This reissued third edition of A User's Guide to View Camera introduces photographers to large-format cameras, covering their use with both film and digital capture. Readers will learn the anatomy of cameras with a separately adjustable back or front, the proper techniques for using view cameras, and how to take care of large-format cameras-all through straightforward and practical instruction and abundant visual examples. This latest edition features:
Lively and engaging, How to Launch a Magazine in this Digital Age adopts a practical guide students or inexperienced editors to the process of setting up and launching a new publication -- be it digital, print or a combination of both. Using case studies, theoretical/critical insights, and tests/exercises, this is the first how-to to embrace digital technologies, including a companion website with additional support with podcasts, web links, forums and timed live author chats.
The key to the text's success is its ability to encompass the complete process. It begins with the initial idea and follows the process through to developing a business plan as well as setting an editorial strategy to achieve and maintain an audience in a digital age -- where traditional print formats face an uncertain future. It includes checklists and realistic timescales for producing a digital/print magazine, for both the working professional and the student in the classroom setting.
Antoine de Baecque proposes a new historiography of cinema, exploring film as a visual archive of the twentieth century, as well as history's imprint on the cinematic image. Whether portraying events that occurred in the past or stories unfolding before their eyes, certain twentieth-century filmmakers used a particular mise-en-scene to give form to history, becoming in the process historians themselves. Historical events, in turn, irrupted into cinema. This double movement, which de Baecque terms the "cinematographic form of history," disrupts the very material of film, much like historical events disturb the narrative of human progress.
De Baecque defines, locates, and interprets cinematographic forms in seven distinct bodies of cinema: 1950s modern cinema and its conjuring of the morbid trauma of war; French New Wave and its style, which became the negative imprint of the malaise felt by young contemporaries of the Algerian War; post-Communist Russian films, or the "de-modern" works ofcatastroika; contemporary Hollywood films that attach themselves to the master fiction of 9/11; the characteristicmise en forme of filmmaker Sacha Guitry, who, in Si Versailles m'etait conte (1954), filmed French history from inside its chateau; the work of Jean-Luc Godard, who evoked history through his own museum memory of the twentieth century; and the achievements of Peter Watkins, the British filmmaker who reported on history like a war correspondent. De Baecque's introduction clearly lays out his theoretical framework, a profoundly brilliant conceptualization of the many ways cinema and history relate.
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