Teoria E Analisi 2016-17
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Pioneiros Do Cinema the Movies Begin DVD 2 the European Pioneers Louis E Auguste Lumière 1895-1900 Louis E Auguste Lumière
Pioneiros do Cinema The Movies Begin DVD 2 The European Pioneers Louis e Auguste Lumière 1895-1900 Louis e Auguste Lumière Leaving The Factory (1895) (Saída da fábrica) The Baby's Meal (1895) (A refeição do bebê) Demolition Of A Wall (1895) (Demolição de um muro) The Sprinkler Sprinkled (1895) (O aspersor polvilhado) Arrival Of Congress (1895) (Chegada do Congresso) Arrival Of A Train (1895) (Chegada de um trem) Louis e Auguste Lumière Card Party (1895) (Cartão do partido) Leaving Jerusalem By Railway (1896) (Deixando Jersusalem pela ferroviária) Snowball Fight (1896) (Guerra de bolas de neve) A Fire Run (Lyons) (c.1896) (Corrida para apagar o fogo) Niagara Falls (1897) (Cataratas do Niágara) Spanish Bullfight (1900) (Tourada Espanhola) Birt Acres Birt Acres Birt Acres nasceu em Richmond Virginia, nos EUA em 1854, e tornou-se órfão com quatorze anos durante a guerra civil americana. Foi adotado por sua tia que se tornou sua tutora. Em torno de 1872, Acres foi enviado por sua tia a Paris para completar seus estudos na Sorbonne, onde estudou Belas Artes e fotografia. Birt Acres Montou um estúdio em Devon, na Inglaterra, para a produção de retratos, pintura e fotografia. Não demorou muito para Acres ganhar uma boa reputação como fotógrafo bem sucedido, conferencista e colaborador de revistas de fotografia. Além disso, ele trabalhou como inventor de um aparelho patenteado para copiar fotografias estereoscópicas. Birt Acres Em 1893, criou uma empresa para fabricar chapas fotográficas e papel de impressão, também, no mesmo ano, patenteou um aparato para expor chapas fotográficas sucessivas, slides e outros. Através de seu amigo Henry W. -
Proquest Dissertations
Early Cinema and the Supernatural by Murray Leeder B.A. (Honours) English, University of Calgary, M.A. Film Studies, Carleton University A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations © Murray Leeder September 2011 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-83208-0 Our file Notre reference ISBN: 978-0-494-83208-0 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Resources and Bibliography
RESOURCES aND BIBlIOGRaPHY ARCHIVES, LIBRaRIES & MUSEUmS Barnes Collection, St Ives, Cornwall, England. Barnes Collection, Hove Museum & Art Gallery, Brighton & Hove, England. [concentrates on South Coast of England film-makers and film companies] Brighton Library, Brighton & Hove, England. British Film Institute National Film Library, London, England. [within Special Collections at the BFI is found G. A. Smith’s Cash Book and the Tom Williamson Collection] British Library Newspaper Library, London, England. Charles Urban Collection, National Science & Media Museum, Bradford, England. Hove Reference Library, Brighton & Hove, England. Library of Congress, Washington, USA. Museum of Modern Art, New York, USA. The National Archives, Kew, England. National Park Service, Edison National Historic Site, West Orange, New Jersey. Available online through the site, Thomas A. Edison Papers (Rutgers, the State University of New Jersey. South Archive South East, University of Brighton, Brighton & Hove, England. University of Brighton Library, St Peter’s House, Brighton & Hove, England. FIlm CaTalOGUES Paul, Robert. 1898. Animated Photograph Films, List No. 15. London. [London: BFI Library] © The Author(s) 2019 279 F. Gray, The Brighton School and the Birth of British Film, https://doi.org/10.1007/978-3-030-17505-4 280 RESOURCES AND BIBLIOGRAPHY ———. 1901. Animatograph Films—Robert Paul; Cameras, Projectors & Accessories. London. [Paris: La Cinématheque Française] We Put the World Before you by means of The Bioscope and Urban Films. 1903. London: Charles Urban Trading Company. [New York: Museum of Modern Art; Media History Digital Library] Urban Film Catalogue. 1905. London: Charles Urban Trading Company. Republished in, Stephen Herbert. 2000. A History of Early Film, Volume 1. London: Routledge. -
Shail, Robert, British Film Directors
BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter. -
Birt Acres (1854–1918)
BFI EDUCATION VICTORIAN FILM BIOGRAPHIES BIRT ACRES (1854–1918) Born in Richmond, Virginia to English parents, this American-British filmmaker spent most of his life in London, where he became one of the most important moving-image pioneers of the 1890s. He was the first person to build a working 35mm film camera in Britain, he hosted Britain’s first public film screening, and he invented the first narrow-gauge film system (the Birtac, which used 17.5mm film). Acres started experimenting with filmmaking in February 1895, in partnership with R.W. Paul. A few frames survive of what is now thought to be the first British film, Incident at Clovelly Cottage, filmed in March. Their first commercial production, Oxford and Cambridge Boat Race, was filmed on 30 March, swiftly followed by Rough Sea at Dover, The Arrest of a Pickpocket, The Carpenter’s Shop, Boxing Kangaroo and a record of the Derby horse race held on 29 May 1895. Acres and Paul had very different personalities, and by July their partnership had broken up. The films were intended for viewing in machines similar to Edison’s Kinetoscopes, but Acres also planned to project them on big screens to large audiences. Private demonstrations of his projector were made towards the end of 1895, before a public screening on 10 January 1896, just weeks after the Lumière Brothers demonstrated something similar in Paris. Acres’ achievements could have made him a very rich man, but he believed that moving images should be used for education rather than commercial purposes, and spent the late 1890s lecturing about those possibilities instead. -
Dagrada BETWEEN the EYE and the WORLD.Pdf
1 2 Between the Eye and the World The Emergence of the Point-of-View Shot P.I.E. Peter Lang Bruxelles Bern Berlin Frankfurt am Main New York Oxford Wien 3 4 Elena DAGRADA Between the Eye and the World The Emergence of the Point-of-View Shot Rethinking Cinema No.6 5 We thank the Fondazione Cineteca di Bologna, which kindly made frame-stills of the film Curiosité d’une Concierge (Pathé, 1905) specially for this publication. This publication has been peer-reviewed. No part of this book may be reproduced in any form, by print, photocopy, microfilm or any other means, without prior written permission from the publisher. All rights reserved. © P.I.E. PETER LANG S.A. Éditions scientifiques internationales Brussels, 2014 1 avenue Maurice, B-1050 Bruxelles, Belgique www.peterlang.com ; [email protected] Printed in Germany ISSN 1379-8391 ISBN 978-90-5201-035-9 D/2015/5678/18 Bibliographic information published by “Die Deutsche Nationalbibliothek”. “Die Deutsche Nationalbibliothek” lists this publication in the “Deutsche Nationalbiblio- grafie”; detailed bibliographic data is available on the Internet at <http://dnb.d-nb.de>. 6 Contents Introduction ............................................................................................ 9 CHAPTER 1 The Archaeology of a Filmic Form ..................................................... 15 1.1. Early Cinema, Early Spectator ................................................. 15 1.1.1. The World As Spectacle ................................................ 20 1.1.2. Transformations of the Visible ...................................... 25 1.2. The Place of the Look ............................................................... 33 CHAPTER 2 Frontiers of the Visible ........................................................................ 59 2.1. The Eye and the World, or the Faculty of Sight ....................... 59 2.2. Bigger, Not Closer: Grandma’s Reading Glass ....................... -
Cinema-By-Sea-Sample-Pages.Pdf
Cinema-by-Sea Cover Frontispiece Background photograph of Hove beach by David Fisher; A queue (of extras) in the rain outside the Rothbury stills from Grandma’s Reading Glass (George Albert Cinema, Portslade from Lady Godiva Rides Again (1951) Smith, 1900), Fire! (James Williamson, 1901), Curzon Kinema, Brighton (1936), Brighton Rock (John Boulting, This page 1947) and Jigsaw (Val Guest, 1962) Arrival and Departure of a Train at Hove (George Albert Smith, 1897) CCiinneemmaa--bbyy--SSeeaa FFiillmm aanndd cciinneemmaa iinn BBrriigghhttoonn && HHoovvee ssiinnccee 11889966 DDaavviidd FFiisshheerr TERRA MEDIA Cinema-by-Sea Published by David Fisher was Terra Media Ltd editor of the interna- Missenden Lodge tional media journal Withdean Avenue Screen Digest from Brighton BN1 5BJ 1974 until 2011. He also edited and www.terramedia.co.uk designed around 100 www.brightonfilm.com other publications for Screen Digest. He was Executive Editor of Television—Journal of the First published 2012 Royal Television Society from 1978 to 1982. He was a co-opted member of the Interim 5 4 3 2 1 Action Committee on the British Film Industry and its successor, the British Screen Copyright © David Fisher 2012 Advisory Council, from 1982 to 1989. Among numerous other positions, he served as a All rights reserved. No part of this publication representative on the advisory committee of may be reproduced ot transmitted in any form the European Audiovisual Observatory in or by any means, electronic or mechanical, Strasbourg between 1992 and 2007 and was an including photocopying, recording or any associate fellow of the University of Warwick information storage or retrieval system, 1994-2003, where he taught part of a post- without prior permission in writing from the graduate course in European Cultural Policy. -
Arthur Melbourne-Cooper: Discussion Continued
Arthur Melbourne-Cooper: Discussion Continued Following Tjitte de Vries's article on the British film pioneer Arthur Mel bourne-Cooper in K/Ntop 3 and the contributions by John Barnes and Tony Fletcher in K/Ntop 4, we have received new comments by Frank Gray, Geof frey Donaldson and Anthony Slide. We publish these together with Tjitte de Vries's reply to Frank Gray. When we invited Tjitte de Vries to write on Arthur Melbourne-Cooper we wanted to create a forum for a debate. We are very thankful to all the renowned scholars who have taken the trouble to participate in this discussion. As the contributions show, the difficulty of attributing a film frorn the early period to a specific director raises many questions the scope of which goes far beyond the initial problern. However, as far as K/Ntop is concerned, we should like to end the debate here - without wishing to close it. We very much endorse Anthony Slide's suggestion that all parties involved get together in order to examine all the evidence and arguments under scholarly supervision. Even then the question will probably not be definitively resolved - but hardly known material, interesting discussions and challenging new riddles would certainly make such a rneeting a most stimulating experience for everybody. The Editors 177 FRANK GRAY Films by George Albert Smith I would like to confirm and expand on John Barnes' criticism of the Tjitte de Vries campaign to cast Arthur Melbourne-Cooper as the author of a number of films by G. Albert Smith. The evidence to support my believe that Smith is either the producer or director of the films known as GRANDMA's READING GLAss (1900), THE 0LD MArn's VALENTINE (1900), As SEEN THROUGH A TELESCOPE (1900), THE HousE THAT JACK BUILT (1900) and THE SICK KnTEN (1903) comes from a close analysis of the films themselves.