Failures and successes: local and national Australian sound innovations, 1924-1929

This article aims to expand our knowledge of the success or failure of sound technologies in the Australian exhibition market in the years between 1924 and 1929. Crucial to this issue are the complex relations between previously unrecognised groups and individuals involved in promotion of sound technology and in the wiring of Australian cinemas. The process by which all 1,420 of Australia\u27s cinemas were finally wired for sound by 1937[1], was not one in which an American monopoly had demonstrated unchecked power over a passive Australian market. There were a large number of national and international contributors to this process and a significant degree of contestation in the innovation of these powerful new technologies

An Historical Survey on Light Technologies

Following the celebration of the International Year of Light and Light-based Technologies in 2015, this paper presents a survey of the exploitation of light throughout our history. Human beings started using light far into the Stone Age, in order to meet immediate needs, and widened its used when ancient civilizations developed. Other practical uses were conceived during the Middle Ages, some of which had a deep impact on social life. Nevertheless, it was after the Scientific Revolution and, to a wider extent, with the Industrial Revolution, that more devices were developed. The advancement of chemistry and electricity provided the ground and the tools for inventing a number of light-related devices, from photography to chemical and electrical lighting technologies. The deeper and broader scientific advancements of the twentieth century, throughout wave and quanta paradigms and the research on the interactions with matter at the sub-atomic level, have provided the knowledge for a much broader exploitation of light in several different fields, leading to the present technological domains of optoelectronics and photoelectronics, including cinema, image processing, lasers, photovoltaic cells, and optical discs. The recent success of fiber optics, white LEDs, and holography, evidence how vastly and deeply the interaction between light and man is still growing

Continuity in Technological Change: A Political Economic Analysis of Digital Film Exhibition

This thesis analyzes the current transition to digital cinema projection technologies within the film exhibition business. I begin by discussing two historical cases of technological change in film exhibition technology, and I identify the corporations that successfully controlled periods of technological change in order to solidify their position atop the film industry. In drawing from these historical case studies, I examine the current transition to digital cinema projection technologies by discussing the structure of the film exhibition business and identifying those exhibitors that are controlling the transition to digital cinema. I find that the top three exhibitors - Regal Cinemas, AMC Entertainment, and Cinemark - are controlling digital cinema through two joint ventures: Digital Cinema Implementation Partners (DCIP), and National CineMedia (NCM)

Visual Jazz : performative Mittel afroamerikanischer Identitätsrepräsentation in Dudley Murphys 'St. Louis Blues' und 'Black and Tan Fantasy' (1929)

Dass die Filmgeschichte des frühen Jazz in weiten Teilen noch Forschungsdesiderat geblieben ist, ist insofern erstaunlich, als die performative Komponente – der Auftritt als solcher, aber genauso die mediale Bannung und Verfügbarmachung des 'unwiederholbaren Moments' - unbestritten als eines der wichtigsten Charakteristika von Jazz gilt. Vorrangiges Medium der Speicherung von Jazzgeschichte sind selbstverständlich die Tonträger. Hinsichtlich der Performance von Jazz - also der körperlichen, Identität vorstellenden oder konstruierenden Präsenz der Musikerin/des Musikers - sind aber gerade Bildmedien und insbesondere Filmkunstwerke aussagekräftige Auskunftgeber (Gabbard 2003). Zu den frühesten tonfilmischen Jazzdokumenten gehören die beiden Jazz-Kurzfilme, die Dudley Murphy im Jahr 1929 für RKO schrieb und drehte: die musical shorts 'St. Louis Blues' mit Bessie Smith (Premiere: New York Ende August 1929) und 'Black and Tan Fantasy' mit Duke Ellington (Premiere: New York 8. Dezember 1929)

La voix qui présente

L’expression « voix qui présente » permet d’envisager les différentes façons dont les films de l’époque de la généralisation du cinéma parlant ont pu continuer la tradition du bonimenteur dans les années 1930. L’analyse de séquences spécifiques amène à découvrir les méthodes d’introduction orale dans les films de cette époque. En incipit des films français, on retrouve des « voix de compère » humoristiques, reprenant la tradition du music-hall, des « voix dramatiques » créant du suspense, des « voix pédagogiques », au ton doctoral, et des « voix chantantes » grâce à leur accent ou à la musique. En établissant sa typologie, l’auteur fait un lien entre les films du début des années 1930 et les spectacles de scène des années antérieures à la guerre de 1914, puisque, dans les deux cas, il semble que la voix de présentation aide le spectateur à « entrer » dans l’oeuvre.The expression “voice that presents” makes it possible to think about the various ways in which films of the period when talking cinema became widespread may have continued the tradition of the film lecturer into the 1930s. Analysis of film sequences helps us to discover the ways in which orality was introduced to films of this period. At the beginning of French films we find humorous “announcer voices” in the music hall tradition, “dramatic voices” to create suspense, “pedagogical voices” with a professorial air, and “singing voices” by virtue of their intonation or accompanying music. Setting out this typology enables the author to establish a connection between films from the early 1930s and stage entertainment from before the war of 1914; in both cases, it appears that the presenting voice helped viewers “enter into” the work

Optical wireless communications

The phenomenal global demand for wireless communication links with greater bandwidths is motivating engineers world over to come up with alternatives communication links. One of such system that has received a great deal of attention and has shown evidence of a promising future is infrared optical communications.This project explores the fundamental aspects involved in designing and building a transmitter and a receiver as part of an infrared optical wireless link for indoor use. It is mainly concerned with extracting as much bandwidth as possible from the circuit designed. The system built in this project is capable of data transmission of over 20Mbits/second but this is however nowhere near the limit of the systems as will be discussed in the dissertation. Optical communication links have been developed which are capable of data transfer rates of 1.25Gbits/second (Jeganthan, 2001).The work done in this project and that which have been done by others present a compelling argument as to why infrared optical wireless communications is a formidable form of wireless communications and as a matter of fact a worthy alternative to the well known radio frequency (RF) systems

Optical wireless communications

The phenomenal global demand for wireless communication links with greater bandwidths is motivating engineers world over to come up with alternatives communication links. One of such system that has received a great deal of attention and has shown evidence of a promising future is infrared optical communications.This project explores the fundamental aspects involved in designing and building a transmitter and a receiver as part of an infrared optical wireless link for indoor use. It is mainly concerned with extracting as much bandwidth as possible from the circuit designed. The system built in this project is capable of data transmission of over 20Mbits/second but this is however nowhere near the limit of the systems as will be discussed in the dissertation. Optical communication links have been developed which are capable of data transfer rates of 1.25Gbits/second (Jeganthan, 2001).The work done in this project and that which have been done by others present a compelling argument as to why infrared optical wireless communications is a formidable form of wireless communications and as a matter of fact a worthy alternative to the well known radio frequency (RF) systems

The Tiger Vol. XXVI No. 26 - 1931-04-08

https://tigerprints.clemson.edu/tiger_newspaper/1978/thumbnail.jp