...Film and Popular Cinema Your name ART/101 University of Phoenix Film and Popular Cinema When you think of entertainment in the many forms that it comes in you will manly think of movies which can be categorized as films or popular cinema. We do not realize how different from each other they are. What are films? What are Cinemas? They are different but they do have some things in common. They both are for the entertainment and enjoyment of others. Often times when you think of film you associate it with black and white movies that were part of the older days. That is partially correct; film is a length of polyester based plastic covered with photosensitive coating. We have all seen those movies that some may consider cheesy or corny compared to popular cinema now. Film is often intended to be viewed by smaller groups of an audience; it is also more people than what you would expect especially when it comes to popular cinema. Popular cinema is what is in now, it is not hard to hear people talk about a movie they recently seen or how the director incorporated special effects, sounds, and the overall performance by the actor or actress. The main distinction is that cinema is meant to reach a wider variety of people in one try, it is endless as to how many it can reach to. It is also something that can be done on a computer especially when trying to piece together your master piece. Although it is easily accessible it is difficult for a director...
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...what made them so special. Prior to World War II American films were about singing, dancing and happy endings. The occupation in Europe changed all that. Many European directors, artists and actors escaped to America and brought their artistic visions and hellish nightmares with them. The movies they made provided them with a creative outlet. They showed a dark side to humanity in which American soldiers returning from war could relate to. It helped them see that they were not the only ones with problems and that life was not always easy. It helped normalize what they were feeling and perhaps even helped them adjust to coming back home. Film Noir films were a complete change to what the American public was familiar with. They exposed the audience to something new and different. These movies brought an “edge and roughness” to life as they knew it. Most of all they provided new techniques to film making. The director’s innovative use of lighting and cinematography were never seen before. The audience was drawn in to focus on the main characters which I think made the scene more intimate. The actors had to up there performances showcasing their acting ability. Music played a big role in these movies as well. If you closed your eyes you could hear the tension and emotion of the scene through the musical score. It helped set the mood and kept you engrossed in the film. Many of the elements used in Film Noir movies are still in use today especially the lighting and...
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...DITI BHATTACHARYA NON –WESTERN AND EXPERIMENTAL CINEMA SETTING A CONTRAST BETWEEN MARGINAL CINEMA AND MAINSTREAM CRITICAL THEORY MA –PG 1 TERM PAPER DEPARTMENT OF FILM STUDIES JADAVPUR UNIVERSITY The term third cinema has found its roots in the so called third world, which generally refers to the nations located in Africa, Latin America and Asia where historical encounter with colonial and imperial forces have shaped their political and economic power structure . at the same time it could be said that the third world is a kind of cinematic response to the first cinema (which conjures images of Hollywood movies , consumption and bourgeoisie values ) as well as second cinema (referring to “nouvelle vague” or the European arthouse filmmaking demonstrating aesthetic but not always political innovation).The reference to the concept of third cinema appeared for the first time in the Cuban film journal ,cine Cubano, (1969) in a report of an interview with members of the cine liberacion group .it was said at that point of time that there is a growing need for the development of a cinema of aggression .one that would put an end to the irrationality that has come before it. Thus beginning in the mid 50s and continuing up to the present these films have helped immensely in forging a sense of national identity and cultural autonomy . it would be interesting to know that at this point of time there was a development of film theory and critical methodology in the first world...
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...Cinema is a changed of expression and communication. It was invented by Edison, an American scientists. The cinema plays on important role in the social, moral, political and economic life. D.G. Phalke produced the first Indian silent film, Raja Harishchandra in 1913. The era of talkie films started in 1931 with the producing of Alam Ara. India is the largest producer of feature films in the world. The films are certified by the Central Board of Film Certification. Cinema is a source of entertainment, knowledge and employment. However, the sex and violence portrayed contaminate the minds of the people. The objective of films should be to educate, modify and to bring unity and harmony among the people. Cinema is a film i.e... a story etc. recorded as set of moving pictures to be shown on screen of a theatre house and television. It is a channel of expression and communication. The cinemas one of the most important inventions of modern science. It was invented by Dison, An American scientist. It is a medium of instruction as well as recreation. The cinema plays an important role in the social, political, educational and moral life. The history of Indian cinema began with the production of Pundalik by R.G. Torney and N.G. Chitre in 1912. This was followed by the production of Raja Harishchandra by Dhundiraj Govind Phalke in 1913. The latter is the first Indian silent film. D.G. Phalke is considered the father of Indian cinema. Women at that time were not allowed to perform in...
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...turned to violent conflict in developing Third World nations. Responding to all of this, cinema became politicized on a scale not seen since World War II. The Third World was at the forefront of revolutionary cinema as filmmakers in those countries treated cinema as a tool of social change and a weapon of political liberation. This use of film as a social and political force emerged first in Latin America and spread to Africa and China, while also emerging in the First World countries including the U.S.S.R. and United States. The counterculture and the New Left were examples of an international politics of youth that focused on opposition to American involvement in Vietnam, critique of post-World War II capitalist society, and social-protest movements focused on equality of diverse groups. Eventually, radical leftism declined in the mid-1970s, but engaged filmmaking remained central to the micropolitics of the era. A June 1979 alternative-cinema conference in New York assembled over 400 political activists working in film and video in the United States. In some countries, government liberalization led to funding for militant film. The new Labour government in Britain assisted Liberation Film and Cinema Action, while the regional Maisons de la Culture allotted money for local media groups in France. Some parallel distribution and exhibition circuits proved successful in promoting films about nuclear power, day care, ethnic rights, and similar issues. In the United States...
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...The readings from this week were “Visual Pleasure and Narrative Cinema” by Laura Mulvey and “Cinema/Ideology/Criticism” by Jean-Luc Comolli and Paul Narboni. Having made the transition from photography to cinema, neither of these readings can be related to the previous readings that have been completed throughout the course of the semester. Theses readings can be related to each other in a sense. Mulvey mentions the film journal Screen, which is the same journal that the second reading by Comolli and Narboni came from. The thesis that was articulated for Laura Mulvey’s paper can be found in two places: in the first and last paragraphs in the introduction. The first part states that the point of this paper is to “…use psychoanalysis to discover...
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...An artistic movement whose influence on film has been as profound and enduring as that of surrealism or cubism on painting, the French New Wave (or Le Nouvelle Vague) made its first splashes as a movement shot through with youthful exuberance and a brisk reinvigoration of the filmmaking process. Most agree that the French New Wave was at its peak between 1958 and 1964, but it continued to ripple on afterwards, with many of the tendencies and styles introduced by the movement still in practice today… French New Wave The New Wave (French: La Nouvelle Vague) was a blanket term coined by critics for a group of French filmmakers of the late 1950s and 1960s, influenced by Italian Neorealism and classical Hollywood cinema. Although never a formally organized movement, the New Wave filmmakers were linked by their self-conscious rejection of classical cinematic form and their spirit of youthful iconoclasm. "New Wave" is an example of European art cinema. Many also engaged in their work with the social and political upheavals of the era, making their radical experiments with editing, visual style and narrative part of a general break with the conservative paradigm. Using portable equipment and requiring little or no set up time, the New Wave way of filmmaking presented a documentary type style. The films exhibited direct sounds on film stock that required less light. Filming techniques included fragmented, discontinuous editing, and long takes. The combination of objective realism...
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...Winter 2009 Cinema History in Barcelona and Spain Cinema reflects the voice and culture of a nation. It documents important changes in politics, lifestyle, and even language. Barcelona was the birthplace for Cinema in of Spain. During the silent period of film all of the biggest Spanish directors including Marro, Chómon, Gelabert, and Bános were based out of Barcelona (Alvarez 6). The first films that had sound where shown in Barcelona before anywhere else, although without sound due to the lapse in technological capabilities (Alvarez 7). Barcelona’s movement in film did not stop there. Throughout the years and generations Catalan cinema has been a part of Spanish culture and has in its own right fought to survive. In the beginning Barcelona was the sole player in Spanish Cinema. Madrid, the other major metropolitan area, was more concerned with traditional forms of entertainment such as bullfighting and la zarzuela (musical theater) (Alvarez 6). The first Spanish film was actually that of a group of church goers leaving Sunday Mass which was entitled Salida de la misa de doce del Pilar or in English: “Leaving the Midday Mass at the Church of Pilar in Zaragoza.” This film was already the way from 1896 and would seem to show an enthusiastic future for film if it were not for such factors as foreign competition, government, and an overbearing church (Stone 14). During the turn of the century in particular themes of the church dominated with films such as The...
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...BOM 7094: Operations Management Digital Cinema – Changing the Supply Chain Management of the Movie Industry BOM 7094 Term Paper Dzulhafidz Bin Dzulkifli - 1091200147 10 Table of Contents Introduction ...................................................................................................................................... 2 Literature Reviews ........................................................................................................................... 4 Digital Cinema – The New Challenge for the Movie Industry ..................................................... 4 Security and Rights Management in Digital Cinema................................................................... 4 Digital Cinema Business Model – The Global Outlook ............................................................... 5 Summary of Literature Review ............................................................................................... 6 Operation Management: Supply Chain Management ..................................................................... 7 Motion Picture Supply Chain Management – The Conventional Way ............................................ 8 Ownership Chart: The Big Six ..................................................................................................... 9 The Management of the Chain of Supplies for Digital Cinema. .................................................... 10 Digital Cinema Process ...................................
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...Bangladeshi Films: Mainstream Films vs. Alternative Cinemas Submitted to: Ariful Islam Lecturer, Department of English East West University Submitted By: MD. Zaidul Haque ID: 2013-1-10-149 Department of BBA East West University Date of Submission: June 20, 2013 Bangladeshi Films: Bangladesh is varies cultural country. The establishment of film theatres began here in the 1910s, but the production of theatrical features started as late as the 1950s. On April 24, 1898, the Bengali weekly Dhaka Prakash reported that films were shown in Dhaka by the Bradford Bioscope Company, at the Crown Theatre, in Patuatuli, near Sadarghat. The show included news items and other short features. The first permanent cinema in Dhaka, named Picture House, began operation during 1913–1914. This cinema was renamed to New Picture House and then again to Shabistan. By 1947 there were around 80 cinemas in what is now Bangladesh. After the partition of India in 1947, the first film made in East Pakistan was a newsreel about the visit of Mohammad Ali Jinnah, produced in 1948 by the radio broadcaster Nazir Ahmed. The first full-length feature film with sound made in East Pakistan was Mukh O Mukhosh, which was produced by Abdul Jabbar Khan and released on August 3, 1956. Editing, printing and all other film processing for this movie was done in Lahore, Pakistan There was no film industry...
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...the decline in cinema exhibition and increase in video streaming A key creative industry in Australia is cinema exhibition and in most recent times is the video streaming industry. Film has come far in Australia from its origins of the first silent film produced in 1906 by the Tait brothers, The story of the Kelly Gang (Australia.gov.au 2015). Cinema in Australia followed the original format of viewing movies in drive ins. The movies of the time followed Ozploitation film genre or as writer/director Quentin Tarantino likes to refer to it as the genre of “Aussiesploitation” (Grindhousedatabase.com 2015) such as Razorback (1984) and Mad Max (1971). This genre was created by the Australian film industry and the only criteria for a film to...
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...CIN105Y: Introduction to Film Study Modercism Lecture Outline 1. the classical film nothing should be ambiguous. Topic: The Art Film formal attributes Date: 13 January 2015 2. classicism (make people easy to understand ) modernism (ironic, b½ ) „a artistic movement, thing belong to M is futurism, so it is an umbrella term; M was characterized by a stridently self-aware artistic practice and a corresponding break with two other artistic movements: realism and Romanticism (definition of M) realism: we can only trust what we can see and hear, things that actually exist. according to Gustave Courbet: the essence of realism is the negation of the ideal. Agenda: 1) The Relationship between Art Cinema and Modernism 2) Distinguishing Art Cinema from Avant-Garde Cinema 3) Defining the Art Film as a Mode of Film Practice The Relationship between Art Cinema and Modernism • Just as classical cinema shares attributes with a broader body of artistic works that are representative of classicism, art cinema can be understood as an example of modernism. • While art cinema is a film-specific term, modernism is a general term describing broad tendencies within art practice that encompasses many movements that prevailed in the first half of the romanticism: in the contrast of realism; intimacy spirituality, color, twentieth century. aspiration towards the infinite, expressed by every means available to the art • Historically, modernism constituted a break with two nineteenth century...
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...COMPETITION CONCERNS IN FILM INDUSTRY 2013 A RESEARCH PROJECT ON COMPETITION CONCERNS IN FILM INDUSTRY UNDER THE GUIDANCE OF DR. K.D. SINGH DEPUTY DIRECTOR (LAW) COMPETITION COMMISSION OF INDIA BY TULIKA SINGH, VTH YEAR STUDENT OF B.A. L.L.B. (HONS.) AT CHANAKYA NATIONAL LAW UNIVERSITY, PATNA COMPETITION COMMISSION OF INDIA Page 1 DISCLAIMER COMPETITION CONCERNS IN FILM INDUSTRY 2013 This project report has been prepared by the author as an intern under the Internship Programme of the Competition Commission of India for the period of one month from 7th January 2013 to 31st January 2013, for academic purposes only. The views expressed in the report are personal to the intern and do not reflect the views of the Commission or any of its staff or personnel and do not bind the Commission in any manner. This report is the intellectual property of the Competition Commission of India and the same or any part thereof may not be used in any manner whatsoever, without express permission of the Competition Commission of India in writing. COMPETITION COMMISSION OF INDIA Page 2 ACKNOWLEDGEMENT COMPETITION CONCERNS IN FILM INDUSTRY 2013 This research project is undertaken by me as a part of Internship programme of Competition Commission of India. Dr. K. D. Singh, Deputy Director (Law) at CCI guided me through this project. His invaluable inputs and suggestions are deeply acknowledged. Library Staff of CCI also helped me throughout the internship period...
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...Beginning and Evolution of film industry in sub-continent Introduction:- Film is a term that encompasses motion pictures as individual projects, as well as the field in general. The origin of the name comes from the fact that photographic film has historically been the primary medium for recording and displaying motion pictures. Many other terms exist for an individual motion picture, including picture, picture show, and most commonly, movie. Additional terms for the field in general include the big screen, the silver screen, the cinema and the movies. Films are produced by recording actual people and objects with cameras, or by creating them using animation techniques and/or special effects. They comprise a series of individual frames, but when these images are shown rapidly in succession, the illusion of motion is given to the viewer. Flickering between frames is not seen due to an effect known as persistence of vision, whereby the eye retains a visual image for a fraction of a second after the source has been removed. Film-A true art-form:- Film is considered by many to be an important art form; films entertain, educate, enlighten and inspire audiences. The visual elements of cinema need no translation, giving the motion picture a universal power of communication. Any film can become a worldwide attraction, especially with the addition of dubbing or subtitles that translate the dialogue. Films are also artifacts created by specific cultures, which reflect...
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...Growing up as a kid I don’t think I knew what black films where. My parents made a conscious effort to surround me and my brothers around black art. Growing up, I only saw majority white people in the cinema. in my opinion, black cinema would be films made by black directors with a majority black cast would be considered a black cinema. Which begs the question is a film still black if the director is white and the majority of the cast is still white. For example in “The WIZ” is an all black cast but directed by a white person. Among black people, it is revered as a major black film like Juice, and Baby Boy. Looking more into and reading articles an article in The Root regarding black cinema, begged the question should we blame films made in the name of black face like some of Tyler Perry’s creations. I agree, even if a film is black, it should uplift the culture of black people as a whole. We should demean our people in our films for us made by us. That seems a little ludicrous to take bake your culture when you're trying to progress. The problem with labeling black cinema is that we keep segregated ourselves as people. White films aren’t labeled as white films because their films are seen as the norm that standard. To have an effective black cinema, we should produce the films and make...
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