Moving pictures made worked (20 Ergebnisse)

Zustand: Good. Facsimile of 1912 ed. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.…

BPM. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

BPM. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Zustand: Poor. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In poor condition, suitable as a reading copy. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,950grams, ISBN.…

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Hardcover. Zustand: Good. Revised Edition. Entirely re-written.Firmly bound, maroon cloth boards. Some marks on the spine. Light dust spotting on the end papers and closed page edges. No jacket, no writing inside. illustrated (illustrator).

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

hardcover. Zustand: Good.

Zustand: New. In English.

Hardcover. Zustand: Very Good. No Jacket. xv, 340 grams. Binding bright and sturdy, image and lettering to front board and to spine crisp, , light wear to corners and to head and foot of spine, faint water spot to front board; gift inscription at front free endpaper, contents clean and attractive. 840 grams. …

Zustand: New. In English.

Taschenbuch. Zustand: Neu. Neuware - This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.…

Taschenbuch. Zustand: Neu. Neuware.

Buch. Zustand: Neu. Neuware - This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.…

Hardcover. 8vo. pp xv, 340. Original publisher's maroon cloth with gilt lettering at spine. Copious black and white plates and illustrations throughout. Very light foxing to pages and fore-edge, hinges slightly cracked, corners and edges a little worn, else a very good, clean and bright copy.

Zustand: New.

Gebunden. Zustand: New.

Hardcover. Zustand: Very Good. 1st Edition. B/w frontis., 132 photographic illustrations and line drawings. (illustrator).

First edition. Three-quarter red morocco with cloth sides. Near fine; erasure on title page.

8vo., xvi., 340pp., b/w photo frontispiece (Trick cinematography - the automobile accident), together with numerous other b/w photo plates and drawings to text, orig. dark red cloth gilt. A generally VG+ clean bright copy. Frederick A. Talbot was a British writer of popular works on science and engineering subjects, but had a special interest in motion pictures, producing both Moving Pictures (1912) and Practical Cinematography and its Applications (1913). Talbot's task was to explain the phenomenon of the new age. "A vast industry has been established", he writes, "of which the great majority of picture-palace patrons have no idea, and he moment appears timely to describe the many branches of the art". Talbot's focus is on technology and industry, rather than art or entertainment, and his chief interest is in the motion picture as a medium of discovery. But unlike the many dry works from this period which explain the mechanics of motion picture production and exhibition for the benefit of the technician, Talbot's book bubbles over with enthusiasm. Some of his judgements need to be challenged, but his keen eye and thorough research (including contact with many of the leading figures in the industry) have kept the book fresh and valuable to this day. It is easy to read, and a easy source for good quotations. He begins by explaining how we are able to see "animated photography", and it is this section that has probably had the most influence, as Talbot's somewhat muddled explanation of the "persistence of vision" has been taken as lightly read by many writers. We now know that the persistence of vision is not the reason why we are able to perceive motion (whether motion pictures or any other kind of motion, which is the real matter in hand see an earlier post on this for an attempt at an explanation). Michael Chanan's The Dream that Kicks is recommended for its sympathetic analysis of what Talbot got wrong yet how he struggled for the right answer at a time when science (optics etc.) had not properly supplied the information needed. Talbot find more solid ground when he traces the history of the medium, through experiments in sequence photography of Marey and Muybridge, the discovery of celluloid, the construction of the Edison Kinetoscope and other machines, before moving on to perforations, celluloid manufacture, the taking, developing and printing of films, and their exhibition. He covers the staging of fiction films, though his interest is more in the mechanics than the aesthetics, while his real passion is revealed to be the trick film. Talbot devotes a remarkable six chapters to the trick film, revealing an almost childish enthusiasm for the simple transposition, substitution and distortion effects which characterised early trick films (and which were mostly well out-of-date by the time he wrote the book). The frontispiece in the book comes from The Automobile Accident (man is driven over by a car, severing his legs, which are then repaired by a passing doctor) which he illustrates and explains in minute detail. Talbot's other great enthusiasm is for the motion picture as a medium of education and science. There is some fascinating, well-observed material on microcinematography, electric cinematography and chronophotography, with information (and fine illustrations) gleaned from experimenters such as Percy Smith, Jean Comandon, E.J. Marey and Lucien Bull. Finally, Talbot speculates most interestingly on the possibility of the motion picture as a news medium ("the animated newspaper", or newsreel, was in its infancy), films in colour (he is an observant Kinemacolor sceptic) and motion pictures in the home. Though care needs to be taken over some of the evidence and its presentation, Moving Pictures: How They are Made and Worked still stands up as a fine illustration of what possibilities lay before a young medium whose rules had not yet been firmly established.…