| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "DEVELOPMENT SOUND MOTION PICTURES": |
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Development of Sound in Motion Pictures, 1990.
Traces historical developments in the addition of sound to motion pictures.
900 words (approx. 3.6 pages), 3 sources, $ 31.95
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From the Paper
"The development of sound brought about a major change in the production and exhibition of motion pictures. By 1920, the silent film was firmly established as both an art form and a commercial enterprise. Sound was formally introduced in 1926 with the production of The Jazz Singer, which had sound sequences amid an otherwise silent film (music was recorded on a track, but dialogue was relegated primarily to Al Jolson's songs and one scene between Jolson and his movie mother).
However, sound was not new to the motion picture. Indeed sound was synchronized with picture as early as 1889 by Thomas A. Edison, who worked on developing the motion picture in the first place because he saw it as a visual complement to his phonograph. Many of Edison's early Kinetoscopes were equipped with sound reproducing attachments and earphones. The Lumi?re brothers in..."
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Radio and Motion Pictures: Precursors to Television, 2004.
This paper is a description and analysis of how radio and motion pictures influenced the development of television.
1,375 words (approx. 5.5 pages), 5 sources, MLA, $ 45.95
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Abstract
This paper discusses how radio and the movies undoubtedly paved the way for television. Without them, people would not have been acclimated to the moving pictures, broadcast sound, and home entertainment that television offered. It explains how, without the radio serials and the news, there would have been little incentive for most people to go to the expense of purchasing a television and then getting into the habit of watching it regularly. Without radio and the movies to pave the way, television may not have succeeded.
From the Paper
"First came the movies. People across the world were first introduced to the magic of motion pictures in the late 19th and early 20th centuries, after the technology to produce them was developed by Thomas Edison. Up until this time, the only type of entertainment available to people that even came close to the type offered by the movies was live, on-stage productions. With the advent of motion pictures, people were able to see people perform the same piece on screen, over and over again. That was really the beauty of the movies--if people liked what they saw, they could see it again in exactly the same form as the first time they saw it."
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Edison and the Motion Picture Industry, 2002.
An overview of the history of the development of moving pictures and the role played by Thomas Alva Edison.
2,900 words (approx. 11.6 pages), 7 sources, $ 106.95
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Abstract
This paper examines the role of Thomas Alva Edison in respect to the motion picture industry. Edison is considered b many historians to be the only true innovator of motion pictures, but there are other inventors who worked at the time and also had varied degrees of success. This paper focuses on the development of the phonograph, the Kinetoscope and Kinetograph nd Edison's involvement with the creation of a motion picture studio.
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The Creation of a Motion Picture Film, 2002.
This paper is an extensive discussion of the business end of creating a motion picture film.
10,690 words (approx. 42.8 pages), 14 sources, MLA, $ 212.95
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Abstract
This paper explains the business background making a movie including budget ratios and the role of the film's accountant. The author feels that the time allocated for development and pre-production may seem extraordinarily long; however, time spent at this level is substantially less costly than time spent in production. The paper also includes macroeconomic strategies to further the global film industry.
Table of Contents
Issue Statement
Method of Investigation
Background on Film Production
Creative Development
Developing the Script
Creating the Package
Raising Production Financing
Studio Development and In-House Production Deals
The Studio Production-Financing Distribution Deal
Studio-Based Independent Production Company Financing
Independent-Distributor Financing
Pre-Production
The Production Manager
Creating a Budget
Above-the-Line vs. Below-the-Line Costs
The Shooting Ratio
The Production Schedule
The Production Board
Creating the Shooting Schedule
Script Breakdown
The Shooting Script
Studio versus Location Shooting
Shooting Interiors versus Exteriors
Pick-up Days
Sound
Crew Size
The Cross-Plot
The Director
The Cast
The Writer
Location Units
The Cinematographer and the Art Department
The Equipment
Lab Costs
The Production Accountant
Film Insurance
Conclusions Drawn from the Literature
Summary
Discussion
From the Paper
"The first step toward the creation of any feature film is the development of the idea for the film. Development is what happens before any funding can be sought. Development comprises those activities relating specifically to taking a concept or idea and turning it into a finished screenplay. Essentially this is the stage where the idea begins to be turned into a reality and this reality will usually be in the form of a script synopsis or outline proposal. It is also the first hurdle for the project. It involves formulating and organizing the idea or concept for the movie, acquiring rights to the underlying material, preparing an outline, synopsis or treatment, and writing, polishing and revising the various drafts of the script."
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Motion Picture Special Effects, 1994.
In depth discussion and analysis of motion picture special effects. Includes such movies as JURASSIC PARK, TERMINATOR 2, TRUE LIES, TOTAL RECALL, FORREST GUMP, YOUNG INDIANA JONES, HUDSUCKER PROXY, WILLOW, & others.
1,575 words (approx. 6.3 pages), 7 sources, $ 55.95
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From the Paper
" Motion picture special effects have been used since the beginning of the medium, with the early experiments of Georges M?li?s in France showing ways in which the new medium could be utilized to create images of things that seem to be happening but that in fact never happened at all. Special effects in recent years have taken a quantum leap forward with the advent of computer techniques to improve the use of established techniques of image processing and the use of traveling mattes and to initiate entirely new possibilities for such new effects as morphing and computer animation. Digital processing is clearly the wave of the future, and the wonders it has wrought already in films like Jurassic Park, Terminator 2, and True Lies are only the beginning. Computer animation techniques are being improved all the time, and the goal for many seems to be creating a film.."
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Motion Picture Industry, 2008.
A research paper investigating the various factors and variables influencing the revenue earned by films.
4,729 words (approx. 18.9 pages), 5 sources, APA, $ 121.95
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Abstract
This research examines the relationship between opening weekend box office revenue and total box office revenue for 10 feature films. Each film under examination is analyzed with regard to factors that may have influenced opening revenue and total revenue, as well as the dynamic between the two. It is hypothesized that variables such as star power, budget, and rating may have played roles in the box office revenue earned by the films.
Outline:
Introduction
Past Research
Purpose
Method
Analysis
The Relationship Between the Number of Opening Screens and Box Office Revenue
Conclusion
From the Paper
"In regards to some average statistics, feature films have first run releases of approximately 8 weeks. During this 8-week period, usually between 1000 and 2700 screens are garnered, and the films earn approximately $10 to $40 million in box office revenue. There are approximately 16 new major studio release films introduced each month into the theatrical marketplace, on an average of about 1650 screens. On average, most major feature films are able to demonstrate box office revenues of at least $30 million, particularly once all media and territories have been covered. Furthermore, many feature films are able to generate at least $30 million within 14 weeks of release into theaters."
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Motion Picture Marketing, 1996.
Product life cycle, manufacture & distribution, marketing mix, executive decision-making, chains & independent theaters, promotion, marketing planning.
2,925 words (approx. 11.7 pages), 12 sources, $ 103.95
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From the Paper
"Marketing activities are a critical part of a company's strategic plan. A company may have an outstanding product, but if it is unable to communicate that to the market, it is not likely to be successful. While the common interpretation of marketing is advertising, additional components, including the product itself, pricing strategy and distribution, are also a critical part of the marketing mix. When developing a marketing plan, companies must take into account their target market and the best way to reach that market as well as the characteristics that will make the product appeal to the market. This is a difficult activity for companies engaged in traditional manufacturing, but such companies generally have similar target markets across their product lines. The motion picture industry is unique in that each new..."
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Preston Sturges and Motion Picture Production Code, 1999.
Examines the director's comedies and his efforts to evade the Code's moralistic structures.
2,250 words (approx. 9.0 pages), 7 sources, $ 79.95
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From the Paper
"INTRODUCTION
Preston Sturges was known as a director of comedies, but he was very serious about the social commentary he included in these films. He directed the majority of his films in the 1940s, and at that time he had to work under the strictures of the Motion Picture Code which determined what could and could not be included as subject matter for films and how certain subjects could and could not be treated. Sturges showed the ability to skirt the edges of this code in his comedies, and indeed it can be argued that the creativity he showed in on the one hand following the Code sufficiently to get his films passed while at the same time challenging many of its basic assumptions in the subject matter and details of his films made his films more interesting, more creative, and more lasting than if he had been ..."
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Propaganda and the Motion Picture, 2002.
A discussion of propaganda in East European and American film.
2,275 words (approx. 9.1 pages), 10 sources, $ 84.95
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Abstract
This paper will argue that American filmmakers - even given the demands of Hollywood and the cultural and political demands of the Western marketplace - operated with considerably greater overall freedom than did those from Eastern Europe. Nonetheless, as will be seen, many American films may undeniably be considered works of propaganda.
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The Motion Picture "Catwoman", 2006.
A paper on the reasons why "Catwoman" was not a successful film.
3,850 words (approx. 15.4 pages), 11 sources, MLA, $ 105.95
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Abstract
This paper examines the reasons that in an age of wildly successful comic-book based movies, such as "Batman" and "Spiderman," "Catwoman" was not a successful movie. The author examines such issues as the writing of the movie, technical editing issues, and special effects. The paper contends that the movie is a cinematic disaster despite an all-star cast, a high budget, and good subject matter.
Table of Contents:
Executive Summary
I. Introduction
II. Situational Analysis
A.SWOT External
1. Economy
2. Society
3. Technology
4. Industry
B.SWOT Internal
1. Capital
2. Personal
3. Product
III. The 4Ps of Marketing
IV. Recommendations
From the Paper
"Catwoman, directed by the French Director Pitof, makes a climbs-down with the audience to the point of starting when Joel Schumacher puts rubber nipples on the bat suit and treated his fetish for neon-lit sets. Catwoman is Batman and Robin once again excitedly crapping over all the well-treasured achievement of 'serious' comic book movies and approaching with full vigor. Taking into account the marketing aspect, it is an easy thing to put the blame on the actress on Halle Berry due to the awesome debacle of a film. This is due to the fact that she is the one who is running around the 'nameless computer-generated city" draped in an ill fitting leather attire and doing the role of embarrassing scenes in whish she gulps down 6 cans of Tuna fish or at times she is crazy for a catnip. To discharge this role, Berry was paid millions. The audience rightly was not prepared to accept this rubbish. The true wedgie in the crotch of Catwomen is director Pitof, who had experience with special effects and Hollywood hack, who has a difficult time in feeling confident with the obsolete filmmaking devices such as "acting, "drama", & self-control for a long period to really make a movie out of this Bob Kane created character. (Catwoman: www.filmfodder.com)"
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Web Site Development for Taiwanese Film Industry, 2002.
This paper is a proposal for the development of a web site to promote the Taiwan motion picture industry.
2,204 words (approx. 8.8 pages), 8 sources, MLA, $ 68.95
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Abstract
The paper researches and describes the area, background on the project area, the importance of the project and project objectives. The writer employs graphs to more clearly illustrate the variables, then discusses relevant elements of the Taiwanese film industry. The paper concludes with the expected results and a summary of the possible limitations to such a venture.
From the Paper
"With respect to economics, the people residing in the developed regions of the world are generally better able to afford the costs associated with computer ownership and use essential to Internet use. With respect to infrastructure, the nations situated in the developed regions of the world are generally better able to construct the telecommunications systems that are necessary Internet access. With respect to population demographics, people residing in the developed regions of the world generally are more likely to possess the levels of formal educational attainment typically associated with use of the Internet."
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Cindy Sherman's "Sex Pictures", 2004.
An examination of the "Sex Pictures" series of Cindy Sherman.
904 words (approx. 3.6 pages), 8 sources, MLA, $ 31.95
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Abstract
This paper examines "Sex Pictures," a series by artist Cindy Sherman, through the critical analysis of Judith Butler. The paper looks at structural feminist theories and binary oppositions. The author gives examples of specific works.
From the Paper
"It can be argued that the work of Cindy Sherman is -at least in part- feminist critique. Certainly in reading the feminist theory of critics such as Judith Butler, one can easily see that Sherman's 'Sex Pictures' series argues on the same side of post-structuralist feminism that Butler champions. Furthermore, in juxtaposition to the work of a similar yet categorically male artists such as Hans Bellmer, it is easily seen that while Bellmer seems to operate on a more essential..."
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"Never Just Pictures", 2004.
A review of Susan Bordo's article "Never Just Pictures" concerning body image issues.
965 words (approx. 3.9 pages), 2 sources, MLA, $ 34.95
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Abstract
This paper discusses the problems caused by the media projecting certain body images. The paper examines the article "Never Just Pictures" written by Susan Bordo that highlights the impact of print and electronic media on the teenage population. The paper explores this problem as one of the causes of eating disorders amongst adolescents.
From the Paper
"No matter what the media tells you in its defense against charges of creating body image problems for kids and youth, the fact remains that media has been the biggest and probably the sole cause of emerging body image issues among kids and youth. Every teenager today wants to look like some one they see on TV or magazines, similarly even kids from grade schools have Britney Spears and Christina Aguilera as role models highlighting the impact of print and electronic media on everyone especially youth with their raw impressionable minds. This is the basic argument presented in Susan Bordo's article 'Never Just Pictures'. Bordo asserts that while media complains that it is just pictures and thus not an attempt to change body image or distort the same, the fact of the matter is that to the readers, those are never just pictures."
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Universal Studios, 2002.
Examines the history and present situation of the motion pictures company, Universal Studios.
2,320 words (approx. 9.3 pages), 7 sources, APA, $ 71.95
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Abstract
The motion picture industry, like the automobile and the steel industries, saw tremendous growth and change in the twentieth century. The paper shows that motion pictures evolved over the twentieth century from a collection of widely dispersed small operations to a handful of large companies which comprised not just motion pictures, but "entertainment" in a broader sense. Universal Studios has been at the heart of the motion picture industry for much of the twentieth century and this paper explores the history of the company, its current situation and the outlook for its success.
Outline
Introduction
Getting Started
Universal Studios
Carl Laemmle
IMP
Universal's Image
The MCA Years
History of MCA
Historical Relationship between Universal and MCA
MCA's Acquisition of Universal
Universal Under MCA
Matsushita
Seagram
Acquisition
Universal and Barry Diller
Non-filmed Entertainment
Filmed Entertainment
Lackluster Performance by Universal to Date
Outlook
Mergers and Joint Ventures
Increased Involvement by Bronfman
Universal as an Entertainment Company
Conclusion
References
From the Paper
"Over the years, Universal struggled to create a unified vision for itself. Metro-Goldwyn-Mayer is often associated with large, lavish musicals while Paramount Studios was often associated with westerns. Universal produced prestige pictures such as All Quite on the Western Front (which won the Best Picture Academy Award in 1930), but also produced horror films such as Dracula and Frankenstein. Abbott and Costello, W. C. Fields and Basil Rathbone also became associated with the studio. Standard Capital took control of the studio in 1936 for $4.5 million. In 1946, Universal merged with International Pictures forming Universal-International, a subsidiary of Universal Pictures. One year later, a British distributor purchases a majority interest in Universal ("Time Line," 1999, p. 2)."
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Funny Pictures Of Pet Dogs, 2002.
Argues that photographs taken by William Wegman of pet dogs should not be classified as true art.
2,400 words (approx. 9.6 pages), 4 sources, $ 89.95
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Abstract
William Wegman's photographs are discussed in order to ask questions about surrealism and art. Wegman's most popular art works are the photographs he takes of his dogs, and in this essay, this idea is analyzed for a relation to art in terms of content, form, and photographic technique, as well as relevance to art in terms of historical relations. The author of this essay assigns Wegman's photographs to the shallow realm of entertainment. They appeal to white middle-class pet owners and have no purpose beyond that appeal.
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