Tài liệu miễn phí Sân khấu điện ảnh
Download Tài liệu học tập miễn phí Sân khấu điện ảnh
EastWest/Quantum Leap Hollywood Strings Virtual Instrument
The response of Hollywood was to embrace some of this material. A landmark move was the decision by Columbia to distribute Easy Rider (1969), a project originally destined to become another biker picture for AIP. The success of Easy Rider helped convince the studios to invest in a new generation of filmmakers seen to be more in touch with the youth audience affected by the 1960s counterculture. Hollywood learned other lessons from the independents in this period. Along with a number of foreign imports, independent features demonstrated the box-office appeal of more racy, controversial or ‘adult’ material, encouraging the adoption...
8/30/2018 2:39:54 AM +00:00
HoLLyWooD Community PLAn
Examples ranged from gory low-budget horror to the sexploitation films of Russ Meyer. Elements of independent ‘exploitation’ strategy were also embraced by Hollywood in its more mainstream, blockbuster productions, especially the strategy of combining wide opening release patterns with saturation advertising, in order to recoup costs quickly. A number of Hollywood’s biggest-grossing films of the 1970s were, in part, bigger-budget and glossier versions of independent exploitation fare, especially The Exorcist (1973) and Jaws (1975)....
8/30/2018 2:39:54 AM +00:00
WRITERS GUILD OF AMERICA, WEST THE 2007 HOLLYWOOD WRITERS REPORT - Whose Stories Are We Telling?
The Hollywood Renaissance embraced aspects of ‘art’ cinema to some extent, but it proved short-lived, the product of a period of transition that soon passed in the later 1970s, with both the consolidation of a blockbuster-centred regime in Hollywood and a political turn to the right in American culture. Space for edgier, more questioning or ‘difficult’ filmmaking was generally reduced in Hollywood from the end of the decade. Some individuals associated with the Hollywood Renaissance continued to make less conventional films, sometimes for the studios, where past box-office achievements or status and reputation gave them sufficient clout (Martin Scorsese, for...
8/30/2018 2:39:54 AM +00:00
Rewriting an All-Too-Familiar Story?
Hollywood’s loss, in terms of the general narrowing of the horizons of possibility at the heart of the studio-led machine, was to be the gain of a newly consolidating form of independent production and distribution that was beginning to take shape during the 1980s, and into which some of the inheritance of the Renaissance was carried. The term ‘independent’ has had rather different connotations at different periods in the history of American cinema. In the 1930s, for example, it signified ‘something less than trash’. In the late 1950s and early 1960s it might have suggested both the innovations of the ‘American...
8/30/2018 2:39:54 AM +00:00
Information & Research Resources on Indian Cinema: A Global Survey of Printed, Digital and Online Materials
The size of the country is matched by a longstanding love affair with cinema which creates the world’s biggest film audience. Even though India was controlled by the British until 1947, this did not prevent the development of ‘industrial’ film production in several Indian cities, so that by the late 1930s an Indian ‘studio system’ was in place. By the late 1990s, India had overtaken Japan and America as the producer of the largest number of feature films per year (800-1,000) and with an annual audience of over 3 billion at home and millions more overseas, it can also claim...
8/30/2018 2:39:54 AM +00:00
Image Sensor Architectures for Digital Cinematography
All of this is not disputed, but when we come to look at the films themselves and who watches them, it gets more complicated. India is now famous for its computer software engineers and it has always been known for its bureaucracies (needed to organise the world’s largest democracy), but the film industry in India is only slowly beginning to deliver the detailed box office information on a regular basis that business commentators and film scholars in the UK and North America have come to expect from their own industries. There are rapid changes taking place in the Indian entertainment...
8/30/2018 2:39:54 AM +00:00
Indian Cinema: The World’s Biggest And Most Diverse Film Industry
We can best understand the importance of these classifications by making two simple distinctions. The first is between ‘popular’ and ‘art’ cinema. The massive popular audience in India is hungry for cheap entertainment and this is what cinema has provided. This audience, which includes a significant proportion of people with limited access to education, enjoys universal genres such as action, comedy and melodrama and more specifically ‘Indian’ stories with spiritual/mythological themes. The typical Indian film as viewed from outside the country may well be a three hour spectacular ‘multi-genre’ film with six or seven extended elaborately choreographed and costumed musical...
8/30/2018 2:39:54 AM +00:00
American Independent Cinema
From the lowest-budget, most formally audacious or politically radical to the quirky, the offbeat, the cultish and the more conventional, the independent sector has thrived in American cinema in the past two decades, producing a body of work that stands out from the dominant Hollywood mainstream and that includes many of the most distinctive films to have appeared in the USA in recent years. It represents a challenge to Hollywood, although also one that has been embraced by the commercial mainstream to a substantial extent. Major formerly independent distributors such as Miramax and New Line are attached to Hollywood studios...
8/30/2018 2:39:54 AM +00:00
DIGITAL CINEMA NAMING CONVENTION: Version 3.8
The National Association of Theatre Owners (NATO) is the author and creator of these system requirements for the purpose of copyright and other laws in all countries throughout the world. The NATO copyright notice must be included in all reproductions, whether in whole or in part, and may not be deleted or attributed to others. NATO hereby grants to its members and their suppliers a limited license to reproduce these system requirements from the National Association of Theatre Owners. ...
8/30/2018 2:39:54 AM +00:00
FAMILIES, FATHERS, FILM: CHANGING IMAGES FROM JAPANESE CINEMA
This document provides system requirements developed and adopted by the National Association of Theatre Owners. This document may be revised by NATO. It is intended solely as information for system providers, product developers, and standards committees and other organizations in standardization and certification efforts. NATO shall not be liable for any exemplary, incidental, proximate or consequential damages or expenses arising from the use of this document. This document is an authorized and approved publication of NATO. Only NATO has the right and authority to revise or change the material contained in this document, and any...
8/30/2018 2:39:54 AM +00:00
MARCEL DUCHAMP'S ANEMIC - CINEMA
Compliance with this document may require use of one or more features covered by proprietary rights (such as features which are the subject of a patent, patent application, copyright, mask work right or trade secret right). By publication of this document, no position is taken by NATO with respect to the validity or infringement of any patent or other proprietary right. NATO hereby expressly disclaims any liability for infringement of intellectual property rights of others by virtue of the use of this document. NATO has not and does not investigate any notices or allegations of infringement prompted...
8/30/2018 2:39:54 AM +00:00
A Key Management Architecture for Digital Cinema
A seminal idea proposed in The Intimate Enemy which has subsequently come rather to define Nandy's (frequently mis-represented) public political stance concerns the disjunctions imposed by colonialism which have returned to haunt contemporary India. The pen- etration of the West has created a class of mimic men, modernists, whose attempts to identify with the colo- nial aggressors has produced...pathetic copies of...Western man in the subcontinent (1983:74) and Nandy places his hopes with a different class of Indians who are neither pre-modern, nor anti-modern but only non-modern (ibid). It is here that Nandy' s essentialism ceases to look merely strategic as he seeks to ontologize his preferred brand of wisdom (perfect weakness) in the depths...
8/30/2018 2:39:54 AM +00:00
KODAK FILM HISTORY Chronology of Motion Picture Films - 1889 to 1939
This paper intends to use psychoanalysis to discover where and how the fascination of film is reinforced by pre-existing patterns of fascination already at work within the individual subject and the social formations that have moulded him. It takes as starting point the way film reflects, reveals and even plays on the straight, socially established interpretation of sexual difference which controls images, erotic ways of looking and spectacle. It is helpful to understand what the cinema has been, how its magic has worked in the past, while attempting a theory and a practice which will challenge this cinema of...
8/30/2018 2:39:54 AM +00:00
KON THE CINEMA OF CAMBODIA
The paradox of phallocentrism in aIl its manifestations is that it depends on the image of the castrated woman to give order and meaning to its world. An idea of woman stands as lynch pin to the system: it is her lack that produces the phallus as a symbolic presence, it is her desire to make good the lack that the phallus signifies. Recent writing in Screen about psychoanalysis and the cinema has not sufficiently brought out the importance of the representation of the female form in a symbolic order in which, in the last resort, it speaks castration...
8/30/2018 2:39:54 AM +00:00
“Visual Pleasure and Narrative Cinema.”
Once this has been achieved, her meaning in the process is at an end, it does not last into the world of law and language except as a memory which oscillates between memory of maternal plenitude and memory of lack. Both are posited on nature (or on anatomy in Freud's famous phrase). Woman's desire is subjected to her image as bearer of the bleeding wound, she can exist only in relation to castration and cannot transcend it. She turns her child into the signifier of her own desire to possess a penis (the condition, she imagines, of entry into...
8/30/2018 2:39:54 AM +00:00
THE ROLE OF MUSIC COMMUNICATION IN CINEMA
There is an obvious interest in this analysis for feminists, a beauty in its exact rendering of the frustration experienced under the phallocentric order. It gets us nearer to the roots of our oppression, it brings an articulation of the problem closer, it faces us with the ultimate challenge: how to fight the unconscious structured like a language (formed critically at the moment of arrival of language) while still caught within the language of the patriarchy. There is no way in which we can produce an alternative out of the blue, but we can begin to make a break...
8/30/2018 2:39:54 AM +00:00
Quebecus Horribilis: Theatricality, the «Moment of Horror» and Quebec’s «Satanist» Cinema.
As an advanced representation system, the cinema poses questions of the ways the unconscious (formed by the dominant order) structures ways of seeing and pleasure in looking. Cinema has changed over the last few decades. It is no longer the monolithic system based on large capital investment exemplified at its best by Hollywood in the 1930's, 1940's and 1950's. Technological advances (16mm, etc) have changed the economic conditions of cinematic production, which can now be artisanal as well as capitalist. Thus it has been possible for an alternative cinema to develop. However self-conscious and ironic Hollywood managed to be, it...
8/30/2018 2:39:54 AM +00:00
Fluid Relations: Québec Cinema and the Church
The magic of the Hollywood style at its best (and of all the cinema which fell within its sphere of influence) arose, not exclusively, but in one important aspect, from its skilled and satisfying manipulation of visual pleasure. Unchallenged, mainstream film coded the erotic into the language of the dominant patriarchal order. In the highly developed Hollywood cinema it was only through these codes that the alienated subject, torn in his imaginary memory by a sense of loss, by the terror of potential lack in phantasy, came near to finding a glimpse of satisfaction: through its formal beauty and...
8/30/2018 2:39:54 AM +00:00
C INEMA userís manual
This article will discuss the interweaving of that erotic pleasure in film, its meaning, and in particular the central place of the image of woman. It is said that analysing pleasure, or beauty, destroys it. That is the intention of this article. The satisfaction and reinforcement of the ego that represent the high point of film history hitherto must be attacked. Not in favour of a reconstructed new pleasure, which cannot exist in the abstract, nor of intellectualised unpleasure, but to make way for a total negation of the ease and plenitude of the narrative fiction film. The alternative is...
8/30/2018 2:39:54 AM +00:00
MEDIA 2007 (2007 – 2013) - Programme of support for the European audiovisual sector Project Development
At first glance, the cinema would seem to be remote from the undercover world of the surreptitious observation of an unknowing and unwilling victim. What is seen of the screen is so manifestly shown. But the mass of mainstream film, and the conventions within which it has consciously evolved, portray a hermetically sealed world which unwinds magically, indifferent to the presence of the audience, producing for them a sense of separation and playing on their voyeuristic phantasy. Moreover, the extreme contrast between the darkness in the auditorium (which also isolates the spectators from one another) and the brilliance of...
8/30/2018 2:39:54 AM +00:00
MEDIA Programme 2007 - 2013 Distribution – Selective Support
Tham khảo tài liệu 'media programme 2007 - 2013 distribution – selective support', văn hoá - nghệ thuật, sân khấu điện ảnh phục vụ nhu cầu học tập, nghiên cứu và làm việc hiệu quả
8/30/2018 2:39:54 AM +00:00
Between Irish National Cinema and Hollywood: Neil Jordan’s Michael Collins
This is a moment when an older fascination with looking (at the mother's face, for an obvious example) collides with the initial inklings of self-awareness. Hence it is the birth of the long love affair/despair between image and self-image which has found such intensity of expression in film and such joyous recognition in the cinema audience. Ouite apart from the extraneous similarities between screen and mirror (the framing of the human form in its surroundings, for instance), the cinema has structures of fascination strong enough to allow temporary loss of ego while simultaneously reinforcing the ego. The sense of...
8/30/2018 2:39:54 AM +00:00
The Masters of Cinema Series: London, England
The second, developed through narcissism and the constitution of the ego, comes from identification with the image seen. Thus, in film terms, one implies a separation of the erotic identity of the subject from the object on the screen (active scopophilia), the other demands identification of the ego with the object on the screen through the spectator's fascination with and recognition of his like. The first is a function of the sexual instincts, the second of ego libido. This dichotomy was crucial for Freud. AIthough he saw the two as interacting and overIaying each other, the tension between instinctual...
8/30/2018 2:39:54 AM +00:00
POPULAR CINEMA IN EGYPT Walter Armbrust
Both are formative structures, mechanisms not meaning. In themselves they have no signification, they have to be attached to an idealisation. Both pursue aims in indifference to perceptual reality, creating the imagised, eroticised concept of the world that forms the perception of the subject and makes a mockery of empirical objectivity. During its history, the cinema seems to have evolved a particularillusion of reality in which this contradiction between libido and ego has found a beautifully complementary phantasy world. In reality the phantasy world of the screen is subject to the law which produces it. Sexual instincts and...
8/30/2018 2:39:54 AM +00:00
Visual Pleasure and Narrative Cinema (1975) - Laura Mulvey
Traditionally, the woman displayed has functioned on two levels: as erotic object for the characters within the screen story, and as erotic object for the spectator within the auditorium, with a shifting tension between the looks on either side of the screen. For instance, the device of the show- girl allows the two looks to be unified technically without any apparent break in the diegesis. A woman performs within the narrative, the gaze of the spectator and that of the male characters in the film are neatly combined without breaking narrative verisimilitude. For a moment the sexual impact of the...
8/30/2018 2:39:54 AM +00:00
HINDI CINEMA AND HALF-FORGOTTEN DIALECTS: AN INTERVIEW WITH ASHIS NANDY
Use the best speaker cables you can. Higher quality cables, available from your specialty dealer, are recommended and will give you superior performance. Spade connectors are suggested for optimum contact and ease of installation. Attach your speaker cables to the Signal Input section on the rear panel. Be consistent when connecting speaker leads to the terminals on the back of the Cinema: take great care to assign the same color to the (+) terminal on both the speaker and the amplifier. Please see the Operations section (pages 5) of this manual for more details....
8/30/2018 2:39:54 AM +00:00
Digital Cinema System Requirements: Release 2.1
Because your MartinLogan Cinema uses an internal power supply to energize its electrostatic cells with high-voltage DC, it must be connected to an AC power source. For this reason it is provided with the proper IEC standard power cord. This cords should be firmly inserted into the AC power receptacles on the rear connection panel of the speaker, then to any convenient AC wall outlet. The Cinema integrates a signal sensing power supply which will switch off after a few minutes of no music signal, and requires less than two seconds to recharge the panels when a music signal is present. Your Cinema speaker is wired for the power service supplied in...
8/30/2018 2:39:54 AM +00:00
DIGITAL CINEMA PROJECTORS NEC NEXT GENERATION SERIES 2
As the market leader in digital signage, NEC offers a large selection of powerful digital signage solutions that can provide reliable outstanding images over long periods of use. Digital Signage can serve several purposes such as informing, entertaining or providing a purchasing incentive. For instance, a public display with tantalising content placed above a concession stand can boost sales of popcorn, cola and other items. Public Displays in waiting areas playing trailers of other current movies can draw people into other shows and generate future ticket sales while shortening the perceived waiting time. Way finding or simply displaying the movie poster...
8/30/2018 2:39:54 AM +00:00
What Biological theme connects all of these Hollywood movies?
The issues of media, identity and gender are being discussed all over today. They have become integral to the discipline of media studies. The reason is the popularity and diversity of media as a source of mass consumption and its influence on constructing ideas and generating debate. The media scene in India has expanded in the recent times as there is a plethora of media choices available to the audiences. Media structures and systems have also undergone a sea change with privatization and globalization. Huge corporations with their own profit motives own media houses. Media has been...
8/30/2018 2:39:54 AM +00:00
Context based learning: A role for cinema in science education
The interest in films taken by feminists stems from concern about the under-representation and misrepresentation of women in cinema. It adopts a critical approach towards gender bias on celluloid. The feminist approach to cinema asks a few pertinent questions like how women are represented on screen, how women‟s issues are treated in cinema, what does feminism mean to film-makers, how does the feminist agenda manifest on screen, how is the women character positioned vis a vis the male character and what is the role of women film-makers and women writers in depicting women‟s issues through cinema. iii Feminist critique...
8/30/2018 2:39:54 AM +00:00