Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
History of the film industry
History of cinema Essay
The history and development of film summary full essay
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: History of the film industry
Moving Images are possibly the greatest representation and exploitation of the human visual system. In order for us to understand how moving images make sense to us we heavily rely on our ability to piece together moments in a sequential frame, often allowing us to create a lifelike representation of an inanimate object. Moving images are something we constantly see throughout our lives; from simple toys we played with as kids, to flip up books and eventually to the creation of film; things that evident in our lives every day. The development of a moving image indicates the incredible ability of the human visual system; the ability to process visual stimuli and give life to a non- moving lifeless object.
An interesting exhibit which captured my attention within Screen worlds at the Australian Centre for Moving Images (ACMI) was the 3 strip Technicolor. This exhibit explored the way in which colour film could be created. The process consisted of three films each comprised of a different colour – a red one, a blue one and a green one. The images on each filmstrip were exactly the sam...
Technicolor was the collaboration of Herbert Kalmus, Daniel Comstock and W. Burton Westcott in 1912 with the intention of creating flicker free color films, Technicolor as we know today has produced much success and revolutionized the way we look at cinema but this was not without there many teething problems. Actors and critics criticized the technology every step of the way.
In this image, a sewage worker is seen cleaning the drainage system, with his bear hands, without the use of either any equipment’s or protection. On the first glace, the image depicts the idea of health risk, because the man is exposed to such contaminants, which for him is work. He is looking up from a dirty drain, covered in filth, which shows that he is clearly used as the subject of this image, whom we are engaged to more as he is making eye contact with its viewers. This picture only includes one person into the frame, as the other man’s face isn’t available to see in this picture, which is man that is holding the bucket. Holding a bucket either emphasise the idea that he is helping the sewage worker, either to get the dirt out or to put the dirt in the drainage system.
In a society dominated by visual activity it is not uncommon to be faced with images
In today's world, photographs are the most form of media to deliver news and messages. They depict the mere fact, but are censored to hide violence. Such an act conceals the reality of life and is unfair. Graphic images must always be exposed to the public as they present the blatant reality and educate people about world crisis.
It is some kind of irony that when Hollywood switched over to cheaper and faster forms of making color films, classic Technicolor equipment was dismantled and sold to China - which now makes some of the best-looking color films in the world.
Bordwell, David, and Kristen Thompson. Film Art an Introduction. 6th ed. New York: McGraw-Hill Companies, Inc., 2001.
This essay will seek to outline my findings on movie and theatre by looking at still image and moving image. I will discuss the relationship between cinema and film, and also compare some works of artists in order to answer the question which how might photography be contextualized as image on the threshold of still and moving – as an object incorporating the temporal and the narrative, the writing of history, or the presentation of documentation as record.
Technology is a central issue surrounding film making from the times of Charlie Chaplin's silent films to today's modern and computer-animated films such as George Lucas's Star Wars. In addition there have been a system of changes in computer, phone and video enhancement which has propelled vast amounts of information knowledge to the public at a rapid rate.
What is color? If someone were to ask you that, what would your answer be? How do you describe yellow without saying its name? You might say it reminds you of sunshine or of school buses or of warmth, but those are all examples. It’s funny how something so integral to our daily lives could be so hard to explain. Could you imagine a world entirely enveloped in grey-scale? A permanent film noir. Color is like sound, all around us, conveying emotion, shaping our world. Without it, our world would be bland; without distinction. Likewise, film is a world of its own, transporting you into its universe, putting you in the characters’ perspectives. Ever since the beginnings of film, filmmakers have looked for ways to put color in film, expanding the
Visual culture “involves the things that we see, the mental model we all have of how to see and the things we can do as a result.” (Mirzoeff, How to See the World Pg.10). Visual culture doesn’t just involve what we see, it also involves how we interpret what we’re seeing. We interpret what we’re seeing based on our previous knowledge and previous experiences.
Paintings, like many forms of art, are very subjective—what one may find intriguing another may completely disagree. “Art is physical material that affects a physical eye and conscious brain” (Solso, 13). To glance at art, we must go through a process of interpretation in order to understand what it is we are looking at. Solso describes the neurological, perceptual, and cognitive sequence that occurs when we view art, and the often inexpressible effect that a work of art has on us. He shows that there are two aspects to viewing art: nativistic perception—the synchronicity of eye and brain that transforms electromagnetic energy into neuro-chemical codes—which is "hard-wired" into the sensory-cognitive system; and directed perception, which incorporates personal history—the entire set of our expectations and past experiences—and knowledge (Solso, preface)
‘Then came the films’; writes the German cultural theorist Walter Benjamin, evoking the arrival of a powerful new art form at the end of 19th century. By this statement, he tried to explain that films were not just another visual medium, but it has a clear differentiation from all previous mediums of visual culture.
Image intensification is the process of converting x-ray into visible light. “Early fluoroscopic procedures produced visual images of low intensity, which required the radiologist's eyes to be dark adapted and restricted image recording. In the late 1940s, with the rapid developments in electronics and borrowing the ideas from vacuum tube technology, scientists invented the x-ray image intensifier, which considerably brightened fluoroscopic images” (Wang & Blackburn, 2000, np). We will explore the image-intensification tube, the various gain parameters associated with the tube, and the magnification mode of the image intensifier.
Have you ever seen a painting or picture that captivates you and directly stirs up emotion within you? More than likely, you have. Usually, viewers merely observe the picture and enjoy the way it looks and how it makes them feel. But, have you ever asked yourself, “why?” What about the picture makes it pleasing to the viewer? With each strategy the photographer uses creates their own touch and passion that floods all over the picture. The emotional connection nearly goes unnoticed for when the picture is well photographed, the viewers experience the sensation in their subconscious. This is one of the most powerful tools that a photographer holds in their hands. If one can become a master of manipulating how the photo affects its viewers, the said photographer can potentially maneuver people’s minds and thoughts with one click of a button. The time spent with my mentor has opened up the door for me to tap into that power though the use of background, focus, shutter speed, angles, and most importantly, lighting. Even with all these techniques, the person behind the camera must remember that creativity must be at the forefront of all operations. Caleno (2014), when writing about the basics of capturing a beautiful moment in a picture commented, “If we want to be creative we must drop these pre-conceptions and start looking at things from a small child’s innocence.”
The purpose of this research assignment is to put forward a convincing argument in how digital technology in the last four years have completely revolutionised the whole film industry. This thesis will attempt to focus on the main disciplines of film making and the impact that technology has had on each area. Firstly, this article will look at recent changes in the pre-production area of film making followed by what new equipment and storage facilities are being used during film production. Next is arguable the biggest transformation in the film industry as a result of technology, namely the post production stage. New methods of film distribution are explored followed by the negative impact that technology has had on the film industry with the main focus being on the illegal distribution of copyrighted film footage. New ways in post-theatre film distribution is also explored and the impact that continual break-through technologies are having on the education and training of professionals working within the film industry. Finally an examination of the impact of computer generated graphics on the film industry is concluded by a brief discussion on what the future may hold for the film industry.