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Now showing items 18671-18680 of 18818
The case for an epistemography of montage : the Marey moment
(Amsterdam University Press, 2010)
Projected cinema (a hypothesis on the cinema’s imagination)
(Amsterdam University Press, 2010)
A slippery topic : colour as metaphor, intention or attraction?
(Nederlands Filmmuseum, 1996)
Introduction to an epistemology of viewing and listening dispositives
(Amsterdam University Press, 2010)
Contextualizing the apparatus : film in the turn-of-the-century Sears, Roebuck & Co.’s Consumers guide
(Amsterdam University Press, 2016)
The Sears, Roebuck & CO. 1898 Consumers Guide
Published by America and Canada’s largest mail order company, the 10.8 x 8.5 inches
(27.4 x 21.6 cm), 1120-page catalog was filled with illustrations, descriptions, ...
The illusion of movement, the illusion of color : the Kinemacolor projector, archaeology and epistemology
(Amsterdam University Press, 2016)
The Kinemacolor projector : Produced between 1910 and 1914 by Natural Color Kinematograph Co., Kinemacolor
projectors used panchromatized black-and-white 35mm film. The Kinemacolor projector in the Will Day collection at ...
"Bolex Artists" : Bolex cameras, Amateurism, and New York avant-garde film
(Amsterdam University Press, 2016)
Designed by Jacques Bogopolsky in 1928, the Bolex camera was first commercialized
by the Swiss firm Paillard-Bolex in 1935. The model shown here is an H16, the firm’s
emblematic 16mm model, from 1952. The camera measures ...
Méliès/Metz : comment penser le trucage?
(Forum, 2010)
Digital cinema or what happens to the dispositif?
(Amsterdam University Press, 2016)
The digital cinema package :
Created in 2005 by the Digital Cinema Initiatives—a group of Hollywood majors
that formed a joint venture in 2002,—the Digital Cinema Package (DCP) is a wrapper
containing images, sound, ...
General introduction media archaeology : Foucault’s legacy
(Amsterdam University Press, 2016)