Готові списки джерел за темами / Pictures in the theater

Добірка наукової літератури з теми "Pictures in the theater"

Автор: Grafiati
Опубліковано: 27 липня 2024
Оновлено: 28 липня 2024

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Статті в журналах з теми "Pictures in the theater"

1

Wicks, Frank. "Picture This." Mechanical Engineering 126, no. 07 (July 1, 2004): 32–35. http://dx.doi.org/10.1115/1.2004-jul-3.

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This article highlights that the adage, a picture is worth a thousand words, is a flawed understatement. Our memories, knowledge, and opinions rely heavily on pictures. Words can only provide an explanation to information contained in a good picture. Time always moves forward, but a picture allows us to look back to some prior moment in time. Photography, which means writing with light, would require replacing the artist’s paper with a chemically coated screen, exposing the screen to the image, and then stabilizing the resulting picture. The first practical photographic process was announced in France in 1839 by Louis Daguerre, who had achieved fame as a designer of theater stages and lighting effects. George Eastman built a magnificent Colonial Revival Mansion on East Avenue in Rochester in 1905. It is a National Historic Landmark and is chartered by the State of New York as the International Museum of Photography and Film. It displays a rare collection of photographs, cameras, projectors, books, and motion pictures.
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2

Langworthy, D. ""LISTEN TO THE PICTURES"-ROBERT WILSON & GERMAN THEATER CRITICISM." Theater 23, no. 1 (December 1, 1992): 35–40. http://dx.doi.org/10.1215/01610775-23-1-35.

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3

Jannarone, Kimberly. "Jarry's Caesar Antichrist and the Theatre of the Book." New Theatre Quarterly 25, no. 2 (May 2009): 121–36. http://dx.doi.org/10.1017/s0266464x09000220.

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The familiarity bred by the notoriety in its own times of Alfred Jarry's Ubu Roi has been accompanied by neglect for his other work, especially that which seems of peripheral interest to the theatre practitioner. In this article, Kimberly Jannarone argues that his earlier Caesar Antichrist falls into the unusual category of ‘a piece of theatre not intended for the stage’ – apparently unstageable, yet not a closet drama since, in Jarry's scrupulous care for its published form, he created his own ‘theatre of the book’, anticipating the later modernist use of collage while also demonstrating in words and pictures his ‘pataphysical’ interest in the dialectics of opposites. Kimberly Jannarone received her MFA and DFA from the Yale School of Drama, and is currently teaching in the Department of Theater Arts at the University of California, Santa Cruz. She wrote on ‘Puppetry and Pataphysics: Populism and the Ubu Cycle’, in NTQ67 (2001).
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4

Smekalin, I. "Movies That Change Lives. Evaluating the Social Impact of Motion Pictures and the Practice of Evidence in Filmmaking." Positive changes 3, no. 2 (June 23, 2023): 28–38. http://dx.doi.org/10.55140/2782-5817-2023-3-2-28-38.

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Cinema is one of the most popular art forms among people of all ages. Just like music, theater, architecture, literature or painting, cinema certainly has an impact on people. At the same time, it has the capability to not just draw attention to social problems, but also to change people’s attitudes and behaviors — thus changing the world as a whole. This article provides an overview of various approaches to researching social impact of motion pictures and raises a number of important issues related to the current state of the impact assessment industry in motion pictures.
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5

Yurganov, Andrei L'. "On the original version of the play "Fear" by Stalinist playwright Alexander Afinogenov. 1930s." Herald of an archivist, no. 2 (2024): 480–94. http://dx.doi.org/10.28995/2073-0101-2024-2-480-494.

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The article examines the work of Stalinist playwright Alexander Nikolaevich Afinogenov (1904-1941) through the prism of his complicity in the ideological campaigns of the Bolshevik Party. The study of the impact of party-state ideology on the broad masses of people during the Stalinist era is a priority direction of historical science. However, this direction needs further thematic and problematic expansion. The ideological campaigns of the Bolshevik Party in the 1930s found their artistic expression on the theatrical stage, in the plays of the most famous playwrights. This interaction between propaganda and theater art has not been studied sufficiently. There are practically no generalizing works. This is partly due to the fact that sufficient empirical material has not yet been accumulated. Almost every play by A. N. Afinogenov corresponded to one or another vector of the ideological struggle of the All-Union Communist Party of Bolsheviks. The play "Fear" (1931), which became a full-scale artistic expression of one of the most powerful ideological campaigns conducted by the Bolshevik Party until the time of the "Great Terror" - the campaign to "purge" state and party organs, is of particular interest. The original manuscript of this play, found in the Moscow Art Theatre Museum, significantly expands the understanding of how the play was understood by contemporaries. The initiator of the changes in the text of the play was K. S. Stanislavsky, who persuaded A. N. Afinogenov to introduce the figure of the "investigator" into the play. A. N. Afinogenov significantly remade the main pictures of the play - the eighth and ninth, in fact, they were rewritten anew. The play "Fear" was staged in two theaters - in the State Drama Theater (Leningrad) and in the Moscow Art Theater (Moscow). In Leningrad, where the performances began earlier than in Moscow, they used the original text of the play (at least until the end of 1931), and in Moscow used the revised version. This in no way contradicted A. N. Afinogenov, the playwright, who saw his work as a continuation of the ideological struggle in the artistic images of Soviet dramaturgy. In the found original version of the play and in the revised version there are different accents in the characterization of the characters of the play (in the eighth and ninth pictures, the final ones). But it was not the artistic side of the theatrical work that mattered, but the ideological basis, the meaning of which in both editions was reduced to the most important postulate of totalitarianism - to recognize the class basis of morality, to renounce oneself, one's views, one's "own" science, to erase one's former life in order to enter the "objective" state of collective unanimity without one's own personality.
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6

Hennig-Thurau, Thorsten, Victor Henning, and Henrik Sattler. "Consumer File Sharing of Motion Pictures." Journal of Marketing 71, no. 4 (October 2007): 1–18. http://dx.doi.org/10.1509/jmkg.71.4.001.

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Illegal consumer file sharing of motion pictures is considered a major threat to the movie industry. Whereas industry advocates and some scholars postulate a cannibalistic effect on commercial forms of movie consumption, other researchers deny this effect, though sound evidence is lacking on both sides. Drawing on extant research and utility theory, the authors present hypotheses on the consequences and determinants of consumer file sharing and test them with data from a controlled longitudinal panel study of German consumers. The data contain information on the consumers' intentions toward and actual behavior in relation to the consumption of 25 new motion pictures, allowing the authors to study more than 10,000 individual file-sharing opportunities. The authors test the effect of file sharing on commercial movie consumption using a series of ReLogit regression analyses and apply partial least squares structural equation modeling to identify the determinants of consumer file sharing. They find evidence of substantial cannibalization of theater visits, DVD rentals, and DVD purchases responsible for annual revenue losses of $300 million in Germany. Five categories of file-sharing behavior drive file sharing and have a significant impact on how consumers obtain and watch illegal movie copies.
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7

Hennig-Thurau, Thorsten, Victor Henning, Henrik Sattler, Felix Eggers, and Mark B. Houston. "The Last Picture Show? Timing and Order of Movie Distribution Channels." Journal of Marketing 71, no. 4 (October 2007): 63–83. http://dx.doi.org/10.1509/jmkg.71.4.063.

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Movies and other media goods are traditionally distributed across distinct sequential channels (e.g., theaters, home video, video on demand). The optimality of the currently employed timing and order of channel openings has become a matter of contentious debate among both industry experts and marketing scholars. In this article, the authors present a model of revenue generation across four sequential distribution channels, combining choice-based conjoint data with other information. Drawing on stratified random samples for three major markets—namely, the United States, Japan, and Germany—and a total of 1770 consumers, the empirical results suggest that the studios that produce motion pictures can increase their revenues by up to 16.2% through sequential distribution chain timing and order changes when applying a common distribution model for all movies in a country and that revenue-optimizing structures differ strongly among countries. Under the conditions of the study, the authors find that the simultaneous release of movies in theaters and on rental home video generates maximum revenues for movie studios in the United States but has devastating effects on other players, such as theater chains. The authors discuss different scenarios and their implications for movie studios and other industry players, and barriers for the implementation of the revenue-maximizing distribution models are critically reflected.
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8

Stamm, Michael. "Watching News in Public: The Rituals and Responses of Newsreel Theater Audiences." JCMS: Journal of Cinema and Media Studies 63, no. 2 (January 2024): 96–118. http://dx.doi.org/10.1353/cj.2024.a919193.

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abstract: From roughly 1930 to 1950, newsreel theaters played important roles in urban and film cultures. These small (200- to 600-seat) theaters showed hour-long loops of news that patrons could drop into from morning to midnight. Some aspects of the newsreel theater experience extended the rituals of nickelodeon spectatorship of earlier decades, and others predated the post–World War II development of television news consumption. Newsreel theaters allowed patrons to pass the time watching motion picture news, and they became politically charged spaces offering ways for people to watch and react vocally to the news in public as members of groups.
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9

Kumb, Florian, and Reinhard E. Kunz. "Winner-Takes-All”: Influencing Factors of the Post-Theatrical Supply and Demand in Motion Picture Exhibition." Journal of Creative Industries and Cultural Studies 8 (2017): 77–117. http://dx.doi.org/10.56140/jocis-v8-4.

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The post-theatrical exhibition has become essential for motion pictures to break even. Nevertheless, besides the first attempts to study TV broadcasters and streaming providers as release windows, academic research in marketing has concentrated primarily on the initial theat-rical release. This article examines factors influencing supply and demand during the sequential release process of the motion picture industry. The authors build a modelling framework to ana-lyze the drivers resulting in comprehensive supply and strong demand in major exhibition win-dows (i.e., during the home video, video-on-demand, and free-to-air TV exhibition). They esti-mate the conceptual model of regressions using market data from Germany, including all 5 200 theater-released motion pictures between 2005 and 2014. The authors expand the existing suc-cess-breeds-success theory and use a winner-takesall theory to explain market supply and de-mand in sequential distribution. The results reveal a limited set of influencing factors (e.g., word-of-mouth communication or certain genres) that increase the probability of comprehensive exhibition and strong demand. Other influencing factors depend on the exhibition window (e.g., age ratings). The results add to existing theories of sequential distribution and can help research-ers and managers improve movie-specific exhibition strategies.
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10

Holman, Tomlinson. "Motion picture theater loudspeaker system." Journal of the Acoustical Society of America 81, no. 5 (May 1987): 1662. http://dx.doi.org/10.1121/1.395048.

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Дисертації з теми "Pictures in the theater"

1

Gunckel, Colin. ""A theater worthy of our race" the exhibition and reception of Spanish language film in Los Angeles, 1911-1942 /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1997008061&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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2

Chiu, Chun-Kai. "Movie theater ticket order system: (MTTOS)." CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2541.

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This project is a movie theater order system. This system allows people to get movie information and purchase tickets on the Internet. This project is based on a Model-View-Controller (MVC) architecture, which introduces a controller servlet to provide a single point of entry to the web system and encourages more reuse and extensibility of the code.
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3

Luce, Micah. "The cinema and the church experiential [koinonia] in audience and congregation /." Theological Research Exchange Network (TREN), 2008. http://www.tren.com/search.cfm?p051-0115.

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4

Khazaal, Natalie Michaylova. "Sectarianism, language, and language education in Lebanese theater, television, and film." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1467886891&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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5

Overpeck, Deron. "Out of the dark American film exhibition : political action and industrial change, 1966-1986 /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1459904671&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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6

Odenwald, Florian. "Der nazistische Kampf gegen das "Undeutsche" in Theater und Film 1920-1945." München : Utz, 2006. http://books.google.com/books?id=cOtkAAAAMAAJ.

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7

Perugini, Sas̆a. "The aesthetics of Fellini's art seen through its ties with popular entertainment /." Thesis, Connect to Dissertations & Theses @ Tufts University, 2001.

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Thesis (Ph.D.)--Tufts University, 2001.
Submitted to the Dept. of Drama. Advisers: Laurence Senelick; Jeanne Dillon. Includes bibliographical references (leaves 228-243). Access restricted to members of the Tufts University community. Also available via the World Wide Web;
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8

Sava, Laura. "Intermedial encounters : the representation of theatre in film." Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/49180/.

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This thesis closely examines the representation of theatre in film, using insights derived from an ever-growing literature dedicated to the notion of intermediality, in order to understand film’s temporary disguise as another medium. With the realization that theatre is not just another object of representation in film, it becomes increasingly apparent that an analysis of theatre-in-film has the potential of serving as a catalyst for a complex reflection on the nature of mediation. The present dissertation studies the conditions under which this potential is realized. Throughout the thesis, I am integrating textual analysis with theoretical considerations, in an attempt to offer new readings of the chosen films and show how they cohere around four distinct problems pertaining to the issue of theatre-in-film. These problems can be spelled out as follows: the length and embedment of the theatrical inserts, the dual address of the represented performances, the relation between quoted theatre and theatricality and the problem of showing versus telling in the representation of theatre. The case studies were selected from a period spanning forty years; they range from Jacques Rivette’s 1968 L’Amour fou to Charlie Kaufman’s 2008 Synecdoche, New York. Through an in-depth analysis of these case studies, the chapters demonstrate that film is extremely versatile in the handling of theatre references, and that it is precisely this versatility that throws in crisis the existent intermedial discourse. I am arguing that staging a theatre event in film comes with its own set of challenges that need to be accounted for with the assistance of a suitable methodology. In a sense, I have devised my own methodology, by using intermediality studies in conjunction with concepts borrowed from narrative and drama theory, as well as with the analytical tools of film studies.
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9

Slaughter, Stephany Lynn. "Performing the Mexican revolution in neoliberal times reinventing iconographies, nation, and gender /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1164735049.

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10

Urquijo-Ruiz, Rita E. "Las figuras de la peladita/el peladito y la pachuca/el pachuco en la producción cultural chicana y mexicana de 1920 a 1990 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3138840.

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Анотація:
Thesis (Ph. D.)--University of California, San Diego, 2004.
Accompanied by compact disc sound recording of 11 Pachuco trio songs by Lalo Guerrero with Trio Imperial. Vita. Includes bibliographical references (leaves 200-209).
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Книги з теми "Pictures in the theater"

1

Francis, Sandy. At the movie theater. [Chanhassen, MN]: Child's World, 2000.

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2

Holcomb, Billy. Theater row: Movie palaces of Denison, Texas. Denison, Tex: Denison Heritage Inc., 1999.

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3

1961-, Knopf Robert, ed. Theater and film: A comparative anthology. New Haven: Yale University Press, 2005.

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4

Goossens, Jesse. Tuschinski--droom, legende en werkelijkheid: De geschiedenis van het theater. 's-Gravenhage: BZZTôH, 2002.

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5

Athanasatou, Gianna. Skēnes, eikones, vlemmata: Diastaurōseis tou theatrou kai tou kinēmatographou. Athēna: Ekdoseis EAP, 2021.

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6

Jones, Robert Edmond. Towards a new theatre: The lectures of Robert Edmond Jones. New York: Limelight Editions, 1992.

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7

B, Balme Christopher, Hasche Christa, Mühl-Benninghaus Wolfgang, and Fiebach Joachim, eds. Horizonte der Emanzipation: Texte zu Theater und Theatralität. Berlin: Vistas, 1999.

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8

Alexandre, Olivier. Utopia, à la recherche d'un cinéma alternatif. Paris: Harmattan, 2007.

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9

Protti, Paolo. Un orizzonte chiamato cinema: Mantova e l'Italia dal 1904 ad oggi nella storia della famiglia Protti. Mantova: Editoriale Sometti, 2018.

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10

McCully, Emily Arnold. You lucky duck!: Story and pictures. New York: Golden Book, 1988.

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Частини книг з теми "Pictures in the theater"

1

Roznowski, Rob, and Kirk Domer. "The Life in Pictures." In Collaboration in Theatre, 131–34. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230620193_12.

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2

Newey, Katherine. "Speaking Pictures: The Victorian Stage and Visual Culture." In Ruskin, the Theatre and Victorian Visual Culture, 1–15. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230236790_1.

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3

Mardnli, Judy. "Involuntary journey—a picture theater in unjust scenes." In In/Visibility of Flight, 19–28. Bielefeld, Germany: transcript Verlag, 2024. http://dx.doi.org/10.14361/9783839469033-003.

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4

Manzetti, Maria Cristina. "Combining 3D Visibility Analysis and Virtual Acoustics Analysis for the Architectural Study of Ancient Theatres." In Capturing the Senses, 105–25. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-23133-9_6.

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AbstractThe research presented in this chapter demonstrates the fruitful combination of interdisciplinary and multisensory approaches in the field of archaeology. Several disciplines, such as architecture, archaeology, computer science, acoustics and geophysics, cooperated to obtain new data and to elaborate new hypotheses about the original structure of the Roman theatres in Crete. All the information available about these monuments (such as ancient drawings, descriptions of travellers, plans, archaeological reports, aerial pictures and geophysical anomalies) were the basis to hypothesise their original architecture, together with the support of comparisons with well-preserved Roman theatres and with Vitruvius’ proportions. These reconstructive hypotheses were visualised by 3D models and their accuracy was verified through a new methodology that sees the application of 3D visibility analysis and virtual acoustics analysis. The 3D visibility analysis was useful to verify the level of visibility of the stage by the spectators in the seating area. The virtual acoustics analysis was used to obtain quantitative values of acoustic parameters helpful to judge the acoustic quality of the 3D reconstructions. The auralisation was also carried out to attain a subjective parameter about acoustic perception. In particular, by 3D visibility analysis and virtual acoustics analysis, it is possible to verify the reliability and the accuracy of hypothetical reconstructions, assuming that every spectator was able to watch the stage and able to listen and to comprehend any performance. The case study presented here is the theatre at the acropolis of Gortyna. Two different 3D reconstructions were tested and it has resulted that the 3D model of the theatre which maintains some Greek characteristics is the most reliable one. This approach made it possible to obtain data that could not be obtained otherwise, as well as raising new questions and opening up new perspectives.
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5

Cat, Jordi. "Vague Pictures as Pictures." In Fuzzy Pictures as Philosophical Problem and Scientific Practice, 91–99. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-47190-7_9.

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6

Mendling, Werner. "Pictures." In Vulvovaginal Candidosis, 68–168. Berlin, Heidelberg: Springer Berlin Heidelberg, 1988. http://dx.doi.org/10.1007/978-3-642-83312-0_11.

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7

Holkham, Tony. "Pictures." In Label Writing and Planning, 142–43. Boston, MA: Springer US, 1995. http://dx.doi.org/10.1007/978-1-4613-1231-4_41.

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Reed, Stephen K. "Pictures." In Thinking Visually, 35–45. 2nd ed. New York: Psychology Press, 2021. http://dx.doi.org/10.4324/9781003213253-6.

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Whelan, Jonathan, and Stephen Whitla. "Pictures." In Visualising Business Transformation, 49–69. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781315142906-6.

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Lopes, Dominic McIver. "Pictures." In The Pleasure of Pictures, 36–51. 1 [edition]. | New York : Taylor & Francis, 2018. | Series: Routledge research in aesthetics ; 4: Routledge, 2018. http://dx.doi.org/10.4324/9781315112640-3.

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Тези доповідей конференцій з теми "Pictures in the theater"

1

Galt, John. "Interfacing HDTV and Motion Picture for the Electronic Movie-Theatre." In SMPTE HDTV Workshop. IEEE, 1996. http://dx.doi.org/10.5594/m001251.

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2

Crump, Evan. "Amputating Shakespeare: Theater Becoming-Theater." In 2021 AERA Annual Meeting. Washington DC: AERA, 2021. http://dx.doi.org/10.3102/1681701.

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3

Chandler, Corey D., Gloria Lo, and Anoop K. Sinha. "Multimodal theater." In CHI '02 extended abstracts. New York, New York, USA: ACM Press, 2002. http://dx.doi.org/10.1145/506443.506642.

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4

Lorig, Gray. "Electronic theater." In ACM SIGGRAPH 92 Visual Proceedings. New York, New York, USA: ACM Press, 1992. http://dx.doi.org/10.1145/131340.260553.

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"Pictures." In 2009 IEEE International Integrated Reliability Workshop (IRW). IEEE, 2009. http://dx.doi.org/10.1109/irws.2009.5383000.

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"Pictures." In 2010 IEEE International Integrated Reliability Workshop (IIRW). IEEE, 2010. http://dx.doi.org/10.1109/iirw.2010.5706518.

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"Pictures." In Conference Record of the Thirty-First IEEE Photovoltaic Specialists Conference. IEEE, 2005. http://dx.doi.org/10.1109/pvsc.2005.1488050.

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8

Bryce, Renee, and Vicki Allan. "Mystery Bug Theater." In 2011 24th IEEE-CS Conference on Software Engineering Education and Training (CSEE&T). IEEE, 2011. http://dx.doi.org/10.1109/cseet.2011.5876109.

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"Theater Missile Defense." In Space Programs and Technologies Conference. Reston, Virigina: American Institute of Aeronautics and Astronautics, 1995. http://dx.doi.org/10.2514/6.1995-4000.

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Velho, Luiz. "VR Kino+Theater." In 2019 IEEE Conference on Virtual Reality and 3D User Interfaces (VR). IEEE, 2019. http://dx.doi.org/10.1109/vr.2019.8797795.

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Звіти організацій з теми "Pictures in the theater"

1

UNITED STATES JOINT FORCES COMMAND NORFOLK VA. Single Integrated Air Picture (SIAP) Data Management and Analysis for Analysis of In-Theater Data. Fort Belvoir, VA: Defense Technical Information Center, April 2003. http://dx.doi.org/10.21236/ada413164.

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2

McClure, Melissa. Moving pictures. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.6298.

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3

Parma, Edward J. AWE-UUR-Pictures. Office of Scientific and Technical Information (OSTI), April 2018. http://dx.doi.org/10.2172/1433785.

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4

Wong, Amy. Glovebox Fabrication Pictures. Office of Scientific and Technical Information (OSTI), November 2023. http://dx.doi.org/10.2172/2228625.

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5

Blattner, M., F. Sierra, and P. Prassinos. PixMail: Pictures through mail. Office of Scientific and Technical Information (OSTI), February 1989. http://dx.doi.org/10.2172/6138623.

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Cutler, Theresa Elizabeth, and Jesson D. Hutchinson. NCSP NCERC Class Pictures February 2016. Office of Scientific and Technical Information (OSTI), March 2016. http://dx.doi.org/10.2172/1242921.

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7

Starrett, Charles Edward. Pseudo-atom Molecular Dynamics in Pictures. Office of Scientific and Technical Information (OSTI), September 2016. http://dx.doi.org/10.2172/1321710.

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8

Coleman, Cornelia. Pictures of Lily and Other Stories. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.1352.

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Imhoff, Seth. Problems, Pictures and Stories… with Solidification. Office of Scientific and Technical Information (OSTI), December 2023. http://dx.doi.org/10.2172/2246825.

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10

Strebe, Luke. NAI Waste Receptacle Prototype 1 Pictures. Office of Scientific and Technical Information (OSTI), February 2024. http://dx.doi.org/10.2172/2305288.

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