Introduction

2020 ◽  
pp. 1-5
Author(s):  
Donna Kornhaber
Keyword(s):  
Spoken Dialogue ◽  
Black And White ◽  
Sound Effects ◽  
White Film ◽  
Silent Era

Think about the last time you went to the movies. Whatever film you saw, it probably seems like it has little connection to cinema’s silent era, which ran from the invention of film recording and projection technology around 1895 until the worldwide introduction of synchronized sound in the late 1920s and early 1930s. The film you saw undoubtedly had spoken dialogue and sound effects: it was not silent at all. It probably had a swelling score. It was almost certainly in color. What relation could that film possibly have to the bygone era of silent pictures—that seemingly primordial cinematic age encapsulated in the idea of a black-and-white film dimly flickering on a screen while a lonely musician idly plays piano in the corner?...

Superior 2X2 Slides

1975 ◽  
Vol 33 ◽  
pp. 158-159
Author(s):  
Harry Schaefer ◽  
Bruce Wetzel
Keyword(s):  
New York ◽  
High Resolution ◽  
Black And White ◽  
Fine Grain ◽  
White Film

High resolution 24mm X 36mm positive transparencies can be made from original black and white negatives produced by SEM, TEM, and photomicrography with ease, convenience, and little expense. The resulting 2in X 2in slides are superior to 3¼in X 4in lantern slides for storage, transport, and sturdiness, and projection equipment is more readily available. By mating a 35mm camera directly to an enlarger lens board (Fig. 1), one combines many advantages of both. The negative is positioned and illuminated with the enlarger and then focussed and photographed with the camera on a fine grain black and white film.Specifically, a Durst Laborator 138 S 5in by 7in enlarger with 240/200 condensers and a 500 watt Opale bulb (Ehrenreich Photo-Optical Industries, Inc., New York, NY) is rotated to the horizontal and adjusted for comfortable eye level viewing.

scholarly journals SOIL MAPPING ACCURACY FROM BLACK AND WHITE, COLOR, AND INFRARED AERIAL PHOTOGRAPHY

1971 ◽  
Vol 51 (3) ◽  
pp. 461-469 ◽  
Author(s):  
K. W. G. VALENTINE ◽  
T. M. LORD ◽  
W. WATT ◽  
A. L. BEDWANY
Keyword(s):  
Aerial Photography ◽  
Soil Mapping ◽  
Photographic Film ◽  
Soil Maps ◽  
Mapping Accuracy ◽  
Color Film ◽  
Black And White ◽  
White Film ◽  
Soil Surveys ◽  
Terrain Features

The accuracy obtainable from four types of aerial photographic film in the mapping and description of soil and terrain features was measured. Black and white film gave a soil mapping accuracy of 72% and was just as good as the color or infrared films for the description of specific terrain features in mountain lands. The accuracy of the soil map in the mountain lands and the description of terrain features in an alluvial valley increased to over 80% with the color film. Infrared film, both color and black and white, gave slightly more accurate soil maps in the valley. The use of a film like Kodak Special Ektachrome MS Aerographic Type SO-151 is recommended for future soil surveys. Black and white prints and color prints and transparencies can all be obtained from the same roll of this film type.

Preserving Color Television Programs on Black-and-White Film by Electronic Video Recording

SMPTE Journal ◽  
1978 ◽  
Vol 87 (1) ◽  
pp. 9-15 ◽  
Author(s):  
Akiji Maekawa ◽  
Hiroshi Iino ◽  
Takashi Shigesawa ◽  
Tadakazu Tsutada
Keyword(s):  
Video Recording ◽  
Television Programs ◽  
Black And White ◽  
White Film ◽  
Color Television

scholarly journals Visualizing Acoustic Space

2008 ◽  
Vol 17 (3) ◽  
pp. 45-56 ◽  
Author(s):  
Gascia Ouzounian
Keyword(s):  
Media Studies ◽  
Music Composition ◽  
Visual Space ◽  
Le Corbusier ◽  
Black And White ◽  
White Film ◽  
Spatial Composition ◽  
Acoustic Space

Abstract This article explores concepts of acoustic space in postwar media studies, architecture, and spatial music composition. A common link between these areas was the characterization of acoustic space as indeterminate, chaotic, and sensual, a category defined in opposition to a definite, ordered, and rationalized visual space. These conceptual polarities were vividly evoked in an iconic sound-and-light installation, the Philips Pavilion at the 1958 Brussels World Fair. Designed by Le Corbusier, the Philips Pavilion also featured a black-and-white film, color projections, hanging sculptures, and Edgard Varèse’s Poème électronique, a spatial composition distributed over hundreds of loudspeakers and multiple sound routes. Typically remembered as a sequence of abstract sound geometries, the author argues that Poème électronique was instead an allegorical work that told a “story of all humankind.” This narrative was expressed through a series of conceptual binaries that juxtaposed such categories as primitive/enlightened, female/male, racialized/white, and sensual/ rational– contrasts that were framed within the larger dialectic between acoustic and visual space.

Function of Color in Learning an Assembly Task by Learning Disabled Adolescents

1979 ◽  
Vol 48 (3_suppl) ◽  
pp. 1195-1198 ◽  
Author(s):  
Robert B. Rutherford ◽  
Gerald S. Hasterok ◽  
Robert J. Casey ◽  
Kenneth Howell
Keyword(s):  
Learning Disabled ◽  
The Other ◽  
Color Analysis ◽  
Disabled Students ◽  
Assembly Task ◽  
Black And White ◽  
White Film

This study examined the effect of color on responses by 20 14- to 17-yr.-oId learning disabled students in a probation facility to a puzzle assembly task. Prior to the task, one of two randomly constituted groups of 10 viewed a black and white film illustrating a puzzle assembly, the other group viewed an identical film of the puzzle being assembled in color. Analysis indicated that color does not enhance performance in some cases and may inhibit performance.

scholarly journals History, Cultural Memory and Intermediality in Radu Jude’s Aferim!

2016 ◽  
Vol 13 (1) ◽  
pp. 89-105 ◽  
Author(s):  
Judit Pieldner
Keyword(s):  
Master Narrative ◽  
Historical Sources ◽  
Historical Drama ◽  
Black And White ◽  
White Film ◽  
History Of ◽  
Communist Past ◽  
Romanian Cinema ◽  
Racial Mix ◽  
Historical Past

Abstract A historical drama that can be interpreted at the juncture of theoretical discourses (heritage film, auteur film), genres (historical film, western, road movie) and representational modes (connecting to, but subverting the master narrative of Romanian historical cinema), Radu Jude’s Aferim! (2015) has attracted the attention of the international public by the unique response that it gives to the tradition of representation of the (Romanian) historical past. Its unmatched character even within New Romanian Cinema can be attributed to the fact that it does not focus on tensions of the post-communist condition or their antecedents in the recent communist past; instead, it goes back in history to a much earlier period, to the Romanian ancien régime, after the Ottoman occupation and before the abolition of Gypsy slavery, only to point at the historical roots of current social problems. Through its ingenuous (inter)medial solutions (black-and-white film, with an implied media-archaeological purport; period mise en scène but with an assumed artificiality and constructedness; a simple linear plot infused with a dense dialogue in archaic Romanian, drawn from a multitude of literary and historical sources; a sweeping panorama of 19th-century Wallachian society presented in a succession of tableau compositions), Radu Jude’s ironical-critical collage defetishizes the traditional historical iconography and debunks the mythical national imaginary, unveiling the traumatic history of an ethnic and racial mix.1

Scanning Electron Microscopy of soft-bodied tephritid larvae

1990 ◽  
Vol 48 (3) ◽  
pp. 490-490
Author(s):  
R. Paul ◽  
V. C. Kapoor
Keyword(s):  
Electron Microscopy ◽  
Scanning Electron Microscopy ◽  
Electron Microscope ◽  
Deionized Water ◽  
Soft Body ◽  
Black And White ◽  
Critical Point Drying ◽  
White Film ◽  
Ethanol Series ◽  
Scanning Electron

The soft body of dipteran larva has been posing a difficulty for entomologist to go for scanning electron microscopy. Dehydration by the conventional methods results in crumpling of the larval integument thereby distorting the minute details. The cuticle is impermeable to various types of fixatives and its puncturing with needle causes severe distortion of structure due to haemoiymphloss. To avoid this a new method was developed to prepare specimen for scanning electron microscopy. The specimen was kept in doubled is tilled deionized water at 60°C for half an hour before further treatment. It was sonicated in mild detergent (Sodium bicarbonate) for 30 sec. It was again washed with deionized water and specimen was placed in modified super skiper's solution (Grodowitz et al., 1982) and then rinsed twice in Carl's solution, after dehydration through ethanol series, critical point drying was done. Specimen was coated with gold pulludium and photographed by using JEM - 1200 EX (Jeol) electron microscope and Indu Panchromatic 125 ASA black and white film.

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