Relevant bibliographies by topics / Cinema and video

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Cinema and video'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Cinema and video.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Cinema and video"

1

Karinkurayil, Mohamed Shafeeq. "The Islamic Subject of Home Cinema of Kerala." BioScope: South Asian Screen Studies 10, no. 1 (June 2019): 30–51. http://dx.doi.org/10.1177/0974927619855451.

Full text
Abstract:
Migration to the Arabian Gulf as the experience of the state of Kerala has mostly been elided in mainstream Malayalam cinema. The digital revolution towards the end of the last century has spurred a local film practice in northern Kerala, usually called ‘Home Cinema’/‘home video’/‘home film’ and so on. Home Cinema of Kerala is locally produced low-quality CD/DVD video productions which are full-length feature films distributed through video shops, stationeries, bookstores and so on. Home Cinema, synonymous in its beginning with the films of Salam Kodiyathur, began as an attempt to oppose what was perceived as the immoral qualities of mainstream cinema, both global and regional. As a counter to the mainstream, Kodiyathur attempted to formulate Islamic cinema but in the idiom of a strand of mainstream Malayalam cinema. This article looks at the constitution of the Islamic subjects of these cinemas as negotiating the figure of the migrant Muslim in the dominant idiom of Malayalam cinema.
APA, Harvard, Vancouver, ISO, and other styles
2

Moore, Cornelius. "African Cinema in the American Video Market." Issue: A Journal of Opinion 20, no. 2 (1992): 38–41. http://dx.doi.org/10.1017/s004716070050153x.

Full text
Abstract:
There are probably a billion videocassettes in the United States. Yet few, probably under a thousand, are African films. I want to ask why this is and describe a strategy to change it.How can one of the least known and most under-funded cinemas in the world, African cinema, find a place in the most lavishly promoted and capitalized media marketplaces on earth, the U.S. feature film market?
APA, Harvard, Vancouver, ISO, and other styles
3

Casey, Bernard, Philip Taylor, Jeremy Eckstein, Dominic Moody, Adrienne Muir, and Catherine Shaw. "Film, cinema and video." Cultural Trends 7, no. 25 (January 1995): 47–62. http://dx.doi.org/10.1080/09548969509364995.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Smolev, Daniil D. "Video Aesthetics in Cinema and Video Art." Journal of Flm Arts and Film Studies 7, no. 3 (September 15, 2015): 109–18. http://dx.doi.org/10.17816/vgik73109-118.

Full text
Abstract:
The article is devoted to the genesis and unique semantic characteristics of video aesthetics pertinent to both auteur cinema and modern art (video art, in particular). Being a kind of common denominator for these art forms, video aesthetics manifests itself differently in the art gallery and film theatre, in the duration of a video work and a feature film, in the mentality of a film director and an artist. The author makes an attempt to reveal the methods of reciprocal influence of the two art forms, their specific languages connected through video aesthetics illustrated by the work of Harmony Korine, Vincent Gallo, Philippe Grandrieux and Philippe Parreno.
APA, Harvard, Vancouver, ISO, and other styles
5

Gaustad, Terje. "How streaming services make cinema more important." Nordic Journal of Media Studies 1, no. 1 (June 1, 2019): 67–84. http://dx.doi.org/10.2478/njms-2019-0005.

Full text
Abstract:
AbstractThe technocultural disruption triggered by digitization has radically changed the way in which we consume films outside cinemas and transformed content providers’ business models. In Norway, between 2010 and 2016, DVD/Bluray and subscription-based streaming services switched places as major and minor platforms for home video consumption. Hence, home video consumption has migrated from a high-yielding platform at the head of the home video release cycle to a low-yielding platform at the tail end, where films also face tougher competition from drama series and international content tends to surpass local content. A case study of the earnings generated by local films released by a major distributor in this period suggests that home video revenues have diminished, making local films much more dependent on theatrical revenues and vulnerable to changes in cinema-going behaviour.
APA, Harvard, Vancouver, ISO, and other styles
6

Jedlowski, Alessandro. "Small Screen Cinema." Television & New Media 13, no. 5 (April 24, 2012): 431–46. http://dx.doi.org/10.1177/1527476412443089.

Full text
Abstract:
Analyzing the Nigerian video industry through the lens of new media theory, this article proposes a genealogy of the Nollywood media format to identify and define its specificities. The films that the industry produces are often referred to as cinema but, compared to the output of other film industries around the world, Nollywood produces something that can be located in between cinema and television. The informality of Nigerian videos’ production and distribution has in fact allowed for the articulation of complex processes of remediation, which have participated in creating an original product, something that I would like to call “small screen cinema.” This media format has had a determinant role in Nollywood’s popular success and its definition is thus important for a general understanding of the industry’s social, economic, and cultural relevance.
APA, Harvard, Vancouver, ISO, and other styles
7

Yanchus, V. E. "DIGITAL VIDEO PROCESSING IN CINEMA INDUSTRY." St. Petersburg State Polytechnical University Journal. Computer Science. Telecommunications and Control Systems. 241, no. 2 (June 2016): 7–13. http://dx.doi.org/10.5862/jcstcs.241.1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Allan, Blaine. "Musical Cinema, Music Video, Music Television." Film Quarterly 43, no. 3 (April 1990): 2–14. http://dx.doi.org/10.1525/fq.1990.43.3.04a00020.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Allan, Blaine. "Musical Cinema, Music Video, Music Television." Film Quarterly 43, no. 3 (1990): 2–14. http://dx.doi.org/10.2307/1212631.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Moore, Cornelius. "African Cinema in the American Video Market." Issue: A Journal of Opinion 20, no. 2 (1992): 38. http://dx.doi.org/10.2307/1166990.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Cinema and video"

1

Seo, James Jung-Hoon 1972. "Interactive cinema : collaborative expression with digital video." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/62358.

Full text
Abstract:
Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2001.
Includes bibliographical references (p. 106-107).
Advances in technologies for digital video editing and streaming have lowered the barrier to entry for aspiring videomakers, and they provide an opportunity to expand the vocabulary for using and sharing video. Custom interfaces for editing and sharing video can suggest and support novel methods of collaborative production, cinematic narration, and casual dialogue with media. This thesis research presents Individeo, an online application with for video browsing and editing, and explores how interface design can enable closer collaboration among online videographers. The thesis evaluates Individeo's custom interfaces through Honeymoon, an experimental collaborative video production, in which geographically separated videomakers attempt to build a cinematic narrative together through online collaboration.
James Jung-Hoon Seo.
S.M.
APA, Harvard, Vancouver, ISO, and other styles
2

Blackburn, Richard. "sentio, cogito, dictum, video." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103499.

Full text
Abstract:
This thesis expounds a theoretical framework for the examination of the artistic creation in documentary filmmaking, in which metaphor occupies a crucial role by preserving the emotional integrity of the artist's subjective expression. In the first part, the function of metaphor in literature is studied from the vantage point of Vichian theory. An application of Vico's model of cultural development to artistic production reveals an imaginative basis of art, and a processional dynamic by which an author's subjective reality is directly communicated to his audience. The second part applies this model of artistic creation as metaphoric communication to documentary film. A look at Grierson's first principles of documentary film reveals its imaginative basis, in line with the processional dynamic of literature examined in Part I. Careful consideration of the editorial manipulation at work in documentary film compels its rightful consideration as literature, rather than journalism. A look at the advent of cinéma vérité, and its particular use of technology as a means of eliminating the need for translation, completes and strengthens this analysis. The final part examines the model of the creative process developed by the author in the context of a documentary project entitled SALT, produced by the National Film Board in 2000, which laid bare the use of metaphor in order to preserve the fragile natural perspectives of its author-subjects.
Cette dissertation développe un modèle théorique du processus créatif propre au documentaire. Il propose un rôle fondamental pour la métaphore, qui préserverait l'intégrité émotionnelle de l'expression artistique. La première partie est dévouée à l'examen du rôle de la métaphore dans la littérature, selon la perspective du philosophe Giambattista Vico. Une application à la production artistique du modèle Vichien du développement culturel révèle le fondement imaginaire de l'expression artistique, ainsi qu'une dynamique par le biais de laquelle la subjectivité de l'artiste est communiquée directement à son public. La deuxième partie du texte applique ce modèle au documentaire. L'analyse de ses principes fondamentaux entreprise par John Grierson s'avère signifiante et dévoile un fondement imaginaire au documentaire, évocateur de la dynamique élaborée dans la première partie du texte. L'éditorialisation importante en documentaire suggère qu'il resemblerait à la littérature, plutôt qu'au journalisme auquel il est si souvent comparé. Une étude brève du développement du cinéma vérité et de son usage particulier de la technologie afin de réduire le besoin de traduction envers l'objectif complète et renforce cette analyse. La dernière partie du texte applique le modèle développé par l'auteur dans les premières parties à la production du documentaire SALT, produit par l'Office National du Film en 2000.
APA, Harvard, Vancouver, ISO, and other styles
3

Corrigan, Aimee Hall. "Monitoring culture in the video age." [Bloomington, Ind.] : Indiana University, 2004. http://wwwlib.umi.com/dissertations/fullcit/3162229.

Full text
Abstract:
Thesis (Ph.D.)--Indiana University, 2004.
Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0008. Chair: Christopher Anderson. Title from dissertation home page (viewed Oct. 12, 2006).
APA, Harvard, Vancouver, ISO, and other styles
4

Manor, Justin 1978. "Cinema Fabriqué : a gestural environment for realtime video performance." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/61862.

Full text
Abstract:
Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2003.
Includes bibliographical references (p. [107]-[108]).
This thesis presents an environment that enables a single person to improvise video and audio programming in real time through gesture control. The goal of this system is to provide the means to compose and edit video stories for a live audience with an interface that is exposed and engaging to watch. Many of the software packages used today for realtime audio-visual performance were not built with this use in mind, and have been repurposed or modified with plug-ins to meet the performer's needs. Also, these applications are typically controlled by standard keyboard, mouse, or MIDI inputs, which were not designed for precise video control or live spectacle. As an alternative I built a system called Cinema Fabriqué which integrates video editing and effects software and hand gesture tracking methods into a single system for audio-visual performance.
by Justin Manor.
S.M.
APA, Harvard, Vancouver, ISO, and other styles
5

McKenna, Mark. "Rethinking the 'video nasties' : economics, marketing, and distribution." Thesis, University of Sunderland, 2017. http://eprints.staffs.ac.uk/5264/.

Full text
Abstract:
There are two things that most people know about the ‘video nasties.’ The first is that prior to 1984 the video industry was completely unregulated and the absence of any regulation allowed a space for immoral and disreputable elements of the businesses to thrive. The second is that a series of public complaints about the advertising used to promote the ‘video nasties’ triggered a moral panic that led to introduction of the Video Recordings Act in 1984. Neither of these statements is entirely true, but both have allowed a popular history to persist that continues to hold the independent distributor directly accountable for the events that led to a scheme of government sanctioned censorship that continues to this day. Through exploring the marketing and distribution of the ‘video nasties’, this thesis will challenge this established history and will contextualise the ‘video nasties’ within the emerging landscape of the wider home video industry. Moving beyond the explicitly social readings that have dominated these histories and that have positioned them as an explicitly British concern, this study offers a reading that considers the ‘video nasties’ as part of, and not separate from, a broader global film industry and wider industrial practice. This will be accomplished over three sections. In the first section I will detail the established social history before reconsidering the accuracy of this narrative when it is considered alongside a previously neglected economic and technological history. This context will provide the foundation for the rest of the thesis, providing a basis that reconceptualises the ‘video nasties’ both historically and as part of wider film markets. In the second section I will return to the claims made against the promotional strategies of the early distributors and historicise this type of promotion, tracing a lineage to the ballyhoo of William Castle and the early promotions of P.T Barnum. This will provide context for a study that considers the marketing and branding of both the films and the companies that produced them, following the market through Video, DVD and Blu-ray. The final section documents the evolution of both the product and the marketplace, considering how theoretical constructs arising from film studies can help us understand the marketplace of the ‘video nasties’. The thesis is a revisionist history that reconsiders the birth of the independent video industry in the United Kingdom through the films and distributors that were marginalised and castigated.
APA, Harvard, Vancouver, ISO, and other styles
6

Girina, Ivan. "Cinematic games : the aesthetic influence of cinema on video games." Thesis, University of Warwick, 2015. http://wrap.warwick.ac.uk/74038/.

Full text
Abstract:
During its first decade, Game Studies debate mainly revolved around the juxtaposition between two perspectives: the one of ludology and the one of narratology, each positing a primary quality of video games against the other. The study of the relationship between cinema and video games got somehow caught in the crossfire between these two fields. In this work, I investigate the extent to which representation in video games is connected to cinema and its representational codes. A number of authors before challenged this assumption, theorising models that only partially connect the cinematic form to video games. Such investigations have always started from the ludologically educated assumption that video games are different from cinema and, therefore, for the premises of this comparison to be considered “vitiated”, only tangentially useful due to the irreconcilably different nature of the two media. The adjective “cinematic” is a concept constantly evoked in cultural discourses concerning video games. Magazines, reviewers, critics, but also designers, artists, users and commentators (even scholars) often summon the idea of cinematic games in the attempt of describing some peculiar features that share affinities with films and suggesting that video games possess the aura of the big screen. Cinematic games are born at the crossroads between interactive movies and video games, for which the cinematic expression is retained by means of audiovisual representation while keeping the action in the hands of the player. Due to the vast scale of the subject, my work focuses on relatively recent developments in game design which have yet to be fully investigated, and seeks to extend existing attempts to apply the tools of film theory to Game Studies. A secondary value of this work is an annotation on the disengagement of moving image scholars with video games, and it partly serves as an invocation for this to change.
APA, Harvard, Vancouver, ISO, and other styles
7

Ruiz, Coraci Bartman. "Documentario-dispositivo e video-cartas : aproximações." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284016.

Full text
Abstract:
Orientador: Fernando Cury de Tacca
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-14T19:30:41Z (GMT). No. of bitstreams: 1 Ruiz_CoraciBartman_M.pdf: 8474327 bytes, checksum: beb9e4e01cfb3c2062731be8dcccd886 (MD5) Previous issue date: 2009
Resumo: Esta dissertação investiga as linhas de aproximação entre o conceito de documentário-dispositivo e algumas experiências com vídeo-cartas. Em outras palavras, busca compreender como a troca de mensagens videográficas entre pessoas - transformadas em personagens no e pelo filme, considerando que o documentarista também pode se tornar um deles - pode se configurar como estratégia de realização de documentários. O vídeo "Outra Cidade" é parte da pesquisa, a um só tempo fruto das investigações e objeto de reflexão. Mais do que a obra em si, interessa como matéria de estudo seu processo de realização, que, totalmente imbricado com o percurso do curso de Mestrado em Artes, passou por diversas transformações ao longo de seus dois anos e meio de duração e produção. Estas transformações tornam-se a problemática que une o texto e o vídeo. Os conceitos de dinâmica fabuladora e cinema indireto são as bases para a construção da idéia de um cinema documental que não se relaciona com um real dado nem com identidades estagnadas, que não busca a verdade e que não tem certezas. Este cinema deseja falar de processos e transformações, de encontros e relações. O conceito de documentário-dispositivo trata de um documentário criado a partir de artifícios, jogos, delimitações e brincadeiras, que engendram, para os atores envolvidos (documentarista, equipe, personagens) novas relações, situações inéditas e deslocamentos de posições: uma realidade fílmica que não existe antes do filme e que deixa de existir depois que ele acaba.
Abstract: This dissertation investigates the similarities between the concept of "devicedocumentary" and some experiences with "video-letters"; in other words, it seeks to understand the process in which the exchange of videographic messages between people - transformed into characters by and in the film (considering that the documentarist can become one of them) - may become a strategy to make documentaries. The vídeo "Another City" is part of the research, at one time a result of the investigations and the object for reflection. More than the work itself, the point of interest for study has been the process film making, which, completely entwined with the course of Master Degree in Arts, has gone through several transformations along the two and a half years of this production. These transformations became the problematics that links together text and film. The concepts of "fable dynamic" and "indirect cinema" are the basis for the construction of an idea of a documental cinema that does not relate to the real, neither to frozen identities; a cinema that does not seek the truth and has no certainties. This cinema wants to talk about processes and transformations, encounters and relations. The concept of "device-documentary" is about a documentary that is made from artificials, games, delimitations and plays that give rise to new relations, situations, changing of positions among the actors (documentarist, team, characters). A filmic reality that does not exist before the film, and that ceases to exist once it is finished.
Mestrado
Artes
Mestre em Artes
APA, Harvard, Vancouver, ISO, and other styles
8

Strong, Richard Jeremy. "Six English novels adapted for the cinema." Thesis, University of Stirling, 1999. http://hdl.handle.net/1893/2605.

Full text
Abstract:
This study examines the film adaptations of six English novels; Sense and Sensibility, Emma, Tess, Jude, A Room with a View and A Passage to India. Through textual analysis of both the films and the original novels it demonstrates that many of the changes which occur in the transition between media are explicable in terms of differences between film and literary genres. Most previous writing on adaptation has tended to explain such changes as a consequence of film and literature having different signifying or expressive capacities. Whilst this study does not argue that literary styles and devices have necessary or inevitable equivalents in film form, it does propose that filmmakers can find satisfying and comprehensible correlatives for written idioms, and that differences between novels and their adaptations are not therefore always best understood as arising from failures in the mechanics of translation. In its consideration of what each film alters and omits this study finds compelling evidence that they are reshaped in particularly genre-related ways. This takes the form both of alterations that place an adaptation more comfortably in a particular fihn genre than the original story materials might allow, and changes which diminish or elide the operation of a literary genre to which the original novel belongs or relates. Sense and Sensibility, Emma and A Room with a View are discussed in terms of how they become romantic comedies, while the Hardy adaptations are the occasion of most of the original melodrama being omitted. Other genres and modes which pose problems and questions in adaptation - including tragedy, the didactic and the modern - are also examined. Additionally, this study will consider the political contexts and conditions of production of the novels and their adaptations as well as examining the extent to which the films may be said to be authored.
APA, Harvard, Vancouver, ISO, and other styles
9

Doing, Karel Sidney. "Ambient poetics and critical posthumanism in expanded cinema." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/12393/.

Full text
Abstract:
Posthumanism is a contested term, seen by some as leading towards a merging of human bodies and technology and by others, more critically, as a renewal of the ethical debate regarding human exceptionalism. Through a study of this critical approach and its potential relation to expanded cinema, a set of propositions is formulated. New knowledge emerges through the application of these propositions towards the expression of critical posthumanism. By looking at formal, conceptual and methodological underpinnings, existing tendencies in expanded cinema are analysed and reviewed. Firstly, aided by Timothy Morton's 'ambient poetics', environmental orientations in artist film and expanded cinema are investigated. Secondly, conceptual ideas 'beyond the human' in this field are discussed. Finally, the environmental footprint of moving image production is considered. Central to this investigation is the desire to change prevailing narratives regarding nature and environment. Instead of regarding environment as a subject outside the cultural domain, environmental immanence and shared consciousness are regarded as central cultural values within a productive posthuman debate. This theoretical approach is set in motion through a practice-based project in which organic processes are applied to generate images on discarded and outdated 35mm film. By using plants, mud and salt in conjunction with alternative photochemistry, images are 'grown' on motion picture film. Moreover, digital images are gathered using a camera extension that allows a point of view beyond the human. Background and foreground are reversed in order to reveal the prominence of natural elements in an urban setting. These images are used in a performative or spatial context that places the viewer within the work. By bringing together theory and practice a conclusion emerges, opening up further possibilities to develop and apply the newly found knowledge, not only in expanded cinema but also to other fields.
APA, Harvard, Vancouver, ISO, and other styles
10

Smith, Ian Richard. "Optimising international links between departments of photography, film and video production." Thesis, University of Southampton, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259958.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Cinema and video"

1

John, Ellis. Visible fictions: Cinema, television, video. London: Routledge, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Graham, Rodney. Rodney Graham: Cinema music video. Wien: Kunsthalle Wien, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Visible fictions: Cinema, television, video. London: Routledge, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Alexander, Karen. Cinema of women: Film and video catalogue. London: Cinema of Women, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

India. Law relating to cinema, video & cable television. 2nd ed. Allahabad: Hind Pub. House, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Graham, Rodney. Rodney Graham, cinema music video: Kunsthalle Wien. [Vienna]: Kunsthalle Wien, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Corso di aggiornamento "Cinema e letteratura--Leonardo Sciascia" (1993 Pordenone, Italy). Cinema e letteratura: Leonardo Sciascia. Pordenone: Cinemazero, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Frantz, John Parris. Video cinema: Techniques and projects for beginning filmmakers. Chicago, Ill: Chicago Review Press, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

DSLR cinema: Crafting the film look with video. 2nd ed. Waltham, MA: Focal Press, 2013.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Lancaster, Kurt. DSLR cinema: Crafting the film look with video. 2nd ed. Waltham, MA: Focal Press, 2013.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Cinema and video"

1

Diehl, Eric. "Digital Cinema." In Securing Digital Video, 189–92. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-17345-5_10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Dickinson, Kay. "The Naksa’s New Cinema: New Cinema Group, “Manifesto of New Cinema in Egypt” (1968)." In Arab Film and Video Manifestos, 23–47. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-99801-5_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Unuajohwofia, Henry O. "Orality, Cinema, Film, and Video." In The Palgrave Handbook of African Oral Traditions and Folklore, 941–55. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-55517-7_47.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Lobato, Ramon. "The Straight-to-video Slaughterhouse." In Shadow Economies of Cinema, 21–38. London: British Film Institute, 2012. http://dx.doi.org/10.1007/978-1-84457-583-1_3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Lipton, Lenny. "Film to Video and the VTR." In The Cinema in Flux, 683–88. New York, NY: Springer US, 2021. http://dx.doi.org/10.1007/978-1-0716-0951-4_78.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Dickinson, Kay. "Cinema Within Armed Struggle: “Manifesto of the Palestinian Cinema Group” (1972) and Popular Front for the Liberation of Palestine, “The Cinema and the Revolution”." In Arab Film and Video Manifestos, 81–106. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-99801-5_4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Powell, Anna. "Oc/cult film and video." In The Routledge Companion to Cult Cinema, 161–69. London; New York: Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781315668819-21.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Lee, Laura. "Animating the Image: Patch Work and Video Interactivity." In Japanese Cinema Between Frames, 83–109. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66373-9_4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Cilento, Fabrizio. "The Ontology of Replay: The Zapruder Video and American Conspiracy Films." In An Investigative Cinema, 149–78. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92681-0_5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Hoffmann, Kay. "Vom Direct Cinema zum politischen Video-Aktivismus." In Der dokumentarische Film und die Wissenschaften, 95–107. Wiesbaden: Springer Fachmedien Wiesbaden, 2018. http://dx.doi.org/10.1007/978-3-658-20832-5_5.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Cinema and video"

1

Husak, Walter. "Digital cinema video compression." In Electronic Imaging 2003, edited by Bhaskaran Vasudev, T. Russell Hsing, Andrew G. Tescher, and Touradj Ebrahimi. SPIE, 2003. http://dx.doi.org/10.1117/12.497841.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Creighton, O., M. Ott, and B. Bruegge. "Software Cinema-Video-based Requirements Engineering." In 14th IEEE International Requirements Engineering Conference. IEEE, 2006. http://dx.doi.org/10.1109/re.2006.59.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

"CINEMA COMICS : CARTOON GENERATION FROM VIDEO STREAM." In International Conference on Computer Graphics Theory and Applications. SciTePress - Science and and Technology Publications, 2006. http://dx.doi.org/10.5220/0001354302990304.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Izard, Ryan, Qing Wang, Benton Kribbs, Joseph Porter, Kuang-Ching Wang, Shashank Gupta, Aditya Prakash, and Parmesh Ramanathan. "OpenFlow-based live video streaming with GENI Cinema." In IEEE INFOCOM 2016 - IEEE Conference on Computer Communications Workshops (INFOCOM WKSHPS). IEEE, 2016. http://dx.doi.org/10.1109/infcomw.2016.7562242.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Long, David. "Towards Higher Dimensionality in Cinema Color: Multispectral Video Systems." In SMPTE Technical Conference. IEEE, 2012. http://dx.doi.org/10.5594/m001458.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Wang, Qing, Ke Xu, Ryan Izard, Benton Kribbs, Joseph Porter, Kuang-Ching Wang, Aditya Prakash, and Parmesh Ramanathan. "GENI Cinema: An SDN-Assisted Scalable Live Video Streaming Service." In 2014 IEEE 22nd International Conference on Network Protocols (ICNP). IEEE, 2014. http://dx.doi.org/10.1109/icnp.2014.84.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Takahashi, Hirokazu, Takahiro Murooka, Kan Toyoshima, Hitoshi Uematsu, and Tetsuro Fujii. "A High Speed Video/Audio Stream Splitter for 4K Digital-Cinema." In 2006 International Symposium on Intelligent Signal Processing and Communications. IEEE, 2006. http://dx.doi.org/10.1109/ispacs.2006.364770.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Kelkoul, Houria, Youssef Zaz, Hicham Tribak, and Gerald Schaefer. "A Robust Combined Audio and Video Watermark Algorithm Against Cinema Piracy." In 2018 6th International Conference on Multimedia Computing and Systems (ICMCS). IEEE, 2018. http://dx.doi.org/10.1109/icmcs.2018.8525979.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Egorova, S. D., A. Lock, and M. G. Nechaev. "COMICS DEVELOPMENT FACTORS IN RUSSIA FOR THE INTERNATIONAL MARKET." In TWEET-FENTS. Новосибирский государственный университет архитектуры, дизайна и искусств им. А.Д. Крячкова, 2020. http://dx.doi.org/10.37909/978-5-89170-266-0-2020-1011.

Full text
Abstract:
The comic combines the features of such art forms as literature and fine art. They have long been present in the media and, as a rule, are now being worked on in large editions. In America, Japan and Europe, the comics industry is no less developed than the cinema and television industry, literature and video games. In Russia, comics as a genre arestill in their infancy.
APA, Harvard, Vancouver, ISO, and other styles
10

SILVA, BRENER NEVES, ANA PAULA VIEIRA DE ABREU, and CAROENE NEVES SILVA. "O USO DAS MÍDIAS AUDIOVISUAIS NO PROCESSO DE ENSINO-APRENDIZAGEM." In Brazilian Congress. brazco, 2020. http://dx.doi.org/10.51162/brc.dev2020-00037.

Full text
Abstract:
As tecnologias da informacao e comunicacao (TIC) estao cada vez mais presentes no cotidiano das pessoas, desde elementos rotineiros aos ambientes academicos na transmissao de informacoes visuais, como o cinema e o audiovisual, que participam da construcao de multiplos sentidos diarios na vida em sociedade, especialmente em espacos educativos que vao desde a educacao basica ate o ensino superior. E fato que o audiovisual possui um papel fundamental na construcao de novos conhecimentos e pode aproximar professores e alunos de um senso critico cognitivo, tendo o discente a capacidade de associar criticamente as diversas realidades, meios de convivio ou grupos sociais as imagens pedagogicamente trabalhadas dentro da sala de aula. No entanto, apesar das vantagens que esse recurso oportuniza, faz-se necessario que o professor saiba claramente seus objetivos quanto ao seu uso. Portanto, objetiva-se compreender o processo de dinamizacao que o cinema e o video podem trazer para o processo de ensino e aprendizagem nos espacos educativos, os desafios e perspectivas e, a partir disso, refletir a importancia das TICs em sala de aula no mundo atual.,
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Cinema and video' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography