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Durham E-Theses
Durham E-Theses Pulling focus: New perspectives on the work of Gabriel Figueroa Higgins, Ceridwen Rhiannon How to cite: Higgins, Ceridwen Rhiannon (2007) Pulling focus: New perspectives on the work of Gabriel Figueroa, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2579/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Pulling Focus: New Perspectives on the Work of Gabriel Figueroa by Ceridwen Rhiannon Higgins University of Durham 2007 Submitted for Examination for Degree of PhD 1 1 JUN 2007 Abstract This thesis examines the work of Mexican cinematographer Gabriel Figueroa (1907 -1997) and suggests new critical perspectives on his films and the contexts within which they were made. Despite intense debate over a number of years, auteurist notions in film studies persist and critical attention continues to centre on the director as the sole giver of meaning to a film. -
The Tragedy of 3D Cinema
Film History, Volume 16, pp. 208–215, 2004. Copyright © John Libbey Publishing ISSN: 0892-2160. Printed in United States of America The tragedy of 3-D cinema The tragedy of 3-D cinema Rick Mitchell lmost overlooked in the bicoastal celebrations The reason most commonly given was that of the 50th anniversary of the introduction of audiences hated to wear the glasses, a necessity for ACinemaScope and the West Coast revivals of 3-D viewing by most large groups. A little research Cinerama was the third technological up- reveals that this was not totally true. According to heaval that occurred fifty years ago, the first serious articles that appeared in exhibitor magazines in attempt to add real depth to the pallet of narrative 1953, most of the objections to the glasses stemmed techniques available to filmmakers. from the initial use of cheap cardboard ones that Such attempts go back to 1915. Most used the were hard to keep on and hurt the bridge of the nose. anaglyph system, in which one eye view was dyed or Audiences were more receptive to plastic rim projected through red or orange filters and the other glasses that were like traditional eyeglasses. (The through green or blue, with the results viewed cardboard glasses are still used for anaglyph pres- through glasses with corresponding colour filters. entations.) The views were not totally discrete but depending on Another problem cited at the time and usually the quality of the filters and the original photography, blamed on the glasses was actually poor projection. this system could be quite effective. -
Streaming Yujin Luo Final
The Streaming War During the Covid-19 Pandemic Yujin Luo The Streaming War During the Covid-19 Pandemic 2 home, which is the ideal condition for The Covid-19 pandemic has drastically binge-watching. disrupted all business sectors. The arts, culture, and entertainment industries have To understand how the pandemic is shaping been hit exceptionally hard since the virus’ the streaming industry, it is important to first outbreak in January. In response to the understand its pre-Covid and current status. crisis, businesses have taken immediate The following analysis will divide the actions: transitioning to remote work, timeline into before 2020 and in 2020 based canceling and postponing live events on Covid-19’s first outbreak in January nationwide, shutting down entertainment 2020. venues, etc., resulting in lost revenues from sales, merchandising, advertising, and The Streaming Industry’s Pre-Covid promotions. Unfortunately, the Covid-19 State of the Major Players in the pandemic’s impacts are far more Streaming War permanent for an audience-oriented industry that requires a high level of Early adopters and fast followers used to be engagement. The business model might be the main audiences of streaming services, fundamentally changed and there will or in other words, streaming used to be a certainly be a shift in how content is niche add-on to traditional TV. Now, it is produced and consumed. transitioning to a new stage as a mainstream element in the entertainment While lockdowns and social distancing industry. The major streaming services from measures to contain the pandemic have before Covid are shown in the table below, had a huge impact on the traditional movie except for HBO Max, Peacock, and Quibi industry, the video streaming model seems (RIP) that just launched in 2020. -
On the History and Ideology of Film Lighting Peter Baxter During The
Downloaded from On the History and Ideology of Film Lighting http://screen.oxfordjournals.org Peter Baxter During the 1880's, the major theatres of Europe and America began to convert their stage lighting systems from the gas which had come into widespread use in the twenty or thirty previous years to electricity. It is true that arc lighting had been installed at the Paris Opera as early as 1846, but the superior efficiency of gas illumination at the time, and the surety of its supply, had brought at Universidade Estadual de Campinas on April 27, 2010 it into prominent use during the third quarter of the century when it attained no small operational sophistication. From a single control board gas light could be selectively brightened or dimmed, even completely shut down and re-started. The theatrical term ' limelight' originally referred to a block of lime heated to incan- descence by a jet of gas, which could throw a brilliant spot of light on the stage to pick out and follow principal actors. Henry Irving so much preferred gas to electric light that he used it for his productions at the Lyceum Theatre, and achieved spectacular results, into the twentieth century, when the rest of theatrical London had been electrified for some years. But despite the mastery that a man like Irving could attain over gas lighting, for most stages it was ' strictly for visibility and to illuminate the scenery. The Victorians painted that scenery to incorporate motivated light meticulously. A window would be painted and the light coming through the window would be painted in. -
Lengthen Foxfilm's Array of Stars Philadelphia, $5000
PERSONAL TRIUMPHS IN FINISHED 'BIG s' LENGTHEN FOXFILM'S ARRAY OF STARS 1 STREAM OF THE WHOLE SHOW- 48 Super Specials SUREFIRE HITS Fox Movietone News 1iil&iill 26 "Magic Carpets" CONTINUE A W<?ekly Newspaper Published by Fox Film Corporation in The U. S. A. IMPORTANT! VOL. VI MOVIETONE CITY, CALIF., JULY 22, 1931 No. 12 Turn to pages four and five. There you will find the very latest and official information regarding casts to appear in PHILADELPHIA, $5,000 PRIZE productions that will shortly go into pr.oduction. You will find there a wealth of material to WINNER, TARGET OF MANY further support our claims that ours is the outstanding and biggest 1931-32 entertainment bargain on the market. You IN SECOND VOLUME DRIVE will find there authentic data I that will surely open your eyes. SEPT. 19 DEADLINE OF CURRENT 100% DRIVE-J. R. GRAINGER; HAT the Foxfi Im produc PITTSBURGH, WASHINGTON, OKLAHOMA, MEMPHIS, tion organization is fur Tnishing the sales contin NEW HAVEN, CLEVELAND, KANSAS BIDDERS gent every means to puncture all revenue records to date is defi ITH Edgar Moss' Philadelphians officially named by J. R. Crainger, Vice-President in nitely established, for each and every charge of distribution, as winners of the first of the two $5,000 cash prizes to be 1931 -32 release completed to date is W awarded on the basis of volume of 1 00 percent 1931-32 situations closed, as of a bonafide surefire. July 4, announcement came from the Home Office that the deadline for the second drive But Messrs. -
Papéis Normativos E Práticas Sociais
Agnes Ayres (1898-194): Rodolfo Valentino e Agnes Ayres em “The Sheik” (1921) The Donovan Affair (1929) The Affairs of Anatol (1921) The Rubaiyat of a Scotch Highball Broken Hearted (1929) Cappy Ricks (1921) (1918) Bye, Bye, Buddy (1929) Too Much Speed (1921) Their Godson (1918) Into the Night (1928) The Love Special (1921) Sweets of the Sour (1918) The Lady of Victories (1928) Forbidden Fruit (1921) Coals for the Fire (1918) Eve's Love Letters (1927) The Furnace (1920) Their Anniversary Feast (1918) The Son of the Sheik (1926) Held by the Enemy (1920) A Four Cornered Triangle (1918) Morals for Men (1925) Go and Get It (1920) Seeking an Oversoul (1918) The Awful Truth (1925) The Inner Voice (1920) A Little Ouija Work (1918) Her Market Value (1925) A Modern Salome (1920) The Purple Dress (1918) Tomorrow's Love (1925) The Ghost of a Chance (1919) His Wife's Hero (1917) Worldly Goods (1924) Sacred Silence (1919) His Wife Got All the Credit (1917) The Story Without a Name (1924) The Gamblers (1919) He Had to Camouflage (1917) Detained (1924) In Honor's Web (1919) Paging Page Two (1917) The Guilty One (1924) The Buried Treasure (1919) A Family Flivver (1917) Bluff (1924) The Guardian of the Accolade (1919) The Renaissance at Charleroi (1917) When a Girl Loves (1924) A Stitch in Time (1919) The Bottom of the Well (1917) Don't Call It Love (1923) Shocks of Doom (1919) The Furnished Room (1917) The Ten Commandments (1923) The Girl Problem (1919) The Defeat of the City (1917) The Marriage Maker (1923) Transients in Arcadia (1918) Richard the Brazen (1917) Racing Hearts (1923) A Bird of Bagdad (1918) The Dazzling Miss Davison (1917) The Heart Raider (1923) Springtime à la Carte (1918) The Mirror (1917) A Daughter of Luxury (1922) Mammon and the Archer (1918) Hedda Gabler (1917) Clarence (1922) One Thousand Dollars (1918) The Debt (1917) Borderland (1922) The Girl and the Graft (1918) Mrs. -
Illumination Entertainment, Founded by Chris Meledandri in 2007, Is One of the Entertainment Industry’S Leading Producers of All-Audience Event Films
CASE STUDY Illumination Entertainment, founded by Chris Meledandri in 2007, is one of the entertainment industry’s leading producers of all-audience event films. ILLUMINATION entertainment Illumination Entertainment Illumination Entertainment, CHALLENGE Sometimes, hardware settings on the system would be the founded by Chris Meledandri in With the enormous culprit, requiring a full machine 2007, is one of the entertainment success of the Despicable reboot for the reconfiguration industry’s leading producers Me franchise, Illumination to take place. of all-audience event films. In Entertainment outgrew July 2010, Illumination, which its editorial infrastructure The editors at Illumination has an exclusive financing and creating challenges in their Entertainment needed to set distribution partnership with studio workflow. Production up for dailies on their Avid Universal Pictures, released its increased, requiring additional systems prior to entering the first film, Despicable Me, starring edit bays and the ability for the review suite and then move editors to swap in and out of Steve Carell, which earned more into the review suite after the review suite for dailies. setup was complete. Each than $540 million worldwide system is comprised of an Avid and launched a beloved global In the past, an editor worked in system, with dual displays, a franchise. the review suite on a dedicated dual link playback monitor, a Avid system tied to a specific keyboard, a mouse, and audio edit bay. Editors working in output. other edit bays would come into the review suite, import When another editor occupied their settings and open their the review suite, the displaced projects on the Avid system editor would either have to tied to that review suite. -
In 1925, Eight Actors Were Dedicated to a Dream. Expatriated from Their Broadway Haunts by Constant Film Commitments, They Wante
In 1925, eight actors were dedicated to a dream. Expatriated from their Broadway haunts by constant film commitments, they wanted to form a club here in Hollywood; a private place of rendezvous, where they could fraternize at any time. Their first organizational powwow was held at the home of Robert Edeson on April 19th. ”This shall be a theatrical club of love, loy- alty, and laughter!” finalized Edeson. Then, proposing a toast, he declared, “To the Masquers! We Laugh to Win!” Table of Contents Masquers Creed and Oath Our Mission Statement Fast Facts About Our History and Culture Our Presidents Throughout History The Masquers “Who’s Who” 1925: The Year Of Our Birth Contact Details T he Masquers Creed T he Masquers Oath I swear by Thespis; by WELCOME! THRICE WELCOME, ALL- Dionysus and the triumph of life over death; Behind these curtains, tightly drawn, By Aeschylus and the Trilogy of the Drama; Are Brother Masquers, tried and true, By the poetic power of Sophocles; by the romance of Who have labored diligently, to bring to you Euripedes; A Night of Mirth-and Mirth ‘twill be, By all the Gods and Goddesses of the Theatre, that I will But, mark you well, although no text we preach, keep this oath and stipulation: A little lesson, well defined, respectfully, we’d teach. The lesson is this: Throughout this Life, To reckon those who taught me my art equally dear to me as No matter what befall- my parents; to share with them my substance and to comfort The best thing in this troubled world them in adversity. -
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158. -
1934-11-30 [P C-6]
assigned by Paramount to write RUSSIAN in Dietrich's next film. Which doesn't Back to Pioneer Days Best-Dressed Film Girls look as If that company expected her MALE Columbia's New Film to leave it, as has been rumored. CHORUS Other rumors are to the effect that Film Wheels' Classified for Directors Metro-Goldwyn-Mayer is testing Rosa- Story,'Wagon mund Plnchot for a part in "The Good Earth," though she is supposed to be scheduled to appear in "The «eat· BSc. SI.10. Sl.SS. Sî.tn. Mrs. Some Hard Fighting and Riding in New Picture Committee Will Select Smartest-Looking Extras •Brave Live On." Porter » (Dr—»·«)■ IMP Gi NA. 71St (Copyright. 1934, by the North American CeneUtntl·· Ball· Tact· 4:40 f. a. at the Metropolitan—The Star's Santa to Receive More Money for Appearing Newspaper Alliance, Inc.) in Claus Expedition by Plane. Society Scenes. Mammoth School of Fish. World-famous Vlellnlat. TAMPA, Fla. OP).—Aviators flying S1.6S. S2.20, W.Î5. SS.S0. over the Gulf of Mexico recently Mrs. Dtmr'· (Or··»'·) WHEELS." film in the accepted manner, accomplish- BY MOLLIE MERRICK. ous casting men from the studios and isoo o. s "Τ TAGON sighted a school of kingfish extending able a hard- two fashion artists, as unan- Comtitotlon Ball. 8m.. Dm. ». 4 P.m. ol the hard only by clean-living, calif., November yet a front. It / saga fighting along 35-mile appeared Firit Tim· mt Per alar Price·: \/\ fighting son of the West. In so doing 30 (N.A.NA.).—One of the nounced. -
ASC Founders
The 15 Founders of the American Society of Cinematographers Biographies By Robert S. Birchard The American Society of Cinematographers succeeded two earlier organizations — the Cinema Camera Club, started by Edison camerapersons Philip E. Rosen, Frank Kugler and Lewis W. Physioc in New York in 1913; and the Static Club of America, a Los Angeles–based society first headed by Universal cameraperson Harry H. Harris. From the beginning, the two clubs had a loose affiliation, and eventually the West Coast organization changed its name to the Cinema Camera Club of California. But, even as the center of film production shifted from New York to Los Angeles — the western cinematographers’ organization was struggling to stay afloat. Rosen came to Los Angeles in 1918. When he sought affiliation with the Cinema Camera Club of California, president Charles Rosher asked if he would help reorganize the faltering association. Rosen sought to create a national organization, with membership by invitation and with a strong educational component. The reorganization committee met in the home of William C. Foster on Saturday, December 21, 1918 and drew up a new set of bylaws. The 10-member committee and five invited Cinema Camera Club member visitors were designated as the board of governors for the new organization. The next evening, in the home of Fred LeRoy Granville, officers for the American Society of Cinematographers were elected — Philip E. Rosen, president; Charles Rosher, vice president; Homer A. Scott, second vice president; William C. Foster, treasurer; and Victor Milner, secretary. The Society was chartered by the State of California on January 8, 1919. -
Torrance Herald
TinmsnAY, APRIL TH \ Park Playground AT THE END OF THE TRAIL Six Stars in IT'S A NICE SPOT FOR HUGH Air Show is Draws Youngsters Hi school pi All-Color Film Basis of Film the Sprint; cation" Millions of people all over week, tin- municipal par); he- r^ — — Most pictures which come- to New came the center of Juvenile ac- ' America listen tit "Hollywood ' Redondo's the- local theatres boast two or Hotel" air program every, week. tivity here this week. The Kern mayhe three stars at the head i Show Place! "R on Avenue playground wils closed I of their casts, hut thc feature 1 Tlli Nn» IMuvllli,'! last Friday afternoon because •s. II was a "natural" i presentation at the Plaza the that a pi.-tur.- hy the same till.- the director is hired on the atre next Sunday entitled "Gold. IJAIHO I TIT KKVKI.S' same ha*is MS school teachers, would he "hox office." flul | IB Where You Find It" has gone, "Hollvwond Hotel". wa:i only an according to Mrs. Oda Vans. I overboard * with a roster which •I:\DKK srsi'iriov principal. | Imaginary hostelry, and for the includes six outstanding play to he ma- Dale Ullcy, city recreation di .screen it would have ers. tonight a! put all of the city park lifelike Tech llerialized. It opens rector, A production in Torrance theatre. nicolor, "Col.! IN Where You fthe Ti.l. TAKK KOMANfK' youngsters for their holiday nnd Find It"" co-stars Olivia d'e Havll-I Robert Haas was assigned as inul tlir grounds presented a busy land and George Brent In the! art director and given 'carle •IKM.LVVVOOn HOTEL' scene as boys and girls swarmed romantic leads.