| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "EDISON MOTION PICTURE INDUSTRY": |
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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 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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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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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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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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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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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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Picture Archive Communication Systems (PACS), 2005.
This paper discusses extensively the effects of picture archiving communications systems (PACS) and computerization on radiology workflow and turnaround time.
7,225 words (approx. 28.9 pages), 22 sources, APA, $ 160.95
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Abstract
This paper explains that digital radiology applications of picture archiving communications systems (PACS) provide improved workflow and faster turnaround times by virtue of instant display of images thereby facilitating immediate diagnosis. The author points out that radiology information systems and picture archive communication systems provide a radical departure from the traditional current film and chemical imaging applications by meeting significant and unfulfilled needs for instant imaging and quick diagnosis both in the field and in the clinic. The paper relates that while these technologies were relatively expensive just a few years ago, their cost has dropped to the point where virtually all clinicians who feel their patients can benefit from them can afford to integrate them into their diagnostic regimen. Charts.
Table of Contents
Introduction
Review and Discussion
Background and Overview.
Benefits of Radiology Information Systems (RIS).
Benefits of Picture Archive Communication Systems (PACS).
Current and Future Trends.
Conclusion
From the Paper
"The authors report that observations of the radiologists in the clinical environment showed that they relied predominantly on interpretation of images from PACS to render their conclusions, with only occasional RIS terminal use and even less frequent HIS access. The principal explanation for this behavior most likely relates to the inconvenience of accessing such data: Three different computers are required to access three separate clinical systems (ie, PACS, RIS, HIS). The Internet was not used by attending radiologists to search for external medical evidence; instead, they relied on their training and experience to reach conclusions; however, residents frequently used the Internet and reference textbooks as a source of external information while they waited for the attending radiologist's review."
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?Large Bad Picture?: Positioning the Painting, 2005.
Examines the role of the painting in ekphrastic poetry, using Elizabeth Bishop's poem, "Large Bad Picture" as an example.
1,870 words (approx. 7.5 pages), 3 sources, MLA, $ 59.95
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Abstract
This paper examines the role of paintings in ekphrastic poetry (the rhetorical description of a work of art). It shows how Elizabeth Bishop makes her fictional painting 'real' through her poem, "Large Bad Picture". It presents a comparison between "Large Bad Picture" to W.H. Auden's "Musee des Beaux Arts." The paper also provides an examination of how Bishop divides her poem between setting the scene and then delivering the poem's argument.
From the Paper
"Having settled her reader comfortably, Bishop then takes the next two stanzas to describe in clear, precise language the subject of the painting. In one long sentence enjambed over two stanzas, she describes the sunset, the span of high blue cliffs and the small caves that dot their base. The final line of the third stanza returns the reader to the title describing the caves that riddle the cliffs as being "masked by perfect waves." (12). Her description of the waves as being "perfect" give the first hint of her contention that this is a bad picture. The reader begins to understand that this composition, while possibly well executed, is unrealistic, that the painter has seen perfection in natural phenomina that are inherently imperfect and organic."
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Joseph Heller: "Picture This", 2002.
This paper reviews the novel ?Picture This? by Joseph Heller, American novelist and dramatist.
640 words (approx. 2.6 pages), 4 sources, MLA, $ 22.95
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Abstract
The author describes ?Picture This? as a work of fiction about Rembrandt's painting ?Aristotle Contemplating the Bust of Homer?, which was sold to the Metropolitan Museum of Art in 1961. The author considers the book to be more than a pure novel, as Heller takes the reader through history from Plato to Rembrandt and through the history of the painting itself. The review states that Heller in ?Picture This? has written one-liners for comic effect that sometimes appear to be incoherent.
From the Paper
"However, scattered through the book, the writer has given a good deal of material about the canvas painting itself: the model who posed for Aristotle, the circumstances of its creation, the bust of Homer, the commission that directed to this picture and much more. Furthermore, its lineage, which is the list of people who consecutively owned it as it made its way from Amsterdam to Sicily to England to the Metropolitan, has also been discussed. However, the book overall is more or less directly about the painting."
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"The Picture of Dorian Gray", 2002.
A review of "The Picture of Dorian Gray"
900 words (approx. 3.6 pages), 1 source, $ 35.95
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Abstract
This paper discusses several aspects of the central theme of "The Picture of Dorian Gray". The portrait and the soul are identified as being synonymous, so that Dorian is affected not by an object, but by his own true image.
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"The Picture of Dorian Gray", 2002.
A review of Oscar Wilde's "The Picture of Dorian Gray", focusing on the good and bad influences on Dorian.
1,029 words (approx. 4.1 pages), 0 sources, $ 36.95
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Abstract
This paper analyzes the book "The Picture of Dorian Gray" by Oscar Wilde. The characters are described and their influences on each other are discussed. The paper portrays Lord Henry Wotten as Dorian's devil, his evil inner self, and Basil Hallward as Dorian?s conscious, his guardian.
From the Paper
"Oscar Wilde?s "The Picture of Dorian Gray" continues to mystify its audience. First published in 1890, it was originally criticized for being immoral. Wilde rewrote the novel and published it again the following year, this time with a pre-face announcing its theme of immorality. Set in late 19th century London, the novel centers around Dorian Gray and two of his ?friends? ? Basil Hallward and Lord Henry Wotten."
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A Review of Tomoko Makabe's Book "Picture Brides", 2008.
A summary and review of "Picture Brides" by Tomoko Makabe, which chronicles the lives of five Canadian-Japanese women.
1,408 words (approx. 5.6 pages), 1 source, MLA, $ 46.95
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Abstract
This paper critically reviews "Picture Brides" by Tomoko Makabe, a Japanese woman living in Canada, who became fascinated by the fact that women would go overseas to marry men they did not know. The author of this paper feels that, while the book is interesting to read, a person aware of Japan's 19th and 20th century history, and the longer story of the Japanese in North America will find little that is so 'amazing' in the experience of the five women informing Makabe's work.
From the Paper
"Also, the phenomenon to which Makabe gave her attention involved a range of factors to which she seems not to have given ample thought led by the extreme gaps in Japanese social classes in the 19th and 20th centuries. Young women choosing to marry abroad, as ever, were often people with few or no alternative prospects. Makabe seems not to have considered a number of factors of the kind. For instance, a somewhat irritating aspect of Picture Brides is the author's repeated reference to how courageous the picture brides were, in a manner showing that the author has failed to imagine the turn of the 20th century and the courage that all men and women without prospects in Japan, or anywhere else, needed in order to simply survive. Makabe's informants had come to Canada as picture brides in the 1920s, by which time many Japanese women had undertaken the same sorts of journeys, going to join a settled and working man of whom their families were apt to know little or nothing. In addition to traditional family methods of locating spouses, brokers were often involved, a woman taking some risk as ever in terms of how her husband across the world turned out to be but she went abroad with the approval of her family having settled a daughter and sometimes expecting remittance funds.
As an Oral History volume, Picture Brides would be better if the author had managed a shorter introduction on herself and tried for a briefer introduction to 100 years of Japanese in Canada. More weight should have been placed on events in Japan in the later 19th and early 20th centuries that made becoming a picture bride of appeal. For instance, Makabe notes that the women were from village backgrounds and notes how a newly industrializing Japan had few waged opportunities for women that most could not work beyond the home. She seems not to see either that as elsewhere in Asia, marriage was a necessity for poorer families, and that embarking across the world as a picture bride could solve various family problems. Becoming a picture bride was probably more strategic or simply straightforward than courageous or heroic. One gains the impression that the author was fairly sheltered or had not reflected on social reality of the time in either Japan or Canada when beginning research with the assistance of the Multicultural History Society of Ontario."
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