Probably the first fictional film ever made was the Lumière's L'Arroseur arrosé, which was first screened at the Grand Café des Capucins on December 28, 1895. A year later in 1896, Alice Guy-Blaché directed the fictional film La fee aux choux.
Yet perhaps the best known of early fictional films is Georges Méliès’s A Trip to the Moon from 1902. Most films previous to this had been merely moving images of everyday occurrences, such as L'Arrivée d'un train en gare de La Ciotat by Auguste and Louis Lumière. Méliès was one of the first directors to progress cinematic technology, which paved the way for narratives as style of film.
Direct-to-video or straight-to-video (also known as direct-to-VHS, direct-to-DVD, direct-to-Blu-ray, direct-to-digital, etc.) refers to the release of a film to the public immediately on home video formats rather than a theatrical release or television broadcast. Because inferior sequels or prequels of larger-budget films may be released direct to video, references to direct-to-video releases are often pejorative. Direct-to-video release has also become profitable for independent filmmakers and smaller companies.
Microfilmmaking is the production of ultra-low budget movies.
Without the backing of major movie studio, microfilmmakers have to be resourceful in raising even their modest budgets. They often hold a “regular” job and fund their film projects out of their own pockets. Many begin the filmmaking process by approaching friends and family for donations of money or services.
Microfilmmakers are often the first to adopt new technologies and techniques, economic necessity leading to creative invention. The lack of money leads them to try new ways of doing things, or invent new techniques. Microfilmmakers were among the first to shoot movies on video.
Cinema of the Netherlands refers to the film industry based in Netherlands. Because the Dutch film industry is relatively small, and there is little or no international market for Dutch films, almost all films rely on state funding.[citation needed] This funding can be achieved through several sources, for instance through the Netherlands Film Fund or the public broadcast networks. In recent years the Dutch Government has established several tax shelters for private investments in Dutch films.
From box office results in the Netherlands Dutch films has a share of 11.5%.
Camera coverage, in filmmaking and video production, is the amount of footage shot and different camera angles used to capture a scene. When in the post-production process, the more camera coverage means that there is more footage for the film editor to work with in assembling the final cut.
An audiographer is responsible for more aspects of sound in film production than their more specialised Western world counterpart. The responsibilities include production sound recording, dialogue editing, sound design, sound effects editing, ADR editing, Foley editing and sound mixing (dubbing). A degree or diploma in audiography or audio electronics are the usual qualifications for the job.
Triumph of the Will was released in 1935 and became a prominent example of propaganda in film history. Riefenstahl's techniques—such as moving cameras, aerial photography, the use of long focus lenses to create a distorted perspective, and the revolutionary approach to the use of music and cinematography—have earned Triumph of the Will recognition as one of the greatest propaganda films in history. Riefenstahl helped to stage the scenes, directing and rehearsing some of them at least fifty times. Riefenstahl won several awards, not only in Germany but also in the United States, France, Sweden, and other countries. The film was popular in the Third Reich, and has continued to influence movies, documentaries, and commercials to this day. However, it is banned from being shown in Germany owing to its support for Nazism and its numerous portrayals of the swastika.
Just a minute away from the Albert Cuyp market, the Sarphati park is the perfect place to relax
>The Sarphati Park is named after the Jewish doctor and philanthropist Samuel Sarphati (1813-1866), whose marvelous 19th century monument dominates the park. This small (it stretches for only two blocks) rectangle of green in the middle of trendy De Pijp area is one of the nicest in Amsterdam.
The primary difficulty in underwater camera usage is sealing the camera from water at high pressure, while maintaining the ability to operate it. The diving mask also inhibits the ability to view the camera image and to see the monitoring screen clearly through the camera housing. Previously the size of the video camera was also a limiting factor, necessitating large housings to enclose the separate camera and record deck.. Early video cameras also needed large batteries because of the high power consumption of the system. Current Lithium-ion batteries have long run times with relatively light weight and low volume.
Another problem is the lower level of light underwater. Early cameras had problems with low light levels, were grainy, and did not record much color underwater without auxiliary lighting. Large unwieldy lighting systems were problematic to early underwater videography. And last, underwater objects viewed from an airspace with a flat window, such as the eye inside a mask or the camera inside a housing, appear to be about 25% larger than they are. The photographer needs to move farther back to get the subject into the field of view. Unfortunately that puts more water between the lens and the subject resulting in less clarity and reduced color and light.
Natuurmonumenten (Dutch Society for Nature Conservation) is going to restore one of the largest freshwater lakes in western Europe by constructing islands, marshes and mud flats from the sediments that have accumulated in the lake in recent decades. These 'Marker Wadden' will form a unique ecosystem that will boost biodiversity in the Netherlands.
Lake Markermeer (700 km2) used to be part of the Dutch Zuiderzee, but is now cut off from the North Sea and rivers by dams, dikes and reclaimed land. The lake has barely any natural shores, and its waters are often extremely turbid as wind and waves churn up the accumulated sediments from the relatively shallow lake floor (2-4 m deep). As a result, fish and bird populations have declined dramatically.
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During Commemoration Day on the 4th of May, Holland grieves for the people killed in wars with two minutes of silence.
The visual components of a movie are obviously integral to filmmaking; the images that are the hallmark of our medium allow us to see the narrative unfold. However, cinema is also a medium of sound, and how we use the audible elements can drastically change how our audiences respond to our stories.
Since filmmakers essentially build a film out of nothing, compiling raw footage, sound effects, dialog, and music to form a visual story, it might be difficult to recognize that what we don't put in a film is just as important (if not more) as what we do put in.
Silence can actually speak louder to your viewers than a cacophony of sound effects, dialog, and music ever could.
Virtual artifacts in digital environments
Humans have expanded the existing environment to the virtual domain. Virtual artifacts can be seen as an essential cultural phenomenon in modern society. Virtual artifacts bear meanings and functions and since they are part of the world they affect real world events and people’s lives.
Virtual artifacts have certain similarities to real-life artifacts even though they do not have physical properties in the traditional sense. Simulated virtual objects (photorealistic VA) and environments have a model in the real world; however, depending on the context, an abstract virtual artifact isn’t necessarily dependent on the laws of physics or causality.
Some virtual artifacts are purely abstract in their nature, therefore they can't model real-life objects or phenomena. For example, computer programs or digital user interfaces, while often containing representative components of real-life objects, can't exist in physical terms. These virtual artifacts do not have to be comprehensible to humans at all; they can be created and understood solely by artificial intelligence.
Virtual artifacts can have physical properties (for example color, length) depending on the environment they exist in. These physical properties can be presented and perceived using a certain medium such as a computer screen. On the other hand, virtual artifacts can also contain properties that aren’t perceptible. Due to their immaterial nature they can be flexibly accessed, reproduced and archived — even simultaneously by multiple users.
Pars pro toto, Latin for "a part (taken) for the whole", is a figure of speech where the name of a portion of an object, place, or concept represents its entirety. It is distinct from a merism, which is a reference to a whole by an enumeration of parts; metonymy, where an object, place, or concept is called by something or some place associated with the object, place, or concept; or synecdoche, which can refer both to this and its inverse of the whole representing a part.
In the context of language, pars pro toto means that something is named after a part of it, or after a limited characteristic, in itself not necessarily representative for the whole.
The economic struggles and the everyday life of a woman and mother, Mama Halosina in Huguma village, Yahukimo District, West Papua.
Producer PV Wamena
Year produced 2015
This work is licensed under a Creative Commons License
Soviet montage theory is an approach to understanding and creating cinema that relies heavily upon editing (montage is French for "assembly" or "editing").
Although Soviet filmmakers in the 1920s disagreed about how exactly to view montage, Sergei Eisenstein marked a note of accord in "A Dialectic Approach to Film Form" when he noted that montage is "the nerve of cinema", and that "to determine the nature of montage is to solve the specific problem of cinema". Its influence is far reaching commercially, academically, and politically. Alfred Hitchcock cites editing (and montage indirectly) as the lynchpin of worthwhile filmmaking. In fact, montage is demonstrated in the majority of narrative fiction film available today.
