Magisterarbeit aus dem Jahr 2001 im Fachbereich Kunst - Fotografie und Film, Note: 2,7, Ruhr-Universitat Bochum (Philosophie, Padagogik und Publizistik), Sprache: Deutsch, Abstract: Inhaltsangabe: Einleitung: Der Neo-Realismus ist eine kunstlerische Ausdrucksform, die in die italienische Filmkunst und Literatur ca. mit Beginn der 40er Jahre Einzug gehalten hat. Der Neo-Realismus verblasste etwa mit dem Ende der 70er Jahre. In dieser Magisterarbeit wird der Neo-Realismus des italienischen Films behandelt. Das Buch von Andre Bazin (1975): Was ist Kino wird zur Erklarung des Phanomens Neo-Realismus im Vordergrund stehen. Denn Bazin bespricht in seinem Werk explizit die Ursachen, die Formen und die Wirkungsebene des italienischen neo-realistischen Kinos. Zudem bietet Bazin eine theoretische Abhandlung uber die Konzeption des fotografischen Bildes, welches durch seine Ausdrucksform die realistische Kunst beflugelt hat. Des weiteren werden Aufsatze verwendet, die sich wahrend der Schaffensperiode der neo-realistischen Filme mit dem Phanomen Neo-Realismus beschaftigten. Dabei konzentrierten sie sich auf die Filmform, die Innovation der Mittel, den Ursprung und die Filmaussagen des neo-realistischen Films. Das Buch von Meder, Thomas (1993): Vom Sichtbarmachen der Geschichte, das aus seiner Dissertation entstand, gibt einen Uberblick uber die filmgeschichtlichen Fakten, aus denen der Neo-Realismus erwuchs. Dabei setzt Meder einen Schwerpunkt auf die Filmbehorden und- institute, die unter dem faschistischen Regime gegrundet wurden und in denen der Neo-Realismus seine theoretische und praktische Quelle fand. Deleuze, Gilles (1997) legt seinem Werk Das Zeit-Bild die Ansatze Bazins zugrunde und entwickelt das Modell des optisch-akustischen Bildes. Dabei gibt Deleuze zu verstehen, dass der Neo-Realismus nicht lediglich aus der quantitativen Realitat seiner Bilder, im Sinne von einem mehr oder weniger an Realitat, zu erklaren ist. Damit spricht er eine Wahrnehmung des Bildes

Magisterarbeit aus dem Jahr 1997 im Fachbereich Kunst - Fotografie und Film, Note: 1,0, Universitat zu Koln (Philosophie, Theater-, Film- und Fernsehwissenschaft), Sprache: Deutsch, Abstract: Inhaltsangabe: Einleitung: Die Arbeit beschaftigt sich mit der Frage, warum und auf welche Weise Shakespeare-Filme seit jeher eine grosse Anziehungskraft auf das Kinopublikum ausuben und insbesondere in den 90er Jahren eine Renaissance erfahren haben. Die Filme dieser jungsten Entwicklung werden unter drei Perspektiven einer Analyse unterzogen: 1. Das Drehbuch: Welche verschiedenen Moglichkeiten der dramaturgischen Bearbeitung fur einen Film werden hier verwirklicht bzw. wie macht man aus einem Shakespeare-Drama ein Drehbuch? 2. Die Inszenierung: Welche unterschiedlichen Stile hinsichtlich Kamera, Schnitt, Musik und Ton fugen sich auf welche Weise in ein Gesamtkonzept? 3. Die Publikumswirkung: Welche seelischen Grundprobleme werden in Shakespeares Dramen belebt und anhand welcher psychologischer Wirkungsmechanismen setzen sie sich in den Filmen um? Die vergleichende Analyse dieser drei Perspektiven macht deutlich, dass die Geschichten in Shakespeares Dramen ein reichhaltiges Angebot sowohl fur eine experimentelle Bildsprache als auch fur sehr individuelle inhaltliche Interpretationen machen. Die Herausarbeitung der verschiedenen Moglichkeiten einer Interaktion zwischen den modernen Filmemachern und den klassischen Dramen William Shakespeares sind der Gegenstand dieser Arbeit. Inhaltsverzeichnis: Inhaltsverzeichnis: 1.Einleitung4 2.Shakespeare auf der Leinwand: Ein filmhistorischer Uberblick7 2.1Methodische Vorbemerkung7 2.2Shakespeare-Verfilmungen in der Stummfilmzeit und in der fruhen Tonfilmzeit8 2.3Die Verfilmungen von Laurence Olivier, Orson Welles und Franco Zeffirelli13 2.4Shakespeare-Verfilmungen in den siebziger und achtziger Jahren20 2.5Uberblick uber die statistischen Daten23 2.6Resumee24 3.Entwicklung und Stand der Forschung26 3.1Uberblick uber die Literaturgeschic

In 1888, Thomas Edison announced that he was experimenting on "an instrument which does for the eye what the phonograph does for the ear, which is the recording and reproduction of things in motion." Just as Edison s investigations were framed in terms of the known technologies of the phonograph and the microscope, the essays in this collection address the contexts of innovation and reception that have framed the development of moving images in the last 100 years. Three concerns are of particular interest: the contexts of innovation and reception for moving image technologies; the role of the observer, whose vision and cognitive processes define some of the limits of inquiry and epistemological insight; and the role of new media, which, engaging with the domestic sphere as cultural interface, are transforming our understanding of public and private spheres.

The 17 previously unpublished essays in Moving Images represent the best of current research in the history of this field. They make a timely and stimulating contribution to debates concerning the impact of new media on the history of cinema.

Contributors include: William Boddy, Carlos Bustamante, Warren Buckland, Valeria Camporesi, Bent Fausing, Oliver Gaycken, Alison Griffiths, Christopher Hales, Jan Holmberg, Solveig Julich, Frank Kessler, Jay Moman, Sheila C. Murphy, Pelle Snickars, Paul C. Spehr, Bjorn Thuresson, and Ake Walldius."

Magisterarbeit aus dem Jahr 1996 im Fachbereich Kunst - Fotografie und Film, Note: 1,0, Universitat zu Koln (Unbekannt), Sprache: Deutsch, Abstract: Inhaltsangabe: Gang der Untersuchung: Die Arbeit stellt einen Zusammenhang her zwischen der filmischen Asthetik Antonioni einerseits und dem von Gustav Reno Hocke entwickelten Manierismus-Begriff andererseits. Sie gliedert sich im wesentlichen in zwei Teile: 1. Vorstellung des Analyse-Begriffs"Manierismus." 2. Analyse des Filmwerkes Antonionis. Die Asthetik der Filme wird dabei insbesondere unter folgenden Kriterien untersucht. 1. Naturdarstellung. 2. "Gesprengte" Bilder. 3. Traum-Visionen. 4. Abstraktion und Fragmentarisierung. 5. Metaphorik. 6. Labyrinth-Motive. Inhaltsverzeichnis: Inhaltsverzeichnis: 0.Einleitung4 1.Erarbeitung des Analyse-Kriteriums "Manierismus11 1.1Manierismus als uberzeitliches Phanomen11 1.2Manierismus als Ausdruck einer Krise14 1.3"Idea"-Lehre und Anaturalismus17 1.4Der Gegensatz Manierismus - Klassik19 1.5Manierismus als Epoche22 2.Analyse: Manieristische Phanomene im Werk Antonionis26 2.1 Die aussere Wirklichkeit26 2.1.1Das Phanomen -Natur26 2.1.2Naturdarstellung bei Antonioni28 2.1.2.1"Magische" Natur30 2.1.2.2Quasi-naturliche Chiffren34 2.1.2.3Farbgestaltung bei Antonioni37 2.2Sprengkraft des Bildes45 2.2.1"Figura Serpentinata"45 2.2.2"Figura Serpentinata" bei Antonioni47 2.3"Landschaft des Traums"56 2.3.1Traum und Vision56 2.3.2Traum-Visionen bei Antonioni57 2.3.2.1"halluzinierende" Gesichter61 2.4Bruchstucke der Wirklichkeit63 2.4.1Abstraktion und Fragmentarisierung63 2.4.2Abstraktion und Fragmentarisierung bei Antonioni64 2.5"Korrespondenzen des Entlegenen"77 2.5.1Metaphorik77 2.5.2Metaphern im Werk Antonionis80 2.5.2.1Filmische Metaphern80 2.5.2.2Sprachliche Metaphern86 2.689 2.6.1Labyrinth-Motive89 2.6.2Das Motiv "Labyrinth" bei Antonioni91 3.Schlussbemerkung101 4.Anhang105 4.1Quellen105 4.1.1Sekundarliteratur105 4.1.2Lexika107 4.1.3Drehbucher107 4.1.4Doku

Jacques Tati es un director de cine que ha sido olvidado y, en ocasiones, maltratado por criticos y estudiosos. Por ello, Carlos Cuellar expresa, en las primeras paginas de este libro, su deseo de reivindicar la figura de este artista frances como uno de los cineastas modernos mas interesantes y profeticos de la historia. Pero quiere hacerlo manteniendo, en la medida de lo posible, la objetividad del investigador, para lo cual analiza no solo cada una de las producciones de Tati, sino tambien los acontecimientos de su vida privada que ayudan a explicar y comprender la evolucion de su vida profesional. El resultado es una excelente puesta al dia sobre la obra de un artista que es, cuando menos, original y a menudo, genial.

Magisterarbeit aus dem Jahr 1995 im Fachbereich Kunst - Fotografie und Film, Note: 2,0, Leuphana Universitat Luneburg (Unbekannt), Sprache: Deutsch, Abstract: Inhaltsangabe: Zusammenfassung: Die Geschichte der Photographie wird von Anfang an von einem zweigliedrigen System begleitet: die ungestellt-dokumentarische Photographie auf der einen Seite und die gestellt-inszenierende Photographie auf der anderen Seite. Die Annahme der strikten Trennung von Subjektivitat, Inszenierung und Manipulation von Wirklichkeit einerseits und Objektivitat, Dokumentation, Authentizitat und Abbildtreue gegenuber dem Aufgenommenen andererseits stellt die vorliegende Arbeit kritisch in Frage. Anhand der Entwicklung der Dokumentarphotographie wird chronologisch der Frage nachgegangen, ob sich in den Arbeiten der als bedeutende Dokumentaristen geltenden Photographen ebenfalls bildgestaltende Elemente und inszenierende Praktiken finden lassen. Dazu werden verschiedene Arten dokumentarischer Photographie wie z.B. Kriegsphotographie, sozialkritische Photographie und Pressephotographie aufgegriffen und durchleuchtet. Anhand der Darstellung der Arbeitsweisen bedeutender Vertreter der jeweiligen "Gattung" und der jeweiligen Epoche sowie anhand von begleitendem Bildmaterial wird die Annahme bestatigt, dass in der sogenannten Dokumentarphotographie von Anfang an arrangierte und konstruierte Elemente eine grosse Rolle gespielt haben. Zum Vergleich werden Techniken und (Bild-) Beispiele sogenannter Kunstphotographen aufgefuhrt. Unter dem Aspekt: "inwieweit ist Photographie uberhaupt imstande Wirklichkeit, Objektivitat und Wahrheit abzubilden?" werden dabei auch unterschiedliche Standpunkte verschiedener (Kunst-) Theoretiker dargestellt. Am Beispiel z.Z. tatiger Bildjournalisten wird gezeigt, dass die Einmischung in die (Bild-)Wirklichkeit heute ebenfalls ein aktuelles Thema ist. Der Vergleich mit den Arbeiten akademisch ausgebildeter Photo-Kunstler (z.B. Bernd und Hilla Becher, Thomas Ruff) ist auch

Hollywood has seen the number of camerawomen quadruple in the past 15 years. "Women Behind the Camera" is the first book to offer an in-depth look at the lives of camerawomen and their struggles to succeed in a male-dominated field. Krasilovsky presents interviews with 23 camerawomen, most of whom are pioneers in Hollywood and whose experiences cover the full range of the Camera Department.

The camerawomen interviewed include all four women Directors of Photography who have achieved membership in the prestigious American Society of Cinematographers, one of the first female camera assistants to work at the BBC, camerawomen who worked on "Star Trek VI" and "Terminator 2," and a full range of documentary, experimental, and video camerawomen. These pioneering women, who have filmed in war zones, on mountain peaks, underwater, and on Hollywood sets, discuss their influences, goals, and experiences with directors and stars, and the art of cinematography.

The Language of the Lens explores the expressive power of the camera lens and the storytelling contributions that this critical tool can make to a film project. This book offers a unique approach to learning how lenses can produce aesthetically and narratively compelling images in movies, through a close examination of the various ways lens techniques control the look of space, movement, focus, flares, distortion, and the "optical personality" of your story's visual landscape. Loaded with vivid examples from commercial, independent, and world cinema, The Language of the Lens presents dozens of insightful case studies examining their conceptual, narrative, and technical approaches to reveal how master filmmakers have harnessed the power of lenses to express the entire range of emotions, themes, tone, atmosphere, subtexts, moods, and abstract concepts. The Language of the Lens provides filmmakers, at any level or experience, with a wealth of knowledge to unleash the full expressive power of any lens at their disposal, whether they are shooting with state-of-the-art cinema lenses or a smartphone, and everything in between.

With the next generation of raw cinema cameras you can finally shoot professionally with uncompressed raw motion pictures without compromising your image or your budget. In "Cinema Raw: Shooting and Color Grading with the Ikonoskop, Digital Bolex, and Blackmagic Cinema Cameras," Lancaster takes you through the birth of these new cameras and includes an exclusive behind-the-scenes look at Digital Bolex. He field tests each camera and discusses the importance of shooting in raw and guides you through the raw color grading process so you can create stunning films. Interviews with professionals who have shot documentaries, shorts, and promotionals with these cameras are featured throughout, allowing you to learn field production techniques under real world conditions.

FEATURES:

• Behind-the-scenes case studies for the next generation of low budget cinema cameras

• Recommended gear lists to begin your raw shooting experience

• Full color post workflows that help you realize your boldest cinematic visions

• A companion website (www.kurtlancaster.com) featuring raw projects covered in the book; video interviews with the creators of the Digital Bolex, Joe Rubinstein and Elle Schneider; and resources for further study of raw cinema

* Become an eloquent visual storyteller through effective and expressive choices for each and every shot in your film with hundreds of full-color examples from your favorite blockbusters in this easy-to-reference guide * Types of shots covered include close-ups, long shots, over the shoulder shots, group shots, zoom shots, pan shots, dolly shots, tracking shots, and more * The 2nd edition has been comprehensively updated with new movie examples of various shots featured, a new chapter on The Overhead Shot, expanded sections on aspect ratios, rule of thirds, shooting formats, and updated organisation into parts on sizes conventions and dynamics.

The story of one of the most important and least-understood jobs in moviemaking--film editing--is here told by one of the wizards, Ralph Rosenblum, whose credentials include six Woody Allen films, as well as "The Pawnbroker, The Producers," and "Goodbye, Columbus," Rosenblum and journalist Robert Karen have written both a history of the profession and a personal account, a highly entertaining, instructive, and revelatory book that will make any reader a more aware movie-viewer.

Song lyrics fly across the screen in time to music. A globe spins and zooms into a war-torn country. Money rises from a screen to explain an economic situation. Now, more than ever, we are surrounded by these motion graphics on our TV and cinema screens, on our smartphones, computers, and tablets, on Main Street and in our galleries. Motion Graphics: Principles and Processes from the Ground Up is your introduction to the core principles of the discipline, whether your background or ambitions lie in animation, graphic design, film production, or visual effects. Ian Crook and Peter Beare provide you with a wide understanding of the key concepts and techniques that will help you plan, develop and produce your own creative projects.

The original foreign film--its sights and sounds--is available to all, but the viewer is utterly dependent on a translator and an untold number of technicians who produce the graphic text or disconnected speech through which we must approach the foreign film. A bad translation can ruin a film's beauty, muddy its plot, and turn any joke sour.
In this wide-ranging work, Abe Mark Nornes examines the relationships between moving-image media and translation and contends that film was a globalized medium from its beginning and that its transnational traffic has been greatly influenced by interpreters. He discusses the translation of film theory, interpretation at festivals and for coproductions, silent era practice," talkies," subtitling, and dubbing.
Nornes--who has written subtitles for Japanese cinema--looks at the ways misprision of theory translations produced stylistic change, how silent era lecturers contributed to the construction of national cinemas, how subtitlers can learn from anime fans, and how ultimately interpreters can be, in his terms, "traders or traitors."
Abe Mark Nornes is associate professor of Asian languages and cultures and film and video studies at the University of Michigan. He is the author of Japanese Documentary Film" (Minnesota, 2003) and Forest of Pressure" (Minnesota, 2007).

Master the complex realities of 3D postproduction workflows and solutions with this one-of-a-kind guide. Brimming with techniques that have been used on actual 3D productions and can easily be incorporated into your own workflows, Rick Baumgartner's 3D Postproduction offers you: The best practices for 3D preproduction and production to ensure a smooth post process, saving both time and money Abundant workflow diagrams, screen grabs, and checklists to reinforce your learning with visual cues Common postproduction considerations such as dailies, assembly, cutting, and color correction, and how they differ between 3D and 2D post pipelines Examples of 3D gone bad and how those scenarios can be avoided In-depth interviews with working professionals and extensive tutorials that provide practical insight from the trenches of real-world 3D postproduction A companion website (www.focalpress.com/cw/baumgartner) featuring project files and video clips demonstrating the 3D workflows covered in the book An effective 3D postproduction workflow allows for easier and more flexible editing, greater capacity for visual effects enhancement, the ability to fix production mistakes, and much more. You can't afford to miss out! Bring your 3D projects to the next level with 3D Postproduction: Stereoscopic Workflows and Techniques.

THE INSIDER'S GUIDE TO THE DIGITAL REVOLUTION.

. READERS ON BRIAN McKERNAN
. ***** "A must for anyone who cares about navigating the new world of digital content."*.

. ***** "The digital revolution 'Bible' ... an invaluable resource for anyone seriously interested in video, TV, streaming, and movies, and ... it's a great read."*.

. ***** "A must-have ... reveals the lessons learned from decades of failure and success ... and gives roadmaps to the future."*.

. * On Creating Digital Content: Video Production for Web, Broadcast, and Cinema, co-edited by Brian McKernan.

. INSIDE THE PARADIGM SHIFT THAT'S REMAKING THE MOTI0N PICTURE INDUSTRY
. Not since the advent of sound has technology so greatly impacted motion pictures. With its huge cost-saving potential, digital technology can alter every aspect of the movie-making process, from shooting through postproduction to delivery and exhibition..

. The digital cinema revolution is the result of years of progress in the technologies of film, computer graphics, and high-definition television. Now Brian McKernan, founding editor of Digital Cinema magazine, provides an up-to-date look at how new digital technologies are reshaping the movie industry.. Digital cinema -- how it came about, its history and pioneers. Understanding digital image compression. The latest camera choices for digital cinematography -- from high end systems to the affordable world of indie filmmaking. Audio and the cinema -- why sound is half the picture. The revolution in postproduction -- the convergence of computer graphics, HDTV, film, and video. Nonlinear editingsoftware choices, new techniques, and digital compositing. Digitalintermediates--color grading, changing the shot after the shoot, film transfer, and film recording. Independent digital filmmaking in Hollywood and across the nation -- the democratization of the movies. The new role of the cinematographer in the digital age. Understanding digital projection technologies. What digital cinema means to indie productions, exhibitors, film distribution, and the future of the movies.

. You'll also find insights on the cost-vs.-quality controversy, the impact of digital cinema on creative freedom, and the integration of film and digital from such leading filmmakers as George Lucas, Robert Rodriguez, and Michael Ballhaus ASC..

Digital Cinema considers how new technologies have revolutionized the medium, while investigating the continuities that might remain from filmmaking’s analog era. In the process, it raises provocative questions about the status of realism in a pixel-generated digital medium whose scenes often defy the laws of physics. It also considers what these changes might bode for the future of cinema. How will digital works be preserved and shared? And will the emergence of virtual reality finally consign cinema to obsolescence?   Stephen Prince offers a clear, concise account of how digital cinema both extends longstanding traditions of filmmaking and challenges some fundamental assumptions about film. It is essential reading for anyone interested in understanding how movies are shot, produced, distributed, and consumed in the twenty-first century.  

FILM PRODUCTION TECHNIQUE (FPT): CREATING THE ACCOMPLISHED IMAGE, 6e, is aimed at the basic production course taken by radio/tv/film majors. FPT, 6e, delivers a technical and aesthetic introduction to media production that couples video production techniques with strong emphasis on incorporating motion picture film into a project's workflow. The text serves as a primer for all students, but is especially valuable to those students with limited background in the field of media production. FPT, 6e explores cutting-edge technologies as well as traditional Hollywood techniques, covering lighting, cameras, editing, crew organization, and the production process. It also lays out the basic, conventional approach to scene structure in a straightforward and methodical manner.

VISUAL STORYTELLING: VIDEOGRAPHY AND POST PRODUCTION IN THE DIGITAL AGE SECOND EDITION combines a thorough exploration of essential storytelling concepts with detailed instruction in practical technical skills. Without limiting its focus to a particular range of equipment, applications, or technology, this engaging text covers the key concepts, aesthetics, and techniques of single-camera field production and post production, and includes real-life stories and suggestions from working professionals. The accompanying website illustrates and expands on text concepts with pedagogically sound interactive learning modules as well as the capability to download high definition video footage for editing exercises.

Omer Fast's video installation "The Casting" is based on interviews held with a U.S. Army sergeant before his renewed deployment in Iraq. Fast describes the project thus: "During several days he told me two stories which I have interwoven. The first took place in Bavaria and describes the sergeant's relationship with a German girl who loves speed and self-mutilation. The second story takes place outside Baghdad and deals with a bomb on the roadside and a tragic mistake." Fast took these two stories and processed them into a screenplay, which he then had interpreted by actors as a series of silent tableaux. This succinct volume documents these tableaux with numerous color photographs and includes a conversation between the artist and Sven Lutticken, as well as a text by Matthias Michalka.