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Brian J. Robb

Silent Cinema

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Silent cinema was never truly silent. Performances were more often than not accompanied by live music — whether from a solo pianist or a small orchestra — and the noise of audiences more than made up for the lack of a soundtrack accompanying the film. It was from the origins of cinema onwards to the coming of sound in 1929 with The Jazz Singer that so many of the ground rules of cinema were laid and film-making techniques developed, including editing and special effects, styles of acting, filming on location and much more. Through a study of the earliest origins of cinema to the stars, comedians and directors who became popular from the late-Victorian era to the end of the 1920s, and including a look at the earliest Hollywood scandals of the time, Silent Cinema will be a handy guide to the art of cinema's silent years in Hollywood and across the globe.
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187 halaman cetak
Publikasi asli
2010
Tahun publikasi
2010
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Kutipan

  • Fariz Suleimanmembuat kutipan6 tahun yang lalu
    If the invention of cinema was to be compared to one of the many genres which later came to dominate the art form, it might be regarded as a whodunnit. Given the claims and counterclaims for the sole right to be known as the inventor of cinema, perhaps the specific whodunit in question is JB Priestly’s An Inspector Calls, in which everyone has some degree of culpability. Among the ‘suspects’ were American Thomas Alva Edison; the French Lumière brothers, Louis and Auguste; British-based Frenchman Augustin Louis Le Prince; and the British William Friese-Greene. Like movies themselves, however, the hunt for the sole inventor of cinema is an illusion.
  • Fariz Suleimanmembuat kutipan6 tahun yang lalu
    Bizarrely, essentially the same multiple still camera set-up used by Muybridge in cinema’s pre-history would be used to create the ‘bullet time’ effect in The Matrix (1999) and its sequels over 100 years later, well into the digital age of cinema
  • Fariz Suleimanmembuat kutipan6 tahun yang lalu
    It was the investigations into motion studies by photographer Eadweard J. Muybridge in 1877 that would lead directly to moving pictures. Muybridge was a British photographer who had made his name marketing photographic views of America in the 1860s. His initial creation of a series of photographs of a horse taken milliseconds apart was the result of a bet. Leland Stanford, the former Governor of California, hoped to prove that during a gallop all four hooves of a horse were off the ground simultaneously. Stanford hired Muybridge to prove his contention. The problem of achieving the technical requirements was only solved with the involvement of John D. Isaacs, chief engineer for the Southern Pacific Railroad. He knew nothing about photography but was able to apply his knowledge of mechanics, creating a system of magnetic releases to trigger the cameras photographing the horse in action. Muybridge shot a series of still photographs as a horse cantered past a row of twelve cameras. He then checked the images to see if any showed all four hooves off the ground. Stanford won his bet, though his expenditure to achieve his proof hugely exceeded the amount he eventually won.

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