Results 291 to 300 of about 464,707 (350)
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Applied Physics Letters, 1969
An experiment to record a holographic motion picture is described. The source of illumination is a cw ruby laser operated in the repetitively Q-switched mode. The film was recorded at the rate of 20 frames per second on 100 ft of 70-mm film, transported by a conventional 70-mm sequential-still camera.
A. D. Jacobson +2 more
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An experiment to record a holographic motion picture is described. The source of illumination is a cw ruby laser operated in the repetitively Q-switched mode. The film was recorded at the rate of 20 frames per second on 100 ft of 70-mm film, transported by a conventional 70-mm sequential-still camera.
A. D. Jacobson +2 more
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Motion Perception in Motion Pictures
1980Historians and theorists of the motion picture who have felt obliged to provide some explanation of how the illusion of motion on the screen is perceived have, almost without exception, relied upon a phenomenon they have termed ‘persistence of vision’. The notion is ubiquitous in film literature.
Barbara Anderson, Joseph Anderson
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Motion Picture Economics [PDF]
Hollywood Quarterly, 1948 ANTHONY H. DAWSON, who left England soon after his graduation from the London School of Economics in 1946, has been a research assistant for the past year in the Institute of Industrial Relations at the University of California, Los Angeles, under the auspices of which his monograph on industrial relations in the motion picture industry is to be ...
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The ANNALS of the American Academy of Political and Social Science, 1926
re-create events to pleasurably re-enjoy the emotions inspired of the events. The motion picture is a basic art and in the sense of being a visual re-creation of the desired event, it is more fundamental in character and import than the arts of pageantry, ritual, the drama of the speaking stage and the art of the printed and spoken word, to all of ...
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re-create events to pleasurably re-enjoy the emotions inspired of the events. The motion picture is a basic art and in the sense of being a visual re-creation of the desired event, it is more fundamental in character and import than the arts of pageantry, ritual, the drama of the speaking stage and the art of the printed and spoken word, to all of ...
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Still Pictures into Motion Pictures
College Art Journal, 1947Solving the problem of making motion pictures of works of architecture and sculpture is relatively simple in that the problem is one of working “on location,” using well known technical means for photographing three dimensional “reality.” Of course, there are the problems of historical presentation and critical appraisal which exist in any treatment of
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Hollywood Quarterly, 1949
1. Ext. Craig Drugstore. Night. An old-fashioned street lamp glows in f.g. of a typical small-town turn-ofthe-century street. Over this shot is a title: KINGSBORO, OHIO-1910. As the camera dollies in on the Craig Drugstore, the blinds of the shop are lowered. 2. Int. Craig Drugstore. Night.
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1. Ext. Craig Drugstore. Night. An old-fashioned street lamp glows in f.g. of a typical small-town turn-ofthe-century street. Over this shot is a title: KINGSBORO, OHIO-1910. As the camera dollies in on the Craig Drugstore, the blinds of the shop are lowered. 2. Int. Craig Drugstore. Night.
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Transactions of the Society of Motion Picture Engineers, 1920
I Have been asked by your Papers Committee to prepare a sketch of the conception, early history and development of the motion picture, but to compile an accurate account sufficiently complete without being too lengthy is not an easy task.
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I Have been asked by your Papers Committee to prepare a sketch of the conception, early history and development of the motion picture, but to compile an accurate account sufficiently complete without being too lengthy is not an easy task.
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Poets' lives in motion (pictures)
Études anglaises, 2013Trois propositions sous-tendent cet article. Proposition numéro 1 : une vie d’écrivain de quelque valeur, de poète tout particulièrement, est une « allégorie continuelle » (Keats, Levinson) : la tentation d’en faire une forme signifiante s’avère irrésistible.
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