Tài liệu miễn phí Sân khấu điện ảnh
Download Tài liệu học tập miễn phí Sân khấu điện ảnh
Tux with Shades Linux in Hollywood
Workman’s background as a trailer-maker convinced him that “you could capture the essence of a memorable film in as little as a single shot—if you chose the shot carefully enough.” (Birchard, 91) His assemblage of these “essences” places images together for broad generic or thematic reasons, as well as on the basis of simple physical resemblance (similar shots of darting eyes, people popping bubble-gum) or gag value (one clip finishing a sentence from another). But the only real meaning-based common denominator of the transitions throughout the montage is the fact...
8/30/2018 2:40:11 AM +00:00
A SURVEY OF SURVIVING BUILDINGS OF THE KROTONA COLONY IN HOLLYWOOD
By the year of this Oscar montage, 1990, the cultures of home video viewing and movie taping had taken hold, and while the widespread development of the domestic cinephile would await the phenomenon of DVD collecting as characterized by Barbara Klinger, the accumulative spectatorial pleasures of the Workman montages foretell the dynamic of the contemporary movie collector. According to Klinger this is “a dynamic that occludes the relations the collection has to the outside world, particularly to the social and material conditions of mass production.” (Klinger, 147) Like the collector,...
8/30/2018 2:40:11 AM +00:00
Victor McLaglen, the British Empire, and the Hollywood Raj: Myth, Film, and Reality
This discourse participates, in turn, in a broader discourse of accumulation, the irrevocable flow of advertisements interwoven with the Oscar show itself. While these high-priced advertisements—ads during Oscar telecasts, like Superbowl ads, are often themselves celebrated as elaborately produced showcases—are for a variety of products, their metonymic linkage to the film history montage overdetermines the montage’s celebration of spectatorship as accumulation and consumption. Accumulation is an endemic feature of the cultural landscape of the information society, according to Scott Lash,...
8/30/2018 2:40:11 AM +00:00
Introducing Hollywood’s Best Customers
Naturally, during the years I’m considering,American films have changed enormously.They have become sexier,more profane, and more violent; fart jokes and kung fu are everywhere. The industry has metamorphosed into a corporate behemoth, while new technologies have transformed produc- tion and exhibition. And, to come to my central concern, over the same decades some novel strategies of plot and style have risen to prominence. Behind these strategies, however, stand principles that are firmly rooted in the history of studio moviemaking. In the two essays that follow I consider how artistic change and continuity coexist in modern American film....
8/30/2018 2:40:11 AM +00:00
HOLLYWOOD WALK OF FAME: Nomination for 2014 Selection
To track the dynamic of continuity and change since 1960, it’s conventional to start by looking at the film industry. As usually recounted, the indus- try’s fortunes over the period display a darkness-to-dawn arc that might satisfy a scriptwriter of epic inclinations.We now have several nuanced ver- sions of this story, so I’ll merely point out some major turning points. 1 The appendix provides a year-by-year chronology.
8/30/2018 2:40:11 AM +00:00
Beyond the Blockbuster
At the start of the 1960s, the studios were providing lucrative prime-time television pro- gramming, but theatrical moviemaking was not a great business to be in. Attendance was falling sharply. Road show pictures like The Sound of Mu- sic (1965), playing a single screen for months on end,were for a while bright spots on the ledger, but the cycle of epic road show productions, already over- stretched with the failure of Cleopatra (1963) and Mutiny on the Bounty (1965), crashed at the end of the decade. Soon studios faced huge losses and were taken over by conglomerates bearing mysterious names like Gulf + Western (which bought Paramount in 1966)...
8/30/2018 2:40:11 AM +00:00
What Hollywood Believes An Intimate Look at the Faith of the Famous
Yet by 1980 the industry was earning stupendous profits.What changed? For one thing, a tax scheme sponsored by the Nixon administration allowed the producers to write off hundreds of millions of dollars in past and future investments. The studios also found ways to integrate their business more firmly with broadcast television, cable, the record industry, and home video. 3 Just as important, a new generation of filmmakers emerged. Some, model- ing their work on the more personal European cinema they admired, pro- duced Americanized art films like Five Easy Pieces (1970) and Mean Streets (1973). ...
8/30/2018 2:40:11 AM +00:00
And the Winner Is: Inviting Hollywood into the Neuroscience Classroom
By the early 1980s, mer- chandising was added to the mix, so tie-ins with fast-food chains, automo- bile companies, and lines of toys and apparel could keep selling the movie. Scripts that lent themselves to mass marketing had a better chance of being acquired, and screenwriters were encouraged to incorporate special effects. Unlike studio-era productions, the megapicture could lead a robust afterlife on a soundtrack album, on cable channels, and on videocassette. By the mid-1980s, once overseas income and ancillaries were reckoned in, few films lost money....
8/30/2018 2:40:11 AM +00:00
Bollywood Cinema: A Critical Genealogy
Under the U.S. Constitution, the censors had every right to wield their scissors at whatever offended their eyes. In 1915, in Mutual Film Corporation v. Industrial Commission of Ohio, the Supreme Court ruled that the movies were not a revolutionary new communications medium but “a business, pure and simple, originated and conducted for profit, like other spectacles, not to be regarded … as part of the press of the country, or as organs of public opinion.”1 Being a commercial enterprise, motion pictures could be regulated and run out of town by cities, states, and, by logical and ominous extension,...
8/30/2018 2:40:11 AM +00:00
THE CINEMA AND DIRECTING
Picture Association of America, the MPAA), and appointed as its president Will H. Hays, the former postmaster general in the administration of Warren G. Harding and an upright, teetotaling elder of the Presbyterian Church. Hays put the industry on a solid financial basis with his contacts on Wall Street, kept federal censors at bay with his influence in Washington, D.C, and placated the moral guardians with soothing words and Protestant probity. In June 1927, in his most reassuring public relations gesture, Hays promulgated a prim list of cautionary injunctions for motion picture content called the “Don’ts and Be Carefuls” and...
8/30/2018 2:40:11 AM +00:00
Cinemas, Identities and Beyond
To placate the resurgent opposition, the MPPDA promised to abide by a set of guidelines more extensive and restrictive than the simple nostrums enshrined in the “Don’ts and Be Carefuls.” The document that articulated the new commitment to screen morality was the Production Code. Written in 1929 by Martin J. Quigley, an influential editor and publisher of motion picture trade periodicals, and Reverend Daniel A. Lord, a multitalented Jesuit who first lent his spiritual expertise to Hollywood as the Catholic advisor to Cecil B. DeMille’s biblical epic The King of Kings (1927), the Production Code was the...
8/30/2018 2:40:11 AM +00:00
Redefining Gender in Twenty-First Century Spanish Cinema: The Films of Pedro Almodóvar
The document crafted by Quigley and Lord contained two sections, a philosophical justification titled “General Principles,” followed by a list of prohibitions titled “Working Principles.” The first section of the original Production Code was later titled “Reasons Supporting the Code.” The document that later became known as “the Code” was a summary of the original prepared at the direction of Will H. Hays, because, said Lord, “in the abbreviated form it was a more workable and convenient set of instructions.”2 The first section laid out a theory of media that recognized the cathartic and escapist function of...
8/30/2018 2:40:11 AM +00:00
The influence of the cinema on children and adolescents
The first section laid out a theory of media that recognized the cathartic and escapist function of motion picture entertainment but deplored the photoplay that “tends to degrade human beings.” Italicized references to “moral importance” and capitalized imperatives that “the motion picture has special Moral obligations” animate every line of the text. A key passage asserts the profound moral obligation filmmakers have toward young people because “the mobility, popularity, accessibility, emotional appeal, vividness, straight- forward presentation of fact in the films makes for intimate contact of a larger audience and greater emotional appeal.” ...
8/30/2018 2:40:11 AM +00:00
History of Cinema: Hollywood and the Production Code
Hollywood submitted to the rigorous oversight of the PCA because the alternatives to “censorship at the source” were far worse. After all, censorship had been a fact of creative and commercial life for motion picture producers from the very birth of the medium, when even the modest osculations of the middle-aged lovebirds in Thomas Edison’s The Kiss (1896) scandalized cadres of (literally) Victorian ministers, matrons, and other variants of a sour-faced species known as the “bluenose.” By common consent, the artistically vital and culturally disruptive spectacle of the motion picture—an entertainment accessible to all levels of society and degrees...
8/30/2018 2:40:11 AM +00:00
Cinema 3.0: How Digital and Computer Technologies are Changing Cinema
I hate the fact that fans who want to do what readers have always done are expected to play in the same system as all these hotshot agents and lawyers. It's just stupid to say that an elementary school classroom should have to talk to a lawyer at a giant global publisher before they put on a play based on one of my books. It's ridiculous to say that people who want to “loan” their electronic copy of my book to a friend need to get a license to do so. Loaning books has been around longer than any publisher on Earth, and it's a...
8/30/2018 2:40:11 AM +00:00
Spanishness in the Spanish Novel and Cinema of the 20th – 21st Century
Copyright laws are increasingly passed without democratic debate or scrutiny. In Great Britain, where I live, Parliament recently passed the Digital Economy Act, a complex copy- right law that allows corporate giants to disconnect whole families from the Internet if any- one in the house is accused (without proof) of copyright infringement; it also creates a “Great Firewall of Britain” that is used to censor any site that record companies and movie studios don't like. This law was passed in 2010 without any serious public debate in Par- liament, rushed through using a dirty process through which our elected representatives betrayed the public to give a huge,...
8/30/2018 2:40:11 AM +00:00
DIRECTORY OF WORLD CINEMA AMERICAN INDEPENDENT
Most of my previous books have been released under a slightly different Creative Com- mons license, one that allowed for derivative works (that is, new creative works based on this one). Keen observers will have already noticed that this book is licensed “NoDerivs” -- that is, you can't make remixes without permission. A word of explanation for this shift is in order. When I first started publishing under Creative Commons licenses, I had to carefully explain this to my editor and publisher at Tor Books. They were incredibly forward-looking and gave me permission to release the first-ever novel licensed under CC -- my debut novel Down and...
8/30/2018 2:40:11 AM +00:00
AMERICAN INDEPENDENT CINEMA: An Introduction
My foreign rights agents are the inestimable Danny and Heather Baror, and collectively they have sold my books into literally dozens of countries and languages, helping to bring my work to places I couldn't have dreamed of reaching on my own. They subcontract for my agent Russell Galen, another inestimable personage without whom I would not have attained anything like the dizzy heights that I enjoy today. They attend large book fairs in cities like Frankfurt and Bologna in order to sell the foreign rights to my books, often negotiating with one of a few English-speakers at a foreign press, who then goes back and justifies her...
8/30/2018 2:40:11 AM +00:00
Apple LED Cinema Display
The point is that this is nothing like my initial Creative Commons discussion with Tor. That was me sitting down and making the case to editors I've known for years (my editor at Tor, Patrick Nielsen Hayden, has known me since I was 17). My foreign rights are sold by a subcontractor of my representative to a representative of a press I've often never heard of, who then has to explain my publishing philosophy to people I've never met, using a language I don't speak.
8/30/2018 2:40:11 AM +00:00
A Qualitative Study of Avid Cinema-goers : UK Film Council
Danny and Heather have asked -- not demanded, asked! -- that I consider publishing books under a NoDerivs license, so that I can consult with them before I authorize translations of my books. They want to be able to talk to potential foreign publishers about how this stuff works, to give me time to talk with them, to ease them into the idea, and to have the kind of extended conversation that helped me lead Tor into their decision all those years ago. And I agreed. Free/open culture is something publishers need to be led to, not forced into. It's a long conversation that often runs contrary...
8/30/2018 2:40:11 AM +00:00
MALWARE CINEMA A PICTURE IS WORTH A THOUSAND PACKETS
Every time I put a book online for free, I get emails from readers who want to send me donations for the book. I appreciate their generous spirit, but I'm not interested in cash do- nations, because my publishers are really important to me. They contribute immeasurably to the book, improving it, introducing it to audiences I could never reach, helping me do more with my work. I have no desire to cut them out of the loop. But there has to be some good way to turn that generosity to good use, and I think I've found it....
8/30/2018 2:40:11 AM +00:00
EXPANDED CINEMA
Here's the deal: there are lots of teachers and librarians who'd love to get hard-copies of this book into their kids' hands, but don't have the budget for it (teachers in the US spend around $1,200 out of pocket each on classroom supplies that their budgets won't stretch to cover, which is why I sponsor a classroom at Ivanhoe Elementary in my old neighborhood in Los Angeles; you can adopt a class yourself at ‹http://www.adoptaclassroom.org/›. There are generous people who want to send some cash my way to thank me for the free ebooks....
8/30/2018 2:40:11 AM +00:00
THE CINEMATIC TEXT: METHODS AND APPROACHES
If you enjoyed the electronic edition of Pirate Cinema and you want to donate something to say thanks, go to ‹http://craphound.com/pc/donate/› and find a teacher or librarian you want to support. Then go to Amazon, BN.com, or your favorite electronic bookseller and order a copy to the classroom, then email a copy of the receipt (feel free to delete your address and other personal info first!) to ‹freepiratecinema@gmail.com› so that Olga can mark that copy as sent. If you don't want to be publicly acknowledged for your generosity, let us know and we'll keep you anonymous, otherwise we'll thank you on the donate page. I've done this...
8/30/2018 2:40:11 AM +00:00
REVUE DE THEORIE LIMAGE ET DU SON A JOURNAL OF THEORY ON IMAGE AND SOUND: CINEMA AND COGNITIVE PSYCHOLOGY
I will never forget the day my family got cut off from the Internet. I was hiding in my room as I usually did after school let out, holed up with a laptop I'd bought third-hand and that I nursed to health with parts from here and there and a lot of cursing and sweat. But that day, my little lappie was humming along, and I was humming with it, because I was about to take away Scot Colford's virginity. You know Scot Colford, of course. They've been watching him on telly and at the cinema since my mum was a girl, and he'd been dead...
8/30/2018 2:40:11 AM +00:00
CINEMA SOUND SYSTEM MANUAL
You probably didn't know that Scot and Monalisa did a love-scene together, did you? It was over fifty years ago, when they were both teen heart-throbs, and they were co-stars in a genuinely terrible straight-to-net film called No Hope, about a pair of clean cut youngsters who fall in love despite their class differences. It was a real weeper, and the supporting appearances in roles as dad, mum, best mate, priest, teacher, etc, were so forgettable that they could probably be used as treatment for erasing traumatic memories. But Scot and Monalisa, they had chemistry (and truth be told, Monalisa had geography, too -- hills and valleys...
8/30/2018 2:40:11 AM +00:00
Garage Cinema and the Future of Media Technology
Though there exists a body of feminist film making in Hindi cinema, the leading lady of Hindi films has more or less played defined roles which conform to the values upheld by Indian society. Women in Bollywood have been uni-dimensional characters, who are good or bad, white or black. There are no shades of grey. This dichotomy was reinforced in popular films which distinguished between the heroine and the vamp, the wife and the other woman. Films have also been inspired to a large extent from religion and mythology whereby women characters were seen as the epitome of virtue and...
8/30/2018 2:39:55 AM +00:00
Optics of Digital Cinema
How real are the women characters in Hindi films? This is something to debate about because values, ideals, principles; morals have dominated the frame-work in which these films are placed. Thus, women rather than being depicted as normal human beings are elevated to a higher position of being ideal who can commit no wrong. Their grievances, desires, ambitions, feelings, perspectives are completely missing from the scene. They are really portrayed as the „other‟ because they are shown as not belonging to this real and worldly life. For eg: Abhimaan (1973) begins with premise of the wife (Jaya Bachchan)...
8/30/2018 2:39:55 AM +00:00
Hollywood: The Dream Factory An Anthropologist Looks at the Movie Makers
Bollywood heroines have mostly been homely, content to stay happily ever after in the institution of marriage even if educated and keen to carve and identity of one‟s own. Where are the women building careers and working professionally? They have been almost silenced. Shahla Raza (2003) talks about how Hindi cinema in the seventies had women in different working roles (Jaya Bachchan as a knife sharpener in 'Zanjeer' and a singer in 'Abhimaan', Hema Malini as a village tonga (horse carriage) driver in 'Sholay' and the general manager of a company in 'Trishul', Rakhee as corporate secretary in...
8/30/2018 2:39:55 AM +00:00
A Cinema Guild Release a film by Ilisa Barbash and Lucien Castaing-Taylor
In an era of information overload, it is not too radical to expect some social consciousness from the cinema medium. All this while, there has been discussion about media‟s responsibility to the society. So why cinema should be engaged only with creating leisure for its audience and not make them think critically? Popular rhetoric and culture need to be challenged and cinema can do it effectively if it exhibits some sensitivity to gender issues. This is because Hindi films now enjoy a huge international market in many South Asian and Western countries. Thereby, operating in a...
8/30/2018 2:39:55 AM +00:00
DIVE INTO THE WORLD OF FULL HD 3D
The narratives of Hindi cinema have undoubtedly been male dominated and male centric. Themes have been explored from the male audience‟s point of view. The heroine is always secondary to the hero. Her role is charted out in context of any male character which is central to the script. It may be the hero, the villain, the father, the boss, an elderly male figure etc. She is devoid of any independent existence and her journey throughout the film is explored in relation to the male character. This kind of straight-jacketing limits the women‟s role to providing glamour, relief, respite and...
8/30/2018 2:39:55 AM +00:00