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This article examines the influence on early Russian cinema of Symbolism and the cinematographic activities of the poet Aleksandr A. Kursinskii. Thus far, the assumption has been that Symbolists worked only sporadically in cinema, and that Kursinskii had written only one screenplay for a film that was actually produced, Beautiful Like Death (1914). But documents that previously had escaped the attention of film studies specialists reveal that there were in fact many films influenced by Symbolists—among them the canonical 1914 releases Anna Karenina and Nest of the Gentry. Kursinskii, moreover, worked for one of the most influential film studios of prerevolutionary Russia, Timan and Reingardt, which in the 1910s produced the outstanding "Russian Golden Series" of films. The cinematography of the Symbolist Kursinskii hugely influenced Russian cinema of the mid‐to‐late 1910s. [ABSTRACT FROM AUTHOR]

Copyright of Central Asian Journal of Art Studies is the property of Central Asian Journal of Art Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Historia y Comunicación Social is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

One of the earliest and most persistent standards of the motion-picture industry was the rectangle of projected images with a four-to-three ratio. Related media in the late nineteenth century, such as still photography and the magic lantern, advocated for rectangular borders (rather than alternatives such as circular masking), a trend that motion pictures codified with a fixed technical standard. Industry publications provided a powerful rhetorical justification for this standard by presenting the rectangle as an aesthetic preference, a display of skill, and a means of erasing a viewer's consciousness of borders. This rhetoric-and the (slightly wider) rectangle-still influence twenty-first-century media. [ABSTRACT FROM AUTHOR]

During the first half of the 1930s, the idea of glamour was changing. Early in the decade, the term referred to a particular category of character or star: the sophisticated, mysterious woman. But this type came to be represented in a recognizable way, turning glamour into a visual style that could be copied-within Hollywood and beyond. Soon, the word glamourhad become a synonym for beauty itself. This essay discusses the shifting meanings of the term, while examining glamour's visual construction in three distinct sites: Vanity Fair, the fan magazines, and the films of Greta Garbo. [ABSTRACT FROM AUTHOR]

This article presents new research describing the direct influence of the entertainment disks made by Ottomar Anschutz for public use in his Schnellseher moving-picture device on the kinetoscope films made at Thomas Edison's West Orange laboratory. These include Edison's creation of a direct copy of an 1890 Anschutz production in The Barber Shop (1893) and an imitation of another Anschutz production in Fred Ott's Sneeze (1891). In making these connections between the first two moving-picture systems, the article also provides a brief glimpse of the exhibition of the Schnellseher in America from 1889 to 1893 and suggests new lines of inquiry about the international character of the invention of moving pictures, about the sources of early filmed subjects, and about the contributions of previously overlooked figures at the forefront of moving-picture commercialization. KEYWORDS: early cinema, Thomas Edison, Ottomar Anschutz, chronophotography, kinetoscope, Schnellseher, Over the past twenty-five years, a new generation of early cinema historians has had a profound impact on our understanding of how films were made and worked before 1907, of [...]

Film scholars in recent years have identified a differentiated landscape of color systems in terms of looks and processes that represent natural color phenomena with increasing fidelity and automation. Here, I propose extending the concept of film colors to techniques that deploy colors in order to produce effects that do not showcolor but useit for other means. Stereoscopy and compositing are two applications from the 1920s that employed complementary colors and that were often developed by the same parties that helped create representational color systems. These correlations have, thus far, not been the subject of color studies because research is organized according to the intended applications of techniques and does not follow the work of the technicians and artists. I argue that techniques that use colors for other purposes have been ignored due to a focus on color primarily in relation to human perception and understanding. To extend the scope of research to nonrepresentational applications of color, as I propose, thus implies a methodological critique of the existing discourse on color as being anthropocentric, that is, as ignoring functional relationships of colors that do not relate to humans. [ABSTRACT FROM AUTHOR]

Jānis Streičs is one of the key figures in the Latvian film history. His Soviet period films (13 feature films) are distinguished by a certain visual style, as well as by technique and aesthetics of creating characters, sets and the on-screen world. The 1970s and 80s was a prolific time for the director both in terms of genres and subjects covered in his films. Films of this period serve as evidence to Jānis Streičs' strong authorship, as well as give grounds for further research into aesthetic canons, technical possibilities and visual aesthetics of the Soviet period films. [ABSTRACT FROM AUTHOR]

Paradoxically, the question of the invention of the cinema is becoming ever more perplexing and hard to solve as the events which led to the emergence of the seventh art are getting ever more distant in time. If the original dilemma entailed the choice between the Cinématographe of the Lumiere brothers and Edison's kinetoscope, nowadays, as the research concerning the scientific and technological innovations which enabled the construction of the filming device and the movies exhibition is extending, the achievements of the Lumiere brothers look more like an intervention in the history of cinematography rather than its starting point. In the absence of any innovation related to the preconditions of the emergence of the cinema, to the name of the device which brought them international recognition and even to the first public projection, there arises the question as to the role of the Lumiere brothers in the history of cinematography. [ABSTRACT FROM AUTHOR]

Based on a carefully selected list of references in Spanish, the following text presents a brief history of the magic lantern in Spain, from its invention to the beginning of its decadence as a social medium of communication. The magic lantern emerged in the seventeenth century, with the application of a series of physical principles that allowed the first attempts and experiences of image projection, such as the one described by Juana Inés de la Cruz in Sueño, a silva strophe published in Seville in 1692. As a device, the magic lantern finally was consolidated during the last quarter of the eighteenth century, mainly due to the popular sessions of phantasmagorias, which, in Spain, were run by projectionists such as Juan González Mantilla, or Robertson himself. After the magic lantern became institutionalized and commercialized throughout the whole Iberian Peninsula—the same as in the rest of Europe—its decline took place in the last decade of the nineteenth century, when it had to compete with the cinematograph. [ABSTRACT FROM PUBLISHER]

Historical films made by neuroscientists have shown up in several countries during past years. Although originally supposed to have been lost, we recently found a collection of films produced between 1909 and 1940 by Rudolf Magnus (1873–1927), professor of pharmacology (Utrecht) and his student Gysbertus Rademaker (1887–1957), professor of physiology (1928, succeeding Willem Einthoven) and neurology (1945, both in Leiden). Both collections deal with the physiology of body posture by the equilibrium of reflex musculature contractions for which experimental studies were done with animals (labyrinthectomies, cerebellectomies, and brainstem sections) and observations on patients. The films demonstrate the results of these studies. Moreover, there are films with babies showing tonic neck reflexes and moving images capturing adults with cerebellar symptoms following cerebellectomies for tumors and several other conditions. Magnus’ studies resulted in his well-knownKörperstellung(1924, “Body Posture”) and Rademaker’s research in hisDas Stehen(1931, “Standing”). The films probably had an educative and scientific purpose. Magnus demonstrated his films at congresses, including the Eighth International Congress of Physiologists (Vienna, 1910) and Rademaker screened his moving images at meetings of the Amsterdam Neurologists Society (at several occasions as reflected in the Winkler-Monakow correspondence and theNederlands Tijdschrift voor Geneeskunde). Next to these purposes, the films were used to analyze movement and a series of images from the films were published in articles and books. The films are important historical sources that provide a portrait of the pre-World War II era in neuroscience, partly answering questions on how physicians dealt with patients and researchers with their laboratory animals. Moreover, the films confirm that cinematography was an important scientific tool in neuroscience research. [ABSTRACT FROM PUBLISHER]

The microbiologist Jean Comandon is famous for his studies on the movement of the syphilis bacteria as differentiated in various forms by ultramicroscope. He was also a pioneer on the technical application of the microcinematography in laboratory research. His collaboration with clinicians and surgeons in the study of various pathological disorders is little known. From 1918 to the 1920s, he collaborated with such neurologists as André Thomas, Jean Athanase Sicard, and others in the study of various neurological disorders by using cinematography as a scientific tool for understanding the clinical and pathological mechanisms of diseases. These collaborations allowed him to be involved in the beginnings of the French cinematography industry, especially with Charles Pathé who established a small film studio laboratory in Vincennes where a multidisciplinary group improved the application of cinematography in clinical medical practice. [ABSTRACT FROM AUTHOR]

Tonic neck reflexes were investigated by Rudolf Magnus and Adriaan de Kleijn in animals and men in 1912 and eventually by Arthur Simons, a neurologist in Berlin and coworker of Hermann Oppenheim. Simons studied these reflexes in hemiplegic patients, who were mainly victims of World War I. This work became his most important contribution and remained unsurpassed for many years. The film (Filmarchiv, Bundesarchiv[Film Archive, National Archive] Berlin) with Simons as an examiner shows 11 war casualties with brain lesions that occurred between 1916 and 1919. The injuries reveal asymmetric neck reflexes with “Mitbewegungen,” that is, flexion or extension on the hemiplegic side.Mitbewegungenis identical with Francis Walshe’s “associated reactions” caused by neck rotation and/or by cocontraction of the nonaffected extremities, for example, by closing of the fist (Walshe). The knowledge of the neck reflexes is important in acute neurology and in rehabilitation therapy of hemiplegics for antispastic positions. Simons’ investigations were conducted in the early era of increasing use of cinematography in medical studies. The film had been nearly forgotten until its rediscovery in 2010. [ABSTRACT FROM PUBLISHER]

Italian neurologist Vincenzo Neri was able to discover cinematography at the beginning of his career, when in 1908 he went to Paris to learn and improve his clinical background by following neurological cases at La Pitié with Joseph Babinski, who became his teacher and friend. While in Paris, Neri photographed and filmed several patients of famous neurologists, such as Babinski and Pierre Marie. His stills were published in several important French neurological journals and medical texts. He also collaborated with Georges Mendel, who helped Doyen film the first known surgical operation in the history of cinema. In 1910, when he came back to Bologna, he continued in his clinical activities and, for 50 years, slowly developed a huge archive of films, images, and prints of neurological, psychiatric, and orthopedic cases. This archive was extremely helpful to Neri, who especially needed to analyze neurological disorders and to differentiate them from functional conditions in order to understand clinical signs, rules, and mechanisms. [ABSTRACT FROM AUTHOR]

This essay explores the poetics of surplus in relationship to reproducibility, theatricality, and presentness by analyzing Sophie Fiennes's documentary film The Pervert's Guide to Cinema (2006). The film restages moments from cinema history with Slavoj Žizek acting as performer, guide, philosopher, and Lacanian analyst. When Žižek embeds himself within reproductions of the sets of the films he discusses (ranging from Chaplin and Hitchcock to the Marx Brothers and David Lynch) he creates a surplus by, as Samuel Weber has explored, "installing" a theatricality that is in excess to reproducibility. Fiennes and Žižek frame these theatrical interruptions in such a way that they establish "screened stages"--moments when theatre appears within cinema. Žižek's performance creates within the reproducible universe a sense of presence: the surplus that screened stages produce. These instances of surplus ofFer a glimpse of the Lacanian Real, that aspect of reality that eludes comprehension and the symbolic order. [ABSTRACT FROM AUTHOR]

The article analyzes the 1914 silent stop-motion animated film "Die ideale Filmerzeugung" on cinematography, editing, and handling of motion picture stock. The idealized workflow shown in the film is criticized as unrealistic, the role of senses in motion picture workers and audiences is described, and information is offered on the importancxe of amnual labor in the production of early films. The lack of the depiction of projection in the film is criticized along with the film's alleged minimization of the human factor in film production.

This article is devoted to poverty and wealth presented in fiction films - both cinema and television - directed in the times of the Polish People's Republic. Poverty and wealth shown intentionally and unintentionally in these films manifest themselves in many ways. If we want to learn anything about wealth of the society shown in a given movie, a critical approach must be applied [ABSTRACT FROM AUTHOR]

Cinema in Santa Catarina is less analised. It's commom that some citys and its population don't know their own cinematographic history. This communication objective is to explore the beginning of the cinema in Itajai City and its impact in the urban development as well. Moreover it provoques new studies and issues about the theme. The first movie theater in Itajai was the "Ideal" in 1909. "Novidades" and "O Pharol", both newspapers that used to be printed in the city at that time are been used to corroborate this article with a few bibliography about the cinema in Santa Catarina. [ABSTRACT FROM AUTHOR]

Abstract An analysis of the exhibition programs of the Museo Nazionale del Cinema from 1958 through 1971, with an emphasis on how the museum and its collections fulfilled their mandate [...]

The (apparently) extravagant lines of the imaginative literary art [are] based fundamentally on scenic motion, like a camera; with this addition that for certain purposes the artist is a much [...]

I propose that Henri de Toulouse-Lautrec drew upon early film techniques to simulate movement in his work, particularly his "Au cirque" drawings, 1899. Moving picture devices and popular interest in them had been prevalent since the 1830s. As the century progressed, artists and scientists developed cameras capable of capturing sequences of movement in photographs and, finally, film. The impact of these technological advances on the avant-garde during the last quarter of the nineteenth century remains an open question. This question seems especially pressing when one considers that artists patronized and depicted the same establishments that screened films: dancehalls, cafés, and circuses. In this paper, I explore the connection between art and film through a discussion of how the depiction of movement developed in Lautrec's work throughout his career, culminating in the circus series. These drawings demonstrate an awareness of and involvement with the visual tools of nascent cinema. His competition with film corresponded to the previous generation's competition with photography, and his engagement with film opens onto a modernism focused on movement and technology. [ABSTRACT FROM AUTHOR]

Copyright of Berichte zur Wissenschafts-Geschichte is the property of Wiley-Blackwell and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper compares the development of cinematography from Argentina and Brazil in the 1930's. After the appearance of sound films, in both countries there was investment in studios, equipments, technicians and in the formation of a star system. However, if the production in Argentina grew numerically and had acceptance of the public, in Brazil the same did not occur. The paper raises explanatory hypotheses for this difference. [ABSTRACT FROM AUTHOR]

Copyright of Iberoamericana America Latina-Espana-Portugal is the property of Vervuert Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article provides a critical analysis of the work of the Austrian-born cinematographer Wolfgang Suschitzky. Suschitzky moved from Vienna to London in 1935, and, despite having no training or experience in filmmaking, forged a remarkably productive and creatively imaginative career in the British film industry. Following his early work alongside Paul Rotha in the thriving British Documentary Movement of the 1930s and '40s, Suschitzky went on to shoot a diverse range of feature films, including Ulysses (1967) and Get Carter (1971), as well as numerous shorts, documentaries, television programmes and commercials. While Suschitzky has often been described as a social realist, his cinematographic portfolio demonstrates his highly refined approach to film style, with expressive lighting techniques and formally innovative compositional devices frequently evident. Accordingly, the primary objectives of the article are: to provide a detailed analysis and contextualization of a wide range of Suschitzky's work, with particular focus on the nature and implications of his approach to film style; to examine the wider significance of émigré artists to British cinema, explicitly in relation to the Documentary Movement; and also to address a number of institutional issues pertaining to the history of inter-cultural exchange in the film industry. [ABSTRACT FROM AUTHOR]

An introduction to the journal is presented which discusses the issue's theme of digital cinema, commenting on topics including links between digital effects and 1970s cinematography, 3-D cinema, and American art houses transitioning to digital cinema.

Rather than duplicating a transhistorical notion of ''perceptual realism'' based on the phenomenal world, contemporary digital imaging imitates the look of photography -- specifically, the look of 1970s cinematography. This is largely due to the historical dominance of one special effects company, Industrial Light and Magic (ILM), which developed a photorealistic special effects aesthetic to match the live action photography of the originaol Star Wars trilogy. Over time, that particular aesthetic hardened into a powerfully convincing house style. Given the prominence of ILM in the film industry, denaturalizing the ILM aesthetic is crucial to understanding how digital images evoke ''authenticity'' or ''veracity''. [ABSTRACT FROM AUTHOR]

This article examines how public discourse portrayed the appeal of widescreen cinema in the mid-1950s. Tracing this appeal to Cinerama's and CinemaScope's purported effects on the human body, the article contends that these systems promised to align viewers with a powerful apparatus while also threatening to submit them to it. [ABSTRACT FROM AUTHOR]

Recent discoveries on the origins of Japanese animation show solid evidences on the first Nippon animation film could be dated around 1900. This find may put into question certain foundational aspects of animation history and traditional animation. This paper reviews the existing documentation on early Japanese animations, stating that this genuine style of animation could actually have an origin on its own. [ABSTRACT FROM AUTHOR]

Vladislav Starevich (1882 - 1965) occupies a special place in the history of the 20th century Russian and European culture. Though he did not receive any systematic education, Starevich was nevertheless interested in collecting and investigating insects, particularly beetles of diverse species and types. Cinematography was another object of his interest. At an early stage of development of cinematography, Starevich demonstrated ingenuous experiments and invented a unique technology of producing insect cast models for filming in the format of three-dimensional animation. The best animation films by Starevich became veritable cultural events and as such they can be regarded along with Walt Disney's masterpieces. [ABSTRACT FROM AUTHOR]

This essay proposes that the conspicuous appearance of freeze-frames in commercial cinema of the late 1960s and early 1970s figures the popularization of ecstatic fantasy in American culture during this period. Setting the contingency of photography against cinema's comparatively abstract construction, freeze-frames not only crystallize ecstasy's answer to unsatisfying realities but also register the violent hypostatizations of "inside" and "outside" on which it depends. [ABSTRACT FROM AUTHOR]

No serious study has been published on how Chinese filmmakers have portrayed the United States and the American people over the last century. The number of such films is not large. That fact stands in sharp contrast not only to the number of "China pictures" produced in the United States, which is not surprising, but also in contrast to the major role played by Chinese print media. This essay surveys the history of Chinese cinematic images of America from the early twentieth century to the new millennium and notes the shifts from mostly positive portrayal in the pre-1949 Chinese films, to universal condemnation during the Mao years and to a more nuanced, complex, and multi-colored presentation of the last few decades. [ABSTRACT FROM AUTHOR]

The article presents information about the history of cinematography in France, especially in connection with 19th century French filmmakers and inventors Auguste and Louis Lumière. It is noted that the Lumière brothers were not widely celebrated as the inventors of cinematography. The article discusses conflicts emerging from various beliefs concerning the identity of the true inventor of filmmaking. Historical figures described in this context include French filmmakers Georges Demenÿ and Étienne-Jules Marey. The article also comments on the symbolic, economic, and industrial significance of the invention of cinematography.

The article accounts early journalistic reports on cinematographic screenings in Europe and passages about cinema by Jacques Derrida and Gilles Deleuze. The paper aims to illustrate the extent to which cinema has been involved in the transvaluation of life. It also attempts to respond to the experience of cinema of writing. It presents information regarding the mutations of the genealogy of life, caused by writing about the cinema, in order to establish a particular field of genealogical investigation.

Copyright of Historia y Comunicación Social is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Presents elaboration on the development of films and their global historical significance. Alphabetical arrangements on the growth of the films and its contributor; Biographical features of the contributors; Specifications of the film cited.

The article discusses the history of color cinematography, focusing on the initial success and ultimate failure of the color process Cinecolor. The process is discussed in context of the development of other motion picture color processing techniques. Predecessors to Cinecolor include Kinemacolor, Multicolor and Prizmacolor. Cinematographer William T. Crespinel, who patented Cinecolor, served as a link for the three color processes mentioned. The author states that the main objective in the development of color film technology was the production of a three-color 35mm negative and print film.

Considers some of the problems involved in adapting novels into film. Successes and shortcomings of the adaptation of Charles Dickens' 'Hard Times'; Description of how Dickens' novels have been adapted to film; Influence of his novels in the development of cinematographic techniques.

Recent discoveries on the origins of Japanese animation show solid evidences on the first Nippon animation film could be dated around 1900. This find may put into question certain foundational aspects of animation history and traditional animation. This paper reviews the existing documentation on early Japanese animations, stating that this genuine style of animation could actually have an origin on its own. [ABSTRACT FROM AUTHOR]

The article offers the author's views on their at the Student Produced Animation workshop during the International Student Media Festival in Anaheim, California in October 2010. He says that they discuss arts in the 19th century as early device for animation and work of art of notable people including Michelangelo, William Shakespeare, and Leonardo da Vinci. He also cites early animation inventions that serve as toy of Queen Victoria's children including zoetrope, flipbook, and mutoscope.