An Alternative to Super-16

Cinema as a form of composition

The exhibition of B-movies on television in the early 1950s is an area that has largely gone unnoticed in most literature surrounding the origins of television. Perhaps the most thorough account of...

The problems and methods of handling television film commercial and short productions economically and in a limited space are outlined.

Indium in chalcopyrite-based solar cell absorbers can be substituted by zinc (Zn) and tin (Sn) forming a Cu2ZnSn(S,Se)4 (CZTS/CZTSe) absorber. Light to electricity conversion efficiencies of solar cells based on CZTSSe have recently reached over 9%, making this material competitive and more sustainable replacement for existing CdTe and Cu(In,Ga)Se2 (CIGS) thin-film technologies. The approach to grow CZTS using metal co-deposition of the Cu(II)– Zn(II)–Sn(IV) system followed by sulfurisation is very promising technique for large scale production. However the process suffers from the incomplete sulfurisation of the precursors, and requires the development of suitable rapid thermal processing technique for the formation of single CZTS phase similar to that of Cu-chalcopyrite solar absorber. In this work we report on the synthesis of uniform monodisperse CZTS nanoparticles at the temperature below 300 °C without the precipitation of secondary phases such as ZnS. The as-synthesized CZTS nanoparticles characterized by high resolution transmission electron microscopy (HR-TEM) exhibited highly crystalline structure with a size variation of 18.0±4.0 nm. The energy dispersive X-ray (EDX) analysis confirmed the presence of all elements with the atomic ratio of 43.3% S, 31.0% Cu, 14.9% Zn and 10.8% Sn. Thin films made from CZTS NPs are of kesterite structure and are greatly improved by annealing in Se/Ar atmosphere.

본 연구의 목적은 영화 흥행 성과 예측 모형을 예술 영화와 상업 영화 각각에 적용하여 영화 유형별 상이한 예측 요인을 비교 분석하는 것이다. 이에 따라 예술 영화와 상업 영화 각각에 대해 영화 흥행 성과 예측 모형을 적용한 결과, 두 회귀식은 구조적으로 다른 것으로 검증되었다. 보다 구체적으로, 두 회귀식의 회귀계수의 차이를 살펴본 결과, 스크린수, 관객 평가, 장르는 예술 영화와 상업 영화 모두에 영향을 미치는 흥행요인으로 나타났다. 그러나 감독 명성, 상영등급, 전문가 평가, 배급사 영향력, 영화 제작국, 그리고 개봉 시기는 예술 영화의 흥행 성과에 대해서만 유의한 예측 변수로 검증되었다. The purpose of this research is to identify the different determinants according to the types of motion pictures; art film and commercial film. We found that the regression equations of two types of motions pictures are structurally different. More specifically, we identified that the number of screens, viewers' evaluation, and genres have a significant relationship with the performance of motion pictures both in the commercial and art film. However, director, ratings, critics, power of agency, nationality, and the timing of release affect the performance of motion pictures just on the art films.

In the motion picture industry, large East Coast manufacturers such as Kodak, GE, DuPont, and Bausch & Lomb produced materials such as lights, film stock, and lenses for production. Beginning with a brief history of the motion picture technology field before 1915, this chapter describes how the industry increasingly became reliant on these American industrial concerns. Beginning around 1916, the manufacturing side of the business was professionalized and unified by the Society of Motion Picture Engineers (SMPE), while continuing to isolate itself from the production side of the industry for another decade. SMPE emphasized standardization across companies in the manufacturing of motion picture tools, creating a stable industry and a community for knowledge sharing that had little contact with the production center in the west.

Due to increased audience sophistication, it is desirable to continually pursue better im-age quality in the motion picture process. This is especially true in the area of special effects because of the many duplicating stages. At Lucasfilm Ltd. custom anamorphic lenses with very high resolutions have been used for this purpose with great success. Two of these custom lenses are used during the film reproduction stages in our optical printers. These lenses are at fixed conjugates, and do not require focus changes. However, a new lens has been constructed for photography of matte paintings, which has a unique two lens focusing system. This lens system is microprocessor controlled in conjunction with a motion control camera system, and allows for a continuously variable object distance between 30 feet and about 8 inches. Additionally, this system is designed to maintain a constant anamorphic squeeze ratio and a very low geometrical distortion. The lens exhibits resolution of 150 1p/mm within the focusing range.

' D ie ganze Schweiz in Feststimmung ...' All Switzerland en fete this was the slogan Kodak chose for the Zurcherlllustrierte in June 1931 to advertise their Cine-Kodak, a 16mm clockwork camera for home movies. The first amateur cameras and projectors had been launched in Europe and the US in the early twenties. There had been earlier experiments with home cinema equipment. At least 70 different cameras were developed in the US alone in the 'pioneering phase' of amateur filmmaking from 1895 to 1923. But the substantial breakthrough was not made until 1923, when formats were standardised and reversal safety film stock was introduced. Pathe's 9.5mm and Kodak's 16mm formats both came on the market that year. Kodak added the more reasonably priced regular 8mm film stock in 1932, and this largely replaced 16mm film in the home movie field after the Second World War.2 'All Switzerland en fete' catches the feel of the wholesome home movie world, a modern middleclass idyll, free of worries and problems, all joy and happiness. Early home movies (i.e. self-made films intended for domestic viewing) were largely specimens of the comedie bourgeoise. Film clubs specifically for workers had sprung up even during the first amateur film movement in the twenties and thirties, but it was largely the middle-classes who owned cameras and captured themselves on film. They were the 'happy few' who could afford this treat. But factors other than money helped to decide who bought film equipment and who didn't. One of the requirements was a sense of belonging to a particular family, linked with a need to assert one's own social status. Examining the surviving Swiss home movies of the twenties and thirties shows something else as well: a significant number of the films still in existence were made by Swiss expatriate families. Using three families' privately owned collections of motion pictures, I investigate how these Swiss expats made use of narrow-gauge film equipment. Swiss family G. lived in Genoa, Italy, 1928-1938 and left a collection of 177 'Pathe Baby' 9.5mm cartridges, of which 122 are home movies shot by family members; 55 films were purchased from the Pathe Baby Filmatheque. The second family, F., emigrated to the American state of New Jersey in the 1920s. They shot some seven hours of 16mm (and later Super 8) between 1927 and 1970, about half of which predates from WWII. The T. family lived in different places in Japan, and shot 14 reels (almost five hours) of 16mm film during 1928-30. Home movie-making as a cultural practice can be understood through the analysis of specific films

The perception of flicker by the human eye depends upon the picture content, and this paper describes a relation between the critical flicker frequency f_c and the spatial frequency f_x . Provided that the visual picture is presented in such a way that each spatial component, presented at a frequency f_p , obeys the inequality f_p \geq f_c = f(f_x) = f_0 \exp (-k f_x) , no flicker effect is perceived. The constants f_0 and k are weakly dependent upon the brightness and picture area; they are a little more strongly dependent upon the contrast ratio and the type of picture. The effect can be exploited in motion pictures or television by presenting high-quality pictures interleaved with low-quality ones. In the latter, some high spatial frequencies would be omitted. For television, band reduction of a face by 9:1 is possible. Practical consideration may reduce this compression ratio to a little short of 2:1.

Few counties in the United States have played a more vital role in twentieth-century metropolitan affairs than Los Angeles County. The years from 1910 to World War II saw the county government enter into certain types of service contracts with cities, organize various special-purpose districts, and provide a wide range of services to unincorporated areas.' Rapid population growth in the postwar decade caused many outlying communities to seek incorporation as a means for control of land use policies. Fearful that new incorporations would reduce the size and quality of its service establishment, the county offered a plan by which cities could contract with it for a full set of municipal services. Suburban Lakewood embraced the scheme and provided a model for newly organized cities seeking to circumvent the bureaucracy and costs of local government. The Lakewood plan established a pattern of public decision-making that departed in important ways from urban governmental structure not only in California but also in American metropolitan areas generally. In so doing, it raised serious questions of local control, accountability, responsiveness, and metropolitan obligations. Resolving these issues demanded concessions on the part of both the county and Lakewood plan communities. Thousands of people migrated to southern California during the post World War II decade, for defense-related jobs in aircraft, aerospace, electronics, and scientific instrument industries. Los Angeles County's population rose from 4,151,000 in 1950 to 6,000,000 by 1960.2 Federal Housing Authority mortgage insurance and liberal loans from the Veterans Administration that required only small down payments enabled middle-class and workingclass families to buy homes in suburban districts. Applying mass production techniques to the housing industry, large-scale developers subdivided farmland throughout the county and built standardized units on tracts of fifty, a hundred, and several hundred acres.3 Lakewood was the most spectacular project. Developer Louis H. Boyar purchased 3,3 75 acres of farmland adjacent to Long Beach in 1950. His company, with the help of professional city planners, laid out a community of 17,500 homes for an ultimate population of more than 70,000. By 1953 Lakewood Park, advertised as 'The City as New as Tomorrow, had streets, side-

JL HE chemical industry is becoming more and more interested in having motion pictures made commercially for sales promotion purposes. It is only an evolutionary step, then, to the presentation of technical papers through this medium, for is not the chemist or engineer a salesman for his company and his special field of interest whenever he presents a technical paper? According to A. H. Emery, The speaker is a salesman of ideas, a public relations representative for his employer, a policeman promoting his contributions to science. That motion pictures can be used to good advantage in the presentation of technical papers seems obvious, but the high cost of commercial film productions has so far been the biggest factor in prohibiting their general use. However, with present-day facilities for making good amateur motion pictures, the technical person can produce his own films for use in presentation of papers without too much expenditure. Film on Microthermal Analysis ...

Canadian cinema began with the June 1896 screenings of the Lumière Cinematograph in Montreal. Early cinema was marked by an uneven balance between Canadian pioneers—for example, Nell Shipman, actress, director, producer, and writer of hits such as Back to God’s Country; or Léo-Ernest Ouimet, producer of hundreds of short films and founder of one of the world’s first motion picture theaters—and the dominance of production and distribution by foreign interests, above all American. The “quota quickies” of the 1930s, American films shot in Canada with no substantive Canadian content, and the Canadian Cooperation Agreement, in which the government agreed to refrain from developing a feature film industry in exchange for Canadian-based American productions, hamstrung an emerging indigenous industry. In 1939, John Grierson founded the National Film Board of Canada, a major center for film production, in particular animation and documentary. There, in the late 1950s, filmmakers like Michel Brault and Gilles Groulx launched the “cinéma direct” movement, a major influence on both documentary worldwide and the realist aesthetic and hybrid form of fiction film in Canada. In 1967, the Canadian Film Development Corporation (later Telefilm) was launched to provide funding for Canadian feature-film production. The films of “cultural value” it produced went largely unwatched by the Canadian public, however, and the absence of a substantial national audience for Canadian cinema (with the exception of Quebec) remains a challenge. The “tax shelter films” of the 1970s took advantage of changes in film funding opportunities and relaxed censorship laws to produce commercial genre films (“Canuxploitation”), an uneasy counterpart to the auteurist cinema generally associated with Canadian film. The 1980s saw the emergence of the Ontario New Wave and international successes like Denis Arcand’s Decline of the American Empire. Increasingly, Canadian films began to tell stories reflecting the diversity of Canadian experiences beyond the “two nations” of English Canada and Quebec, while Quebec cinema has experienced continued growth and popular success and is now considered on its own terms. Today, First Nations filmmaking has embraced the potential of digital cinema to tell ancient stories in new forms, and “Hollywood North” (large-scale American production in Canada) has both challenged and developed Canadian production. A diverse and often-exciting body of work, Canadian cinema has often been a minor player in its own national context, and questions of the relation between cinema and Canadian nationality have dominated film studies in Canada.

When motion pictures are printed on vesicular film stock, development is by dry heat and the process is negative/positive. Newer systems which may find use in the motion-picture industry comprise full reversal processing for positive/positive copying, and a new film which requires only a single overall exposure to a flash-tube for its processing, development and fixing together. The film gives direct positive to positive copy, has high resolution and capability for several generation copying, and contrast is controlled by input to the flash.

This essay examines the conditions shaping cinema’s emergence in the early twentieth-century American penitentiary. Cinema entered a prison environment in which the programming of film alongside other popular entertainments, such as lectures, concerts, vaudeville, and musical performances, persisted longer than in the wider society. The essay considers how cinema and other portals to the outside world, such as magazines, books, and newspapers, affected the balance of the senses; the popular press’s fascination with the idea of carceral spectatorship as an alternative to traditional models of a fee-paying audience; and cinema’s role within the “coddling” debate. By the late 1910s, Sing Sing prison, located thirty miles north of New York City, held nightly film screenings and frequently served as a film location for commercial film companies. This essay examines the interlocking institutional, carceral, and imaginative structures that made filmgoing possible for the fifteen hundred inmates in Sing Sing in the early twentieth century.

Interruption/Interaction/Collaboration: A Critical Appraisal of the Textual @traction Interactive Event