The study task we have received over the assessment week. Is to research a subject ready for the briefing when we get back. I thought for quite a long time in what I could do I also searched for the subject of the day and this came up with newspapers....
But I didn't think this was interesting. And therefore, I didn't feel enthusiastic to delve within that subject.
So I text Sam to give me some words & subjects so that I could chose from then and I didn't end up with nothing on tuesday!
So she gave me, flowers, cinema, sandwiches & perfume.
I chose cinema out of all of them because I thought this had the most to research within and I like going to the cinema on a regular basis and eating popcorn!
History of Cinema:
17th Century Use of Magic Lanterns
1827
First still photograph taken, using a glass plate technique
Claude Niepce's photograph the View from a Window at Le Gras
took nearly eight hours to expose.
1834 Another illusion toy - the Zoetrope was introduced by William George Horner. The Zoetrope used the same principle as Plateau's Phenakistoscope but instead of discs the pictures and slots are combined in a rotating drum. Zoetrope's were widely sold after 1867.
1839 Henry Fox Talbot makes an important advancement in photograph production with the introduction of negatives on paper - as opposed to glass. Also around this time it became possible to print photographic images on glass slides which could be projected using magic lanterns.
1846
Important in the development of motion pictures was the invention
of intermittent mechanisms - particularly those used in sewing
machines.
1877
Emile Reynaud introduces the Praxinoscope. Similar in design
to Horner's Zoetrope, the illusion of movement produced by
the Praxinoscope was viewed on mirrors in the centre of the
drum rather than through slots on the outside.
1878
Eadweard Muybridge achieves success after five years of trying
to capture movement. Muybridge was asked, in 1873, by the
ex-governor of California - Leland Stanford to settle a bet
as to whether horses hooves left the ground when they galloped.
He did this by setting up a bank of twelve cameras with trip-wires
connected to their shutters, each camera took a picture when
the horse tripped its wire. Muybridge developed a projector
to present his finding. He adapted Horner's Zoetrope to produce
his Zoopraxinoscope.
1882
Emile Reynaud expands on his praxinoscope and using mirrors
and a lantern is about to project moving drawings onto a screen.
1888
George Eastman devises a still camera which produces photographs
on sensitised paper which he sells using the name Kodak.
1888
Etienne Marey builds a box type moving picture camera
which uses an intermittent mechanism and strips of paper film.
1888
Thomas A. Edison, inventor of the electric light bulb and
the phonograph decides to design machines for making and showing
moving pictures. With his assistant W.K.L Dickson (who did
most of the work), Edison began experimenting with adapting
the phonograph and tried in vain to make rows of tiny photographs
on similar cylinders.
1889
Edison travels to Paris and views Marey's camera which uses
flexible film. Dickson then acquires some Eastman Kodak film
stock and begins work on a new type of machine.
1891
By 1891, Edison and Dickson have their Kinetograph camera
and Kinetoscope viewing box ready for patenting and demonstration.
Using Eastman film cut into inch wide strips, Dickson punched
four holes in either side of each frame allowing toothed gears
to pull the film through the camera.
1892
Using his projecting Praxinoscope, Reynaud holds the first
public exhibitions of motion pictures. Reynaud's device was
successful, using long strips of hand-painted frames, but
the effect was jerky and slow.
1893
Edison and Dickson build a studio on the grounds of Edison's
laboratories in New Jersey, to produce films for their kinetoscope.
The Black Maria was ready for film production at the end of
January.
1894 The Lumière family is the biggest manufacturer of photographic plates in Europe A Local kinetoscope exhibitor asks brothers Louis and Auguste to make films which are cheaper than the ones sold by Edison.
Louis and Auguste design
a camera which serves as both a recording device and a projecting
device. They call it the Cinématographe. The Cinématographe uses
flexible film cut into 35mm wide strips and used an intermittent
mechanism modeled on the sewing machine. The camera shot films
at sixteen frames per second (rather than the forty six which
Edison used), this became the standard film rate for nearly
25 years.
1894
During this year Woodville Latham and his sons Otway and Gray
began working on their own camera and projector.
1894
Edison's Kinetoscope made its debut in
London. The parlour which played host these machines did remarkably
well and its owner approached R.W Paul, a maker of photographic
equipment to make some extra machines for it. Incredibly,
Edison hadn't patented his kinetoscope outside of the US,
so Paul was free to sell copies to anyone, however, because
Edison would only supply films to exhibitors who leased his
machines, Paul had to invent his own camera to make films
to go with his duplicate kinetoscopes.
1894
Another peepshow device, similar to the kinetoscope arrived
in the Autumn of 1894. The Mutoscope was patented by Herman
Casler, and worked using a flip-card device to provide the
motion picture. Needing a camera he turned to his friend W.K.L
Dickson who, unhappy at the Edison Company cooperates and
with several others they form the American Mutoscope Company.
1895
The first film shot with the Cinématographe camera is La Sortie
de l'usine Lumière a Lyon (Workers leaving the Lumière factory
at Lyon). Shot in March it is shown in public at a meeting
of the Societe d'Encouragement a l'industrie Nationale in
Paris that same month.
1895 R.W Paul and his partner Birt Acres had
a functional camera which was based partly on Marey's 1888
camera. In just half a year they had created a camera and
shot 13 films for use with the kinetoscope. The partnership
broke up, Paul continuing to improve upon the camera while
Acres concentrating on creating a projector.
1895
The Lathams too had succeeded in creating a camera and a projector
and on April 21st 1895 they showed one film to reporters.
In May they opened a small storefront theatre. Their projector
received only a small amount of attention as the image projected
was very dim. The Lathams did however contribute greatly to
motion picture history. Their projectors employed a system
which looped the film making it less susceptible to breaks
and tears. The Latham Loop as it was dubbed later is still
in use in modern motion picture projectors.
1895
Atlanta, Georgia was the setting for another partnership.
C. Francis Jenkins and Thomas Armat exhibit their phantoscope
projector but like Latham, attracts a moderate audience due
to its dim, unsteady projector and competition from the Kinetoscope
parlours. Later that year, Jenkins and Armat split. Armat
continued to improve upon the projector and renames it the
Vitascope, and obtained backing from American entrepreneurs
Norman Raff and Frank Gammon.
1895
One of the most famous film screenings in history took place
on December 28th, 1895. The venue was the Grand Cafe in Paris
and customers paid one Franc for a twenty-five minute programme
of ten Lumière films. These included Feeding the Baby, The
Waterer Watered and A View of the Sea.
1896 Herman Casler and W.K.L Dickson had developed
their camera to go with Casler's Mutoscope. However the market
for peepshow devices was in decine and they decided to concentrate
on producing a projection system. The camera and projector
they produced were unusual as they used 70mm film which gave
very clear images.
1896
The Lumière brothers sent a representative from their company
to London and started a successful run of Cinématographe films.
1896
R.W. Paul continued to improve his camera and invented a projector
which began by showing copies of Acres' films from the previous
year. He sold his machines rather than leasing them and as
a result speeded up the spread of the film industry in Britain
as well as abroad supplying filmmakers and exhibitors which
included George Méliès.
1897
By 1897 the American Mutoscope Company become the most popular
film company in America - both projecting films and with the
peephole Mutoscope which was considered more reliable than
the kinetoscope.
1902
Georges Méliès produces his magnificent "Voyage to the Moon",
a fifteen minute epic fantasy parodying the writings of Jules
Verne and HG Wells. The film used innovative special effect
techniques and introduced colour to the screen through hand-painting
and tinting.
1903
British film maker George Smith makes Mary Janes Mishap which
was praised for its sophisticated use of editing. The film
uses medium close-ups to draw the viewers attention to the
scene, juxtaposed with wide establishing shots. The film also
contains a pair of wipes which signal a scene change.
1903
The American Mutoscope and Biograph Company begin making films
in the 35mm format rather that the 70mm which boosted their
sales. The company went on to employ one of the most important
silent film directors - D.W Griffith in 1908.
1903
Edwin S. Porter, working for Edison makes "The Life of an
American Fireman" which displayed new visual storytelling
techniques and incorporated stock footage with Porter's own
photography. It acted as a major precursor to Porter's most
famous film "The Great Train Robbery" also made in 1903 which
displayed effective use of editing and photography technique.
Different Types of Cinema:
Multiplex
IMAX
Independent and Second-Run
Drive-In
Open Air Cinema
Cleared areas where the audience sits upon chairs or blankets and watch the movie on a temporary screen, or even the wall of a convenient building.
Mobile Cinemas
In 1967 the British government launched seven custom built mobile cinema units for use as part of the Ministry of Technology campaign to raise standards. Using a very futuristic look these 27 seat cinema vehicles were designed to attract attention. They were built on a Bedford chassis with a custom Coventry Steel Caravan extruded aluminium body.
Bike-ins
The Bell Museum of Natural History in Minneapolis, Minnesota has recently begun summer "bike-ins," inviting only pedestrians or people on bicycles onto the grounds for both live music and movies. In various Canadian cities, including Toronto, Calgary, Ottawa and Halifax, al-fresco movies projected on the walls of buildings or temporarily erected screens in parks operate during the Summer and cater to a pedestrian audience.
Luxury Cinema
Cinemas in city centers are increasingly offering luxury seating with services like complimentary refills of soft drinks and popcorn, a bar, reclining leather seats and service bells. The Vue Cinema chain is a good example of a large-scale offering of such a service, called "Gold Class" and similarly Britain's largest cinema chain ODEON have gallery areas in some of their bigger cinemas where there is a separate foyer area with a bar and unlimited snacks.
4D Cinema
4D
Dynamic Cinema, is the first 4D cinema to open in Melbourne, Australia.
The cinema uses state of the art technology that employs interactive
seats and unique special effects built into the theatre itself.
By
creating a set of "4D" effects that are synchronized to the film
production, the 4D Theatre adds another layer of immersive fun for
audiences.
Feel
the wind blowing through your hair as you chair moves you through the
crazy rollercoaster ride, swim with sharks or even ride your own formula
one experience. Whatever experience you choose, you feel as though you
are part of the movie without even leaving your seat.
Everyman Cinema
Originally built as the Hampstead Drill Hall and Assembly Rooms and later transformed into a theatre,
the
Everyman cinema in Hampstead was first opened in December 1933 and is
now one of Britain's oldest independent cinemas. As local independent
cinema was being edged out by the multiplex boom of the 1990’s, the
Everyman was rescued in 1999 by local businessman, Daniel Broch. What
followed was the development of the Everyman Cinema concept. With this
new direction and the success of the turnaround of Hampstead, the
Everyman Media Group has gone from strength to strength and in March
2008, as part of ambitious expansion plans, acquired the independent
cinema chain Screen Cinemas.
Secret Cinema
Edible Cinema
The event’s emphasis is on great food,
but textures play an intricate part in the experience to an almost
neuroscience scale. With a mixologist from Bombay Sapphire and an
experimental food designer, each screening is a labour of love for the
Edible team.
“We’ll identify a really strong moment in
the film and decide we need something to represent, say, a salty sea
breeze, a heart being ripped out or a crispy newt,” says Zoe. For ‘Pan’s
Labyrinth’, they made a hay-flavoured yoghurt, granola and fig
concoction to enhance the moment when the character Ofelia has bugs
crawling over her. The crispy newt was chocolate covered in seaweed.
Multi-sensory is certainly one of way of looking at it.
Related Information:
Patrons are typically angered by cellphone use, talking, and other disturbances during the viewing. On July 18, 2008, a screening of The Dark Knight had to be delayed for about an hour because of multiple fights over saving seats. There was a near riot and police had to be called in.
For example, a screening of Alice in Wonderland had to be stopped short at the Regal Stadium 14 in Bowie, MD due to a fight that occurred over a teenager who constantly put her feet on the chair of a child sitting in front of her. The father of the child had to be escorted out of the theater by local police.
In February 2011, after a screening of Black Swan in Latvia, a man was shot dead for reportedly eating his popcorn too loudly
U : Suitable for all
PG : Parental Guidance
12: Suitable for 12 years or over
12A: Not suitable for anyone younger than 12 unless accompanied by an adult
15: Suitable for 15 years or over
18: Suitable only for adults
Hyde Park Picture House
The first film to be shown at the picture House was Their Only Son, billed as a patriotic drama and was followed the next week by the famous invasion drama An Englishman's House. Although few new cinemas could be built during the war years audiences continued to grow. By September 1914 over 6000 men had enlisted in Leeds and the cinema provided news bulletins, war footage and morale boosting dramas as well as the escapism of lavish productions. In the years to come the cinema would become the highlight of many people's week.
A vibrant heart within the thriving Hyde Park community. Over time it became the backdrop to many little off screen dramas. It was a hot spot for young couples and many a romance blossomed in the back row. The advent of the talkies in the late 20's didn't hurt the stride of the little Picture House in the slightest and a quick conversion to sound was easilly enough achieved but the road was now open for many a new hurdle. The 30's saw the building of several new city centre 'super cinemas' capable of seating up to 3000 people at once.
The 50's saw the development of television. In the 80's it was video, the 90's was the new multiplex surge and the new millenium brought with it DVDs and the full power of the internet. BUT with all these changes the Picture House is all the more able to be a constant, a regular friendly face in an ever changing social landscape.
History of Early Animation:
The magic lantern is an early predecessor of the modern day projector. It consisted of a translucent oil painting, a simple lens and a candle or oil lamp. In a darkened room, the image would appear projected onto an adjacent flat surface. It was often used to project demonic, frightening images in order to convince people that they were witnessing the supernatural. Some slides for the lanterns contained moving parts which makes the magic lantern the earliest known example of projected animation
A thaumatrope was a simple toy used in the Victorian era. A thaumatrope is a small circular disk or card with two different pictures on each side that was attached to a piece of string or a pair of strings running through the centre. When the string is twirled quickly between the fingers, the two pictures appear to combine into a single image. The thaumatrope demonstrates the Phi phenomenon, the brain's ability to persistently perceive an image
Phenakistoscope
The phenakistoscope was an early animation device. It was invented in 1831 simultaneously by the Belgian Joseph Plateau and the Austrian Simon von Stampfer. It consists of a disk with a series of images, drawn on radii evenly spaced around the center of the disk. Slots are cut out of the disk on the same radii as the drawings, but at a different distance from the center. The device would be placed in front of a mirror and spun.
The zoetrope concept was suggested in 1834 by William George Horner, and from the 1860s marketed as the zoetrope. It operates on the same principle as the phenakistoscope. It was a cylindrical spinning device with several frames of animation printed on a paper strip placed around the interior circumference. There are vertical slits around the sides through which an observer can view the moving images on the opposite side when the cylinder spins. As it spins the material between the viewing slits moves in the opposite direction of the images on the other side and in doing so serves as a rudimentary shutter. The zoetrope had several advantages over the basic phenakistoscope. It didn't require the use of a mirror to view the illusion, and because of its cylindrical shape it could be viewed by several people at once.
Flip book
The first flip book was patented in 1868 by John Barnes Linnett as the kineograph. A flip book is just a book with particularly springy pages that have an animated series of images printed near the unbound edge. A viewer bends the pages back and then rapidly releases them one at a time so that each image viewed springs out of view to momentarily reveal the next image just before it does the same.
Popcorn at the cinema
Today when you go to the movies, you can get all the popcorn you want with different seasonings for extra variety. But did you ever stop to wonder how popcorn became the most popular of all Movie Munchies?
Back in the silent era, popcorn wasn't a fixture at all in theaters. It could be purchased at other places like the circus or stage shows, but the concession area of a theater lobby didn't even exist. After all, no one wanted to hear munching and crunching during a silent film.
With the arrival of talking movies and the Great Depression, popcorn suddenly exploded, so to speak. Anybody could afford it with prices as low as five cents a bag, and vendors could get a space inside or outside a theater to give moviegoers a snack on their way into the theater.
Soon popcorn became a major cash cow for theater owners, who could spend $10 for a hundred pounds of kernels and sell over a thousand bags. Most popcorn was generated by hand at first, but during the labor shortage of World War II (which also saw sugar rationing that cut out popcorn's main competitor, candy bars), mechanical harvesting made popcorn faster and easier to make.
They also put a chemical in the popcorn to make the aroma spread and therefore make you want to buy it & makes you hungry.
Food at the Cinema?
Cinema Typical:
Popcorn
Fizzy Pop
Hot dog
Sweets
Crisps
Ice cream
Nachos
Fanta frozen
Kids Meal Pack
Everything you get at a typical cinema you get in takeaway containers. You can buy plastic containers but everything else is made from cardboard etc... This is maybe due to cost issues.
Luxury Cinema:
Burgers
Pizza
Chips
Cocktails
You get food on actual plates and can consume cocktails and alcohol. The experience is more home from home. This is because you pay more for this experience.
First movie ever made?
The First Motion Picture Ever Made - The Horse In Motion (1878)
Eadweard Muybridge's groundbreaking motion photography was accomplished using multiple cameras and assembling the individual pictures into a motion picture. Muybridge was commissioned by Leland Stanford (California governor/ Stanford University) to scientifically answer a popularly debated question during this era - are all four of a horse's hooves ever off the ground at the same time while the horse is galloping? Muybridge's time-motion photography proved they indeed were, and the idea of motion photography was born.
First Home Movie Ever Made - Roundhay Garden Scene (1888)
Early movie history is surrounded in the mists of time, as different competitors developed movie technology simultaneously. However, the Roundhay Garden Scene is thought to be the oldest surviving film on record.
The Roundhay Garden Scene was directed by the French inventor, Louis Le Prince and features some members of Le Prince's family playfully walking around a garden. The film lasts about two seconds.
First Movie Ever Shot (U.S.A.) - Monkeyshines No. 1 (1889 or 1890)
Monkeyshines, No. 1 may very well be the first movie ever shot using a continuous strip of film. It was shot as a camera test by W.K.L. Dickson and William Heise, both of whom worked for Thomas Edison. Historians are unsure of the exact date this film was shot as it was filmed to be a camera test and not for commercial purposes.
The film depicts a blurry Edison co-worker goofing off for the camera. It was quickly followed by Monkeyshines No. 2 and 3.
The First Copyrighted Movie Ever Made - Fred Ott's Sneeze (1893-4)
This title goes to Fred Ott's Sneeze, which reportedly was the first movie ever made at Thomas Edison's Black Maria rooftop studio. The actual name of this movie is Record of a Sneeze, which was made in late 1893 and copyrighted on January 7, 1894.
This movie was made for the Kinetoscope and not intended to be projected.
First Movie Ever Made for Projection -- Workers Leaving the Lumiere Factory (1895)
Movies for mass public consumption are considered to be the invention of Auguste and Louis Lumiere. Edison's interest in movies was to sell his Kinetoscope machines, designed as individual 'peep shows" in which a person looked into a box and saw a moving picture. The Lumiere brothers envisioned movies as public showings. The two approaches are like the difference between listening to an I-pod on your headphones versus sitting in a theater and listening to a concert.
The Lumiere Brothers held a private screening of projected movies on March 22, 1895. This test screening was a success. The Lumiere's then held their first paid, public screening of movies on December 28, 1895 in the basement the Salon Indien du Grand Café in Paris. The basement was set up with a hundred seats. Thirty-three people paid attendance to witness the birth of cinema.
The program that night consisted of ten Lumiere shorts, each running approximately 46 seconds in length.
While historians consider the Lumiere screening to be the first demonstration of movies as a commercial medium, they do so because of the projection system used by the Lumiere brothers. Almost two months earlier, two other brothers showed moving pictures to a paying audience using a different technology.
First Motion Picture Projected for an Audience - Berlin Wintergarten Novelty Program (1895)
Max and Emil Sklandanowsky were German inventors who created the Bioskop, a different technology for showing moving pictures that involved an elaborate machine using two parallel film strips and two lenses which were able to flash pictures on a screen at 16 frames per second. This was enough of a frame rate to give the illusion of motion. On November 1, 1895, nearly two months before the Lumiere public showing, the Sklandanowsky brothers presented a moving picture show as part of the Berlin WIntergarten festival as part of a program of novelties. The moving pictures were a big hit and played to sold out shows in the ensuing weeks; however, the Lumiere projection system was technologically superior to the complicated arrangements necessary to show Bioskop pictures, which is why the Lumiere's are generally credited with the creation of the commercial medium we call movies.
Economics of the Cinema
Who Gets What From Your £7-10 Ticket?
Ok, so you walk up to the box office and drop down your £10 to buy your ticket. Who gets that money? A lot of people assume (as did I at one point) that the movie theater keeps 50% of it, and the rest goes off to the studios. That’s not really true.
Most of the money that a theatre takes in from ticket sales goes back to the movie studio. The studio leases a movie to your local theater for a set period of time. In the first couple of weeks the film shows in the theatre, the theatre itself only gets to keep about 20% – 25% of the green. That means, if you showed up to watch Bridget Jones’ Diary on opening night, then of the £12 you put out for a ticket, the movie theatre only got to keep between £2.40 and £3.00 of it.
That’s not a lot of money, especially when you think about how much bigger and elaborate theatres are these days. It’s not cheap running one of these places. It can get even worse. This percentage will vary from movie to movie depending on the specifics of the individual leasing deal.
The Cost Of Making The Movies
With the cost of today’s movies getting higher and higher, the studios leverage their position with the theaters to squeeze more and more out of the arrangement mentioned in point 1. 10 years ago they weren’t paying Chris Tucker £25 million pounds for one movie… for 3 months work… a hack… CHRIS TUCKER… £25 million. Superman Returns did NOT need to cost £200 million to make. Spider-Man 3 did NOT need to cost £250 million to make. These numbers are astounding when you consider that just 7 years ago they would have called you mad. The pace of costs is far outpacing the requisite inflation… and there is really no excuse for it.
This is directly tied to how much you and I pay at the box office, and thus tied to why popcorn has to cost so much, and thus tied to why we see commercials. The higher the costs go for for making films, the higher my costs will be to enjoy a night at the theater.
3) The Organism of the Studio/Theater Relationship
To really make sense of all this, you have to step back and look at the Studios and the Theaters as one industry entity and view it from the perspective of how the parts work together to truly get a grasp on how big and out of control the problem is. You can’t just try to blame the Studios… nor can you just blame the Theaters. You have to look at them both as one industry… how it functions… and ultimately how it affords its mistakes and inefficiencies at our expense.
The studios spend too much money making movies (and make too many movies), they squeeze as much box office revenue as they can from the Theaters thus forcing the theaters to charge us high ticket prices to make what little they can from each ticket, gouge us at the concession stand to make ends meet and show commercial after commercial after bloody commercial to pad some profit.
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