Film and television offer important insights into social outlooks on borders in France and Europe more generally. This book undertakes a visual cultural history of contemporary borders through a film and television tour. It traces on-screen borders from the Gare du Nord train station in Paris to Calais, London, Lampedusa and Lapland. It contends that different types of mobilities and immobilities (refugees, urban commuters, workers in a post-industrial landscape) and vantage points (from borderland forests, ports, train stations, airports, refugee centers) are all part of a complex French and European border narrative. It covers a wide range of examples, from popular films and TV series to auteur fiction and documentaries by well-known directors from across Europe and beyond.

From moving images on the Internet to giant IMAX displays: The number of screens in the public and private sphere has increased significantly during the last two decades. While this is often taken to indicate the "death of cinema," this volume attempts to reconsider the limits and specifics of film and the traditional movie theater. It analyzes notions of spectatorship, the relationship between cinema and the "uncinematic," the contested place of installation art in the history of experimental cinema, and the characteristics of the high definition image. Further contributions discuss the ways in which cinema interacts with other arts and media such as theater and television. Contributors include Raymond Bellour, Victor Burgin, Vinzenz Hediger, Tom Gunning, Ute Holl, Ekkehard Knörer, Thomas Morsch, Jonathan Rosenbaum and the editors.

Quotations are a standard way that the humanities make meaning; the pull-quote, epigraph, and quotation are standard for citing evidence and invoking and interrogating authority in both literary and scholarly writing. However, film studies has yet to seriously examine how moving images can quote one another, convening interaction and creating new knowledge across time. Classical Projections offers film quotation as a new concept for understanding how preexisting moving image fragments are reframed and re-viewed within subsequent films. As a visual corollary to literary quotation, film quotations embed film fragments in on-screen movie screens. Though film quotations have appeared since silent cinema, Classical Projections focuses on quotations of classical Hollywood film--mainstream American studio production, 1915-1950--as quoted in post-classical Hollywood, roughly 1960 to present. This strategic historical frame asks: how does post-classical cinema visualize its awareness of coming after a classical or golden age? How do post-classical filmmakers claim or disavow classical history? How do historically disenfranchised post-classical filmmakers, whether by gender, sexuality, or race, grapple with exclusionary and stereotype-ridden canons? As a constitutive element of post-classical authorship, film quotations amass and manufacture classical Hollywood in retrospective, highly strategic ways. By revealing how quotational tellings of film history build and embolden exclusionary, myopic canons, Classical Projections uncovers opportunities to construct more capacious cultural memory.

papers, illustrated with examples. They include wavelet bases, implicit functions de ned on a space grid, etc. It appears that a common pattern is the recovery of a controllable model of the scene, such that the resulting images can be edited (interaction). Changing the viewpoint is only one (important) aspect, but changing the lighting and action is equally important [2]. Recording and representing three-dimensional scenes is an emerging technology made possible by the convergence of optics, geometry and computer science, with many applications in the movie industry, and more generally in entertainment. Note that the invention of cinema (camera and projector) was also primarily a scienti c invention that evolved into an art form. We suspect the same thing will probably happen with 3-D movies. 3 Book Contents The book is composed of 12 chapters, which elaborate on the content of talks given at the BANFF workshop. The chapters are organized into three sections. The rst section presents an overview of the inter-relations between the art of cinemat- raphy and the science of image and geometry processing; the second section is devoted to recent developments in geometry; and the third section is devoted to recent developmentsin image processing. 3.1 3-D Cinematography and Applications The rst section of the book presents an overview of the inter-relations between the art of cinematography and the science of image and geometry processing.

Between the 1920s and the 1960s, American mainstream cinematic architecture underwent a seismic shift. From the massive movie palace to the intimate streamlined theater, movie theaters became neutralized spaces for calibrated, immersive watching. Leading this charge was New York architect Benjamin Schlanger, a fiery polemicist whose designs and essays reshaped how movies were watched. In its close examination of Schlanger's work and of changing patterns of spectatorship, this book reveals that the essence of film viewing lies not only in the text, but in the spaces where movies are shown. The Optical Vacuum demonstrates that our changing models of cinephilia are always determined by physical structure: from the decorations of the palace to the black box of the contemporary auditorium, variations in movie theater design are icons for how viewing has similarly transformed.