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Box Office Digest (1941)
feojc Office (Zep&itd.: 'High Sierra' Week's Money Pic i>ee Pacje 5 * -i; r&; ?v^ • . -VT£i < - : -& % W 1 617 North La Brea Avenue, Los Angeies, Calif. Subscription Rate, #10.00 Per Year. .he Hex Ojfjfice DIGEST "HONOR BOX” The Biggest Grossing Release Of The Past Week This Week WARNERS wins with 'HIGH SIERRA' 115% Vice-Prcs. in Charge of Production Executive Producer Associate Producer Director JACK L. WARNER HAL WALLIS MARK HELLINGER RAOUL WALSH IDA LUPINO HUMPHREY BOGART Screenplay Featured ALAN CURTIS JOHN HUSTON ARTHUR KENNEDY W. R. BURNETT JOAN LESLIE HENRY HULL JEROME COWAN From Novel MINNA GOMBELL by BARTON McLANE W. R. BURNETT ELIZABETH RISDON CORNEL WILDE DONALD MacBRIDE PAUL HARVEY Photographer ISABEL JEWELL TONY GAUDIO WLLIE BEST SPENCER CHARTERS HENRY TRAVERS — ^Ue &Q4C Ofjfjice. ^JUe OnAuAisuyL DIGEST l/UeeJzhf, ENTERTAINMENT An Editorial by ROBERT E. WELSH The modest Editor last week murmered about the fact that it is release of life’s problems through zanie laughs, or complete the picture industry needs no legislative chiding—Senatorial abandonment of today’s calendar by adventure into glorious or otherwise—to tell it that heavy-handed propaganda, no mat- history, the first requirement of money-making entertainment ter for what side of an argument, is not selling theater tickets. is to take the customer away from his own daily problems. He just invited the attention of the pundits to the box office Above all, don’t aggravate those problems by preaching figures. And mentioned some of the pictures that were proving and especially sermonizing so effectively about the tragedies of the surprises. -
P.C. Lauinger; Mary W
GEORGETOWN Newsletter 23 August 1988 621b;;;; AsSOcldtes GEORGETOWN UNIVERSI1Y LIBRARY 37TH & 0 STREETS, NW WASHINGTON , D. C. 20057 P. C. Lauinger - the Passing of a Friend The Artist HimlHer Self It is with genuine sadness that we report the The late James Elder, rare book librarian at the death on February 20, 1988 of Mr. P. C. Law Library of the Library of Congress, system Lauinger, one of the library's staunchest sup atically collected fine art, principally prints and porters and a true gentleman in the best sense of drawings, for more than thirty years. He left a that word. P.c., as he was universally known, collection of more than 1,000 pieces at his death graduated from the College in 1922, and in 1981. Towards the end of his collecting career throughout his lifetime maintained a special he began to specialize in artists' self-portraits. affection for and dedication to his alma mater. His limited means dictated further specialization He served on the Board of Regents, the Univer on the work of living artists and on 20th century sity President's Council under Father Edward American and British printmakers. The library Bunn, S.J., and was appointed in 1968 one of has recently acquired, along with 58 other the first laymen to serve on the University's works, the 392 self-portraits comprising virtually Board of Directors. the entirety of Elder's collection in this field. In 1956 Mr. Lauinger was awarded the John Carroll Award, which the Alumni Association confers annually upon a distinguished alumnus/a in recognition of lifetime achievement and out standing service to Georgetown Univeristy. -
The Creative Process
The Creative Process THE SEARCH FOR AN AUDIO-VISUAL LANGUAGE AND STRUCTURE SECOND EDITION by John Howard Lawson Preface by Jay Leyda dol HILL AND WANG • NEW YORK www.johnhowardlawson.com Copyright © 1964, 1967 by John Howard Lawson All rights reserved Library of Congress catalog card number: 67-26852 Manufactured in the United States of America First edition September 1964 Second edition November 1967 www.johnhowardlawson.com To the Association of Film Makers of the U.S.S.R. and all its members, whose proud traditions and present achievements have been an inspiration in the preparation of this book www.johnhowardlawson.com Preface The masters of cinema moved at a leisurely pace, enjoyed giving generalized instruction, and loved to abandon themselves to reminis cence. They made it clear that they possessed certain magical secrets of their profession, but they mentioned them evasively. Now and then they made lofty artistic pronouncements, but they showed a more sincere interest in anecdotes about scenarios that were written on a cuff during a gay supper.... This might well be a description of Hollywood during any period of its cultivated silence on the matter of film-making. Actually, it is Leningrad in 1924, described by Grigori Kozintsev in his memoirs.1 It is so seldom that we are allowed to study the disclosures of a Hollywood film-maker about his medium that I cannot recall the last instance that preceded John Howard Lawson's book. There is no dearth of books about Hollywood, but when did any other book come from there that takes such articulate pride in the art that is-or was-made there? I have never understood exactly why the makers of American films felt it necessary to hide their methods and aims under blankets of coyness and anecdotes, the one as impenetrable as the other. -
Creativity at the Workplace
The Law and Economics of Creativity at the Workplace ISSN 1045-6333 THE LAW AND ECONOMICS OF CREATIVITY IN THE WORKPLACE Barak Y. Orbach Discussion Paper No. 356 03/2002 Harvard Law School Cambridge, MA 02138 The Center for Law, Economics, and Business is supported by a grant from the John M. Olin Foundation. This paper can be downloaded without charge from: The Harvard John M. Olin Discussion Paper Series: http://www.law.harvard.edu/programs/olin_center/ The Law and Economics of Creativity at the Workplace JEL Classes K11, K19, P1 THE LAW AND ECONOMICS OF CREATIVITY AT THE WORKPLACE Barak Y. Orbach* (February, 2002) Abstract Technological and legal developments led to the rise of employed creativity in the last quarter of the nineteenth century. The new class of employers claimed the rights in the creative products produced by artists and inventors employed by it and after a short struggle its demands were satisfied: by and large the law acknowledges the rights of employers in creative products produced by workers (employees and contractors), just as it acknowledges the rights of employers in any other products. This legal victory, although took place almost a century ago, is still fiercely debated among scholars and participants in creative industries. In the past century, thousands of disputes between employers and workers over rights in creative products were brought before the courts and inspired voluminous commentary on the topic. Nonetheless, the study of the nature and structure of the law that allocates the rights between employers and workers has generally been neglected. This paper studies the organization of creativity at the workplace, presents a general framework for understanding the present allocation rules, evaluates these rules, and offers simple guidelines for designing better rules, when needed. -
Moving Pictures: the History of Early Cinema by Brian Manley
Discovery Guides Moving Pictures: The History of Early Cinema By Brian Manley Introduction The history of film cannot be credited to one individual as an oversimplification of any his- tory often tries to do. Each inventor added to the progress of other inventors, culminating in progress for the entire art and industry. Often masked in mystery and fable, the beginnings of film and the silent era of motion pictures are usually marked by a stigma of crudeness and naiveté, both on the audience's and filmmakers' parts. However, with the landmark depiction of a train hurtling toward and past the camera, the Lumière Brothers’ 1895 picture “La Sortie de l’Usine Lumière à Lyon” (“Workers Leaving the Lumière Factory”), was only one of a series of simultaneous artistic and technological breakthroughs that began to culminate at the end of the nineteenth century. These triumphs that began with the creation of a machine that captured moving images led to one of the most celebrated and distinctive art forms at the start of the 20th century. Audiences had already reveled in Magic Lantern, 1818, Musée des Arts et Métiers motion pictures through clever uses of slides http://en.wikipedia.org/wiki/File:Magic-lantern.jpg and mechanisms creating "moving photographs" with such 16th-century inventions as magic lanterns. These basic concepts, combined with trial and error and the desire of audiences across the world to see entertainment projected onto a large screen in front of them, birthed the movies. From the “actualities” of penny arcades, the idea of telling a story in order to draw larger crowds through the use of differing scenes began to formulate in the minds of early pioneers such as Georges Melies and Edwin S. -
History-Of-The-Moving-Image-LIB-Pd
tEl:T. n83 MASTERPIECES OF MOVINGIMAGE TECI{NOLOGY SEPTEMBER 10, 1988 _ MARCH 19, 1989 Descri ption! gf_fhq Objects in the Exhibition American Museum of the Moving lmage Edison KinetograPh Camera 1891 ln 1888, Thomas Edison set out to create "an instrument that does for the Eye what the phono- graph does for the Ear...." He assigned the project to one of his engineers, W.K.L. Dickson, who, after a series of false starts, completed the Kinetograph in 1891. The Kinetograph was the first motion picture camera to use the Eastman celluloid f ilm; this was a key breakthrough which made modern motion pic- tures possible. The camera photographed circular images one-half inch in diameter on perforated, f lexible strips of film which moved horizontally through a mechanized sprocket system' The prototype was cannibalized for laboratory use soon after completion, but was partially reconstructed in '1895-96 as evidence in a patent dispute. (Lent by the Edison National Historic Site) <Technician Charles H. Kayser posing with the Kinetograph in Edison's West Orange, New .lersey laboratory, c. 1891 . Edison KinetoscoPe 1894 To exploit his moving pictures commercially, Edison introduced the Kinetoscope, a "peep-show" viewer capable of presenting half-minute film shows. The machines were sold on a territory basis to showmen who installed them in arcades and Kinetoscope Parlors in all the major cities of America and Europe' Commercially, the Kinetoscope was a short-lived novelty, but its appearance directly inspired other inventors to find a way of projecting moving images onto a screen. (Reproduction made by A. -
The Technology of Television
TheThe TechnologyTechnology ofof TelevisionTelevision Highlights, Timeline, and Where to Find More Information Summer 2003 THE FCC: SEVENTY-SIX TV TIMELINE YEARS OF WATCHING TV Paul Nipkow shows 1884 how to send From the Federal Radio images over wires. Commission’s issuance of the first television Campbell Swinton and 1907 license in 1928 to Boris Rosing suggest today’s transition using cathode ray tubes to digital tv, the to transmit images. Federal Vladimir Zworkin 1923 patents his iconscope - the camera tube many call the cornerstone of Communications modern tv—based on Swinton’s idea. Commission has been an integral player in the Charles Jenkins in the 1925 technology of television. U.S. and John Baird in England demonstrate the mechanical trans- One of the fundamental mission of pictures over wire circuits. technology standards that the FCC issued in Bell Telephone and the 1927 May 1941, which still Commerce Department stands today, is the conduct the 1st long NTSC standard for distance demonstration programming to be 525 of tv between New York and Washington, DC. lines per frame, 30 frames per second. Philo Farnsworth files 1927 a patent for the 1st complete electronic When this standard was and hue of red, green, and television system. first affirmed it was called Today the FCC continues to blue on the color chart. The Federal Radio 1928 “high-definition television” play a key role in defining the technology standards that must Commission issues the because it replaced 1st tv license (W3XK) be met as the United States programming being broadcast to Charles Jenkins. at 343 lines or less. -
THTR 363 Syl-Fall
THTR 363: Introduction to Sound Design INSTRUCTOR: Richard K. Thomas, 494-8050 [email protected] OFFICE HOURS: Tuesday: 2:30 – 3:30 p.m., Thursday, 1:30 – 2:30 p.m. PAO 2184 CLASS SCHEDULE: Fall 2011 August 23 Intro to Course (Music As a Foundation, pp. 1 - 6) 25 Lecture: Music Language and Theatre (Music As a Foundation, pp. 6 - 25) 30 Music as a Foundation of Theatre: Origins September 1 Lecture: Primal Elements of Music (Music As a Foundation, pp. 25 – 45) 6 Lecture: Primal Elements of Music (Cont.) 8 Lecture: Primal Elements of Music (Cont.) 13 Lecture: Dramatic Time and Space 17 Lecture: The Function of the Soundscape 20 Group Presentations: General Overview of Design Elements 22 Group Presentations: General Overview of Design Elements (cont.) 27 Watch “More to Live For” in studio (No Rick) 29 No Class: Rick at IRT October 4 Color DVDʼs DUE 6 Color Projects DUE 11 Color (Cont) 13 Octoberbreak 18 Color Composition DUE 20. Time DVDʼs Due 25 Time Projects DUE 27 Time (Cont.) November 1 Time Composition DUE 3 Mass DVDʼs DUE 8 Mass Projects DUE 10 Mass (Cont.) 15 Mass Composition DUE THTR 363 Syllabus: Fall, 2011 Page 2 17 Space DVDʼs DUE 22 Space Projects DUE 24 THANKSGIVING BREAK 29 Space Compositions DUE December 1 Line DVDʼs DUE 6 Line Projects DUE 8 Line (Cont) Final Exam Period: Sonnet Projects Due NOTE: THIS SYLLABUS SUBJECT TO CHANGE!! Course Objectives: The purpose of this course is to introduce students to an aesthetic vocabulary of design elements that is useful in both visual and auditory design. -
Inventing Television: Transnational Networks of Co-Operation and Rivalry, 1870-1936
Inventing Television: Transnational Networks of Co-operation and Rivalry, 1870-1936 A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy In the faculty of Life Sciences 2011 Paul Marshall Table of contents List of figures .............................................................................................................. 7 Chapter 2 .............................................................................................................. 7 Chapter 3 .............................................................................................................. 7 Chapter 4 .............................................................................................................. 8 Chapter 5 .............................................................................................................. 8 Chapter 6 .............................................................................................................. 9 List of tables ................................................................................................................ 9 Chapter 1 .............................................................................................................. 9 Chapter 2 .............................................................................................................. 9 Chapter 6 .............................................................................................................. 9 Abstract .................................................................................................................... -
Hcotion Picture
Philadelphia and the Qenesis of the <^hCotion Picture T is possible that a future Macauley will establish Philadelphia as the center of what, according to Sir Willmott Lewis,1 may I be called the Scientific Revolution. The influence of The Franklin Institute and the University of Pennsylvania, a growing industrial fabric, and the presence of a ready-money market for new enterprises were some of the factors in Philadelphia which stimulated an uncommonly large number of achievements within the field of applied science during the latter half of the nineteenth century. Among the scientific developments connected historically with Philadelphia, one of the foremost, measured by its profound impact upon latter-day social organization, is the motion picture. Even in the development of photography, the foundation of the motion picture, Philadelphia may lay claim to an impressive share of contributions: the bromine accelerator, discovered by Dr. Paul Beck Goddard, of the University of Pennsylvania faculty 32 the first daguerreotype portrait by Robert Cornelius;3 the vital experi- ments upon the gelatine dry plate made by John Carbutt;4 the first stereoscopic photographs on this side of the Atlantic, the work of two German immigrants, William and Frederick Langenheim.5 Philadelphia was also the fountain-head of important experi- mental work upon the magic lantern, which, in a sense, anticipated the motion picture. The brothers Langenheim, whose establishment was located in the Merchants' Exchange, Third and Walnut Streets, may be considered the fathers of the magic lantern trade in Phila- 1 Address at the University of Pennsylvania, Founder's Day, January 17, 1941. -
Screendollars Newsletter 2021-04-26.Pdf
Monday, April 26, 2021 | No. 165 One of the things moviegoers like most about going to theatres is seeing films on the Big Screen, "the way they were meant to be seen." What people don't realize is that when films started in the mid-1890s, there were neither screens nor projectors. The very short films of that era were meant to be seen individually by looking into peep show machines in arcades. Those Kinetoscope devices were one of many inventions from Thomas Edison's factory in West Orange, NJ. Since Edison was monetizing his Kinetoscopes quite well, he had no interest in developing a machine to project film images on walls. Others, however, saw a big future in showing films to groups of people. Peep show owners, in fact, were very vocal in pressing Edison to devise a Film projection to large audiences was much more way to show life size images on arcade walls. This led to the Vitascope profitable than viewing through individual kiosks, since projection system, developed by Washington, DC inventor Thomas Armat, fewer machines were needed in proportion to the but then marketed by Edison's organization as if it were his own invention. number of viewers - Click to Play The first public Vitascope screening took place April 23, 1896 at Koster & Biel's Music Hall, a vaudeville house in New York's Herald Square at 34th Street near Broadway, the site today of Macy's. It would have premiered three days earlier, but it took longer than expected to install the machinery. That first night audience was dazzled by film images projected on a 20 foot canvas screen set within a gilded frame. -
Whaddaya Say? a Sonorização Do Cinema E O Seu Impacto Na Construção Genológica Em Hollywood Entre 1927 E 1939
UNIVERSIDADE CATÓLICA PORTUGUESA Whaddaya hear? Whaddaya say? A sonorização do cinema e o seu impacto na construção genológica em Hollywood entre 1927 e 1939 Dissertação apresentada à Universidade Católica Portuguesa para obtenção do grau de mestre em Estudos de Cultura por Ana Luís Silva Semedo Pinheiro Faculdade de Ciências Humanas Setembro de 2014 UNIVERSIDADE CATÓLICA PORTUGUESA Whaddaya hear? Whaddaya say? A sonorização do cinema e o seu impacto na construção genológica em Hollywood entre 1927 e 1939 Dissertação apresentada à Universidade Católica Portuguesa para obtenção do grau de mestre em Estudos de Cultura por Ana Luís Silva Semedo Pinheiro Faculdade de Ciências Humanas Sob orientação da Prof.ª Doutora Isabel Capeloa Gil Setembro de 2014 2 We gestate in Sound, and are born into Sight Cinema gestated in Sight, and was born into Sound. – Walter Murch (Chion, 1994: vii) 3 Resumo Os estudos fílmicos contemporâneos atribuem à sonorização do cinema um papel que extravasa uma dimensão puramente técnica. A sua estreia no filme The Jazz Singer (Alan Crosland, 1927) estabeleceu-o, desde então, como um evento emancipado do estatuto hierarquicamente inferior de complemento da imagem, uma vez que contribuiu de forma direta para a fundação de novos géneros na produção mainstream de Hollywood. A presente dissertação visa estudar o advento do som como um catalisador na amplificação do tecido genológico do cinema clássico americano. Para tal, será feita uma contextualização histórica do processo de sonorização, seguida de um levantamento e análise de títulos produzidos entre 1927 e 1939 pertencentes ao filme musical, ao filme de terror, à comédia screwball e ao filme de gangsters, nos quais se atentará a sequências que confirmem o som como ferramental essencial na concretização da matriz do género em foco.