920 Slices
Medium 9780861967148

Coda

Kaveh Askari John Libbey Publishing ePub

Franziska Heller

The Domitor Conference 2012 proposed a new research focus on the performative aspects of Early Cinema. In this paper I would like to extend this perspective by considering how the performative character of Early Cinema is transferred to the present through digital dispositifs. How do digital technologies help make Early Cinema visible in today’s media environment? DVDs and the web are ubiquitously accessible and are therefore the ‘mass’ media for engaging with early films today.1 Through these means, the question is: what kind of image is thus constructed of Early Cinema and how does this serve as an introduction to film history? In other words, how is Early Cinema performed today?

My notion of ‘today’, the present, means the distinct historic situation marked by digital media technology. Frank Kessler’s understanding of this moment is very relevant: ‘Even though, once again, the “death of cinema” is being proclaimed as digital images conquer our media environment, animated photographies from the years around 1900 can work their magic in many and sometimes unexpected ways’.2

See All Chapters
Medium 9780253353801

10 “I’ll Keep Rolling Along”: Some Notes on Singing Cowboys and Bowling Alleys in The Big Lebowski

Edward P Comentale Indiana University Press ePub

Edward P. Comentale

So what about that tumbleweed-cum-bowling ball that crosses the steep, scrubby slope and crests atop the smoggy panorama of Los Angeles? It flops digitally across the painted desert, carrying us through the rugged terrain of Gene Autry, Roy Rogers, and Jason McCord, leading us up up up, past even the starry sky, to the brighter vista of the Dream Factory itself. When it crests the hill, the tracking camera angle creates a vertiginous gap between the two landscapes, establishing an unsettling connection between the dreamy, if fraught, narratives of national expansion and the dream palaces of Hollywood itself—L.A. as natural extension of the American frontier, L.A. as bizarre alternative universe, a shimmering America beyond America. But the tumbleweed takes the leap, and it is tracked down the eerie, depopulated streets of the big city; it persists, abides (like the film’s hero), and makes its way to the shore, where, oddly, it does not fall into the sea, but veers to the side and follows the coastline, rotating sideways, perhaps endlessly, its forward progress now an inane recycling, the ceaseless revolution of a big nothing.

See All Chapters
Medium 9780596801410

7. Stabilization, Color Fixes, Cropping, and Rotating

David Pogue O'Reilly Media ePub

Not every piece of video needs fancy effects. In fact, most video is probably better without a Dream filter and Picture-in-Picture. The unadulterated stuff straight from your camera usually looks best.

In fact, if your footage needs any help at all, it's probably in the cameraman department. Don't take this personally. Handheld shots, the most common kind of home video, are notoriously unstable, and that's an instant giveaway that you're an amateur. You can have the hands of a surgeon and still end up with shaky footage. This is true even with all the newfangled image stabilization technology that comes in the latest cameras.

Don't give up (and don't resort to carrying a tripod everywhere). iMovie '09 can stabilize your video after the fact, using one of its most amazing new features.

That's not the only way iMovie can fix your footage, either. The Video Adjustments panel lets you make slight or gigantic changes to the brightness, contrast, white balance, saturation, and other image qualities of any clip.

See All Chapters
Medium 9780253016423

7. Underscore: Four Studies of the C Major Prelude

David P. Neumeyer Indiana University Press ePub

The audiovisual combination inevitably involves a troping effect on preexisting music, since any film will change the music it incorporates simply by combining it with images. The character and effect of the troping, however, vary greatly, from minimal disturbance to a music’s topical stability to much more far-reaching reinterpretations. As we saw in chapter 6, unless it is presented as something approaching pure performance (after Gorbman’s pure musical code), a diegetic performance will always invite attention to agents’ motivation and action. A nondiegetic cue, on the other hand, will tend to emphasize coincidences of design—in other words, sync points and matches in the audiovisual phrasing. Because of the cognitive habits of viewers—that is, because of synchresis—these coincidences will be present whether they are accidental or planned. Thus, for our purposes here, the stability of the topic or the clarity and extent of the troping will depend in significant part on the music’s design. For that reason, the introductory section below examines the C Major Prelude from the standpoint of the familiar model of Schenkerian analysis.

See All Chapters
Medium 9780861966899

Chapter 19 Joseph Garncarz, The emergence of nationally specific film cultures in Europe, 1911–1914

Abel, Richard John Libbey Publishing ePub

In this essay, I wish to introduce the notion of “national film culture”, trace the process of the emergence of nationally specific film cultures in Europe, and offer an explanation for that emergence, which I hope will be fruitful for the USA and other countries as well.1 Germany will be my main case study because it has been the focus of my empirical research on early cinema. Through the notion of national film culture I wish to avoid the usual ideological and essentializing connotations implicated in the term “nation”. As a concept, national film culture aims to define popular culture according to neither a canon of films nor simply the films produced in a country but rather the films most favorably received. As an empirical measure of film demand, this theoretical reframing relies on a crucial source of evidence: the list of the films most popular with German audiences between 1911 and 1914. It was the scale, context, and structure of a new film exhibition venue, the permanent cinema, that allowed German audiences to select films based on nationally specific traditions, which in turn further stimulated the production of such films.

See All Chapters

See All Slices