Academic literature on the topic 'Cinema organ'
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Journal articles on the topic "Cinema organ"
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Porter, Laraine. "Women Musicians in British Silent Cinema Prior to 1930." Journal of British Cinema and Television 10, no. 3 (July 2013): 563–83. http://dx.doi.org/10.3366/jbctv.2013.0158.
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Referencing a range of sources from personal testimonies, diaries, trade union reports and local cinema studies, this chapter unearths the history of women musicians who played to silent film. It traces the pre-history of their entry into the cinema business through the cultures of Edwardian female musicianship that had created a sizeable number of women piano and violin teachers who were able to fill the rapid demand created by newly built cinemas around 1910. This demand was further increased during the First World War as male musicians were called to the Front and the chapter documents the backlash from within the industry against women who stepped in to fill vacant roles. The chapter argues that women were central to creating the emerging art-form of cinema musicianship and shaping the repertoire of cinema music during the first three decades of the twentieth century. With the coming of sound, those women who had learned the cinema organ, in the face of considerable snobbery, were also well placed to continue musical careers in Cine-Variety during the 1930s and beyond. This article looks particularly at the careers of Ena Baga and Florence de Jong who went on to play for silent films until the 1980s.
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Bigosiński, Adam Konrad. "Muzyczne tajemnice Poznania – kino Słońce i jego wyjątkowe organy." Przegląd Archiwalno-Historyczny 7 (2020): 27–44. http://dx.doi.org/10.4467/2391-890xpah.20.002.14636.
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Niniejszy artykuł jest kolejnym przyczynkiem do dziejów muzycznych Poznania, a skupia się na opisie i charakterystyce najbardziej wyjątkowych w skali Polski organów „Muza”, które od 1927 r. znajdowały się w kinie Słońce. Najnowocześniejsze kino w Poznaniu mogło poszczycić się pierwszymi organami typu kinowego na terenie Polski, które w dodatku zostały zbudowane na wzór instrumentów amerykańskich przez polską firmę Dominika Biernackiego (braci Biernackich). Posiadały one szereg urządzeń imitujących odgłosy przyrody czy życia codziennego, m.in. burzę, syrenę czy kukułkę. Niestety, powojenny los organów nie jest znany, a ślad po nich zaginął. Jak dotąd, żaden inny polski zakład budowy organów nie zdołał powtórzyć tej wyjątkowej realizacji. Całość dopełniona jest krótką charakterystyką muzyki wykonywanej w Słońcu, szczególnie przez znanego poznańskiego spikera Ludomira Budzińskiego, który koncertował pod zmienionym nazwiskiem Szeliga. The musical mysteries of Poznań — the “Słońce” cinema and its unique organ This article is yet another contribution to a history of music in Poznań. It focuses on the description and the story of the most exceptional organ in Poland — the “Muza” organ, which was housed in the “Słońce” cinema since 1927. The most technologically advanced cinema in Poznań was the proud owner of the first organ dedicated to cinema performances in Poland. It was made by a Polish company run by Dominik Biernacki (The Biernacki Brothers) based on the American design. It was equipped with a number of devices imitating the sounds of nature or of every day life, such as storms, sirens, or cuckoo calls. Unfortunately, no one knows what happened to it after the Second World War. So far, no other organ manufacturer has been able to recreate this unique piece of work. The article is complemented by a short description of music performed in the “Słońce” cinema, particularly by the famous Poznań announcer Ludomir Budziński who performed under the alias — Szeliga.
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Zwart, Hub. "Transplantation medicine, organ-theft cinema and bodily integrity." Subjectivity 9, no. 2 (March 24, 2016): 151–80. http://dx.doi.org/10.1057/sub.2016.1.
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Presseisen, Filip. "Organ accompaniment in silent films, part 1 – the process of cinematic art creation." Notes Muzyczny 2, no. 14 (December 10, 2020): 59–72. http://dx.doi.org/10.5604/01.3001.0014.5748.
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The idea to write music for silent films, both in a form of written-down scores and composed live has experienced its renaissance for more than ten years. Thanks to a quite decent number of preserved theatre instruments and also due to the globalisation and wide data flow options connected with it, the knowledge and interest in Anglo-Saxon tradition of organ accompaniment in cinema were able to spread away from its place of origin. The article is the first part of four attempts to present the phenomenon of combination of the art of organ improvisation with cinematography and it was based on the fragments of the doctoral thesis entitled “Current methods of organ improvisation as performance means in the accompaniment for silent films based on the selected musical and visual work”. The dissertation was written under the supervision of prof. dr hab. Elżbieta Karolak and was defended at the Ignacy Jan Paderewski Academy of Music in Poznań in 2020. The article touches on the initial phase of the development of silent cinema from 1895 to 1909. Having differentiated the terms of typical organ improvisation and the art of improvisation for silent films, the article describes the development of cinema art. From the praxinoscope invented by Émile Reynaud, through the cinematograph and the Kinetoscope (Dickson), Vitascope (Jenkins and Armat) and Bioscop (Skladanowsky brothers), it finally discusses the process how the Lumière brothers invented the cinematograph. It its further part, it presents the development of cinematography based on the improvements in theatre introduced by Méliès. The whole text serves as a basis for more parts of the article touching on the issues of the sound added to silent films and the creation of the theatre type of the pipe organ.
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Presseisen, Filip. "Organ accompaniment to silent films, part 3 – the activity of Robert Hope-Jones and its importance." Notes Muzyczny 2, no. 16 (December 30, 2021): 87–100. http://dx.doi.org/10.5604/01.3001.0015.5491.
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The idea to write music for silent films, both in a form of written-down scores and composed live has experienced its renaissance for more than ten years. Thanks to a quite decent number of preserved theatre instruments and also due to the globalisation and wide data flow options connected with it, the knowledge and interest in Anglo-Saxon tradition of organ accompaniment in cinema were able to spread away from its place of origin. The article is the third part of four attempts to present the phenomenon of combination of the art of organ improvisation with cinematography and it was based on the fragments of the doctoral thesis entitled “Current methods of organ improvisation as performance means in the accompaniment for silent films based on the selected musical and visual work”. The dissertation was written under the supervision of prof. dr hab. Elżbieta Karolak and was defended at the Ignacy Jan Paderewski Academy of Music in Poznań in 2020. The article focuses on the profile of Robert Hope-Jones, an eccentric creator of cinema organ. It describes the period preceding the time when typical theatre instruments called “Mighty Wurlitzer” acquired their final shape, i.e., from the introduction of first electromagnetic tracture innovations in England, to the establishment of Hope Jones’s collaboration with the Wurlitzer company in the United States of America and the creation of instruments of the Unit Organ type.
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KIM, Hong Jung. "Schizoanalysis of the Catastrophe and Hope without Organ: On the Cinema of Kelly Reichardt." In/Outside: English Studies in Korea 55 (November 15, 2023): 154–82. http://dx.doi.org/10.46645/inoutsesk.55.5.
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Presseisen, Filip. "Organ accompaniment to silent films, part 2." Notes Muzyczny 1, no. 15 (June 22, 2021): 57–66. http://dx.doi.org/10.5604/01.3001.0014.9690.
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The idea to write music for silent films, both in a form of written-down scores and composed live has experienced its renaissance for more than ten years. Thanks to a quite decent number of preserved theatre instruments and also due to the globalisation and wide data flow options connected with it, the knowledge and interest in Anglo-Saxon tradition of organ accompaniment in cinema were able to spread away from its place of origin. The article is the second part of four attempts to present the phenomenon of combination of the art of organ improvisation with cinematography and it was based on the fragments of the doctoral thesis entitled “Current methods of organ improvisation as performance means in the accompaniment for silent films based on the selected musical and visual work”. The dissertation was written under the supervision of prof. dr hab. Elżbieta Karolak and was defended at the Ignacy Jan Paderewski Academy of Music in Poznań in 2020. The article touches on the process of adding sound to silent films, creating publications containing the so-called genre music (i.e., music for specific tyles of scenes), as well as cue-sheets which appeared since 1909 and which were particularly useful for improvising pianists and organists. It also describes the practice of orchestra accompaniment and different sizes of lineups connected with it.
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Kolmogorova, A. V., A. V. Migal, and M. O. Sergeeva. "QUANTITATIVE ANALYSIS OF GESTURES IN SOVIET CINEMA PRESENTED IN THE RUSSIAN MULTINEDIA SPEECH CORPUS." Culture and Text, no. 57 (2024): 181–91. http://dx.doi.org/10.37386/2305-4077-2024-2-181-191.
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This article is dedicated to exploring the correlation between the emotional tone of gestures and their localizati on through the conduct of content analysis of gestures presented in the multimedia subcorpus of spoken Russian language, annotated by E. A. Grishina and including video fragments of Soviet and late Soviet cinema. The paper aims at determining the prevailing tonality of a gesture depending on its localization. Corpus linguistic analysis, multimodal sentiment analysis and correlational analysis are presented in the paper to state the possible connection between the active organ of gesture realization with its tonality. The article reflects the relevance of the research, covers the history of works devoted to the study of cinema as a polycode test and describes the methods used to analyze the film discourse. Based on the analysis, a comparative table of gestures and a matrix demonstrating the correlation of their tonalities are presented.
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Coëgnarts, Maarten, and Peter Kravanja. "A study in cinematic subjectivity." Metaphor and the Social World 4, no. 2 (September 22, 2014): 149–73. http://dx.doi.org/10.1075/msw.4.2.01coe.
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This article offers a metaphorical and embodied examination of the representation of perception in narrative cinema. Using insights from Conceptual Metaphor Theory we argue that the perceptual states of characters can be represented cinematically via audio-visual expressions of metaphors related to the physical functioning of human bodies. More specifically, we show how a predominant pair of conceptual mappings, namely the metonymy perceptual organ stands for perception and the metaphor perception is contact between perceiver and perceived, plays a crucial role in the non-verbal representation of the characters’ perceptual experience.
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Trifan, Aurelia. "Integrative reflections in the contemporary approach of the architecture of buildings for shows." Arta 30, no. 1 (August 2021): 118–23. http://dx.doi.org/10.52603/arta.2021.30-1.17.
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The current approaches, materialized in studies and research programs, further explain and complete the general picture regarding the identity of buildings for shows in the Republic of Moldova. The need to update existing information and correct errors and unconfirmed assumptions arises as a result of identifying new data. The research carried out in the field of buildings for shows focuses both on the detailing of its constitution and on the revelation of the architectural-artistic value – starting with the 19th century. The first buildings for shows (the Nobles’ Meeting Club and the „Pushkin” Auditorium), the refurbished buildings („Patria” Cinema and the Organ Hall) and adaptations to new programs such as soviet cinemas are highlighted. Thorough research of the history of construction and reconstruction of the two most famous buildings for shows, which were the headquarters of the Romanian National Theater in Chisinau, contributes to the identification of valid novelties in the correct and coherent dating and interpretation, as well as the names of the authors of the projects. Programs based on appreciating the value of the cultural heritage of the Soviet period are submitted to the attention of the professional environment, the interested public and the administrators of the built heritage and represent an attempt to raise awareness of the importance of re-evaluating this heritage.
Dissertations / Theses on the topic "Cinema organ"
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Carlon, Beatrice <1993>. "THE HISTORY OF CHINA'S RELATIONS WITH THE UNITED STATES: Analysis of bilateral relations through some of the main organs of the Chinese Communist Party." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17901.
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What used to be an undisputed leadership status is now threatened by the inexorable force: China, today, is a superpower at the level of the United States. This study will describe the events and agreements that have contributed to the evolution of bilateral relations, from the events in Tiananmen to the economic and trade agreement ceremony on 15 January 2020. During this time the relations have been of ups and downs, of cooperation but also of competition on several fronts. The thesis will analyze also the risks and modalities of a possible conflict that could upset the hierarchies and the way of life of the whole world. To do so, monographs and articles taken from some Chinese online newspapers, considered media dependent on the Communist Party, have been used. The first chapter will explore in depth the Propaganda and Public Information system and the influence the Party has had in them, how the Communication system has developed over the years, finally the content and structure of the various online newspapers considered and the role of the Party within them. The second chapter will examine the first interactions and disputes between China and the United States and the rapid growth of the Asian giant. The events of Tiananmen, the entry into the WTO, Obama’s foreign policy will be important parts of this section that will end with the reference to the “Thucydides trap” mentioned on several occasions by the Chinese leader Xi Jinping. The third chapter will deal with the most recent history of relations since the election of Donald Trump to the White House. In particular, it will focus on some articles taken from the Chinese newspapers described in the first chapter, to understand the way the Chinese media tell about relations and agreements with the United States. Finally, I used the conclusions to set out my thoughts on the tensions between the two superpowers and the possible repercussions.
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MACCAFERRI, CAMILLA. "IL CORPO NELL'ERA DIGITALE: DAL SIMULACRO ALLA PERFORMANCE CAPTURE." Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/1992.
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Dopo l’avvento del sonoro e quello del colore, la settima arte sta attraversando una terza, forse più radicale, fase di rivoluzione: un vero e proprio tsunami che corrisponde all’avvento del digitale, dove il video insidia il primato della pellicola e la Computer Grafica è sempre più dilagante nel campo degli effetti speciali. Muovendosi all’interno di questo quadro di sostanziale cambiamento la presente ricerca, intitolata "Il corpo nell’era digitale: dal simulacro alla Performance Capture", si sofferma in particolare sull’analisi delle nuove prospettive che il corpo (attoriale) deve affrontare con la smaterializzazione dell’elemento organico.
A partire da una panoramica storica sull’avvento del digitale nel cinema contemporaneo, si arriva a tracciare una linea evolutiva del corpo e del volto per meglio contestualizzare i campi di azione della Performance Capture.
Il digitale e la Performance Capture sono fenomeni il cui sviluppo è ancora pienamente in atto, dagli esiti futuri ancora imprevedibili. Il proposito di questa ricerca è stabilire se il cinema stia diventando come paventa Lev Manovich, “a slave to the computer” o se, al contrario, le nuove tecnologie possano rafforzare le capacità artistiche, e perciò profondamente umane, del mezzo.After the revolutionary phases brought by the introduction of sound and color, the seventh art is going through another, even more radical, renewal: the digital tsunami, where video is taking over the film and Computer Graphic is ruling the field of special effects. This project , situated inside a perspective of substantial change, is focused on the analysis of the role of the new actor and of his body, reconstructed after the disappearance of the organic elements in favor of the digital ones. Starting from an historical overview on the advent of digital cinema, this research aims to follow the development of Performance Capture, a technique capable to rewrite the rules of acting and directing. Digital moviemaking, CGI and Performance Capture, in particular, are phenomena in constant development, whose future effects are still not predictable. The purpose of this research is to establish whether cinema is becoming, like Manovich suggests, like Lev Manovich says, a “slave to the computer” , or if, on the contrary, new technologies will be able to strengthen its artistic, therefore human, sides.
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MACCAFERRI, CAMILLA. "IL CORPO NELL'ERA DIGITALE: DAL SIMULACRO ALLA PERFORMANCE CAPTURE." Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/1992.
Full textAbstract:
Dopo l’avvento del sonoro e quello del colore, la settima arte sta attraversando una terza, forse più radicale, fase di rivoluzione: un vero e proprio tsunami che corrisponde all’avvento del digitale, dove il video insidia il primato della pellicola e la Computer Grafica è sempre più dilagante nel campo degli effetti speciali. Muovendosi all’interno di questo quadro di sostanziale cambiamento la presente ricerca, intitolata "Il corpo nell’era digitale: dal simulacro alla Performance Capture", si sofferma in particolare sull’analisi delle nuove prospettive che il corpo (attoriale) deve affrontare con la smaterializzazione dell’elemento organico.
A partire da una panoramica storica sull’avvento del digitale nel cinema contemporaneo, si arriva a tracciare una linea evolutiva del corpo e del volto per meglio contestualizzare i campi di azione della Performance Capture.
Il digitale e la Performance Capture sono fenomeni il cui sviluppo è ancora pienamente in atto, dagli esiti futuri ancora imprevedibili. Il proposito di questa ricerca è stabilire se il cinema stia diventando come paventa Lev Manovich, “a slave to the computer” o se, al contrario, le nuove tecnologie possano rafforzare le capacità artistiche, e perciò profondamente umane, del mezzo.After the revolutionary phases brought by the introduction of sound and color, the seventh art is going through another, even more radical, renewal: the digital tsunami, where video is taking over the film and Computer Graphic is ruling the field of special effects. This project , situated inside a perspective of substantial change, is focused on the analysis of the role of the new actor and of his body, reconstructed after the disappearance of the organic elements in favor of the digital ones. Starting from an historical overview on the advent of digital cinema, this research aims to follow the development of Performance Capture, a technique capable to rewrite the rules of acting and directing. Digital moviemaking, CGI and Performance Capture, in particular, are phenomena in constant development, whose future effects are still not predictable. The purpose of this research is to establish whether cinema is becoming, like Manovich suggests, like Lev Manovich says, a “slave to the computer” , or if, on the contrary, new technologies will be able to strengthen its artistic, therefore human, sides.
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Checa, Bañuz Christian. "Los Cuerpos del cine: conceptos-límite y el audiovisual contemporáneo." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/370095.
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El cine trabaja sobre los cuerpos porque él mismo es un cuerpo y, como todo cuerpo, opera de dos maneras: como el cine-organismo, cuerpo-engranaje en una cadena de montaje de partes ensambladas y firmes, o como el cuerpo heterogéneo cuyas partes exceden lo conjuntable, van más allá del lenguaje. El organismo cinematográfico opera convergencias en función de normas de escritura, enmascara la sutura. El Cuerpo cinematográfico sin Órganos condensa en torno a la sutura misma como punto límite, como singularidad divergente; opera la apertura del intervalo y explora las regiones entre los elementos, lo no conjuntable. Y es en esas regiones entre, en las regiones no conjuntables, donde la imagen se vuelve háptica, donde la imagen ejerce verdaderamente su “toque”, donde nos afecta verdaderamente en tanto que imagen. Donde encontramos no ya una imagen del cuerpo sino una imagen-cuerpo.Cinema affects bodies because it is a body in itself, and as any other body works in both directions: as a cinematic organism –gears working tightly together in an assembly line– or as the heterogeneous body which parts will not match, going beyond the structure of language. Cinematic organism creates convergences around rules of discourse, disguises suture. Cinematic Body without Organs condenses around the suture as a limit, as a divergent singularity, opens the interval, explores regions in between the elements, the out of joint. It is in those in between regions where images becomes haptic, where they touch and affect us as images as such. Where we find not an image of a body but a body-image.
Books on the topic "Cinema organ"
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Fisher, Roger C. From Wirral to Wurlitzer: The story of Robert Hope-Jones (1859-1914), his first organ at St. Luke's Church, Tranmere, and the birth of the "might Wurlitzer" cinema organ. Oxton, Wirral: Classfern, 2001.
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Turley, Fred. Mighty music at the movies: The cinema organ in Sheffield and the surrounding area. Sheffield: Sheaf Pub., 1990.
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Clarke, C. Charles. Crossroads 1900-1950 vintage music catalog: Original stock, cinema condensed conductors scores : piano/organ/solo instruments/vocal. Minneapolis, Minn. (P.O. Box 11004, Minneapolis 55411-0004): Crossroads Productions "Special Music Library", 1997.
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Clarke, C. Charles. Crossroads 1900-1950 vintage music catalog: Original stock, cinema, condensed, conductors scores : piano/organ/solo instruments/vocal. Minneapolis, MN (P.O. Box 11004, Minneapolis 55411-0004): Crossroads Productions "Special Music Library", 1997.
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Inkster, Donald. Union Cinemas Ritz: A story of theatre organs and movie variety shows. Hove, England: Wick Book Publishers, 1999.
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Puliatti, Martina. La rivoluzione interiore: Corpi senza organi nel cinema di David Cronenberg. Canterano (RM): Aracne editrice, 2020.
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Gueye, Nicole Symonnot. L'orgue, un singulier pluriel: Approche de l'orgue à travers ses représentations dans la littérature et le cinéma européens depuis la fin du XIXe siècle. [Sampzon]: Delatour France, 2010.
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Kinoorgeln: Installationen der Gegenwart in Deutschland = Theatre organs, cinema organs. Frankfurt am Main: E. Bochinsky, 1998.
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Wijdicks, Eelco F. M. Cinema, MD. Oxford University Press, 2020. http://dx.doi.org/10.1093/med/9780190685799.001.0001.
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Cinema, MD argues that within cinema there is a history of medicine—one version in the many different histories of medicine. How did filmmakers write a history of medicine? This book discusses how cinema depicts medicine, in all its glory and all its failures, and what can we learn from it. It offers an account of all the major films with medical themes. The book asks a number of critical questions, such as why scriptwriters and directors chose the subjects, the plots, the cast, and the images that they did. Films have covered a wide range of medical topics, depicting not only physicians, nurses, and other health-care personnel working in hospitals, clinics, and asylums but also epidemics, diseases and disabilities, mental illness, and addictions. Films have portrayed medical feats such as vaccinations and organ transplantations. Filmmakers also have tackled subjects such as death and dying, medical experimentation, and rare diseases, as well as documenting criticism of the medical status quo.
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Fisher, Roger C. From Wirral to Wurlitzer: The story of Robert Hope-Jones (1859-1914), his first organ at St. Luke's Church, Tranmere, and the birth of the 'Mighty Wurlitzer' cinema organ. Classfern Ltd, 2001.
Find full textBook chapters on the topic "Cinema organ"
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Zwart, H. A. E. "An Oblique Perspective: Organ Transplant Cinema." In Purloined Organs, 89–92. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-05354-3_17.
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Mathias, Nikita. "Cinema – A Medium of the Sublime?" In Disaster Cinema in Historical Perspective. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463720120_ch05.
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I set out to explore cinema in terms of its potential function as a medium of the sublime. Burke and Kant’s accounts of the sublime are employed to examine their correlation with cinema’s technological, formal, and receptive repertoire. This encompasses intrinsic features such as cinematography’s innovation of putting in motion photographic images, aspects of the montage, the aesthetic potential of the camera as cinema’s central organ of expression and perception, sound effects, and multimedia interplay as well as external features of cinema which constitute the medium as a concrete space for cinematic experiences. To what extent do these various features provoke, facilitate, mediate, or participate in a sensory and affective overpowering of the viewer?
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Wijdicks, Eelco F. M. "Transplantation." In Cinema, MD, 171–92. Oxford University Press, 2020. http://dx.doi.org/10.1093/med/9780190685799.003.0008.
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For many of us the heart is still symbolic of the soul. Therefore, the advent of heart transplantation opened up new avenues for movie plots. The experience of the transplant recipient has captured screenwriters’ attention. Screenwriters are intrigued by the complexity of heart transplantation and, with it, themes based on the centrality of the heart in emotions, the possibility of a donor’s personality traits being transmitted to the recipient, quests to find the donor’s family and cloning organ donors to treat complex disease. Transplant tourism and trafficking are other commonly covered topics. This chapter reviews the history of transplantation and connects it with its cinematic representations– from horrific to compassionate.
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Harper, Sue, and Vincent Porter. "Ealing Studios." In British Cinema of the 1950s, 57–73. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198159346.003.0004.
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Abstract DURING the Second World War, Michael Balcon, the head of Ealing Studios, had been the most vociferous opponent of Rank’s business activities. Like many other liberals in the trade, he viewed Rank’s influence as overweening, with a dangerous tendency to monopoly. When Balcon became a powerful presence on the Palache Committee, Rank bought him off by offering him a deal which seemed too good to refuse; he would cover half Ealing’s production costs, in return for world-wide distribution rights. This was all very well while Rank ran his business in a laissez fairemanner, but once John Davis took the helm, everything changed. Davis wanted to reshape Ealing production so that there would finally be world-wide profits, and he intervened in the day-to-day running of Ealing in an increasingly importunate manner. Small wonder that, writing with hindsight in 1959, Balcon thought that distributors should ideally be ‘ancillary to a major production organ is action’.1In the 1940s, Ealing film production had been at its zenith, both artistically and financially. Balcon had headed Ealing from 1939, and he set in motion the sys tem of unit production which he had initiated at Gaumont-British in the 1930s. His practice was to encourage individuals so long as they concurred with his world-view. Once directors, producers, and scriptwriters were accepted into the coterie of ‘Mr Balcon’s young gentlemen’ (as they were called), they were given relative autonomy during production. During the 1940s, Balcon dominated the selection and nuancing of Ealing’s projects, which all combined realist aesthetics with liberal politics and performed consistently well at the UK box office.
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"“ Good Evening “ Alfred Hitchcock Talks to Fran,ois Truffaut about “ Pure Cinema,” Playing His Audience Like an Organ, and Psycho." In Alfred Hitchccocks’ Psycho, edited by Robert Kolker, 3–22. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195169195.003.0001.
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Abstract Once a week for ten years, beginning in 1955, Hitchcock introduced his popular television show with a formal “ good evening, ladies andgentlemen” spoken in an exaggerated British accent, sounding something like a movie version of an English butler. He was sarcastic and ironic; he mocked his sponsors and himself. He had, in short, a good time at every-one’s expense, his own included. The publicity and public exposure his appearances provided was invaluable. Despite the fact that Hitchcock coveted a quiet, creative life, he wanted everyone to know who was respon-sible for the films he created, as evidenced by the fact that he quite literally wrote himself into his films by means of brief, silent cameos in almost all of them. These, and the television series, guaranteed an almost personal engagement with his audience.
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Fairfax, Daniel. "Bernard Eisenschitz: Cinema, Communism and History." In The Red Years of Cahiers du Cinéma (1968-1973). Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463728508_ch12.
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This chapter focuses on Bernard Eisenschitz’s activities as a film critic and historian after he was expelled from Cahiers du cinéma in 1972. A member of the Parti communiste français throughout the 1970s, he initially wrote for the party’s cultural journal La Nouvelle Critique as well as communist publications such as Révolution and L’Humanité, and he exposed the readership of these organs to a wide array of films influenced by Cahiers’ own cinematic canon. Later, his lifelong passion for film history manifested itself in a prolific series of books, written with a meticulous care for detail, which included historical surveys of German and Soviet cinema and studies of the filmmakers Nicholas Ray, Fritz Lang and Chris Marker.
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Strukov, Vlad. "Body in Crisis and Posthumous Subjectivity: Igor’ Voloshin’s Nirvana (2008)." In Contemporary Russian Cinema. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474407649.003.0008.
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Symbolisation is not about providing symbols as naïve interruptions of the moving image but rather opening the cinematic production to pro-nomination, that is, meaning-making before all names and terms. This process is similar to ex-scription (from Latin ‘exscriptus’, meaning ‘a copy, a transcript’). According to Nancy, it means ‘that the thing’s name, by inscribing itself, inscribes its property as name outside itself’ (1993: 175), or what I called above, strategies of externalisation. Here cinematic work is about writing as ‘ex-scribing’, or working from another edge, or describing states while also pointing to another, metaphysical dimension, that of ex-scription. I explore the possibility of presenting the subject cinematically as a mode, that is, a system of gestures and emotions, and everything else that comes to pass: ‘waves and vibrations, migrations, thresholds and gradients, intensities produced in a given type of substance starting from a given matrix’ (Deleuze and Guattari 1988: 153). My analysis of Nirvana attests, the body without organs is first and foremost a performing body, a body that is performing itself by means of itself, whereby the boundaries between internal and external structures are blurred and the body becomes a continuous act of inscribing meaning.
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O’Farrell, Tim. "‘Time Turning Into Space’: Innocence of Memories’ Prismatic Istanbul." In World Cinema and the Essay Film, 122–37. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474429245.003.0008.
Full textAbstract:
This chapter argues for a complex spatialisation of time and memory in Grant Gee’s essay film Innocence of Memories (2019). Focusing on issues of narrative, the indexical and memory, the author sees Gee’s film functioning in multiple registers, principally as a kind of palimpsest, referring to and writing over Nobel Laureate Orhan Pamuk’s novel The Museum of Innocence (2009) and also referencing in multi-layered and intricate ways the real museum of the same name, located prominently in the centre of Istanbul. Both film and novel, as Tim O’ Farrell shows in an extended reading of the works, straddle a deep love of the past, a desire to preserve and understand it, and a fascination with the inexorability of time, transformation and notions of progress. Fact and fiction are thereby multiply entangled, produced by and supporting the disjunctive practice and interstitiality of the essay film, as the author points out with reference to Laura Rascaroli’s theoretical work How the Essay Film Thinks (2017).
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Catinella, A. Peter, and Jennifer Paul Leiser. "Family Medicine." In Handbook of Primary Care Psychology, 63–70. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195149395.003.0005.
Full textAbstract:
Abstract Family practice is an official medical specialty under the jurisdiction of the American Board of Family Practice. To qualify as a specialty, a field carries a unique focus of care and special training to justify that designation. Specialties define their unique focus of care using several criteria. Some specialties, such as pediatrics or internal medi-cine, focus on patients of a certain age. Some, like obstetrics and gynecology, care for patients of one gender. Some care for patients experiencing cer-tain kinds of disease or disease of certain organs, such as oncology or cardiology. Some focus on a certain set of therapeutic skills, such as general surgery. Family physicians describe themselves as another kind of specialist.
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Robinson, Max, Keith Hunter, Michael Pemberton, and Philip Sloan. "Oral cancer." In Soames' & Southam's Oral Pathology. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199697786.003.0008.
Full textAbstract:
The term ‘oral cancer’ encompasses all malignant neoplasms affecting the oral cavity. The majority, greater than 90%, are squamous cell car¬cinomas. The remainder are uncommon and comprise minor salivary gland adenocarcinomas, malignant melanoma, sarcomas, haemato-logical malignancies, and metastases to the oral cavity from cancers at other sites. Oral squamous cell carcinoma is a malignant epithelial neoplasm that arises from the lining mucosa of the oral cavity. The tumour shows vary¬ing degrees of squamous differentiation and is characterized by invasion of local structures and metastasis to regional lymph nodes, followed by metastasis to other organ systems (e.g. lungs and bones) later in the course of the disease. Epidemiological data pertaining to oral cancer can be difficult to evalu¬ate because of variations in the methods of data collection (Box 3.1). Notwithstanding these confounding variables, a database produced by the International Agency for Research on Cancer (GLOBOCAN), esti-mated there were over 400,000 new cases of lip, oral, and pharyngeal cancer worldwide in 2012, placing the disease in ninth position with breast, prostate, lung, colorectal, cervical, stomach, liver, and uterine cancer being more common. These data suggest that oral cancer is uncommon, but there are enormous variations worldwide. Whereas oral cancer is relatively uncommon in the UK, accounting for 2% of all cancers, in India and parts of South-East Asia it is the most common malignant neoplasm and accounts for around a third of all cancers. Furthermore, the incidence rates for large countries, such as India and the USA, conceal regional and ethnic variations. For example, incidence rates tend to be higher in urban as opposed to rural communities, and in the USA are higher for blacks than whites. In the United Kingdom, inci¬dence rates are slightly higher in Scotland than in England and Wales. In the United Kingdom the incidence of oral cancer is 9 per 100,000 of the population, which represents around 6,800 new cases per annum. The disease is more common in men than in women; the male:female ratio is currently 2:1. Oral cancer incidence increases with age, and the majority of cases (greater than two-thirds) are diagnosed after the age of 50 years old; less than 5% occur in individuals below the age of 40 years old.
Conference papers on the topic "Cinema organ"
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Bolshakova, Anastasia Sergeevna. "Elusive corporeality: the utopian potential of contemporary cinema in the light of Michel Foucault's ideas." In International Research-to-practice conference. Publishing house Sreda, 2023. http://dx.doi.org/10.31483/r-107683.
Full textAbstract:
In the context of the modern super-technological, technofetishist paradigm, the category of corporeality is fundamentally transformed, and the phenomenon of the body is increasingly conceptualised and interpreted through notions of formless, structureless formations that exist as a configuration of surfaces (screen body, antibody, body without organs, zero body, body without space). In the context of a technologised, digital environment, with the development and spread of transhumanist ideas, a number of philosophical problems become particularly relevant, among them going beyond the limits of the human, the body's detachment from its own topography, and the elusiveness of subjectivity. This article attempts to describe these metamorphoses on the example of Julia Ducournau's film "Titan", based on the concept of utopianisation of the body proposed by Michel Foucault in 1966 as part of the radio programme "French Culture".