Period romance. War epic. Family saga. Popular fiction adapted with crowd-pleasing brilliance. Star acting aglow with charisma and passion. Moviemaking craft at its height. These are sublimely joined in the words Gone with the Wind. This dynamic and durable screen entertainment of the Civil War-era South comes home with the renewed splendor of a New 70th-Anniversary Digital Transfer capturing a higher-resolution image from Restored Picture Elements than ever before possible. David O. Selznick's monumental production of Margaret Mitchell's Pulitzer Prize-winning book can now enthrall new generations of home viewers with a majestic vibrance that befits one of Hollywood's greatest achievements. Special Features: Commentary by Rudy Behlmer Original Mono Track
From rising auteur Eusebio Pastrana comes this tapestry of love stories set against the colourful backdrop of Madrid in 1995 – re-imagined here as a city where cynicism doesn’t exist. At the heart of the film are Gárate (Alejandro Tous) and Omar (Olav Fernández), a gay couple looking for a woman to mother their child. The obstacles they face are often achingly realistic, yet their story also presents a utopian vision of a world in which all couples – whether gay, straight, or in between – can reside happily within the full spectrum of modern families. Starting with the goal of capturing 100 different kinds of kisses, Spinnin’ sets off on a cinematic flight of fancy – complete with dance sequences and slapstick humour – that constantly toys with the viewer’s expectations. Thanks to a handsome cast of characters, a loving portrayal of the Spanish capital, and a playful soundtrack, Pastrana’s award-winning debut is bound to keep viewers smiling one way or another.
In the executive offices of the four major networks, sweeping changes are taking place and billions of dollars are at stake. Now Bill Carter, best-selling author of The Late Shift, goes behind the scenes to reveal the inner workings of the television industry, capturing the true portraits of the larger-than-life moguls and stars who make it such a cutthroat business. In a time of sweeping media change, the four major networks struggle for the attention of American viewers increasingly distracted by cable, video games, and the Internet. Behind boardroom doors, tempers flare in the search for hit shows, which often get on the air purely by accident. The fierce competition creates a pressure-cooker environment where anything can happen. 1. Language: English. Narrator: Dean Olsher. Audio sample: http://samples.audible.de/bk/rand/000821/bk_rand_000821_sample.mp3. Digital audiobook in aax.
Lecture recording refers to the process of digitally capturing and archiving the content of a lecture,conference, or seminar. It consists of hardware and software components that work in synergy to record audio and visual components of the lecture. Hardware is used to capture the lecturer's voice along with the video of the lecturer, and the output of the projector. Once captured, the data is then either stored directly on the capture hardware or sent to a server over a LAN or the Internet. Viewers are then able to remotely access the recording, either in real time or after it has been made. Lecture recording is used commonly throughout many post-secondary education institutions as a supplementary resource, used by students for review and as an additional learning benefit to attending the live lecture.
Faced with the seemingly overwhelming possibilities of high technology, choreographers must embrace these tools and master them in order to assure that their choreographic intent is not lost in translation. Allowing the fear of new technology to create a taboo will not protect the art of dance performance, it will condemn it to becoming an obscure pastime. Dance has often been qualified as a fleeting choreographic image, and traditionalists fear that by capturing or re-imaging dance, technology destroys the original work. In fact, the re-creation of an image is an integral part of human perception. Technology modifies an image in translation, but does not inevitably destroy the original image or its message. By embracing technology, choreographers can ensure that technology archives and enhances their work in keeping with their choreographic intention. The craft of performance and dance will continue to harness the ever-improving digital horizons, and the technology will demand that viewers expand their scope of artistic categorization and abilities to perceive in differing and multiple simultaneous formats.
The unremitting explosion of reality television across the schedules has become a sustainable global phenomenon generating considerable popular and political fervour. The zeal with which television executives seize on the easily replicated formats is matched equally by the eagerness of audiences to offer themselves up as television participants for others to watch and criticise. But how do we react to so many people breaking down, fronting up, tearing apart, dominating, empathising, humiliating, and seemingly laying bare their raw emotion for our entertainment? Do we feel sad when others are sad? Or are we relieved by the knowledge that our circumstances might be better? As reality television extends into the experiences of the everyday, it makes dramatic and often shocking the mundane aspects of our intimate relations, inviting us as viewers into a volatile arena of mediated morality. This book addresses the impact of this endless opening out of intimacy as an entertainment trend that erodes the traditional boundaries between spectator and performer demanding new tools for capturing television's relationships with audiences. Rather than asking how the reality television genre is interpreted as 'text' or representation the authors investigate the politics of viewer encounters as interventions, evocations, and more generally mediated social relations. The authors show how different reactions can involve viewers in tournaments of value, as women viewers empathise and struggle to validate their own lives. The authors use these detailed responses to challenge theories of the self, governmentality and ideology. A must read for both students and researchers in audience studies, television studies and media and communication studies.
A beautifully designed monograph surveying the works of the highly acclaimed contemporary photographer. Kenna's photographs captivate viewers through their silent drama and magnetism: rather than being accurate descriptions of a place, the photographer seems interested in capturing the invisible lines which enclose space, and in so doing arousing a viewer's imagination and reverie. Michael Kenna is an artist for whom the subject is above all the opportunity for a tremendous but constant variation in his view of the world.
Everyday we stare at computer screens as we type out emails, write code, upload photos, watch videos, and push around pixels. Billions of pages of information splashed with text and images are accessed daily, composed of colored dots emanating from a screen connected to a computer connected to the Internet. Together, these clusters of colors visually display information that we consume and that we create, colors that make up the viewers' virtual worlds. What Color Is My Internet? is self portrait of the artist as an internet surfer. The book tells, in visual form, the story of 90 days of Greg Leuch's browsing activity, from May 7 to August 5, 2015. Datas and visuals are extracted from mycolor.today (2015), an online project by the artist, visualizing users' Internet browsing history by capturing the average pixel color of each web page they visit. Greg Leuch is a product designer specializing in web prototyping and early product development. He is presently Head of Product at betaworks, a startup incubator.
Picking up where Lewis and Clark had left off, the Long Expedition of 181920 was the first federally sponsored exploratory expedition that was accompanied by professional artists. Under the command of Major Stephen Harriman Long, artists Samuel Seymour, a Philadelphia landscape painter, and Titian Ramsay Peale, a natural historian and the son of artist-scientist and museum proprietor Charles Willson Peale, together produced more than four hundred drawings and paintings capturing the journey that extended up the Missouri River and through vast stretches of the Louisiana territory. Their work introduced American viewers to the landscapes, wildlife, and Native American inhabitants of the far West. Though widely publicized after the artists return to Philadelphia, the works were gradually dispersed. This book unites the core body of extant paintings and drawings, providing a detailed account of the expedition through close visual readings.