The document discusses the history of cinema and television. It notes that cinema was invented by the Lumiere brothers in the late 19th century, with one of the first films being "Arrival of a Train". While audiences were initially shocked by moving images, they soon enjoyed watching films. Early movies were silent until color systems were introduced in 1917. The development of television occurred over three stages from the 1870s to the 1900s through discoveries like the photoelectric effect and Nipkow's scanning disk. The world's first television station was WCFL in Chicago.
When cinema first began in the late 19th century, all films were short films as the technology was still developing. Early films showed everyday scenes and technological advances for novelty. As technology advanced in the 1900s-1910s, films grew longer though still not feature length, while notable shorts like A Trip to the Moon and The Great Train Robbery emerged. By the 1910s-1940s, feature films developed alongside continuing short film production. During WWII, short films increased for propaganda purposes. Today, some mainstream shorts still exist like Pixar's, but most are independent and celebrated at film festivals.
The document summarizes the history and development of movies from the late 19th century to recent years. It describes key events and innovations such as the invention of motion picture cameras in the 1890s, the first film shown by the Lumiere brothers in 1895, the contributions of early innovators like Georges Melies, the rise of Hollywood studios and blockbuster films, and the influence of events like the World Wars and technology changes. Major movie eras and genres are outlined along with influential directors, actors, and films from each period.
Cinema has evolved significantly since its origins in the late 19th century. Early films were silent and shown to audiences for entertainment purposes. Over time, cinema developed technology for sound, color, improved visual quality, and new methods for telling stories. Modern cinema continues advancing with new techniques and remains an important form of artistic expression and entertainment worldwide.
Il Neorealismo Cinematografico Italiano - Associazione ArtedelContatto per Ci...Simone Moraldi
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Powerpoint introduttivo al seminario "Il Neorealismo Cinematografico Italiano", in collaborazione con le cattedre di letteratura italiana (proff. Lion, Diotallevi, Ballestrero) nell'ambito del programma didattico "Cinema in classe" (a.s. 2013-2014) del Liceo Scientifico Statale "Giovambattista Morgagni". Docenti coinvolti: 7.
This document discusses the history and impact of cinema. It notes that cinema originated with Eadweard Muybridge's pioneering work in moving pictures in the late 1800s. While movie posters have been effective at marketing films and building a billion dollar industry, they also negatively impact young people by promoting unrealistic glamor. However, cinema also provides positive influences through inspiring films and educating viewers about history and culture. The document concludes by thanking those involved in the presentation.
The document provides an overview of the history and development of Chinese cinema. It discusses the three main threads of Chinese cinema from mainland China, Hong Kong and Taiwan. It notes that cinema was introduced in China in 1896 and the first films with sound and color were created in the 1930s and 1940s. Popular genres included historical dramas, comedies and action films. Box office sales in China have grown significantly in recent decades making it one of the largest film markets in the world. The document also examines characteristics of Chinese romance, comedy and action films.
This document discusses common elements of science fiction films including settings, film techniques, props/set design, and narrative elements. It provides examples of how settings in sci-fi films allow viewers to see stories from a neutral perspective. Film techniques like CGI enable the creation of worlds not accessible in real life, as seen in Avatar. Props and set design allow actors to feel immersed in fictional worlds. Finally, common narrative elements in sci-fi include battles between good and evil or humanity and technology, as well as new discoveries, which can be used to comment on real-world issues.
This trailer summary analyzes the Gravity trailer frame-by-frame. It establishes the genre as science fiction through the use of space suits and CGI space settings. Tension and suspense are built through diegetic sounds, silence, and intense reactions from Sandra Bullock's character. The trailer thrusts the viewer into the terrifying scenario the characters face through various camera angles and perspectives. It establishes the emotional core of Bullock's character desperately fighting for survival to return to her daughter, seen in family photos. The trailer leaves the viewer on edge through its escalating intensity and shots of near death, compelling them to watch the film for resolution.
The document provides a detailed overview of the history of the British film industry from the 1930s to present day. It describes the various booms and recessions experienced over the decades, with American competition and the two World Wars significantly impacting production. While British films have found international success, the industry remains small compared to Hollywood and largely produces films for the British/international art house market rather than big-budget blockbusters.
The document provides a history of the development of cinema from its origins in the camera obscura to modern times. It traces key developments like the introduction of film by Kodak, the work of the Lumiere brothers who held the first public film screening, and the introduction of sound in films with the 1927 film The Jazz Singer. Important figures that advanced cinematic techniques include D.W. Griffith, Charlie Chaplin, V. Shantaram, and directors from the parallel cinema movement in India like Satyajit Ray, Mrinal Sen, and Ritwik Ghatak. The document covers the growth of the industry in India and the establishment of major film studios there.
This document provides a brief history of Indian cinema in 3 sentences:
The first Indian silent feature film was Raja Harishchandra in 1913 directed by Dadasaheb Phalke. Alam Ara in 1931 was India's first talkie film and a major commercial success. Other notable early Indian films include Kisan Kanya in 1937 which was India's first color film, and Mother India from 1957 which was a Hindi blockbuster directed by Mehboob Khan and countered criticism of Indian culture.
The Indian film industry consists of several regional film industries across India, with the largest being Bollywood based in Mumbai. The earliest Indian films were produced in the 1930s and promoted Indian culture. Dadasaheb Phalke is considered the father of Indian cinema. Post-independence, films reflected themes of nation-building. Today, Indian cinema is a global industry but regional industries like Tamil, Telugu, Bengali and others also thrive based on language. The CBFC regulates film content and ratings in India.
The document analyzes several science fiction movie trailers from 1968 to 2017. It finds that the trailers commonly open with action scenes to immediately pull the viewer in. They also use techniques like dialogue, ominous music, quick cuts between shots, and mysterious footage to build tension and leave viewers wanting more. The trailers analyzed include 2001: A Space Odyssey, Star Wars: Return of the Jedi, and Logan. They show how trailers have effectively used techniques over time to generate interest in the films and drive viewers to see them.
The history of cinema can be broken down into seven ages:
1) The Pioneering Age from 1896-1912 saw the development of early motion picture technology and short films without narratives.
2) The Silent Age from 1913-1927 featured the emergence of Hollywood and use of techniques like camera movement to develop stories.
3) The Transition Age from 1928-1932 was when films moved from silent to adding synchronized sound.
4) The Hollywood Studio Age from 1932-1946 was dominated by major studios producing genre films.
5) The Internationalist Age from 1947-1959 saw the decline of studios and rise of challenges from foreign films and television.
6) The New Wave Age from 1960-1980 was defined
Il Neorealismo Cinematografico Italiano - Associazione ArtedelContatto per Ci...Simone Moraldi
油
Powerpoint introduttivo al seminario "Il Neorealismo Cinematografico Italiano", in collaborazione con le cattedre di letteratura italiana (proff. Lion, Diotallevi, Ballestrero) nell'ambito del programma didattico "Cinema in classe" (a.s. 2013-2014) del Liceo Scientifico Statale "Giovambattista Morgagni". Docenti coinvolti: 7.
This document discusses the history and impact of cinema. It notes that cinema originated with Eadweard Muybridge's pioneering work in moving pictures in the late 1800s. While movie posters have been effective at marketing films and building a billion dollar industry, they also negatively impact young people by promoting unrealistic glamor. However, cinema also provides positive influences through inspiring films and educating viewers about history and culture. The document concludes by thanking those involved in the presentation.
The document provides an overview of the history and development of Chinese cinema. It discusses the three main threads of Chinese cinema from mainland China, Hong Kong and Taiwan. It notes that cinema was introduced in China in 1896 and the first films with sound and color were created in the 1930s and 1940s. Popular genres included historical dramas, comedies and action films. Box office sales in China have grown significantly in recent decades making it one of the largest film markets in the world. The document also examines characteristics of Chinese romance, comedy and action films.
This document discusses common elements of science fiction films including settings, film techniques, props/set design, and narrative elements. It provides examples of how settings in sci-fi films allow viewers to see stories from a neutral perspective. Film techniques like CGI enable the creation of worlds not accessible in real life, as seen in Avatar. Props and set design allow actors to feel immersed in fictional worlds. Finally, common narrative elements in sci-fi include battles between good and evil or humanity and technology, as well as new discoveries, which can be used to comment on real-world issues.
This trailer summary analyzes the Gravity trailer frame-by-frame. It establishes the genre as science fiction through the use of space suits and CGI space settings. Tension and suspense are built through diegetic sounds, silence, and intense reactions from Sandra Bullock's character. The trailer thrusts the viewer into the terrifying scenario the characters face through various camera angles and perspectives. It establishes the emotional core of Bullock's character desperately fighting for survival to return to her daughter, seen in family photos. The trailer leaves the viewer on edge through its escalating intensity and shots of near death, compelling them to watch the film for resolution.
The document provides a detailed overview of the history of the British film industry from the 1930s to present day. It describes the various booms and recessions experienced over the decades, with American competition and the two World Wars significantly impacting production. While British films have found international success, the industry remains small compared to Hollywood and largely produces films for the British/international art house market rather than big-budget blockbusters.
The document provides a history of the development of cinema from its origins in the camera obscura to modern times. It traces key developments like the introduction of film by Kodak, the work of the Lumiere brothers who held the first public film screening, and the introduction of sound in films with the 1927 film The Jazz Singer. Important figures that advanced cinematic techniques include D.W. Griffith, Charlie Chaplin, V. Shantaram, and directors from the parallel cinema movement in India like Satyajit Ray, Mrinal Sen, and Ritwik Ghatak. The document covers the growth of the industry in India and the establishment of major film studios there.
This document provides a brief history of Indian cinema in 3 sentences:
The first Indian silent feature film was Raja Harishchandra in 1913 directed by Dadasaheb Phalke. Alam Ara in 1931 was India's first talkie film and a major commercial success. Other notable early Indian films include Kisan Kanya in 1937 which was India's first color film, and Mother India from 1957 which was a Hindi blockbuster directed by Mehboob Khan and countered criticism of Indian culture.
The Indian film industry consists of several regional film industries across India, with the largest being Bollywood based in Mumbai. The earliest Indian films were produced in the 1930s and promoted Indian culture. Dadasaheb Phalke is considered the father of Indian cinema. Post-independence, films reflected themes of nation-building. Today, Indian cinema is a global industry but regional industries like Tamil, Telugu, Bengali and others also thrive based on language. The CBFC regulates film content and ratings in India.
The document analyzes several science fiction movie trailers from 1968 to 2017. It finds that the trailers commonly open with action scenes to immediately pull the viewer in. They also use techniques like dialogue, ominous music, quick cuts between shots, and mysterious footage to build tension and leave viewers wanting more. The trailers analyzed include 2001: A Space Odyssey, Star Wars: Return of the Jedi, and Logan. They show how trailers have effectively used techniques over time to generate interest in the films and drive viewers to see them.
The history of cinema can be broken down into seven ages:
1) The Pioneering Age from 1896-1912 saw the development of early motion picture technology and short films without narratives.
2) The Silent Age from 1913-1927 featured the emergence of Hollywood and use of techniques like camera movement to develop stories.
3) The Transition Age from 1928-1932 was when films moved from silent to adding synchronized sound.
4) The Hollywood Studio Age from 1932-1946 was dominated by major studios producing genre films.
5) The Internationalist Age from 1947-1959 saw the decline of studios and rise of challenges from foreign films and television.
6) The New Wave Age from 1960-1980 was defined
Chiara Evangelista - L'accessibilit nei social network: il caso Viadeo - Tes...tesicamp
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The document analyzes the accessibility of social networks, specifically examining Viadeo based on the Web Content Accessibility Guidelines (WCAG) 2.0. It finds that while Viadeo meets more guidelines than not, improvements can still be made. The author proposes continuing research on accessibility and acting as an accessibility consultant to help companies design inclusive digital experiences.
Test Bank for Systems Analysis and Design 8th Edition: Kendallalawamajina
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Essentials of Accounting for Governmental and Not for Profit Organizations 13...orakategy
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New Methods of Literacy Research 1st Edition Peggy Albersuxhcablende
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Presentazione della Dichiarazione di Dubai sulle OER alla comunit italiana -...Damiano Orru
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Osservatorio sullinformation literacy promuove un incontro online organizzato dalla rete Open Education Italia. n occasione della Open Education Week 2025, dal 3 al 7 marzo, la rete Open Education Italia organizza un incontro online dedicato alla presentazione della Dichiarazione di Dubai sulle Risorse Educative Aperte (OER) il 4 marzo 2025. https://www.aib.it/eventi/dichiarazione-dubai-oer-unesco/
Learning Swift Building Apps for OSX, iOS, and Beyond Jon Manningjelieltoinks
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Alessandro Fontana Lara Ermacora - Il cineludico, cinema e videogiochi - Tesicamp
1. Il CINELUDICO
IBRIDAZIONI DI LINGUAGGIO FRA CINEMA E VIDEOGIOCHI
venerd狸 23 ottobre 2009
2. CINEMA
il cinema 竪
ontologicamente legato
alla realt Andr竪 Bazin
Referente reale
Linearit
Linguaggio della narrazione audiovisiva
venerd狸 23 ottobre 2009
3. VIDEOLUDICO
cosa c竪 di divertente nel giocare in uno
scenario che si conosce? Preferirei giocare
in ambientazioni pi湛 ampia e avere
unavventura pi湛 epica Hideo Koshima
Referente non reale
Non linearit
Linguaggio dellinterattivit
venerd狸 23 ottobre 2009
4. Interactive
video
CINEMA VIDEOGIOCO
Interactive
movie
venerd狸 23 ottobre 2009
7. IBRIDAZIONI
Il cinema subisce una decostruzione
narrativa in favore dellinterattivit
Il videogioco perde possibilit di interazione
in favore della narrazione
venerd狸 23 ottobre 2009
9. IL CINE-LUDICO
Lesistenza del referente non ha pi湛
importanza
Serialit
Linguaggio dellimmersivit: narrazione +
venerd狸 23 ottobre 2009
10. COSA STA SUCCEDENDO
ALLA REALT ?
SOVRAPPOSIZIONE SFONDAMENTO DELLA SOGLIA
venerd狸 23 ottobre 2009
11. IERI nel 2008
Il pubblico videoludico sta superando
numericamente il pubblico cinematogra鍖co
Nel 2008 in Italia ha registrato un tasso di
crescita del +21,6% rispetto allanno
precedente 1 famiglia su 3 竪 in possesso di
almeno una console, per un pubblico sempre
pi湛 variegato per et e sesso e anche pi湛
adulto: let media del videogiocatore italiano
竪 di 28 anni.
venerd狸 23 ottobre 2009
12. OGGI
Anche nel 2009 il cinema fantastico sembra
dominare incontrastato i botteghini mondiali
almeno secondo i dati di questi primi otto mesi:
Harry Potter (896 milioni di dollari)
Transformers 2 (828 i milioni di dollari)
L'era Glaciale 3 (807 milioni di dollari)
venerd狸 23 ottobre 2009
13. HARRY POTTER Action
Adventure
TRANSFORMERS Action
ERA GLACIALE Platform
venerd狸 23 ottobre 2009
14. DOMANI 鍖ne 2009
COSA STA SUCCEDENDO ALLA REALT?
SOVRAPPOSIZIONE SFONDAMENTO DELLA
SOGLIA
venerd狸 23 ottobre 2009
16. REALT AUMENTATA
POSSIBILITA DI AGGIUNGERE AL MONDO REALE
ELEMENTI DI TIPO DIGITALE
IMMAGINIAMO DI POTER ACQUISIRE IN REAL TIME
TRAMITE UN CELLULARE INFORMAZIONI SU UN
PRODOTTO.
IMMAGINIAMO DI POTER AGGIUNGERE ALLA
REALTA ELEMENTI DELLA FANTASIA.
venerd狸 23 ottobre 2009
18. LE SKIN DEL MONDO
REALT E VIRTUALE SI FONDONO, DIVENTANO
LUNO LAYER DELLALTRO
La super鍖cie del mondo
diventa trasportatore di
informazione, 竪 elemento
strutturale oltre che
super鍖ciale.
venerd狸 23 ottobre 2009
20. IL CINE-LUDICO
Se la REALT si mescola con il VIRTUALE
lUOMO si mescola con la MACCHINA
Decidiamo di che skin dotare il mondo stesso (AR), e il
nostro corpo (CYBORG).
venerd狸 23 ottobre 2009