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Journal articles on the topic 'Pioneers in motion pictures'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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1

OLSON, ALEXANDER I. "Muybridge in the Parlor." Journal of American Studies 50, no. 1 (February 10, 2015): 81–104. http://dx.doi.org/10.1017/s0021875815000018.

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Commonly regarded as one of the pioneers of motion-picture technology, Eadweard Muybridge carried out several photographic studies of animal and human movement in the late nineteenth century. One of Muybridge's lesser-known commissions was an album of interior photographs that he created in 1880 for his friends Kate and Robert Johnson. This article offers a close reading of this album and argues that it has more in common with Muybridge's motion studies than historians have previously recognized. Far from being a commercial outlier, the album offered Muybridge an opportunity to experiment with the technological and cultural possibilities of photography in a new way. Through ghosts, mirrors, and other forms of representational excess, these images make visible Muybridge's handiwork as a photographer and the intellectual complexity of his collaboration with Kate and Robert Johnson.

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2

Elgamal, Amal. "Cinema and its image." Contemporary Arab Affairs 7, no. 2 (April 1, 2014): 225–45. http://dx.doi.org/10.1080/17550912.2014.918320.

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Cinema, or motion pictures, is known as ‘the art of the moving image’. Historically, fine arts have never been prohibited by the three monotheistic religions, but after the emergence of cinema, some religious leaders not only considered it ‘undesirable’ but also called for its outright prohibition. However, no consensus has ever been reached among jurists. Cinema is a universal language and a method of narration, recounting and storytelling whose popularity exceeds that of any other art as it is more entertaining and bedazzling. Egypt was a pioneer among Arab countries in the field of cinema, producing immortal films that addressed the sufferings and concerns of its people in an artistic manner. Throughout the history of Arab cinema its trends have varied from realism and neo-realism to biography, which was introduced by Youssef Chahine. Moreover, the evolution of cinema in Arab countries, notably Egypt, Syria, Morocco, Tunisia and Lebanon, could not have been achieved without breaking taboos and tackling problematic issues within society.

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3

Savolainen, Reijo. "Information need as trigger and driver of information seeking: a conceptual analysis." Aslib Journal of Information Management 69, no. 1 (January 16, 2017): 2–21. http://dx.doi.org/10.1108/ajim-08-2016-0139.

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Purpose The purpose of this paper is to elaborate the picture of the motivators for information behaviour by examining the nature of information need as a trigger and driver of information seeking. Design/methodology/approach A conceptual analysis was made by focussing on the ways in which researchers have conceptualised information need in models for human information behaviour (HIB). The study draws on conceptual analysis of 26 key studies focussing on the above topic. Findings Researchers have employed two main approaches to conceptualise information needs in the HIB models. First, information need is approached as a root factor which motivates people to identify and access information sources. Second, information need is approached as a secondary trigger or driver determined by more fundamental factors, for example, the information requirements of task performance. The former approach conceptualises information need as a trigger providing an initial impetus to information seeking, while the latter approach also depicts information need as a driver that keeps the information-seeking process in motion. The latter approach is particularly characteristic of models depicting information seeking as a cyclic process. Research limitations/implications As the study focusses on information need, no attention is devoted to related constructs such as anomalous state of knowledge and uncertainty. Originality/value The study pioneers by providing an in-depth analysis of the nature of information need as a trigger and driver of information seeking. The findings refine the picture of motivators for information behaviour.

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4

Young, Linda. "Motion Pictures." SMPTE Journal 106, no. 1 (January 1997): 9–11. http://dx.doi.org/10.5594/j09530.

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5

Ricotta, Frank J. "Motion Pictures." SMPTE Journal 104, no. 4 (April 1995): 186–88. http://dx.doi.org/10.5594/j09609.

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6

Ricotta, Frank J. "Motion Pictures." SMPTE Journal 103, no. 4 (April 1994): 211–15. http://dx.doi.org/10.5594/j09688.

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7

Young, Linda. "Motion Pictures." SMPTE Journal 105, no. 4 (April 1996): 177–78. http://dx.doi.org/10.5594/j15829.

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8

Masson, Alan J. "Motion Pictures." SMPTE Journal 108, no. 2 (February 1999): 75–78. http://dx.doi.org/10.5594/j17112.

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9

Masson, Alan J. "Motion Pictures." SMPTE Journal 107, no. 1 (January 1998): 11–13. http://dx.doi.org/10.5594/j17616.

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10

Burns, Edward J. "Motion Pictures." SMPTE Journal 97, no. 4 (April 1988): 268–74. http://dx.doi.org/10.5594/j00667.

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11

Bonnaud, Irène, Suzanne Doppelt, Christophe Triau, and Sacha Zilberfarb. "Motion pictures." Vacarme 15, no. 2 (2001): 60. http://dx.doi.org/10.3917/vaca.015.0060.

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12

Mitchison, Tim J. "Motion pictures." Nature 357, no. 6373 (May 1992): 32. http://dx.doi.org/10.1038/357032a0.

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13

Antonoff, Michael. "Motion Pictures." Scientific American 296, no. 5 (May 2007): 24–25. http://dx.doi.org/10.1038/scientificamerican0507-24.

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14

Gomery, Douglas. "Motion Pictures." Communication Booknotes 16, no. 5 (May 1985): 49. http://dx.doi.org/10.1080/10948008509488306.

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15

Gomery, Douglas. "Motion Pictures." Communication Booknotes 17, no. 1 (January 1986): 7–9. http://dx.doi.org/10.1080/10948008609488219.

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16

Gomery, Douglas. "Motion Pictures." Communication Booknotes 17, no. 9-10 (September 1986): 98–107. http://dx.doi.org/10.1080/10948008609488269.

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17

Gomery, Douglas. "Motion Pictures." Communication Booknotes 18, no. 7-8 (July 1987): 63–69. http://dx.doi.org/10.1080/10948008709488193.

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18

Gomery, Douglas. "Motion Pictures." Communication Booknotes 18, no. 9-10 (September 1987): 93–99. http://dx.doi.org/10.1080/10948008709488203.

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19

Gomery, Douglas. "Motion Pictures." Communication Booknotes 19, no. 5 (September 1988): 95–103. http://dx.doi.org/10.1080/10948008809488155.

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20

Block, Eleanor, James K. Bracken, Eleanor S. Block, and Bruce A. Austin. "Motion Pictures." Communication Booknotes Quarterly 29, no. 1 (January 1998): 52–60. http://dx.doi.org/10.1080/10948009809361557.

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21

Levine, Niall, John A. Lent, and Bruce Austin. "Motion pictures." Communication Booknotes Quarterly 29, no. 2 (March 1998): 88–96. http://dx.doi.org/10.1080/10948009809361564.

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22

Austin, Bruce A., Eleanor Block, Chris Sterling, Robert Huesca, and Gary R. Edgerton. "Motion pictures." Communication Booknotes Quarterly 29, no. 4 (September 1998): 196–203. http://dx.doi.org/10.1080/10948009809361586.

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23

Austin, Bruce A., Niall Levine, and Chris Sterling. "Motion pictures." Communication Booknotes Quarterly 30, no. 4 (September 1999): 227–31. http://dx.doi.org/10.1080/10948009909361637.

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24

Blasko, Edward J. "Motion Pictures." SMPTE Journal 95, no. 4 (April 1986): 413–19. http://dx.doi.org/10.5594/j17960.

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25

Baptista, John L. "Motion Pictures." SMPTE Journal 100, no. 4 (April 1991): 225–31. http://dx.doi.org/10.5594/j04767.

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26

Baptista, John L. "Motion Pictures." SMPTE Journal 101, no. 4 (April 1992): 231–34. http://dx.doi.org/10.5594/j02302.

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27

Baptista, John L. "Motion Pictures." SMPTE Journal 102, no. 4 (April 1993): 289–94. http://dx.doi.org/10.5594/j03791.

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28

Iosifian, S. A., and V. A. Petrovskii. "Motion Pictures." Russian Education & Society 37, no. 10 (October 1995): 11–22. http://dx.doi.org/10.2753/res1060-9393371011.

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29

Jennifer Tebbe-Grossman. "Medicine’s Motion Pictures." Film & History: An Interdisciplinary Journal of Film and Television Studies 39, no. 1 (2009): 98–99. http://dx.doi.org/10.1353/flm.0.0076.

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30

Cho, Minhaeng. "Molecular motion pictures." Nature 444, no. 7118 (November 2006): 431–32. http://dx.doi.org/10.1038/444431a.

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31

Hunter, Jefferson. "Pictures and Motion Pictures in the 1940s." Hopkins Review 7, no. 1 (2014): 93–111. http://dx.doi.org/10.1353/thr.2014.0001.

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32

Nimis, Erika. "“Motion pictures” in Nigeria." Visual Anthropology 14, no. 3 (September 2001): 293–99. http://dx.doi.org/10.1080/08949468.2001.9966836.

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33

Leach-Murray, Susan. "SWANK Motion Pictures, Inc." Technical Services Quarterly 35, no. 1 (November 27, 2017): 115–16. http://dx.doi.org/10.1080/07317131.2017.1385299.

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34

Bardell, Eunice Bonow. "Pharmacists in Motion Pictures." American Journal of Health-System Pharmacy 45, no. 1 (January 1, 1988): 179–83. http://dx.doi.org/10.1093/ajhp/45.1.179.

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35

Copeland, V. Natasha E. "Pictures in Motion or Motion Pictures: Sembène’s Natural Products Steal the Show." Études littéraires africaines, no. 30 (November 17, 2014): 58–76. http://dx.doi.org/10.7202/1027347ar.

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Dans ses films Xala (1974) et Ceddo (1977), Sembène redéfinit l’usage des sculptures traditionnelles en bois, tout en demeurant fidèle aux métaphysiques sahéliennes dans ses innovations esthétiques, littéraires ou cinématographiques. Des masques, un bâton ou une canne jouent à l’écran un rôle qui, en raison de leur propre vitalité et de leur étroite association avec divers personnages, capte l’attention du public autant que le font les héros des films. Sembène oppose, dans la trame de ses films, la force vitale de ces objets africains à celle d’artefacts, symboles de l’Occident. Sculptés par l’homme, les objets africains restent en relation avec l’environnement dont leur substance est tirée ; Sembene établit de surcroît, entre lieux et personnages, des liens profonds, notamment entre les arbres, le bois et les hommes.

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36

Huertas, Jan, Caitlin MacCarthy, Hans Robert Schoeler, and Vlad Cojocaru. "Oct4 Pioneers Genomic Nucleosomes in Motion." Biophysical Journal 120, no. 3 (February 2021): 139a. http://dx.doi.org/10.1016/j.bpj.2020.11.1042.

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37

Porée, Marc. "Poets' lives in motion (pictures)." Études anglaises 66, no. 4 (2013): 511. http://dx.doi.org/10.3917/etan.664.0511.

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38

Baecker, Dirk. "The Reality of Motion Pictures." MLN 111, no. 3 (1996): 560–77. http://dx.doi.org/10.1353/mln.1996.0032.

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39

Bakker, Gerben. "How Motion Pictures Industrialized Entertainment." Journal of Economic History 72, no. 4 (December 14, 2012): 1036–63. http://dx.doi.org/10.1017/s002205071200068x.

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Motion pictures constituted a revolutionary new technology that transformed entertainment—a rival, labor-intensive service—into a non-rival commodity. Combining growth accounting with a new output concept shows productivity growth in entertainment surpassed that in any manufacturing industry between 1900 and 1938. Productivity growth in personal services was not stagnant by definition, as current understanding has it, but instead was unparalleled in some cases. Motion pictures’ contribution to aggregate GDP and TFP growth was much smaller than that of general purpose technologies steam, railways, and electricity, but not insignificant. An observer might have noted that “motion pictures are everywhere except in the productivity statistics.”“So long as the number of persons who can be reached by a human voice is strictly limited, it is not very likely that any singer will make an advance on the £10,000 said to have been earned in a season by Mrs. Billington at the beginning of the last century, nearly as great as that which the business leaders of the present generation have made on the last.”1Alfred Marshall

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40

Yeazell, Ruth Bernard. "Sex, Lies, and Motion Pictures." Henry James Review 25, no. 1 (2004): 87–96. http://dx.doi.org/10.1353/hjr.2004.0012.

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41

Marta Zarzycka and Bettina Papenburg. "Motion Pictures: Politics of Perception." Discourse 35, no. 2 (2013): 163. http://dx.doi.org/10.13110/discourse.35.2.0163.

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42

DecencièreFerrandière, Étienne. "Restoration of Old Motion Pictures." Microscopy Microanalysis Microstructures 7, no. 5-6 (1996): 311–16. http://dx.doi.org/10.1051/mmm:1996127.

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43

Wartenberg, T. E. "The Philosophy of Motion Pictures." British Journal of Aesthetics 49, no. 1 (January 1, 2009): 83–85. http://dx.doi.org/10.1093/aesthj/ayn053.

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44

Nebeker, F. "Motion pictures [Scanning Our Past]." Proceedings of the IEEE 101, no. 4 (April 2013): 1020–25. http://dx.doi.org/10.1109/jproc.2013.2244752.

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45

Stadler, Jane. "Experiential Realism and Motion Pictures." Studia Phaenomenologica 16 (2016): 439–65. http://dx.doi.org/10.5840/studphaen20161616.

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46

Swartz, Mark E. "Motion Pictures on the Move." Journal of American Culture 9, no. 4 (December 1986): 1–7. http://dx.doi.org/10.1111/j.1542-734x.1986.0904_1.x.

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47

López Fernández, José Luis. "Los científicos del cine." Fotocinema. Revista científica de cine y fotografía, no. 11 (July 17, 2015). http://dx.doi.org/10.24310/fotocinema.2015.v0i11.6083.

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La ciencia ha estado presente en el hecho cinematográfico desde sus orígenes, ya como impulsora de la invención misma del cinematógrafo en el ocaso del siglo XIX, ya como promotora del continuo desarrollo técnico que los soportes audiovisuales han ido experimentando y garante de la calidad de la imagen y el sonido, a la vez que elemento propiciador de la reciente apertura del cine hacia la digitalización. En este artículo nos proponemos hacer un breve recorrido por los insignos científicos que han sido protagonistas de la historia del medio en un contexto amplio, desde aquellos primeros inventores y pioneros de los efectos especiales y el trucaje hasta los crudos estereotipos sociológicos que el ámbito audiovisual nos ha ofrecido durante décadas, deteniéndonos a analizar el rol propagandístico o admonitorio que la imagen en movimiento ha desempeñado a la hora de reflejar las bienandanzas o adversidades que el progreso tecno-científico puede llegar a acarrear. Abstract:It is an undisputed fact that scientific discovery has been notably present in cinema since its early origins, either as a precursor of the Cinématographe's invention in the twilight of the nineteenth century or even as a tool intended for the technical improvement of the audiovisual aids and the progressive quality of image and sound, as well as a driving force in the opening-up to modern digitalization nowadays. Our aim in this article is to have a short tour around the most prominent scientists that have led the history of film in a wide sense, from the early inventors and the pioneers of special effects and trick photography to the on-screen sociologically stereotypes that audiovisual means have provided for decades. Finally, we also discuss the advertising or warning role that motion pictures have carried out to mainly reflect the prosperities and adversities that techno-scientific progress may entail.Palabras clave:Innovación tecnológica; cinematógrafo; documental científico; cine de animación; estereotipos; biopic.Keywords:Technological Innovation; Cinématographe; Scientific Documentary; Animated Films; Stereotypes; Biopic.

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48

"Motion Pictures." SMPTE Journal 94, no. 4 (April 1985): 369–81. http://dx.doi.org/10.5594/j14054.

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49

"MOTION PICTURES." Communication Booknotes Quarterly 31, no. 1 (March 2000): 43–54. http://dx.doi.org/10.1207/s15326896cbq3101_10.

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50

"MOTION PICTURES." Communication Booknotes Quarterly 31, no. 4 (December 2000): 258–65. http://dx.doi.org/10.1207/s15326896cbq3104_06.

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