The earliest films made in Cuba-newsreel footage of the Cuban-Spanish-American War-date from the end of the nineteenth century, but Cuba cannot be said to have had an indigenous film industry before the revolution of 1959. The melodramas, musicals, and comedies made until then reflected Hollywood's-and the United States's-cultural domination of the island, but the revolution precipitated urgent debates about the role of cinema in a socialist country and the kinds of films best suited to the needs of the people and their rulers.
Written and compiled by British film critic Ronald Bergan, the DK Eyewitness Companion book is much more cursory, but the organization is also more amenable to the casual browser looking for a few film factoids. That's because the 500-plus-page soft-cover book mimics the same pleasing graphics, easy-to-follow organization, and abbreviated observations of the extensive Eyewitness guidebook line. This one is divided into six discrete sections - The Story of Cinema, How Movies Are Made, Genres, World Cinema, A-Z of Directors, and Top 100 Movies. Each provides interesting tidbits of a thumbnail variety, especially the first chapter which dares to cover the history of movies in such an expeditious fashion. The second section gives a solid look at the entire process of filmmaking from development to release.
This book is intended to capture the interest of anyone who has been attracted to Russian culture through the greats of Russian literature, either through the texts themselves, or encountering them in the cinema, or opera.
In this book Lev Manovich offers the first systematic and rigorous theory of new media. He places new media within the histories of visual and media cultures of the last few centuries. He discusses new media's reliance on conventions of old media, such as the rectangular frame and mobile camera, and shows how new media works create the illusion of reality, address the viewer, and represent space. He also analyzes categories and forms unique to new media, such as interface and database.
Manovich uses concepts from film theory, art history, literary theory, and computer science and also develops new theoretical constructs, such as cultural interface, spatial montage, and cinegratography. The theory and history of cinema play a particularly important role in the book. Among other topics, Manovich discusses parallels between the histories of cinema and of new media, digital cinema, screen and montage in cinema and in new media, and historical ties between avant-garde film and new media.
