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Hedy Lamarr (/ ˈ h ɛ d i /; born Hedwig Eva Maria Kiesler; November 9, 1914 [a] – January 19, 2000) was an Austrian-born American actress and inventor. After a brief early film career in Czechoslovakia, including the controversial erotic romantic drama Ecstasy (1933), she fled from her first husband, Friedrich Mandl, and secretly moved to Paris.
Bombshell: The Hedy Lamarr Story (referred to onscreen as simply Bombshell) is a 2017 American biographical documentary film directed, written and co-edited by Alexandra Dean, about the life of actress and inventor Hedy Lamarr. It had its world premiere at the 2017 Tribeca Film Festival [2] and released theatrically on November 24, 2017. [3]
Hedy Lamarr invented frequency hopping—a technology that could have provided a significant advantage to the United States military in the war—but the Navy shelved her idea and told her to sell war bonds instead. By selling war bonds, she engaged in something deemed more appropriate for a woman, especially a glamorous actress."
Film theory is a set of scholarly approaches within the academic discipline of film or cinema studies that began in the 1920s by questioning the formal essential attributes of motion pictures; [1] and that now provides conceptual frameworks for understanding film's relationship to reality, the other arts, individual viewers, and society at large. [2]
Screen theory is a Marxist–psychoanalytic film theory associated with the British journal Screen in the early 1970s. [1] It considers filmic images as signifiers that do not only encode meanings but also mirrors in which viewers accede to subjectivity. [ 2 ]
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Studying the neuroscience of film is based on the hypothesis that some films, or film segments, lead viewers through a similar sequence of perceptual, emotional and cognitive states. Using fMRI brain imaging, researchers asked participants to watch 30 minutes of The Good, the Bad and the Ugly (1966) as they lay on their backs in the MRI scanner ...
This work highlighted film semiotics as a new tool in art criticism. The book provided an overview of previous thinkers and defined terms critical to semiotic film theory. “This book is intended as a didactic introduction to the vocabulary of the field, not as a series of interventions in film theory” [1] Part One The Origins of Semiotics