British Film Institute
The British Film Institute is a film and charitable organisation which promotes and preserves filmmaking and television in the United Kingdom. It was established by Royal Charter to: Encourage the development of the arts of film and the moving image throughout the United Kingdom, to promote their use as a record of contemporary life and manners, to promote education about film and the moving image and their impact on society, to promote access to and appreciation of the widest possible range of British and world cinema and to establish, care for and develop collections reflecting the moving image history and heritage of the United Kingdom; the BFI maintains the world's largest film archive, the BFI National Archive called National Film Library, National Film Archive, National Film and Television Archive. The archive contains more than 50,000 fiction films, over 100,000 non-fiction titles, around 625,000 television programmes; the majority of the collection is British material but it features internationally significant holdings from around the world.
The Archive collects films which feature key British actors and the work of British directors. The BFI runs the BFI Southbank and London IMAX cinema, both located on the south bank of the River Thames in London; the IMAX has the largest cinema screen in the UK and shows popular recent releases and short films showcasing its technology, which includes 3D screenings and 11,600 watts of digital surround sound. BFI Southbank shows films from all over the world critically acclaimed historical & specialised films that may not otherwise get a cinema showing; the BFI distributes archival and cultural cinema to other venues – each year to more than 800 venues all across the UK, as well as to a substantial number of overseas venues. The BFI offers a range of education initiatives, in particular to support the teaching of film and media studies in schools. In late 2012, the BFI received money from the Department For Education to create the BFI Film Academy Network; the BFI runs the annual London Film Festival along with BFI Flare: London LGBT Film Festival and the youth-orientated Future Film Festival.
The BFI publishes the monthly Sound magazine as well as films on Blu-ray, DVD and books. It runs the BFI National Library, maintains the BFI Film & TV Database and Summary of Information on Film and Television, which are databases of credits and other information about film and television productions. SIFT has a collection of about 7 million still frames from television; the BFI has co-produced a number of television series featuring footage from the BFI National Archive, in partnership with the BBC, including The Lost World of Mitchell & Kenyon, The Lost World of Friese-Greene, The Lost World of Tibet. The institute was founded in 1933. Despite its foundation resulting from a recommendation in a report on Film in National Life, at that time the institute was a private company, though it has received public money throughout its history—from the Privy Council and Treasury until 1965 and the various culture departments since then; the institute was restructured following the Radcliffe Report of 1948 which recommended that it should concentrate on developing the appreciation of filmic art, rather than creating film itself.
Thus control of educational film production passed to the National Committee for Visual Aids in Education and the British Film Academy assumed control for promoting production. From 1952–2000, the BFI provided funding for new and experimental filmmakers via the BFI Production Board; the institute received a Royal Charter in 1983. This was updated in 2000, in the same year the newly established UK Film Council took responsibility for providing the BFI's annual grant-in-aid; as an independent registered charity, the BFI is regulated by the Charity Commission and the Privy Council. In 1988, the BFI opened the London Museum of the Moving Image on the South Bank. MOMI was acclaimed internationally and set new standards for education through entertainment, but subsequently it did not receive the high levels of continuing investment that might have enabled it to keep pace with technological developments and ever-rising audience expectations; the Museum was "temporarily" closed in 1999. This did not happen, MOMI's closure became permanent in 2002 when it was decided to redevelop the South Bank site.
This redevelopment was itself further delayed. The BFI is managed on a day-to-day basis by its chief executive, Amanda Nevill. Supreme decision-making authority rests with a board of up to 14 governors; the current chair is Josh Berger, who took up the post in February 2016. He succeeded Greg Dyke, who took office on 1 March 2008. Dyke succeeded the late Anthony Minghella, chair from 2003 until 31 December 2007; the chair of the board is appointed by the BFI's own Board of Governors but requires the consent of the Secretary of State for Culture and Sport. Other Governors are co-opted by existing board members; the BFI operates with three sources of income. The largest is public money allocated by the Department for Culture and Sport. In 2011–12, this funding amounted to £20m; the second largest source is commercial activity such as receipts from ticket sales at BFI Southbank or the BFI London IMAX theatre, sales of DVDs, etc. Thirdly and sponsorship of around £5m
Sponsoring something is the act of supporting an event, person, or organization financially or through the provision of products or services. The individual or group that provides the support, similar to a benefactor, is known as sponsor. Sponsorship is a cash and/or in-kind fee paid to a property in return for access to the exploitable commercial potential associated with that property. While the sponsoree may be nonprofit, unlike philanthropy, sponsorship is done with the expectation of a commercial return. While sponsorship can deliver increased awareness, brand building and propensity to purchase, it is different from advertising. Unlike advertising, sponsorship can not communicate specific product attributes. Nor can it stand alone, as sponsorship requires support elements. A range of psychological and communications theories have been used to explain how commercial sponsorship works to impact consumer audiences. Most use the notion that a brand and event become linked in memory through the sponsorship and as a result, thinking of the brand can trigger event-linked associations.
Cornwell and Roy have published an extensive review of the theories so far used to explain commercial sponsorship effects. One of the most pervasive findings in sponsorship is that the best effects are achieved where there is a logical match between the sponsor and sponsoree, such as a sports brand sponsoring a sports event. Work by Cornwell and colleagues however, has shown that brands that don't have a logical match can still benefit, at least in terms of memory effects, if the sponsor articulates some rationale for the sponsorship to the audience. Series sponsor is the highest status of sponsorship; the name and the logo of the sponsor is incorporated into the title of the series. This status allows companies to have a decisive voice on the issue of presence among sponsors other companies operating in the same business, the priority right to use teams, team members, players and the sanctioning body for conducting joint promotions, right of presence at all official events dedicated to a sports event, mandatory mentioning in all activities conducted on behalf of the team, highlighting the name of title sponsor in film credits, television programs which were created with its financial support, placement of logos and banners.
A patch or sticker is required to placed or worn on a visible item of every competitor if their personal sponsor is in direct competition with the series sponsor. Title sponsor characterizes the most significant contribution to a company in organizing and hosting an event; the name of such sponsor is placed next to the name of competition, individual athletes and is associated with it. In case of title sponsor's presence, the general sponsor position may remain free. General sponsor is a sponsor that makes one of the largest contributions and that receives for it the right to use the image of competition as well as extensive media coverage. If necessary, the status of the general sponsor may be supplemented by the general sponsors for certain categories, as well as the main sponsor. Team sponsor provides funds for individual teams; the more money provided, the larger area and more visible location are allocated. In some instances, the team sponsor may be rotated between the secondary sponsor roles.
This occurs with auto racing teams that travel over a vast area. A team sponsor may take the primary sponsorship role at a race in an area where they are present, such as a store chain; that sponsor may take a secondary sponsorship role, or not be on the car, in an area they have little or no presence, or are prohibited by law to sell, such as alcohol or tobacco products. Official sponsor is a sponsor; the given status may be granted by category. Technical sponsor is a sponsor which promotes organization of sporting events through the partial or full payment of goods and services. Participating sponsor is a company, the sponsorship fee size of which does not exceed 10% of total raised funds.. Informational sponsor is an organization that provides informational support through media coverage, conducting PR-actions, joint actions, etc. All sponsorship should be based on contractual obligations between the sponsor and the sponsored party. Sponsors and sponsored parties should set out clear terms and conditions with all other partners involved, to define their expectations regarding all aspects of the sponsorship deal.
Sponsorship should be recognisable as such. The terms and conduct of sponsorship should be based upon the principle of good faith between all parties to the sponsorship. There should be clarity regarding the specific rights being sold and confirmation that these are available for sponsorship from the rights holder. Sponsored parties should have the absolute right to decide on the value of the sponsorship rights that they are offering and the appropriateness of the sponsor with whom they contract; the sa
The Prelinger Archives is a collection of films relating to U. S. cultural history, the evolution of the American landscape, everyday life and social history. It is now in San Francisco; the Archives were founded by Rick Prelinger in 1982 in order to preserve what he calls "ephemeral" films: films sponsored by corporations and organizations, educational films, amateur and home movies. Ephemeral films were produced to fulfill specific purposes at specific times, many exist today only by chance or accident. About 65% of the Archive's holdings are in the public domain because their copyrights have expired, or because they were U. S. productions that were published without proper copyright notice. The stated goal of the Prelinger Archives is to "collect and facilitate access to films of historic significance that haven't been collected elsewhere." By 2001, it had acquired 60,000 completed films of varying lengths and over 30,000 cans of unedited film. In 2002, the Library of Congress acquired the physical films held in the Archives as of that date.
As of spring 2015, the Archives holds about 8,000 films in videotape and digital form 14,000 home movies, 1,000 industrial and sponsored films acquired since 2002. Compared to many other moving image archives, Prelinger Archives provides a high level of public access to its collections. Over 6,400 public domain films are available for download and unrestricted reuse on the Internet at the Internet Archive. All the films in the archives can be licensed for production use through Getty Images. Prelinger Archives focuses principally on collecting home movies and amateur film from North America. Official website https://www.panix.com/~footage/ https://www.panix.com/~footage/periodicals.html http://www.prelingerlibrary.org/ http://www.home.earthlink.net/~alysons/library.html The Prelinger Archives collection at the Internet Archive Rick Prelinger interview - Spots Unknown
AT&T Inc. is an American multinational conglomerate holding company headquartered at Whitacre Tower in Downtown Dallas, Texas. It is the world's largest telecommunications company, the second largest provider of mobile telephone services, the largest provider of fixed telephone services in the United States through AT&T Communications. Since June 14, 2018, it is the parent company of mass media conglomerate WarnerMedia, making it the world's largest media and entertainment company in terms of revenue; as of 2018, AT&T is ranked #9 on the Fortune 500 rankings of the largest United States corporations by total revenue. AT&T began its history as Southwestern Bell Telephone Company, a subsidiary of the Bell Telephone Company, founded by Alexander Graham Bell in 1880; the Bell Telephone Company evolved into American Telephone and Telegraph Company in 1885, which rebranded as AT&T Corporation. The 1982 United States v. AT&T antitrust lawsuit resulted in the divestiture of AT&T Corporation's subsidiaries or Regional Bell Operating Companies, resulting in several independent companies including Southwestern Bell Corporation.
In 2005, SBC purchased its former parent AT&T Corporation and took on its branding, with the merged entity naming itself AT&T Inc. and using its iconic logo and stock-trading symbol. In 2006, AT&T Inc. acquired BellSouth, the last independent Baby Bell company, making their joint venture Cingular Wireless wholly owned and rebranding it as AT&T Mobility. The current AT&T reconstitutes much of the former Bell System, includes ten of the original 22 Bell Operating Companies along with the original long distance division. AT&T can trace its origin back to the original Bell Telephone Company founded by Alexander Graham Bell after his patenting of the telephone. One of that company's subsidiaries was American Telephone and Telegraph Company, established in 1885, which acquired the Bell Company on December 31, 1899, for legal reasons, leaving AT&T as the main company. AT&T established a network of subsidiaries in the United States and Canada that held a government-authorized phone service monopoly, formalized with the Kingsbury Commitment, throughout most of the twentieth century.
This monopoly was known as the Bell System, during this period, AT&T was known by the nickname Ma Bell. For periods of time, the former AT&T was the world's largest phone company. In 1982, U. S. regulators broke up the AT&T monopoly, requiring AT&T to divest its regional subsidiaries and turning them each into individual companies. These new companies were known as Regional Bell Operating Companies, or more informally, Baby Bells. AT&T continued to operate long distance services, but as a result of this breakup, faced competition from new competitors such as MCI and Sprint. Southwestern Bell was one of the companies created by the breakup of AT&T Corp; the architect of divestiture for Southwestern Bell was Robert G. Pope; the company soon started a series of acquisitions. This includes the 1987 acquisition of Metromedia mobile business and the acquisition of several cable companies in the early 1990s. In the half of the 1990s, the company acquired several other telecommunications companies, including some Baby Bells, while selling its cable business.
During this time, the company changed its name to SBC Communications. By 1998, the company was in the top 15 of the Fortune 500, by 1999 the company was part of the Dow Jones Industrial Average. In 2005, SBC purchased AT&T for $16 billion. After this purchase, SBC adopted the better-known AT&T name and brand, with the original AT&T Corp. still existing as the long-distance landline subsidiary of the merged company. The current AT&T claims the original AT&T Corp.'s history as its own, though its corporate structure only dates from 1983. It retains SBC's pre-2005 stock price history, all regulatory filings prior to 2005 are for Southwestern Bell/SBC, not AT&T Corp. In September 2013, AT&T Inc. announced it would expand into Latin America through a collaboration with América Móvil. In December 2013, AT&T announced plans to sell its Connecticut wireline operations to Stamford-based Frontier Communications. AT&T purchased the Mexican carrier Iusacell in late 2014, two months purchased the Mexican wireless business of NII Holdings, merging the two companies to create AT&T Mexico.
In July 2015, AT&T purchased DirecTV for $48.5 billion, or $67.1 billion including assumed debt, subject to certain conditions. AT&T subsequently announced plans to converge its existing U-verse home internet and IPTV brands with DirecTV, to create AT&T Entertainment. In an effort to increase its media holdings, on October 22, 2016, AT&T announced a deal to buy Time Warner for $108.7 billion. AT&T owns a 2% stake in Canadian-domiciled entertainment company Lionsgate. On July 13, 2017, it was reported that AT&T would introduce a cloud-based DVR streaming service as part of its effort to create a unified platform across DirecTV and its DirecTV Now streaming service, with U-verse to be added soon. In October 2018, it was announced that the service Is set to launch in 2019On September 12, 2017, it was reported that AT&T planned to launch a new cable TV-like service for delivery over-the-top over its own or a competitor's broadband network sometime next year. On November 20, 2017, Assistant Attorney General Makan Delrahim filed a lawsuit for the United States Department of Justice Antitrust Division to block the merger with Time Warner, saying it "will harm competition, result in higher bills for consumers and less innovation."
In order for AT&T to acquire Time Warner, the Department of Justice stated that the company must
Rick Prelinger is an archivist, professor at the University of California, Santa Cruz and filmmaker, founder of the Prelinger Archives, a collection of 60,000 advertising, educational and amateur films acquired by the Library of Congress in 2002 after 20 years' operation. Rick has partnered with the Internet Archive to make over 6,000 films from Prelinger Archives available online for free viewing and reuse. With the Voyager Company, a pioneer new media publisher, he produced fourteen LaserDiscs and CD-ROMs with material from his archives, including Ephemeral Films, the Our Secret Century series and Call It Home: The House That Private Enterprise Built, a laserdisc on the history of suburbia and suburban planning. For Prelinger, "archives are a primary weapon against amnesia." Prelinger worked at The Comedy Channel from its startup in 1989 until it merged with the comedy network HA! to become Comedy Central. He worked at Home Box Office until 1995. Prelinger has taught in the MFA design program at New York's School of Visual Arts and lectures on American cultural and social history and on issues of cultural and intellectual property access.
He sat on the National Film Preservation Board as representative of the Association of Moving Image Archivists, was Board President of the San Francisco Cinematheque, is a board member of the Internet Archive and a professor in the Department of Film & Digital Media at UC Santa Cruz. His feature-length film Panorama Ephemera opened in summer 2004. With spouse Megan Prelinger he is co-founder of the Prelinger Library, a reference library located in San Francisco, California, he has produced such archival compilation films Lost Landscapes of San Francisco and Lost Landscapes of Detroit He received the Creative Capital Award in 2012 to make the film No More Road Trips?, which premiered in Austin, Texas, at South by Southwest in March 2013. He wrote The Field Guide to Sponsored Films which "describes 452 or culturally significant motion pictures commissioned by businesses, advocacy groups, state or local government units between 1897 and 1980." It is available as a free PDF from the National Film Preservation Foundation.
He worked at the Internet Archive on a texts-digitization project and helped organize the Open Content Alliance. Sponsored film Interview with Ràdio Web MACBA Lecture on his film collection and the future of archiving at MACBA Interview/podcast on the future of archives and issues relating to access to archives and culture Interview with Spots Unknown Prelinger.com blackoystercatcher, Rick Prelinger's blog Prelinger Library Prelinger Collection Prelinger Library Panorama Ephemera Panorama Ephemera published in the Vectors Journal of Culture and Technology in a Dynamic Vernacular, Volume 2 Issue 1. The Field Guide to Sponsored Films Prelinger's "Reimagining the Archive" presentation at UCLA, November 2010 Lost Landscapes of San Francisco, Years 3–6 at fora.tv Lost Landscapes of Detroit, 2010 at Internet Archive No More Road Trips? official site Rick Prelinger on IMDb
A film called a movie, motion picture, moving picture, or photoplay, is a series of still images that, when shown on a screen, create the illusion of moving images. This optical illusion causes the audience to perceive continuous motion between separate objects viewed in rapid succession; the process of filmmaking is both an industry. A film is created by photographing actual scenes with a motion-picture camera, by photographing drawings or miniature models using traditional animation techniques, by means of CGI and computer animation, or by a combination of some or all of these techniques, other visual effects; the word "cinema", short for cinematography, is used to refer to filmmaking and the film industry, to the art of filmmaking itself. The contemporary definition of cinema is the art of simulating experiences to communicate ideas, perceptions, beauty or atmosphere by the means of recorded or programmed moving images along with other sensory stimulations. Films were recorded onto plastic film through a photochemical process and shown through a movie projector onto a large screen.
Contemporary films are now fully digital through the entire process of production and exhibition, while films recorded in a photochemical form traditionally included an analogous optical soundtrack. Films are cultural artifacts created by specific cultures, they reflect those cultures. Film is considered to be an important art form, a source of popular entertainment, a powerful medium for educating—or indoctrinating—citizens; the visual basis of film gives it a universal power of communication. Some films have become popular worldwide attractions through the use of dubbing or subtitles to translate the dialog into other languages; the individual images that make up a film are called frames. In the projection of traditional celluloid films, a rotating shutter causes intervals of darkness as each frame, in turn, is moved into position to be projected, but the viewer does not notice the interruptions because of an effect known as persistence of vision, whereby the eye retains a visual image for a fraction of a second after its source disappears.
The perception of motion is due to a psychological effect called the phi phenomenon. The name "film" originates from the fact that photographic film has been the medium for recording and displaying motion pictures. Many other terms exist for an individual motion-picture, including picture, picture show, moving picture and flick; the most common term in the United States is movie. Common terms for the field in general include the big screen, the silver screen, the movies, cinema. In early years, the word sheet was sometimes used instead of screen. Preceding film in origin by thousands of years, early plays and dances had elements common to film: scripts, costumes, direction, audiences and scores. Much terminology used in film theory and criticism apply, such as mise en scène. Owing to the lack of any technology for doing so, the moving images and sounds could not be recorded for replaying as with film; the magic lantern created by Christiaan Huygens in the 1650s, could be used to project animation, achieved by various types of mechanical slides.
Two glass slides, one with the stationary part of the picture and the other with the part, to move, would be placed one on top of the other and projected together the moving slide would be hand-operated, either directly or by means of a lever or other mechanism. Chromotrope slides, which produced eye-dazzling displays of continuously cycling abstract geometrical patterns and colors, were operated by means of a small crank and pulley wheel that rotated a glass disc. In the mid-19th century, inventions such as Joseph Plateau's phenakistoscope and the zoetrope demonstrated that a designed sequence of drawings, showing phases of the changing appearance of objects in motion, would appear to show the objects moving if they were displayed one after the other at a sufficiently rapid rate; these devices relied on the phenomenon of persistence of vision to make the display appear continuous though the observer's view was blocked as each drawing rotated into the location where its predecessor had just been glimpsed.
Each sequence was limited to a small number of drawings twelve, so it could only show endlessly repeating cyclical motions. By the late 1880s, the last major device of this type, the praxinoscope, had been elaborated into a form that employed a long coiled band containing hundreds of images painted on glass and used the elements of a magic lantern to project them onto a screen; the use of sequences of photographs in such devices was limited to a few experiments with subjects photographed in a series of poses because the available emulsions were not sensitive enough to allow the short exposures needed to photograph subjects that were moving. The sensitivity was improved and in the late 1870s, Eadweard Muybridge created the first animated image sequences photographed in real-time. A row of cameras was used, each, in turn, capturing one image on a photographic glass plate, so the total number of images in each sequence was limited by the number of cameras, about two dozen at most. Muybridge used his system to analyze the movements of a wi