A history of transformations in moviemaking technology, from pigments to pixels, celluloid to CGI. An era has ended. After one hundred and twenty-five years, a change has taken place in cinemas. The thousands of figures formed by silver and colored pigments can no longer be viewed through transparent film—instead, everything has become digital, compressed, virtual and built into the rapid alternation of millions (hopefully, for quality’s sake) of dots, or pixels within a very neat and minuscule grid. But projection is just the last link in a chain that is transforming the most direct language invented by humanity over the centuries. The other links—shooting, editing, special effects, re-elaboration and sound reproduction—have by now undergone radical transformations that have often signified progress. Perhaps it is worth the trouble, then, having accepted this transformation-revolution once and for all, to understand where we started out from, how cinematographic language was born, and how its grammar first and later its syntax evolved thanks to technological development. Without lightweight equipment for sound recording, sensitive emulsions, and portable and compact lighting, it would not have been possible, at the end of the fifties, for example, to create identifiable “currents” of experimentation and concept under such titles as free cinema or nouvelle vague, which were largely based on footage from life and no longer reconstructed in the studio. That which filmmakers today can achieve even more effectively thanks to a range of digital technologies, paradoxically, involves working with even more-minimal equipment such as a smartphone in front of green or blue screens, against absolutely virtual backgrounds. In short: no more silver and more and more pixels. This volume journeys through the history of cinema, focusing on the machines and mechanisms that contributed to the magic.

Indian Silver Screen Television in India has been a medium of entertainment as well as social and economic awareness. It was started under government control as a medium of social awareness, but now this medium has become an industry. There was a time when Doordarshan was the only channel on television in India, but today, hundreds of channels broadcast programs day and night. In India today, there are many channels based on sports, news, film, documentary, and music. There was a time when television programs could be viewed only through television sets, but today, through devices such as computers, laptops, and mobiles, viewers can watch their favorite programs at their convenient location, and time. The main objective of this book written on Indian television is to make students aware of the history and status of Indian television. The book begins with the story of the introduction of television in various countries. It describes the development of television in Britain, America, Australia, China, Africa, and other countries of the continent of Asia. After this, the early experiments, projects, and history and current status of television in India are told. Many of the chapters in the book are about the major television business groups in India that have deep penetration into the Indian television industry. The book also introduces programs that have become famous in India, which have proved to be milestones in Indian television history and reached heights of popularity. Apart from this, the book describes the laws of India which have been implemented to control the television industry. A chapter in the book is written about various television broadcasting techniques practiced in the country. Apart from this, there is a chapter about Direct to Home, which tells the story of the development of DTH in India. Television rating points determine the popularity of television channels and programs. The book introduces various agencies and institutions that determine TRP in India. In addition to this, the history of television journalism in India has also been discussed. A chapter about television journalism in various languages ​​of India such as Hindi, Punjabi, Gujarati, Marathi, Tamil, Telugu, Kannada, Malayalam, Bengali, and Assamese is described in detail. The last chapter of the book discusses various international television channels that are broadcasting in India.

Color and Mastering for Digital Cinema explores the implications for motion picture post production processes and changes required to the supporting equipment and software. While a new concept to the motion picture community, the selection of the wide gamut, output-referred XYZ color space for digital cinema distribution is based on decades of color science and experience in other industries. The rationale for choosing XYZ and the other color encoding parameters is explained and the book also provides a full case study of the development of DLP Cinema® projectors by Texas Instruments. Finally, this book explores how the XYZ color encoding concept can be extended to support enhanced display technologies in the future. This book contains: * Brilliant 4-color illustrations that compliment the color science explanations * Never before published industry information from author Glenn Kennel, a world leader in digital cinema color technology * Descriptions of key issues and background on decisions that were made in the standardization process By Glenn Kennel, Glenn Kennel is VP/GM of Feature Film Services at Laser Pacific Media Corporation, a leading provider of a full range of post production services for television and feature film. Recently, he worked for the DLP Cinema group of Texas Instruments in a role that included technology and business development. Previously, in a twenty year career with Kodak, he led the development of the Cineon digital film scanners and laser recorders and the prototype HDTV telecine that became the Spirit Datacine. As a consultant, he helped DCI draft the technical specifications for digital cinema. Kennel also chairs the SMPTE DC28 Color ad hoc group and the DC28.20 Distribution working group. He is a SMPTE Fellow and has received the SMPTE Journal Award. He is also a member of the Academy of Motion Picture Arts and Sciences.

Turner Classic Movies presents a heart-racing look into the world of stunt work featuring films that capture the exhilaration of a car chase, the comedy of a well timed prat fall, or the adrenaline rush from a fight scene complete with reviews, behind-the-scenes stories, and hundreds of photographs. Buckle in and join TCM on a action-packed journey through the history of cinema stunt work in Danger on the Silver Screen. This action-packed guide profiles 50 foundational films with insightful commentary on the history, importance, and evolution of an often overlooked element of film: stunt work. With insightful commentary and additional recommendations to expand your repertoire based on your favorites, Danger on the Silver Screen is a one-of-a-kind guide, perfect for film lovers to learn more about or just brush up on their knowledge of stunt work and includes films such as Ben-Hur (1925 & 1959), The Great K&A Train Robbery (1926), Steamboat Bill Jr. (1928), The Thing from Another World (1951), Bullitt (1968), Live and Let Die (1973), The Blues Brothers (1980), Romancing the Stone (1984), The Matrix (1999), The Bourne Supremacy (2004), John Wick (2014), Mission: Impossible—Rogue Nation (2015), Atomic Blonde (2017), and many more.

In the movies, government often finds itself in a variety of roles from villain to supporting cast, and rarely, if ever, the hero. A frequent component of that role is the bureaucracy and as documented in Civil Servants on the Silver Screen: Hollywood’s Depiction of Government and Bureaucrats, bureaucrats are routinely found on screen. This book investigates how government bureaucrats are portrayed in the top ten box office grossing films from 2000 through 2015. Perhaps unsurprisingly, government is generally portrayed poorly, while individual government bureaucrats are typically depicted positively. These images of government on screen are particularly important given the ability of movies to influence the attitudes and perceptions of its audiences. The nature of these depictions and potential implications are considered as bureaucrats in film are categorized.

In this comprehensive guide, some of the world's leading scholars consider the issues, films, and filmmakers that have given Italian cinema its enduring appeal. Readers will explore the work of such directors as Federico Fellini, Michelangelo Antonioni, and Roberto Rossellini as well as a host of subjects including the Italian silent screen, the political influence of Fascism on the movies, lesser known genres such as the giallo (horror film) and Spaghetti Western, and the role of women in the Italian film industry. Italian Cinema from the Silent Screen to the Digital Image explores recent developments in cinema studies such as digital performance, the role of media and the Internet, neuroscience in film criticism, and the increased role that immigrants are playing in the nation's cinema.

A professional introduction to the end-to-end process of digital filmmaking! The EDCF Guide to Digital Cinema Production sheds light on the ongoing and confusing transition from analog to digital technology in film production. In addition to a complete analysis of technical concerns, this text deals with a number of issues where European and Hollywood priorities differ. It adds fuel to the discussion on "Photo-Chemical Fundamentalism" and the future of traditional film-based cinematography. With special emphasis on new HD production techniques for the big cinema screen, this guide is the one and only resource available from a European perspective. The EDCF Guide to Digital Cinema Production provides film professionals and decisions-makers in European cinema with an excellent basis for discussions on how to handle the transition from analog to digital technology. Look no further for: * Several production case studies, among them Ingmar Bergman's last film "Saraband" (2003) and Lars von Trier's "Dogville" (2003). * Surveys of HD Systems & Cameras and "The 37 MFAQ on HD Production." * Expert reports on Audio Recording for HD and the Digital Intermediate Process. * Detailed European initiatives in Digital Cinema. * An up-to-date survey of the problematic standards situation for Digital Cinema. * A comprehensive look at archiving - the "Achilles Heel" of digital production. * The pros and cons of producing feature films digitally - a unique and professional view of "the agony and ecstacy." Editor-in-Chief Lasse Svanberg is a founding member of EDCF. He was DoP on 14 feature films 1966-81, founded TM (Technolgy & Man) Magazine at the Swedish Film Institute in 1968 and was its Chief Editor until 1998 He was elected Fellow of BKSTS 1979, Fellow of SMPTE 1995 and granted Professor's title by the Swedish Government 2002. He is the author of six books on the history and possible future of film, video and television. The European Digital Digital Cinema Forum (EDCF) was constituted in June 2001 as joint Swedish-British-French effort to establish a European forum for discussions, information exchange and industrial activities in the field of Digital Cinema. This project was initiated because digital production, digital distribution and digital exhibition of film is the most radical technical change facing the film industry since sound film was introduced.

The Couch and the Silver Screen is a collection of original contributions which explore European cinema from psychoanalytic perspectives. Both classic and contemporary films are presented and analysed by a variety of authors, including leading cinema historians and theorists, psychoanalysts with a specific expertise in the interpretation of films, as well as the filmmakers themselves. This composite approach offers a fascinating insight into the world of cinema. The Couch and the Silver Screen is illustrated with stills throughout and Andrea Sabbadini's introduction provides a theoretical and historical context for the current state of psychoanalytic studies of films. The book is organised into four clear sections - Set and Stage, Working Through Trauma, Horror Perspectives and Documenting Internal Worlds - which form the basis for engaging chapters including: easily readable and jargon-free film reviews. essays on specific subjects such as perspectives on the horror film genre and adolescent development. transcripts of live debates among film directors including Bernardo Bertolucci, actors, critics and psychoanalysts discussing films. The cultural richness of the material presented, combined with the originality of multidisciplinary dialogues on European cinema, makes this book appealing not only to film buffs, but also to professionals, academics and students interested in the application of psychoanalytic ideas to the arts.

This essay examines the primacy of worldbuilding in the age of CGI, transmedia practices and "high concept" fiction by studying the principles that govern the creation of a multiverse in a wide range of film and TV productions. Emphasis is placed on Hollywood sci-fi movies and their on-screen representation of imaginary machines that mirror the film medium, following in the tradition of Philip K. Dick's writings and the cyberpunk culture. A typology of worlds is established, as well as a number of analytical tools for assessing the impact of the coexistence of two or more worlds on the narrative structure, the style (uses of color, editing practices), the generic affiliation (or hybridity), the seriality and the discourse produced by a given film (particularly in fictions linked to post-9/11 fantasies). Among the various titles examined, the reader is offered a detailed analysis of the Resident Evil film series, Total Recall and its remake, Dark City, the Matrix trilogy, Avatar, Source Code and other time-loop films, TRON and its sequel, Christopher Nolan's Tenet, and several TV shows – most notably HBO's Westworld, but also Sliders, Lost, Fringe and Counterpart.

Our culture has undergone a major shift: younger generations have less and less interest in the printed word as they become predominantly image oriented. In response, as congregations increasingly learn to be more sophisticated in using newer electronic technologies, they are finding themselves at different places in the quest to understand, acquire, manage, and benefit from the technology boom. Worship leaders in congregations already using some electronic media are realizing that they could be doing more with it, and are seeking new ideas. Congregational leaders scrambling to catch up with a worship committee that has decided it's time for a change aren't sure of the next steps. Or maybe there's been a gift to the congregation to be spent on electronics, and no one is quite sure how best to use the money. Michael Bausch's book grows out of several years' of conversation, personal experimentation, and experience with multimedia worship in one modest-sized, small-town church, while also drawing on the experiences and work of other churches learning to use electronic media in worship. Bausch balances concern for practical issues, such as finances and architecture, with attention to theological integrity and the challenges of sustaining media-enhanced worship. He skillfully shows how the artistic resources of the world around us can enhance our awareness of God's presence in worship.