History of Cinema Essay Example for Free

History of Cinema Essay From the very beginning its existence the cinema has created works of art worthy to stand comparison with the masterpieces of painting, music, literature, and theatre. Even more than that, the cinema is irremovably embedded in the whole history of the twentieth century. It has not only shaped but also reflected the reality of the times. The cinema gave also form to the aspirations and dreams of people all over the world. This work will focus on the main historical factors and the conditions surrounding the history of film-making. However, it is also the case that it is simply impossible, in a work of this size, to do justice to all the many individuals, technologies and processes that have played noteworthy roles in the history of cinema. The history is not only interesting in its own right; it can also illuminate with particular clarity how the cinema works as a whole. This work consists of four main parts: the Early times, the Silent Cinema, the Sound Cinema, and the Modern Cinema from 1960 to the modern times. In each part the paper looks at history of the cinema in general. As far as possible this paper will cover each development from a broad international perspective. The Early Cinema From the beginning the cinema developed quickly. What in 1890 had been just a dream had by 1913 grown into a whole industry. First films were just moving snapshots. They were only one minute in length and nearly all consisted of just one shot. By 1905, the films were usually five to ten minutes in length and included changes of site and camera position to create a story or show a theme. Later, in the early 1910s, when the first feature-length films appeared, there little by little emerged new techniques for handling complex stories. At this time the process of creating of films had itself grown into a large-scale business. Specialist offices had emerged, exceptionally intended to the making of films. During the 1910s the heart of supply became Los Angeles Hollywood. The early cinema of from the mid- 1890s to the mid-1910s is often called pre-Hollywood cinema. The cinema of this period has also been called pre-classical. Actually the styles of filmmaking common in the early years have never been completely shifted by Hollywood or classical modes, even in America. Many films continued to be pre- or at any rate non-Hollywood in their style for a long time. But it is right to say that much of the cinema development in the years from 1906 or 1907 can be considered as laying the ground for what later became the Hollywood industry. Silent Cinema On the contrary to popular belief, the history of animation did not begin with Walt Disneys sound film Steamboat Willie in 1928. Before that film there was a popular tradition, a film industry, and a vast number of films considering nearly 100 of Disneys (Hayward 234). The general history of the animated film begins with the use of transient trick effects in films around the turn of the century. As several genres emerged (Westerns, chase films, etc. ). During 1906-10, there appeared at the same time films made all or mostly by the animation technique. Since most films were a single reel. There was little programmatic difference between the animated films and others. But the multi-reel film trend developed after around 1912. Animated films retained their one-reel-or-less length. Until the First World War, animation was a completely international phenomenon. However, after about 1915 the producers in the United States began to control the world market. In a quarter of a century, the silent cinema created a tradition of film comedy. The cinema arrived at the end of a century that had witnessed a rich development of popular comedy. Later, the new proletarian audiences of the great cities of Europe and America found their own theatre in music hall, variety, and musical comedy. With these popular audiences, comedy became constant demand. When life was bad, laughter was a comfort; when it was good, they wanted to enjoy themselves just the same. Famous comedy mime troupes of the music halls, like the Martinettis, the Ravels, the Hanlon- Lees, and Fred Karnos Speechless Comedians, can be seen as direct predecessors of one-reel slapstick films. Karno, in fact, was to train two of the greatest film comedians, Charlie Chaplin and Stan Laurel (Hayward 56- 58). The term documentary did not become popular use until the late 1920s and 1930s. In the beginning it was applied to various kinds of creative non-fiction screen practice in the post-First World War, classical cinema era. Originating films in the category have typically comprised Robert Flah erty s Nanook of the North ( 1922), various Soviet films of the 1920s such as Dziga Vertovs The Man with the Movie Camera (Chelovek s kinoapparatom, 1929), Walter Ruttmanns 11Berlin: Symphony of a City (Berlin: die Sinfonie der GroBstadt, 1927), and John Griersons Drifters ( 1929) (Cook 89). Early documentarians used the magic lantern to create complex and often sophisticated programs out of a succession of projected photographic images. The images were accompanied by a live narration, with an occasional use of music and sound effects. By the turn of the century, films were gradually replacing slides. This in turn gave rise to the new terminology. The documentary tradition preceded film and has continued into the era of television and video. In this way it was redefined in the light of technological innovations, as well as in the context of shifting social and cultural forces. British films of the period were often quite sophisticated, particularly in the comic and actuality fields. Narrative editing, too, was often innovative. Sound Cinema The development from silent to sound cinema marks a period of revolution in the history of cinema. The revolution 4can be easily dated from 6 October 1927, with the New York premiere of Warner Bros. The Jazz Singer in which Al Jolson pronounces the immortal line You aint heard nothin yet with more or less perfect synchronization between his lips in the film and his voice recorded in parallel on a disc (Hjort 90). Filmmakers began to use innovative sound technology that produced panic in cinema industry. In the same time it encouraged experiments and hopes too. While it decreased popularity of Hollywoods films for several years, it stimulated a rebirth of national film production all over the world. This period in the history of cinema has specific features that make it unique in comparison with the years before and after. The coming of sound itself, and its world-wide implications is the first look. Then the focus is on the world of the studios, how the system operated particularly in Hollywood and how different aspects of the cinema were combined together during the studio period. The studios were not entirely free to make films simply for the market. The system also encountered problems of how to regulate itself to take account of political, social, and moral concern. While other countries experienced political censorship of varying degrees of severity, the Hollywood cinema suffered relatively little interference from central government. The Hollywood was instead faced with carefully orchestrated demands for a moral clean-up and the risk of intervention by local censor boards (Neale 78-79). Along with spoken dialogue, the major innovation of the sound cinema was synchronized music. The art of musical illustration that was used during the silent period was changed by the synchronized music. A considerable difference was, certainly, that filmmakers began to use music as a part of the fictional world. For instance, music could now be introduced when the film showed an orchestra or an actor performing a song. Then, sound film would use music not only to the picture, but to dialogue as well. Music became pure background. Composition, performance, and recording were all subject to studio control, and the production of musical tracks of high quality can be counted one of the greatest achievements of the system. Outside Hollywood music tracks were often less polished. But directors were more often free to work with composers of their own choice, and Sergei Prokofievs music for Eisen stein s Alexander Nevsky (1938) provides an interesting contrast to two classic Warner Bros. scores of the same period Erich Korngolds The Adventures of Robin Hood (1938) and Max Steiners Casablanca (1943). Modern Cinema  The most significant change in world cinema since 1945 was that produced by the breakdown of the Hollywood studio system and of its competitors and imitators elsewhere. By the early 1960s the Hollywood system was in severe disarray. Declining audiences and a series of costly flops left the major studios on the verge of bankruptcy or open to hostile take-over. While the studios experienced difficulties, new enterprises such as American International Pictures emerged. These companied made low-budget movies that were intended for the new youth and drive-in markets. Many new genres came into being. One of such innovations was the road movie. It proved to be influential not only on more mainstream American films but throughout the world. The mainstream itself was forced to innovate, drawing inspiration both from the down-market competition and from the new cinemas emerging in Europe. In Europe the most important single event was the sudden explosion on to the scene of the French New Wave the Nouvelle Vague with first features by Claude Chabrol, Francois Truffaut, Jean-Luc Godard, and Alain Resnais following each other in quick succession in 1958 and 1959 (Hjort 123). The New Wave had been briefly preceded in Britain by the Free Cinema movement, and was followed by the Young German Cinema which announced its existence in the Oberhausen Manifesto of 1962 and went on to renovate the lackluster West German cinema later in the decade. In Italy the change was less sudden but none the less significant, with the creation of Federico Fellinis La dolce vita and Michelangelo Antonionis Lavventura in 1960. It was beginning of a new art cinema. Changes in the 1960s were not confined to Europe. The Cuban Revolution in 1959 gave an impetus to the growth of new cinemas throughout Latin America, notably in Brazil (Cook 45). In Japan the studio system which had nurtured the work of the great masters such as Mizoguchi and Ozu was also in crisis, and in the changed situation allowed for the entry on to the world stage of directors like Nagisa Oshima, who was to play a role in Japanese cinema similar to that of Godard in France. The new cinemas greatly extended the boundaries of film art. They brought new audiences into the cinema, for whom films assumed an unprecedented cultural importance. Throughout the 1960s and into the 1970s the cinema spoke more directly to these mainly young audiences than did any of the more traditional art forms. But outside Italy, France and England the innovate cinema with the new realities was not popular. Because of the limits on the size of the audience, the new cinema had to be low-budget or propped up by subsidy (sometimes both) in order to survive (Guneratne 67). The new period in Hollywood cinema begins from the 1975 release of Steven Spielbergs Jaws. The film signaled the birth of a new, younger generation of Hollywood directors. Born mainly in the 1940s, they both studied the films of classical Hollywood and were influenced by the filmmakers of world cinema. George Lucas and Steven Spielberg made blockbusters with classic principles. One of the most famous filmmaker in the 1980s has been Woody Allen. Allen has made famous films, such as Interiors (1978) and Stardust Memories (1980). Conclusion There exists recognition of the fact that from the beginning the cinema has developed in remarkably similar ways all over the world. But it is also recognized that from the end of the First World War onwards, one film industry the American has played a main role in the creation of worlds cinema. However, many nations have created their own, culturally identifiable, genre films that proved extremely popular during the 1970s and 1980s. In India, for instance, a remarkable 250 film-making companies, using more than 60 studios, continued to produce 700 feature films a year throughout the 1980s (Kindem 23). The central government encouraged the making of Indian films by requiring all commercial cinemas to screen at least one Indian film per show. A star system, much like Hollywoods of the 1930s and 1940s, is strong in all parts of the world. Indeed Indian stars working on several productions at the same time can become enormously wealthy. The nations survived mainly by learning from Hollywood cinema. At the same time Europe produced a product that corresponded to needs that Hollywood cinema could not supply. Asian countries have been strong producers of film. Hong Kong, a country of only 5 million people, produces more films than Hollywood. In the 1990s Hong Kongs citizens watched Hollywood and native productions in about equal numbers. In the 1980s Hong Kong martial arts films were distributed world-wide in large numbers. With broadcasting systems combined with the rise of satellite-distributed services Hollywood penetrates even these markets. Hollywood produced the most famous icons in the world such as Steven Spielberg and Arnold Schwarzenegger. With its international control, the Hollywood corporations could and will define standards of film style, form, and content.

Response To Aol Controversy :: essays research papers

Response To AOL Controversy The article "America Online, while you can" by Bob Woods is all about the hoopla concerning the fact that America Online, or AOL, has not been able to accommodate its vast amount of customers. This is due to AOL's new flat rate, which substituted their original hourly deal. Many AOL users experience busy signals when trying to log on. When and if they do get on AOL, the service runs extremely slow because of the overload of users. Woods threatens that AOL will lose many of their customers if they don't improve their resources. Other companies should beef-up their advertising and try to cash in by targeting the unsatisfied AOL users. In this day and age of internet use, people in any given location can choose from at least fifteen national companies, such as sprintlink, compuserve, ameritech, erols and so on. Using these services are less expensive than America Online. Per month for unlimited use they average at around $10 to $15 dollars as opposed to AOL's hefty $19.95 a month. AOLers are paying for the appealing menus, graphics and services AOL uses to drive their customers to the internet. These same features can be located anywhere else on the net with the aid of any search device, such as infoseek, yahoo, microsoft network or web- crawler. These sites are no harder to use and they provide lots of helpful menus and information. In Wood's article, he states that he lives in Chicago, and AOL has several different access numbers to try if one is busy. He writes that often when he has tried to log on using all of the available numbers, and has still been unsuccessful. This is a problem for him because he is dependent on AOL to "do the daily grind of (his) job as a reporter and PM managing editor." If I was not satisfied with the performance of my internet provider, which happens to be sprintlink, I would not complain to the company. I would take my money elsewhere, especially if my job depended on using the internet. With all of the other options available, wasted time and inevitable frustration using AOL could be eliminated. I live in Richmond, Va., which is a fairly big city and have not once been logged off or gotten a busy signal using sprintlink. And I only have one access line available with my provider as opposed to AOL's multiple lines. I agree with Woods in the fact that people will (in most circumstances) get better internet service and customer service with a local, smaller or more

Complicated Attitudes Towards Female Characters Essay

I agree with this statement, as the female characters are revealed to the reader as being powerful over men, seductive, suspicious, mysterious, bewitching and in the end, cause destruction. However, in the poems, males claim some possessiveness over the females. For example; in the poem ‘La Belle Dame Sans Merci’ a beautiful woman tempts men/ knights with her ‘faery’ beauty. The knight in the poem, falls in love with her through her seductive actions, but then she abandons him. ‘ I met a lady in the meads, Full beautiful – a faery’s child’ This quote shows how mysterious the female is by describing her as a ‘faery’s child’ which basically means a mystical fairy in human form, who is playful and has magical powers. In ‘La Belle Dame Sans Merci’ the reader only gets one interpretation of the female through the knights direct speech, this reflects a complicated attitude to the reader as we have a biased opinion of the female. Also, not having direct speech from ‘La Belle’ adds to the mysterious-ness of female characters in Keats’ poetry. A male contrast in this poem is quite important, as in many of Keats’ poetry. The knight claims possession over the female. He creates garlands and bracelets for which could be used to enclose and trap her. ‘I made a garland for her head, And bracelets too, and fragrant zone’ ‘I set her on my pacing steed’ These quote shows his possessiveness over the beautiful woman. In the same way, ‘The Eve Of St Agnes’ portrays these attitudes towards females. The narrator focuses on a virgin named Madeline, describing her as pure, nieve, vague and blinded by superstition. This gives the reader the impression of her being easily led and expressing her as being quite innocent. In the poem Madeline is at a party and is oblivious to everything going on around her, she is only thinking of the legend St Agnes. St Agnes Eve is believed by virgins that on this night they will see their future husbands in the dreams. The poet describing Madeline as one of these believers, shows the theme of suspicion and witchcraft, as Madeline will perform the rites associated with St Agnes. Keats’ uses negative capability to contrast innocence with flirtatious, this happens when Madeline goes up to her bedchamber to undress for bed. ‘Of all its wreathed pearls her hair she frees; Unclasps her warmed jewels one by one; Loosens her fragrant boddice; by degrees Her rich attire creeps rustling to her knees:’ Describing the way she undresses makes her seem like shes doing a striptease. A male in the poem named Porphyro, affects the readers attitude towards Madeline, as he comes across as being the seductive one. As Madeline undresses he watches as he’s hiding in her closet. This could portray to the reader about the attitudes towards women, that Madeline purposely stipped like that, because she was thinking about and wishing to tease Porphyro. But as a coincidence, he was there watching every move, showing the powerfullness of women over men. Also, the quote: Sudden a thought came like a full blown rose flushing his brow, and in his pained heart’ Keats’s could be referring to how cunning Porphyro might be, as he was told by the old belle dame that it’s St Agnes Eve and Madeline had gone up to her bedchamber to dream of her future lover, giving him a seductive idea. To conclude, Keats uses many different methods, to have an impact on the reader about complicated attitudes towards females in his poetry. Using sympathy as a weapon for the males in his poetry. However, more indepth reading shows that there may be contrasts between men and women and that their roles can be switched over.

Recruitment and Selection in Hotel Industry - 1428 Words

Human Resource Practices In Hotel Industry INTRODUCTION TO HOTEL INDUSTRY One of the fastest growing sectors of the economy of our time is the hotelindustry. The hotel industry alone is a multi-billion dollar and growingenterprise. It is exciting, never boring and offer unlimited opportunities. Thehotel industry is diverse enough for people to work in different areas of interestand still be employed within the hotel industry. This trend is not just in India, but also globally. Modern hotels provide refined services to their guests. The customers or guests are always right. This principle necessitated application of management principles in the hotel industry and the hotel professionals realized theinstrumentality of marketing†¦show more content†¦There can be two kinds of sources of recruitment for organizations - internal and external. Internal recruitment - It means getting the candidate from within the organization to fulfil a vacancy. Internal recruitment can be done by: - Transfer - transferring an employee from one location/ department to other. - Promotion - Taking the employee higher up in the hierarchy - Ex-employees - These could be the retired or retrenched employees - Demotion - Lowering the position of an employee in the hierarchy for various reasons External recruitment - It means getting the absolutely new candidate to the company. The sources of these employees could be many: - Job notifications in the print/ online media - College campuses - Placement agents - Unsolicited applicants - Employee referral program - Employment exchange - Labour contractors Human Resources Planning * A continuous process by which hospitality companies identify future needs and how they can be met * It also includes the development of future supervisors and managers * Barriers to effective selection: The main objective of selection is to hire people having competence and commitment. 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