Now showing items 1-10 of 14
The Exemplary Practices of David Griffith, Part 1: Establishing Events Historically
With the release of THE BIRTH OF A NATION in 1915, David Griffith established by common consent and emulation of his peers the prototype of international feature filmmaking – an exemplar of the possibilities of practice ...
Pudovkin, Kant and the Principle of Perceptual Coherence
In 1926 Vsevolod Pudovkin, while making his first feature film, articulated a precept crucial to understanding how powerful movies are made. He did so by assimilating unwittingly the core of Kant's principle of experiential ...
On Mathematics, Music and Film
An early attempt by the author to comprehend the nature, scope and limits of the constraints on the possibilities of 'colour music'. (Thesis submitted in the Spring of 1968 in partial fulfillment of the requirements for ...
Michelson, Morley and Me: How We See, Hear and Hear Movies
The Michelson-Morley experiment of 1887 was the watershed in our coming to understand how differently waves propagate. As such, it ought also to have been the watershed in our coming to understand how hearing differs from ...
The Coming of Synchronous Sound to Filmmaking: and Introduction
An introduction to the causes and effects of the 'revolution' that occurred between 1927 and 1930 within the American filmmaking industry when the making of movies with synchronous sound became possible.
Growing Things: the Rural Patience of Robert Flaherty
As Robert Flaherty was making his first documentary with synchronous sound (MAN OF ARAN, released 1934), he discovered that he had never learned to cut smoothly between shots. He had become the most renowned maker of ...
Stroheim's Tactics of Comparison
Three-quarters of Stroheim's GREED  was cut from the film before its release at the insistence of the studio by a sequence editors who, in Stroheim's phrase, "did not know anything about my editing ideas", but the ...
KING KONG, Carroll and Currie: Misconstruing Monstrously How We See Things by Means of Movies
Two confusions have vitiated recent philosophical discussions about filmmaking: the presumption of Nöel Carroll that discrimination entails essentialism and the presumption of both Carroll and Gregory Currie that we cannot ...
Sternberg's Maxims, Dietrich's Face: Distinguishing Cinematographical from Photographical Lighting
How does cinematographical lighting differ from photographical lighting? Josef Sternberg amplified the answer when lighting the face of Marlene Dietrich within the six movies that he made with her between 1929 and 1935. ...
'In My Mind's Ear': Misconstruing Sounds as Sights – a Philosophical and Cinematical Caution
The notion of 'imaging' music ought to perplex us philosophically, for 'to imagine' is a verb of visualisation. Hearing musical events may cause us to imagine things, and seeing things may cause us to think of hearing ...