The Cinema in Flux The Evolution of Motion Picture Technology from the Magic Lantern to the Digital Era 1st Edition by Lenny 9781071609514 1071609513

The Cinema in Flux The Evolution of Motion Picture Technology from the Magic Lantern to the Digital Era 1st Edition Lenny Lipton – Ebook Instant Download/Delivery ISBN(s): 9781071609514,1071609513

Product details:

• ISBN 10:1071609513
• ISBN 13:9781071609514
• Author: Lenny 

The Cinema in Flux
The Evolution of Motion Picture Technology from the Magic Lantern to the Digital Era

Table contents:

Part I. THE GLASS CINEMA: The Cinema of Real Motion
1. Huygens and the Magic Lantern
2. The Magic Lanternists
3. Lantern Light and Glass
Part II. THE GLASS CINEMA: Apparent Motion, Discovered and Applied
4. Plateau Invents the Phenakistoscope
5. A Persistent Myth
6. The Zoëtrope and the Praxinoscope
7. Daguerre’s Photography
8. Fox Talbot’s Photography
9. Protocinematographers: Duboscq to Le Prince
10. Muybridge and Anschütz
11. Chronophotographers: Janssen, Marey, and Demenÿ
Part III. THE CELLULOID CINEMA: The 35 mm Medium
12. Edison, Dickson, and the Kineto Project
13. The Kinetograph
14. The Kinetoscope: Projection’s Inspiration
15. Dickson Moves on: Lambda, Mutoscope, and Bitzer
16. Jenkins and Armat: American Projection
17. The Lumières and the Europeans
18. Edison and the Trust
19. Porter the Filmmaker
20. Porter and the Simplex
21. Camera Design Before WWII
22. Camera Design After WWII
23. Ciné Lenses: Part I
24. Ciné Lenses: Part II
Part IV. THE CELLULOID CINEMA: Sound
25. Silent Sound
26. Synchronizing the Phonograph
27. Electronics for Talking Shadows
28. The Origins of Sound-on-Film
29. One Man Bands: Lauste and Tykociner
30. Tri-Ergon
31. de Forest and Case
32. Phonofilm
33. William Fox Hears the Future
34. Vitaphone
35. Movietone
36. RCA vs. ERPI
37. William Fox vs. the Industry
38. Optical Sound Evolution
39. Multichannel, Magnetic, and Digital Sound
Part V. THE CELLULOID CINEMA: Color
40. Applied Color
41. Color Elucidated
42. Color Photography Before the Movies
43. Urban and the Origins of Kinemacolor
44. The Rise and Fall of Kinemacolor
45. Additive Color After Kinemacolor
46. Subtractive Technologies
47. Kelley’s Color Microcosm
48. TruColor and Cinecolor
49. Two-Color Technicolor
50. Three-Color Technicolor
51. Agfa and Ansco Color
52. Eastman Color
Part VI. THE CELLULOID CINEMA: Small Formats
53. Early Small Formats
54. 16 mm
55. Kodachrome
56. Double 8 mm and Super 8
Part VII. THE CELLULOID CINEMA: The Big Wide Screen
57. The Shape of Screens to Come
58. Grandeur et al.
59. Expanded Screen: The Interregnum Ends
60. This Is Cinerama
61. Cinerama After Waller
62. CinemaScope
63. ‘Scope Variations
64. Wide Screen and VistaVision
65. Todd-AO
66. 65/70 mm and Technirama
67. IMAX and PLF Exhibition
Part VIII. THE CELLULOID CINEMA: The Stereoscopic Cinema
68. Early 3-D
69. Polarization Image Selection
70. 3-D in the Last Half of the Twentieth Century
Part IX. TELEVISION AND THE DIGITAL CINEMA: Television
71. Vision at a Distance
72. Jenkins and Baird
73. Farnsworth
74. Zworykin
75. Broadcasting Begins
76. Color Wars: CBS vs. RCA
77. High Definition Television
78. Film to Video and the VTR
Part X. TELEVISION AND THE DIGITAL CINEMA: The Electronic Cinema
79. Early Adopters: Electronic Cinematography and CGI
80. Digital Technology
81. The Hybridization of Post-production
82. Electro-Mechanical to Digital Projection
83. Digital Projection and 3-D Converge
Back Matter

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