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Books on the topic 'Midi files'

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Published: 30 May 2022
Last updated: 31 May 2022

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1

The MIDI files. London: Prentice Hall, 1996.

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2

Young, Rob. The MIDI files. 2nd ed. London: Prentice Hall, 2001.

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3

Chernykh, Valentin, and Andreĭ Ėshpaĭ. Deti Arbata. [Moskva]: MostVideoFilʹm, 2004.

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4

Sitkiewicz, Paweł. Miki i myszy: Walt Disney i film rysunkowy w przedwojennej Polsce. Gdańsk: Słowo/obraz terytoria, 2012.

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5

Kellner, Oliver. Seewolf & Co.: Robinson Crusoe, Lederstrumpf, David Balfour, Cagliostro, Tom Sawyer : die Tradition der Abenteuer-Vierteiler im ZDF. Berlin: Schwarzkopf & Schwarzkopf, 1999.

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6

Garrigus, Scott R. Sonar 4 power! Boston, MA: Thomson Course Technology, 2005.

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7

Movies made for television: The telefeature and the mini-series, 1964-1986. New York, NY: New York Zoetrope, 1987.

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8

Marill, Alvin H. Movies made for television: The telefeature and the mini-series, 1964-1986. New York, NY: New York Zoetrope, 1987.

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9

Merton, Orren. Logic Pro 7 Power! Boston, MA: Course Technology PTR, 2005.

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10

Merton, Orren. Logic Pro 7 power! Boston, MA: Thomson Course Technology PTR, 2005.

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11

Chŏng Uk kwa Taewŏn: Chŏng Uk Hoejang, manhwa aenimeisyŏn 50-chunyŏn kinyŏm hŏnjŏngjip. Sŏul T'ŭkpyŏlsi: Pŭrein Sŭt'oŏ, 2015.

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12

Creative sequencing techniques for music production: A practical guide to Pro Tools, Logic, Digital Performer, and Cubase. 2nd ed. Amsterdam: Focal Press, 2011.

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13

Barrett, Don. Digital Performer 5 power!: The comprehensive guide. Boston, MA: Thomson Course Technology, 2008.

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14

Logic Pro X 10.1: [professional music production]. [San Francisco]: Peachpit Press, 2015.

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15

Logic Pro 9 and Logic Express 9. Berkeley, CA: Peachpit Press, 2010.

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16

The sound & music workshop. San Francisco: Sybex, 1996.

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17

Grace, Rich. The sound & music workshop. San Francisco: Sybex, 1996.

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18

Murray, Scott. Australia on the small screen, 1970-1995: The complete guide to tele-features and mini-series. Melbourne: Oxford University Press, 1996.

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19

D'Aloia, Adriano. Neurofilmology of the Moving Image. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463725255.

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A walk suspended in mid-air, a fall at breakneck speed towards a fatal impact with the ground, an upside-down flip into space, the drift of an astronaut in the void… Analysing a wide range of films, this book brings to light a series of recurrent aesthetic motifs through which contemporary cinema destabilizes and then restores the spectator’s sense of equilibrium. The ‘tensive motifs’ of acrobatics, fall, impact, overturning, and drift reflect our fears and dreams, and offer imaginary forms of transcendence of the limits of our human condition, along with an awareness of their insurmountable nature. Adopting the approach of ‘Neurofilmology’—an interdisciplinary method that puts filmology, perceptual psychology, philosophy of mind, and cognitive neuroscience into dialogue—, this book implements the paradigm of embodied cognition in a new ecological epistemology of the moving-image experience.
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20

Heffron, Richard, and Peggy Goldman. V: The final battle. Burbank, CA: Warner Home Video, 2002.

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21

Benthien, Axel. (German Text) - with MIDI files: (German Text). Schott, 1986.

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22

Alfred's Group Piano for Adults Student Book 1: An Innovative Method Enhanced With Audio and Midi Files for Practice and Performance. Alfred Music, 2008.

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23

Boeltz, Marcus. Grooves Only for Drumset: 2000 Grooves für Schlagzeuger, Songwriter, Produzenten, Arrangeure, Musiker. Mit DVD Audio-mp3, midi-files, pdf in english included. Leu Verlag, 2012.

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24

20 Mini-mysteries (Detective Files). Scholastic Ltd, 1997.

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25

Style, Potter. My Favorite Films Mini Journal. Potter Style, 2004.

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26

MIDI Sequencing in Reason: Skill Pack. Thomson Course Technology, 2006.

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27

1974-, Fazzini Paolo, ed. Amici miei: La trilogia. Roma: Un mondo a parte, 2008.

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28

Zehmisch, Philipp. Mini-India. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199469864.001.0001.

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This contribution to political anthropology, migration research, and postcolonial studies fills a gap in the hitherto under-represented scholarship on the migrant and settler society of the Andaman Islands, called ‘Mini-India’. Focusing on political, social, economic, and cultural effects of migration, the main actors of the book stem from criminalized, low-caste, landless, refugee, repatriated, Adivasi, and other backgrounds of the subcontinent and South East Asia. Settling in this ‘new world’, some underprivileged migrants achieved social mobility, while others remained disenfranchised and marginal. Employing the concept of subalternity, this ethnographic study analyses various shades of inequality that arise from communities’ material and representational access to the state. It elaborates on the political repercussions of subaltern migration in negotiations of island history, collective identity, ecological sustainability, and resource access. The book is divided into three parts: Part I, titled ‘Theory, Methodology, and the Field’ introduces the reader into subaltern theory and the Andamans as fieldwork site. Part II, titled ‘Islands of Subalternity: Migration, Place-Making, and Politics’ concentrates on the Andaman society as a multi-ethnic conglomerate of subaltern communities in which stakes of history and identity are negotiated. Part III, titled ‘Landscapes of Subalternity: An Ethnography of the Ranchis of Mini-India’ focuses on the Ranchis, one particular community of 50,000 subaltern Adivasi migrants from the Chotanagpur region. It highlights the exploitative history of Ranchi contract labour migration, which triggered specific forms of cultural and ecological appropriation as well as multi-layered strategies of resistance against domination to achieve autonomy, autarchy, and peaceful cohabitation in the margins of the state.
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29

Hans Solo (Star Wars Mini Books). Heinemann Young Books, 1997.

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30

Editions, Insight. From the Films of Harry Potter: Mini Book of Spells and Charms. Insight Editions, 2020.

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31

Jaeckle, Jeff, and Susan Ryan, eds. ReFocus: The Films of Barbara Kopple. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474439947.001.0001.

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Building on existing interviews, journal articles, and archival research, The Films of Barbara Kopple assesses Kopple’s entire career to date, paying particular attention historical contexts, technique, critical reception, and ongoing influence. Each chapter blends close analyses of the films with insights drawn from film history and documentary studies to demonstrate that Kopple has consistently and often doggedly pursued projects that document the experiences of the victimized, the voiceless, and those in crisis. The contributors treat the entire scope of Kopple’s career, from her work in the early 1970s as an intern for David and Albert Maysles, to her mid-career experiments with commercial television and fictional projects, and finally to her recent forays into digital streaming platforms such as YouTube. The book also provides cultural contexts for Kopple’s films, including representations of class, gender, sexuality, and race. Finally, it assesses the contours of Kopple’s critical reputation and popularity, including her influence on contemporary filmmakers. In all, the book aims to stir interest in the life and films of Barbara Kopple, reminding readers why her films continue to be culturally significant.
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32

Power Tools for GarageBand: Creating Music with Audio Recording, MIDI Sequencing, and Loops. Backbeat Books, 2004.

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33

Hamilton, Emmons, and Storm Software Inc, eds. Mini-reference manual for personal Storm 3.0: Quantitative modeling for decision support. Upper Saddle River, NJ: Prentice Hall, 1995.

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34

Contributor), Hamilton Emmons (Other, and Storm Software (Other Contributor), eds. Mini-reference manual for personal Storm 3.0: Quantitative modeling for decision support. Prentice Hall, 1996.

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35

Contributor), Hamilton Emmons (Other, and Storm Software (Other Contributor), eds. Mini-reference manual for personal Storm 3.0: Quantitative modeling for decision support. Prentice Hall, 1996.

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36

Creative Sequencing Techniques for Music Production: A practical guide to Logic, Digital Performer, Cubase and Pro Tools. Focal Press, 2005.

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37

SONAR 5 Power!: The Comprehensive Guide. Thomson Course Technology, 2005.

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38

Clasen, Mathias. Monsters Everywhere. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190666507.003.0006.

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The chapter gives an outline of the history of American horror across media, from prehistoric roots to postmodern slasher films and horror videogames. A specifically American literary horror tradition crystallizes in the mid-1800s, with authors such as Edgar Allan Poe, and is developed in the twentieth century by writers including H. P. Lovecraft. In that century, horror films—beginning with Universal’s monster films of the 1930s—became the dominant medium for the genre. Horror became a mainstream genre during the 1970s and 1980s, with the emergence of popular writers like Stephen King and many lucrative film releases. Slasher films dominated the 1980s and were reinvented in a postmodern version in the 1990s. Horror videogames became increasingly popular, offering high levels of immersion and engagement. The chapter shows that horror changes over time, in response to cultural change, but changes within a possibility space constrained by human biology.
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39

Lewis, Hannah. Source Music and Cinematic Realism. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0006.

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Chapter 5 focuses on the role of diegetic music in early poetic realist films. Poetic realism, the filmmaking genre that emerged out of the politics of the mid-1930s, had its roots in transition-era films by filmmakers such as Jean Grémillon, Julien Duvivier, Jacques Feyder, and perhaps most notably, Jean Renoir. The soundtracks of these filmmakers tended to favor a “realistic” incorporation of music into the narrative, an aesthetic decision grounded in a broader preference for direct recording, and frequently featured popular songs and street musicians to enhance the realism of a film’s setting. But diegetic music in early poetic realist films was multivalent, revealing the emotions or thoughts of characters, providing narrative commentary, and at times going against the expectations of a scene’s mood or actions. Considering diegetic music in early poetic realist sound films shows the ways in which audiovisual realism and stylization worked hand in hand.
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40

Digital Performer 5 Power! Course Technology PTR, 2007.

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41

Frankel, Alona. Once upon a Potty : Girl (Audiocassette and Mini-Book Version). HarperFestival, 1999.

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42

Once upon a Potty : Boy (Audiocassette and Mini-Book Version). HarperFestival, 1999.

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43

Fox, Alistair. Desperation Turned Outwards: Heavenly Creatures (Peter Jackson, 1994). Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429443.003.0009.

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This chapter locates Peter Jackson’s Heavenly Creatures in the context of other New Zealand coming-of-age films by showing how it identifies the repressive effects of New Zealand puritanism and resentment of the authoritarian practices of mid-twentieth-century society as the causes of the tragic matricide the two teenaged girl protagonists commit. It also demonstrates the genre-mixing that Jackson believes is characteristic of New Zealand cinema, as well as the impulse to seek refuge in a fantasy world that links this film to other films discussed in this volume, such as An Angel at My Table, 50 Ways of Saying Fabulous, and Boy.
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44

Guarneri, Michael. Vampires in Italian Cinema, 1956-1975. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458115.001.0001.

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The book takes as its subject a corpus of thirty-three vampire movies made, distributed and exhibited during the peak years of film production in Italy, and certified to be of Italian nationality by state institutions such as the Italian Show Business Bureau and the Italian Film Censorship Office. Positioning itself at the intersection of Italian film history, horror studies and cultural studies, the book asks: why, and how, is the protean, transnational and transmedial figure of the vampire appropriated by Italian cinema practitioners between 1956 and 1975? Or, more concisely, what do the vampires of post-war Italian cinema mean? The aim is to show that – in spite of Italian vampire cinema’s imported and derivative nature, and its great reliance on profits coming from distribution on the international market – Italian cinematic vampires reflect their national zeitgeist from the economic miracle of the late 1950s to the mid-1970s austerity, twenty years of large political and socio-economic change in which gender politics were also in relative flux. The result of an original research into film production data, film censorship files, screenplays, trade papers, film magazines and vampire-themed paraliterature, the book leaves the well-trod track of award-winning art films to shed light on some of the so-called ‘lower forms’ of cinematic culture, looking for the economic backbone and cultural instrumentality of post-war Italian cinema in the run-of-the-mill genre movies rushed through a cheap production and into domestic and international distribution to parasitically (vampirically?) exploit a given commercially successful film.
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45

Chan, Felicia. Performing (Comic) Abjection in the Hong Kong Ghost Story. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0007.

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Horror films in Hong Kong cinema have eschewed terror in favour of comedy, where supernatural beings take the form of hopping vampires, wandering spirits and underworld demons rendered in latex masks and movie slime. This chapter explores the comic presentation of these subjects in Hong Kong horror, where the self-reflexive exposure of the cinematic machinery of costume and special effects appear to put it at odds with the spectral affectivity of the Hong Kong ghost story. This chapter returns to two classic films from the mid-1980s, A Chinese Ghost Story (Tsui Hark 1987) and Rouge (Stanley Kwan 1988), films from the ‘second wave’ period long noted to carry ‘Hong Kong’ as a subject of concern in the run up to the British handover of 1997, and revisits their historical positioning in the light of more recent post-1997 incarnations such as Visible Secret (Ann Hui 2001), My Left Eye Sees Ghosts (Johnnie To 2002), and Rigor Mortis (Juno Mak 2013).
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46

Marsh, Leslie L. Developments under Democracy. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037252.003.0006.

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This chapter discusses the current shape of filmmaking and how women directors have positioned themselves in the new context of film production in which it is increasingly difficult to realize aesthetically and ideologically challenging works. The period starting in the mid-1990s have been termed the Retomada or “rebirth” of filmmaking. However, not everyone has boldly celebrated the increased film output, and some have commented that filmmakers are now more tied to the state than ever before. Indeed, the vast majority of feature length films released from 1995 to the mid-2000s relied on monies collected from fiscal incentive laws, creating what has been referred to as a system of “incentivized patronage.”
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47

Logic Pro X: [professional music production]. 2014.

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48

Reason 3 Power! Thomson Course Technology, 2005.

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49

Jode, Martin de. Programming Java 2 Micro Edition for Symbian OS: A Developer's Guide to MIDP 2. 0. Wiley & Sons, Incorporated, John, 2007.

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50

Holliday, Christopher. The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.001.0001.

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The Computer-Animated Film: Industry, Style and Genre is the first academic work to examine the genre identity of the computer-animated film, a global phenomenon of popular cinema that first emerged in the mid-1990s at the intersection of feature-length animated cinema and Computer-Generated Imagery (CGI). Widely credited for the revival of feature-length animated filmmaking within contemporary Hollywood, computer-animated films are today produced within a variety of national contexts and traditions. Covering thirty years of computer-animated film history, and analysing over 200 different examples, The Computer-Animated Film: Industry, Style and Genre argues that this international body of work constitutes a unique genre of mainstream cinema. It applies, for the very first time, genre theory to the landscape of contemporary digital animation, and identifies how computer-animated films can be distinguished in generic terms. This book therefore asks fundamental questions about the evolution of film genre theory within both animation and new media contexts. Informed by wider technological discourses and the status of animation as an industrial art form, The Computer-Animated Film: Industry, Style and Genre not only theorises computer-animated films through their formal properties, but connects elements of film style to animation practice and the computer-animated film’s unique production contexts.
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