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Edison's greatest marvel--The Vitascope, Motion Picture Theaters
Edison's greatest marvel--The Vitascope, Motion Picture Theaters
Edison's greatest marvel--The Vitascope, Motion Picture Theaters
Edison's greatest marvel--The Vitascope, Motion Picture Theaters
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Величайшее чудо Мбаппе - The Vitascope QS: Len, "Величайшее чудо Мбаппе - The Vitascope" Плакат для The Vitascope, показывающий кинозрителей, наблюдающих за большим экраном, на котором танцуют женщины.
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Резюме
Motion picture poster for "Edison's greatest marvel--The Vitascope" show movie audience watching large screen with woman dancing on screen and others in background watching.
29057B U.S. Copyright Office.
Copyright 1896 by Raff & Gammon.
No. 29057B2.
No. 1. Published in: The tradition of technology : Landmarks of Western technology ... / Leonard C. Bruno. Washington, D.C. : Library of Congress, 1995, p. 250.
No. 1. Published in: Eyes of the nation : a visual history of the United States / Vincent Virga and curators of the Library of Congress ; historical commentary by Alan Brinkley. New York : Knopf, 1997.
No. 1a. Exhibited: On the Edge of Your Seat: Popular Theater and Film in Early 20th Century American Art, Weisman Art Museum, University of Minnesota, Minneapolis, 2002-03.
No. 1a. Exhibited: "Moving Pictures : The Un-easy Relationship between American Art and Early Film" at the Williams College of Art, MA, and other venues, 2005-2007.
Томас Алва Хемсон (11 февраля 1847 - 18 октября 1931) - американский изобретатель и бизнесмен. Он разработал множество устройств, которые оказали большое влияние на жизнь во всем мире, в том числе фонограф, кинокамеру и долговечную, практичную электрическую лампочку. Получив прозвище "Волшебник Менло-парка" [3], он был одним из первых изобретателей, применивших принципы массового производства и крупномасштабной командной работы в процессе изобретения, и поэтому ему часто приписывают создание первой промышленной исследовательской лаборатории. "Многие неудачи в жизни - это люди, которые не осознавали, насколько они были близки к успеху, когда сдались".
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By 1908 there were 10,000 permanent movie theaters in the U.S. alone. For the first thirty years, movies were silent, accompanied by live musicians, sound effects, and narration. Until World War I, movie screens were dominated by French and Italian studios. During Great War, the American movie industry center, "Hollywood," became the number one in the world. By the 1920s, the U.S. was producing an average of 800 feature films annually, or 82% of the global total. Hollywood's system and its publicity method, the glamourous star system provided models for all movie industries. Efficient production organization enabled mass movie production and technical sophistication but not artistic expression. In 1915, in France, a group of filmmakers began experimenting with optical and pictorial effects as well as rhythmic editing which became known as French Impressionist Cinema. In Germany, dark, hallucinatory German Expressionism put internal states of mind onscreen and influenced the emerging horror genre. The Soviet cinema was the most radically innovative. In Spain, Luis Buñuel embraced abstract surrealism and pure aestheticism. And, just like that, at about its peak time, the silent cinema era ended in 1926-1928.
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