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Books on the topic 'Photographic film industry'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Swasy, Alecia. Changing focus: Kodak and the battle to save a great American company. New York: Times Business, 1997.

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2

PMA Strategic Planning Conference (1993 Jackson, Mich.?). Strategies 2000: Photo/imaging industry action plans for the furture : report of the PMA 1993 Strategic Planning Conference. Jackson, Mich: Photo Making Association International, 1994.

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3

translator, Nakaoka Tetsurō 1928, Takamatsu Tōru 1955 translator, and Nakaoka Shunsuke 1970 translator, eds. Firumu to kamera no sekaishi: Gijutsu kakushin to kigyō = Images and enterprise. Tōkyō: Heibonsha, 1998.

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4

Johann, Walter P. The hybrid rapid access film market, 1989-1994: A comprehensive look at the market for Kodak Ultratec, Fuji Grandex, 3M Excelerate, Anitec Reprodot & Agfa Agfastar hybrid rapid access films : a multiclient study. Forest Lake, Minn. (1068 South Lake Street, Forest Lake 55025): Dynamic Strategies, 1989.

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5

Finger, Erhard. Die Filmfabrik Wolfen: Porträt eines traditionsreichen Unternehmens 1909 bis 1994. Wolfen: GÖS-Gesellschaft für Sanierungsmassnahmen Wolfen und Thalheim, 1994.

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6

Behnk, Angelika. Die Frauen von ORWO: 13 Lebensbilder. Leipzig: G. Kiepenheuer, 1995.

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7

Karlsch, Rainer. Von Agfa zu ORWO: Die Folgen der deutschen Teilung für die Filmfabrik Wolfen. Wolfen: Vorstand der Filmfabrik Wolfen AG, 1992.

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8

Finger, Erhard. 100 Jahre Kino und die Filmfabrik Wolfen: Von Erhard Finger. Wolfen: GÖS-Gesellschaft für Sanierungsmassnahmen Wolfen und Thalheim mbH, 1996.

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9

Durling, James P. Anatomy of a trade dispute: A documentary history of the Kodak-Fujifilm dispute. London: Cameron May, 2000.

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10

1954-, Lamb-Faffelberger Margarete, ed. Literature, film and the culture industry in contemporary Austria. New York: P. Lang, 2002.

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11

1954-, Lamb-Faffelberger Margarete, ed. Literature, film, and the culture industry in contemporary Austria. New York: P. Lang, 2002.

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12

Guibourgé, Stéphane. Lancôme, Paris: Une excellence française. Paris: Regard, 2009.

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13

Fiorentino, Luca. Scatti d'epoca su Roma: La capitale nel '900 nella vita speciale dei Nistri, della O.M.I., della Sara-Nistri. Roma: Gangemi, 2009.

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14

Michael, Cuscuna, and Blue Note (Firm), eds. Blue Note: Photos. Paris, France: YellowKorner éditions, 2014.

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15

M, Springer A., Rugg Karen L, Van der Linden, F. Robert., and United States. National Aeronautics and Space Administration., eds. America by air. Washington, DC: NASA, 2007.

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16

Maurice, Hamilton, ed. Pole position: The inside story of Williams-Renault. London: Macmillan, 1995.

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17

Maurice, Hamilton, ed. Pole position: Behind the scenes of Williams-Renault F1. Osceola, WI: Motorbooks International, 1996.

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18

Hyman, Basil. The G-Plan revolution: A celebration of British popular furniture of the 1950s and 1960s. London: Booth-Clibborn, 2007.

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19

Hyman, Basil. The G-plan revolution: A celebration of British popular furniture of the 1950s and 1960s. United Kingdom: Booth-Clibborn Editions, 2007.

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20

The 2007 import and export market for exposed and developed photographic plates and film excluding cinematographic film in south Korea. [Place of publication not identified]: ICON Group Ltd., 2007.

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21

Swasy, Alecia. Changing Focus. Random House Value Publishing, 1998.

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22

The 2007 import and export market for exposed and developed cinematographic film of a width of at least 35 mm in south Korea. [Place of publication not identified]: ICON Group Ltd., 2007.

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23

Studien zur Geschichte der Filmfabrik Wolfen und der IG Farbenindustrie AG in Mitteldeutschland. Essen: Klartext, 2014.

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24

Pathenheimer : Filmfotografin: DEFA Movie Stills. Links Christoph Verlag, 2016.

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25

Komori, Shigetaka. Innovating Out of Crisis: How Fujifilm Survived As Its Core Business Was Vanishing. Stone Bridge Press, 2015.

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26

Durling, James P. Anatomy of a Trade Dispute: A Documentary History of the Kodak-Fuji Film Dispute. Cameron May, 2001.

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27

UFA in Farbe: Technik, Politik und Starkult zwischen 1936 und 1945. München: Coll. Rolf Heyne, 2010.

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28

Menefee, David W. The First Female Stars. Greenwood Publishing Group, Inc., 2004. http://dx.doi.org/10.5040/9798400651571.

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The First Female Stars: Women of the Silent Era rediscovers the fascinating lives and pioneering achievements of 15 women who dared to venture into early motion pictures, an industry dominated by men, and who not only succeeded but became the focal points of the industry. Each star earned a position at the height of her profession, and though many are largely forgotten today, made a lasting and significant contribution to early cinema. In this entertaining and informative volume, author David Menefee reveals these women and their signature roles, drawing on many original sources to show us how such actresses as Theda Bara, Sarah Bernhardt, Dorothy Gish, and Norma Talmadge were received in their time, and the many ways in which their influence remains important today. Each profile contains a biographical treatment, an analysis of key films from her career, a discussion of the actress's influence on the medium, and selected filmography. Each also includes two photographs, most often one of the actress herself and a still from a film.

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29

Magnum Photos with Reda. Damiani, 2015.

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30

Kennel, Glenn. Color and Mastering for Digital Cinema. Taylor & Francis Group, 2012.

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31

Kennel, Glenn. Color and Mastering for Digital Cinema. Taylor & Francis Group, 2012.

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32

Color and mastering for digital cinema. Burlington, MA: Focal Press, 2007.

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33

Doeden, Matt. GoPro Inventor Nick Woodman. Lerner Publishing Group, 2015.

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34

Doeden, Matt. GoPro Inventor Nick Woodman. Lerner Publishing Group, 2015.

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35

Landau, David, and Bruce Finn. Multi-Camera Cinematography and Production. Edited by David Landau. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781501374616.

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A how-to book on the art, craft and practice of TV/video/streaming cinematography for multi-camera shooting. This book is written for anyone wanting to film, direct or produce multiple camera productions. Lighting Directors, Directors of Photography, Camera Operators as well as Directors, Producers and Production Managers will all find valuable information that will help them do their job and accomplish their goals of effectively filming with more than one camera at the same time. This book could be seen as an intermediate to advanced media production course book for colleges. It is also meant to give insight and inspiration to those starting out their professional careers in multi-camera productions. The text covers advice for producing and filming content using two or more cameras in many genres including Sitcom, Stand-up, News, Talk Show, Interview, Reality, Corporate Video and Indie Movies, with budgets both big and small, by two award winning professional industry cinematographers/lighting directors with over 30 years of experience each.

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36

Aleiss, Angela. Making the White Man's Indian. Greenwood Publishing Group, Inc., 2005. http://dx.doi.org/10.5040/9798400681769.

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The image in Hollywood movies of savage Indians attacking white settlers represents only one side of a very complicated picture. In fact sympathetic portrayals of Native Americans stood alongside those of hostile Indians in the silent films of D. W. Griffith and Cecil B. DeMille, and flourished during the early 1930s with Hollywood's cycle of pro-Indian adventures. Decades later, the stereotype became even more complicated, as films depicted the savagery of whites (The Searchers) in contrast to the more peaceful Indian (Broken Arrow). By 1990 the release of Dances with Wolves appeared to have recycled the romantic and savage portrayals embedded in early cinema. In this new study, author Angela Aleiss traces the history of Native Americans on the silver screen, and breaks new ground by drawing on primary sources such as studio correspondence, script treatments, trade newspapers, industry censorship files, and filmmakers' interviews to reveal how and why Hollywood created its Indian characters. Behind-the-scenes anecdotes of filmmakers and Native Americans, as well as rare archival photographs, supplement the discussion, which often shows a stark contrast between depiction and reality. The book traces chronologically the development of the Native American's screen image while also examining many forgotten or lost Western films. Each chapter will feature black and white stills from the films discussed.

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37

Barber, Kirk. Wedding Video Handbook: How to Succeed in the Wedding Video Business. Taylor & Francis Group, 2012.

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38

Barber, Kirk. Wedding Video Handbook: How to Succeed in the Wedding Video Business. Taylor & Francis Group, 2012.

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39

Barber, Kirk. Wedding Video Handbook: How to Succeed in the Wedding Video Business. Taylor & Francis Group, 2012.

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40

Barber, Kirk. Wedding Video Handbook: How to Succeed in the Wedding Video Business. Taylor & Francis Group, 2018.

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41

Barber, Kirk. Wedding Video Handbook: How to Succeed in the Wedding Video Business. Taylor & Francis Group, 2012.

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42

The wedding video handbook: How to succeed in the wedding video business. San Francisco, CA: CMP Books, 2005.

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43

Angénieux and Cinema. Silvana, 2019.

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44

Scatti d'epoca su Roma: La capitale nel '900 nella vita speciale dei Nistri, della O.M.I., della Sara-Nistri. Roma: Gangemi, 2009.

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45

Fojas, Camilla. Border Optics. NYU Press, 2021. http://dx.doi.org/10.18574/nyu/9781479806980.001.0001.

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The US-Mexico border zone is one of the most visualized and imagined spaces in the United States, not just for the mythology of the Southwest as the cornerstone of US identity but as a place under continual crisis, permanent visibility, and territorial defense. Border Optics argues that the border is both a laboratory and an archive that indexes an optical regime and a way of seeing drawn from maps, geographical surveys, military strategic plans, illustrations, photographs, postcards, novels, film, and television—all of which combine fascination with the region with the visual codes of surveillance and survey. Optics signals a complete visual apparatus, from recording and representation to the infrastructure and institutions that support the visual regime. The border optic refers to the expanded vision of the border as a consequence of the interface of militarism, technology, and the media archive of the region. The primary aim of this complex of industry, state, and private endeavors is not simply enforcement but control, particularly of the movement of goods and people in accordance with the split codes of the border-security imaginary. This book explores several related cultural media and apparatuses that have shaped a dominant way of seeing informed by the history of the region. This includes a countervision apparent in revisionist border historical accounts, art, media, architectural design, and activist movements, along with the strains of subversion within the dominant view.

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46

Korean Indie musician photographs: Ch'oe Kyu-sŏng sajinjip. Sŏul-si: Sŏn, 2008.

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47

Nicholson. Pole Position. MacMillan, 1998.

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48

D’agati, Janine, and Hannah Schiff. From Sleepwear to Sportswear. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350232006.

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Women wearing pants poses provocative questions: When did it start? Who invented this fashion? How scandalous was it? Were women really arrested? Prior to the 1920s it was a rarity to see women in the Western world wearing pants, but as the silk pajama trouser suit moved from the boudoir to the beach in the early 1920s it cemented the image of the trousered woman. Worn by Jean Harlow and Marlene Dietrich, painted by Raoul Dufy and immortalized in F. Scott Fitzgerald’s Tender is the Night, pajamas came to symbolise much more than sleepwear: this book explores how much the pajama phenomenon was not only critical to the careers of designers such as Chanel, Patou, Poiret, and Schiaparelli, but how the versatile garment was also bound to the independence of women and influenced culture more broadly. Through meticulous research and never-before-seen images, the authors position pajama fashion in the context of the Golden Age of Travel, the rise of Hollywood, and the changing political climate of the early 20th century, to reveal how the rising trend in sleepwear influenced the image of the trousered woman now associated with The American Look. In the period between the two world wars, pajamas transformed the fashion landscape. Emerging from ladies’ boudoirs in the late 1910s as a new outdoor mode, “beach pajamas” were among the first trousered women’s attire for public wear in the West. The popularity of pajamas at seaside resorts opened the door for other trousered apparel for women—from satin and lace ensembles to workwear-inspired denim jumpsuits— to be marketed under the “pajama” umbrella, ultimately familiarizing the public with the image of women in pants. By the late 1930s beach pajamas had been immortalized by the likes of Raul Dufy and F. Scott Fitzgerald and graced the covers of Vogue, Harper’s Bazaar, and the New Yorker. With examples from the interwar period’s most influential designers, including Coco Chanel, Elsa Schiaparelli, and Madeleine Vionnet, as well as previously unpublished images from period photographs, private holdings, and museum collections, this is the first book to trace beach pajamas from their earliest appearances as anti-fashion garments at the close of the 1910s, to fanciful, feminine iterations of the 1920s and 1930s, to their evolution into the height of sportswear. From Sleepwear to Sportswear frames beach pajamas as liminal garments that straddle the lines between masculine and feminine, East and West, public and private, and sportswear and lingerie. Using context from the golden age of travel, the Hollywood film industry, the Great Depression, and a growing modernist zeitgeist, D’Agati and Schiff present new research to establish beach pajamas as an important foundation of American sportswear.

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49

The G-Plan Revolution. Booth-Clibborn Editions, 2007.

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