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Colour

The Cinema Book

British Film Institute, 2007

Book chapter

...As with sound, colour was one of the aesthetic options available to film-makers from the earliest years of cinema and, as with sound, the technical problems involved in making colour films were sufficiently daunting to dissuade many...

So Who Says It’s Great?

Philip Gillett

Philip Gillett is an independent film critic and writer and author of The British Working Class in Postwar Film. Author affiliation details are correct at time of print publication.

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Movie Greats : A Critical Study of Classic Cinema

Berg, 2008

Book chapter

...Three Models of Greatness For those who consider themselves open to new ideas, ‘I know what I like,’ with its implications of narrow-mindedness and inflexibility, is not a remark which springs readily to the lips. Not that ‘I don’t know...

Sound

The Cinema Book

British Film Institute, 2007

Book chapter

...The sound era of cinema is generally dated from the release of The Jazz Singer in 1927 – although this was neither the first sound feature nor the first ‘talking’ film. Attempts to give film a voice were being made from the very beginnings...

Deep-Focus

The Cinema Book

British Film Institute, 2007

Book chapter

...Deep-focus cinematography, in which objects in several planes of depth are kept in equally sharp focus, is commonly associated with certain Hollywood films of the 1940s. Patrick Ogle dates its emergence at around 1941, and argues that its...

Lighting

The Cinema Book

British Film Institute, 2007

Book chapter

...In the 1890s, the major source of illumination for shooting film was sunlight. Sets were built and filmed on outdoor stages with muslin diffusers and various kinds of reflectors used to control the levels of brightness and shadow.The first...

Cameras

The Cinema Book

British Film Institute, 2007

Book chapter

...One of the first recognised technical problems of cinema was how to take a sharp moving image that then could be clearly replayed by a projector. The technical and scientific problems posed motivated scientists and engineers to continually...
...Introduction In this chapter I focus on one song among all of David Bowie’s music that is singularly – and idiosyncratically – both political and emotional; his hit ‘Young Americans’, written in 1974 and released on the album of the same...

Kino Eyes and Agit Trains

Imagining Reality : The Faber Book of Documentary

Faber & Faber, 1996

Book chapter

...Introduction Despite the continuing civil war, severe shortages and material discomfort, the years after the 1917 Revolution were ones of intense, almost euphoric, artistic creativity in the newly created Soviet Union. The overthrow...
...Introduction: ‘Don’t you w[o]ander sometimes’ On his Low (1977) profile, where the celluloid Bowie has been flattened out by George Underwood’s cover art, only his ear seems to have corporeal depth, alert and cocked to one side, an emblem...

Alternative Production Formats

The Cinema Book

British Film Institute, 2007

Book chapter

...‘From the moment 35mm was established as the professional production format, the dominant film industry has either consciously or unconsciously positioned alternative production media formats – 16mm, 8mm and video – as inferior...