Tài liệu miễn phí Sân khấu điện ảnh
Download Tài liệu học tập miễn phí Sân khấu điện ảnh
SI-2K Digital Cinema Camera
The first part, entitled ‘The replacement of painting by cinema’, shows how the comparison between painting and cinema reexamines crucial questions of aesthetics such as the pregnant instant and the crisis of the frame. The second part, ‘A saturation of glorious signs’ begins by questioning the sublime side of Antonioni’s cinema before operating a turnaround showing that cinema, at its limit, rediscovers the essence of painting: acheiropoietos images in Godard’s cinema, icons for Tarkovski. The sublation becomes that of cinema by itself. ...
8/30/2018 2:39:54 AM +00:00
IGITALCINEMA TAKE2HILTZIKBY MICHAEL A.PHOTOGRAPHS BYBRYCE DUFFYCOMPUTERIZEDPOSTPRODUCTIONTRANSFORMING THEIS SILENTLYFILMMAKERSMOVIESAND GIVINGA WHOLE
Contrary to the common method of analyzing the relationship between painting and cinema, the book disclaims obvious uses of painting in cinema such as in procedures of quotations, thematic coincidences, or formal references3 . In this regard, Bonfand’s approach takes into account one of the main intuitions of Jacques Aumont’s groundbreaking book, L’oeil interminable: the rejection of any literal pictorial citation. Straight citation is a pitfall for cinema: ‘Painting sometimes becomes in the film and even in cinema in general a regressive and often unfounded mean. It is not this pictorial presence on the surface that interests me;...
8/30/2018 2:39:54 AM +00:00
The History of Sound in the Cinema
The most radical example is beyond a doubt the apparently heretical confrontation of John Ford’s The Searchers (1956) with Clyfford Still’s large abstract paintings. Focusing on the question of representing immensity -or how to let the un-limited and the un- filmable enter the screen beyond the frame (the dynamic dialectic between the cinematic screen and the pictorial frame being also a recurrent question in the book) precisely allows Bonfand to introduce in detail the original phenomenological concept which withstands the newness and pertinence of the book: the notion of ‘saturation’. ...
8/30/2018 2:39:54 AM +00:00
Dolby Atmos Cinema Technical Guidelines
Bonfand borrows it from the philosopher Jean-Luc Marion (one of the most important thinkers of the French new wave in phenomenology), as particularly developed in In Excess: Studies on Saturated Phenomena, 2002 (originally published as: De surcroît. Etudes sur les phénomènes saturées, 2001). In Marion’s phenomenology of giveness, the saturated phenomenon refers to a kind of extreme phenomena which confront the perception and the condition of phenomenality to its limits. Traditionally, that is according to Kantian philosophy, in the case of poor phenomena, the quality -the intensive greatness- of the phenomenon allows the intuition...
8/30/2018 2:39:54 AM +00:00
Dolby Atmos Next Generation Audio for Cinema
Nevertheless, if Marion limits the notion to a dazzling sight, Bonfand pushes the thought further: in cinema, the saturated phenomenon becomes something which is impossible to film, something which literally overflows the frame (the screen) of its representation and actualization within the medium. Immensity is fully a saturated phenomenon. Just as Still points to immensity by over-sizing the frame until denying it and letting the plain colours emerge from black scraps which withdraw from the borders, Bonfand shows how Ford points to immensity by using a frame inside the screen as a way to let the off-screen space enter...
8/30/2018 2:39:54 AM +00:00
The cinema-cognition dialogue: a match made in brain
If the saturated phenomenon encompasses excessive phenomena, it can also account for extremely empty and poor phenomena. This process of inversion and turnaround between two extremes in perception is certainly due to the ‘negative’ qualities of Marion’s philosophy and of the French phenomenological new wave in general 4 . Poor phenomena become saturated into an equilibrium system between the empty and the full, the excess and the lack. If Bonfand underscores this particular process of phenomenological reduction in his chapter on Ozu and Mondrian, this turn-around is also the keystone of the two long essays on Antonioni (almost...
8/30/2018 2:39:54 AM +00:00
Early Cinema Innovations Necessary for the Advent of Cinema
The first essay shows that this reference to painting allows the filmmaker to entail a process of reduction that points to a particular kind of sublime: a sublime of what is immobile, fallen, routed and diseased, a sublime made of what frightens. By filming ordinary and therefore invisible objects, by literally ‘emptying’ the image the camera performs a phenomenological reduction which suspends the intentionality in the constitution of the object. The anguish of banality is the sublime that crosses Antonioni’s cinema: the poor phenomenon becomes saturated. This is how Bonfand explains the well- known final scene of Eclipse (L’Eclisse, 1962)....
8/30/2018 2:39:54 AM +00:00
FRENCH CINEMA OF THE MARGINS
The second essay follows the path of the relation between saturation and emptiness by making an inventory of saturated motifs: the sky, the explosion as well as different forms of vacuum: the wandering, neutralization of the place, anonymity of the subject, emptiness of the space, inform, anguish, breakdown, instability, boredom, indifference… Bonfand shows that in Antonioni’s cinema the vacuum works as an autonomous and omnipresent force which disintegrates the system of representation of the films until saturating the image in return. Antonioni invents a phenomenality of emptiness that becomes a true saturated phenomenon. Nevertheless, these chapters are probably...
8/30/2018 2:39:54 AM +00:00
DIGITAL CINEMA-THE EDCF GUIDE FOR EARLY ADOPTERS
In contrast, the final essay certainly carries the most interesting and audacious research of the book. There Bonfand reaches the deepest confrontation between cinema and painting by discussing the limits of their relation: when cinema, looking for its true essence, rediscovers at the same time the origins of painting and so is aimed to produce images ‘not made by the hand of man’: acheiropoietos images. As one may well know, the notion of the acheiropoietos image comes from the Christian iconographic tradition and counts three main images of Christ’s Face: the Mandylion of Edessa, the Shroud of Turin, and...
8/30/2018 2:39:54 AM +00:00
PowerLite® Pro Cinema 6010 HOME THEATER PROjEcTOR
According to Bonfand, it is this principle of imprint which drives a large part of Godard’s system of representation, particularly in the intuitive and memory-based principle which leads the heterogeneity of his juxtapositions and collages of images starting from Pierrot le fou (1965). He demonstrates that Godard considers the canvas of the cinematic screen as ‘a sensible surface, a supporting beam in which something imprints itself […]’ (222). This inclination opens on a theory of cinema which goes back to the arche of representation, to the acheiropoietos image which perfectly fits the cinematic apparatus itself. ...
8/30/2018 2:39:54 AM +00:00
ESC300 simple set-up guide
If acheiropoietos images are for Godard the ultimate aesthetic and conceptual model for his cinema, Tarkovsky’s reference to icons remains unexplained. Nevertheless, Bonfand dares to write that ‘Takovsky’s films are for cinema in general what the icons are for painting’ (239). It is not with filming real icons (Andrei Rublev, 1969) that Tarkovsky expresses the iconic value of his work, but rather from that moment on, in the cinematic construction of the shots themselves. Tarkovsky builds his shots like icons as Bonfand’s detailed analysis of the antepenultimate shot of the Zone’s part in Stalker (1979) shows us. He demonstrates...
8/30/2018 2:39:54 AM +00:00
ESC333 simple setup guide
More precisely, he insists on the fundamental role of the sudden appearance of the rain that literally ‘irradiates’ the frame with an inexplicable but vibrating light. The rain becomes a ‘golden rain’, similar to the golden background of the icons, and transcends the cinematic image until a real transfiguration arises. Tarkovsky’s cinematic gesture in this shot is then similar to the one of religious painters. But Tarkovsky creates a specific cinematic icon since the icon appears within a temporality. The creation of the icon, its appearance within the shot, coincides with the time of the vision. By doing so, Tarkovsky...
8/30/2018 2:39:54 AM +00:00
GERMAN CINEMA: SEVEN FILMS FOR SEVEN DECADES
Bonfand’s style takes full advantage of the freedom allowed by the essay form. In the first place, Bonfand’s use of bibliographical materials follows a strict parti-pris. While he gives great importance to the filmmakers, or painters, own words, often quoting interviews or autobiographies and excavates and values non-produced film scenarios (in the two chapters on Antonioni), he does not waste time nor room by quoting existing books on the subjects he approaches. This orientation is sometimes embarrassing and weakens the intellectual honesty of the book as a whole. ...
8/30/2018 2:39:54 AM +00:00
EVO2 Hi-Fi and Home Cinema Loudspeakers
Nevertheless, one must acknowledge that Bonfand’s book takes risks, and can even be called a theoretical tour de force. By rejecting citation and confronting painting and cinema according to their ‘phenomenologicallity’, Bonfand truly ponders the relation between painting and cinema beyond the box, even though the correlation between the two may sometimes seem too loose in a couple of chapters. Additionally, the different essays remain too randomly juxtaposed, which deprives the book from having a solid structure and argument. Finally, this work is above all very engaging and encouraging for further investigations of the phenomenology of film using the groundbreaking...
8/30/2018 2:39:54 AM +00:00
F23 Digital Cinema Camera
This economic and political situation in turn created a number of paradoxes around the German cinema(s) of the 1950s and 1960s, the 1970s and 1980s that require a 'revisionist' approach to film history, if they are to remain more than paradoxes. The New German Cinema of the 1970s and early 1980s, for instance, has been celebrated as an extraordinary flourishing of talent, but on closer inspection, the renaissance was short-lived, the films technically primitive, the market-strategies naive, while the efflorescence of creativity had its roots in governmental subsidy. At first praised the world over, the films failed to build...
8/30/2018 2:39:54 AM +00:00
Cinema as Art and Philosophy in Béla Tarr's Creative Exploration of Reality
Taken as a whole, the German cinema is both more and less than the sum of its films. When one thinks of individual titles, quite a few, especially from the 1920s and early 1930s, have entered the canon, have become cultural icons the world over. Yet in these very same classics, the brilliant and the dark sides of their genius appear not only close together but inextricable. If we think of The Golem, The Cabinet of Dr Caligari, Nosferatu and Dr Mabuse: these are titles which by themselves evoke the spirit of an age, conjuring up...
8/30/2018 2:39:54 AM +00:00
Painting/Cinema: A Study on Saturated Phenomena
If from the 1920s to the 1940s, it was individual films, taken more or less out of context, which typified the German cinema, at least for an international public, the inverse was the case some thirty years later: at first the Young German Film, then the New German Cinema made headlines as national film movements, where a generational or film-political identity imposed themselves more strikingly than individual film titles. As has also been the case with other European film movements (neo-realism, or the nouvelle vague), such identity quickly dissolves, to leave in its wake a number of star personalities...
8/30/2018 2:39:54 AM +00:00
THE CINEMA OF ATTRACTION: EARLY FILM, ITS SPECTATOR AND THE AVANT-GARDE
These names, as is the mark of auteurship, stand for something more than the films they have signed (The Marriage of Maria Braun, Lili Marleen, Aguirre, Kaspar Hauser, Kings of the Road, The American Friend, Hitler-A Film from Germany, The Patriot, The Tin Drum, The German Sisters, Heimat, Germany Pale Mother).
8/30/2018 2:39:54 AM +00:00
The Mass Production of the Senses: Classical Cinema as Vernacular Modernism *
A degree of distance, industrially, from the Hollywood studio system often appears to be a necessary condition for substantial formal or socio-political departure from the dominant norms. Lower budgets and less marketing-driven filmmaking generally permit greater licence. But this can be relative. How, exactly, any individual title is marked as sufficiently different from the Hollywood mainstream to qualify as independent is subject to numerous variations explored in detail in this book. Some lean towards an ‘artistic’ form and content, merging at one end with works usually defined as ‘experimental’ or ‘avant-garde’. ...
8/30/2018 2:39:54 AM +00:00
IMAGES OF AMERICA HISTORIC HOTELS OF LOS ANGELES AND HOLLYWOOD
Others are more avowedly ‘political’ or polemical in intent. The ‘artistic’ and the ‘political’ are far from separate categories, however. Formal experiment and departure from dominant conventions is, potentially, a major resource for the deconstruction of dominant ideologies. Other examples of American independent cinema are less lofty in their ambitions, taking up the inheritance of lower-budget ‘exploitation’ cinema, for example, or seeking to carve a niche through the creation of ‘quality’, stylish, cultish or offbeat films, the primary goal of which remains the provision of profit-generating entertainment....
8/30/2018 2:39:54 AM +00:00
SEISMIC HAZARD ZONE REPORT FOR THE HOLLYWOOD 7.5-MINUTE QUADRANGLE, LOS ANGELES COUNTY, CALIFORNIA
The principal focus of American Independent Cinema is on the particular versions of independent cinema that came to prominence from the mid 1980s with the appearance of milestone films such as Stranger Than Paradise (Jim Jarmusch, 1984), sex, lies, and videotape (Steven Soderbergh, 1989) and Clerks (Kevin Smith, 1994). The terms ‘independent’ or ‘indie’ – the latter often used to distinguish this particular version of independence – are used primarily in the sense in which they became established in the wider culture in this period, rather than according to a fixed or more literal definition. To understand...
8/30/2018 2:39:54 AM +00:00
Three headed tot wins hearts in Hollywood
From this early stage, the term ‘independent’ gained romantic connotation, signifying the brave efforts of rebels fighting against a powerful trust. Independent production in this era is often given the credit for a number of landmark developments, including the shift of the centre of gravity of the film business to California and the initiation of the star system, although both claims owe more to myth than reality. 1 The independents formed their own alliance in opposition to the patents company and, Janet Staiger suggests, used a number of similar strategies; the result was the division of the industry into two rival...
8/30/2018 2:39:54 AM +00:00
Drama, Action, Romance: The Hollywood Auction
The patents company was declared to be an illegal restraint of trade and dissolved in 1915. It was soon replaced, however, by what was to become the Hollywood studio system, a vertically integrated operation in which the five major studios dominated the production, distribution and exhibition of features in the USA and much of the rest of the world. The studio system underwent substantial reorientation from the 1950s, in the face of further federal regulation and broader social change, but its dominance has remained largely in place. In the context of an industrial regime dominated by Hollywood, independent activity has...
8/30/2018 2:39:54 AM +00:00
Hollywood at the Digital Crossroad: New Challenges, New Opportunities
Within the gravitational pull of the studios, independent production has been found at both the upper and lower ends of the business. Low-budget independent outfits such as Republic and Monogram, and many smaller entities, helped to serve the demand of the system for the production of ‘B’ movies, to fill the bottom half of double bills, during the 1930s. 3 At the same time, independent producers such as David Selznick and Sam Goldwyn produced expensive ‘A’ features, borrowing stars and leasing studio space from the majors and supplying prestige films such as Gone with the Wind (1939) and Rebecca (1940) that...
8/30/2018 2:39:54 AM +00:00
HISTORIC RESOURCES SURVEY HOLLYWOOD REDEVELOPMENT PROJECT AREA
The success of Selznick, in particular, as an independent producer working closely with the studios, pointed the way towards what was to be the future structure of Hollywood production, which became increasingly organized on a contracted-out basis from the 1950s onwards. The studio production-line system gave way to the package system, in which individual film projects were put together on a one- off basis. A great deal of Hollywood production today can be described as ‘independent’ in this sense, in that projects are often initiated and pursued by entities that exist formally beyond the bounds of the majors. These include production...
8/30/2018 2:39:54 AM +00:00
PROFIT-SHARING CONTRACTS IN HOLLYWOOD: EVOLUTION AND ANALYSIS
Hollywood remains the principal source of funding and distribution, even when only a relatively small proportion of production is conducted entirely in-house. Technically independent productions include Hollywood blockbusters such as Terminator 2: Judgment Day (1991) and Basic Instinct (1992), produced by the independent Carolco in an alliance with TriStar Pictures. As with the likes of Selznick, arrangements with independents such as Carolco, Castle Rock and Morgan’s Creek in the 1990s gave the studios extra flexibility, to work in partnerships that reduced their risks, especially at the higher-budget end of the spectrum. It is clear that formal independence...
8/30/2018 2:39:54 AM +00:00
STAGE TRICKS AND HOLLYWOOD EXERCIES
If some forms of independent production have worked closely in unison with Hollywood, others have operated in areas in which Hollywood has chosen not to tread, sometimes teaching valuable lessons to the dominant institution. Necessity has often driven independent operators to be the pioneers of American cinema, exploring new avenues in their search for territories not already colonized by the major studios. The early independents took cinema to parts of rural America, including the gold camps of Alaska, that were not served by the big companies. Technological innovations have also come from independent sources in some cases: the development of...
8/30/2018 2:39:54 AM +00:00
An Empirical Analysis of Political Activity in Hollywood
The most significant audience for which Hollywood failed to cater in the immediate post-war decades, and which created the basis for some of the most important strains of independent production, was the youth audience. Hollywood was very slow to respond to demographic and other social changes during the 1950s and 1960s that created a large audience receptive to material targeted at teenage viewers. Into the gap stepped a number of independent producers, the best known being American Independent Pictures (AIP), supplying the teen audience with a range of low-budget horror, hot-rod, biker and beach-blanket movies. Such films tended to be...
8/30/2018 2:39:54 AM +00:00
HOLLYWOOD CONFESSIONS by GEMMA HALLIDAY
If this was a version of independence that was nakedly commercial in intent, the independent scene of the later 1950s and 1960s also saw a flowering of more ‘artistic’ and in some cases ‘avant- garde’ independent filmmaking. The birth of something akin to an ‘American New Wave’, to match those of contemporary European cinema, was announced in the early 1960s. The more narrative- and character-led manifestations of this development – films such as John Cassavetes’ Shadows (1960) – can be seen as direct predecessors of the indie scene of the 1980s and 1990s. ...
8/30/2018 2:39:54 AM +00:00
HOL LYWOOD ™ SCREENWRITER ™ - User’s Manual for Microsoft ® Windows ®
The commercial success of independent youth-oriented pictures such as those of AIP was matched by that of some more edgy and disturbing independent productions in the same generic territory, especially horror. Films such as Night of the Living Dead (1968) and The Texas Chain Saw Massacre (1974) proved highly successful at the box office, pushing back the boundaries of conventional exploitation- horror material and combining this with a more negative portrait of American society that resonated with contemporary angst and unrest in the era of events such as racial uprising, the Vietnam war and Watergate....
8/30/2018 2:39:54 AM +00:00