Frühlingsluft (1. IMDb. Find industry contacts & talent representation. Liebe Katrin Oh ja, dieses Grün wirkt sehr frühlingshaft:-) Und ein wunderbares Frühlingsbild hast du damit arrangiert. GLG Adriana. Antworten Löschen. Find album reviews, stream songs, credits and award information for Frühlingsluft Und Sonnentanz - Ralf Kiwit on AllMusic - 2007. C#でプログラミングをやってると、「追加情報: オブジェクト参照がオブジェクト インスタンスに設定されていません。. Manage your photos, credits, & more. Showcase yourself on IMDb & Amazon. FRÜHLINGSLUFT (1938) SKU: 1809: Availability: FRÜHLINGSLUFT (1938) Carl Lamac, Magda Schneider, Wolf Albach-Retty and Hilde von Stolz. Get this from a library! Frühlingsluft; Operette in 3 Acten. [Ernst Reiterer; Karl Lindau; Julius Wilhelm; Josef Strauss]. Hoch mit dem Arsch in die Frühlingsluft! Traditional GC3EYX8 A cache by Oberdieter; Difficulty 4; Terrain 5; Size Small; Favorite Points 26; This is a. Watch free movies online streaming without downloading, watch movies online megavideo, good movie websites to watch full movies online for free. Frühlingsluft (1. Timeline of Historical Film ColorsדThe earliest known example of a hand- colored motion picture is Les Dernières Cartouches (Georges Hatot, 1. It was produced by the Lumière Brothers not long after their Cinématographe premiered on December 2. Grand Café in Paris. In this early film, the color was applied directly onto the print. This required a special bench fitted with an aperture the size of a single frame. The image was lit from below, viewed through the magnification of a lens, and advanced frame by frame by means of a foot pedal. An aniline dye was spread over the frame with a tiny brush. When the foot pedal was pressed, the next image appeared, and the worker repeated the same strike of color until the scene was finished. The film was then rewound, and another worker would begin to color another area of the film with a different dye. A trained hand could move the brush rhythmically and very rapidly. The major problem was the fact that the spot of color had to follow the movements of the figure across the frame. It was also important to ensure that the shape and intensity of the brushstroke remained constant. The films colored with such systems often had—and still do, insofar as they have been preserved—the flamboyant beauty of medieval miniatures. However, the production of these hand- tinted films could never be organized on an industrial basis. The cost of producing colored prints was only partially justified by the demand of the exhibition market. Carabelle Studio, Penny Black, Distriss Ink, Text von Karten-Kunst Ich freue mich, dass Du Zeit gefunden hast auf meinem Blog zu stöbern. Kommentare sind immer sehr. Thus, for some time, the most expensive films were sold in both black- and- white and color versions, especially in France. References. 6 The Lumière catalog number oi. Les Dernieres Cartouches is 7. See Georges Sadoul, Lumière et Méliès (Paris: Lherminier, 1. Seghers as separate books, Méliès and Lumière], p. A good example is Le Royaume Des Fées (Star- Film, 1. An original print of this film is held in the nitrate vaults of the National Film Archive in Berkhamstead, England.”(Cherchi Usai, Paolo (1. The Color of Nitrate. Some Factual Observations on Tinting and Toning Manuals for Silent Films. In: Abel, Richard (ed.): Silent Film. New Brunswick: Rutgers University Press, pp. The first attempts to apply colour manually to the film emulsion derive from the methods normally used for magic lantern slides. Experiments in this direction were made in the United States and France almost as soon as the photographic moving image came into existence. Already in 1. 89. Edison Kinetoscope Company had marketed Annabelle’s Dance – the first of a vast repertory of single- shot views dedicated to the genre of the ‘serpentine dance’, which Loïe Fuller had made an international rage – in colour versions. Annabelle’s white veils were tinted by hand by the wife of Edward Kuhn in the Edison Laboratories at Llewellyn Park, New Jersey, using half a dozen hues, in an attempt ‘to simulate the effect of the coloured lights that were projected on the ballerina during her performance on stage’. Early attempts in this direction were also made by Lumière in France and by Robert William Paul in the United Kingdom. The application of colour was later improved with the use of powerful enlarging lenses and extremely fine brushes. Georges Méliès, more than anyone else, took advantage of the limitations inherent in this practice (it was difficult to follow precisely the contours of people and objects) by producing some of the most fascinating colour films of the early period (Plate 4. Le Palais des mille et une nuits (1. Le Royaume desfies (1. The colours in this film have been compared to those of medieval miniatures, not only because of the minute detail and the clever articulation of delicately hued patterns within a tiny surface, but also because of their effect in locating the story in a realm of mythic atmosphere, deliberately alien to any historical context (although derived from the visual codes of late nineteenth- century books of fables), and by their capacity to enhance the beauty of the settings and the depth of the trompe- l’oeil perspective. In order to reduce the very high costs involved in hand- colouring a film, standardise the product – for obvious reasons, manual application of colour resulted in noticeable differences from copy to copy, affirming the uniqueness of each – and satisfy a growing market demand, systems were devised for mechanical colouring after 1. Cherchi Usai, Paolo (2. Silent Cinema. London: BFI, pp. Attempts at achieving full- color reproduction date back to the very beginning of the film industry. Traditional histories usually ignore the possibility that the first film to be projected upon a screen–C Francis Jenkins’ in 1. Mr. Boyce prior to its presentation. While conclusive evidence of Mr. Boyce’s contribution has yet to surface, it is known that as early as 1. The Edison Kinetoscope Company enhanced their famous film, Annabelle’s Dance, by laboriously hand- coloring the black- and- white image frame by frame. As many as half a dozen different colors were applied to Annabelle’s white dress in an attempt “to simulate the effects of colored lights which played over her body during her stage performance.”3 The meticulous work was performed at the Edison laboratories at Llewellyn Park, New Jersey by Mrs. Edmund Kuhn. 4. Other colorists in the early days were Miss Martini, of West Orange, N. J. Miss Sarah Levy of New York City, and Miss Tompkins, of Brooklyn, N. Y. These famous hand colorists brought their art to a high degree of perfection, and displayed remarkable patience in working out their results. In 1. 89. 6 Robert Paul, pioneer English filmmaker and manufacturer of motion picture equipment, began experimenting with hand- coloring. Artists were engaged for the task; they used a magnifying glass, but progress was provokingly slow as well as exacting and expensive, the treatment of a film with i t s 6. Kinetoscope–occupying considerable time. The coloring of the film of The Miracle was the record achievement by this method. The positive was 7. Professor Rinehart and Dr. Karl Volmoeller. A small army of expert colourists were engaged, but the daily output of each man was only eight feet, or 1. The Miracle was by far the most ambitious color film to date, but perhaps the real miracle is that it was completed at all. Paul soon realized that he would either have to abandon colored films entirely, or develop a system of applying the colors mechanically to save time and expense. He eventually “evolved a system of mechanically stenciling the colors through hand- made masks,”7 a process which appears similar to that used by Pathé in France.[…]Pathé was not alone. Other French firms such as Gaumont and Eclair used hand- tinting or stenciling to obtain color, as did Georges Méliès in many of his early films, including An Astronomer’s Dream (1. A Trip to the Moon (1. The gunshot blast at the end of The Great Train Robbery (1. Alfred Hitchcock in Spellbound, and D. W. Griffith utilized handcoloring in The White Rose (1. Carol Dempster appeared to blush on the screen with the help of a red tint applied to her cheeks. Although many additional examples could be cited, the process of hand- tinting motion pictures was clearly not the answer for achieving full color on the screen. A primary drawback was the artificiality of the – colors applied to the film. While pleasant (and often magnificent) to look, at, both filmmakers and theater audiences preferred to have “natural color.” Furthermore, the high cost of the delicate process made hand- coloring prohibitive—even with mechanical aids like stencils and pantographs. This cost factor, suggests Terry Ramsaye, became acute after World War I when the labor costs of artisans employed by European producers rose drastically. References. 1 Hal Hall and William Stull, “Motion Pictures in Natural Colors,” in Cinematographic Annual, 1. The American Society of Cinematographers (Hollywood: The Harwell Publishing Corp., 1. Terry Ramsaye, A Million and One Nights (New York: Simon and Schuster, 1. David L. Parker, “‘Blazing Technicolor,’ ‘Stunning Trucolor,’ and ‘Shocking Eastmancolor,’” in The American Film Heritage, The American Film Institute (Washington, D. C.: Acropolis Books Ltd., 1. Charles Edward Hastings, “Natural Color Moving Pictures–Their History and Advancement,” Moving Picture World, March 2. Frederick A. Talbot, Moving Pictures: How They Are Made and Worked (London: William Heinemann Ltd., 1. Hall and Stull, p. Parker, p. 1. 9. 9 Roger Manvell, The International Encyclopedia of Film (New York: Crown Publishers, Inc., 1. James L. Limbacher, Four Aspects of the Film (New York: Brussel and Brussel, Inc., 1. Terry Ramsaye, “Color Photography and the Motion Picture,Photoplay 1. March 1. 91. 9): 8. Nowotny, Robert A. The Way of all Flesh Tones. A History of Color Motion Picture Processes, 1. New York: Garland Pub, pp. Turning now to the history of applied colour film, it can be noted that the earliest cited examples date back, in the United States, at least to 1. Edison Kinetoscope films employed hand colouring for dance subjects. Edison’s hand- coloured serpentine dance films with Annabelle Whitford, which emulate Loïe Fuller’s elaborate performances, are the colour Kinetoscope films most frequently cited (see, for example, Ramsaye 1. Regarding the early projection of applied- colour films, press reviews, such as those collated and redistributed by Raff and Gammon to promote the Vitascope, enthusiastically note that Edison included two hand- coloured films in his first public screening on 2. April 1. 89. 6 at Koster and Bial’s Music Hall: the Leigh sister’s Umbrella Dance, which began the screening, and a serpentine dance that ended it (Raff and Gammon 1. A- 0. 23- 0. 26). Prior to this screening, the Lumière Brothers, as well as the British filmmaker R. W. Paul, had produced hand- coloured films for projection.
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