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Restoration of Motion Picture Film
This is the first book to bring together the work of a modern motion picture film laboratory together with the specialist techniques for preservation and restoration of archival film.The books data has its origins in a training programme called FILM which was written by members of the Gamma Group with funding from the EU fund Force. The committee comprised senior film archivists and technicians in charge of film conservation departments or working film laboratories within national film archives, together with technicians from commercial laboratories which specialise in archival film conservation and who do not work for national and local archives. The final group consisted of many of the most experienced individuals in their fields.Restoration of Motion Picture Film is an extremely informative, well-researched book which is an unmissable addition to the bookshelves of conservators, archivists and curators worldwide. Film history and film conservation students will also find it of great interest and use.* Only book in English on this subject* Prepared by leading specialists in their field* Includes coverage of digital technology
The Film Experience
Explains how film-makers create a movie through the use of visual and structural rhythm, imagery, point of view and other cinematic techniques.
Now a Major Motion Picture
Going beyond the process of adaptation, Geraghty is more interested in the films themselves and how they draw on our sense of recall. While a film reflects its literary source, it also invites comparisons to our memories and associations with other versions of the original. For example, a viewer may watch the 2005 big-screen production of Pride and Prejudice and remember Austen's novel as well as the BBC's 1995 television movie. Adaptations also rely on the conventions of genre, editing, acting, and sound to engage our recall--elements that many movie critics tend to forget when focusing solely on faithfulness to the written word.
The Man Who Invented Motion Pictures
A story of the man who, before he could unveil his invention to the world, mysteriously vanished and was never seen or heard again, lost to history until now, in this never-before-told history of the motion picture.
The History of Motion Pictures
Partial Contents: Birth of the Film (1895-1908) --The Prewar Film (1908-1914) -- The Cinema During the World War (1914-1918) --THe Emergence of Art (1919-1923) (French, Russian Scandinavian, German, Italian, American) --Classic Era of Silent Film(1923-1929) -- The Talking Films (1929-1935) -- Forty Years of Film
Motion Picture Photography
In 1891, William Dickson, a researcher at Thomas Edison's firm, developed the Kinetograph, a motion picture camera that used Eastman Kodak's new celluloid film. Almost immediately, an industry was born. The new artistic and technical discipline of motion picture photography matured as the film industry grew. From the beginnings of the movie camera, developments in film production and exhibition have been inextricably linked to the evolution of motion picture photography. This work traces the history of motion picture photography from the late 19th century through the year 1960, when color photography became the accepted standard. Generously illustrated, it covers each decade's cameras, lenses, cameramen, film processing methods, formats, studios, lighting techniques and major cinematographic developments. Each chapter concludes with examples of the decade's outstanding cinematography. Instructors considering this book for use in a course may request an examination copy here.
Now a Major Motion Picture
Going beyond the process of adaptation, Geraghty is more interested in the films themselves and how they draw on our sense of recall. While a film reflects its literary source, it also invites comparisons to our memories and associations with other versions of the original. For example, a viewer may watch the 2005 big-screen production of Pride and Prejudice and remember Austen's novel as well as the BBC's 1995 television movie. Adaptations also rely on the conventions of genre, editing, acting, and sound to engage our recall—elements that many movie critics tend to forget when focusing solely on faithfulness to the written word.
Principles of Cinematography
This book has now been completely revised to include chapters dealing with film emulsions, the principles of colour cinematography and also with magnetic sound recording. Whilst the fundamental principles of all cinematographic processes, considerable portions of the book are devoted to the work of film laboratories, camera and projector mechanisms, the film in television and also to sound recording.
