Cinema e pittura (Art dossier Giunti) by Pier Marco De Santi

By Pier Marco De Santi

During this e-book is an research of the connection among cinema and the visible arts. mostly we will be able to say that the movie, when you consider that its inception, has additionally produced a few of his maximum pictorial iconography of the full historical past of artwork, however the box of research is very vast.

Sommario:

IL CINEMA MUTO
Cinema d artista e artisti di cinema
Film storico e kolossal storico-religioso
Il "tableau vivant" nel cinema italiano
IL CINEMA SONORO
Europa: l'estetica del "divertimento"
Russia: ~jzenstejn e eleven tesoro della cultura popolare
Giappone: una rigorosa tradizione nazionale
Italia: il senso della pittura
Stati Uniti: il tabù dell'arte (Giorgio Vitale)
La cultura planetaria degli apolidi: Kubrick
CONCLUSIONI
FlLMOGRAFTA ESSENZIALE
Bibliografia

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A byte can represent 256 (= 28) different sequences of zeros and ones. These can be the numbers of 0 to 255, 256 characters, or, for example, 256 gray levels. A kilobyte (kB) equals 1024 such units of information. A megabyte is equal to 1024x1024 or 1,048,576 bytes. A digitizer with a 4-bit resolution can thus convert the analog signals produced by the photo sensor into 16 digital values, allowing 16 gray levels to be distinguished. Fig. 3 Functional diagram of digital photography: rastering of image, conversion into electrical signals, and subsequent digitization.

These are generally sold in sets of three and can be used individually or in combination. The shorter the focal length of the lens, the stronger their effect is; for our purposes, this is not an advantage, since we use longer focal length lenses (Fig. 26). Because the light must travel further to reach the sensor, there can be a loss of up to two stops. The subject-to-camera distance is also reduced, although not as much as in using close-up lenses. It is also no longer possible to focus on infinity.

26). Because the light must travel further to reach the sensor, there can be a loss of up to two stops. The subject-to-camera distance is also reduced, although not as much as in using close-up lenses. It is also no longer possible to focus on infinity. The use of extension tubes is not very practical, since it is no longer possible to infinitely vary the magnification. Working distance Working distance is defined as the distance between the subject and the front of the lens. This value is determined by the focal length of the lens and the selected magnification.

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