Now showing items 1-10 of 14
LE JEU EST FINI; LA GUERRE COMMENCE (or Playin' by the Rules Ain't Hardly No Fun Anymore)
An address on the nature, scope and consequences of the coming industrialisation of higher education presented to the Invitational Conference and Workshop on Film/Video as an Artistic, Professional, and Academic Discipline, ...
Misusing Sights as Sounds: The Infringements of Radio Drama on the Making of CITIZEN KANE
Many arts have influenced the cinema over extended periods of time. One art – radio drama – is an exception, for we can date the onset of its influence from the coming of synchronous sound to the cinema in 1926 and the ...
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 ...
Eisenstein, Part 1: 'A Fly in the Fly-Bottle' – Montage to 1930
Few artists have tried harder than Sergei Eisenstein to understand what they were doing, how and why, as they fashioned early on the works that made them famous, and no one among them has ever affirmed later on – with such ...
Pudovkin's Precept: Coherence, Kant and 'Temporal Concentration'
In 1926, Vsevolod Pudovkin solved the fundamental problem of film design. More exactly, he showed filmmakers how to select and order the parts of a movie (its shots, scenes and sequences of them) to ensure that viewers can ...
Photograph of EWC (circa 1975, Boston, Massachusetts)
Photograph of EWC in Boston, Massachusetts, circa 1975. [Photographer unknown].
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 ...
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. ...
Randomness and Mr. Goodman's Paradox
Viable inductions can only be drawn from unbiased samples. A predicate like Nelson Goodman's 'Grue', therefore, cannot be used within inductions, for the temporal nature of its definition ensures that any sampling of objects ...
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.