Everyone knows the two works on cinema that Edgar Morin has signed, the Cinema or the imaginary man and the Stars, two "classics", the first of an anthropology of the cinema and the second of a sociological phenomenon of reception, two directions of research and thought that seemed to have remained without posterity in the field of film studies before the rise of cultural studies and their delayed and thwarted effects in France. Films and controversies, the film by Olivier Bohler and Céline Gailleurd presented in October 2014 at the Forum des Images and soon in theatrical distribution, TV, and DVD. Finally, an expected publication of the writings of Morin's "film critic" should also be published this year at the Editions du Bord de l'Eau, prepared by Emmanuel Lemieux. Before the cinema or the imaginary man - which could be presented as an "aerolite" - there was the active participation of Morin in sociological research initiated by Georges Friedmann at the CNRS within the framework of the Institute of Filmology, associates as it happens.

In 1955, at the 2nd International Congress of Filmology held in Paris, he presented an intervention with Friedmann, summarized in the preparatory material distributed to the delegates under the title "De la méthode en Sociologie". He is also the champion of an anti-academic "sociology of the present" that expresses itself willingly in the sociological report, the press article. A tone close to the "mythologies" that Roland Barthes had begun to publish regularly in the Lettres Nouvelles and that he will bring together in volume in 1957, which differs from it because Morin's analysis is not internal to the image, the text like that of Barthes, it refers to context, social practices, needs and desires. The eulogy of the Scream though, at first glance, the author says approaching it outside of his specialty of sociologist while saying not to be a critic of cinema, is supported by this attention of Morin to what a film can express a historical conjuncture by refracting it into the psyche of characters that can not be reduced to their social roles.

At the same time, it is worth recalling that in 1957 the Cahiers du Cinéma had difficulty apprehending Antonioni, a "modern" filmmaker and for that reason ill-fitting the "Hitchcock-Hawksian" ideal advocated at the time. Bazin, initially impressed, finally shows himself reserved - speaks of "process" of "staging ... too systematic and concerted". In the "Council of Ten", Rohmer grants him a single star, Rivette, Bitsch, and Domarchi both. The investigation of the heroes of the films of the "New Wave" identifies and classifies social types and behaviors such that these films represent them by difference with contemporary films but belonging to the established currents of French cinema.

Finally, with the publication of the "manifesto" "For a new" cinema-truth "" in France Observateur in 1960, it develops a theory of audio-visual communication that migrates from the "documentary" cinema, where it is inaugurated with Rouch, interviewing techniques in the human sciences.

Jobs of cinema

Jobs of cinema

"New Cinema Paradise" (Italy: Nuovo Cinema Paradiso) is an Italian movie released in 1988. The coach is Giuseppe Tornatore.

A story in which a middle-aged movie director recalls the events of a boyhood fascinated by the movie and his love for adolescence. It is a work depicting sentimentality, nostalgia, and love for the film. The theatrical release version, described later, was well received outside the country, making it a work that impresses the general revival of the Italian film that has been stagnating for a while. The music of Ennio Morricone is well known along with the content of the movie.

Movie version 

One night, Roman filmmaker Salvatore tells her mother from home on the phone that Alfredo has died. Salvatore was in the bed, thinking of the days spent with Alfredo.

Shortly after the end of World War II, a young Salvatore boy, who was called "Toto", lived with his mother and sister in a remote village in Sicily. My father went out and it is unknown. At that time, a small cinema combined with a church facing the village center square was the village's only entertainment facility.

For the villagers who were isolated from the outside world, the cinema was the only window that led to the outside of the village. When it comes to the weekend, when the projection machine turns around in the theater, it is before the villagers who are looking over the eyes, such as the richness beyond imagination in the American film, and the romantic gender relationship that can not be a conservative village. The outside world was projected on On the night of the new import movie being released, the villagers gathered in the cinema, cheered on the screen, and screamed booing where the innocent priest of the church had cut the love scene that it should be.

Toto who was fascinated by the movie had entered the projection room many times. Alfredo, who is a projection engineer, makes a sense of familiarity while scolding Toto each time, and Toto begins to remember the look and feel of the operation of the projector. One night, a film fire accident occurred during projection and the movie theater was completely burned down. Alfredo saved his life with Toto's frantic rescue but lost sight with burns. Eventually, his father's death was recognized, and Toto became a projection engineer while supporting children in the newly rebuilt cinema "Nuovo Cinema Paradiso" and supported the family budget.

As the years go by, Toto, who became a youth, gets a movie camera and shoots a movie by himself. After Toto was recruited after her first love with the beautiful girl Elena that I saw at the station, another man sat in the projection room when I returned to the village after I was discharged, and Elena was out of communication. Alfredo falls to Toto down, saying, "Because I am young, I can go out and find a way, not be in the village, and not come back". "Life is more difficult than the films you saw, more difficult!" Toto, as the word says, left by train for Rome.

30 years from then. A successful middle-aged Toto-Salvatore in Rome, he returned to his hometown village where his old mother awaits to attend Alfredo's funeral. So he knows that the "New Paradise" has already been closed and the dismantling of the building is near. Salvatore is given the look that Alfredo has left him. It was a film where the love scenes of several movies were edited by omnibus, and a little Toto joined the kiss scenes that were once deleted by the priest.

Complete edition 

Elder Salvatore, who returned to his hometown, is upset by seeing a girl in Elena at the cafe. Afterward, it is learned that Salvatore's childhood friend Boccea married Elena and had a daughter born. When Salvatore reunites with Elena and accuses why he did not come to the meeting place of the run-off, Elena asked Alfredo to tell, but he was refused, so he moved the address and message to the back of the screening note. I write it and explain that I left it on the wall of the projection room. Alfredo was persuading Elena to break up with Salvatore to get Salvatore to leave the village and follow his path. Salvatore, who knows the story, feel angry with Alfredo, but Elena says, "If I was married to me, I could not have made a great movie." Salvatore and Elena kiss in the car and make sure of love in a bunch. Salvatore examines a bunch of innumerable screening notes in a dusty projection room and finally reads the message from Elena. When Salvatore called Elena again before leaving the village, Elena said, "Let's forget that dream of the night." Salvatore returns to Rome and sees a look-ahead film from Alfredo in the projection room.

Cinema is the so-called seventh art, next to sculpture, painting, dance, architecture, music and literature. Initially, it appeared more as a new technique of recording its movement and visualization, as the term itself (cinema = motion + writing) states.

History  

Precursors of the Cinema  

It is generally difficult to become a unique inventor of cinema, as a moving picture technique. Moreover, it is a fact that for many years the man has experimented with the effort to visualize the movement. A catalytic role in the evolution of cinema technique was the discovery and spread of photography in the mid- 19th century. One of the first and most important analyzes of camera motion was made in 1878 when British photographer Inwood Maybridge, having succeeded in developing sequential photography, depicting the movement of a horse, proving then that during the galloping there are moments when his feet have no contact with the ground. At about the same time, the French physicist Etienne Marre managed to capture the shooting of a bird with the help of a camera with the ability to capture 12 snapshots per minute.

The most important achievements in the development of cinematographic technique were made in the late 1880s, most notably, the invention of the filmmaker by William Dickson, who was working in the workshops of Thomas Edison. The cinemascope was a projection engine capable of projecting the film in a box, which was only visible to a viewer through a hole. The device first appeared officially on May 20, 1891, along with the first movie. Edison considered the invention of the minor, and he was not interested in viewing the films for more viewers. Moreover, it did not pave the way for the invention internationally, with the result that it was legitimate to copy and evolve in Europe, where it soon appeared as an imported product.

The film's precursors were special lighting scenes and curtains with stunning shadows that set out on street markets in central Europe. In 1895 the first Bioscope film was screened in Vienna, Germany.

In France, the Oocyst and Louis Lumiere, based on the Dickson and Edison motion pictures, invented cinematography, the portable movie camera, film, film, and film projection. On December 28, 1895, they also made their first public appearance in Paris. This date is referred to by many as the official day when the cinema in its current well-known form appeared. That audience watched a total of 35 people for a fee, and ten films of a total duration of about fifteen minutes were shown. The first films were short-lived, usually static, a scene of everyday life.

Cinema as an Art  

One of the first filmmakers to make use of the technology available for the production of films under art terms was Georges Méliès, who is also considered to be the first film directors. His films dealt with topics from the field of fantasy, while his movie Le voyage dans la lune (1901) was probably the first to attempt to describe a journey into space. In addition, he introduced visual effects techniques, while for the first time he played colored films, painting the film manually.

Starting with the new possibilities that emerged, the cinema was transformed internationally into a popular art form, while many cinemas were created for the exclusive purpose of screening movies. It is estimated that in 1908, in the United States there were about 10,000 movies. The films of that time lasted ten to fifteen minutes, but gradually their duration increased. An important contributor to this was the American director DW Griffith, which includes some of the first historical epics of the movie. In 1912 (or 1911), the theorist used for the first time in his essay the seventh art term to describe the cinema.

Bubble, Speech and Color Cinema 

Until the late 1920s, the cinema remained silent ( silent cinema ), and often the film projections were accompanied by live music. The story of the recorded cinematic sound began in 1926 when Warner Brothers presented a device ( Vitaphone ) that enabled music playback through a disc synchronized with the movie projector. Based on this new technology, at the end of 1927, The Jazz Singer was released, although for the most part, it was silent, it was the first to contain dialogues.

At about the same time as the sound adaptation, systematic efforts were made to add color. Color films had already appeared since the beginning of the 20th century, through the filming of film cartoons by hand, a method gradually abandoned, combined with an increase in the length of the films. Among the first synthetic methods of adding color, there was the Technicolor, which was perfected in 1941 ( Monopack Technicolor ), although it remained expensive due to the complex stages of color separation and appearance. After the end of World War II, Eastman Kodak 's color negative film appeared, which did not require a color separation process. Although until the 1950s, color film production declined, in the 1960s, thanks to the development of technology, color cinema prevailed.

The history of science fiction film is largely the same as the history of cinematography. Already in 1895, a short science fiction film was made in France and until 1930 most films in this genre came from Europe. Since the 1960s, the science fiction film genre has been taken seriously as a fully-fledged film genre and since the 1970s, films in this genre are often also financially successful.

Early movies 

Science fiction films appeared early in film history. The first known science fiction film dates from 1895 and is called Charcuterie Méchanique. It is a short film by the Frenchman Louis Lumière, in which an automatic machine converts a pig into bacon and sausages. The 1-minute lost film Gugusse et l'automate from 1897 by Georges Méliès showed a mechanical man. The first use of the split screen dates from 1901; Ferdinand Zecca 's á la conquête de l'air shows a man flying over Paris on a flying machine. In 1902, Georges Méliès made Le voyage dans la lune (8 to 14 minutes, depending on the film speed), inspired by Jules Verne 's book From Earth to the Moon. In 1911, the Pathé brothers made the 13-minute film A Hundred Years Later, set in 2011. The world is ruled by women, who are literally wearing trousers, while men have no voting rights and are obliged to wear a dress. In 1912, Méliès made the more than half-hour adventure film with science fiction elements con la conquête du pôle.

Long feature films 

In 1916, the American 20,000 Leagues Under the Sea (105 min.) Appeared, also after a book by Verne ( Twenty thousand miles under the sea ). And in 1924 the Russian Aelita came out. A few years later, the Metropolis masterpiece was published in Germany ( Fritz Lang, 1927). The 1930s produced by far the best film adaptation (1931) of Mary Shelley's Frankenstein, and also one of the first "lost world" films: Lost Horizon by Frank Capra from 1936. In America, the so-called "serials" were popular at this time: a whole series of consecutive films of which a new volume was released every week. A well-known example of this is the Flash Gordon Serial. The 40s brought little news: lots of monster and horror movies but hardly real science fiction. The only significant film of this decade is Dr. Cyclops from 1940, an early color film.

Some well-known science fiction films were made in the 1950s, The Day the Earth Stood Still and When Worlds Collide in 1951, The Came from Outer Space and The War of the Worlds in 1953 and Forbidden Planet in 1956. In Japan, in 1954 the first part of the still-running film series Godzilla (Japanese: ラ ジ ラ Gojira) was made. Ray Harryhausen also started this time with his brilliant stop-motion effects in films such as The Beast from 20,000 Fathoms (1953), Earth vs.. the Flying Saucers (1956) and 20 Million Miles to Earth (1957).

The science fiction film is growing up 

After decades of playing the safe, Hollywood finally began to make intelligent, mature science-fiction films in the 1960s, of which the black-gold satirical Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb and 2001: A Space Odyssey is the most striking exponents. Other striking films from this period are the French neo-noir film Alphaville, Une étrange aventure de Lemmy Caution, the British Fahrenheit 451 and the exuberant, campy Barbarella with its psychedelic design. The British SF television series Doctor Who and the American series Star Trek also date from the 1960s.

the seventies brought George Lucas ' first film THX 1138 and the first major blockbusters in the SF genre: Star Wars and Close Encounters of the Third Kind. The Andromeda Strain (1971), A Clockwork Orange (1971), Solaris (1972), Westworld (1973), Dark Star (1974), Battlestar Galactica (1978), Alien (1979), Star Trek: The Motion Picture (1979) and Mad Max (1979).

The following years, many sequels of films from the 1970s were made, including 5 Star Wars films, 9 Star Trek films and 4 Alien films. A film from the Flash Gordon serial from the 1930s was also made: Flash Gordon. Two very successful SF films were released in 1982: the tech-noir film Blade Runner and the blockbuster ET the Extra-Terrestrial. That same year Tron was released: one of the very first films that made intensive use of computer-generated images. The light-hearted Back to the Future trilogy was a success, but David Lynch ' Dune and the sequel to 2001, 2010: The Year We Make Contact were costly misses. New, successful film series started with the RoboCop and The Terminator films.

In Japan, the science fiction animated films became increasingly successful: the films Akira and Ghost in the Shell became worldwide successes, as did the television series Dragonball and Mobile Suit Gundam. The Russian Kin-Dza-Dza! , the Australian The Quiet Earth, British Brazil, and the Spanish Acción Mutante were modest successes but were highly valued.

The 90s brought a flood of new science fiction films and series, large studio productions such as Paul Verhoeven's Total Recall (1990), Independence Day (1996), Starship Troopers (1997) and Armageddon(1998), but also surprising films such as Terry Gilliam's Twelve Monkeys ( 1995), the Canadian horror science fiction movie Cube (1997) and the flopped but well-appreciated Gattaca (1997). In 1999 the first part of the beautifully designed film series The Matrix was released. That same year George Lucas released the long-awaited first part of the second Star Wars trilogy Star Wars: Episode I: The Phantom Menace.

The 21st century brought many new science fiction films: Steven Spielberg directed the well-received films AI: Artificial Intelligence and Minority Report. A striking film was Eternal Sunshine of the Spotless Mind, a romantic science fiction film. In addition, a great many film versions of other media have been released in recent years, such as comics (X-Men, Hulk and Fantastic Four ), television series ( Æon Flux, The Hitchhiker's Guide to the Galaxy, Serenity and Transformers ) and computer games ( Wing Commander, Resident Evil )