Historic Camera
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La Nascita Del Cinema
La nascita del cinema >> 0 >> 1 >> 2 >> 3 >> 4 >> La nascita del cinema La nostra storia comincia a Parigi, sul finire del 1895, in questo lussuoso albergo a due passi dall’Opéra. >> 0 >> 1 >> 2 >> 3 >> 4 >> Il Salon indien In questa sala dell’Hôtel Scribe, il Salon Indien del Grand café oggi Café Lumière in ricordo dell’evento, la sera del 28 dicembre 1895, due fotografi lionesi, Auguste e Louis Lumière, organizzano la prima dimostrazione pubblica di una loro invenzione chiamata «cinematografo». >> 0 >> 1 >> 2 >> 3 >> 4 >> Il Salon indien Sono presenti allo storico evento una trentina di persone, che pagano il biglietto da un franco, cifra per l’epoca non irrisoria. È stata invitata anche la stampa, ma non si presenta nessuno. Si forma invece una folla di circa duemila persone che si accalca per entrare nella sala. >> 0 >> 1 >> 2 >> 3 >> 4 >> Uscire dalla scatola Facciamo ora un passo indietro. I Lumière lavorano all’impresa dall’anno precedente, allorché il padre Antoine, di ritorno da Parigi dove aveva visto un Kinetoscope Edison, aveva proposto ai figli di «far uscire l’immagine dalla scatola». In pochi mesi i due fratelli realizzano un congegno in grado di proiettare le immagini su uno schermo per più spettatori contemporaneamente. >> 0 >> 1 >> 2 >> 3 >> 4 >> Il brevetto Il 13 febbraio 1895 brevettano un apparecchio per riprendere e riprodurre la realtà in movimento (Appareil servant à l’obtention et à la vision des épreuves chronophotographiques), con cui iniziano a «girare» il loro primo film, La sortie des usines Lumière, che presentano a Parigi, il 22 marzo alla Société d’encouragement pour l’industrie nationale e il 17 aprile nell’anfiteatro della Sorbona. -
The Evolution of Entertainment Consumption and the Emergence of Cinema, 1890-1940
Working Papers No. 102/07 The Evolution of Entertainment Consumption and the Emergence of Cinema, 1890-1940 Gerben Bakker © Gerben Bakker London School of Economics June 2007 Department of Economic History London School of Economics Houghton Street London, WC2A 2AE Tel: +44 (0) 20 7955 7860 Fax: +44 (0) 20 7955 7730 The Evolution of Entertainment Consumption and the Emergence of Cinema, 1890-1940≠ Gerben Bakker∗ Abstract This paper investigates the role of consumption in the emergence of the motion picture industry in Britain France and the US. A time-lag of at least twelve years between the invention of cinema and the film industry’s take-off suggests that the latter was not mainly technology-driven. In all three countries, demand for spectator entertainment grew at a phenomenal rate, far more still in quantity than in expenditure terms. In 1890 ‘amusements and vacation’ was a luxury service in all three countries. Later, US consumers consumed consistently more cinema than live, compared to Europe. More disaggregated data for the 1930s reveal that in Europe, cinema was an inferior good, in the US it was a luxury, and that in Europe, live entertainment was just above a normal good, while in the US it was a strong luxury. Comparative analysis of consumption differences suggests that one-thirds of the US/UK difference and nearly all of the UK/France difference can be explained by differences in relative price (‘technology’), and all of the US/France difference by differences in preferences (‘taste’). These findings suggest a strong UK comparative advantage in live entertainment production. -
CHAPTER 7 • Movies and the Impact of Images 231 7 Movies
SOUNDS AND IMAGES 7 Movies and the Impact of Images “A long time ago in a galaxy far, far away . .” So 233 Early Technology begins the now-famous opening credit crawl of and the Evolution Star Wars. The first appearance of those words of Movies was in movie theaters on earth, but the time now 238 is rather long ago: May 25, 1977. The Rise of the Hollywood Studio System The space epic changed the culture of the movie industry. Star Wars, produced, written, and 241 The Studio System’s directed by George Lucas, departed from the per- Golden Age sonal filmmaking of the early 1970s and spawned 251 a blockbuster mentality that formed a new primary The Transformation audience for Hollywood: teenagers. It had all of the of the Studio System now-typical blockbuster characteristics, including 255 massive promotion and lucrative merchandising The Economics of the Movie Business tie-ins. Repeat attendance and positive buzz among young people made the first Star Wars the most 262 Popular Movies successful movie of its generation. and Democracy Star Wars has impacted not only the cultural side of moviemaking but also the technical form. In the first Star Wars trilogy, produced in the 1970s and 1980s, Lucas developed technologies that are now commonplace in moviemaking: digital animation, special effects, and computer-based film editing. With the second trilogy (which was a prequel to the narrative of the original Star Wars), Lucas again broke new ground in the film industry. © Lucasfilm Ltd./Everett Collection CHAPTER 7 • MOVIES AND THE IMPACT OF IMAGES 231 7 MOVIES Several scenes of Star Wars: Episode I— creativity across multiple platforms, busi- The Phantom Menace (1999) were shot on nesses, and markets to generate sustained digital video, easing integration with digital growth and drive significant long-term special effects. -
Book Reviews – February 2014
Scope: An Online Journal of Film and Television Studies Issue 26 February 2014 Book Reviews – February 2014 Table of Contents Watching the World: Screening Documentary and Audiences By Thomas Austin A Journey through Documentary Film By Luke Dormehl American Documentary Film: Projecting the Nation By Jeffrey Geiger A Review by Douglas C. MacLeod Jr. ............................................................. 6 Performance in the Cinema of Hal Hartley By Steven Rawle Hal Hartley By Mark L. Berrettini A review by Jennifer O'Meara..................................................................... 14 Hunting the Dark Knight: Twenty-First Century Batman By Will Brooker The James Bond Phenomenon: A Critical Reader Edited by Christoph Lindner A Review by Matthew Freeman .................................................................. 21 Film and Female Consciousness: Irigaray, Cinema and Thinking Women By Lucy Bolton Civilized Violence: Subjectivity, Gender and Popular Cinema. By David Hansen-Miller A Review by Katherine Whitehurst.............................................................. 28 1 Book Reviews New Takes in Film-Philosophy Edited by Havi Carel and Greg Tuck Deleuze and Cinema: The Film Concepts By Felicity Colman Deleuze and World Cinemas By David Martin-Jones A Review by Sergey Toymentsev ............................................................... 35 The British Film Institute, the Government and Film Culture, 1933-2000 edited by Geoffrey Nowell-Smith and Christophe Dupin J. Edgar Hoover Goes to the Movies: The FBI -
Bosbok Ses Films: Exploring Postheroic Narratives
Bosbok Ses Films: Exploring Postheroic narratives by Danielle Britz A dissertation submitted in fulfillment of the requirements for the degree Master of Arts (Drama and Film Studies) In the Department of Drama at the UNIVERSITY OF PRETORIA FACULTY OF HUMANITIES SUPERVISOR: Chris Broodryk December 2017 ABSTRACT Much of Afrikaans cinema before and after 1994 is characterized by a historically dominant heroic narrative. In response to this dominance, this study offers a postheroic framework for contemporary Afrikaans cinema to demonstrate the ways in which selected contemporary Afrikaans films, especially those films produced by the Bosbok Ses production company – Roepman, Verraaiers and Stuur Groete aan Mannetjies Roux – offer alternatives to Afrikaans cinema’s regular nostalgic and nationalistic indulgences. To arrive at a conceptual framework of the postheroic, this study examines Afrikaner nationalism in traditional historical Afrikaans cinema and contemporary Afrikaans cinema and how it thematically manifests through a heroic narrative. In response to the particular crystallization of nationalism in contemporary Afrikaans cinema, a postheroic framework is demonstrated to negate ideological and social exclusion in selected contemporary Afrikaans films. In this sense, flawed attempts at multiculturalism in contemporary Afrikaans cinema are replaced with double occupancy. This framework is primarily informed by the work of pre-eminent German film scholar Thomas Elsaesser. Elsaesser theorises a postheroic narrative for a European post-nation. Drawing on Elsaesser’s work extensively, this study uses relevant elements of a postheroic narrative to interrogate the social and political content of a contested space such as South Africa. Furthermore, the notion of the postheroic in cinema illuminates and informs my critical reading of the Bosbok Ses historical dramas, Verraaiers (Eilers 2013) and Stuur Groete Aan Mannetjies Roux (Eilers 2013). -
By BIEKE GILS MA, University of Windsor, 2009 MA, Katholieke
WOMEN WHO FLY: AERIALISTS IN MODERNITY (1880-1930) by BIEKE GILS M.A., University of Windsor, 2009 M.A., Katholieke Universiteit Leuven, 2006 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Kinesiology) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) November 2013 © Bieke Gils, 2013 ABSTRACT Around 1900, Charmion (alias Laverie Vallée) introduced a provocative ‘trapeze disrobing act,’ combined with feats of strength to her audiences in vaudeville theaters in New York. She was one of a wave of female aerialists whose performances quite literally ‘flew’ in the face of Victorian values. Trapeze artists in circuses and in vaudeville theaters, as well as stunt flying aviators showcasing their courage and abilities during local fairs or aerial exhibitions from the 1910s on, indeed pushed the boundaries of what was deemed possible in terms of the human body’s physical capacities while challenging traditional notions of gender, race, class, and sexuality through their unconventional performances. In this study I explore three cases of aerialists who navigated both the demands of managers/spectators for spectacular and titillating acts and their personal aspirations within the confines of the increasingly capitalist entertainment industries in the West between 1880 and 1930. Besides Charmion, my study takes shape around the performances of “Barbette” or Vander Clyde who took Parisian theaters by storm with an amalgamation of trapeze artistry and female impersonation in interwar France; and Bessie Coleman, the first African American woman to gain a pilot license and to set up her own flying shows throughout the United States in the 1920s. -
A Survey of the Photographic and the Filmic in Contemporary Art
LAUFTEXTSEIETN 1 A Survey of the Photographic and the Filmic in Contemporary Art Edited by Edgar Lissel Gabriele Jutz Nina Jukic´ 2 A Survey of the Photographic and the Filmic in Contemporary Art Edited by Edgar Lissel Gabriele Jutz Nina Jukic´ Edition Angewandte Book Series of the University of Applied Arts Vienna Edited by Gerald Bast, Rector C ONTENTS 7 PREFACE 148 THE ART SCHOOL AS A RESEARCH LABORATORY 151 WHY DO DIGITAL NATIVES GO FOR THE ANALOG? by Ruth Horak 11 RESET THE APPARATUS! A USER’S MANUAL Works by students and graduates of the Department of Photography, by Gabriele Jutz, Edgar Lissel, Nina Jukic´ University of Applied Arts Vienna 164 THE PHYSICS OF PHOTOGRAPHY 15 THE CORPUS Elke Seeger to RTA! by Edgar Lissel, Gabriele Jutz, Nina Jukic´ Works by students of the Department of Photography, Folkwang University of the Arts, Essen 58 PARTNER COLLABORATIONS 61 GIBSON + RECODER—JONATHAN WALLEY 170 FRAMING RTA! Toward a Conceptual Remapping of the Cinematic: Exit the Cinema in Order to Fold It Back on Itself 173 ...TO GET A SENSE OF THE CINEMA DISPOSITIF. Architectural and Filmic Interventions as Defamiliarization 76 ROSÂNGELA RENNÓ—RUTH HORAK of the Cinema Space From R to R and Back, Again and Again... by Alejandro Bachmann A correspondence between Rosângela Rennó and Ruth Horak 179 A SET FOR RESET 91 GEBHARD SENGMÜLLER—ANDY BIRTWISTLE by Miklós Peternák Big Paul: The Death of Video and the Return of the Repressed 191 ON THE DISAPPEARANCE OF BUTTONS #LOSTANDFOUND 105 GUSTAV DEUTSCH & HANNA SCHIMEK—HUBERTUS VON AMELUNXEN by Nina Jukic´ Phantasmagorias of the Real 197 DIS POSITIF ION. -
No Country for Old Media
No Country for Old Media Chris Hubbles A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2018 Reading Committee: Jin Ha Lee, Chair Adam D. Moore Nicholas M. Weber Program Authorized to Offer Degree: The Information School Creative Commons Attribution 4.0 International license (CC-BY-4.0) 2018 Chris Hubbles University of Washington Abstract No Country for Old Media Chris Hubbles Chair of the Supervisory Committee: Jin Ha Lee, Associate Professor The Information School The philosophical defense of intellectual property theory has become a significant, and growing, area of inquiry over the past several decades. Copyright, the legal mechanism protecting creative works, is one major class of intellectual property rights. Modern intellectual property thought draws primarily from seventeenth- and eighteenth-century paradigms, which relied upon reasonable but implicit assumptions about durability of material substrates. Subsequent changes in how intellectual works are fixed physically, as well as practical experience with copyright implementation, challenge these assumptions about durability, and indicate the need for more circumscribed grants of intellectual rights. Yet copyright duration and scope increased substantially in the nineteenth and twentieth centuries, and the changes in media durability have gone largely unconsidered by recent theorists. As a result, modern adaptations of intellectual property theory extrapolated from Enlightenment-era models fail to afford sufficient value to preservation of creative works. Many nineteenth- and twentieth-century media are inherently fragile or unstable, illustrating problems with the archetype of the long-term information carrier – for instance, newspaper and paperback books in print, daguerreotypes in photography, phonograph cylinders and shellac discs in audio, nitrate film and VHS tapes in visual media, and floppy disks in software-based media. -
Uma Poética Do Cinema Silencioso
UNIVERSIDADE DE BRASÍLIA FACULDADE DE COMUNICAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO LINHA IMAGEM E SOM CIRO INÁCIO MARCONDES Uma poética do cinema silencioso – Brasília, 2016 – UNIVERSIDADE DE BRASÍLIA FACULDADE DE COMUNICAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO LINHA IMAGEM E SOM CIRO INÁCIO MARCONDES Uma poética do cinema silencioso Tese apresentada ao Programa de Pós- Graduação em Comunicação da Universidade de Brasília/UnB como parte dos requisitos para a obtenção do título de Doutor em Comunicação Social, pela linha de Imagem e Som. Orientador: Prof. Dr. Gustavo de Castro e Silva – Brasília, 2016 – CIRO INÁCIO MARCONDES UMA POÉTICA DO CINEMA SILENCIOSO Tese apresentada ao Programa de Pós-Graduação em Comunicação Social da Universidade de Brasília, e defendida sob avaliação da Banca Examinadora constituída por: Prof. Dr. Gustavo de Castro e Silva Orientador Universidade de Brasília Profa. Dra. Gabriela Freitas Membro Interno Universidade de Brasília Prof. Dr. Sérgio Rizo Membro Interno Universidade de Brasília Prof. Dr. Alexsandro Galeno Araujo Dantas Membro Externo Universidade Federal do Rio Grande do Norte Profa. Dra. Florence Marie Dravet Membro Externo Universidade Católica de Brasília Profa. Dra. Susana Dobal Suplente Universidade de Brasília Para Isabel Tarrisse, a melhor escolha da minha vida. Teu ser-poesia foi a maior inspiração para encontrar os caminhos deste texto. Para João Rafael, meu sobrinho: uma vida em estado de poesia te aguarda. AGRADECIMENTOS Ao meu orientador Gustavo de Castro, um humanista de primeira ordem que rompe as fronteiras entre a filosofia e a poesia e propõe um pensamento que celebra o lirismo como componente fundamental do entendimento do mundo. Obrigado pela mestria e pela amizade. -
Industrializzazione
Industrializzazione >> 0 >> 1 >> 2 >> 3 >> 4 >> Industrializzazione Il tessuto produttivo più consistente ed efficace si sviluppa naturalmente in Francia, grazie all’abbrivo fornito dai Lumiére, all’entusiasmo di Méliès e all’apporto dinamico di imprenditori audaci come Gaumont e Pathé, che giungono presto a dominare in campo internazionale. Ma il mercato più vasto si forma subito negli Stati Uniti, sospinto dall’impulso di Edison, che deve riempire di contenuti i suoi kinetoscopi e della esuberante capillarità delle risorse industriali del Paese. >> 0 >> 1 >> 2 >> 3 >> 4 >> FRANCIA >> 0 >> 1 >> 2 >> 3 >> 4 >> Gaumont La Gaumont viene fondata nel 1895 da Léon Gaumont, impiegato in una fabbrica di materiale ottico e fotografico che decide di dedicarsi anche alla costruzione di apparecchi cinematografici brevettati in proprio e alla commercializzazione di macchine di altri inventori. >> 0 >> 1 >> 2 >> 3 >> 4 >> Alice Guy Blaché Dal 1897 inizia a realizzare cortometraggi per promuovere un proiettore di propria produzione, che viene venduto con il consueto accompagnamento di pellicole dimostrative. Questi film vengono elaborati dalla segretaria di Gaumont, Alice Guy Blaché, considerata la prima regista della storia del cinema. >> 0 >> 1 >> 2 >> 3 >> 4 >> Gaumont Nel 1905 nasce lo Studio delle Buttes-Chaumont, dove alla produzione delle attrezzature i vari «registi» ingaggiati dalla casa affiancano quella di un gran numero di film. La Cité Elgé a La Villette resterà fino al 1914 il più grande centro produttivo del mondo. >> 0 >> 1 >> 2 >> 3 >> 4 >> Gaumont Nel 1907 Alice Guy segue il marito, chiamato a dirigere la succursale di Berlino, e suggerisce a Gaumont di prendere come direttore artistico il giovane Louis Feuillade, che dal 1° aprile diventa responsabile della produzione, contribuendo con le sue scelte a consolidare il successo commerciale dell’ambiziosa compagnia cinematografica. -
Judith Kelner, Thiago Farias E Outros Autores
Video Judith Kelner, Thiago Farias e outros autores 22/09/2010 Agenda Definição História Digitalização Padrões Compressão Processamento Delivery DEFINIÇÃO Definição O vídeo, do latim „videre‟, eu vejo, é uma tecnologia de processamento de sinais eletrônicos analógicos ou digitais para capturar, armazenar, transmitir ou apresentar imagens em movimento. HISTÓRIA História Quem foi o verdadeiro inventor do vídeo? Thomas Edson Desenvolveu e patenteou o cinetógrafo (kinetograph) em parceria com seu assistente William Kennedy Dickson em 1888. No mesmo ano, conceituou o cinetoscópio (kinetoscope) que foi desenvolvido entre 1889 e 1892 por Dickson e sua equipe. História Thomas Edson Cinetoscópio História Fred Ott‟s Sneeze Foi o primeiro filme a ter seus direitos autorais nos EUA. Foi gravado em 1894 por Dickson. Fred Ott era outro funcionário do Thomas Edison. História Os irmãos Auguste e Louis Lumière Considerados os pais do cinema. Em 1895, patentearam o cinematógrafo, uma máquina que gravava e projetava filmes. Mas antes... História Léon Bouly Patenteou o cinematógrafo em 1892, mas em 1894 não conseguiu pagar o aluguel de sua patente e o nome „cinematógrafo‟ ficou disponível novamente. Em 1895, os irmãos Lumière aproveitaram e patentearam o cinematógrafo. Mas antes... História Louis Le Prince Em outubro de 1888, usando uma câmera de lente única e película de papel, Le Prince capturou as imagens em movimento intituladas Roundhay Garden Scene, Traffic Crossing Leeds Bridge, Accordion Player e Man Walking Around a Corner. Desapareceu misteriosamente de um trem em 1890. Mas antes... História Eadweard Muybridge Será que o cavalo tira as quatro patas do chão ao mesmo tempo durante um galope? Em 1878, Muybridge posicionou 24 câmeras e capturou 24 fotografias do cavalo galopando. -
The Date-A-Base Book 2015
The Date-A-Base Book 2015 Copyright © Dave and Kate Haslett 2014 First published in Great Britain in 2014 by ideas4writers 2a New Street Cullompton Devon EX15 1HA The right of Dave and Kate Haslett to be identified as the authors of this work has been asserted by them in accordance with the Copyright, Designs and Patents Act 1988 All rights reserved No part of this publication may be stored, copied or reproduced in any form without the express written permission of the authors Please help support ideas4writers by telling people about this book! Introduction Welcome to the eighth edition of The Date-A-Base Book! As always, every entry has been cross-checked in Encyclopaedia Britannica and on official websites and other sources. This is not an easy process as there’s an awful lot of “disinformation” out there, and it’s definitely getting worse. Whenever there was doubt – which there frequently was – we’ve tried to go back to the original source. Even so, we advise you to double-check each date before using it, and satisfy yourself that it is 100% correct. If you come across any mistakes please let us know. We’ll post any corrections we hear about on the official ideas4writers blog: http://ideas4writers.wordpress.com As far as possible we’ve used New Style (NS) dates from the Gregorian calendar. Celebrities are notorious for knocking a few years off their ages. Wherever possible we’ve given both their real and claimed dates of birth, and noted which is which. Similarly, they don’t always go by their real names, so we’ve used the names by which they are most commonly known.