Relevant bibliographies by topics / Motion picture projectors

Contents

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

Academic literature on the topic 'Motion picture projectors'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 March 2023

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Journal articles on the topic "Motion picture projectors"

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Boegner, Ray F. "Motion-Picture Projectors." Scientific American 279, no. 4 (October 1998): 134–35. http://dx.doi.org/10.1038/scientificamerican1098-134.

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DuMont, C. L., A. F. Kurtz, B. D. Silverstein, and D. H. Kirkpatrick. "Design Improvements for Motion Picture Film Projectors." SMPTE Journal 110, no. 11 (November 2001): 785–91. http://dx.doi.org/10.5594/j16428.

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Wicks, Frank. "Picture This." Mechanical Engineering 126, no. 07 (July 1, 2004): 32–35. http://dx.doi.org/10.1115/1.2004-jul-3.

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This article highlights that the adage, a picture is worth a thousand words, is a flawed understatement. Our memories, knowledge, and opinions rely heavily on pictures. Words can only provide an explanation to information contained in a good picture. Time always moves forward, but a picture allows us to look back to some prior moment in time. Photography, which means writing with light, would require replacing the artist’s paper with a chemically coated screen, exposing the screen to the image, and then stabilizing the resulting picture. The first practical photographic process was announced in France in 1839 by Louis Daguerre, who had achieved fame as a designer of theater stages and lighting effects. George Eastman built a magnificent Colonial Revival Mansion on East Avenue in Rochester in 1905. It is a National Historic Landmark and is chartered by the State of New York as the International Museum of Photography and Film. It displays a rare collection of photographs, cameras, projectors, books, and motion pictures.
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Hadida, Allègre L. "Commercial success and artistic recognition of motion picture projects." Journal of Cultural Economics 34, no. 1 (November 6, 2009): 45–80. http://dx.doi.org/10.1007/s10824-009-9109-z.

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Skilton, Paul F. "Knowledge based resources, property based resources and supplier bargaining power in Hollywood motion picture projects." Journal of Business Research 62, no. 8 (August 2009): 834–40. http://dx.doi.org/10.1016/j.jbusres.2008.05.001.

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Kovalev, V., N. A. Testoyedov, A. V. Blinnikov, A. A. Voroshilova, and D. V. Borovinsky. "Physical and technological approaches to systemic film moistening." Journal of Physics: Conference Series 2094, no. 2 (November 1, 2021): 022082. http://dx.doi.org/10.1088/1742-6596/2094/2/022082.

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Abstract This article discusses the physical and technological approaches to systemic film moistening. The features of storage and operation of film in various conditions are considered. A number of features and facts are presented that affect the organization of both systemic humidification and the maintenance of long-term storage of film materials on analog media. The article presents the main factors that affect the quality of the working surface of 35 mm and 16 mm film: the specifics of the composition of the film; the effects of a temporary, natural and technological nature on motion pictures; sophisticated technology for servicing analog film projectors, rewinding devices and film checking facilities. The analysis of the sequence of manipulations of technological equipment and chemical compositions for stable operation without gusts, drying and burnout of film materials is carried out. The article gives the physicochemical content of work on the stages of film moistening, taking into account the specifics of the applied filmostatic liquids. In the step-by-step process of moistening, after the end of each stage, the main results obtained are assessed by visual comparison of the image projections, followed by the digitization of the image and the correction of the result obtained in graphic editors. To eliminate artifacts, scratches and other elements of entropy, the authors recommend using neural network approaches for working with film materials.
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Hoyler, Michael, and Allan Watson. "Framing city networks through temporary projects: (Trans)national film production beyond ‘Global Hollywood’." Urban Studies 56, no. 5 (October 3, 2018): 943–59. http://dx.doi.org/10.1177/0042098018790735.

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This article advances research on external urban relations by drawing attention to the role of temporary project-based economic organisation in the formation of inter-firm links between cities. Through a novel empirical examination of (trans)national co-production in the motion picture industry, we reveal how such projects transcend the boundaries of individual production clusters and link urban centres within specific network configurations. Stripping away the ‘top layer’ of Hollywood’s commercially successful feature films, we undertake a social network analysis of film productions in four markets across three continents – China, Germany, France and Brazil – to provide a unique comparative analysis of networked urban geographies. Our findings show that film production networks are grounded in existing structural relations between cities. The spatial forms of these networks range from monocentric in the case of the French film market, to dyadic in the case of China and Brazil, to polycentric in the case of the German film market. Conceptually, we argue that adopting an inter-firm project-based approach can account for the ways in which complex patterns of inter-firm production relations accumulate to form (trans)national city networks. Viewing city networks in this way provides an important alternative perspective to dominant conceptualisations of global urban networks as formed through corporate intra-firm relations.
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Buyuksahin, Utku. "A New Control Method for Using Inkjet Printer Motherboard as 3 Axes CNC Router's Motion Control Card." Advanced Materials Research 445 (January 2012): 225–30. http://dx.doi.org/10.4028/www.scientific.net/amr.445.225.

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As the inkjet printers have two axes of movement, (one for scrolling of the paper and one for travelling of the cartridges) inkjets have closed loop stepper motor control cards for two axes which can be used in CNC routers. There are few studies in literature and internet about this method. The main difficulty while using these cards as motion control card is to send the motion data of the cutting process to the CNCs motor drivers. As programming ability is needed, this is the point where the projects are mostly left unfinished. In this study, a new method to help use of printer motherboards as CNC router motion control cards, with no need of programming skills and buying expensive software, is given. In this method, the third dimension of the picture is represented by colors. After drawing the two dimensional top view of the workpiece with any simple graphics painting software which can be found in every computer like Paint, is painted with the colors black to white, from the lowest level to highest respectively, like in the geographical maps which the oceans are painted darker to lighter according to the depth. As it is known that there are 16.7 millions of colors between black and white, the system is impressively precise in Z axis. The analogue signals of the colors which are sent from printers motherboard to the cartridges are captured with a PIC based circuit, which is designed for this project. Then the color codes are converted to Z axiss position data and PWM signals that are needed in Z axis motion. The X and Y axes stepper motor control PWM signals are generated by printer motherboard and used in the system just as is. While doing the cutting process on a printer motherboard attached CNC, the computer assumes as if a picture is being printed with the printer that is connected to USB or parallel port. This method is candidate to be one of the most common used home based or laboratory based CNC control methods in the near future.
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Кривошей [Krivosheĭ], Димитрий [Dimitriĭ] А. [A ]. "Частный сектор культуры Республики Беларуси: становление и развитие (1991–2008)." Acta Baltico-Slavica 34 (August 31, 2015): 289–300. http://dx.doi.org/10.11649/abs.2010.016.

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Private sector of culture of the Republic of Belarus: formation and development (1991–2008)In the given research the author on the basis of the historical and genetic analysis, methods of typology and deduction represents the basic segments of sphere of culture of the Belarus in which private subjects of culture have arisen and developed. The analysis of achievements and lacks of the given phenomenon is carried out, the factors influencing development are marked.The private sector in sphere of culture of Belarus in 1991–2008 could not create appreciable enough competition to official bodies. In cultural aspect only some projects became really platforms for experiment. First of all it concerns theatrical creativity, motion picture arts and painting.Development of a competition was not promoted by a state policy creating unequal conditions for development (tax privileges, rent decrease, etc.). Negative influence on formation of private noncommercial sector has rendered absence of the developed legislation on sponsorship and patronage of arts.Private establishments in culture sphere were created both the commercial organizations and individual businessmen, and the private persons far from business. The aspiration to profit not always was the main thing for businessmen. Private theatre in Gomel, a museum‑drugstore in Grodno, picture galleries were created by businessmen for the purposes more likely aesthetic, for confirmation of the status. The satisfaction of personal ambitions, the aspiration to be more available to public was the main thing for noncommercial projects. Most brightly it is appreciable in museum business (A. Bely, J. Gil’s museum).The projects arisen and developing on a wave of political disagreements in the country are present at a private sector of culture of the Belarus (cinéma vérité, museums).It is necessary to ascertain full absence in the country of private cinemas and film studios of game cinema, the organizations of national crafts, circuses.
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Lauria, Davide, and Wyatt D. Phillips. "Insuring Hollywood: A Movie Returns Index and the American Stock Market." Journal of Risk and Financial Management 14, no. 5 (April 21, 2021): 189. http://dx.doi.org/10.3390/jrfm14050189.

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The aim of this paper is the definition of a daily index representing the risk-return on investments in the American film industry. The index should be used to predict the riskiness and the expected return of movie projects at the level of the overall industry and then to determine a premium for insurance for such an investment. Such an index can inform the decision making in relation to risk but also timing. Though not currently legal in the United States, such an index may be relevant at some point in the future or in other countries for film production companies as well as venture capitalists interested in investing in one or a slate of motion picture productions or more broadly in the holdings of a media conglomerate, an exhibition chain, or some other aspect of the media landscape.
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Dissertations / Theses on the topic "Motion picture projectors"

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Thomas, Patricia Brooks. "Propaganda on film : shadows from the past, projections for the future?" Thesis, Swansea University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678661.

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Lifshitz, Judith. "Completion guarantees and the financing of entertainment projects in the province of Quebec." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ50946.pdf.

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Hudgins, Donald A. "Rhythm and Views: A Compilation of Eight Projects Including Scoring, Video Production and Motion Graphic Design." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1206070566.

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Bruteig, Rune. "Who's afraid of the Fenris-wolf? : projections of a skin self and Nordic mythographic filmmaking (a feminist and psychoanalytical introspective)." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23208.

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Chapter One of this thesis looks at psychoanalytical object relations theory dealing with early childhood, with an aim to outline the shift that has taken place within critical thinking on personal development--from an emphasis on oedipal relations to the auspicious re-exploration of pre-oedipal states. Here the main theme derives from the paradoxical nature of the human skin, whose fluid sensory and communicative qualities profoundly shape our psychological functioning, and thus ultimately our creation of (gendered) knowledge in all its forms.
Chapter Two seeks to establish some of the possible socio-political implications of a recovered pre-oedipal sensibility, by way of situating the place of the personal within critical discourse--the cross-fertilization of critical theory and self-critical artistic discourses. Using the specific example of film, my central conceit consists in drawing a parallel between the skin and the filmic screen as both being simultaneously introjective and projective liminal membranes.
Chapter Three is a case study of sorts, one which traces the manifestations of a liminal subjectivity during a critical phase in the history of my native Nordic culture--the period of transition between pagan and Christian society. Its spirit is then shown to be alive and well within the ensemble films of Ingmar Bergman, whose work has come to stand as something of an archetype of the Nordic film form.
The second section, PRAXIS, appropriately provides this project's own creative component, a sketch of a film scenario that I hope to one day be able to liberate from the stasis of the written page and project into the uncertain spaces of a theater screen.
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Gibbs, Cheryl Jeanne. "The Quaker Farm Boy and the Wizard of Menlo Park: How C. Francis Jenkins Fought to Keep Thomas Edison from Claiming Credit for One of Jenkins' Most Significant Inventions." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1543522521915393.

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Books on the topic "Motion picture projectors"

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Riimala, Erkki. Valkokangasta vastapäätä: Teatteriprojektoreita Suomessa Filmiteknillisen lautakunnan (FTL) valvonnassa 1928-1978 äänielokuvan ensimmäisellä puolivuosisadalla. Helsinki: Estrex, 1998.

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Jiménez, Carlos. Los orígenes del cine: Catálogo. Madrid: Comunidad de Madrid, Consejería de Cultura y Turismo, Dirección General de Archivos, Museos y Bibliotecas, 2009.

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Calzini, Mario. Cento anni di cinema al cinema: Storia dei cinematografi, dalla saletta dei Lumière ai multiplex. Roma: Gestioni editoriali Agis, 1995.

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Ganz, Thomas. Die Welt im Kasten: Von der Camera obscura zur Audiovision. Zürich: Verlag Neue Zürcher Zeitung, 1994.

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1933-, Vrielynck Robert, and Crédit communal de Belgique, eds. Derrière l'écran: 150 ans de caméras, de projecteurs et d'affiches. Bruxelles: Crédit communal, 1994.

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Waddington, Damer. Panoramas, magic lanterns, cinemas: A century of "light" entertainment in Jersey 1814-1914. St. Lawrence, Jersey: Tocan, 2003.

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King, Lila. Framing the cinema: Brenograph slide images from the Fox Theatre collection. Edited by Martin Mary Catherine, Miller Keith D, and Schuff Michele. Atlanta: Preservation Maintenance Press, 2000.

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Ilchev, Georgi. Elektrotekhnika za kinomekhanika. Sofii͡a︡: T͡S︡entŭr za propaganda, informat͡s︡ii͡a︡ i pechat pri Kom-ta za kultura, 1987.

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Perriault, Jacques. Dialogues autour d'une lanterne: Une brève histoire de la projection animée. Paris: L'Harmattan, 2013.

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Herbert, Stephen. Industry, liberty, and a vision: Wordsworth Donisthorpe's kinesigraph. London: Projection Box, 1998.

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Book chapters on the topic "Motion picture projectors"

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Lee, Sangjoon. "The Asia Foundation’s Motion Picture Project." In Cinema and the Cultural Cold War, 17–46. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501752315.003.0002.

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This chapter investigates how and to what extent the Asia Foundation (TAF) and its field agents covertly acted to construct an alliance of anticommunist motion picture producers in Asia. It explores how US government–led Cold War cultural policies influenced the Asian regional film industry in the 1950s. It also scrutinizes the ways TAF agents responded to the various needs of local film executives and negotiated with the constantly changing political, social, and cultural environments in the region during the project's early activities. The chapter reviews the origin of TAF, the Committee for a Free Asia (CFA), which is intended to advance US foreign policy interests in Asia. It discusses the CFA's core activities, which include the broadcasting of Radio Free Asia.
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Culkin, Nigel, Norbert Morawetz, and Keith Randle. "Digital Cinema as Disruptive Technology." In Information Communication Technologies, 1832–45. IGI Global, 2008. http://dx.doi.org/10.4018/978-1-59904-949-6.ch129.

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The distribution and exhibition of motion pictures are at a crossroads. Ever since the medium was invented in the 1890s the “picture” has been brought to the spectator in the form of photochemical images stored on strips of celluloid film passed in intermittent motion through a projector. Now, at the beginning of the 21st century, an entirely new method has emerged, using digitally stored data in place of film and barely needing any physical support other than a computerised file. This opens an intriguing portfolio of revenue-generating opportunities for the movie exhibitor. This chapter will give an overview of current developments in digital cinema (d-cinema). It will examine potential new business models in an industry wedded to the analogue process. The authors will consider the strategies of companies at the forefront of the technology; implications associated with the change; and how different territories might adapt in order to accommodate this transition.
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Culkin, Nigel, Norbert Morawetz, and Keith Randle. "Digital Cinema as Disruptive Technology." In Information Communication Technologies and Emerging Business Strategies, 160–78. IGI Global, 2007. http://dx.doi.org/10.4018/978-1-59904-234-3.ch009.

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The distribution and exhibition of motion pictures are at a crossroads. Ever since the medium was invented in the 1890s the “picture” has been brought to the spectator in the form of photochemical images stored on strips of celluloid film passed in intermittent motion through a projector. Now, at the beginning of the 21st century, an entirely new method has emerged, using digitally stored data in place of film and barely needing any physical support other than a computerised file. This opens an intriguing portfolio of revenue-generating opportunities for the movie exhibitor. This chapter will give an overview of current developments in digital cinema (d-cinema). It will examine potential new business models in an industry wedded to the analogue process. The authors will consider the strategies of companies at the forefront of the technology; implications associated with the change; and how different territories might adapt in order to accommodate this transition.
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Marzola, Luci. "Inventing the Mazda Tests." In Engineering Hollywood, 105–35. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190885588.003.0005.

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The second part of the book begins with chapter 4, which explores the key events of 1927–1928, in which the motion picture industry began to bring together companies and workers from the East and West around strategic technological shifts. While the shift to sound was in process, it was not sound but lights and film stock that served as the vehicles for these early collaborative endeavors. With the formation of the Academy of Motion Picture Arts and Sciences (AMPAS) in 1927, the studios united behind a single organization designed to standardize both labor and technology practices across all the major producers. In order to gain the cooperation and favor of the studio technicians, AMPAS focused many of its early activities on collaborative technical projects. In the spring of 1928, the Mazda tests united the studio technicians, manufacturers, independent labs, and trade organizations to standardize lighting and film stock technology across the industry. This first “scientific endeavor” of Hollywood, followed immediately by the first Society of Motion Picture Engineers (SMPE) convention in the area, created a model for the institutionalization of technological management and innovation in the industry.
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Bjarnadóttir, Kristín. "Royaumont’s aftermath in Iceland – Motion geometry, transformations and groups." In “DIG WHERE YOU STAND” 6. Proceedings of the Sixth International Conference on the History of Mathematics Education, 73–86. WTM-Verlag Münster, 2020. http://dx.doi.org/10.37626/ga9783959871686.0.06.

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In the Meran Program in 1905 and at the Royaumont Seminar in 1959, among the main themes were transformation geometry, including motion geometry, and group theory. Those themes entered some Danish mathematics textbooks and the English School Mathematics Project’s textbook series, both used in Iceland around 1970. One of the arguments for including group theory in school mathematics was that its structure corresponded to structures in the minds of children. Eventually, the emphasis on motion in geometry subordinated the structure of the transformation groups. These ideas proved short-lived in Iceland, they coincided with a great expansion of the school system, students were unaccustomed to studying textbooks in English, available teachers were not receptive, and mathematical analysis was considered neglected. In later applications, geometric transformations have become the basis of a large industry: animations in motion pictures and games. Keywords: motion geometry, transformation, group theory, School Mathematics Project
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Salzberg, Ana. "“What can we do to make the picture better?”." In Produced by Irving Thalberg, 145–76. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474451048.003.0007.

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This chapter explores the implications of the MGM restructuring, specifically in relation to Thalberg’s focus on retakes. Thalberg had established the process to ensure the quality of a given film, asking, “What can we do to make the picture better?” The chapter reframes that abiding question as part of a broader reflection on Thalberg’s shifting production style and role at the studio in these last years of his life. At this time, Thalberg sought to improve upon his own cinematic oeuvre, effectively “retaking” his thematic concerns and visual style in historical epics Mutiny on the Bounty (Lloyd, 1935) and Romeo and Juliet (Cukor, 1936). The chapter concludes with a discussion of two of Thalberg’s unfinished projects: the film Marie Antoinette (Van Dyke, 1938), which set in motion Norma Shearer’s challenges in carrying on her husband’s legacy; and the plans for Thalberg’s own production studio.
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Dodgson, Mark, and David Gann. "5. Thomas Edison’s organizational genius." In Innovation: A Very Short Introduction, 75–108. Oxford University Press, 2018. http://dx.doi.org/10.1093/actrade/9780198825043.003.0005.

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‘Thomas Edison’s organizational genius’ uses examples of Thomas Edison’s work to show how he pioneered a highly structured way of organizing innovation. He developed the phonograph, electric light bulb, and electrical power distribution, and improved the telephone, telegraph, and motion picture technology, as well as founding numerous companies, including General Electric. He always pursued several lines of research, wishing to keep options open until the strongest contender emerged. By working on numerous projects simultaneously, Edison hedged his bets so future income streams did not depend upon one development. Further examples of other businesses using Edison’s ideas on workplace, structures, people, creativity, and technology include IDEO, Toyota, 3M, Google, and Amazon.
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Conference papers on the topic "Motion picture projectors"

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DuMont, Christopher L., Andrew F. Kurtz, Barry D. Silverstein, and David H. Kirkpatrick. "Design Improvements for Motion Picture Film Projectors." In SMPTE Technical Conference. IEEE, 2001. http://dx.doi.org/10.5594/m00978.

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Spadafora, Giovanna, Gabriele Bellingeri, Marco Canciani, Elisabetta Pallottino, Simone Ferretti, Eleonora Antonucci, and Roberto Dolfini. "Rilievo 3D e modellazione avanzata nello studio dei Forti di Roma: il Forte Monte Antenne." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11424.

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3D survey and advanced modeling in the study of the Forts of Rome: the Forte Monte AntenneIn the studies the authors are conducting on the entrenched camp of Rome, 3D surveys and digital models are used as means to understand constructions with the aim of developing restoration and re-utilization projects. For Forte Monte Antenne (1882-1891), the authors have carried out systematic studies of the formal and structural aspects. The data acquired from a direct survey and with laser scanner, drone and photogrammetry, integrated with data obtained from iconographic and bibliographic sources, were integrated in the creation of a digital model, which made the classification of the various elements in a structured database possible, including the verification of the relationship among the parts at varying levels, and the system of aeration ducts. Convective motions and the thermo-hygrometric and visual comfort within some of the environments, as well as thermographic surveys of the walls were conducted. The BIM model was integrated, therefore, with a MEP model. The hypothesis of restoration and possible adaptation to new functions cannot disregard the analysis of those parameters which complete the picture of environmental quality and thus of the effective potentials in repurposing of the structure.
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