1880-1930 Timetable
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The Arrival of the First Film Sound Systems in Spain (1895-1929)
Journal of Sound, Silence, Image and Technology 27 Issue 1 | December 2018 | 27-41 ISSN 2604-451X The arrival of the first film sound systems in Spain (1895-1929) Lidia López Gómez Universitat Autònoma de Barcelona [email protected] Date received: 10-01-2018 Date of acceptance: 31-03-2018 PALABRAS CLAVE: CINE MUDO | SONIDO | RecepcIÓN | KINETÓFONO | CHRONOPHONE | PHONOFILM KEY WORDS: SILENT FILM | SOUND | RecepTION | KINETOPHONE | CHRONOPHONE | PHONOFILM Journal of Sound, Silence, Image and Technology | Issue 1 | December 2018. 28 The arrival of the first film sound systems in spain (1895-1929) ABSTracT During the final decade of the 19th century, inventors such as Thomas A. Edison and the Lumière brothers worked assiduously to find a way to preserve and reproduce sound and images. The numerous inventions conceived in this period such as the Kinetophone, the Vitascope and the Cinematograph are testament to this and are nowadays consid- ered the forerunners of cinema. Most of these new technologies were presented at public screenings which generated a high level of interest. They attracted people from all social classes, who packed out the halls, theatres and hotels where they were held. This paper presents a review of the newspa- per and magazine articles published in Spain at the turn of the century in order to study the social reception of the first film equip- ment in the country, as well as to understand the role of music in relation to the images at these events and how the first film systems dealt with sound. Journal of Sound, Silence, Image and Technology | Issue 1 | December 2018. -
Journal of the California Historical Radio Society ~~ 1~ I I I I I I I
V o I u m e 2 9 n u m b e r SPRI ' G&SUMMER 2 0 0 4 JOURNAL OF THE CALIFORNIA HISTORICAL RADIO SOCIETY ~~ 1~ I I I I I I I FOR THE RESTORATION A D PRESERVATION OF EARLY RADIO C a f 0 n a H s 0 c a R a d 0 s 0 c e y CHRS Officers and Staff About CHRS Board of Directors: The California Historical Radio Society, Mike Adams Chairman of the Board, Web Master (CHRS). is a non-profit educational corporation Steve Kushman President, Membership, HOTLINE chartered in the State of California. CHRS was Richard Look Treasurer, IT Specialist formed in 1974 to promote the restoration and Scott Robinson Vice President, Publicity preservation of early radio and broadcasting. Mike Simpson Mailing Our goal is to provide the opportunity to Stephen Sutley Journal Editor exchange ideas and information on the history Bill Wray Secretary of radio. particularly in the West, with empha sis on collecting, preserving, and displaying Staff: early equipment. literature, and programs. Paul Bourbin Events Chairman Larry Clark Technical Advisor, Librarian © California Historical Radio Society. Bart Lee General Counsel, Awards Chairman All 1ights reserved. No part of this publication Norm Lehfeldt Name Badges may be reproduced in any form, or by any Fred Meehan Journal Editor means, without prior written permission from Don Steger Sacramento Chapter Chairman CHRS. except that you may make " fair use" of Bill Wheeler CHRS CPA quotations of text fully attributed by you to the source (this Jo11ma/) and the author. The KRE Project: Project Manager / Logistics Steve Kushman Operations Manager/Safety Officer Jerry Cantou CHRS Finance & Administration Richard Look P.O. -
History of Communications Media
History of Communications Media Class 5 History of Communications Media • What We Will Cover Today – Photography • Last Week we just started this topic – Typewriter – Motion Pictures • The Emergence of Hollywood • Some Effects of the Feature Film Photography - Origins • Joseph Nicephore Niepce –first photograph (1825) – Used bitumen and required an 8-hour exposure – Invented photoengraving • Today’s photolithography is both a descendent of Niepce’s technique and the means by which printed circuits and computer chips are made – Partner of Louis Daguerre Photography - Origins • Louis Daguerre – invented daguerreotype – Daguerre was a panorama painter and theatrical designer – Announced the daguerreotype system in 1839 • Daguerreotype – a photograph in which the image is exposed onto a silver mirror coated with silver halide particles – The first commercially practical photographic process • Exposures of 15 minutes initially but later shortened – The polaroid of its day – capable of only a single image Photography – Origins • William Henry Fox Talbot – invented the calotype or talbotype – Calotype was a photographic system that: • Used salted paper coated with silver iodide or silver chloride that was developed with gallic acid and fixed with potassium bromide • Produced both a photographic negative and any desired number of positive prints Photography – Origins • Wet Collodion Process - 1 – Invented in 1850 by Frederick Scott Archer and Gustave Le Grey – Wet plate process that required the photographer to coat the glass plate, expose it, -
MA ENGLISH II YEAR - MASS COMMUNICATION and JOURNALISM Unit I : Introduction to Communications 1
MA ENGLISH II YEAR - MASS COMMUNICATION AND JOURNALISM Unit I : Introduction to Communications 1. Definition – Meaning – Process of communications. 2. Functions and Theories of Mass Media 3. Role and effects of Mass Media in Social campaigns (Literacy, anti-poverty, family planning, National integration, secularism and environment issues) 4. Emerging trends and development in information and communication Technologies. Unit II : Introduction to Journalism 1. Role of Press in India – English and Vernacular Press. 2. Ethics and Principles of Journalism 3. Freedom of the Press 4. Press Council and Press Regulations in India Unit III : Print Media 1. The Making of a Newspaper 2. Principles of Reporting – Feature writing, Interviews, Reviews and cartoons. 3. the Role of Editors 4. Press and Public Opinion. Unit IV : Television and Radio 1. The growth and development of Television in India 2. Television Production and Formats of TV Programmes. 3. Radio genres, Ownership, Control and Broadcasting Policy 4. Impact of TV and Radio on society. Unit V : Advertisement 1. Types of Advertising and Advertising Media 2. Techniques in effective advertisements. 3. Code of Ethics for advertising 4. Advertising and Marketing. Unit I : Introduction to Communication 1.1 Introduction Translation is as old as human civilization. Since the dawn of civilization, we, human beings, have been using language to translate our thoughts and ideas. We use a set of symbols or codes to communicate or transfer an idea or thought or a feeling to the person whom we address during an act of communication. Here too we have translation. In this sense, we translate every day. With the evolution of human society, we became more anxious to know about the thoughts and feelings of people in distant places. -
First Words: the Birth of Sound Cinema
First Words The Birth of Sound Cinema, 1895 – 1929 Wednesday, September 23, 2010 Northwest Film Forum Co-Presented by The Sprocket Society Seattle, WA www.sprocketsociety.org Origins “In the year 1887, the idea occurred to me that it was possible to devise an instrument which should do for the eye what the phonograph does for the ear, and that by a combination of the two all motion and sound could be recorded and reproduced simultaneously. …I believe that in coming years by my own work and that of…others who will doubtlessly enter the field that grand opera can be given at the Metropolitan Opera House at New York [and then shown] without any material change from the original, and with artists and musicians long since dead.” Thomas Edison Foreword to History of the Kinetograph, Kinetoscope and Kineto-Phonograph (1894) by WK.L. Dickson and Antonia Dickson. “My intention is to have such a happy combination of electricity and photography that a man can sit in his own parlor and see reproduced on a screen the forms of the players in an opera produced on a distant stage, and, as he sees their movements, he will hear the sound of their voices as they talk or sing or laugh... [B]efore long it will be possible to apply this system to prize fights and boxing exhibitions. The whole scene with the comments of the spectators, the talk of the seconds, the noise of the blows, and so on will be faithfully transferred.” Thomas Edison Remarks at the private demonstration of the (silent) Kinetoscope prototype The Federation of Women’s Clubs, May 20, 1891 This Evening’s Film Selections All films in this program were originally shot on 35mm, but are shown tonight from 16mm duplicate prints. -
Audio Production Techniques (206) Unit 1
Audio Production Techniques (206) Unit 1 Characteristics of Audio Medium Digital audio is technology that can be used to record, store, generate, manipulate, and reproduce sound using audio signals that have been encoded in digital form. Following significant advances in digital audio technology during the 1970s, it gradually replaced analog audio technology in many areas of sound production, sound recording (tape systems were replaced with digital recording systems), sound engineering and telecommunications in the 1990s and 2000s. A microphone converts sound (a singer's voice or the sound of an instrument playing) to an analog electrical signal, then an analog-to-digital converter (ADC)—typically using pulse-code modulation—converts the analog signal into a digital signal. This digital signal can then be recorded, edited and modified using digital audio tools. When the sound engineer wishes to listen to the recording on headphones or loudspeakers (or when a consumer wishes to listen to a digital sound file of a song), a digital-to-analog converter performs the reverse process, converting a digital signal back into an analog signal, which analog circuits amplify and send to aloudspeaker. Digital audio systems may include compression, storage, processing and transmission components. Conversion to a digital format allows convenient manipulation, storage, transmission and retrieval of an audio signal. Unlike analog audio, in which making copies of a recording leads to degradation of the signal quality, when using digital audio, an infinite number of copies can be made without any degradation of signal quality. Development and expansion of radio network in India FM broadcasting began on 23 July 1977 in Chennai, then Madras, and was expanded during the 1990s, nearly 50 years after it mushroomed in the US.[1] In the mid-nineties, when India first experimented with private FM broadcasts, the small tourist destination ofGoa was the fifth place in this country of one billion where private players got FM slots. -
Introduction to Radio,-, Production and Programming
Introduction to Radio , Production and Programming 010 /PS e Ye • ge. 10111e mieb 4Vie °le MICHAEL H. ADAMS A KIMBERLY K. MASSEY • Regarding Introduction to Radio - Production and Programming... "Its basic how-to approach is very appealing. Beginning radio production students could actually take the textbook into the production studio and teach themselves....The book is comprehensive, progresses logically, and covers virtually all subject matter required by the beginning student." —Jim Cathey, Arkansas State University Introduction to Radio —Production and Programming can serve as the only text needed to lead students toward acomplete understanding of radio production and programming. With its step-by-step approach, this text walks students through production techniques and programming applications and provides insight into daily tasks at aradio station. Introduction to Radio —Production and Programming features: •Current information on present and future computer use in radio production •Graphic illustrations of the latest technology and astep-by-step editing demonstration •A full chapter on formats to help students see how all elements of radio programming work together to create the final product •A realistic view of post-deregulation 90s radio stations and radio broadcasting careers A ISBN 0-697-15354-1 90000 McGraw-Hill ADivision of The McGrawIliil Companies Recycled 110 9 780697 153548 V Introduction to Radio Production and Programming • ;.4k1V4'‘7.11fIV .. /0.7; • •.•' •••<, • . ••C: , y ht• 4e Y • •• x. Introduction to Radio,-, Production and Programming A MICHAEL H. ADAMS San Jose State University KIMBERLY K. MASSEY, Ph.D. San Jose State University. The McGraw-Hill Companies, Inc. Primis Custom Publishing New York St. -
University Library 11
I ¡Qt>. 565 MAJOR LEAGUE BASEBALL PRINCIPAL PLAY-BY-PLAY ANNOUNCERS: THEIR OCCUPATION, BACKGROUND, AND PERSONAL LIFE Michael R. Emrick A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY June 1976 Approved by Doctoral Committee DUm,s¡ir<y »»itti». UNIVERSITY LIBRARY 11 ABSTRACT From the very early days of radio broadcasting, the descriptions of major league baseball games have been among the more popular types of programs. The relationship between the ball clubs and broadcast stations has developed through experimentation, skepticism, and eventual acceptance. The broadcasts have become financially important to the teams as well as the advertisers and stations. The central person responsible for pleasing the fans as well as satisfying the economic goals of the stations, advertisers, and teams—the principal play- by-play announcer—had not been the subject of intensive study. Contentions were made in the available literature about his objectivity, partiality, and the influence exerted on his description of the games by outside parties. To test these contentions, and to learn more about the overall atmosphere in which this focal person worked, a study was conducted of principal play-by-play announcers who broadcasted games on a day-to-day basis, covering one team for a local audience. With the assistance of some of the announcers, a survey was prepared and distributed to both announcers who were employed in the play-by-play capacity during the 1975 season and those who had been involved in the occupation in past seasons. -
Redalyc.Los Inicios Del Cine Sonoro Y La Creación De Nuevas Empresas Fílmicas En México (1928-1931)
Revista del Centro de Investigación. Universidad La Salle ISSN: 1405-6690 [email protected] Universidad La Salle México Vidal Bonifaz, Rosario Los inicios del cine sonoro y la creación de nuevas empresas fílmicas en México (1928-1931) Revista del Centro de Investigación. Universidad La Salle, vol. 8, núm. 29, enero-junio, 2008, pp. 17- 28 Universidad La Salle Distrito Federal, México Disponible en: http://www.redalyc.org/articulo.oa?id=34282903 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto Los inicios del cine sonoro y la creación de nuevas empresas fílmicas en México (1928-1931) Mtra. Rosario Vidal Bonifaz Centro Universitario de Ciencias Sociales y Humanidades, Universidad de Guadalajara E-mail: [email protected] Recibido: Septiembre 9, 2007. Aceptado: Diciembre 7, 2007 RESUMEN El cine como industria tuvo su plataforma en las primeras décadas del siglo XX, y la imagen fue su principal elemento de identidad. No será hasta la crisis de 1929 y la necesidad de financiamiento que los empresarios voltean su mirada a la integración de la imagen con el sonido. Surge así el cine sonoro, no exento de temores y recelos empresariales. En México, la historia de la industria cinematográfica es paradójica: se instituye antes de contar con una plataforma sólida. Es bajo la protección del Estado —y su discurso nacionalista— que los empresarios “arriesgan su capital” para el desarrollo del cine. -
GAO-02-906 Telecommunications
United States General Accounting Office GAO Report to Congressional Requesters September 2002 TELECOMMUNICATIONS Better Coordination and Enhanced Accountability Needed to Improve Spectrum Management a GAO-02-906 Contents Letter 1 Results in Brief 2 Background 5 Concern Over Concentrating Authority Led to Divided Structure for Spectrum Management 6 Methods for Allocating Spectrum Face Difficulties and Are Not Guided by a Coordinated National Plan 11 Issues Have Emerged Regarding the Adequacy of U.S. Preparations for World Radiocommunication Conferences 19 Federal Officials Said Activities to Encourage Efficient Federal Spectrum Use Are Hindered by Staffing and Resource Problems 25 Conclusions 34 Recommendations for Executive Action 35 Agency Comments 36 Appendixes Appendix I: Major Parts of the Radiofrequency Spectrum and Their Uses 38 Appendix II: Timeline of Spectrum Management 40 Appendix III: Comments from the Federal Communications Commission 67 Appendix IV: Comments from the Department of Commerce 69 Appendix V: Comments from the Department of State 71 Figures Figure 1: Interdepartment Radio Advisory Committee’s Membership 10 Figure 2: Percent of Spectrum Shared by Federal and Nonfederal Users (9 kHz to 3.1 GHz) 12 Figure 3: Spectrum Reallocation Process 13 Figure 4: Relationship of U.S. Participants in Preparing for World Radiocommunication Conferences 21 Figure 5: NTIA Frequency Assignment Process 26 Figure 6: Timeline of Spectrum Management (1895–1925) 41 Figure 7: Timeline of Spectrum Management (1925–1955) 47 Figure 8: Timeline -
ABSTRACT AWA Review Wireless Comes of Age on the West Coast1
Lee AWA Review Wireless Comes of Age on the West Coast1 !2011 Bartholomew Lee ABSTRACT This is a story primarily about young men and what they accomplished in a remarkable Radio as we know it time, the fi rst two decades of the 20th Century, had many fathers. Cali- and in remarkable places – especially in Cali- fornia enjoyed unique fornia in the Western United States. Guglielmo circumstances that gave (William) Marconi, in his early twenties, elec- rise to independent de- trifi ed the technical world of the late 19th Cen- velopment. Young men tury with his successes using Hertzian electro- explored and advanced magnetic waves to communicate at distance, devices and means of what we now call “radio.” He did this without communication as soon the wired connections to which the world had as they read about ear- turned with enthusiasm earlier in the century. lier advances, especially The telegraph, including undersea cables, and Marconi’s use of wireless the telephone, needed wire, and lots of it. Com- spark systems. The arc munication without such wires, at fi rst wireless as a generator of high telegraphy, opened new vistas. This was par- power continuous wave ticularly so looking out to the world’s oceans. energy for communica- Communication with ships at sea (Marconi’s tions came to California primary initial interest) was now possible. Then, and then the world. Doc a challenge to the expensive cable monopolies Herrold began the fi rst could be mounted. This was so because the new regular broadcasting to a “wireless” meant exactly that: no expensive, known audience around capital-intensive investments in cables, only 1912 in California, using in terminal stations. -
OPTICAL 16Mm Sound-On-Film Recording .•
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