{"product_id":"the-cinema-in-flux-9781071609507","title":"The Cinema in Flux","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eUnique and essential reading from a lifetime innovator in the field of cinema technology, this engaging and well-illustrated book will appeal to anyone interested in the history and science of cinema, from movie buffs to academics and members of the motion picture industry.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e“The book features a beautiful iconographic apparatus that, together with its author’s wide-ranging knowledge of technology and material- oriented approach to the evolution of the medium, make it particularly well suited as a companion to more traditional cinema histories for teachers of film courses and scholars of film technology in general.” (Sabrina Negri, Technology and Culture, Vol. 63 (4), October, 2022)\u003c\/p\u003e\u003cp\u003e“If you’re studying computer science with a view to working in animation or movie production, you absolutely should read it. And if you’re not, you will find that the pictures and descriptions of the devices that led to what we see in our cinemas today are absolutely fascinating.” (G. K. Jenkins, Computing Reviews, July 4, 2022)\u003c\/p\u003e“His point of view is both authoritative and fascinating … . Lenny Lipton's The Cinema in Flux is richly illustrated, and also contains a bibliography, a list of patents, and an index. It is a most pleasurable read, as the author moves joyfully, eruditely, and eloquently between eras, personalities, and systems. An instant classic, no less.” (Laurent Mannoni, Journal of Film Preservation, Issue 105, November, 2021)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eIntroduction\u003c\/p\u003e  \u003cp\u003e\u003cb\u003eThe Cinema of Real Motion\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e1. Huygens and the Magic Lantern\u003c\/p\u003e\u003cp\u003e2. The Magic Lanternists\u003c\/p\u003e\u003cp\u003e3. Lantern Light and Glass\u003c\/p\u003e\u003cp\u003e\u003cb\u003eApparent Motion: Discovered and Applied\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e4. Plateau Invents the Phenakistoscope\u003c\/p\u003e\u003cp\u003e5. A Persistent Myth\u003c\/p\u003e\u003cp\u003e6. The Zoëtrope and the Praxinoscope\u003c\/p\u003e\u003cp\u003e7. Daguerre’s Photography\u003c\/p\u003e\u003cp\u003e8. Fox Talbot’s Photography\u003c\/p\u003e\u003cp\u003e9. Protocinematography\u003c\/p\u003e\u003cp\u003e10. Muybridge and Anschütz\u003c\/p\u003e\u003cp\u003e11. Chronophotography: Janssen, Marey, Demenÿ\u003c\/p\u003e\u003cp\u003eThe 35mm Medium\u003c\/p\u003e12. Edison, Dickson, and the Kineto Project\u003cp\u003e\u003c\/p\u003e\u003cp\u003e13. The Kinetograph\u003c\/p\u003e\u003cp\u003e14. The Kinetoscope: Projection’s Inspiration\u003c\/p\u003e\u003cp\u003e15. Lambda, Mutoscope, and Bitzer\u003c\/p\u003e\u003cp\u003e16. Jenkins and Armat: American Projection\u003c\/p\u003e\u003cp\u003e17. The Lumières and the Europeans\u003c\/p\u003e\u003cp\u003e18. Edison and the Trust\u003c\/p\u003e19. Porter the Filmmaker\u003cp\u003e\u003c\/p\u003e\u003cp\u003e20. Porter and the Simplex\u003c\/p\u003e\u003cp\u003e21. Camera Design before WWII\u003c\/p\u003e\u003cp\u003e22. Camera Design after WWII\u003c\/p\u003e\u003cp\u003e23. Ciné Lenses: Part I\u003c\/p\u003e\u003cp\u003e24. Ciné Lenses: Part II\u003c\/p\u003e  \u003cp\u003e\u003cb\u003eSound\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e25. Silent Sound\u003c\/p\u003e\u003cp\u003e26. Synchronizing the Phonograph\u003c\/p\u003e\u003cp\u003e26. Electronics for Talking Shadows\u003c\/p\u003e\u003cp\u003e27. The Origins of Sound-on-Film\u003c\/p\u003e\u003cp\u003e28. One Man Bands: Lauste and Tykociner\u003c\/p\u003e\u003cp\u003e30. Tri-Ergon\u003c\/p\u003e\u003cp\u003e31. De Forest and Case\u003c\/p\u003e\u003cp\u003e32. Phonofilm\u003c\/p\u003e\u003cp\u003e33. William Fox Hears the Future\u003c\/p\u003e\u003cp\u003e34. Vitaphone\u003c\/p\u003e\u003cp\u003e35. Movietone\u003c\/p\u003e\u003cp\u003e36. RCA vs. ERPI\u003c\/p\u003e\u003cp\u003e37. William Fox vs. the Industry\u003c\/p\u003e\u003cp\u003e38. Optical Sound Evolution\u003c\/p\u003e\u003cp\u003e39. Multichannel, Magnetic, and Digital Sound\u003c\/p\u003e\u003cp\u003e\u003cb\u003eColor\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e40. Applied Color\u003c\/p\u003e\u003cp\u003e41. Color Elucidated\u003c\/p\u003e\u003cp\u003e42. Color Photography before the Movies\u003c\/p\u003e\u003cp\u003e43. Urban and the Origins of Kinemacolor\u003c\/p\u003e\u003cp\u003e44. The Rise and Fall of Kinemacolor\u003c\/p\u003e\u003cp\u003e45. Additive Color after Kinemacolor\u003c\/p\u003e\u003cp\u003e46. Subtractive Technologies\u003c\/p\u003e\u003cp\u003e47. Kelly’s Color Microcosm\u003c\/p\u003e\u003cp\u003e48. TruColor and Cinecolor\u003c\/p\u003e\u003cp\u003e49. Two-Color Technicolor\u003c\/p\u003e\u003cp\u003e50. Three-Color Technicolor\u003c\/p\u003e\u003cp\u003e51. Agfa and Ansco Color\u003c\/p\u003e\u003cp\u003e52. Eastman Color\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSmall Formats\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e53. Early Small Formats\u003c\/p\u003e\u003cp\u003e54. 16mm\u003c\/p\u003e\u003cp\u003e55. Kodachrome\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003e56. Double 8mm and Super 8\u003c\/p\u003e\u003cp\u003e\u003cb\u003eThe Big Wide Screen\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e57. The Shape of Screens to Come\u003c\/p\u003e\u003cp\u003e58. Grandeur et al\u003c\/p\u003e\u003cp\u003e59. Expanded Screen: The Interregnum Ends\u003c\/p\u003e\u003cp\u003e60. This is Cinerama\u003c\/p\u003e\u003cp\u003e61. Cinerama after Waller\u003c\/p\u003e\u003cp\u003e62. CinemaScope\u003c\/p\u003e\u003cp\u003e63. ‘Scope Variations\u003c\/p\u003e\u003cp\u003e64. Wide Screen and VistaVision\u003c\/p\u003e\u003cp\u003e65. Todd-AO\u003c\/p\u003e\u003cp\u003e66. 65\/70mm\u003c\/p\u003e\u003cp\u003e67. IMAX and PLF Exhibition\u003c\/p\u003e\u003cp\u003eThe Stereoscopic Cinema\u003c\/p\u003e\u003cp\u003e68. Early 3-D\u003c\/p\u003e\u003cp\u003e69. Polarization Image Selection\u003c\/p\u003e\u003cp\u003e70. 3-D in the Last Half of the 20th Century\u003c\/p\u003e\u003cp\u003e\u003cb\u003eTelevision\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e71. Vision at a Distance\u003c\/p\u003e\u003cp\u003e72. Jenkins and Baird\u003c\/p\u003e\u003cp\u003e73. Farnsworth\u003c\/p\u003e\u003cp\u003e74. Zworykin\u003c\/p\u003e\u003cp\u003e75. Broadcasting Begins\u003c\/p\u003e\u003cp\u003e76. Color Wars: CBS vs. RCA\u003c\/p\u003e\u003cp\u003e77. High Definition Television\u003c\/p\u003e\u003cp\u003e78. Film to Video and the VTR\u003c\/p\u003e\u003cp\u003e\u003cb\u003eElectronic Cinema\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e79. Electronic Cinematography and CGI\u003c\/p\u003e\u003cp\u003e80. The Origins of Digital Technology\u003c\/p\u003e\u003cp\u003e81. Post-production and Industry Accommodation\u003c\/p\u003e\u003cp\u003e82. A Brief History of Electronic Projection\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003e83. Digital Projection and 3-D Converge\u003c\/p\u003e","brand":"Springer-Verlag New York Inc.","offers":[{"title":"Default Title","offer_id":53186413396311,"sku":"9781071609507","price":44.99,"currency_code":"GBP","in_stock":true}],"url":"https:\/\/bookcurl.com\/products\/the-cinema-in-flux-9781071609507","provider":"Book Curl","version":"1.0","type":"link"}