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Cincinnati Television (Images of America)
by Jim FriedmanCincinnati has a distinguished television history. Beginning before WLW-T signed on the air in February 1948, its experimental station W8XCT broadcast from the 46th floor of the Carew Tower. WKRC-TV and WCPO-TV signed on in 1949, WCET in 1954, and WXIX-TV in 1968. Since then, television has become part of the family. Uncle Al, Skipper Ryle, Batty Hattie from Cincinnati, the Cool Ghoul, Peter Grant, Al Schottelkotte, Nick Clooney, Ruth Lyons, Paul Baby, Bob Braun, and Jerry Springer visited Cincinnati living rooms on television. Remember Midwestern Hayride, TV Dance Party, PM Magazine, Juvenile Court, Young People's Specials, Lilias, Dotty Mack, Bob Shreve, Mr. Hop, Bean's Clubhouse, The Last Prom, and Ira Joe? They are part of the collective Cincinnati history, part of the Cincinnati culture, and part of the Cincinnati family.
Cincinnati Theaters (Images of America)
by Douglas R. Weise Steven J. Rolfes Phil LindTheaters have always been the places where memories are made. There, on Saturday afternoons, children could escape the pressures of growing up to live for two hours in a fantasy world of daring heroes, dastardly villains, and dazzling magic. They were the places where awkward teenage boys could nervously, and often clumsily, put their arms around equally nervous girls. In years past, every neighborhood had its own local theater. Downtown was home to the great movie palaces, ornate portals to a world of motion picture thrills. For a unique experience, nothing could beat a hot summer night at the drive-in. Today, in the era of the corporate multiplex, the great movie palaces are just memories. Some neighborhood cinemas are now churches or venues for meetings, wedding receptions, and small concerts. Images of America: Cincinnati Theaters looks back at these marvelous old theaters and the days when they were in their prime.
Cine Craft (Routledge Revivals)
by J. David BealCine Craft (1974) is an ideal guide to the world of amateur film making, a treasure-house of authoritative information. It covers the equipment, both basic and advanced, and the planning needed for a successful production. It looks at indoor and outdoor shooting, composition, exposure, continuity and camera movement, editing and titling, and the methods and use of recorded sound. An intriguing chapter deals with the various forms of cine animation using puppets, cut-outs and cells.
Cine líquido: Spuren der flüssigen Moderne im argentinischen Gegenwartskino (Prolegomena Romanica. Beiträge zu den romanischen Kulturen und Literaturen)
by Nadine NegriMitte der 90er Jahre wendet sich in Argentinien eine neue Kinoströmung radikal von den bis dato gültigen, vom Hollywoodkino inspirierten und pathetischen Filmstandards ab. Die von der Kritik schnell unter dem Sammelbegriff „Nuevo Cine Argentino“ zusammengefassten Werke zeichnen sich jedoch neben minimalistischen Tendenzen und Parallelen zum italienischen Neorealismus und der französischen „Nouvelle Vague“ insbesondere durch ihre Heterogenität aus. Die vorliegende Studie versteht das „Nuevo Cine Argentino“ als Manifestation einer ganzheitlichen soziokulturellen und geistigen Transformation: Die Entstehung des neuen argentinischen Films fällt mit einer Verflüssigung (Zygmunt Bauman), einer umfassenden Dynamisierung, Dezentralisierung und Individualisierung der westlichen Gesellschaften um die Jahrtausendwende zusammen. Die Studie geht von der Hypothese aus, dass sich gerade in den Eigenschaften des Flüssigen – Flexibilität, Flüchtigkeit und Formlosigkeit – ein Schlüssel für die Beschreibung des „Nuevo Cine Argentino“ findet. Sowohl inhaltlich auch formell finden sich in den Filmen Spuren der flüssigen Moderne. Anhand von zahlreichen bekannten, aber auch weniger rezipierten Filmen der letzten 25 Jahre erarbeitet die Autorin Charakteristika eines „cine líquido“. Dieses wird präsentiert als ein instrumenteller Kinomodus, der für die Darstellung von sozialen Verflüssigungsprozessen genutzt werden kann.
Cine-Ethics: Ethical Dimensions of Film Theory, Practice, and Spectatorship (Routledge Advances in Film Studies)
by Jinhee Choi Mattias FreyThis volume looks at the significance and range of ethical questions that pertain to various film practices. Diverse philosophical traditions provide useful frameworks to discuss spectators’ affective and emotional engagement with film, which can function as a moral ground for one’s connection to others and to the world outside the self. These traditions encompass theories of emotion, phenomenology, the philosophy of compassion, and analytic and continental ethical thinking and environmental ethics. This anthology is one of the first volumes to open up a dialogue among these diverse methodologies. Contributors bring to the fore some of the assumptions implicitly shared between these theories and forge a new relationship between them in order to explore the moral engagement of the spectator and the ethical consequences of both producing and consuming films
Cineclub
by David GilmourFue un trato muy poco convencional: Jesse podía dejar de ir al instituto, dormir todo el día, no trabajar, no pagar alquiler pero a cambio tenía que mantenerse alejado de las drogas y ver tres películas a la semana con su padre, el crítico de cine canadiense David Gilmour. Jesse aceptó de inmediato y al día siguiente padre e hijo comenzaron con la primera película de la lista: Los cuatrocientos golpes de François Truffaut. A lo largo de tres años padre e hijo vieron todo tipo de películas, desde las consideradas joyas del cine hasta los grandes bodrios de todos los tiempos. Con el trasfondo de El padrino, Instinto básico, Showgirls, Ciudadano Kane o La ley del silencio, David y Jesse hablan de los principales directores de cine, de las escenas célebres y de los actores que las protagonizaron, y poco a poco sobre todo tipo de temas: chicas, música, mal de amores, trabajo, drogas, talento, dinero, amor, amistad... Cineclub es un repaso personal de la historia del cine, un desafío a nuestras nociones de la educación y, sobre todo, la historia real y conmovedora acerca de cómo un padre y un hijo sortearon una época muy especial en su relación; en la que los hijos se encierran en sí mismos y los padres pierden la oportunidad de llegar a ellos. Esta es la historia de una decisión que lo cambió todo.
Cinema '62: The Greatest Year at the Movies
by Stephen Farber Michael McClellanLawrence of Arabia, The Miracle Worker, To Kill a Mockingbird, The Manchurian Candidate, Gypsy, Sweet Bird of Youth, The Longest Day, The Music Man, What Ever Happened to Baby Jane, and more. Most conventional film histories dismiss the early 1960s as a pallid era, a downtime between the heights of the classic studio system and the rise of New Hollywood directors like Scorsese and Altman in the 1970s. It seemed to be a moment when the movie industry was floundering as the popularity of television caused a downturn in cinema attendance. Cinema ’62 challenges these assumptions by making the bold claim that 1962 was a peak year for film, with a high standard of quality that has not been equaled since. Stephen Farber and Michael McClellan show how 1962 saw great late-period work by classic Hollywood directors like John Ford, Howard Hawks, and John Huston, as well as stars like Bette Davis, James Stewart, Katharine Hepburn, and Barbara Stanwyck. Yet it was also a seminal year for talented young directors like Sidney Lumet, Sam Peckinpah, and Stanley Kubrick, not to mention rising stars like Warren Beatty, Jane Fonda, Robert Redford, Peter O’Toole, and Omar Sharif. Above all, 1962—the year of To Kill a Mockingbird and The Manchurian Candidate—gave cinema attendees the kinds of adult, artistic, and uncompromising visions they would never see on television, including classics from Fellini, Bergman, and Kurosawa. Culminating in an analysis of the year’s Best Picture winner and top-grossing film, Lawrence of Arabia, and the factors that made that magnificent epic possible, Cinema ’62 makes a strong case that the movies peaked in the Kennedy era.
Cinema 4D Apprentice: Real-World Skills for the Aspiring Motion Graphics Artist (Apprentice Series)
by Kent McQuilkinNew to CINEMA 4D and looking for an accessible way to get up to speed quickly? Do you already know the basics of the software but need to know the new features or take your skills and understanding a little deeper? If so, look no further than CINEMA 4D Apprentice, your one-stop shop for learning this powerful application. With guidance that takes you beyond just the button-pushing, author Kent McQuilkin guides you through 10 core lessons, starting with the basics before moving onto more complex techniques and concepts and then tying it all together with a final project. CINEMA 4D Apprentice walks you through the software with a project-based approach, allowing you to put lessons learned into immediate practice. Best practices and workflows for motion graphics artists that can be applied to any software application are included. A companion website (www.focalpress.com/cw/mcquilkin) features project files and videos of the techniques in action. Topics covered include: creating basic scenes, modeling, texture mapping mograph in-depth integration with After Effects via CINEWARE lighting, animation, rendering and more motion tracking with the new tools included in R16
Cinema Alchemist: Designing Star Wars and Alien
by Roger ChristianFor the first time, Oscar-winning production designer and director Roger Christian reveals his life story, from his earliest work in the British film industry to his breakthrough contributions on such iconic science fiction masterpieces as Star <P> Wars, Alien and his own rediscovered Black Angel.This candid biography delves into his relationships with legendary figures, as well as the secrets of his greatest work. The man who built the lightsaber finally speaks!
Cinema Approaching Reality: Locating Chinese Film Theory
by Victor FanIn Cinema Approaching Reality, Victor Fan brings together, for the first time, Chinese and Euro-American film theories and theorists to engage in critical debates about film in Shanghai and Hong Kong from the 1920s through 1940s. His point of departure is a term popularly employed by Chinese film critics during this period, bizhen, often translated as &“lifelike&” but best understood as &“approaching reality.&” What these Chinese theorists mean, in Fan&’s reading, is that the cinematographic image is not a form of total reality, but it can allow spectators to apprehend an effect as though they had been there at the time when an event actually happened. Fan suggests that the phrase &“approaching reality&” can help to renegotiate an aporia (blind spot) that influential French film critic André Bazin wrestled with: the cinematographic image is a trace of reality, yet reality is absent in the cinematographic image, and the cinema makes present this absence as it reactivates the passage of time. Fan enriches Bazinian cinematic ontology with discussions on cinematic reality in Republican China and colonial Hong Kong, putting Western theorists—from Bazin and Kracauer to Baudrillard, Agamben, and Deleuze—into dialogue with their Chinese counterparts. The result is an eye-opening exploration of the potentialities in approaching cinema anew, especially in the photographic materiality following its digital turn.
Cinema Civil Rights
by Ellen C. ScottFrom Al Jolson in blackface to Song of the South, there is a long history of racism in Hollywood film. Yet as early as the 1930s, movie studios carefully vetted their releases, removing racially offensive language like the "N-word." This censorship did not stem from purely humanitarian concerns, but rather from worries about boycotts from civil rights groups and loss of revenue from African American filmgoers.Cinema Civil Rights presents the untold history of how Black audiences, activists, and lobbyists influenced the representation of race in Hollywood in the decades before the 1960s civil rights era. Employing a nuanced analysis of power, Ellen C. Scott reveals how these representations were shaped by a complex set of negotiations between various individuals and organizations. Rather than simply recounting the perspective of film studios, she calls our attention to a variety of other influential institutions, from protest groups to state censorship boards.Scott demonstrates not only how civil rights debates helped shaped the movies, but also how the movies themselves provided a vital public forum for addressing taboo subjects like interracial sexuality, segregation, and lynching. Emotionally gripping, theoretically sophisticated, and meticulously researched, Cinema Civil Rights presents us with an in-depth look at the film industry's role in both articulating and censoring the national conversation on race.
Cinema Houston
by David WellingCinema Houston celebrates a vibrant century of movie theatres and moviegoing in Texas's largest city. Illustrated with more than two hundred historical photographs, newspaper clippings, and advertisements, it traces the history of Houston movie theatres from their early twentieth-century beginnings in vaudeville and nickelodeon houses to the opulent downtown theatres built in the 1920s (the Majestic, Metropolitan, Kirby, and Loew's State). It also captures the excitement of the neighborhood theatres of the 1930s and 1940s, including the Alabama, Tower, and River Oaks; the theatres of the 1950s and early 1960s, including the Windsor and its Cinerama roadshows; and the multicinemas and megaplexes that have come to dominate the movie scene since the late 1960s. While preserving the glories of Houston's lost movie palaces-only a few of these historic theatres still survive-Cinema Houston also vividly re-creates the moviegoing experience, chronicling midnight movie madness, summer nights at the drive-in, and, of course, all those tasty snacks at the concession stand. Sure to appeal to a wide audience, from movie fans to devotees of Houston's architectural history, Cinema Houston captures the bygone era of the city's movie houses, from the lowbrow to the sublime, the hi-tech sound of 70mm Dolby and THX to the crackle of a drive-in speaker on a cool spring evening.
Cinema Illuminating Reality: Media Philosophy through Buddhism
by Victor FanA new critical approach to cinema and media based on Buddhism as a philosophical discourse How can a philosophical discourse generated in Asia help us reframe and renew cinema and media theory? Cinema Illuminating Reality provides a possible way to do this by using Buddhist ideas to examine the intricate relationship between technicity and consciousness in the cinema. The resulting dialogue between Buddhism and Euro-American philosophy is the first of its kind in film and media studies.Victor Fan examines cinema&’s ontology and ontogenetic formation and how such a formational process produces knowledge, political agency, and in-aesthetics. Buddhism allows Fan to deconstruct binary thinking and reimagine media as an ecology, rethinking cinema in relational terms between the human and the machine. Along the way, Fan considers a wide variety of case studies from around the globe, while paying special attention to how contemporary Tibeto-Sinophone filmmakers have adopted relational thinking to detail ways of rebuilding a world that appears to be beyond repair.From Chinese queer cinema to a reexamination of Japanese master Ozu&’s work and its historical reception to Christian Petzold&’s 2018 existential thriller Transit, CinemaIlluminating Reality forges a remarkable path between Buddhist studies and cinema studies, casting vital new light on both of these important subjects.
Cinema Nirvana
by Dean SluyterMovie fans and spiritual seekers, unite! In Cinema Nirvana, meditation teacher and award-winning film critic Dean Sluyter illuminates the hidden enlightenment teachings of Casablanca, Jaws, The Graduate, The Godfather, Memento, and ten other classic films, revealing spiritual wisdom in everything from 007's secret weapons to the colors of the Seven Dwarfs' eyes. So grab your popcorn, sit back, and prepare to have your mind opened.
Cinema Off Screen: Moviegoing in Socialist China
by Chenshu ZhouAt a time when what it means to watch movies keeps changing, this book offers a case study that rethinks the institutional, ideological, and cultural role of film exhibition, demonstrating that film exhibition can produce meaning in itself apart from the films being shown. Cinema Off Screen advances the idea that cinema takes place off screen as much as on screen by exploring film exhibition in China from the founding of the People’s Republic in 1949 to the end of the Cold War in the early 1990s. Drawing on original archival research, interviews, and audience recollections, Cinema Off Screen decenters the filmic text and offers a study of institutional operations and lived experiences. Chenshu Zhou details how the screening space, media technology, and the human body mediate encounters with cinema in ways that have not been fully recognized, opening new conceptual avenues for rethinking the ever-changing institution of cinema.
Cinema Raw: Shooting and Color Grading with the Ikonoskop, Digital Bolex, and Blackmagic Cinema Cameras
by Kurt LancasterWith the next generation of raw cinema cameras you can finally shoot professionally with uncompressed raw motion pictures—without compromising your image or your budget. In Cinema Raw: Shooting and Color Grading with the Ikonoskop, Digital Bolex, and Blackmagic Cinema Cameras, Lancaster takes you through the birth of these new cameras and includes an exclusive behind-the-scenes look at Digital Bolex. He field tests each camera and discusses the importance of shooting in raw and guides you through the raw color grading process so you can create stunning films. Interviews with professionals who have shot documentaries, shorts, and promotionals with these cameras are featured throughout, allowing you to learn field production techniques under real world conditions. FEATURES: Behind-the-scenes case studies for the next generation of low budget cinema cameras Recommended gear lists to begin your raw shooting experience Full color post workflows that help you realize your boldest cinematic visions A companion website (www.kurtlancaster.com) featuring raw projects covered in the book; video interviews with the creators of the Digital Bolex, Joe Rubinstein and Elle Schneider; and resources for further study of raw cinema
Cinema Speculation
by Quentin TarantinoA unique cocktail of personal memoir, cultural criticism and Hollywood history by the one and only Quentin Tarantino.The long-awaited first work of nonfiction from the author of the number one New York Times bestselling Once Upon a Time in Hollywood: a deliriously entertaining, wickedly intelligent cinema book as unique and creative as anything by Quentin Tarantino.In addition to being among the most celebrated of contemporary filmmakers, Quentin Tarantino is possibly the most joyously infectious movie lover alive. For years he has touted in interviews his eventual turn to writing books about films. Now, with CINEMA SPECULATION, the time has come, and the results are everything his passionate fans - and all movie lovers - could have hoped for. Organized around key American films from the 1970s, all of which he first saw as a young moviegoer at the time, this book is as intellectually rigorous and insightful as it is rollicking and entertaining. At once film criticism, film theory, a feat of reporting, and wonderful personal history, it is all written in the singular voice recognizable immediately as QT's and with the rare perspective about cinema possible only from one of the greatest practitioners of the artform ever.
Cinema Speculation
by Quentin TarantinoInstant New York Times bestsellerThe long-awaited first work of nonfiction from the author of the #1 New York Times bestselling Once Upon a Time in Hollywood: a deliriously entertaining, wickedly intelligent cinema book as unique and creative as anything by Quentin Tarantino.In addition to being among the most celebrated of contemporary filmmakers, Quentin Tarantino is possibly the most joyously infectious movie lover alive. For years he has touted in interviews his eventual turn to writing books about films. Now, with Cinema Speculation, the time has come, and the results are everything his passionate fans—and all movie lovers—could have hoped for. Organized around key American films from the 1970s, all of which he first saw as a young moviegoer at the time, this book is as intellectually rigorous and insightful as it is rollicking and entertaining. At once film criticism, film theory, a feat of reporting, and wonderful personal history, it is all written in the singular voice recognizable immediately as QT’s and with the rare perspective about cinema possible only from one of the greatest practitioners of the artform ever.
Cinema Studies: The Key Concepts (Routledge Key Guides)
by Susan HaywardCinema Studies: The Key Concepts is essential reading for anyone interested in film. Providing accessible coverage of a comprehensive range of genres, movements, theories and production terms, this is a must-have guide to a fascinating area of study and arguably the greatest art form of modern times. Now fully revised and updated for its fifth edition, the book includes entries on topics such as: Acting Audience CGI Convergence Cult cinema Digitisation and globalization Distribution Experimental film Transnational cinema World cinemas
Cinema Studies: The Key Concepts (Routledge Key Guides)
by Susan HaywardNow in its sixth edition, this essential guide for students provides accessible definitions of a comprehensive range of genres, movements, world cinemas, theories and production terms. This fully revised and updated book includes new topical entries that explore areas such as film and the environmental crisis; streaming and new audience consumption; diversity and intersectionality; questions related to race and representation; the Black Lives Matter movement; and New Wave Cinemas of Eastern European countries. Further new entries include accented/exilic cinema, border-cinema, the oppositional gaze, sonic sound and Black westerns. Existing entries have been updated, including discussion of #MeToo, and more contemporary film examples have been added throughout. This is a must-have guide for any student starting out on this fascinating area of study and arguably the greatest art form of modern times.
Cinema Studies: The Key Concepts 4th Edition
by Susan HaywardCinema Studies: The Key Concepts is an essential guide for anyone interested in film. Providing accessible coverage of a comprehensive range of genres, movements, theories and production terms, this is a must-have guide to a fascinating area of study and arguably the greatest art form of modern times. Now fully revised and updated for its fourth edition, the book includes new topical entries such as: CGI Convergence Cult cinema Digital cinema/Post-digital cinema Dogme 95* Movement-image/Time-image Quota quickies 3-D technology
Cinema Under the Stars: America's Love Affair with Drive-in Movie Theaters
by Elizabeth Mckeon Linda EverettWhen Richard M. Hollingshead Jr. first projected a movie onto a white bed sheet stretched between two trees at his home in Camden, New Jersey, in 1933, little did he know that he was on the verge of creating an entirely new entertainment industry. With America just beginning its romance with the automobile, it's no surprise that the general public found this new form of movie going irresistible. Fun and affordable, the drive-in quickly gained popularity among families with young children. And, of course, the local drive-in was a favorite weekend hangout for teenagers: a place where they could go just to meet friends or take a sweetheart for a romantic evening of movies under the stars. Although drive-ins are no longer as popular as they once were, in many communities a devoted following still seeks out the open-air theaters at twilight. Cinema Under the Stars" is a reminder of those wonderful times, as well as a recounting of the history of the drive-in experience. Here is the story, and here are the memories: B movies, concession stands loaded with goodies, screen towers, ticket booths, scratchy speakers, speaker poles, and intermission. It is all here - a nostalgic look at one of America's all-time favorite pastimes. "
Cinema Wars: Hollywood Film and Politics in the Bush-Cheney Era
by Douglas M. KellnerCinema Wars explores the intersection of film, politics, and US culture and society through a bold critical analysis of the films, TV shows, and documentaries produced in the early 2000s Offers a thought-provoking depiction of Hollywood film as a contested terrain between conservative and liberal forces Films and documentaries discussed include: Black Hawk Down, The Dark Knight, Star Wars, Syriana, WALL-E, Fahrenheit 9/11 and other Michael Moore documentaries, amongst others Explores how some films in this era supported the Bush-Cheney regime, while others criticized the administration, openly or otherwise Investigates Hollywood’s treatment of a range of hot topics, from terrorism and environmental crisis to the Iraq war and the culture wars of the 2000s Shows how Hollywood film in the 2000s brought to life a vibrant array of social protest and helped create cultural conditions to elect Barack Obama
Cinema and Censorship: The Politics of Control in India
by Someswar BhowmikThis 'narrative historiography' traces the evolution of censorship discourses in post-colonial India, delineates the theoretical bases of censorship claims and contentions, and uncovers its many socio-political dimensions and complexities.
Cinema and Community: Progressivism, Exhibition, and Film Culture in Chicago, 1907-1917
by Moya LuckettCaught between the older model of short film and the emerging classic era, the transitional period of American cinema (1907-1917) has typically posed a problem for studies of early American film. Yet in Cinema and Community: Progressivism, Exhibition, and Film Culture in Chicago, 1907-1917, author Moya Luckett uses the era's dominant political ideology as a lens to better understand its cinematic practice. Luckett argues that movies were a typically Progressive institution, reflecting the period's investment in leisure, its more public lifestyle, and its fascination with celebrity. She uses Chicago, often considered the nation's most Progressive city and home to the nation's largest film audience by 1907, to explore how Progressivism shaped and influenced the address, reception, exhibition, representational strategies, regulation, and cultural status of early cinema. After a survey of Progressivism's general influences on popular culture and the film industry in particular, she examines the era's spectatorship theories in chapter 1 and then the formal characteristics of the early feature film-including the use of prologues, multiple diegesis, and oversight-in chapter 2. In chapter 3, Luckett explores the period's cinema in the light of its celebrity culture, while she examines exhibition in chapter 4. She also looks at the formation of Chicago's censorship board in November 1907 in the context of efforts by city government, social reformers, and the local press to establish community standards for cinema in chapter 5. She completes the volume by exploring race and cinema in chapter 6 and national identity and community, this time in relation to World War I, in chapter 7. As well as offering a history of an underexplored area of film history, Luckett provides a conceptual framework to help navigate some of the period's key issues. Film scholars interested in the early years of American cinema will appreciate this insightful study.