...European cinema is more complex than American cinema. The above statement does not entirely reflect the reality. At the level of creative expressions, the relationship between these two continents has always been, to say the very least, a two-way road. The exchanges concerning Hollywood and the international cinema scene are long-standing and deeply rooted. During the formation of classical Hollywood cinema, many of its key architects were in fact European emigrants – Lubitsch, Dieterle, Lang, Hitchcock, Sirk, to name but a few. More recently, many of Hollywood’s finest contemporary directors – Scorsese, Altman, Coppola and others – have often turned to Europe, to the French New Wave, Italian neo-realism and the New German Cinemas for a source of inspiration and influence. In the Bioscope of 8 January 1925, Joseph Schenck, then president of United Artist, commented brutally on British film productions: “You have no personalities to put on the screen. Your stage actors and actresses are no good on the screen. Your effects are no good, and you do not spend nearly so much money.” Similar remarks can be found about almost any European cinema in almost any decade. It is possible to question the aesthetic standards by which such complaints are made. It can be argued that slow rhythms, deliberate staginess, and lack of star presence or of visible production values are positive qualities which European film-makers have exploited in creative ways and which the Hollywood cinema is the poorer...
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...MU AN ! ! The Italian American Cinema ! ! The crucial and influential part of the American Cinema represents the Italian American Cinema. The Italian American Cinema can be defined as films made by Italian Americans about relationships between Italians and Americans in the United States (Moliterno 2002:433). The Italian cinema has been appreciated and adored in the United Stated from its beginnings. Especially valued were its artistic and cultural quality, as well as the ability to transmit the values of the European history into films (Brunetta 2009:9). The reciprocal influences between Italian and American cinema date back to 1912 and have a Polish accent: in that year George Kleine, a film distributor from Chicago, purchased distribution rights to the film Quo vadis? based on the novel written by Henryk Sienkiewicz. After 1912 numerous Italian films flooded America: frequently used motives were Napoleonic campaigns and Homeric battles. Popular titles of movies from that period include Cajus Julius Caesar, Gli ultimi giorni di Pompei (The Last Days of Pompei), Spartacus among many others. Historicalmythological films became inspirational for such directors as David Llewelyn Wark „D.W.” Griffith and Cecil B. DeMille. After World War I popularity in the United States of America gained stars of the early Italian cinema: Francesca Bertini, Lyda Borelli and Pina Menichelli (Brunetta 2009:10). Another crucial moment in the relationship of American and Italian film industry...
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...hundreds of years, it wasn’t until the early 19th century that the American people began to focus on advancing the visual art of film. DIfferent methods of image projection served as the rudimentary foundations of motion picture entertainment, and they advanced rapidly throughout the 1800s. Innovators such as Thomas Edison and Eadweard Muybridge began building off of image-projecting technologies to create the roots of America’s film industry. The history of the “motion picture” as we know it begins with photographer and entrepreneur Eadweard Muybridge in California in the late 19th century. He used timed exposures of photos of racehorses to capture the different stages of a horse’s gallop and placed them on a projector to simulate motion. He traveled with his creation in hopes of advancing his invention, and he eventually met with Thomas Edison at one of his shows. During this time, Edison and Muybridge worked together while trying to discover a way to set these moving images to sound from Edison’s phonograph. Soon after their meeting, Edison set out to create an even better camera that could capture more images, and eventually created the kinetograph and the kinetoscope. By the turn of the century, it was evident that the film industry was s profitable enterprise. Many early films contained little to no story line, such as Edison’s The Kiss and The Sneeze. Later, when the ability to pan a camera was born, cinema company and top Edison competitor, Biograph incorporated these techniques...
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...Cinema of France From Wikipedia, the free encyclopedia See also: French comedy films Cinema of France | Gaumont palace in Paris, c.1914 | Number ofscreens | 5,653 (2014)[1] | Main distributors | Twentieth Century Fox(14.6%) Warner Bros. (9.8%) UGC (6.9%)[1] | Produced feature films (2014)[1][2] | Total | 258 | Animated | 9 (3.49%) | Documentary | 37 (14.34%) | Number of admissions (2014)[1][2] | Total | 208.9768 million | National films | 91.26 million (44.4%) | Gross box office (2014)[1][2] | Total | €1.33 billion | National films | €563.01 million (43.1%) | Cinema of France refers to the film industry based in France. The French cinema comprises the art of film and creative movies made within the nation of France or by French filmmakers abroad. France is the birthplace of cinema and was responsible for many of its significant contributions to the art form and the film-making process itself.[3] Several important cinematic movements, including the Nouvelle Vague, began in the country. It is noted for having a particularly strong film industry, due in part to protections afforded by the French government.[3] Apart from its strong and innovative film tradition, France has also been a gathering spot for artists from across Europe and the world. For this reason, French cinema is sometimes intertwined with the cinema of foreign nations. Directors from nations such as Poland (Roman Polanski, Krzysztof Kieślowski, and Andrzej Żuławski), Argentina(Gaspar...
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...Europeans. Despite this hamartia it has been applauded with “the only dignified Aboriginal male lead that has been allowed to exist in a film made by white directors in Australia,” (Johnson, 1987:48) what is certainly a progressive allowance (though the word is problematic). It has become evident that true representation of the Aborigine in Australian popular culture is dependent on undoing the dualistic understanding that establishes their otherness. Culture is a discourse of common iconography. Signifiers of language, appearance, values, history, cuisine, beliefs… are inscribed, developed and perpetuated by popular media. In Nationalism and Literature Sarah Corse uses canonical texts; “the American The Great Gatsby and the Canadian Fruits of the Earth,” to contrast “American individualism… and Canadian social identification.” Corse contends the differences are “not natural but part of a process of national distinction,” that the canonical novel helps to construct “the form of the canon,”...
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...revolution, especially the new modes of transportation and communication that were swiftly transforming people’s lives. Telephones, automobiles, and airplanes were considered great advances, yet they also seemed threatening, especially in their capacity to be used in warfare. 2. What created the problems confronting French film production between 1918 and 1928? Identify the three primary factors as identified in the text, and summarize the effects of each of these causes. One of the problems that was getting in the way of French film production was all of the imported films pouring into the country, of all the films coming into the country were American films. The French market was relatively small, and films seldom could recover their costs with out going aboard. Foreign films, however, were difficult to place in the lucrative American market, and only a tiny number of French films had any success there during this period....
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...Cinema is a changed of expression and communication. It was invented by Edison, an American scientists. The cinema plays on important role in the social, moral, political and economic life. D.G. Phalke produced the first Indian silent film, Raja Harishchandra in 1913. The era of talkie films started in 1931 with the producing of Alam Ara. India is the largest producer of feature films in the world. The films are certified by the Central Board of Film Certification. Cinema is a source of entertainment, knowledge and employment. However, the sex and violence portrayed contaminate the minds of the people. The objective of films should be to educate, modify and to bring unity and harmony among the people. Cinema is a film i.e... a story etc. recorded as set of moving pictures to be shown on screen of a theatre house and television. It is a channel of expression and communication. The cinemas one of the most important inventions of modern science. It was invented by Dison, An American scientist. It is a medium of instruction as well as recreation. The cinema plays an important role in the social, political, educational and moral life. The history of Indian cinema began with the production of Pundalik by R.G. Torney and N.G. Chitre in 1912. This was followed by the production of Raja Harishchandra by Dhundiraj Govind Phalke in 1913. The latter is the first Indian silent film. D.G. Phalke is considered the father of Indian cinema. Women at that time were not allowed to perform in...
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...Lee Brazil Professor Maya Matos Intro to Film 16 February 2015 Cinema Aesthetics in City of God: A Study of Editing and the Cosmetics of Hunger This paper will focus on editing in the initial sequences of the film City of God. It will also show how the editing choices place this film in context with a movement, which is disaffectionately referred to as the Cosmetics of Hunger. City of God is a 2002 Brazilian film set in the favela, or slum of the same name. The film tells the story of a young photographer (Rocket) played by Alexandre Rodrigues, growing up in an environment of gangs and violence during a period from the 1960s up to the 1980s. The story begins with the protagonist literally in the middle of a gang war and reviewing the life events that brought his story to this point in a series of flashbacks. In the first images, a knife is rhythmically sharpened in a tempo that matches several quick, fixed cuts to and from the chicken’s point-of view. The knife accentuates the cuts in editing as the knife sounds rise in tempo, intensity and volume. Several of these juxtaposed shots create heightened meaning and awareness for the viewer and seemingly the chicken. The chicken appears increasingly more anxious as the editor creates a Kuleshovian continuity. Each successive chicken shot is blended with the rhythm of a frantic samba playing while people are dancing, cutting carrots, killing and de-feathering fated chickens for a stew that symbolizes the mise-en-scene. The...
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...Chinese film has three separate threads of development: Cinema of Hong Kong, Cinema of China, and Cinema of Taiwan. The cinema of Mainland China after 1949 has grown up somewhat suppressed by the Communist regime until now. The Beginnings: Shanghai as the Center Motion pictures were introduced to China in 1896. The first recorded screening of a motion picture in China occurred in Shanghai on August 11, 1896, as an "act" on a variety bill. The first Chinese film, a recording of the Beijing Opera, The Battle of Dingjunshan(汉中之战）, was made in November 1905. For the next ten years the production companies were mainly foreign-owned, and the domestic film industry did not start in earnest until 1916, centering around Shanghai, a thriving entrepot center and the largest city in the Far East. During the 1920s, film technicians from the United States trained Chinese technicians in Shanghai, and American influence continued to be felt there for the next two decades. The first truly important Chinese films were produced starting from the 1930s, when the "progressive" or "left-wing" films were made, like Cheng Bugao's Spring Silkworms (1933), Sun Yu's The Big Road (1935), and Wu Yonggang's The Goddess (1934). During this time the Kuomintang struggled for power and control over the major studios, and their influence can be seen in the ensuing films produced. The post-1930 era is called the first "golden period" of Chinese cinema, where several talented directors appeared, most of them...
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...common man and broad room for expansion, industry representatives and analysts say that the film and entertainment sector has remarkable potential for growth. Movie production tycoons are aiming to develop content and partnerships to conquer both domestic and international audiences. Demand and Supply The Indian film industry produces roughly twice the number of movies as the American film industry, and sells 2.5 times the number of box office tickets as the U.S market. However, the Indian film industry box office revenues have been under the scanner; in 2008 Indian films earned only USD 1.6 billion compared to Hollywood's USD 9.7 billion, though ticket prices in India are less expensive than those in the U.S. or Europe. Factors affecting the mismatch: This scene is attributed to screen penetration and consumer spending still being considerably less as compared to the global scene. India is still a very price-conscious market. Also, cinema business is a tertiary demand and is the last in the chain of decision-making from a consumer’s perspective. However, demand for luxury goods, cinema tickets are said to be extremely elastic – consumers like to cut down on expenses on these when the prices rise. Demand also largely depends on the current market situation of other necessary products as well as the share of disposable income of the common man. The industry also has a limitation that the supply cannot be stepped up within a very short period if the demand goes...
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...Growing up I watched black and white movies with my dad. They were always just mystery movies to me, but there was something compelling about them. I was intrigued. I find that as I watch these movies again I’m able to view them with a more critical eye looking for what made them so special. Prior to World War II American films were about singing, dancing and happy endings. The occupation in Europe changed all that. Many European directors, artists and actors escaped to America and brought their artistic visions and hellish nightmares with them. The movies they made provided them with a creative outlet. They showed a dark side to humanity in which American soldiers returning from war could relate to. It helped them see that they were not the only ones with problems and that life was not always easy. It helped normalize what they were feeling and perhaps even helped them adjust to coming back home. Film Noir films were a complete change to what the American public was familiar with. They exposed the audience to something new and different. These movies brought an “edge and roughness” to life as they knew it. Most of all they provided new techniques to film making. The director’s innovative use of lighting and cinematography were never seen before. The audience was drawn in to focus on the main characters which I think made the scene more intimate. The actors had to up there performances showcasing their acting ability. Music played a big role in these movies as...
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...Upgrading Technologies: Creates a Real-Life Movie Going Experience May 8, 2012 Abstract AMC Theatres began upgrades in their theatre technologies in 2009. Their project objective was to gain status as the number one movie exhibition industry in the world. The scope of the project would upgrade all of their facilities to incorporate 3D technologies, premium viewing, and state-of-the-art sound systems. This project would immerse the movie viewer into a real-life experience, thereby enticing the viewer to return satisfied, and become a steady patron of the company. Their estimated timeline for completion on technology upgrades for its remaining theatres is 2014. AMC Theatres, which stands for American Multi-Cinema was founded in 1920 when a father and his two sons purchased the Regent theatre in Kansas City, Missouri. AMC is second only to Regal Theatres, as a leading global movie theatre chain. The company gives credit to one particular son named Stanley Durwood. He believed that playing a multiple selection of movies in one movie house would in-turn lead to more guests, and more profits. This simple idea revolutionized the movie exhibition industry and became a blueprint for the industry. The concept for the movie theatre was born. It is this kind of inspiration that has encouraged the AMC Corporation to introduce more industry firsts. AMC was looking for a way to bring in new customers and refresh old patron relationships. Movie sales had begun to slump in the...
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...TITLE PAGE TRENDS OF NEGATIVE THEMES IN NIGERIAN HOME MOVIES (A STUDY OF FOUR HOME MOVIES) BY OGBONNIA CHINAZA. C MC/2006/118 A PROJECT PRESENTED TO THE DEPARTMENT OF MASS COMMUNICATION, CARITAS UNIVERSITY, AMORJI-NIKE, ENUGU. IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE AWARD OF BACHELOR OF SCIENCE DEGREE IN MASS COMMUNICATION JULY, 201 DEDICATION I dedicate this work to God Almighty for his unfettered love. He is the only guide to my life and studies and he dispenses his grace freely. Also to my parents Mr. and Mrs. Joseph Ogbodo Ogbonnia and my brothers Arinze, Nnamaka, Chukwunonyerum, I remain grateful for their moral and financial support. ACKNOWLEDGEMENT I wish to acknowledge and appreciate all who fired the flame in one way or the other. First, I thank God, the almighty father who has given me life, knowledge, wisdom and strength to accomplish my work. My special gratitude goes to my head of Department, Damian. U. Agboeze who despite his crowded daily programme as the HOD would readily attend to his students and his fatherly advice. My immense gratitude also goes to my supervisor Justina Obi who devoted her time to supervise, correct and criticize this research work to make it a reality. I can never forget the service of my lecturer, Ferdinand Obasi, who made things...
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...exist for an individual motion picture, including picture, picture show, and most commonly, movie. Additional terms for the field in general include the big screen, the silver screen, the cinema and the movies. Films are produced by recording actual people and objects with cameras, or by creating them using animation techniques and/or special effects. They comprise a series of individual frames, but when these images are shown rapidly in succession, the illusion of motion is given to the viewer. Flickering between frames is not seen due to an effect known as persistence of vision, whereby the eye retains a visual image for a fraction of a second after the source has been removed. Film-A true art-form:- Film is considered by many to be an important art form; films entertain, educate, enlighten and inspire audiences. The visual elements of cinema need no translation, giving the motion picture a universal power of communication. Any film can become a worldwide attraction, especially with the addition of dubbing or subtitles that translate the dialogue. Films are also artifacts created by specific cultures, which reflect those cultures, and, in turn, affect them. Historical Background:- The history of film is an account of the historical development of the medium known variously as cinema, motion pictures, film, or the movies. The history of film spans over 100 years, from the latter part of the 19th century to the present day. Motion pictures developed gradually from a carnival...
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...Nancy J. Nabong AC 103 : MWF / 1:00 – 2:00 PM I. THE ELEMENTS OF DRAMA 1. PLOT * Most important element of a story: Summary of a play’s story, concerned with what happens in the story * The order of events occurring in a play is referred to as the plot of the drama. It is the basic storyline that is narrated through a play. The entertainment one derives from a play depends largely on the sequence of events that occur in the story. The logical connection between the events and the characters, which enact the story form an integral part of the plot of drama. 2. CHARACTER * These are the people presented in the play that are involved in the perusing plot. Each character should have their own distinct personality, age, appearance, beliefs, socio economic background, and language. * The characters must be shaped to fit the needs of the plot and all parts the characterization must fit together. * Protagonist – the person who is attempting to resolve the problem. The conflict he faces, frequently involves a struggle with some force outside himself (external conflicts) as with an antagonist and or struggle within himself (internal conflict). 3. THOUGHT * What the play means as opposed to what happens (the plot). Sometimes the theme is clearly stated in the title. It may be stated through dialogue by a character acting as the playwright’s voice. Or it may be the theme is less obvious and emerges only after some study or thought. The...
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