Thematische Bibliographien / Motion pictures and history

Auswahl der wissenschaftlichen Literatur zum Thema „Motion pictures and history“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 5. März 2023

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Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte
  6. Berichte der Organisationen

Zeitschriftenartikel zum Thema "Motion pictures and history":

1

Jennifer Tebbe-Grossman. „Medicine’s Motion Pictures“. Film & History: An Interdisciplinary Journal of Film and Television Studies 39, Nr. 1 (2009): 98–99. http://dx.doi.org/10.1353/flm.0.0076.

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Heinemann, Julia. „Motion Pictures of the Royal Family“. French Historical Studies 44, Nr. 2 (01.04.2021): 191–216. http://dx.doi.org/10.1215/00161071-8806426.

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Abstract This article explores the role of letter writing in the political practice of the French royal family. By focusing on the use of letters exchanged by Henri III, François d'Anjou, and Catherine de’ Medici between 1574 and 1584, it analyzes how both kinship relations and notions of royal authority were negotiated and intertwined by letter. In a dynamic communication process, the correspondents discussed and framed familial relationships and political concepts. The letters were read, seen, and heard by a broader audience at court, thus transcending modern categories such as public and private, formal and informal, or intimate and official. The article argues that the correspondence produced specific, sometimes opposing pictures of the royal family that were supposed to be visible. This use of letters shaped social relations and political processes during the Wars of Religion in early modern France. Cet article traite du rôle de la correspondance dans les pratiques politiques de la famille royale française. En me concentrant sur l'usage des lettres par Henri III, François d'Anjou et leur mère Catherine de Médicis dans les années 1574–84, j'analyse comment les correspondants négocient ensemble les relations de parenté et les concepts politiques. La discussion et la modélisation de cette conception familiale de l'autorité royale par les lettres sont partie prenante d'un processus de communication dynamique. La fonction de ces lettres est d’être lues, vues et entendues à la cour. Ce faisant, cette communication outrepasse les divisions « modernes » entre le privé et le public, le formel et l'informel ou encore l'intime et l'officiel. Cet usage de l’écrit est spécifique aux relations sociales et aux processus politiques pendant les guerres de Religion à l’époque moderne.
3

Swartz, Mark E. „Motion Pictures on the Move“. Journal of American Culture 9, Nr. 4 (Dezember 1986): 1–7. http://dx.doi.org/10.1111/j.1542-734x.1986.0904_1.x.

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Oliver, Willard M. „Crime, History, and Hollywood: Learning Criminal Justice History through Major Motion Pictures“. Journal of Criminal Justice Education 22, Nr. 3 (September 2011): 420–39. http://dx.doi.org/10.1080/10511253.2010.519892.

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Joyce, Simon, und Jennifer Putzi. „“Greatest Combination in Motion Pictures”: Film History and the Division of Labor in the New York Motion Picture Company“. Film History: An International Journal 21, Nr. 3 (September 2009): 189–207. http://dx.doi.org/10.2979/fil.2009.21.3.189.

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Ayers, Lee. „Book Review: Crime, history, and Hollywood: Learning criminal justice history throughmajor motion pictures“. Criminal Justice Review 39, Nr. 4 (25.06.2014): 459–61. http://dx.doi.org/10.1177/0734016814540302.

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Eckardt, Michael. „South African film history vs the history of motion pictures in South Africa“. South African Theatre Journal 25, Nr. 1 (März 2011): 72–77. http://dx.doi.org/10.1080/10137548.2011.626961.

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ELLIS, PATRICK. „A cinema for the unborn: moving pictures, mental pictures and Electra Sparks's New Thought film theory“. British Journal for the History of Science 50, Nr. 3 (September 2017): 411–28. http://dx.doi.org/10.1017/s0007087417000644.

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AbstractIn the 1910s, New York suffragette Electra Sparks wrote a series of essays in theMoving Picture Newsthat advocated for cine-therapy treatments for pregnant women. Film was, in her view, the great democratizer of beautiful images, providing high-cultural access to the city's poor. These positive ‘mental pictures’ were important for her because, she claimed, in order to produce an attractive, healthy child, the mother must be exposed to quality cultural material. Sparks's championing of cinema during its ‘second birth’ was founded upon the premise of New Thought. This metaphysical Christian doctrine existed alongside the self-help and esoteric publishing domains and testified, above all, to the possibility of the ‘mind-cure’ of the body through the positive application of ‘mental pictures’. Physiologically, their method began best in the womb, where the thoughts of the mother were of utmost importance: the eventual difference between birthing an Elephant Man or an Adonis. This positive maternal impression was commonplace in New Thought literature; it was Sparks's innovation to apply it to cinema. Investigating Sparks's film theory, practice and programming reveals her to be a harbinger of the abiding analogy between mind and motion picture that occupies film theorists to this day.
9

Knight, Arthur. „Spotlight on Film: All the World's a Stage“. Media Information Australia 43, Nr. 1 (Februar 1987): 9–11. http://dx.doi.org/10.1177/1329878x8704300103.

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One phenomenon dominates the history of motion pictures: at one time or another, a single country has emerged as the most creative and vital source of film making on the international scene. It is almost as if a spotlight moved across the stages of the world, pausing now here, now there, to illuminate the work of an entire group of artists. This was perhaps understandable in the Soviet Union during the mid-Nineteen-Twenties, when a new government actively encouraged experimentation in all the arts, and particularly the art of the motion picture.
10

Dym, Jeffrey A. „Benshi and the Introduction of Motion Pictures to Japan“. Monumenta Nipponica 55, Nr. 4 (2000): 509. http://dx.doi.org/10.2307/2668250.

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Zeitschriftenartikel Dissertationen Bücher

Dissertationen zum Thema "Motion pictures and history":

1

Huggett, Nancy. „A cultural history of cinema-going in the Illawarra (1900-50)“. Connect to this title online, 2002. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20050317.111523/.

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Thesis (Ph. D.)--University of Wollongong, 2002.
Title from PDF title page (viewed on Aug. 14, 2005). Ill. in print version lacking in electronic version. Includes bibliographical references (p. 285-301).
2

Galt, Rosalind. „Redrawing the map of Europe space, history and spectacle in new European cinema /“. [S.l. : s.n.], 2002. http://books.google.com/books?id=kV9ZAAAAMAAJ.

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Ryu, Jae Hyung. „Reality & effect a cultural history of visual effects /“. unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-03292007-172937/.

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Thesis (Ph. D.)--Georgia State University, 2006.
Title from file title page. Ted Friedman, committee chair; Kathy Fuller-Seeley, Angelo Restivo, Jung-Bong Choi, Alisa Perren, committee members. Electronic text (249 p.) : digital, PDF file. Description based on contents viewed Oct. 29, 2007. Includes bibliographical references (p. 236-249).
4

Williams, Danielle E. Winn J. Emmett. „Local motion picture exhibition in Auburn, for 1894-1928 a cultural history from a communication perspective /“. Auburn, Ala., 2004. http://repo.lib.auburn.edu/EtdRoot/2004/SUMMER/Communication_and_Journalism/Thesis/willide_31_Williams.pdf.

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Haywood, Keene McDonald. „Beyond Words: The Use of the Non-Verbal Genre in Natural History Filmmaking“. Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/haywood/HaywoodK0807.pdf.

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Natural history filmmaking has a history that begins with the advent of cinematography as a form of artistic and documentary expression. Natural history filmmaking has increasingly used techniques of fiction, drama and anthropomorphizing to represent the natural world in storytelling. This paper will examine the use of the nonverbal form of filmmaking as an alternative style that can be used to effectively document natural history using a more lyrical, poetic and often more thoughtful style. This work examines previous works in the non-verbal genre and discusses how this style compares with historically more traditional natural history films and why this alternative style is used for the thesis film. Additionally, works from the disciplines of geography and natural history writing are examined for relevance to the non-verbal natural history filmmaking genre.
6

Pang, Lai Kwan. „China's left-wing cinema movement, 1932-1937 history, aesthetics, and ideology /“. online access from Digital Dissertation Consortium access full-text, 1997. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9807778.

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Chan, Shuen-yan. „History and memory in Hou Hsiao-hsien's A City of Sadness and Tian Zhuangzhuang's The Blue Kite“. Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21241065.

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Coe, Jason George. „Left behind by history: complicating narrative, modernity in the mundane, and reading history through womenin "feeling of life films"“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48539533.

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This dissertation scrutinizes a corpus of films considered to be the stylistic and thematic descendants of Yasujiro Ozu, which I call “feeling of life films.” Focusing upon common themes such as female narrative and the portrayals of the quotidian, this dissertation identifies various methods used in specific films of Ozu, Hou Hsiao Hsien, and Tran Anh Hung that complicate narrative meaning and engage in the discourse of national modernity and history. The female protagonists of these films can be considered “left behind” by the narrative progression of history, serving an allegorical function that critiques standard notions of time and official history. The basis for understanding this phenomenon will be scholarly discourse primarily concerning Ozu’s “Noriko Trilogy,” which marks the transitional period of post-war Japan through the narrative of a woman’s path to marriage. This dissertation seeks to complicate the discourse of reading women in these films by introducing different methodologies of formalist analysis, cultural analysis, theoretic discourse, historiography, and phenomenology. In doing so, this dissertation demonstrates the cinematic importance of these films through their unique formal characteristics and their cultural and historical meanings.
published_or_final_version
Literary and Cultural Studies
Master
Master of Arts
9

Urquhart, Peter. „1979 : reading the tax-shelter boom in Canadian film history“. Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85211.

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More certified-Canadian feature films were shot in Canada in 1979 than in any other year. The height of what has become known as the "tax-shelter boom," 1979 stands as a remarkable moment in the history of the Canadian cinema, with 70 features shot in a year in which Hollywood produced only 99 films. The extant history of the Canadian cinema has largely ignored this moment, and in this thesis I argue that the slim treatment of the period by critics represents a "received wisdom," consistently repeated, but seldom scrutinized, and that this received wisdom is representative of the culturally nationalist impulse which has coloured the entire historiography of the Canadian cinema. Because many of the films produced during the boom were in the style of Hollywood genres, the "received wisdom" presents the entirety of the tax-shelter boom as a cultural and industrial near-disaster for the Canadian cinema, and this thesis, partly a revisionist history, explores not only those conclusions, but also provides critical discussion of them.
I begin by presenting the received wisdom, the existing account, on the period. This is followed by a chapter which situates the tax-shelter boom in a history of state intervention in the feature film industry. Following this, I provide analysis of the contexts surrounding the tax-shelter boom, including critical discussion of articles and reviews from the contemporaneous popular press, and of the industry discourse. I then turn my attention to the texts themselves, which the received wisdom more or less ignores, and provide three thematically-organized chapters of textual analysis: the first organized around readings of gender and genre in the films, the second on the prevalent theme of "selling out," which is central to numerous films of the period, and a third chapter which explores the place of Quebec in the films of the period.
The thesis concludes with an analysis of the material effects of the government policies which led to the boom, and concludes that in this respect too, the received account of the period---once again, as a failure---needs to be reexamined.
10

Umphrey, Olivia. „From screen to page : Japanese film as a historical document, 1931-1959 /“. [Boise, Idaho] : Boise State University, 2009. http://scholarworks.boisestate.edu/td/26/.

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Bücher zum Thema "Motion pictures and history":

1

Conley, Robyn. Motion pictures. New York: Franklin Watts, 2004.

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Schönherr, Johannes. North Korean cinema: A history. Jefferson, N.C: McFarland & Company, Inc., Publishers, 2012.

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Bose, Mihir. Bollywood: A history. New Delhi: Lotus Collection, Roli Books, 2007.

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Bose, Mihir. Bollywood: A history. Stroud: Tempus, 2006.

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5

Low, Rachael. The history of British film. London: Routledge, 1997.

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6

Low, Rachael. The history of British film. London: Routledge, 1997.

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Low, Rachael. The history of British film. London: Routledge, 1997.

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8

Somervill, Barbara A. The history of the motion picture. Chanhassen, Minn: Child's World, 2006.

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9

Fraser, George MacDonald. The Hollywood history of the world. London: Joseph, 1989.

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Fraser, George MacDonald. The Hollywood history of the world. London: Harvill, 1996.

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Buchteile zum Thema "Motion pictures and history":

1

Czitrom, Daniel. „Early Motion Pictures“. In Communication in History, 175–83. Seventh edition. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315189840-26.

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Brown, Blain. „history of lighting“. In motion picture and video lighting, 13–24. Third edition. | New York: Routledge, Taylor & Francis Group, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9780429461422-1.

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3

Bernard, Sheila Curran, und Kenn Rabin. „Still and Motion Picture Photography: A Brief History“. In Archival Storytelling, 17–41. Second edition. | London ; New York : Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9781003026204-3.

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4

Molenda, Michael H. „History and Development of Instructional Design and Technology“. In Handbook of Open, Distance and Digital Education, 1–18. Singapore: Springer Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-0351-9_4-1.

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AbstractThe origins and evolution of instructional technology and instructional design are treated in this chapter as separate concepts, although having intertwined histories. As with other technologies, their origins can be traced to the scientific discoveries on which they are based. Early in the twentieth century, new discoveries in optics and electricity stimulated educators to the adoption of technological innovations such as projected still pictures, motion pictures, and audio recording. Individuals and, later, groups of affiliated professionals promoted enriching learning by adding visual and, later, audiovisual resources where verbal presentations previously dominated. As radio broadcasting grew in the 1930s and then television in the 1950s, these mass media were perceived as ways to reach audiences, in and out of school, with educative audiovisual programs. In the 1960s, the wave of interest in teaching machines incorporating behaviorist psychological technology engendered a shift in identity from audiovisual technologies to all technologies, including psychological ones. As computers became ubiquitous in the 1990s, they became the dominant delivery system, due to their interactive capabilities. With the global spread of the World Wide Web after 1995, networked computers took on communication functions as well as storage and processing functions, giving new momentum to distance education. Meanwhile, research during and after World War II prompted a technology of planning – systems analysis. In the 1960s, educators adapted the systems approach to instructional planning, starting the development of instructional systems design (ISD). Since the 1980s, ISD has been the reigning paradigm for instructional design, while instructional design has become the central activity of instructional technology professionals.
5

Molenda, Michael H. „History and Development of Instructional Design and Technology“. In Handbook of Open, Distance and Digital Education, 57–74. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-2080-6_4.

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AbstractThe origins and evolution of instructional technology and instructional design are treated in this chapter as separate concepts, although having intertwined histories. As with other technologies, their origins can be traced to the scientific discoveries on which they are based. Early in the twentieth century, new discoveries in optics and electricity stimulated educators to the adoption of technological innovations such as projected still pictures, motion pictures, and audio recording. Individuals and, later, groups of affiliated professionals promoted enriching learning by adding visual and, later, audiovisual resources where verbal presentations previously dominated. As radio broadcasting grew in the 1930s and then television in the 1950s, these mass media were perceived as ways to reach audiences, in and out of school, with educative audiovisual programs. In the 1960s, the wave of interest in teaching machines incorporating behaviorist psychological technology engendered a shift in identity from audiovisual technologies to all technologies, including psychological ones. As computers became ubiquitous in the 1990s, they became the dominant delivery system, due to their interactive capabilities. With the global spread of the World Wide Web after 1995, networked computers took on communication functions as well as storage and processing functions, giving new momentum to distance education. Meanwhile, research during and after World War II prompted a technology of planning – systems analysis. In the 1960s, educators adapted the systems approach to instructional planning, starting the development of instructional systems design (ISD). Since the 1980s, ISD has been the reigning paradigm for instructional design, while instructional design has become the central activity of instructional technology professionals.
6

kydd, Elspeth. „Motion Pictures“. In The Critical Practice of Film, 17–37. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34527-0_2.

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Kamada, Seiichi. „Motion Pictures“. In Springer Monographs in Mathematics, 39–73. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4091-7_3.

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Kamada, Seiichi. „Motion pictures“. In Mathematical Surveys and Monographs, 63–70. Providence, Rhode Island: American Mathematical Society, 2002. http://dx.doi.org/10.1090/surv/095/09.

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Walters, James. „Perpetual motion pictures“. In The Routledge Companion to World Cinema, 382–92. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315688251-32.

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Prinz, Jesse. „Affect and Motion Pictures“. In The Palgrave Handbook of the Philosophy of Film and Motion Pictures, 893–921. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19601-1_38.

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Konferenzberichte zum Thema "Motion pictures and history":

1

Mathias, Yehoshua. „USING MOTION PICTURES TO FOSTER HISTORICAL THINKING: A PROPOSAL FOR HISTORY TEACHERS' EDUCATION“. In 15th annual International Conference of Education, Research and Innovation. IATED, 2022. http://dx.doi.org/10.21125/iceri.2022.1817.

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Lagendijk, R. L., und M. I. Sezan. „Motion compensated frame rate conversion of motion pictures“. In [Proceedings] ICASSP-92: 1992 IEEE International Conference on Acoustics, Speech, and Signal Processing. IEEE, 1992. http://dx.doi.org/10.1109/icassp.1992.226178.

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Karaki, Koichi, Hiroko Sasaki und Masaharu Mitsunaga. „Holographic motion pictures by hole burning“. In International Conferences on Optical Fabrication and Testing and Applications of Optical Holography, herausgegeben von Toshio Honda. SPIE, 1995. http://dx.doi.org/10.1117/12.215315.

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Alexander, P. „Development of integral holographic motion pictures“. In Display Holography: Fifth International Symposium, herausgegeben von Tung H. Jeong. SPIE, 1995. http://dx.doi.org/10.1117/12.201899.

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Chuang, Yung-Yu, Dan B. Goldman, Ke Colin Zheng, Brian Curless, David H. Salesin und Richard Szeliski. „Animating pictures with stochastic motion textures“. In ACM SIGGRAPH 2005 Papers. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1186822.1073273.

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Holynski, Aleksander, Brian Curless, Steven M. Seitz und Richard Szeliski. „Animating Pictures with Eulerian Motion Fields“. In 2021 IEEE/CVF Conference on Computer Vision and Pattern Recognition (CVPR). IEEE, 2021. http://dx.doi.org/10.1109/cvpr46437.2021.00575.

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Baecker, Ronald, Alan J. Rosenthal, Naomi Friedlander, Eric Smith und Andrew Cohen. „A multimedia system for authoring motion pictures“. In the fourth ACM international conference. New York, New York, USA: ACM Press, 1996. http://dx.doi.org/10.1145/244130.244142.

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Mayhew, Christopher A. „True Three-Dimensional Animation In Motion Pictures“. In OE LASE'87 and EO Imaging Symp (January 1987, Los Angeles), herausgegeben von David F. McAllister und Woodrow E. Robbins. SPIE, 1987. http://dx.doi.org/10.1117/12.940133.

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Abdulsamet, Hasiloglu, und Tosun Olcay. „Identification system from motion pictures: LBPH application“. In 2017 International Conference on Computer Science and Engineering (UBMK). IEEE, 2017. http://dx.doi.org/10.1109/ubmk.2017.8093546.

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Awatsuji, Yasuhiro, Aya Komatsu, Masatomo Yamagiwa und Toshihiro Kubota. „Motion pictures of propagating ultrashort laser pulses“. In 26th International Congress on High-Speed Photography and Photonics, herausgegeben von Dennis L. Paisley, Stuart Kleinfelder, Donald R. Snyder und Brian J. Thompson. SPIE, 2005. http://dx.doi.org/10.1117/12.567035.

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Berichte der Organisationen zum Thema "Motion pictures and history":

1

Koschmann, Anthony, und Yi Qian. Latent Estimation of Piracy Quality and its Effect on Revenues and Distribution: The Case of Motion Pictures. Cambridge, MA: National Bureau of Economic Research, August 2020. http://dx.doi.org/10.3386/w27649.

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