Film presentation

2016 ◽  
pp. 135-150
Author(s):  
Johanna Richter
Keyword(s):  
Film Presentation

Historical Sound-Film Presentation and the Closed-Curtain Roadshow Overture

2021 ◽  
pp. 137-155
Author(s):  
Ben Winters
Keyword(s):  
Gone With The Wind ◽  
West Side ◽  
Sound Film ◽  
West Side Story ◽  
Film Presentation ◽  
Historically Informed Performance ◽  
The Relationship

This chapter examines historical presentational practices of sound film and, specifically, the extra music added to roadshow versions of films between the 1930s and 1960s—including Gone with the Wind, West Side Story, It’s a Mad Mad Mad Mad World, and 2001: A Space Odyssey. It argues that such added music—which included overtures, intermission, entr’acte, and exit music—when combined with controlled theatrical lighting and use of the curtain, might have prompted a number of different cinematic listening experiences among audiences. It suggests that an understanding of these historical presentational practices might call into question comfortable assumptions about the nature of sound-film ontology and the relationship between cinema as “Text” and cinema as “Event”—issues that resonate with the discourse surrounding historically informed performance (HIP) practice in musicology.

Experimental Viewing Protocols

2018 ◽  
Author(s):  
Haidee Wasson
Keyword(s):  
World War Ii ◽  
Military Operations ◽  
Civilian Life ◽  
American Military ◽  
Moving Images ◽  
Film Presentation ◽  
Wide Range ◽  
Armed Services ◽  
The Military ◽  
Film Viewing

This chapter, by Haidee Wasson, addresses the development and use of portable film projectors by the American military during World War II and after. It examines the close ties to the technological wing of the American film industry and situates the innovation and use of film projectors in the context of ongoing experiments with projectors, projection, and film viewing within the armed services. This includes a discussion of standard operating equipment that became widely integrated into military operations as well as more specialized devices: gunnery trainers, consoles, data analyzers, and dynamic projection devices that made moving images into elastic, animated performance pieces. This chapter demonstrates that the military developed an expansive, global viewing platform that normalized film presentation and viewing within a wide range of military activities. This was an unprecedented use of portable film technology, and it helped to catalyze its postwar proliferation in military and civilian life thereafter.

scholarly journals N-6. Film Presentation “C.P. Cases treated by Thalamotomy”

1965 ◽  
Vol 7 ◽  
pp. 286-286
Author(s):  
Hirotaro NARABAYASHI
Keyword(s):  
Film Presentation

Contemporary Russian Cinema

2016 ◽  
Author(s):  
Vlad Strukov
Keyword(s):  
Visual Language ◽  
Modus Operandi ◽  
Philosophical System ◽  
Film Presentation ◽  
Visual Style ◽  
Philosophical Framework ◽  
Russian Cinema ◽  
Interpretative Framework

The study captures the emergence of a new cinematic sensibility and provides a relevant interpretative framework—the so-called symbolic mode. The concept is introduced to account for a particular style of film presentation that has emerged in Russia since 2000. It is characterized by the use of the highly abstracted concepts and visual language. For example, on one level, Zviagintsev’s ‘The Return’ is a story of a father coming home after twelve years of absence and reuniting with his sons. On another, it is an eschatological exploration of the story of Christ, ancient myths and native folklore. The effect is achieved thanks to painterly allusions, composition, use of music, etc. Whilst such use of symbolization is common in word cinema, in Russian cinema it refers to a complex philosophical framework which includes such concepts as posthumous subjectivity, abandoned being, multiplicity, doubling, disintegration, etc. Thus the symbolic mode defines simultaneously a particular visual style, philosophical system and sensibility. The symbolic mode focuses on significative resemblances (appearing) that suggest a particular re-orientation of the consciousness (subjectivity) required to actualise the presence of appearing in the current world. The discussion revolves around films by established directors (Sokurov; Zviagintsev and Zel’dovich) and introduces lesser-known filmmakers (Balabanov; Fedorchenko; Kalatozishvili; Khomeriki; Litvinova; and so on). Whether directed towards a mystical world, or even towards an afterlife, the symbolic mode defines an emergence of a specific mindscape which escapes previous representational modus operandi.

Im Vestibül der Algorithmen

2021 ◽  
Vol 35 (1) ◽  
pp. 1-33
Author(s):  
Anna Bohn
Keyword(s):  
Artificial Intelligence ◽  
Data Analysis ◽  
Cultural Heritage ◽  
Video Streaming ◽  
Recommendation Systems ◽  
Market Development ◽  
Moving Image ◽  
Film Distribution ◽  
Film Presentation ◽  
Online Access

Abstract Online-access to audiovisual content is rapidly changing the system of film distribution and film presentation. The streaming portal acts as a threshold for online access to moving image works. Algorithms and artificial intelligence are increasingly taking over the selection and curation of audiovisual content and direct viewers’ attention via personalised recommendation systems. The article outlines the market development towards online access to audiovisual content and analyses selected aspects such as artwork (thumbnails) and genres to explore the functionalities of accessory (paratexts) to the film for recommendation systems in video streaming portals and data analysis. From the analysis, the article derives preliminary considerations on requirements that result from the use of artificial intelligence technologies for promoting film and visual literacy in cultural heritage institutions.

Electric-field modulation of spin-wave phase in yttrium iron garnet film (presentation video)

2014 ◽  
Author(s):  
Tianyu Liu ◽  
Xufeng Zhang ◽  
Hong Tang ◽  
Michael E. Flatté
Keyword(s):  
Electric Field ◽  
Spin Wave ◽  
Yttrium Iron Garnet ◽  
Yttrium Iron ◽  
Garnet Film ◽  
Yttrium Iron Garnet Film ◽  
Film Presentation ◽  
Field Modulation ◽  
Iron Garnet ◽  
Iron Garnet Film

Dynamic Luminous Color for Film Presentation*

1948 ◽  
Vol 50 (4) ◽  
pp. 374-388
Author(s):  
R. Gillespie Williams
Keyword(s):  
Film Presentation

scholarly journals N-5. Film Presentation “Target Points of Globus Pallidus and Putamen”

1965 ◽  
Vol 7 ◽  
pp. 285c-285c
Author(s):  
Yutaka HORI ◽  
Shozaburo UTSUMI ◽  
Seiji MIYAMOTO ◽  
Atsuo OKAZAKI ◽  
Hideaki ARACHI
Keyword(s):  
Globus Pallidus ◽  
Film Presentation
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