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The current study aims to explore whether virtual reality can be more effective that traditional 2 D in influencing empathy, sympathy, movie coolness and word-of-mouth. A factorial design 2 (movie ...

Forty years ago, in February 1961, the fi lm Clouds over Borsk was released on the screens of cinemas in the Soviet Union. In this article, we do not directly touch upon the filmmaking process; we are more interested in the audience’s reaction to the film. The film Clouds over Borsk is not the fi rst fi ctional work with anti-religious content. Films with a similar theme were made in the 1920s and 1930s, about 35 fi lms were shot, since 1958 about 15 feature fi lms were shot, which was associated with the unfolding Khrushchev’s anti-religious company. The third creative association of the studio Mosfilm decides to stage a fi lm, it is entrusted to the director V.S. Ordynsky, the film was put into production at the end of June 1960, in October there were already views of the material by the Arts Council, in December 1960 the fi lm was fi nished and its preliminary screening began. The fi lm has a “cult” status, a striking example of Khrushchev’s anti-religious propaganda. In the course of our work in the Russian State Archives of Literature and Art, we found twenty-four cases related to the fi lm Clouds over Borsk, of which 19 are related to fi lmmaking, 4 to discussing the fi lm. Before the release of the film on the screens, the members of the fi lm group met with its target audience, i.e. the Komsomol activists of Moscow, workers of the factory named after Sverdlov, scientific and atheistic workers, and colleagues from Lenfi lm studio. As a result, it was reconstructed how anti-religious fi lms were created, the reaction of the audience and the place of the fi lm Clouds over Borsk in the history of Soviet and Russian cinema, its perception in the 1960s and now.

The author of this article proposes a new approach to psychological work with general education students, which makes it possible to use the means of cinema for the professional and personal development of senior students. The article describes an experiment carried out using an author's feature film. This article is part of a study, the authors of which aim to identify, develop, theoretically substantiate and experimentally test the conditions for the effective use of television programs, feature motion films, as well as traditional psychological techniques as a means of professional and personal enhancement of senior schoolchildren. Theoretical and methodological foundations of the use of feature films as a means of professional and personal improvement of adolescents are offered.

Do motion picture incentives nudge productions to film in an adopting state, increase budgets, or hire more cast and filmmakers? Or do they simply subsidize productions that would have occurred regardless? Using California’s Film and Television Tax Credit Program, the author exploits incentives given out by lottery to answer these questions. The author finds that 19% of films would have filmed in California even without a tax incentive, but that the offering of an incentive increased the probability of a film being made in California by 16 percentage points. Both production budgets and the number of cast and filmmakers increased in response to the offering of a tax incentive, and, in California specifically, they increased budget spent by 267% and the number of cast and filmmakers hired by 123%. The program also had differential impacts based on film type, with only nonindependents increasing budgets and the number of cast and filmmakers in California.

Digital light-in-flight recording by holography is a powerful tool for observing ultrashort light pulse propagation as a motion picture. However, the recordable time of the technique has been limited by the lateral length of the image sensor used for the recording of the hologram, and no technique for extending the recordable time has been reported yet. Then, to extend the recordable time of digital light-in-flight recording by holography, we proposed a technique that records two holograms as a single hologram using double reference light pulses with an image sensor. In this technique, the image sensor is spatially divided into multiple micro-areas. Each micro-area consists of $2\times1$ pixels and records 1 pixel of each of the two holograms. We employed a polarization-imaging camera in order to implement the proposed technique to extend the recordable time. This technique is a new application of the polarization-imaging camera. We experimentally succeeded in extending the recordable time for the first time using the proposed technique. Specifically, we recorded the motion picture of the ultrashort light pulse propagation for 1.04 ps.

On the seventeenth of September 1930, Sergei Eisenstein attended an invitation only meeting with the Technicians Branch of the Academy of Motion Picture Arts and Science, held at the Cafe de Paris ...

Thanks to the advancements in cinema and display technologies wider color gamuts are now possible. These technologies can support and reproduce highly saturated color content. Bear in mind, the ability to produce colors with an extremely high chroma component is strictly a capability of the technology and not a necessity that the image content must follow. In short, the decision to utilize the expanded gamut available in advanced cinema technologies is at the discretion of the creative forces behind the project. There are a number of different factors that can contribute to the creative color decisions made for motion pictures, with the primary factor being the esthetic nature of the content produced. Through creative-preference assessments of saturation adjustments in various image contents, the value of the expanded color gamut in motion picture mastering was assessed. Three images of comparable chroma histograms were utilized in the study to feature human skin tones, animated characters, and natural scenery, respectively. Upon being adjusted, each image was rendered with color content outside the boundaries of the Digital Cinema Initiatives (DCI)-P3 gamut. A two-alternative-forced-choice psychophysical study was conducted to estimate observer preference of the saturation levels in each image. From the observers’ selections, the reaction to the expanded image saturation in the three images was plotted and assessed for statistical significance. Through this study, it was found that there is a preference to incorporate colors exclusive to wider color gamuts that extend past the boundaries of International Telecommunication Union-Radiocommunication (ITU-R) Recommendation BT.709 and DCI-P3. It was also confirmed that the medium in which the content was generated influences the level of saturation preferred. Overall, this research provides a look into how technical capability and artistic vision can be connected .

This article aims to reappraise Villette as a proto-cinematic text, considering the images and techniques of the motion picture as shown in the novel. Published in 1853 prior to the advent of film,...

To restate the question that is likely reverberating in other articles in this SMPTE Motion Imaging Journal issue: Who could have predicted that the pandemic-caused global shutdowns would have gone on for more than a year? As of this writing, many countries still have severely restrictive lockdown policies in place, and many businesses and organizations (including the Academy) are still in 'work-from-home' mode. While COVID-19 vaccines have become widely available in many countries and appear to be successfully stemming infection rates among those vaccinated, and many governments have relaxed restrictions on business activity and public and private gatherings, the pandemic seems to be far from over. Its long-lasting effects on the motion picture industry- and life in general- are best described as 'too soon to tell.' © 2002 Society of Motion Picture and Television Engineers, Inc.

Beowulf, the tale of a celebrated hero and slayer of monsters, is the one of the finest and oldest epic poems of English literature. This poem was finally written down by an unknown poet after being passed on orally from one generation to another for many years. Beowulf has been translated from Old English to contemporary English by many scholars and has also been an inspiration for numerous films and games. Beowulf gives vivid descriptions of ancient Germanic people, an era of hero-worshipping, supernatural beliefs and pagan rituals. It offers a re-living of the centuries-long phase of transformation of Europe. In this magnificent tale of war between ‘the good and the bad’; the human and the monster; the hero and the villain; the saviour and the killer and the stronger and the strongest, there are several characters which stand out. Sturla Gunnarsson’s Grendel and Beowulf (2005) and Robert Zemeckis’ Beowulf (2007) are well-directed movies based on this famous epic. These movies borrow the central idea and characters from the epic while at the same time, also open broader doorways to view and interpret the text through variegated lens. This paper aims to compare and contrast the portrayal of the four important characters of the epic with these two movies. This paper will try to explore the inconsistencies in the depiction of these major characters of this poem in the contemporary films.

Motion picture derivatives have proved valuable in hedging financial risk of the movie industry. However, the existence of pseudo assets within certain category of movie contingencies makes market trading below capacity due to hyper level pricing arbitrage. This paper analyzes pseudo assets lying within movie contingencies and develops a stochastic pricing strategy under no arbitrage condition. Demonstration of the application of derived formulas is provided as examples and remarks over imposed effects sequel to sub pseudo contingencies. Accordingly, the results derived here are aids of assistance for movie investors relative to financing pseudo asset ventures for the purpose of valuation.

Here is the lay of the land in regard to film scholarship – academics know far more about Classical Hollywood film practices and business models than they do about contemporary motion picture econo...

Camcorder piracy has a great impact on the movie industry. According to Motion Picture Associations of America, movie piracy incurs over $6 billion annual losses to industry ( Gonzalez RC, Woods RE, Eddins SL (2018) Digital image processing using Matlab 2E, MC Graw Hill Education). Pirating movies is considered a crime in almost all countries. The situation became even worse and emerged as a crucial issue to be taken care of. This is due to the vivid availability of websites that supplies pirated videos illegally through the internet. Temporal Psycho Visual Modulation (TPVM) is a good method to solve this problem which takes the advantage that the photo reception mechanism of human eyes and camera lenses is different (Wu and Zhai in Signal Process Mag IEEE 30:136–141, 2013). Thus, recorded video quality is degraded whereas audience visual quality is not disturbed. This work aims at demonstrating the said method through a simulation model using the Simulink Video processing toolbox.

This chapter opposes the notion of ubiquitous, implicit narration in movie fictions, specifically challenging the position of George Wilson on the matter.

Technological change and development have been ongoing in the motion picture industry since its beginnings some 125 years ago. What further advancements of digitalization can be expected over the next decade and what are its implications for the industry’s value chain? To answer this question, we conducted an international two-stage Delphi study. The results suggested a more frequent use of smartphones as cameras, the emergence of full digital film sets and digital star avatars, as well as advancements in VR-based and interactive movies. The findings imply challenges for traditional players in the motion picture value chain. Production technology becomes both simpler and more complex, leading to the threat of new entrants.

Policy makers allocate billions of dollars each year to tax incentives that increasingly favor creative industries. This study scrutinizes that approach by examining motion picture incentive programs used in over thirty states to encourage film and television production. It uses a quasi-experimental strategy to determine whether those programs have contributed to employment growth. Results mostly show no statistically significant effects. Results also indicate that domestic employment is unaffected by competing incentives offered outside the United States. These findings are robust to several alternative models and should lead policy makers to question the wisdom of targeted incentives conferred on creative industries.

This paper examines the history of the ROK Army Motion Picture Production Center (AMPPC), which played a significant role in the Korean film industry from the 1950s to the 1970s. Around this time, the AMPPC was an official film production institute alongside the National Film Production Center, and produced newsreels and culture films as well as fiction films. Starting with the documentary An Assault on Justice, the first film on the Korean War, and the National Defense Series, the AMPPC produced educational short films and many feature-length films. It was a large-scale film production company that produced an average of over 100 films a year until the 1970s. In addition, the military film industry provided workspace for Korean film industry professional and took care of postproduction for commercial films at a time when the film industry was considered nearly impossible. It was also an active producer that recorded significant progress in the Korean film history through technical experiments at a time when the infrastructure for the film industry had collapsed. In addition, many Korean film industry professionals were affiliated with or closely related to the center. Not only directors but also people in photography, editing, and screenwriting worked in both the mainstream film industry and the AMPPC. Moreover, military films also had a certain impact on anti-Communist films and anti-Communist television programs in its early years. Various military films produced from the 1950s to the 1970s, including the anti-Communist films produced in the military since 1948 and the first war documentary An Assault of Justice, were utilized in anti-Communist films for theaters but also television news, drama series, and documentaries, becoming archetypes for each derivative program format. In sum, the AMPPC during this time was closely related to the Korean film industry as well as the television industry in terms of quantity and quality, providing the human resources and physical basis. It is also important to imbue significance into the “militaristic” utilization of military films. Above all, the military films’ most important role in its history since the founding of the government of the Republic of Korea was its utilization as part of the Korean government’s psychological warfare waged against its people between the 1950s and 1970s under the Cold War regime. The role of military films as propaganda warfare, which became much more explicit with the outbreak of the Korean War, became strengthened through the installation of the AMPPC in 1963, dispatch of Korean soldiers for the Vietnam War and the improvement of the film production environment in 1965. Particularly with the sending of Korean troops to Vietnam, it became important for the government to produce and screen military films as propaganda for Korea’s unjustified participation in the war. In the 1970s, the AMPPC, which had to continue the Cold War by continuously placing significance on the Vietnam War throughout and even after the war, was able to produce over 130 films in various genres and lengths every year. This paper is significant in that it systematically organizes the history of the military film industry, which had not been properly explained in the past, and that it discusses the military film industry as a means to examine the overall structure of the film industry and its vibrant activities at the time. This discussion has been performed as a basis for the analysis of specific military films. I hope to delve further into the significance and the role of military films as a tool of propaganda warfare through textual analysis in future studies.

In the motion picture industry, large East Coast manufacturers such as Kodak, GE, DuPont, and Bausch & Lomb produced materials such as lights, film stock, and lenses for production. Beginning with a brief history of the motion picture technology field before 1915, this chapter describes how the industry increasingly became reliant on these American industrial concerns. Beginning around 1916, the manufacturing side of the business was professionalized and unified by the Society of Motion Picture Engineers (SMPE), while continuing to isolate itself from the production side of the industry for another decade. SMPE emphasized standardization across companies in the manufacturing of motion picture tools, creating a stable industry and a community for knowledge sharing that had little contact with the production center in the west.

Despite the COVID-19 pandemic, the Consumer Technology Association's (CTA's) standards committees had a productive year. Among the many standards they published were 14 of interest to video engineers. © 2002 Society of Motion Picture and Television Engineers, Inc.

We present an incoherent two-color digital holography system to record holograms with 2,048 x 2,048 pixels at 72 fps for fluorescence-stained cell imaging. We utilize single-shot wavelength-multiplexed incoherent digital holography with computational coherent superposition.

At the time of its introduction in 1923, a basic Kodak 16 mm outfit consisting of a camera, projector, and a screen cost about as much as a Model T Ford, and was too expensive for most Americans. To grow the market and address the needs of additional potential customers, in July 1932, Eastman Kodak introduced a new motion picture system based, double 8 mm format, which was based on the 16 mm system. The new product was more economical because it used less film with a much smaller frame, but despite this limitation, it had to have an image good enough to provide a satisfying experience for home movie users. It made business sense for Kodak to take advantage of the extensive 16 mm infrastructure to lower the cost of system development and the product itself, and that seems to have been major considerations guiding their efforts. While pricing for a product is usually based on its cost of goods and marketplace factors rather than research and development expenditures, Kodak wanted a better return on investment with lower risk than if it had created the new format and its infrastructure from scratch. Thus the format would use much of that which had been established for 16 mm, and in particular it would take advantage of the Kodak processing laboratories that had been deployed throughout the world in the decade after 16 mm’s introduction (Kattelle 2000).

Video abstracts (VAs) are a motion picture equivalent of written abstracts. With greater use of social media platforms for post publication promotions of research articles, VAs have gained increasing popularity among researchers in recent years. Widespread lockdowns and social distancing protocols in the pandemic period furthered the use of VAs as a tool for efficient learning. Moreover, these may be the preferred medium for communicating certain types of information, such as diagnostic or therapeutic procedures, qualitative research, perspectives, and techniques. In this article, the authors discuss the role of VAs in the advancement of academic research, plausible designs, freeware for making videos, and specific considerations for crafting good VAs., Graphical Abstract

William Van Doren Kelley (1876–1934) indefatigably made contributions to color cinema technology leading to the development of important services that remained in use through the mid-1950s. He, more inventor than entrepreneur, and Herbert Kalmus, more entrepreneur than inventor, were two pioneers who developed and commercially exploited many different color motion picture technologies. Kelley, who was born in Trenton, New Jersey, in his youth, exhibited a flair for invention, theater, stage illusions, and magic, inclinations that would motivate him as long as he lived. Kelley (1919) wrote that he was in London in 1900 where he was exposed to the color photography processes of these inventors: Chicago inventor James W. McDonough, who worked on additive color screen plates; American inventor Frederick Ives and his Kromskop; English inventor E. Sanger-Shepherd who defined the subtractive printing primaries; and Parisian inventor and entrepreneur Leon Gaumont and his three-color stills that were viewed with a Mutoscope – like a viewer (Wall 1925). Kelley partnered with his brother in a signage business in Brooklyn where they introduce a successful flashing light design circa 1910, probably based on his USP 876,907, Exhibiting Device, which he filed on April 30, 1906. The success of the invention undoubtedly lifted his level of confidence and may have given him some independence to pursue the development of color cinema technology, which he entered with great zeal after a trip to England in 1910 with cameraman Joseph Mason to create promotional displays for theaters exhibiting Biograph films. Working with Mason and the Biograph camera inspired his future work (Layton 2015), and during his stay in London, he undoubtedly went to Kinemacolor screenings.

Thomas Edison was the first motion picture producer whose studio was the Black Maria, a operated by the Edison Manufacturing Company whose Kinetoscope Department was organized in April 1894 to create content for Kinetoscope parlors (Israel, 1998). Soon others would copy the projection prints that the Edison sold outright, which they could do with impunity because copyright law made no provision for motion pictures. In Europe, where Edison had not filed for patent protection the importation of Kinetoscope machines led to them being knocked off by the owners of England’s first Kinetoscope parlor in London in October 1894. According to Hopwood (1899, p. 73), the parlor was on Oxford Street but other sources locate it on Old Broad Street. The London parlor charged its patrons twopence per view to use one of their six machines; when it became apparent that the demand was significant the parlor’s owners employed English electrical instrument maker Robert William Paul (1869–1943) to copy the design and build six more Kinetoscopes. During 1895 he built an additional 60 and he and American-born photographer Birt Acres designed a camera to photograph content using negative and print stock they bought from Kodak and Blair. Paul (1936) would go on to improve his camera, build projectors, perforating and printing machines, open a motion picture studio, sell prints of his films internationally, create post-production methods, and devise visual effects. In 1910 he left the film industry and returned to instrument-making, as he engagingly describes in an article he wrote a quarter-of-a-century later.

We proposed a technique to extend a recordable time of motion picture of a magnified image of a propagating light pulse. We succeeded in extending the recordable time up to about 1.8 times.

By the first decade of the twentieth century, the 35 mm format had been become ubiquitous, and while it was accepted as a standard by the theatrical film industry it did not address every motion picture need. During the first two decades of the twentieth century, new smaller gauge formats were offered for non-professional cinematography as well as for content distribution for the home and small venues. Matthews (1955) and Tarkington, of the Kodak Research Laboratories, list over 20 sub-35 mm formats that appeared between 1898 and the introduction of Kodak’s 16 mm system in 1923. Kattelle (2000) lists 59 formats that were introduced in the years up to 1968, gauges between 3 mm and 32 mm, many of which made it to the marketplace. Some of these were probably little used and Kattelle does not claim his list is definitive. A list of 34 substandard formats in the same time frame, prepared by Tummel (1973), has items not found on Kattelle’s list. In addition to the sub-35 mm formats, there were about 20 failed attempts to introduce the 35 mm format for amateur cinematography, the first of which is attributable to German manufacturer Oskar Messter who introduced his Amateur-Kinetograph, a combination camera-projector in 1897 (Coe 1981). The use of combustible nitrate base was unacceptable for the home, as was the negative-positive system, which almost all of these early formats used because it added to the cost of making prints. In addition, the growth of amateur cinematography wasn’t furthered by the fact that early cameras were handcranked and required tripod mounting for cinematography. In addition, the lack of format standardization raised the issue of projecting footage using a projector of another make or even of the same gauge (width) because the frame size and perforations might differ, a problem that was mitigated to some extent since the early machines were frequently combination camera-projectors.

We present an incoherent digital holography system with 102 fps for simultaneous, holographic, and microscopic motion-picture sensing of multiple fluorescence nanoparticles. We utilize single-path single-shot phase-shifting incoherent digital holography with a birefringent material array.

This chapter investigates how and to what extent the Asia Foundation (TAF) and its field agents covertly acted to construct an alliance of anticommunist motion picture producers in Asia. It explores how US government–led Cold War cultural policies influenced the Asian regional film industry in the 1950s. It also scrutinizes the ways TAF agents responded to the various needs of local film executives and negotiated with the constantly changing political, social, and cultural environments in the region during the project's early activities. The chapter reviews the origin of TAF, the Committee for a Free Asia (CFA), which is intended to advance US foreign policy interests in Asia. It discusses the CFA's core activities, which include the broadcasting of Radio Free Asia.

Today, artificial intelligence (AI) has rapidly entered our daily life, such as face recognition technology has been used in all walks of life. In the new era, the management of mass media censorship system in Mainland China is changing through artificial intelligence. The media industry has become more convenient and effective from editing to censorship by using artificial intelligence technology. In the future, the researcher thinks facial recognition could even be used to aid the implementation of "Motion Picture Content Rating System" in Mainland China. Therefore, artificial intelligence will continue to promote the progress of the censorship system of mass media in Mainland China and become the driving force for the booming development of mass media in Mainland China under the new era. This paper will summarize the history of the censorship system of mass media and analyzes the development of the censorship system management of mass media in Mainland China, as well as discuss the using of artificial intelligence and the possibility of its future use.

We succeeded in simultaneously recording of four motion pictures of three-dimensional image of the polarized light propagation. The motion pictures were obtained by digital light-inflight holography. The actual time of the pictures were 17.6 ps.

While the establishment of the Motion Picture Producers and Distributors Association (MPPDA)’s Production Code Administration (PCA) in 1934 is the subject of multiple books and dozens of articles, the attempts of the MPPDA and the AMPP (Association of Motion Picture Producers) to curb a number of practices of the movie fan magazines in that same year are often ignored or barely examined in Hollywood film histories. Mary Desjardins focuses on the incidents surrounding the studios’ attempts to control the fan magazines in 1934—the attacks and counter-attacks among the studios, their trade organizations, and fan magazine editors that took place in a number of meetings in August 1934—as well as the discourses produced by trade publications and the general press about these meetings.

We present approaches for simultaneous, holographic, and microscopic multicolor motion-picture sensing of multiple natural light sources. We utilize single-shot incoherent digital holography with a polarization-imaging sensor, phase-shifting interferometry, and computational coherent superposition (CCS) as approaches.

La representación de otras naciones en el cine estadounidense se ha adherido siempre a las líneas generales de la política exterior del país. En cuanto a América Latina –a lo largo del siglo XX–, la aparición de los latinos en el cine de Hollywood también dependía de las relaciones diplomáticas vigentes entre las dos regiones. En mi artículo presento los aspectos cinematográficos de la nueva actitud de los EE.UU. hacia América Latina en los años 30 y la primera mitad de los 40, dentro del marco de la Política de Buena Vecindad, formulada por el presidente Franklin Delano Roosevelt. En esta misión tenía un papel clave John Hay Whitney, director de la División Cinematográfica de una oficina especializada (OIAA), contando con el apoyo de varios cineastas famosos, entre otros, Walt Disney.

The American Society of Cinematographers (ASC) Motion Imaging Technology Council (MITC – “my tech”) continues its well-established 15 year tradition of proactive engagement with the motion picture and television industry by playing a significant leadership role influencing the development of key motion imaging technologies to better support our filmmaking art form and the role of the cinematographer in its creation.

Urban networks in the modern economy have become a focus of research in geography and other related disciplines. However, the network of the motion picture industry has remained an underdeveloped t...

Purpose The purpose of this paper is to investigate temporal tweet patterns and their effectiveness in predicting the financial performance of a movie. Specifically, how tweet patterns are formed prior to and after a movie’s release and their usefulness in predicting a movie’s success is explored. Design/methodology/approach Volume was measured and sentiment analysis was performed on a sample of Tweets posted four days before and after the release of 86 movies. The temporal pattern of tweeting for financially successful movies was compared with those that were financial disappointments. Using temporal tweet patterns, a number of machine learning models were developed and their predictive performance was compared. Findings Results show that the temporal patterns of tweet volume, length and sentiment differ between “hits” and “busts” in the days surrounding their releases. Compared with “busts” the tweet pattern for “hits” reveal higher volume, shorter length, and more favourable sentiment. Discriminant patterns in social media features occur days in advance of a movie’s release and can be used to develop models for predicting a movie’s success. Originality/value Analysis of temporal tweet patterns and their usefulness in predicting box office returns is the main contribution of this research. Results of this research could lead to development of analytical tools allowing motion picture studios to accurately predict and possibly influence the opening night box-office receipts prior to the release of the movie. Also, the specific temporal tweet patterns presented by this work may be applied to problems in other areas of research.

The question of the relation between Film and philosophy has been at the center of many intellectual debates since the foundation of cinema. It has been paraphrased and articulated in many disciplines such as Philosophy of Film, Film-Philosophy, Philosophy of Motion Pictures, Philosophy of Moving Images, even Film Theory. Nevertheless, as much as the technical aspects of the movies developed rapidly, the philosophical questions around it became more and more specific and the answers became more fallible by the end of the day. If you could agree before with some of the ontological conclusions of Bazin, Deleuze, Badiou or Cavell about celluloid-based Film, you certainly cannot share that agreement to generalize that to the kind of digital imagery that we call ‘Film’ today, nor can you justify the Hologram or 3D IMAX footage as constituents of a motion picture. The irony is that the old question, ‘what is Film?’, is as often and as rapidly revised as the question, “what is philosophy?”.

An empirical exploration of global film franchises provides insights for managers of film franchises, investors in franchisable products, and scholars interested in motion picture performance. Performance tends to deteriorate as extensions are introduced: production budgets rise, advertising expenditures remain similar, and the number of opening-weekend theaters experiences a jump with the first sequel and then remains similar in subsequent installments. However, revenue, return-on-investment (ROI) and audience and critical reviews fall, and foreign performance becomes increasingly important. Offsetting deteriorating performance, risk falls: revenue and ROI become more predictable. An early change in the lead actor causes reduced performance, but changes in key product characteristics and inputs in later installments help prolong the franchise. ROI of the current installment is the most critical financial determinant of whether a further extension will occur, but high-budget films and those with higher domestic share of revenue are also more likely to yield further extensions.

We experimentally demonstrate a motion picture imaging technique that can record a magnified image of light pulse propagation with extending the recordable time of digital light-in-flight recording by holography. We constructed an optical system that achieves a recordable time extension and an observation of a magnified image of light pulse propagation. As a result, we experimentally succeeded in recording light pulse propagation with a 7.45 magnification rate with extending the recordable time. The recordable time of the motion picture was 714 fs, which is twice that of the conventional one.

In 1948, the Carnegie Corporation made grants of $25,000 to the Cleveland Public Library and $15,000 to the Missouri State Library to set up three-year regional educational film distribution programmes in northern Ohio and in Missouri of 16 mm reel-to-reel motion picture films. In Cleveland, films were distributed within a consortium of ten library systems in the region; twenty library systems participated in Missouri. These successful programmes served as models for other library systems and lasted well into the last quarter of the twentieth century, when 16 mm reel-to-reel motion picture films in libraries were replaced with videocassettes and later DVDs and the programmes were no longer necessary. This paper explores the antecedents of the programme at the Cleveland Public Library as well as the careers of the two women, Patricia Blair and Virginia Beard, who were responsible for the design of the programme and for its success. Both became nationally recognized experts on the use of 16 mm films in public libraries and rose to national prominence in the American Library Association.

This report summarizes the work currently under way in the Advanced Television Systems Committee, Inc., (ATSC) relating to technical standards for digital television. The ATSC is an international, nonprofit organization developing voluntary standards and recommended practices for digital television. ATSC member organizations represent the broadcast, broadcast equipment, motion picture, consumer electronics, computer, cable, satellite, and semiconductor industries. ATSC also develops digital television implementation strategies and supports educational activities on ATSC standards. ATSC was formed in 1983 by the member organizations of the Joint Committee on Intersociety Coordination (JCIC), including the Electronic Industries Association (EIA), the Institute of Electrical and Electronic Engineers (IEEE), the National Association of Broadcasters (NAB), the National Cable Telecommunications Association (NCTA), and the Society of Motion Picture and Television Engineers (SMPTE). This year, ATSC observes its 36th year of operation.

El presente artículo analiza cinco antiguos cinematógrafos vinculados a la construcción de otros tantos embalses en la cuenca del Tajo de la provincia de Cáceres desde finales de los años cincuenta hasta los primeros años setenta: Gabriel y Galán, Valdecañas, Torrejón, Alcántara y Cedillo. Estos edificios de cine de los pantanos cacereños desempeñan un papel destacado en la recuperación documental de unos enclaves prácticamente olvidados e invisibles en la actualidad. En ellos se fusiona la relación del agua con el paisaje, con la memoria y con la arquitectura, al tiempo que constituyen una excelente herramienta para la didáctica de las ciencias sociales, especialmente en lo que atañe a la enseñanza del patrimonio en el aula. Y es que, a través de estos inmuebles, el alumno puede adquirir conocimientos arquitectónicos y estilísticos de un entorno tan próximo como a veces desconocido.

This extension of the authors previous article udiovisual Means of Creating Metadiegetic Space in Cinema (see Vestnik VGIK #1 (31), 2017) is a historic survey of the sound design techniques which make it possible to use musical expressive means for designating the films subjective space (metadiegesis) and separating the metadiegesis from diegesis by means of music.

New opportunities for operational efficiency in movie exhibition exist as a result of recent developments in the industry, such as the mass-scale conversion to digital cinema, the explosion of customer data sources, and the availability of new channels for watching movies. This paper provides an industry overview and a review of existing research on forecasting and scheduling problems in movie exhibition. The authors identify opportunities for academic research in a digital era of movie exhibition and provide context for practical applications in the industry.

Accurate box office forecasting models are developed by considering competition and word-of-mouth (WOM) effects in addition to screening-related information. Nationality, genre, ratings, and distributors of motion pictures running concurrently with the target motion picture are used to describe the competition, whereas the numbers of informative, positive, and negative mentions posted on social network services (SNS) are used to gauge the atmosphere spread by WOM. Among these candidate variables, only significant variables are selected by genetic algorithm (GA), based on which machine learning algorithms are trained to build forecasting models. The forecasts are combined to improve forecasting performance. Experimental results on the Korean film market show that the forecasting accuracy in early screening periods can be significantly improved by considering competition. In addition, WOM has a stronger influence on total box office forecasting. Considering both competition and WOM improves forecasting performance to a larger extent than when only one of them is considered.