In 2007, Scorsese established the World Cinema Project with the mission, to preserve and present marginalized and infrequently screened films from regions generally ill-equipped to preserve their own cinema history. Scorsese's organization has worked with the Criterion Collection to not only preserve the films but to allow them to be released on DVD and Blu-ray boxsets and on streaming services such as The Criterion Channel. Films in the WCP include Ousmane Sembène's "Black Girl" (1966), and Djibril Diop Mambéty's "Touki Bouki" (1973). The Criterion Collection so far has released two Vol. boxsets on DVD and Blu-ray, titled, "Martin Scorsese's World Cinema Project".
The World Cinema Project
Martin Scorsese
Martin Scorsese | The World Cinema Project
Scorsese established the World Cinema Project with the mission, to preserve and present marginalized and infrequently screened films from regions generally ill-equipped to preserve their own cinema history. "Black Girl" and "Touki Bouki" The World Cinema Project. World Cinema Project.
i'm just a girl by no doubt
user
"Just a Girl" is a song by American band No Doubt.
assistant
has anyone sang a cover of it?
user
Yes, American country duo Bomshel,  Japanese singer-songwriter Kaela Kimura
assistant
when was the original song released?
user
September 21, 1995
assistant
who are the members of the afore-mentioned band?
user
The band consists of vocalist Gwen Stefani, guitarist Tom Dumont, bassist Tony Kanal, and drummer Adrian Young.
assistant
what was the vocalists debut album or song?
user
Her debut studio album was "Love. Angel. Music. Baby."
assistant
what are some places that she has toured in?
user
Sorry. I cannot find the answer based on the context.
assistant
has she acted in any movies?
user
She made her film debut playing Jean Harlow in Martin Scorsese's "The Aviator"
assistant
who is the second person mentioned here?
user
Martin Charles Scorsese  is an American film director, producer, screenwriter, and actor.
assistant
are there any frame and motion techniques that he made popular?
user
Yes, he is known for his frequent use of slow motion, freeze frames in films
assistant
what are some projects he has started for improving cinema?
user
Some of his films include references/allusions to Westerns, particularly "Rio Bravo", "The Great Train Robbery", "Shane", "The Searchers", and "The Oklahoma Kid". Slow motion flashbulbs and accented camera/flash/shutter sounds are often used, as is the song "Gimme Shelter" by The Rolling Stones heard in several of Scorsese's films: "Goodfellas", "Casino", and "The Departed".
Martin Scorsese | Slow motion and freeze frame
In 2017, Scorsese also introduced The African Film Heritage Project (AFHP), which is a joint initiative between Scorsese's non-profit The Film Foundation, UNESCO, Cineteca di Bologna, and the Pan African Federation of Filmmakers (FEPACI). The project aims to locate and preserve 50 classic African films, some thought lost and others beyond repair, with hopes to make them available to audiences everywhere. In an interview with "Cinema Escapist" in 2018, Scorsese talked about the ambitious collaboration saying, "Our first goal is to launch and conduct a thorough investigation in film archives and laboratories around the world, in order to locate the best surviving elements—original negatives, we hope—for our first 50 titles." He also stated that "Restoration is always the primary goal, of course, but within the initiative, it’s also a starting point of a process that follows through with exhibition and dissemination in Africa and abroad.
Martin Scorsese | The African Film Heritage Project
This may be a nod to director Alfred Hitchcock. Scorsese often uses long tracking shots, as seen in "Taxi Driver", "Goodfellas", "Casino", "Gangs of New York", and "Hugo". MOS sequences set to popular music or voice-over are regularly seen in his films, often involving aggressive camera movement and/or rapid editing. Scorsese sometimes highlights characters in a scene with an iris, an homage to 1920s silent film cinema (as scenes at the time sometimes used this transition). This effect can be seen in "Casino" (it is used on Sharon Stone and Joe Pesci), "Life Lessons", "The Departed" (on Matt Damon), and "Hugo".
Martin Scorsese | Slow motion and freeze frame
In 2007, Scorsese established the World Cinema Project with the mission, to preserve and present marginalized and infrequently screened films from regions generally ill-equipped to preserve their own cinema history. Scorsese's organization has worked with the Criterion Collection to not only preserve the films but to allow them to be released on DVD and Blu-ray boxsets and on streaming services such as The Criterion Channel. Films in the WCP include Ousmane Sembène's "Black Girl" (1966), and Djibril Diop Mambéty's "Touki Bouki" (1973). The Criterion Collection so far has released two Vol. boxsets on DVD and Blu-ray, titled, "Martin Scorsese's World Cinema Project".
Martin Scorsese | The World Cinema Project
Martin Charles Scorsese (, ; born November 17, 1942) is an American film director, producer, screenwriter, and actor. One of the major figures of the New Hollywood era, he is widely regarded as one of the most significant and influential directors in film history. Scorsese's body of work explores themes such as Italian-American identity, Catholic concepts of guilt and redemption, faith, machismo, crime and tribalism. Many of his films are known for their depiction of violence, and the liberal use of profanity and rock music. In 1990, he founded The Film Foundation, a nonprofit organization dedicated to film preservation, in 2007 he founded the World Cinema Foundation and in 2017, he introduced the African Film Heritage Project.
Martin Scorsese | Introduction
For his advocacy in film restoration he received the Robert Osborne Award at the 2018 TCM Film Festival. The award was given to Scorsese as "an individual who has significantly contributed to preserving the cultural heritage of classic films".
Martin Scorsese | The Film Foundation
Scorsese is known for his frequent use of slow motion, for example, in "Who's That Knocking at My Door" (1967) and "Mean Streets" (1973). He is also known for using freeze frames, such as: in the opening credits of "The King of Comedy" (1983), throughout "Goodfellas" (1990), "Casino" (1995), "The Departed" (2006), and in "The Irishman" (2019). His blonde leading ladies are usually seen through the eyes of the protagonist as angelic and ethereal; they wear white in their first scene and are photographed in slow motion—Cybill Shepherd in "Taxi Driver"; Cathy Moriarty's white bikini in "Raging Bull"; Sharon Stone's white minidress in "Casino".
Martin Scorsese | Slow motion and freeze frame
Several recurring filmmaking techniques are identifiable in many of Scorsese's films. He has established a filmmaking history which involves repeat collaborations with actors, screenwriters, film editors, and cinematographers, sometimes extending over several decades, such as that with recurring cinematographers Michael Ballhaus, Robert Richardson, and Rodrigo Prieto.
Martin Scorsese | Filmmaking style and technique
I am the mechanical eye. I the machine show you the world as only I can see it. I emancipate myself henceforth and forever from human immobility. "I am in constant motion..." My path leads towards the creation of a fresh perception of the world. I can thus decipher a world that you do not know." Like other Russian filmmakers, he attempted to connect his ideas and techniques to the advancement of the aims of the Soviet Union. Whereas Sergei Eisenstein viewed his montage of attractions as a creative tool through which the film-viewing masses could be subjected to "emotional and psychological influence" and therefore able to perceive "the ideological aspect" of the films they were watching, Vertov believed the Cine-Eye would influence the actual evolution of man, "from a bumbling citizen through the poetry of the machine to the perfect electric man".
Dziga Vertov | "Cine-Eye"
The first Volume includes 6 titles, "Touki Bouki" (1973), "Redes" (1936), "A River Called Titas" (1973), "Dry Summer" (1964), "Trances" (1981) and "The Housemaid" (1960). The second volume also includes 6 titles, "Insiang" (1976), "Mysterious Object at Noon" (2000), "Revenge" (1989), "Limite" (1931), "Law of the Border" (1967), and "Taipei Story" (1985).
Martin Scorsese | The World Cinema Project
In 1902, Méliès began to experiment with camera movement to create the illusion of a character changing size. He achieved this effect by "advancing the camera forward" on a pulley-drawn chair system, which was perfected to allow the camera operator to accurately adjust focus and for the actor to adjust his or her position in the frame as needed. This effect began with "The Devil and the Statue", in which Méliès plays Satan and grows to the size of a giant to terrorize William Shakespeare's Juliet, but then shrinks when the Virgin Mary comes to the rescue. This effect was used again in "The Man with the Rubber Head", in which Méliès plays a scientist who expands his own head to enormous proportions.
Georges Méliès | International success
He has been a major critical leader and intellectual supporter of the New American Cinema avant-garde movement. Four main techniques that Sitney identified for structural film are: fixed camera position; flicker effect; re-photography off the screen; and loop printing. These techniques were implemented by experimental filmmakers in the 1960s to create cinema "in which the shape of the whole film is pre-determined and simplified".
P. Adams Sitney | Life
Scorsese had been at the forefront in film preservation and restoration ever since 1990, when he created The Film Foundation, a non-profit film organization which collaborates with film studios to restore prints of old or damaged films. Scorsese launched the organization with Woody Allen, Robert Altman, Francis Ford Coppola, Clint Eastwood, Stanley Kubrick, George Lucas, Sydney Pollack, Robert Redford, and Steven Spielberg, who all sat on the foundation's original board of directors. In 2006, Paul Thomas Anderson, Wes Anderson, Curtis Hanson, Peter Jackson, Ang Lee and Alexander Payne joined them. In 2015, Christopher Nolan also joined the board. The foundation has restored more than 800 films from around the world and conducts a free educational curriculum for young people on the language and history of film.
Martin Scorsese | The Film Foundation
More than half of all films made before 1950 have been lost, and a mere 10% of those produced in the US prior to 1929 survive. Even more recent films are deteriorating. Because of the risk of deterioration and color fading as films age, Martin Scorsese "began his film preservation crusade in 1980", educating both the industry and the public about the problem. In 1990, Scorsese created The Film Foundation together with Woody Allen, Robert Altman, Francis Ford Coppola, Clint Eastwood, Stanley Kubrick, George Lucas, Sydney Pollack, Robert Redford and Steven Spielberg, who all sat on the foundation's original board of directors.
The Film Foundation | Background
The idea after the technique was to paint or scratch the images directly onto the movie tape instead of using a camcorder. Usually one second of movie uses 24 frames. For example, his debut film "Phobia" 1967, lasts 11 minutes. 660 seconds times 24 frames gives us 15,840 images that had to be painted. Antonisz famous of his mechanical skills, has constructed numerous accessories supporting the creation of non-camera movies. His own "Antoniszograf fazujący" was a machine which scratched a set of frames, with a fluid frame by frame transition between the following images. Another invention was his prototype of a "chropograf" (which could loosely be translated as texture-graph), which created an image with distinctive levels of roughness, allowing the blind to recognize shapes presented on the picture.
Julian Antonisz | Introduction
Although these studies began in the 2000s, this idea has been around since the early years of film. This is demonstrated with Sergei Eisenstein's experiments with montage theory and Lev Kuleshov's famous “Kuleshov Effect”. These Russian filmmakers studied American filmmakers such as D.W. Griffith and discovered that film was a “malleable” art. The Kuleshov Effect proved that the juxtaposition of a series of images together can create ideas and emotions in an audience's mind. This revolutionized propaganda in the Soviet Union to spread the influence the collective strength of a new Marxist state after the revolution of 1917. This idea has grown ever since.
Neurocinema | History
At the beginning of "Cinema 2", and after recapitulating the full movement-image cineosis developed in "Cinema 1", Deleuze asks the question: ‘why does Peirce think that everything ends with thirdness and the relation-image and that there is nothing beyond?’. It is in response to this question that Deleuze will go on to explore a new image of cinema, or as Colman puts it, "Deleuze expands his ciné-semiotic language to describe the time-image".
Cinema 1: The Movement Image | Beyond the movement-image
In the 1950s, the motion picture industry was threatened by the advent of television—TV kept moviegoers at home, reducing box office revenues. Film studios sought to lure audiences to theaters with attractions that television could not provide. These included a revival of color films, three-dimensional films, stereophonic sound, and widescreen movies. Cinerama was one of the first widescreen movie processes of the era. In its initial conception, the cumbersome system required three cameras for shooting and three synchronized projectors to display a picture on one wide, curved screen. Along with the logistical and financial challenges of tripling equipment usage and cost, the process led to distracting vertical lines between the three projected images.
Panavision | Early history
100 Movies (10th Anniversary Edition) list. Scorsese's next project was his fifth collaboration with Robert De Niro, "The King of Comedy" (1983). It is a satire on the world of media and celebrity, whose central character is a troubled loner who ironically becomes famous through a criminal act (kidnapping). The film was an obvious departure from the more emotionally committed films he had become associated with. Visually, it was far less kinetic than the style Scorsese had developed previously, often using a static camera and long takes. Here the expressionism of his previous work gave way to moments of almost total surrealism.
Martin Scorsese | 1980s
In 2013, the National Endowment for the Humanities selected Scorsese for the Jefferson Lecture, the U.S. federal government's highest honor for achievement in the humanities. He was the first filmmaker chosen for the honor. His lecture, delivered on April 1, 2013, at the John F. Kennedy Center for the Performing Arts, was titled "Persistence of Vision: Reading the Language of Cinema". Scorsese was awarded the Polish Gold Medal for Merit to Culture – Gloria Artis on April 11, 2017, in recognition of his contribution to Polish cinema. Scorsese has also garnered favorable responses from numerous film giants including Ingmar Bergman, Frank Capra, Jean-Luc Godard, Werner Herzog, Elia Kazan, Akira Kurosawa, David Lean, Michael Powell, Satyajit Ray, and François Truffaut.
Martin Scorsese | Legacy
Fassbinder used his theatrical work as a springboard for making films; and many of the Anti-Theater actors and crew worked with him throughout his entire career (for instance, he made 20 films each with actresses Hanna Schygulla and Irm Herrmann). He was strongly influenced by Brecht's "Verfremdungseffekt" (alienation effect) and the French New Wave cinema, particularly the works of Jean-Luc Godard. Fassbinder developed his rapid working methods early. Because he knew his actors and technicians so well, Fassbinder was able to complete as many as four or five films per year on extremely low budgets. This allowed him to compete successfully for the government grants needed to continue making films.
Rainer Werner Fassbinder | Early films and acclaim
The World Cinema Project (WCP) is a non-profit organization devoted to the preservation and restoration of neglected world cinema. Founded in 2007 as the World Cinema Foundation by Martin Scorsese, it was inspired by the work of The Film Foundation in the United States, a similar venture which Scorsese founded with George Lucas, Stanley Kubrick, Steven Spielberg and Clint Eastwood in 1990. The World Cinema Foundation is backed by an advisory board "Filmmaker Council" which includes Martin Scorsese, Fatih Akin, Souleymane Cissé, Guillermo Del Toro, Stephen Frears, Alejandro González Iñárritu, Wong Kar-Wai, Abbas Kiarostami, Deepa Mehta, Ermanno Olmi, Raoul Peck, Cristi Puiu, Walter Salles, Abderrahmane Sissako, Elia Suleiman, Bertrand Tavernier, Wim Wenders, and Tian Zhuangzhuang.
World Cinema Project | Introduction
1945-1995", Texas, 1999, or. 1993). More recently he explored the role of cinema in the context of modernity ("Eye of the Century. Film, Experience, Modernity", Columbia, 2008, or. 2005), and the reconfiguration of cinema in a post-medium epoch, comparing this shift with the rise of cinema at the beginning of the 20th century ("The Lumière Galaxy: Seven Key words for the Cinema to Come", Columbia, 2015). His next project is a wide-ranging analysis of the anxieties that cinema raised in the first decades of the 20th Century, compared with the iconophobic tradition in the western culture and with the fears triggered by the contemporary media.
Francesco Casetti | Biography
Schober continues her genealogical research in the project "Everybody - a transnational iconography" funded by DFG and writes a genealogy and iconography of "everybodies" - anthropomorphic iconic figures addressing and involving the audience. In a research project on cinema as a movement in Central and Southeastern Europe, Schober examined how since the 1960s cinema spectators became cinema makers through such practices as squatting in existing cinema spaces, organizing cinema "events," writing about film, and making films themselves. Drawing on a corpus of interviews with cinema activists, Schober compares the activities and artistic productions they staged in urban environments in Germany, Austria, and the former Yugoslavia.
Anna Schober | Scientific contribution
Walls recruited a National Archives motion picture engineer, pioneer cinematographer Carl Louis Gregory, to help get the movies back into shape for screening. Gregory observed the fragile state of the paper, some of which had sprocket perforations punched through. Sprocket holes or not, the paper could never travel through a projector or automated printer without being shredded. Gregory designed a system that adopted many of the traits involved with shooting animation in that era. Modifying a process optical printer, he was able to exchange sprocket heads and pull down pins that were necessary to advance the film and yet not tear it to pieces.
Paper print | First effort at reformatting
Ray, in his own words, had been subconsciously paying a tribute to [[Jean Renoir]] throughout his whole creative career, who had influenced him the most. He had also acknowledged [[De Sica]], whom he thought to have represented [[Italian Neorealism]] best, having taught him the cramming of cinematic details into a single shot, and utilising amateur actors and actresses. He has admitted to have learnt the craft of cinema from Old Hollywood Masters such as [[John Ford]], [[Billy Wilder]] and [[Ernst Lubitsch]]. He had deep respect and admiration for his contemporaries [[Akira Kurosawa]] and [[Ingmar Bergman]], whom he considered giants. Among others, he learnt the use of [[Freeze-frame shot|freeze frame shots]] from [[Truffaut]] and [[jump cuts]] and dispensasion of [[fades]] and [[wikt:dissolve|dissolve]]s from [[Godard]].
Satyajit Ray | Filmmaking style and influences
During the 1890s, Howe attempted to acquire a kinetoscope from Thomas Edison, but was unsuccessful in doing so. In 1896, he attempted to lease a vitascope from Raff & Gammon, but was again unsuccessful. He thus created his own projector, the animotiscope with the help of an electrician. The animotiscope improved on previous motion picture projectors by incorporating a second take-up reel, allowing for the showing of longer films. Howe showed his first movie in Wilkes-Barre in December 1896. This movie was based on some of Thomas Edison's films and incorporated a phonograph for sound effects. Howe continued to show films, most of which were newsreels, local movies, and travelogues.
Lyman H. Howe | Film career
Rejtman uses a minimalist style when making films. He said, "When I made "Rapado", I felt that Argentine cinema had too much dialogue, and bad dialogue at that. I hate adornments, I hate artifice, I hate anything that's unnecessary, because there really is nothing beyond the screen."
Martín Rejtman | Filming style
Youngblood sees the artist as an ecologist, involved with the environment rather than with objects (pp. 346–351). By way of example he cites the video displays at world expositions (specifically Roman Kroitor's large-scale projections at Expo 67 and Expo '70 (pp. 352–358), and the "Cerebrum", an art/nightclub environment. Artists such as Carolee Schneemann and Robert Whitman combine film projection with live performance (pp. 366–371). Wolf Vostell incorporates video experiments into environmental contexts (p. 383). Light shows are used in concerts and multiple projectors and video screens create complex environments.
Expanded Cinema | "Part Six: Intermedia"
Raoul Grimoin-Sanson (1860–1941) was an inventor in the field of early cinema. He was born in Elbeuf, as Raoul Grimoin; he added the surname Sanson later. He had an early interest in stage magic as well as photography. In the 1890s, Grimoin-Sanson began experiments in moving pictures, and desired to project films, like those from Thomas Edison's kinetoscope, on screen. In 1896, he invented a crude camera/projector combination called the Phototachygraphe. In 1897, he patented the Cinéorama, a panoramic film projection system involving ten synchronized projectors. The Cinéorama was demonstrated at the 1900 Exposition Universelle in Paris, but problems with heat from the projectors caused it to be shut down.
Raoul Grimoin-Sanson | Introduction
And of course, our restoration process always includes the creation of preservation elements." In 2019, the AFHP, announced that they would screen restorations of four African films on their home continent for the first time as part of the 50th anniversary of the Pan African Film Festival of Ouagadougou. The movies in question are Med Hondo’s "Soleil Ô" (1970), Mohammed Lakhdar-Hamina’s "Chronique des années de braise" (1975), Timité Bassori’s "La Femme au couteau" (1969), and Jean-Pierre Dikongue-Pipa’s "Muna Moto" (1975).
Martin Scorsese | The African Film Heritage Project
While cinema creates the illusion of live action, this is only made possible by a strip of still frames as they speed past the projector. Stewart is interested in the ways in which film tries, and often fails, to repress this stillness in its representations of time and movement. In this respect, he views the various techniques of cinematic plotting to be influenced—if not "determined"—by the very machinery that makes them possible. If that's the case, then new/different film technologies ought to engender new/different kinds of plots and cinematic styles. Such is Stewart's contention in a follow-up book, "Framed Time: Toward a Postfilmic Cinema" (2007), where he argues that digital filmmaking is subsequently haunted by its basis, not in still photography, but the pixel array, leading to the internally-morphing representations of time in recent sci-fi films like the Wachowskis' "The Matrix" (1999) or Spielberg's "Minority Report" (2002).
Garrett Stewart | Work and main ideas
Spielberg became interested in film preservation when he went to view the master of his film "Jaws," only to find that it had badly decomposed and deteriorated—a mere fifteen years after it had been filmed. Scorsese drew attention to the film industry's use of color-fading film stock through his use of black-and-white film stock in his 1980 film "Raging Bull". His film, "Hugo" included a key scene in which many of film pioneer Georges Méliès' silent films are melted down and the raw material recycled as shoes; this was seen by many movie critics as "a passionate brief for film preservation wrapped in a fanciful tale of childhood intrigue and adventure".
Film preservation | Studio efforts
His lamp experiment, where several different light sources are arranged across a large area, was the first to successfully project an entire image from outdoors onto a screen indoors with the "camera obscura".
Cinema of Asia | Precursors of film
However, despite other inventors preceding him, his achievement is often believed to be in the perspective of this creative era. Lumiere's suitcase-sized cinematography, which was movable served as a film dispensation unit, camera, and projector all in one. During the 1890s, film cinemas became a few minutes long and commenced to consist of various shots too. Other pioneers were also French including Niépce, Daguerre, and Marey, during the 1880s they were able to combine science and art together to launch the film industry.
Cinema of Europe | The Rise of Movement/Film Era
Walter Ruttman's Berlin, Symphony of a City (1927), is an example. In the USSR Kino-Pravda ("cinematic truth") was developed by Dziga Vertov, who created Soviet news-reels during the 1920s. According to Vertov's cinematic philosophy the movie, via techniques such as slow motion, time lapse, fast motion, close-ups and of course editing, could produce a rendition of reality more accurate than that perceived by the human eye. Meyers's influence can be discerned in cinema verité and its close relative direct cinema. Enabled by the development of convenient, portable cameras and means of synchronizing sound, cinema verité often involved following a person during moments of personal crisis.
Sidney Meyers | Influences
Acted cinema is a replacement for theater, it is theater restored. A compromise tendency still exists, directed toward the fusion or blending of the two. We take a stand against all that."The goal of a non-staged, was the expansion of the cinematic field of vision, and thereby of the potential truth of that vision. It became largely recognized, as members of the film community could not help but recognize the success of works like "Man with a Movie Camera". Author Osip Brik espoused Kino-Eye as a model for all Soviet film production. Vertov also hoped that Kino-Eye would make cinema more intelligible to the common people, so that it could truly become a mass media form.
Kino-Eye | Technique
Worden's work develops out of his interest in intermittent projection as the source of cinema's primordial powers: how a stream of still pictures passing through a projector at a speed meant to overwhelm the eyes might be harnessed to purposes other than representation or naturalism. He received his MFA in film, from the California Institute of the Arts. The Academy Film Archive preserved "Four Frames" and "Throbs" by Worden.
Fred Worden | Introduction
Tigerstedt continued working on his sound-on-film technology and made progress in solving a major technical problem, that of how to amplify film audio sufficiently to fill a large theatre or hall. He did this by making major improvements to the vacuum tube design of Lee de Forest, increasing the amplification capacity substantially. In February–March 1914, Tigerstedt demonstrated his sound-on-film technology to a small group of scientists, using his own film "Word and Picture".
Eric Tigerstedt | Demonstration of sound-on-film
Encouraged by experimental filmmaker Peter Adair, Summer ultimately attended the first year of the New York University School of the Arts (then under the NYU School of Education and called the School of Television, Motion Pictures and Radio). Haig Manoogian, instrumental in starting the career of Martin Scorsese by producing the film "Who's That Knocking at My Door" headed the school and was one of the main instructors. At NYU, Summer continued painting and studied with, among others, acclaimed photo-realist Audrey Flack. Harry Hurwitz, director of "The Projectionist" was also an instructor and personal friend. His student film "Item 72-D, The Adventures of Spa and Fon" not only won multiple awards, but was shown worldwide at many film festivals.
Edward Summer | Motion pictures
The mid 1920s witnessed a boom in the motion picture industry and movie theaters were fast-becoming popular among audiences. Another architect, John Eberson, had begun creating illusions of being seated outdoors in exotic foreign environments for the theater audiences. He achieved this by lining his auditoriums with scenes and buildings of famous tourist places, made with plaster and stucco replicas with staged lighting on them and night sky painted on the ceiling above, giving audiences the effect that they are actually outdoors. Many large-scale distributor-exhibitor chains began incorporating this architectural style in their auditoriums in the late 1920s. Kautzky was convinced to join Eberson's company as a Chief Designer, a role he maintained for the next six years.
Ted Kautzky | Motion picture industry
Scorsese also developed an admiration for neorealist cinema at this time. He recounted its influence in a documentary on Italian neorealism, and commented on how "Bicycle Thieves", "Rome, Open City" and especially "Paisà" inspired him and influenced his view or portrayal of his Sicilian roots. In his documentary, "Il Mio Viaggio in Italia" ("My Voyage to Italy"), Scorsese noted that the Sicilian episode of Roberto Rossellini's "Paisà", which he first saw on television with his relatives who were themselves Sicilian immigrants, had a significant impact on his life. He acknowledges owing a great debt to the French New Wave and has stated that "the French New Wave has influenced all filmmakers who have worked since, whether they saw the films or not." He has also cited filmmakers including Satyajit Ray, Ingmar Bergman, Michelangelo Antonioni, and Federico Fellini as major influences on his career.
Martin Scorsese | Early life
He had finally solved the most difficult practical problems of talking movies. It is worth noting that his achievement was purely experimental, as there were no prior experiments or mathematical models that he could have followed.
Eric Tigerstedt | Improving on Lee de Forest's vacuum tube
Dziga Vertov, whose "kino-glaz" ("film-eye") theory—that the camera, like the human eye, is best used to explore real life—had a huge impact on the development of documentary film making and cinema realism. In 1932, Stalin made socialist realism the state policy; this somewhat limited creativity, however many Soviet films in this style were artistically successful, like "Chapaev", "The Cranes Are Flying", and "Ballad of a Soldier". 1960s and 1970s saw a greater variety of artistic styles in the Soviet cinema. Eldar Ryazanov's and Leonid Gaidai's comedies of that time were immensely popular, with many of the catch phrases still in use today.
Russians | Cinema
Using Columbia University's mainframe computer he developed programs to produce short computer generated silent films. In a letter dated 9 May 1969 he referred to "working on my various films in the face of incredible and demented opposition. I may manage to finish one or more before I leave!" In New York Denys pioneered projection systems for ‘psychedelic’ effects, initially using liquid inks on glass slides, and later combining these with a variety of photographic images. He mounted a powerful projector in his tiny apartment in the East Village and projected images onto the building opposite, often attracting substantial crowds.
Denys Irving | Biography
He was awarded an Honorary Doctorate from the University of Oxford on June 20, 2018. As of 2019, five of Scorsese's film have been selected by the Library of Congress for preservation in the National Film Registry for being "culturally, historically, or aesthetically significant". In commenting on Scorsese's 2019 film "The Irishman", Guillermo del Toro cited Scorsese's ability as a director for the depiction of character development comparable to the films of "Renoir, Bresson, Bergman, Oliveira or Kurosawa". Sam Mendes, in his acceptance speech after winning the 2020 Golden Globe Award for Best Director for "1917", praised Scorsese's contribution to cinema, stating, "There's not one director in this room, not one director in the world, that is not in the shadow of Martin Scorsese...
Martin Scorsese | Legacy
He earned consistent praise by French critics in both "Cahiers du Cinéma" and "Positif". His singular "mis-en-scene", and skill behind the camera, was aligned with Howard Hawks, Alfred Hitchcock and Satyajit Ray. Jean-Luc Godard said, "Jerry Lewis...is the only one in Hollywood doing something different, the only one who isn't falling in with the established categories, the norms, the principles. ...Lewis is the only one today who's making courageous films. He's been able to do it because of his personal genius".
Auteur | Development of theory
Merry had previously performed his lightning-fast drawing as part of a music hall stage act. (The Lumieres were appearing on the bill at the Empire Music Hall, nearby.) The use of his 'Theatrograph' in music halls up and down the country helped popularise early cinema in Britain. There were many showmen who wished to imitate Paul's success, and some of these wanted to make their own films of 'local interest'. It was necessary to set up a completely separate manufacturing department producing cameras, projectors, and cinema equipment, with its own office and showroom. Paul would also continue his innovations in the portable camera field.
Robert W. Paul | Film innovation
Early silent films had stated frame rates anywhere from 16 to 24 frames per second (fps), but since the cameras were hand-cranked, the rate often changed during the scene to fit the mood. Projectionists could also change the frame rate in the theater by adjusting a rheostat controlling the voltage powering the film-carrying mechanism in the projector. Film companies often intended that theaters show their silent films at higher frame rates than they were filmed at. These frame rates were enough for the sense of motion, but it was perceived as jerky motion. To minimize the perceived flicker, projectors employed dual- and triple-blade shutters, so each frame was displayed two or three times, increasing the flicker rate to 48 or 72 hertz and reducing eye strain.
Frame rate | Silent films
Chillon financed the two-and-a-half-year project himself for €9000, obtaining various elements for free or cheaply through his family connections or friends: for example, the film's art director, his cousin, together with another friend who is a theatre set designer, were able to get the hospital beds for free from rental companies in Madrid, and all the sets were mounted in the loft of a friend's house. Essentially, the budget paid for rolls of film, petrol, and food.
Die Schneider Krankheit | Financing
However, asks Deleuze, "can we stop once we have set out on this path? Can we deny that the arts must also go through this conversion or that the cinema is an essential factor in this, and that it has a role to play in […] this new way of thinking?" Deleuze illustrates such claims by turning to the birth of the cinematograph, to the Lumière brothers and Charlie Chaplin. Whereas the Lumières saw no future in filmmaking, Chaplin (and others) saw its capacity for giving the world a new kind of artform. This new capacity was also arising in painting, dance, ballet, and mime, which "were abandoning figures and poses" to be open to "any-instant-whatever" and "any-location-whatever".
Cinema 1: The Movement Image | Bergson and cinema
Film scholars and historians view "Citizen Kane" as Welles's attempt to create a new style of filmmaking by studying various forms of it and combining them into one. However, Welles stated that his love for cinema began only when he started working on the film. When asked where he got the confidence as a first-time director to direct a film so radically different from contemporary cinema, he responded, "Ignorance, ignorance, sheer ignorance—you know there's no confidence to equal it. It's only when you know something about a profession, I think, that you're timid or careful." David Bordwell wrote that "The best way to understand "Citizen Kane" is to stop worshiping it as a triumph of technique." Bordwell argues that the film did not invent any of its famous techniques such as deep focus cinematography, shots of the ceilings, chiaroscuro lighting and temporal jump-cuts, and that many of these stylistics had been used in German Expressionist films of the 1920s, such as "The Cabinet of Dr.
Citizen Kane | Style
In the 1960s, VanDerBeek began working with the likes of Claes Oldenburg and Jim Dine, as well as representatives of modern dance and expanded cinema, such as Merce Cunningham and Elaine Summers. Contemporaneously, he designed shows using multiple projectors at his Movie Drome theater at Stony Point, New York. The Movie Drome was a grain silo dome which he turned into his "infinite projection screen." Visitors entered the dome through a trap-door in the floor, and were encouraged after entering to spread out over the floor and lie with their feet pointing towards the center. Once inside, the audience experienced a dynamic inter-dispersal of movies and images around them, created by over a dozen slide and film projectors filling the concave surface with a dense collage of moving imagery.
Stan Vanderbeek | Life
In the early 20th century when 35mm movie film was developed, producers found that 18–24 frames per second was adequate for portraying motion in a movie theater environment. Flicker was still a problem at these rates, but projectors solved this by projecting each frame twice, thus creating a refresh rate of 36–48 Hz without using excessive amounts of film. However, when television was developed, there was no corresponding way to capture a video frame and project it twice. The solution to this was interlace, which had a side effect that 50 to 60 images per second were presented to the viewer.
High-motion | History
Bazin wrote that the film's mise-en-scène "forces the spectator to participate in the meaning of the film" and creates "a psychological realism which brings the spectator back to the real conditions of perception." In his 1950 essay "The Evolution of the Language of Cinema", Bazin placed "Citizen Kane" center stage as a work which ushered in a new period in cinema. One of the first critics to defend motion pictures as being on the same artistic level as literature or painting, Bazin often used the film as an example of cinema as an art form and wrote that "Welles has given the cinema a theoretical restoration.
Citizen Kane | Release in Europe
Russian and later Soviet cinema was a hotbed of invention in the period immediately following 1917, resulting in world-renowned films such as "The Battleship Potemkin" by Sergei Eisenstein. Eisenstein was a student of filmmaker and theorist Lev Kuleshov, who developed the Soviet montage theory of film editing at the world's first film school, the All-Union Institute of Cinematography. Dziga Vertov, whose "kino-glaz" ("film-eye") theory—that the camera, like the human eye, is best used to explore real life—had a huge impact on the development of documentary film making and cinema realism. The subsequent state policy of socialist realism somewhat limited creativity; however, many Soviet films in this style were artistically successful, including "Chapaev", "The Cranes Are Flying", and "Ballad of a Soldier".
Mass media in Russia | Cinema
The famous movie pioneer Georges Méliès was a theatre owner and illusionist who treated film as a means to create spectacles that were even more impressive than stage shows, with lavish stage designs and special effects. The popular féerie theatre shows had often featured stage machinery for special effects (such as smoke, moving props, changeable set pieces) and magic tricks, but film allowed new tricks that were impossible to perform live on stage. A few years after the introduction of cinema, movies started to deviate more and more from live theatre experiences when filmmakers became creative with the unique possibilities that the medium provided: editing, close-ups, camera movements and special effects.
Precursors of film | Theatre
Playback on today's film projectors might require 18 or 24 frame/s. Everything would appear comically fast. The solution was to expose a frame or every other frame twice, thereby making the action appear realistic. The reverse was true as well, with overcranked exposures, and frames would have to be removed to avoid slow motion films.
Paper print | Second effort at reformatting
Ironically this is exactly the same day the Lumieres' films would first be projected in London. In 1896, he pioneered in the UK a system of projecting motion pictures onto a screen, using a double Maltese cross system. This coincided with the advent of the projection system devised by the Lumiere Brothers. After some demonstrations before scientific groups, he was asked to supply a projector and staff to the Alhambra Music Hall in Leicester Square, and he presented his first theatrical programme on 25 March 1896. This included films shot by Birt Acres featuring cartoonist Tom Merry drawing caricatures of the German Emperor Kaiser Wilhelm II (1895), and Prince Bismarck (1895).
Robert W. Paul | Film innovation
In 2012, Scorsese participated in the "Sight & Sound" film polls of that year. Held every ten years to select the greatest films of all time, contemporary directors were asked to select ten films of their choice. Scorsese, however, picked 12, which are listed below in alphabetical order:
Martin Scorsese | Favorite films
On that day, in the Salon Indien, found in the cellar of the Grand Café in Paris, the Lumière brothers offe¬red the first paid public projection with an instrument of their own invention the cinematograph. From that moment onwards we move into the first years of cinema, beginning with the magician Georges Méliès, who discovered its illusory possibilities through the introduction of image manipulation. The section also looks at the rapid spread of cinema throughout the world, its technological evolution, how it began to create its own language until becoming a new art and a new industry, and, finally, how starting with the 1930s it would be faced with a competitor: television.
Cinema Museum (Girona) | Permanent Exhibition
Peleshyan's early films, made when he was still a student at VGIK, were awarded several prizes. Twelve films by Peleshyan are known to exist. "The Beginning" ( "Skizbe") (1967) is a cinematographical essay about the October Revolution of 1917. One of the unique visual effects used in this film is achieved by holding snippets of film still on a single frame, then advancing only for a second or two before again pausing on another, resulting in a stuttering visual effect. Other important films by him are "We" ( "Menq") (1967), a poetically told history of Armenia and its people, and "Inhabitants" ( "Obitateli") (1970), a reflection on the relationship between wildlife and humans.
Artavazd Peleshyan | Works
Charlin became involved in cinematography at a time when sound was starting to be added to motion pictures, and began to build equipment for synchronous sound playback. At first this used 33 rpm records. The first "talkies" appeared in 1931, and Charlin began working on ways to improve sound quality through better recording technology. He founded a recording studio in 1933 that produced the sound tracks for many prewar movies, including in 1934 a stereo sound track for Abel Gance's 1927 silent movie "Napoléon". He moved into techniques for film projection with a 1935 patent for "Cyclope" focussing and a 1938 patent for "Actua Colour" to project colour films which was used in over 1,000 movie theatres by 1948.
André Charlin | Movie equipment (1930–49)
During the ceremony, Scorsese helped launch N.I.A.F.'s Jack Valenti Institute in memory of former foundation board member and past president of the Motion Picture Association of America (M.P.A.A.) Jack Valenti. The Institute provides support to Italian film students in the U.S. Scorsese received his award from Mary Margaret Valenti, Jack Valenti's widow. Certain pieces of Scorsese's film-related material and personal papers are contained in the Wesleyan University Cinema Archives, to which scholars and media experts from around the world may have full access. On September 11, 2007, the Kennedy Center Honors committee, which recognizes career excellence and cultural influence, named Scorsese as one of the honorees for the year.
Martin Scorsese | Legacy
One enhancement he made was the effects for the transporter; he explained, "I put fixtures in the bottom and fixtures in the top, and [the actors] would stand on them. Then I would have somebody on a dimmer work the visual, the special effect of light going on and off, and then they would zap them."
Gerald Finnerman | Biography
Eisenstein used the film to further develop his theories of film structure, using a concept he described as "intellectual montage", the editing together of shots of apparently unconnected objects in order to create and encourage intellectual comparisons between them. One of the film's most celebrated examples of this technique is a baroque image of Jesus that is compared, through a series of shots, to Hindu deities, the Buddha, Aztec gods, and finally a primitive idol in order to suggest the sameness of all religions; the idol is then compared with military regalia to suggest the linking of patriotism and religious fervour by the state.
October: Ten Days That Shook the World | Style
He still used many elements from the "primitive" style of movie-making that predated classical Hollywood's continuity system, such as frontal staging, exaggerated gestures, minimal camera movement, and an absence of point of view shots. Some claim, too, that he "invented" the close-up shot for filming.
Film grammar | Introduction
Veronesi was also active in theatre and cinema with nine experimental and abstract films made between 1938 and 1980, seven of which were destroyed during bombing in World War II. He participated to the national exhibition of scenography in Rome in 1938. In 1942, he made the scenography of the opera "Minnie la candida" of Riccardo Malipiero. From the 1940s, he worked as scenographer with Giorgio Strehler, the founder of the "Piccolo Teatro" of Milan, in particular in works of Luigi Pirandello, and later built several sets for the Scala Theater of Milan until the end of the 1980s.
Luigi Veronesi | Theatre and cinema
He argues that film can be a good medium for these ideas because of the widespread communicability of film. Although advocating the use of film, he makes note of the importance of being careful when using such a capitalist concept.
Jorge Sanjinés | Problems of Form and Content in Revolutionary Cinema
Although Fuller's films were not considered great cinema in their times, they gained critical respect in the late 1960s. Fuller welcomed the new-found esteem, appearing in films of other directors and associating himself with younger filmmakers. The French New Wave claimed Fuller as a major stylistic influence, especially Luc Moullet. His visual style and rhythm were seen as distinctly American, and praised for their energetic simplicity. Martin Scorsese praised Fuller's ability to capture action through camera movement. In the 1996 documentary "The Typewriter, the Rifle & the Movie Camera", Quentin Tarantino and Jim Jarmusch credited Fuller as influential upon their works.
Samuel Fuller | Legacy
Abstract film concepts were shaped by early 20th century art movements such as Cubism, Expressionism, Dadaism, Suprematism, Futurism, Precisionism and possible others. These art movements were beginning to gain momentum in the 1910s. Italian Futurists Arnaldo Ginna and his brother Bruno Corra made hand-painted films between 1910 and 1912 that are now lost. In 1916 they published "The Futurist Cinema" manifesto together with Giacomo Balla, Filippo Tommaso Marinetti, Remo Chiti and Emilio Settimelli. They proposed a cinema that "being essentially visual, must above all fulfill the evolution of painting, detach itself from reality, from photography, from the graceful and solemn.
Non-narrative film | 1910s: Earliest examples
Most large movie theaters in the U.S. had their own orchestras for silent film accompaniment, with smaller theaters having just a theatre organ, photoplayer or piano. The musicians often relied on an already existing repertoire of opera and excerpts from other compositions. Riesenfeld began as one of the first to write original compositions for films. As an example, the "Brother's Theme" was a mainstay of the 1926 release of "Beau Geste" (published by Robbins-Engel Inc.). Next to Albert William Ketèlbey and Ernö Rapée, Riesenfeld was a pioneer of modern, high-quality production of music. He also co-founded the cinema library music—topical collections of music for silent film orchestra and musicians also.
Hugo Riesenfeld | Movie theaters and live orchestras
Rejtman studied cinema at the Escuela Panamericana de Arte in Buenos Aires. He then studied filmmaking at New York University, where he had to make one short per week and had to shoot with what was available. At NYU he established a mode of production embraced by many other young Argentine filmmakers, both before and since: that is, the art of working with a small budget. In 2019, Rejtman released a comedic short film, "Shakti" and explained that is about "a Jewish young man, the death of his grandmother, depression, Hare Krishnas, Pesach (Passover), and potato knishes."
Martín Rejtman | Biography
He had a printer run off 500 sets of six of the designs and set up a booth at a 1935 Paris inventors' show to sell them. The venture was a financial disaster, but some optical scientists thought they might be of use in restoring three-dimensional sight to people with one eye. In collaboration with Man Ray and Marc Allégret, Duchamp filmed early versions of the "Rotoreliefs" and they named the first film version "Anémic Cinéma".
Anemic Cinema | Introduction
In Paris Pontecorvo became involved in the film world, and began by making a few short documentaries. He became an assistant to Joris Ivens, a Dutch documentary filmmaker and well-known Marxist, whose films include "Regen" and "The Bridge". He also assisted Yves Allégret, a French director known for his work in the film noir genre, whose films include "Une si jolie petite plage" and "Les Orgueilleux". In addition to these influences, Pontecorvo began meeting people who broadened his perspectives, among them artist Pablo Picasso, composer Igor Stravinsky and political thinker Jean-Paul Sartre. During this time Pontecorvo developed his political ideals.
Gillo Pontecorvo | Early films
He uses the rotoscopic technique which involves projecting film frames on to paper and then tracing them by hand. After this, the paper images are animated by separately shooting each sheet as a single frame.
Jeff Scher | Film Methodology
J.C. Daniel developed a passion for cinema while completing his higher education in Travancore. He was interested in martial arts and was an expert in chelambatam, the traditional martial art of southern Travancore. He published an English book titled "Indian Art of Fencing and Sword Play" in 1915, when he was 15. Daniel was well aware of the scope of cinema as a public medium. He wished to popularise chelambatam by harnessing the popular influence of cinema. At that time the common mass of Kerala were not even aware of cinema, hence the idea was quite a challenge. He took the challenge and left to Madras (now Chennai) to learn techniques of film-making and to acquire necessary equipments.
Vigathakumaran | Production
DeMille's filmmaking process always began with extensive research. Next, he would work with writers to develop the story that he was envisioning. Then, he would help writers construct a script. Finally, he would leave the script with artists and allow them to create artistic depictions and renderings of each scene. Plot and dialogue was not a strong point of DeMille's films. Consequently, he focused his efforts on his films' visuals. He worked with visual technicians, editors, art directors, costume designers, cinematographers, and set carpenters in order to perfect the visual aspects of his films. With his editor, Anne Bauchens, DeMille used editing techniques to allow the visual images to bring the plot to climax rather than dialogue.
Cecil B. DeMille | Method
There are several starting points for cinema (particularly American cinema), but it was Griffith's controversial 1915 epic "Birth of a Nation" that pioneered the worldwide filming vocabulary that still dominates celluloid to this day. In the early 20th century, when the medium was new, many Jewish immigrants found employment in the US film industry. They were able to make their mark in a brand-new business: the exhibition of short films in storefront theaters called nickelodeons, after their admission price of a nickel (five cents). Within a few years, ambitious men like Samuel Goldwyn, William Fox, Carl Laemmle, Adolph Zukor, Louis B.
Cinema of the United States | Rise of Hollywood
Early directors sidestepped this latter problem by only shooting one actor at a time and cutting between them. Later directors worked out where to have the actors looking to create a natural shot. Each actor was required not to look at his fellow actor, but at a cue placed where he needed to look. Finally, the three individual films would jitter and weave slightly as the films moved through the projectors. This normal frame-to-frame movement is typically imperceptible to cinema audiences where only a single projector is in use. However, in Cinerama, this resulted in the center picture constantly moving slightly relative to each of the side pictures.
Cinerama | Drawbacks
Panofsky asserts that along with architecture, animation, and commercial design, film is one of the few visual arts that is “entirely alive,” and that it has “reestablished” a “dynamic contact between art production and art consumption” lacking in most other artistic fields. Insisting that film originally drew its form in nineteenth-century painting, postcards, waxworks, comic strips, and its subject matter from popular songs, pulp magazines, and dime novels, Panofsky argues that the film medium originally “appealed directly and very intensely to a folk art mentality” by satiating its appetite for “justice and decorum,” violence, crude humor, and pornography. Despite failed attempts to legitimate the medium by importing literary values and theatrical techniques between 1905 and 1911, film art was, according to Panofsky, developed “by the exploitation of the unique and specific possibilities of the new medium”: the “dynamization of space” and the “spatialization of time." According to Panofsky, these qualities distinguished film from theater, as did the “principle of coexpressibility” which, during the sound era, entails the integration of the dialogue with the facial expressions of the actors framed in close-up shots.
Style and Medium in the Motion Pictures | Summary
"Brainstorm" was to be a showcase for Trumbull's "Showscan" process, which utilized special cameras and projectors to capture and project 70 mm film at 60 frames per second. At the last minute the Showscan process was not used, because theatre owners balked at the idea of installing expensive new projection equipment. The film was shot conventionally at 24 frames per second on 35 mm film, though Trumbull continued his process of shooting effects work in 70 mm. "In movies people often do flashbacks and point-of-view shots as a gauzy, mysterious, distant kind of image", Trumbull recalled, "And I wanted to do just the opposite, which was to make the material of the mind even more real and high-impact than 'reality'".
Douglas Trumbull | 1980–1990s
Deleuze begins "Cinema 1" with the first of four commentaries on Bergson’s philosophy (of which the second two are in "Cinema 2"). That Deleuze should begin with Bergson can be seen as rather curious. In the first place, as Christophe Wall-Romana states, while ‘Bergson was the first thinker to develop a philosophy in which cinema played a determinate role’, the philosopher’s position on cinema is also widely interpreted as ‘negative’. In the second place, as Mark Sinclair explains in "Bergson" (2020), despite the philosopher and his philosophy being very popular during the early years of the twentieth century, his ideas had been critiqued and then rejected first by phenomenology, then by existentialism, and finally by post-structuralism.
Cinema 1: The Movement Image | Bergson and cinema
Bruce Conner developed the concept for "A Movie" many years before he began working on it. He was inspired early on by a battle scene in the Marx Brothers' "Duck Soup" that builds a montage from stock footage. He envisioned a film combining images and sounds from many different movies and, when watching movies, often imagined possible sequences that could be created from them. Conner and Larry Jordan began the Camera Obscura Film Society during the late 1950s. Conner was interested in the film leader used by projectionists that went unseen by the audience. He had a filmstrip given to him by writer Lee Streiff which showed a nude woman, and he thought about inserting the strip in the countdown leader at a Camera Obscura screening of "Triumph of the Will".
A Movie | Background
Next, in the interior of a room without light the camera obscura allows us to see the reflection of the exterior images of the world, and understand why this phenomenon is the basis on which the technique of photography and cinema is founded. The next section is dedicated to mirrors, which allowed us to capture ephemeral images of the world generating optical games that drew the attention of science and the esoteric interests of the past Following on this, we observe one of the essential sections of the museum, dedicated to the magic lantern. Two hundred years before the invention of cinema, the magic lantern converted the projection of images into a form of mass entertainment for the first time, providing information and serving as an educational tool.
Cinema Museum (Girona) | Permanent Exhibition
Hollywood filmmakers would view this as a failure as their goal is to make money from films with an audience. However, Ruiz did not make films in the name of entertainment, he made them in the name of art and sometimes social or political commentary. One of his most well known films, "Time Regained" (1999), acts as a prime example of when his experimental style meshes well with an already established adaptation of a novel, making his unique artistic vision more palatable for the average viewer. It is a shame that many of his films go unnoticed or ignored for this reason, but at the end of the it is the price paid for such an incredibly vast body of work manifested in a single lifetime.
The Insomniac on the Bridge | In Ruizian Cinema
Czerny already felt connected to music theater - an interest that was to lead to his cinematic work years later. In 1919 he co-developed the NotoFilm system for adding sound to a film (also called " Czerny-Springefeld method "). In the system sheet music was copied into part of a film image, which was to serve as a score for the conductor and orchestra present in a cinema theater. During the music passages, the conductor was able to direct the melody from the images of the notes running at the bottom of the picture; Singers in the hall tried to perform their arias on the screen in sync with the actors' lip movements.
Ludwig Czerny | Biography
The film's initial concept started with a trend Carax had observed where stretch limousines were being increasingly used for weddings. The director was interested in the cars' bulkiness: "They're outdated, like the old futurist toys of the past. I think they mark the end of an era, the era of large, visible machines." From that grew an idea for a film about the increasing digitalisation of society; a science fiction scenario where organisms and visible machines share a common superfluity. The opening scene was inspired by a tale by E. T. A. Hoffmann about a man who discovers a secret door in his bedroom that leads to an opera house.
Holy Motors | Development
As Samikannu Vincent also generated his own electric power for his theatres, he built a series of theatres in and around the city to screen silent films. He also became a distributor for the French Pathé Frères movie projectors. In the early 1930s he launched the Variety Hall Talkies banner to make sound film (a.k.a. talkies) and released a few movies which were mainly shot in Calcutta. Feeling a need to have a movie studio, he was instrumental, along with other industrialists and movie makers, in establishing a fully equipped studio in Coimbatore. Also during the late 1920s, another firm under Sabapathy was involved in the distributorship of an Italian movie projector company, eventually leading to the manufacture of their own brand of movie projectors in Coimbatore.
Central Studios | Movie industry in Coimbatore
As the state undersecretary in charge of entertainment in 1949, Andreotti established import limits and screen quotas, and provided loans to Italian production firms. The measures were aimed at preventing American productions from dominating the market against Neorealist films, a genre which exhibitors complained lacked stars and was held in low esteem by the public. As he phrased it, there were to be 'Less rags, more legs'. Raunchy comedies and historical dramas with voluptuous toga-clad actresses became the staple of the Italian film industry. To ensure that state funds were not used to prop up commercially unsustainable films, the screenplays were vetted, thereby creating a form of preproduction censorship.
Giulio Andreotti | Influence on culture
In 1912 Max Wertheimer discovered beta movement and the phi phenomenon. In each the brain constitutes an experience of apparent movement when presented with a sequence of near-identical still images. This theory is said to account for the illusion of motion which results when a series of film images is displayed in quick succession, rather than the perception of the individual frames in the series. Persistence of vision should be compared with the related phenomena of beta movement and phi movement. A critical part of understanding these visual perception phenomena is that the eye "is not a camera", i.e.: there is no frame rate for the human eye or brain.
Movie projector | Physiology
Another unorthodox method used in the film was the low-angle shots facing upwards, thus allowing ceilings to be shown in the background of several scenes. Every set was built with a ceiling which broke with studio convention, and many were constructed of fabric that concealed microphones. Welles felt that the camera should show what the eye sees, and that it was a bad theatrical convention to pretend that there was no ceiling—"a big lie in order to get all those terrible lights up there," he said. He became fascinated with the look of low angles, which made even dull interiors look interesting.
Citizen Kane | Cinematography
Deleuze develops this theory by detailing the chronology of Italian neorealism, French New Wave, and New German Cinema. Deleuze states that we must think "beyond movement"… Which leads us to "Cinema 2: The Time-Image".
Cinema 1: The Movement Image | Mental images
With the advancement of technology in film in the late 1960s (simplification of cameras and tape recorders, rapid film that can be shot in normal light, automatic light meters, improved audio/visual synchronization), Solanas and Getino argue that an alternative cinema is finally possible. The authors cite the Imperfect Cinema movement in Cuba, Cinegiornali liberi in Italy, Zengakuren documentaries in Japan as proof that it is already happening. Urging the need to further politicize and experiment with the format of film—mainly the documentary—Solanas and Getino illustrate the somewhat obscure and non-universal steps that must be taken to make “revolutionary cinema”:“Real alternatives differing from those offered by the System are only possible if one of two requirements is fulfilled: making films that the System cannot assimilate and which are foreign to its needs, or making films that directly and explicitly set out to fight the System.”
Third Cinema | Availability of technology
It was this reckless attitude towards convention that mirrored the attitude of many of the gangsters in the film. Scorsese remarked, "So if you do the movie, you say, 'I don't care if there's too much narration. Too many quick cuts?—That's too bad.' It's that kind of really punk attitude we're trying to show." He adopted a frenetic style to almost overwhelm the audience with images and information. He also put plenty of detail in every frame because he believed the gangster life is so rich. Freeze frames were used as Scorsese wanted images that stopped "because a point was being reached" in Henry's life.
Goodfellas | Photography
Caligari". But Bordwell asserts that the film did put them all together for the first time and perfected the medium in one single film. In a 1948 interview, D. W. Griffith said, "I loved "Citizen Kane" and particularly loved the ideas he took from me." Arguments against the film's cinematic innovations were made as early as 1946 when French historian Georges Sadoul wrote, "The film is an encyclopedia of old techniques." He pointed out such examples as compositions that used both the foreground and the background in the films of Auguste and Louis Lumière, special effects used in the films of Georges Méliès, shots of the ceiling in Erich von Stroheim's "Greed" and newsreel montages in the films of Dziga Vertov.
Citizen Kane | Style
During 1905, electric carbons were used in motion picture projector. During the same year Samikannu Vincent established his first tent cinema at Madras called Edison's Grand Cinemamegaphone on Esplanade. At that time it was a novelty to watch films in this tent theatre. The electrically lit tent drew large crowds. He travelled with his tent cinema to different parts of the world like Malaysia and Singapore. Aware of the advantages of brick and mortar cinema house, he built one in his home town in 1914 called Variety Hall.
Samikannu Vincent | Development
Georges Méliès (1861–1938), a French filmmaker and magician, made a variety of short actuality films between 1896 and 1900. Méliès was established as a magician with his own theater-of-illusions, the Théâtre Robert-Houdin in Paris, when he attended the celebrated first public demonstration of the Lumière Brothers' Kinetoscope in December 1895. Unable to purchase a camera from the Lumières, who insisted that the venture had no future, he bought a film projector and some films from the British film experimenter Robert W. Paul and began projecting them at the Théâtre Robert-Houdin. Meanwhile, Méliès studied the principles on which Paul's projector ran, and in 1896 was able to modify the machine so that it could be used as a makeshift camera.
List of actuality films by Georges Méliès | Introduction
Margheriti's specialty in films was low budget efforts that fell into genres such as action and science fiction. To make films in short amounts of time, Margheriti applied techniques such as shooting with several cameras simultaneously, allowing him to record master shots, close-ups, and more. This often led him to light films very carefully, and allowed him to create several films per year.
Antonio Margheriti | Style
Russian and later Soviet cinema was a hotbed of invention in the period immediately following 1917, resulting in world-renowned films such as "The Battleship Potemkin" by Sergei Eisenstein. Eisenstein was a student of filmmaker and theorist Lev Kuleshov, who developed the Soviet montage theory of film editing at the world's first film school, the All-Union Institute of Cinematography. Dziga Vertov, whose "kino-glaz" ("film-eye") theory—that the camera, like the human eye, is best used to explore real life—had a huge impact on the development of documentary film making and cinema realism. The subsequent state policy of socialist realism somewhat limited creativity; however, many Soviet films in this style were artistically successful, including "Chapaev", "The Cranes Are Flying", and "Ballad of a Soldier".
Russia | Cinema, animation and media