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008191206s2019 xx o 000 0 eng d
019 ▼a 1148894967
020 ▼a 9780861969685 ▼q (electronic bk.)
020 ▼a 0861969685 ▼q (electronic bk.)
020 ▼z 0861967461
020 ▼z 9780861967469
035 ▼a 2324258 ▼b (N$T)
035 ▼a (OCoLC)1129790363 ▼z (OCoLC)1148894967
037 ▼a 22573/ctvsppwjd ▼b JSTOR
040 ▼a YDX ▼b eng ▼e pn ▼c YDX ▼d JSTOR ▼d RECBK ▼d OCLCF ▼d OCLCQ ▼d EBLCP ▼d N$T ▼d 248032
049 ▼a MAIN
050 4 ▼a TR848
08204 ▼a 777.09 ▼2 23
1001 ▼a MONTANARO, CARLO.
24510 ▼a Silver screen to digital : ▼b a brief history of film technology.
260 ▼a [Place of publication not identified] : ▼b JOHN LIBBEY & CO LTD, ▼c 2019.
300 ▼a 1 online resource
336 ▼a text ▼b txt ▼2 rdacontent
337 ▼a computer ▼b c ▼2 rdamedia
338 ▼a online resource ▼b cr ▼2 rdacarrier
520 ▼a 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 coloured 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, portable and compact lighting, it would not have been possible, at the end of the 50s, 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.
590 ▼a Added to collection customer.56279.3
650 0 ▼a Cinematography ▼x History.
650 7 ▼a PERFORMING ARTS ▼x Film ▼x General. ▼2 bisacsh
650 7 ▼a Cinematography. ▼2 fast ▼0 (OCoLC)fst00861484
655 4 ▼a Electronic books.
655 7 ▼a History. ▼2 fast ▼0 (OCoLC)fst01411628
77608 ▼i Print version: ▼z 0861967461 ▼z 9780861967469 ▼w (OCoLC)1112275141
85640 ▼3 EBSCOhost ▼u http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=2324258
938 ▼a Recorded Books, LLC ▼b RECE ▼n rbeEB00791504
938 ▼a YBP Library Services ▼b YANK ▼n 16566942
938 ▼a YBP Library Services ▼b YANK ▼n 300992355
938 ▼a ProQuest Ebook Central ▼b EBLB ▼n EBL5988631
938 ▼a EBSCOhost ▼b EBSC ▼n 2324258
990 ▼a 관리자
994 ▼a 92 ▼b N$T