Indexes all types of writing about television and film, including industry papers, news journalism, and scholarly academic journals. Subjects covered include film & television theory, preservation and restoration, screenwriting, production, cinematography, technical aspects, and reviews. Includes major academic film journals, international film publications such as Cahiers du Cinema, Cinema in India, Cinemaya, Filmkultura, SegnoCinema, and Kinetoscopio, and the full text of Variety Movie Reviews back to 1920.
Provides access to IEEE and partner publications, including journals, conference proceedings, magazines, standards, books, and courses.
Subjects covered include computing and processing, components, circuits, devices, and systems, communication, networking, and broadcasting, engineered materials, dielectrics, and plasmas, signal processing and analysis, power, energy, and industry applications, fields, waves, and electromagnetics, photonics and electro-optics, general topics for engineers (math, science and engineering), bioengineering, robotics and control systems, aerospace, engineering profession, geoscience, transportation, and nuclear engineering.
How does a film come to look the way it does? And what influence does the look of a film have on our reaction to it? The role of cinematography, as both a science and an art, is often forgotten in the chatter about acting, directing, and budgets. The successful cinematographer must have a keen creative eye, as well as expert knowledge about the constantly expanding array of new camera, film, and lighting technologies. Without these skills at a director's disposal, most movies quickly fade from memory. Cinematography focuses on the highlights of this art and provides the first comprehensive overview of how the field has rapidly evolved, from the early silent film era to the digital imagery of today. The essays in this volume introduce us to the visual conventions of the Hollywood style, explaining how these first arose and how they have subsequently been challenged by alternative aesthetics. In order to frame this fascinating history, the contributors employ a series of questions about technology (how did new technology shape cinematography?), authorship (can a cinematographer develop styles and themes over the course of a career?), and classicism (how should cinematographers use new technology in light of past practice?). Taking us from the hand-cranked cameras of the silent era to the digital devices used today, the collection of original essays explores how the art of cinematography has been influenced not only by technological advances, but also by trends in the movie industry, from the rise of big-budget blockbusters to the spread of indie films. The book also reveals the people behind the camera, profiling numerous acclaimed cinematographers from James Wong Howe to Roger Deakins. Lavishly illustrated with over 50 indelible images from landmark films, Cinematography offers a provocative behind-the-scenes look at the profession and a stirring celebration of the art form. Anyone who reads this history will come away with a fresh eye for what appears on the screen because of what happens behind it.
With the shift from film to digital, a new view of the future of cinematography has emerged. Stump focuses on the tools and technology of the trade, looking at how digital cameras work, the ramifications of choosing one camera versus another, and how those choices help creative cinematographers to tell a story.
Comprehensive. Detailed. Practical. Set Lighting Technician's Handbook, Fourth Edition, is a friendly, hands-on manual covering the day-to-day practices, equipment, and tricks of the trade essential to anyone doing motion picture lighting, including the lamp operator, rigging crew, gaffer, best boy, or director of photography. This handbook offers a wealth of practical technical information, useful techniques, as well as aesthetic discussions. The Set Lighting Technician's Handbook focuses on what is important when working on-set: trouble-shooting, teamwork, set protocol, and safety. It describes tricks and techniques for operating a vast array of lighting equipment including LEDs, xenons, camera synchronous strobes, black lights, underwater units, lighting effects units, and many others. Since its first edition, this handy on-set reference continues to be widely adopted as a training and reference manual by union training programs as well as top university film production programs. New to the fourth edition: * Detailed information on LED technology and gear * Harmonized with union safety and training procedures * All the latest and greatest DMX gadgets, including remote control systems * Many new and useful lights and how to use them and troubleshoot them. * New additions to the arsenal of electrical distribution equipment that make our sets safer and easier to power. * More rigging tricks and techniques. * the same friendly, easy to read style that has made this book so popular.
Cinema has been undergoing a profound technological shift: celluloid film is being replaced by digital media in the production, distribution, and reception of moving images. Concerned with the debate surrounding digital cinema's ontology and the interrelationship between cinema cultures, From Light to Byte investigates the very idea of change as it is expressed in the current technological transition. Markos Hadjioannou asks what is different in the way digital movies depict the world and engage with the individual and how we might best address the issue of technological shift within media archaeologies. Hadjioannou turns to the technical basis of the image as his first point of departure, considering the creative and perceptual activities of moviemakers and viewers. Grounded in film history, film theory, and philosophy, he explores how the digital configures its engagement with reality and the individual while simultaneously replaying and destabilizing celluloid's own structures. He observes that, where film's photographic foundation encourages an existential association between individual and reality, digital representations are graphic renditions of mathematical codes whose causal relations are more difficult to trace. Throughout this work Hadjioannou examines how the two technologies set themselves up with reference to reality, physicality, spatiality, and temporality, and he concludes that the question concerning digital cinema is ultimately one of ethical implications--a question, that is, of the individual's ability to respond to the image of the world.
Provides streaming videos in multiple fields including Business, Fashion, Health & Medicine, History, Latin American Studies, Literature, Music, Political Science, Psychology, and Spirituality. Search by keyword or browse by subject/collection. Users can sign up for individual accounts and save playlists and edit clips. Runs on Flash and can be viewed on mobile devices.
Provides access to 1000 of the top academic streaming videos and documentaries “solely for the purposes of research, teaching, and private study” (no public performance use). Simple search by film title, use advanced search for names of cast or director. Browse by title, release date, or category (documentary, war, sci-fi, etc.), includes some foreign language films. Links to films and documentaries may be copied and placed in Canvas to assign them for viewing by students. Registration for instructors required on first use (to gain additional functionality) and recommended for students for convenience.
Brings together films which together represent the basis of modern cinematic technique and film theory. Covers silent features, serials, and shorts from the 1890s to the 1930s. High quality versions of films have been selected for the collection from leading distributors such as Kino Lorber, Lobster Films, Flicker Alley, and Image Entertainment. Alexander Street Press.