fade to black may indicate the end of the sequence. When one scene fades out as another scene fades in this is a dissolve. These dissolves are used frequently to indicate a passage of time. For example, you might have a shot moving down a hall and then a dissolve as it moves into a different part of the building. Another type of transition is when one scene wipes across the frame and replaces the previous seen. Wipes can move in any direction and open one side to the other or they can start in the center and move out or the edge of the frame and move in. Wipes are very noticeable and best not used often.
Pre-production is the process of planning some of the elements involved in a film, play, or other performance. There are three parts in a production: pre-production, production, and post-production. Pre-production ends when the planning ends and the content starts being produced.
Observational documentaries attempt to simply and spontaneously observe lived life with a minimum of intervention. Filmmakers who worked in this subgenre often saw the poetic mode as too abstract and the expository mode as too didactic. The first observational docs date back to the 1960s; the technological developments which made them possible include mobile lightweight cameras and portable sound recording equipment for synchronized sound. Often, this mode of film eschewed voice-over commentary, post-synchronized dialogue and music, or re-enactments. The films aimed for immediacy, intimacy, and revelation of individual human character in ordinary life situations.
