...artistic merit and available financial and technical resources. So when and how does the classical Hollywood studio system become stable? Two issues are greatly considered: the advent of sound and the business ideal of vertical integration. II. The Coming of Sound: Golden Age of Classical Hollywood The shift of the entire industry to sound films began during the late 1920s. As many film scholars will argue, film was never entirely "silent." Most movies were accompanied by some kind of music and even, at times, live narration. As with the invention of celluloid film and projection, the move to sound involved a great deal of technical trial and error, in addition to jostling for patents. In 1910, the richest studio, The Motion Pictures Patents Company, standardized the technological guts of filmmaking; their exclusive patents essentially locked others out of the market. Warner Bros. gambled that talkies would be popular with viewers, by offering the first bit of synchronized speech in The Jazz Singer. Studios now had a proof that "talkies" would make them money. But the financial investment this kind of filmmaking would require, from new camera equipment to new projection facilities, made the studios initially hesitant to invest. When vaudeville singing star Al Jolson introduced a tune with, "Wait a minute. Wait a minute. You ain't heard nothing yet," audiences shrieked in delight. From that moment on, there didn't seem to be any going back to the days of...
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...Aymee Gonzalez Professor Susan Malmo HUM205 23 July 2016 Major Filmmaker and Major Works: Name of Filmmaker and Works Mel Brooks Biographical Information Brooks was born Melvin James Kaminsky on June 28, 1926, in Brooklyn, New York. His father's family were Jews from Danzig, Germany (present-day Gdańsk, Poland); his mother's family were Jews from Kyiv, in the Pale of Settlement of the Russian Empire (present-day Ukraine). He had three older brothers: Irving, Lenny, and Bernie. Brooks' father died of kidney disease at 34 when Brooks was two years old.He has said of his father's death, "there's an outrage there. I may be angry at God, or at the world, for that. And I'm sure a lot of my comedy is based on anger and hostility. Growing up in Williamsburg, I learned to clothe it in comedy to spare myself problems—like a punch in the face." In middle age, Brooks became one of the most successful film directors of the 1970s, Brooks started working in various Borscht Belt resorts and nightclubs in the Catskill Mountains as a drummer and pianist. Around this time, he changed his professional name to "Mel Brooks" (from his mother's maiden name Brookman) after being confused with the Borscht Belt trumpet player Max Kaminsky. After a regular comic at one of the nightclubs was too sick to perform one night, Brooks started working as a stand-up comic, telling jokes and doing movie-star impressions. He also began acting in summer stock in Red Bank, New Jersey, and did some radio work....
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...The most renowned filmmaker of his era, Martin Scorsese virtually defined the state of modern American cinema during the nineteen seventies and eighties. A consummate storyteller and visual stylist who lived and breathed movies, he won fame translating his passion and energy into a brand of filmmaking that crackled with kinetic excitement. Working well outside of the mainstream, Scorsese nevertheless emerged in the seventies as a towering figure throughout the industry, achieving the kind of fame and universal recognition typically reserved for more commercially successful talents. A tireless supporter of film preservation, "Scorsese has worked to bridge the gap between cinema's history and future like no other director." (Rottentomatoes.com) Channeling the lessons of his inspirations primarily classic Hollywood, the French New Wave, and the New York underground movement of the early nineteen sixties into an extraordinarily personal and singular vision, he has remained perennially positioned at the vanguard of the medium, always pushing the envelope of the film experience with an intensity and courage unmatched by any of his contemporaries. The films of his I am most interested in are: Hugo, The Departed, Raging Bull and Goodfellas. Besides the charming tale of Hugo, all of these films have something in common, extreme violence. Scorsese seems to have worked largely in the medium of violence for most of his career. However, unlike a blockbuster director such as Michael Bay...
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...playing a newspaper magnate from a young man to old age. While the movie was not a commercial success initially (powerful newspaper publisher William Randolph Hearst, whose life was the inspiration for the movie, tried to suppress it), it was critically praised for its acting, story, and directing. Citizen Kane’s dramatic camera angles, striking film noir–style lighting, nonlinear storytelling, montages, and long deep-focus shots were considered technically innovative for the era. Over time, Citizen Kane became revered as a masterpiece, and in 1997 the American Film Institute named it the Greatest American Movie of All Time. “Citizen Kane is more than a great movie; it is a gathering of all the lessons of the emerging era of sound,” film critic Roger Ebert wrote.1 CHAPTER 6 ○ MOVIES 185 (c) Bedford/St. Martin's bedfordstmartins.com 1-457-62096-0 / 978-1-457-62096-6 MOVIES A generation later, the space epic Star Wars (1977) changed the culture of the movie industry. Star Wars, produced, written, and directed by George Lucas, departed from the personal filmmaking of the early 1970s and spawned a blockbuster mentality that formed a new primary audience for Hollywood— teenagers. It had all of the now–typical blockbuster characteristics like massive promotion and lucrative merchandising...
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...* Contrast with the circus of Les Miserables * Remains in character without melodrama * Impression that she actually is singing * She is very much still Dorothy Gale, not Judy Garland * John Dies At the End * Phantasm * Bubba Hotep * Horror + Fantasy + Comedy * Based on novel of the same name * Don Coscarelli (Director/Producer) * Loved the novel immediately * Met Paul Giammatti on set of Bubba Hotep * He has different audience from this kind of film * However, loves genre outside of his typecast * Tone of the piece was difficult to find * Created a lot of options in the editing * Actors * Chase memorized everything cover to cover...
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...4 Cinematography We are affected and defined by light. Light is the most important tool we have to work with, not only as cinematographers, but as people. —Laszlo Kovacs Courtesy Everett Collection Section 4.1 The “Look” of a Scene CHAPTER 4 Chapter Objectives After reading this chapter, students should: • Have a working knowledge of the cinematographer’s job • Understand the difference between cinematography and mise en scène and recognize the importance of each • Understand the importance of color and lighting and how they affect the tone and feel of a film • Be familiar with different methods of photographing a film, and with terms such as panning, tilting, tracking shots, deep focus, and aspect ratios • Understand how different focal length lenses affect the look of a shot • Recognize what special effects can do for a movie—and what they can’t do 4.1 The “Look” of a Scene W hen we are first introduced to Don Vito Corleone in The Godfather, played by Marlon Brando, the Mafia boss is sitting in the study of his home. Along with his consigliore, or adviser, Tom Hagen (Robert Duvall), Corleone is listening to a line of people requesting favors on the day of his daughter’s wedding. Corleone is immensely powerful, as we learn by the scope of the favors he is asked to grant, which in one case includes the desire of a singer to be cast in a film to revive his musical career, and Corleone’s ability to grant them. However, it is not just what...
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...------------------------------------------------- Lessons learnt from unintended consequences of innovations in technology ------------------------------------------------- Individual Assignment: MT5014 Systems Approach to Technology and Innovation Ravi Raman – A0008484A Abstract There have been many great innovations over the course of human history and they had many unintended consequences to the human society and to the technology in general. The study of unintended consequence has been quite limited in the current day. This paper is a study of unintended consequences of the key technological innovation from 18th century to early 20th century. This paper details the technological innovation from holistic thinking perspective and critically analysis the unintended consequences of the innovations. * Table of Contents 1. Introduction 4 1.1 What is an unintended consequence? (Karl-Erik Sveiby Pernilla Gripenberg, 2009) 4 1.2 Kinds of unintended consequences (Andrews, 2005) 5 2 Nuclear Energy 7 2.1 Concept Map 7 2.1.1 Nuclear Fission Reaction 7 2.1.2 Nuclear Energy development history 7 2.2 Problem 8 2.3 Holistic Thinking Perspective 8 2.4 Technology Innovation 10 2.5 Managing Innovation & Moving to Market 11 2.6 Complexity Management 12 2.7 Quantitative 12 3 Internal Combustion Engine - Automobile industry till early 20th Century 14 3.1 Concept Map 14 3.1.1 History of Internal Combustible Engine 14 3.2 Problem 15 3...
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...Learning with Technology Evidence that technology can, and does, support learning. A white paper prepared for Cable in the Classroom James M. Marshall, Ph.D. San Diego State University May 2002 Executive Summary “We’ve wired the schools — now what?” This question resonates with educators, and troubles them at the same time. After countless local and national efforts have boosted the infrastructure of our schools, the significant issues now arise. Should we continue to pump money into educational technology for our schools? Do computers really help students learn? How can students and teachers best learn from the World Wide Web and its content? These questions are not new, nor unique to the dawn of Internet-connected schools. Earlier technologies, from textbook and illustration to film, television, and multimedia computer, have prompted similar ponderings. If technology is to have a significant role in schools, we need assurance that it works. More emphatically, we need confidence that use of educational technology results in learning. Research, both historical and contemporary, suggests that technology-based instruction can and does result in learning. Witness these examples of television, multimedia, and computer technologies delivering content to support learning: • Watching the television program Blue’s Clues has strong effects on developing preschool viewers’ flexible thinking, problem solving, and prosocial behaviors (Bryant, Mullikin, McCollum...
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...Historia del cine Orígenes El cine se desarrolló desde el punto de vista científico antes de que sus posibilidades artísticas o comerciales fueran conocidas y exploradas. Uno de los primeros avances científicos que llevó directamente al desarrollo del cine fueron las observaciones de Peter Mark Roget, secretario de la Real Sociedad de Londres, que en 1824 publicó un importante trabajo científico con el título de Persistencia de la visión en lo que afecta a los objetos en movimiento, en el que establecía que el ojo humano retiene las imágenes durante una fracción de segundo después de que el sujeto deja de tenerlas delante. Este descubrimiento estimuló a varios científicos a investigar para demostrar el principio. Los primeros experimentos Tanto en Estados Unidos como en Europa, se animaban imágenes dibujadas a mano como forma de diversión, empleando dispositivos que se hicieron populares en los salones de la clase media. Concretamente, se descubrió que si 16 imágenes de un movimiento que transcurre en un segundo se hacen pasar sucesivamente también en un segundo, la persistencia de la visión las une y hace que se vean como una sola imagen en movimiento. El zoótropo que ha llegado hasta nuestros días consta de una serie de dibujos impresos en sentido horizontal en bandas de papel colocadas en el interior de un tambor giratorio montado sobre un eje; en la mitad del cilindro, una serie de ranuras verticales, por las cuales se mira, permiten que, al girar el aparato...
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...This is a good article. Click here for more information. The Tempest From Wikipedia, the free encyclopedia (Redirected from The tempest) This article is about the Shakespeare play. For other uses, see The Tempest (disambiguation). The shipwreck in Act I, Scene 1, in a 1797 engraving by Benjamin Smith after a painting by George Romney The Tempest is a play by William Shakespeare, believed to have been written in 1610–11, and thought by many critics to be the last play that Shakespeare wrote alone. It is set on a remote island, where Prospero, the rightful Duke of Milan, plots to restore his daughter Miranda to her rightful place using illusion and skilful manipulation. He conjures up a storm, the eponymous tempest, to lure his usurping brother Antonio and the complicit King Alonso of Naples to the island. There, his machinations bring about the revelation of Antonio's lowly nature, the redemption of the King, and the marriage of Miranda to Alonso's son, Ferdinand. There is no obvious single source for the plot of The Tempest, but researchers have seen parallels in Erasmus's Naufragium, Peter Martyr's De orbe novo, and eyewitness reports by William Strachey and Sylvester Jordain of the real-life shipwreck of the Sea Venture on the islands of Bermuda, and the subsequent conflict between Sir Thomas Gates and Sir George Somers. In addition, one of Gonzalo's speeches is derived from Montaigne's essay Of the Canibales, and much of Prospero's renunciative speech is taken...
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...Handbook of Management Accounting Research Volume 3 Edited by CHRISTOPHER S. CHAPMAN Imperial College London, UK ANTHONY G. HOPWOOD University of Oxford, UK MICHAEL D. SHIELDS Michigan State University, USA AMSTERDAM – BOSTON – HEIDELBERG – LONDON – NEW YORK – OXFORD PARIS – SAN DIEGO – SAN FRANCISCO – SINGAPORE – SYDNEY – TOKYO Elsevier The Boulevard, Langford Lane, Kidlington, Oxford OX5 1GB, UK First edition 2009 Copyright © 2009 Elsevier Ltd. All rights reserved No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise without the prior written permission of the publisher Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone ( 44) (0) 1865 843830; fax ( 44) (0) 1865 853333; email: permissions@elsevier.com. Alternatively visit the Science and Technology Books website at www.elsevierdirect.com/rights for further information Notice No responsibility is assumed by the publisher for any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use or operation of any methods, products, instructions or ideas contained in the material herein. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data A catalog record for...
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...THE CONSEQUENCES OF MASS COMMUNICATION Cultural and Critical Perspectives on Mass Media and Society Kirk Hallahan ii For Jean and Jenna Copyright info to be set by McGraw-Hill. iii Foreward This book is a brief survey of contemporary ideas about the cultural impact of mass media on society. The use of consequences in the title reflects the fact that most cultural researchers prefer this term (instead of media effects) to describe media's influence on human experience. During the past 30 years, culture has emerged as a major theoretical framework in which to investigate media. Chapter I examines how media influence culture generally, as suggested by various contemporary media scholars and others. Chapter II then focuses on critical-cultural theories about the nature of media power and its potentially negative influence. This book can adopted as a supplementary text in introductory mass media courses along with a survey text such as Joseph R. Dominick's The Dynamics of Mass Communication (available from McGraw-Hill). It also can serve as a foundational text for other assigned readings in advanced courses dealing with mass media and society, communication theory, or cultural studies. Students are encouraged to focus thoughtfully on the main ideas, not attempt to merely memorize details. Important concepts and names appear in boldface and are defined in italics. The abridged Subject Index lists the page with the primary discussion of each topic. Sidebars throughout...
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...Study Guide to Accompany Meggs’ History of Graphic Design Fourth Edition Prepared by Susan Merritt Professor and Head of Graphic Design School of Art, Design, and Art History San Diego State University (SDSU) With assistance from Chris McCampbell and Jenny Yoshida John Wiley & Sons, Inc. i DISCLAIMER The information in this book has been derived and extracted from a multitude of sources including building codes, fire codes, industry codes and standards, manufacturer’s literature, engineering reference works, and personal professional experience. It is presented in good faith. Although the authors and the publisher have made every reasonable effort to make the information presented accurate and authoritative, they do not warrant, and assume no liability for, its accuracy or completeness or fitness for any specific purpose. The information is intended primarily as a learning and teaching aid, and not as a final source of information for the design of building systems by design professionals. It is the responsibility of users to apply their professional knowledge in the application of the information presented in this book, and to consult original sources for current and detailed information as needed, for actual design situations. This book is printed on acid-free paper. Copyright © 2006 by John Wiley and Sons. All rights reserved Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced...
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...Rastafari This page intentionally left blank Rastafari From Outcasts to Culture Bearers Ennis Barrington Edmonds 2003 198 Madison Avenue, New York, New York 10016 Oxford University Press is a department of the University of Oxford It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Bangkok Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi São Paulo Shanghai Taipei Tokyo Toronto Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Copyright © 2003 by Ennis Barrington Edmonds The moral rights of the authors have been asserted Database right Oxford University Press (maker) All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose this same condition on any acquirer Library of Congress Cataloging-in-Publication Data Edmonds...
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...Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch SECTION FIVE: Memory Does The History of Western Art Tell a Grand Story?…………………………………… Eugene E. Selk Storylines………………………………………………………………………………… Bozenna Wisniewsak SECTION SIX: Art and Identity Two Late Crisis Paintings by Van Gogh………………………………………………….. Robert Wauhkonen Personal Stories and the Intransigent Critic…………………………………………….. Charles S. Mayer The Role or Story in the Development of a...
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