This essay will seek to outline my findings on movie and theatre by looking at still image and moving image. I will discuss the relationship between cinema and film, and also compare some works of artists in order to answer the question which how might photography be contextualized as image on the threshold of still and moving – as an object incorporating the temporal and the narrative, the writing of history, or the presentation of documentation as record.
A French photographer Franck Bohbot found the Max Linder theatre while he was working on a series of photographs of Parisian stage theaters in 2011, one of the earliest and most sublime theatres in Paris. That discovery led Bohbot made “Cinema” series, each of which was photograph of movie
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This allowed him to take split-second pictures of objects in motion which could not be seen by the human eye, including bullets and hummingbirds in flight, light bulbs shattering, and athletes in action. Some of his photographs had an exposure time of less than 1/10,100 of a second (The Art Reserve). That is how he created those unbelievable moment. But compare with Sugimoto’s work, his work represents a specific and special time or moment while Sugimoto’s work represents a period of time. “Through the very introduction of staging and manipulation, a celebration of photography 's unique inscription of time is turned into a reflection on photographic time, especially its apotheosis as frozen movement” (Lecture note, …show more content…
According to Paolo Cherchi Usai: “Moving image preservation will be redefined as the science of gradual loss and the art of coping with the consequences, very much like a physician who has accepted the inevitability of death even while he fights for the patient’s life” (Death 24x Second, Laura Mulvey, p17). Furthermore, due to the improving of technology, there is always something been replace by another. Such as analogue camera has been replaced by digital camera, telephone has been replaced by smartphone, and television has been replaced by computer. “… the digital, as an abstract information system, made a break with analogue imagery, finally sweeping away the relation with reality, which had, by and large, dominated the photographic tradition…” (Death 24x a Second, Laura Mulvey, p18). But fortunately, photography didn’t been replace by film, that is maybe due to a reason of photography has always had its own complex engagement with time and movement which is different with film (Lecture note,
This essay offers a contextual, and theoretical explanation as to why Stereoscopes are a product of modernity: drawing particular attention to the stereoscope - that enables what many viewers perceive as a greater level of realism in the cinematic image -, existing arguments around the topic which have been developed to interpret and explain its social significance within the modern period. The discussion begins with an informative differentiation of both ideologies, which we identify as Modernism and Modernity; the second paragraph, is a brief background of the optical instrument which hopefully bleeds into the main body of ideas conceived from thorough research via David Trotter, Jonathan Crary and Goethe. My interest in this particular subject arose out of empirical knowledge of cameras from studying Photography at A Level and a prior thesis I conducted in regards to Capitalism: Slavery, an excerpt by filmmaker Ken Jacobs. A metaphorical screening considering the relationship of both fields not only in their shared money form but also the difference surrounding these two highly charged and complex kinds of bodies: the slave body and the corporate body which in reality are the a biological form and a wealth form.
Camera Lucida was Roland Barthes’ last written piece, published posthumously in 1980. This book deals with the topic of photography and the death of Barthes’ mother in 1977. The role of photography is questioned; he asks what about photography makes it a valid media? We read about the operator (the photographer), spectrum (the subject) and spectator (the viewer), also about the studium (what we see in the photograph) and the punctum (the unclassifiable, the thing that makes the photograph important to the viewer). According to Barthes the photograph is an adventure for the viewer, but it is ultimately death, the recording of something that will be dead after the picture is taken. This idea is the main focus of Barthes’ writing, the photograph “that-has-been”, in Latin “interfuit: what I see has been here, in this place which extends between infinity and the subject; it has been here, and yet immediately separated; it has been absolutely, irref...
For example, the documentary ‘The Snake Wrangler’ shows the use of these techniques to appeal and engage the audience. The Snake Wrangler wasn’t constructed to entertain the audience but to rather convey a certain message to them. Philip Rosen shows what happens when we don’t use this method, using the earliest actuality films to make this point. In their making, the camera was simply set down and pointed in such a way as to film whatever was in front of it, at the moment when it was operated. It recorded fragments selected from the space and time continuum of the real world, such as the onrush of workers from the Lumière Factory. The projector then presented what the camera had registered and the significance of those shots lay in their photographic credibility: they seemed to show fragments of reality to the audience. This however didn’t allow the filmmaker with the opportunity to fill the text with meaning: in the instance, we found very little about the Lumière workers, other than that they are leaving the factory. Therefore, to give greater depth to these silent actuality films cinematic art is significant. The definition has stood the test of time because it allows for all manner of producer intervention. Yet it is also constantly challenged and always surrounded by controversies, for it prompts questions such as how much and what sort of actuality might remain after the creative
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
Movies are everywhere. They are a part of everyone’s life. Think about it, how many movies do you
The 18th century has marked the commencement of the innovation of cinematography. The invention of cinema owes its existence to a few investors and scientists who are broadly known for laying down its foundation. Among those pioneers are the Lumiere brothers who were some of the earliest contributors to cinema, inventing the first real film camera called the "cinematographe", which effectively functioned as a camera, projector and printer all in one (Barnauw, 1993:6). Thus giving rise to the art of film making. Initially, in the early years of cinema since there was no developed structure [or language] to tell cinematic stories, the early Lumiere brother?s films such as Workers leaving the Lumiere factory (1895) and The Arrival of a Train at the Station (1895), were composed of a single shot, no camera movement and only one continuous action from beginning to end (Obalil, 2007).
During the thirty odd years for which the cinema has existed as a medium of expression,
The concept of ‘cinema of attractions’ encompasses the development of early cinema, its technology, industry and cultural context. The explanation of how it is perceived by early cinema audiences is closely related to the effects of history at that time. How Gunning coined the term ‘cinema of attractions’ pertains to the history of the film industry at the turn of the 20th century and his interpretation of the audience and their reaction film technology. Single shots, the process of creating a moving picture and the juxtaposition of limited techniques, coupled with a new invention of showing a moving picture.
Before the civil rights movement could begin, a few courageous individuals had to guide the way. Dr. Vernon Johns was one of those individuals. Dr. Vernon Johns was a pastor and civil rights activist in the 1920s. Johns became the pastor of Dexter Avenue Baptist Church in Montgomery, Alabama in the late 1940s. During his time as a pastor, Johns preached many sermons on how African American people were being treated not only in the community but in society. Johns on multiple occasions upset his community through his ideas on social change. Through a sociologist perspective, many sociological concepts were displayed in The Vernon Johns Story. Some of those concepts included: ascribed status, conflict theory, deviant behavior, alienation, and
“What I like about photographs is that they capture a moment that’s gone forever, impossible to reproduce.” - Karl Lagerfeld. Photography is a beautiful thing that has evolved over the years. With the help of technology photography has came along ways from when the very first photo was produced in the 1700’s . We have found faster ways to produce a picture and the colors and format has became more appealing to the human eye. Photography has helped generations see the earlier generation for decades. We can only receive so much imagery through words until we turn to a photography that says it all. It all goes back to the old saying of “a picture says a thousand words”. The evolution of the camera and the history of photography are the true beauty in what made pictures what they are today.
Stanley, Robert H. The Movie Idiom: Film as a Popular Art Form. Illinois: Waveland Press, Inc. 2011. Print
I've spent the past two years working at Golden Age Cinemas' Liberty 1 & 2 Theaters. This movie theater is a tremendously important part of my life. Unfortunately, the theater isn't making nearly enough money to survive. It has been around since the 1930's, and quite honestly, is very run down. Very seldom do we see more than 15 people for a movie, which is an unsustainable amount of revenue to keep up with the mortgage, wages, supplies, etc. There has been speculation that the theater is going to shut down, this came after the Mayor of Libertyville posted on Facebook desperately trying to get funding to save the theater. As an employee, and a resident of Libertyville, saving the theater is the only option. It has been so important to all of
“The advent of photography served as a catalyst in challenging the realist tradition that had predominated since the Ren...
How do movies affect our brain? Is the movie culture directing our thoughts in a certain path? Do movies change our behavior? Do movies carry a certain message? Perhaps a warning? These are all questions that we don’t normally give much thought to when we watch a film. However, it is important to employ our critical thinking skills when we analyze a movie we just watched.
Filmmaking is an art like no other. It brings people together to create magnificent stories that people can view either on their television or on the big screen. The creators of film could not have imagined how far filmmaking would go and how much it would impact the world of entertainment. The invention of filmmaking has evolved over a long period of time and will continue to impact the world of entertainment.