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From the very beginning of cinema, there have been amateur filmmakers at work. It wasn't until Kodak introduced 16mm film in 1923, however, that amateur moviemaking became a widespread reality, and by the 1950s, over a million Americans had amateur movie cameras. In Amateur Cinema, Charles Tepperman explores the meaning of the "amateur" in film history and modern visual culture. In the middle decades of the twentieth century-the period that saw Hollywood's rise to dominance in the global film industry-a movement of amateur filmmakers created an alternative world of small-scale movie production and circulation. Organized amateur moviemaking was a significant phenomenon that gave rise to dozens of clubs and thousands of participants producing experimental, nonfiction, or short-subject narratives. Rooted in an examination of surviving films, this book traces the contexts of "advanced" amateur cinema and articulates the broad aesthetic and stylistic tendencies of amateur films.

Amateur films --- Production and direction --- History --- Amateur moving-pictures --- Home movies --- Personal films --- Motion pictures --- 20th century american film history. --- alternative. --- amateur filmmakers. --- amateur films movement. --- amateur moviemaking. --- american film. --- art. --- camera. --- cinema and film. --- cinema. --- creativity. --- experimental film. --- film and television. --- film studies. --- film. --- filmmaking. --- global film industry. --- historical. --- history of american cinema. --- history. --- kodak. --- modern visual culture. --- movie cameras. --- movie theory. --- non theatrical cinema. --- nonfiction film. --- performing arts. --- short subject film. --- small scale movie circulation. --- small scale movie production.

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"Scholars have long been fascinated with the affinities between early cinema, Cubism, and the avant-garde. Jennifer Wild argues that these affinities are more complex than previously imagined and can be derived from historical research. Drawing from a vast popular cultural, cinematic, and art historical archive, Wild challenges how we have told the story of modern artists' earliest encounter with cinema and urges us to reconsider how early projection, film stardom, and film distribution shaped their understanding of modern life, representation, and the act of beholding. This book provides a new history and historiography that reshape how we understand French art and cinema in the first decades of the twentieth century"--Provided by publisher.

Art and motion pictures. --- Art, French --- Motion pictures --- History --- 20th century. --- abstraction. --- art history. --- art. --- artistic forms. --- avant garde. --- cinema and film. --- cinema. --- concept of horizontality. --- cubism. --- cultural life. --- dada. --- early methods of projection. --- engaging. --- film exhibition. --- film history. --- film industry. --- film studies. --- historical research. --- historical. --- interdisciplinary history. --- lively. --- making films. --- mechanomorphism. --- modern art. --- modern artists. --- modernist art form. --- nonfiction arts. --- page turner. --- paris. --- retrospective. --- stardom. --- theatre.

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Rich in implications for our present era of media change, The Promise of Cinema offers a compelling new vision of film theory. The volume conceives of "theory" not as a fixed body of canonical texts, but as a dynamic set of reflections on the very idea of cinema and the possibilities once associated with it. Unearthing more than 275 early-twentieth-century German texts, this ground-breaking documentation leads readers into a world that was striving to assimilate modernity's most powerful new medium. We encounter lesser-known essays by Béla Balázs, Walter Benjamin, and Siegfried Kracauer alongside interventions from the realms of aesthetics, education, industry, politics, science, and technology. The book also features programmatic writings from the Weimar avant-garde and from directors such as Fritz Lang and F.W. Murnau. Nearly all documents appear in English for the first time; each is meticulously introduced and annotated. The most comprehensive collection of German writings on film published to date, The Promise of Cinema is an essential resource for students and scholars of film and media, critical theory, and European culture and history.

Cinéma --- Critique cinématographique --- Motion pictures --- Film criticism --- Histoire et critique --- History --- Histoire et critique. --- Film --- anno 1900-1909 --- anno 1910-1919 --- anno 1920-1929 --- anno 1930-1939 --- Germany --- Film criticism. --- Motion picture criticism --- Moving-picture criticism --- Criticism --- Evaluation --- aesthetics and german cinema. --- bela balazs. --- cinema and film. --- early 20th century german film. --- early 20th century germany. --- early 20th century media. --- film history. --- film scholarship. --- film studies. --- film theory. --- fritz lang. --- fw murnau. --- german cinema. --- german cinematography. --- german film. --- german filmmaking. --- german media. --- german study of film. --- history of cinema. --- history of german film. --- study of german film. --- weimar cinema. --- weimar filmmakers.

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"The image that appears on the movie screen is the direct and tangible result of the joint efforts of the director and the cinematographer. A Hidden History of Film Style is the first study to focus on the collaborations between directors and cinematographers, a partnership that has played a crucial role in American cinema since the early years of the silent era. Christopher Beach argues that an understanding of the complex director-cinematographer collaboration offers an important model that challenges the pervasive conventional concept of director as auteur. Drawing upon oral histories, early industry trade journals, and other primary materials, Beach examines key innovations like deep focus, color, and digital cinematography, and in doing so produces an exceptionally clear history of the craft. Through analysis of several key collaborations in American cinema from the silent era to the late twentieth century--such as those of D. W. Griffith and Billy Bitzer, William Wyler and Gregg Toland, and Alfred Hitchcock and Robert Burks--this pivotal book underlines the importance of cinematographers to both the development of cinematic technique and the expression of visual style in film"--Provided by publisher.

Film --- United States --- Motion picture producers and directors --- Cinematographers --- Motion pictures --- Cinematography --- Production and direction --- Special effects. --- Special effects (Cinematography) --- Trick cinematography --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Cameramen, Lighting --- Directors of photography (Cinematographers) --- Lighting cameramen --- Photographers --- Special effects --- History and criticism --- 20th century american culture. --- 20th century film history. --- alfred hitchcock. --- american cinema. --- artists. --- auteur theory. --- billy bitzer. --- cinema and film. --- cinema. --- cinematographers. --- cinematography. --- collaboration. --- color. --- digital cinematography. --- directors. --- dw griffith. --- entertainment industry. --- film studies. --- film. --- filmmaking. --- gregg toland. --- history. --- motion picture photography. --- movie theory. --- oral histories. --- partnership. --- performing arts. --- retrospective. --- robert banks. --- silent era of film. --- trade journals. --- visual style of film. --- william wyler. --- United States of America