scholarly journals Tunde Kelani: The Man Exceeds the Frame

2021 ◽  
Vol 4 (1) ◽  
pp. 1-7
Author(s):  
Toyin Falola

The extraordinary announcement, coming from the Federal University of Agriculture, Abeokuta, that ace filmmaker Kelani will now be based there as a Fellow is heartwarming. The news reveals the warmth and uniqueness of the University’s boundless imaginations and the humanistic vision of its Vice-Chancellor, Professor Kolawole Salako. The news of this deserving appointment follows on the heels of Kelani receiving the prestigious Leopold ́ Sédar Senghor Prize for African Cultural Creativity and Impact in July, 2019 at the annual TOFAC event at Babcock University. In that same month, he was also inducted into the American Oscars—the Academy of Motion Picture, Arts and Sciences. All of these accolades are well-deserved. Kelani has spent his career putting things—people, ideas, cultures, traditions, and ideologies—inside the cinematographic frame. It is a most exciting thing to see him too bursting out of every frame with all these multiple achievements that celebrate him Ìrókò!

2021 ◽  
pp. 105-135
Author(s):  
Luci Marzola

The second part of the book begins with chapter 4, which explores the key events of 1927–1928, in which the motion picture industry began to bring together companies and workers from the East and West around strategic technological shifts. While the shift to sound was in process, it was not sound but lights and film stock that served as the vehicles for these early collaborative endeavors. With the formation of the Academy of Motion Picture Arts and Sciences (AMPAS) in 1927, the studios united behind a single organization designed to standardize both labor and technology practices across all the major producers. In order to gain the cooperation and favor of the studio technicians, AMPAS focused many of its early activities on collaborative technical projects. In the spring of 1928, the Mazda tests united the studio technicians, manufacturers, independent labs, and trade organizations to standardize lighting and film stock technology across the industry. This first “scientific endeavor” of Hollywood, followed immediately by the first Society of Motion Picture Engineers (SMPE) convention in the area, created a model for the institutionalization of technological management and innovation in the industry.


2019 ◽  
Vol 128 (8) ◽  
pp. 52-61
Author(s):  
Craig Barron ◽  
Wendy Aylsworth ◽  
Theodore E. Gluck ◽  
Rob Hummel ◽  
Michael Tronick ◽  
...  

2013 ◽  
Vol 122 (6) ◽  
pp. 40-45
Author(s):  
Bill Kroyer ◽  
George Joblove ◽  
Peter Anderson ◽  
Lisa Churgin ◽  
Ray Feeney ◽  
...  

Author(s):  
J. E. Smyth

Bette Davis crafted her career in opposition to conventional images of femininity, battling for equal treatment and pay, and by the end of the 1930s, the media, her fans, and the Hollywood industry itself paid tribute to “Queen Bette.” While Harry, Sam, and Jack Warner concealed their repressive studio practices behind the mask of a family brand, as “the fourth Warner Brother” Davis shrewdly promoted filmmaking’s capacity for transparency, realism, and equality, from her public contract dispute in 1936 to her unconventional roles and off-screen persona. While a number of actresses kept their distance from long-term studio contracts, Davis put her “team player” capital to good use. As president of the Academy of Motion Picture Arts and Sciences, president of the Hollywood Canteen, and public Democrat, she built networks of working women inside Hollywood and inspired her female fans to develop their independent political voice and faith in equal rights.


2021 ◽  
pp. 164-194
Author(s):  
Luci Marzola

At the end of the 1920s, the Academy of Motion Picture Arts and Sciences (AMPAS) harnessed its role in the transition to sound to shift leadership of technical research to Hollywood. At the same time that it began the Sound School, the Academy established a Producers-Technicians Committee designed to pool knowledge of universal production practices. This chapter argues that AMPAS was able to establish itself as the authority over everyday technology in Hollywood through this committee and by absorbing the AMPP’s Technical Bureau. Through their collective scientific activities, the studios were able to take advantage of the knowledge and skills of their workers to solidify Hollywood’s dominance over the motion picture industry. At the same time, several new journals and publications for the dissemination of technical knowledge were established, including the International Photographer, Journal of the Society of Motion Picture Engineers, and the Academy Technical Digest, determining who disseminated knowledge, generated definitions, and created standards. The institutional structure established by the start of 1930 would remain stable throughout the golden age of Hollywood, making AMPAS both the clearinghouse and the gatekeeper that determined what the basic standards for technology would be and who would have access to this knowledge.


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