The Motion Picture Theatre of the Future and the Equipment Probably Required

1922 ◽  
Vol 6 (14) ◽  
pp. 100-106 ◽  
Author(s):  
S. L. Rothafel
Keyword(s):  
2019 ◽  
Vol 11 (3) ◽  
pp. 10-16
Author(s):  
Elena A. Rusinova

Sergei Mikhailovich Eisenstein is not only a great filmmaker but also one of the first theorists of cinema, whose ideas have not lost their significance to this day. Exploration of Eisensteins theoretical heritage reveals the relevance of many of his propositions based both on the practical experience of the director and on his theoretical conclusions and even insights.Such ideas include, in particular, the concept of audiovisual counterpoint introduced by Eisenstein in the famous manifesto Budushchee zvukovoi fil'my. Zaiavka (Statement on Sound) of 1928. In this manifesto, a number of provisions expressed the authors' concern about the possible non-cinematic use of sound in films, and at the same time, the future possibilities of sound in cinema. In particular, it was argued that only the counter-punctual use of sound in relation to the visual editing piece gives new opportunities for montage development and improvement. Subsequently, Eisenstein clarified or even revised some of the points put forward in 1928. With the experience gained in the sound field of filmmaking and the logical development of theoretical research, the idea of audiovisual counterpoint as a cinematic method grows into the problem of artistic imagery, and the contrasting of image and sound becomes part of the task of creating polyphonic (polysemantic) audiovisual solutions in a motion picture. The essay discusses the relevance of Eisenstein's ideas within contemporary artistic and theoretical contexts.


1950 ◽  
Vol 5 (2) ◽  
pp. 164-177 ◽  
Author(s):  
Rodney Luther
Keyword(s):  

1994 ◽  
Vol 42 (1_suppl) ◽  
pp. 85-102
Author(s):  
Dianne DiPaola Hagaman

Gregory Bateson and Margaret Mead intended to use a combination of text, still photographs, and motion picture film in the report of their study of character development in Bali, but found this technically impossible. Multimedia computational devices have now made it possible to do what they could not do, making the three media (in Latour's terms) ‘combinable on a flat surface.’ We were compelled to economize on motion-picture film, and disregarding the future difficulties of exposition, we assumed that the still photography and the motion-picture film together would constitute our record of behavior. (Notes to the Photographs, in Bateson and Mead, 1942 (italics Bateson's)) If inventions are made that transform numbers, images and texts from all over the world into the same binary code inside computers, then indeed the handling, the combination, the mobility, the conservation and the display of the traces will all be fantastically facilitated. When you hear someone say that he or she ‘masters’ a question better, meaning that his or her mind had enlarged, look first for inventions bearing on the mobility, immutability or versatility of the traces; and it is only later, if by some extraordinary chance, something is still unaccounted for, that you may turn towards the mind. (Latour, 1986 (italics Latour's)).


SMPTE Journal ◽  
1997 ◽  
Vol 106 (6) ◽  
pp. 410-412
Author(s):  
Petro Vlahos
Keyword(s):  
The Past ◽  

Author(s):  
Selby Wynn Schwartz

As screendance has evolved, its foremost theorists have been remarkably generous in welcoming works that flicker in the space between stage and screen, where they cast strange shadows and illuminate uncanny forms. Catherine Galasso’s Bring on the Lumière! is an interactive hybrid performance work that stretches the definition of screendance in directions indicated by scholars like Noël Carroll and Douglas Rosenberg. Galasso calls her piece “a multimedia dance-theater-light installation about the Lumière brothers, French founders of cinema.” But it also reclaims the early history of cinema for dance. The piece foregrounds the physicality of early motion-picture performance history, including ombramanie shadow movement technologies and the laboring bodies of the Lumière brothers’ first film, La sortie des usines Lumière à Lyon, shown at the Lumières’ Cinématographe, and suggests if we can understand what celluloid meant for corporeality perhaps we can deepen our sense of what “recorporealization” might mean for screendance in the future.


1950 ◽  
Vol 5 (2) ◽  
pp. 164-177
Author(s):  
Rodney Luther
Keyword(s):  

1947 ◽  
Vol 40 (4) ◽  
pp. 180-181
Author(s):  
Donovan A. Johnson ◽  
James F. Nickerson

A period of rapid expansion of teaching materials such as motion picture films, film strips, three dimensional pictures, mathematical instruments and models, both of an instructional and an enrichment nature, lies immediately before us. Are we going to give individual and collective aid in directing this expansion in the most desirable and efficient direction? The need for this direction is very evident to all who have seen some of the teaching aids that are now available in the field of mathematics education.


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