The Cinema in Flux The Evolution of Motion Picture Technology from the Magic Lantern to the Digital Era

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Bibliographische Detailangaben
Beteiligte: Lipton, Lenny (VerfasserIn)
Verfasserangabe: Lenny Lipton founded StereoGraphics Corporation in 1980 and was the Chief Technology Officer of Real...
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Springer Nature Singapore 2020
Medientyp: Buch, E-Book

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Umfang: 795; Color of cover: Black, Color of cover: Brown, Color of cover: Green, Color of cover: Silver, Color of cover: Yellow, XXII, 795 p. 577 illus., 259 illus. in color., New York, NY; 216 x 286 x 44
ISBN: 9781071609507
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Kollektion: PDA Print VUB
Inhaltsangabe
Introduction The Cinema of Real Motion 1. Huygens and the Magic Lantern 2. The Magic Lanternists 3. Lantern Light and Glass Apparent Motion: Discovered and Applied 4. Plateau Invents the Phenakistoscope 5. A Persistent Myth 6. The Zoëtrope and the Praxinoscope 7. Daguerre's Photography 8. Fox Talbot's Photography 9. Protocinematography 10. Muybridge and Anschütz 11. Chronophotography: Janssen, Marey, Demenÿ The 35mm Medium12. Edison, Dickson, and the Kineto Project 13. The Kinetograph 14. The Kinetoscope: Projection's Inspiration 15. Lambda, Mutoscope, and Bitzer 16. Jenkins and Armat: American Projection 17. The Lumières and the Europeans 18. Edison and the Trust19. Porter the Filmmaker 20. Porter and the Simplex 21. Camera Design before WWII 22. Camera Design after WWII 23. Ciné Lenses: Part I 24. Ciné Lenses: Part II Sound 25. Silent Sound 26. Synchronizing the Phonograph 26. Electronics for Talking Shadows 27. The Origins of Sound-on-Film 28. One Man Bands: Lauste and Tykociner 30. Tri-Ergon 31. De Forest and Case 32. Phonofilm 33. William Fox Hears the Future 34. Vitaphone 35. Movietone 36. RCA vs. ERPI 37. William Fox vs. the Industry 38. Optical Sound Evolution 39. Multichannel, Magnetic, and Digital Sound Color 40. Applied Color 41. Color Elucidated 42. Color Photography before the Movies 43. Urban and the Origins of Kinemacolor 44. The Rise and Fall of Kinemacolor 45. Additive Color after Kinemacolor 46. Subtractive Technologies 47. Kelly's Color Microcosm 48. TruColor and Cinecolor 49. Two-Color Technicolor 50. Three-Color Technicolor 51. Agfa and Ansco Color 52. Eastman Color Small Formats 53. Early Small Formats 54. 16mm 55. Kodachrome 56. Double 8mm and Super 8 The Big Wide Screen
57. The Shape of Screens to Come 58. Grandeur et al 59. Expanded Screen: The Interregnum Ends 60. This is Cinerama 61. Cinerama after Waller 62. CinemaScope 63. 'Scope Variations 64. Wide Screen and VistaVision 65. Todd-AO 66. 65/70mm 67. IMAX and PLF Exhibition The Stereoscopic Cinema 68. Early 3-D 69. Polarization Image Selection 70. 3-D in the Last Half of the 20th Century Television 71. Vision at a Distance 72. Jenkins and Baird 73. Farnsworth 74. Zworykin 75. Broadcasting Begins 76. Color Wars: CBS vs. RCA 77. High Definition Television 78. Film to Video and the VTR Electronic Cinema 79. Electronic Cinematography and CGI 80. The Origins of Digital Technology 81. Post-production and Industry Accommodation 82. A Brief History of Electronic Projection 83. Digital Projection and 3-D Converge