Micromeritics - Fundamental and Derived Properties of Powders
film.pptx
1.
2.
3. Another art form which has risen to
tremendous heights within the last
century is film or cinema. As its early
name “motion pictures” declared, film
brought yet another
play—that of
moving
dimension into
images. The
possibilities of this medium created a
new art form that was to become a
powerful social and economic force,
and a legacy of the 20th century world.
4. A Technology-driven Art
Cinema, just as all modern arts, has been greatly influenced
by technology. In the case of cinema, however, it is an art
form that came in the late 1800s with “series photography”
and the invention of celluloid strip film. This allowed
successive still photos of a moving subject to be compared
on a strip of film advancing a single camera.
The need to view these moving images led to the rise of the
Kinetoscope, a peepshow cabinet with an eyehole through
which these earliest “movie” could be viewed one person at
a time.A motor inside the cabinet moved the film strip along
in a loop, with an electric bulb providing one technological
advancement after another. The French developed the
“cinematographe,” a handcracked camera, printer, and
projector all in one that lightweight enough to bring outside
the studio.
6. The Kinetoscope is an early motion picture exhibition
device. The Kinetoscope was designed for films to be
viewed by one individual at a time through
a peephole viewer window at the top of the device. The
Kinetoscope was not a movie projector but introduced the
basic approach that would become the standard for all
cinematic projection before the advent of video, by
creating the illusion of movement by conveying a strip
of perforated film bearing sequential images over a light
source with a high-speed shutter. First described in
conceptual terms by U.S. inventor Thomas Edison in
1888, it was largely developed by his employee William
Kennedy Laurie Dickson between 1889 and
1892.[1] Dickson and his team at the Edison lab also
devised theKinetograph, an innovative motion picture
camera with rapid intermittent, or stop-and-go, film
movement, to photograph movies for in-house
experiments and, eventually, commercial Kinetoscope
presentations
7. The Collaborative Art of Filmmaking
What is filmmaking?
Who are involve in
filmmaking?
8. The Collaborative Art of Filmmaking
Filmmaking, because of its technical
complexity, involves entire teams of
artists,
experts,
writers,
supported
and production
by technicians
taking charge of the cameras, lighting
equipment, sets, props, costumes,
and the like all under the supervision
of a film director.
9. Film directing – it is the director, like the painter
and sculptor in traditional art, who envisions the
final effect of the film on its viewers, visually,
mentally, and emotionally. While the painter and
sculptor work with physical materials, the film
director works with ideas, images, sounds, and
other effects to create this unique piece of art.
He/she conceptualizes the scenes, directs the
acting, supervises the cinematography and
finally the editing and sound dubbing in much
the same way as a visual artist composes an
artwork. Clearly, however, the director does not
do all these alone.
10. Acting – first and foremost, there was the art of
acting for film. With live theater as the only form
of acting at that time, film actors had to learn to
express themselves without the exaggerated
facial expressions and gestures used on stage.
With the addition of sound in the 1930s, they
then had to learn to deliver their lines naturally
and believably.
Cinematography – behind the scenes, there was
cinematography or the art of film camera work.
This captured the director’s vision of each scene
through camera placement and movement,
lighting, and other special techniques.
11. Editing – this was joined by film editing, the art of
selecting the precise sections of film, then
sequencing and joining them to achieve the
director’s desired visual and emotional effect.
Sound editing was also developed, as films
began to include more ambitious effects beyond
the dialogue and background music.
Production/Set design – this recreated in physical
terms – through location, scenery, sets, lighting,
costumes, and props –the mental image that the
director had of how each scene should look, what
period it should depict, and what atmosphere it
should convey. This included creating worlds that
did not exist as well as worlds that were long
gone, designing each production component
down to the very last detail.
12. Film
Genres
The public response to motion pictures was
immediate and enthusiastic. From makeshift
nickelodeons (movie theaters charging a nickel for
entrance) in 1904 to luxurious “dream palaces” for
middle class moviegoers by 1914, public showings of
movies were a big hit. With World War I over and the
establishment of Hollywood as the center of American
filmmaking in 1915, the movie industry was on its way
to becoming one of the biggest and most influential of
the century. With financial success came the rush to
release more and more films, in an ever-wider variety
–leading to the many film genres we know today.
first there were the silent films starring
Charlie Chaplin, and the “slapstick comedy” films
of Buster Keaton and later Laurel and Hardy. With
sound still unavailable, these films relied on purely
visual comedy that audiences found hilarious. Then,
there emerged the gangster movie genre as well as
horror and fantasy films that took advantage of the
sound technology that was newly available at that
time.
13. In the Philippines film scene, the American
influence was evident in the pre-World War
II and Liberation years with song-and-dance
musicals, romantic dramas, and comedy
films. Beginning with the turbulent 1970s,
however, progressive Filipino directors
emerged to make movies dealing with
current social issues and examining the
Filipino character.
Philippine Filmmakers
16. Catalino Ortiz Brocka (April 3, 1939 – May 21, 1991)
is a Filipino film director. He is widely regarded as one
of the most influential and significant Filipino
filmmakers in Philippine cinema history. In 1983, he
founded the organization Concerned Artists of the
Philippines (CAP), dedicated to helping artists address
issues confronting the country.
Brocka was openly gay and he often
incorporated LGBT themes into his films. He has
directed landmark films such as Tinimbang Ka Ngunit
Kulang (1974), Maynila sa mga Kuko ng
Liwanag (1975), Insiang (1976), Bayan Ko: Kapit sa
Patalim (1984), andOrapronobis (1989). In 1997, he
was posthumously given the National Artist of the
Philippines for Film award for "having made significant
contributions to the development of Philippine arts."
24. Laurice Guillen
Guillen studied at St. Theresa's College, Cebu City, earned
an AB English degree before finishing an MA in
Communication at Ateneo de Manila University, followed
by a television production course under Nestor Torre, in
1967. She then began work as an actress, starring in
productions of Mrs. Warren's Profession, before crossing
over to film and television work, playing a seductress
in Tinimbang Ka Ngunit Kulang, and Corazon Aquino in
the drama A Dangerous Life, In 2009 she accepted a role
in the indie filmKarera, her first role in an independent
production. Other credits include in the film Sister Stella
L and Moral. However, it was on television that she
became a household name when she joined the cast of
"Flor de Luna" in 1978 as Jo Alicante, Flor de Luna's
temperamental step mother. She went on to portray the
role until the mid-80s when the show folded.
26. Marilou Díaz-Abaya
(March 30, 1955 – October 8, 2012)
was a multi-awarded film
director from the Philippines.
She was the founder and
president of the Marilou Díaz-
Abaya Film Institute and Arts
Center, a film school based
in Antipolo City, Philippines.
She was the director of the
1998 film José Rizal,
a biographical film on
the Philippines' national hero.
27. 1998: José Rizal, written by Ricky
Lee, Jun Lana, produced by GMA
Films; starring Cesar Montano,
Jaime Fabregas, Gina Alajar,Jhong
Hilario, Gloria Diaz, Pen Medina;
multi-awarded by the Metro Manila
Film Festival (1998), Gawad Urian,
Star Awards, FAMAS; commercially
released at the Iwanami Hall, Tokyo
(2000); exhibited at the film festivals
of Berlin, Munich, Düsseldorf,
Madrid, Paris, Singapore, Fukuoka,
Tokyo, Pusan, Montreal, Vancouver,
Guggenheim Museum of New York,
Chicago, San Francisco, Los
Angeles, San Diego, Hawaii, and
others.
Jose Rizal, 1998
28. Muro-ami, 1999
1999: Muro Ami (Reef
Hunters), written by
Ricky Lee, Jun Lana,
produced by GMA
Films; starring Cesar
Montano, Amy
Austria, Pen Medina,
Jhong Hilario; multi-
awarded by the Metro
Manila Film
Festival (1999),
FAMAS, Star Awards;
exhibited in the film
festivals in Fukuoka,
Tokyo, Los Angeles,
Hawaii, and others.
29. Maryo J. de los Reyes
Maryo J. de los
Reyes is
a film and television
director from
the Philippines. He
began his career in
the 1970s.
30. Magnifico is
a 2003 Filipino FAMAS Award-
winning drama film directed
by Maryo J. De los Reyes,
written by Michiko Yamamoto,
and starring Jiro Manio, Lorna
Tolentino, Albert
Martinez, Gloria Romero. The
film was shot in the province
ofLaguna and is based on the
grand prize-winning piece from
a 2001 national screenplay
writing contest sponsored by
theFilm Development Council
of the Philippines.
31. Brillante Mendoza
Brillante Mendoza is a
Filipino film director. He
was born and raised in
San Fernando,
Pampanga. He took
Advertising Arts of the
then College of
Architecture and Fine
Arts at the University of
Santo Tomas. He has
directed sixteen films
since 2005.
