George benson erotic moods

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The Cinemiracle system, a near identical process, was developed in anyway. Là encore, une affaire de famille puisqu'Harold Winley, le frère de Paul, avait été un pilier du groupe, quasiment dès sa fondation à la fin des années quarante. Bossa Brasileira. So what we ended up using as our original was actually fourth generation track elements, from which we made a new, fifth generation dub encoded with Dolby A to suppress the noise. Une perle de funk , à la voix masculine singulière aux niveaux de grave extraordinaires.

Berceuse Electrique. Quelques grands disques de musique brésilienne de Il y a 1 an. Banda Desenhada. Bossa Nova Brasil.

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Radio Canalh. Bossa Brasileira. Receita de Samba. É Ouro Só. Cela peut nous aider à mieux comprendre ton feedback. Tu trouveras des informations détaillées à ce sujet dans notre Déclaration de protection des données. Roulette - SR Warner Bros. Records - WB 56 BS Goody - GY CTI Records - Trip Jazz - TLP America Records - 30 AM Galloway Records - Pochette abîmée. Embryo Records - SD SteepleChase - SCS Arista - AB Ensemble 37 albums.

Together 37 albums, no grading, some covers damaged, owner stamp, sometimes inscriptions on the cover. Lovie Austin and Her Blues Serenaders Vogue Plaisir Double - DP. Durium - BLJ Cicala Jazz Live. Le Club Français du Disque.

Philips - B R. Joker - SM La Storia del Jazz. The King Jazz Story. Jazz Masters Series. History of Jazz - Vol.

World's Greatest Music Series. Roulette - RB Birdland Series. RCA Victor - Vogue - VBTV. Jazz Stars - Jazz Classics. Guilde Du Jazz - J. Musidisc - 30 CV Collection Variété. Cette fin de XIXe siècle fut un âge d'or pour l'Europe dont les principaux pays étaient en paix et pendant laquelle Paris était considérée comme la Ville Lumière. Enla Place de la Concorde fut illuminée pour la première fois par un éclairage électrique, suivie en par la première rue ; les Concerts Colonne furent fondés en et le Palais Garnier l'Opéra de Paris inauguré en ; les différentes Expositions Universelles eurent lieu enet et la Tour Eiffel, construite pour célébrer cette dernière exposition, restera jusqu'en la construction la plus haute du monde, les nouvelles technolo- gies amenant l'avènement de l'automobile, du téléphone, du cinématographe et du premier métropolitain.

Son objectif est d'exprimer l'essence même de la george benson erotic moods aussi simplement et clairement que possible. Avec la combinaison de ces aspects, elle crée habilement un style tout à fait personnel. Pour Ars Produktion, elle a enregistré, avec le Royal Northern Sinfonia sous la baguette de Lars Vogt, les concertos pour piano dynamiques et merveilleux de Mendelssohn et Mozart. Depuis sa fondation enle trio fascine et enthousiaste de la même manière le public aussi bien que de la presse.

L'ensemble est loué pour la chaleur de son ton, pour son dévouement et son approche naturelle de la musique. Peu de temps après sa fondation, le trio ATOS fut lauréat de la compétition internationale Brahms de Pörtschach en Autriche où il obtint également le prix du public.

Enil reçut le premier prix de la compétition internationale de Schubert et de la musique du moderne à Graz ainsi que le prix pour la meilleure interprétation de l'oeuvre de Schubert. Il est si intense et touchant. Un moment profondément mélancolique, puis plein de joie et de bonne humeur effervescente, ici de belles cantilènes, puis des danses exaltantes, et pourtant tout reste parfaitement cohérents du début à la fin.

Le contraste entre la douleur du compositeur pour la perte de sa fille et ses souvenirs donne à la musique une note encore plus tragique. Personne ne george benson erotic moods échapper à cette aspiration de ce fond autobiographique dramatique ". Annette von Hehn. Le répertoire choisi favorise les compositeurs encore actifs autour de la seconde moitié george benson erotic moods XVIIIe siècle, alors que le clavecin traditionnel perd du terrain en faveur du pianoforte comme nouvel instrument à clavier de choix.

Harmoniquement, elle est très proche de Rach- maninov. Grant Photo de capucine anav nue ter est un compositeur et pianiste de concert reconnu et prolifique né en Australie enet ayant vécu et donné des concerts au Roy- aume-Uni et en Europe depuis 17 ans.

Hollywood and the public both accepted Eastmancolor without really noticing a difference in color quality. Each studio developed its own special variant of the Eastmancolor process, and the crazy quilt of color george benson erotic moods that burst forth in the mid-Fifties captured the satiric eye of Cole Porter in a number for the film Silk Stockings :.

And although both the public and Hollywood seemed intrigued with the possibilities of the new Eastman-based color processes, no one was thinking of its archival qualities. As color researchers Henry Wilhelm and Klaus B.

Henricks write in their forthcoming Preservation of Contemporary Photographic Materials :. The dark storage stability of Technicolor imbibition prints is far superior to release prints made on Eastman color print film, and this fact alone would justify the added cost of imbibition prints for many applications ….

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Faced with increasing competition from Eastmancolor, Technicolor considered advertising its imbibition process on the basis of its excellent stability. However, permanence has never been a primary requirement of the motion picture industry, and Technicolor decided not to make a major george benson erotic moods of the permanence question. The honeymoon between Hollywood and the new Eastmancolor processes was predictably short-lived. Other companies apprehensively surveyed their libraries and found the color in some films too faded to halt.

Today, when all that remain of the great Hollywood studios are corporate skeletons and film libraries, the importance of color fading to a distributor who has active interests in television sales and theatrical reissues is crucial.

Perhaps the two studios best prepared to confront the color fading problem are Walt Disney Productions and Metro-Goldwyn-Mayer. The Disney studio has kept expensive separations on all of its major releases, both animated and live-action. Disney also, as policy, keeps an original Technicolor imbibition print on each title as a check if a question of color balance or tone arises during a reissue. MGM has had a george benson erotic moods history of film conservation, which is now paying off with remarkable results.

In a continuing program of conservation, the studio has converted over features from nitrate to safety stock, and has also finished converting over shorts. The Company is currently working on trailers, travelogues, and cartoons. MGM keeps its original camera negatives in its vaults in Dessin femme nue. And to assure that no negatives are ever destroyed by a man-made or natural disaster, the company keeps duplicate elements in an abandoned section of a salt mine in Kansas.

In fact, MGM has, in recent years, done very well financially with theatrical reissues of its films, organized into retrospectives that feature a wide variety of titles from the MGM library.

A relative newcomer to the area of repertory cinema distribution is 20th Century-Fox. The studio has recently tested the financial waters of the re-release market by assembling a program of about forty features from its library and playing them successfully in San Francisco and New York City. Unfortunately, Fox has many problems with negative and print fading. Much of their trouble stems from the inferior processing DeLuxe Laboratories now DeLuxe Generala wholly-owned corporate subsidiary, did on Fox releases of the Fifties and Sixties.

They simply do bad george benson erotic moods. Sid Samuels, an affable, knowledgeable man who is in charge of print control for Fox, admits that the company has had trouble making up prints on some of their older films. But several other titles show painfully obvious problems in negative fading and improper laboratory timing. Sections of The Virgin Queen and Carousel appeared yellowish, and the lighting of indoor and outdoor sequences in both films was off.

Bus Stop had a yellow tone from beginning to end, as did sections of How To Marry a Millionaire Forever Amber showed distinctly bad tonal shifts and contrast imbalances throughout the film. Many of these problems are directly related to the storage and treatment of the original negatives. Samuels confirmed that many Fox negatives from the Fifties are in poor condition, mainly because they were used directly for striking prints, rather than utilizing a duplicating negative — the customary process to avoid damage to the original.

Another, from the same storage area and the same time period, throws out a print that is an abomination. Despite the considerable trouble Fox has had preparing prints on older titles for theatrical engagements, the studio was able to improve the quality of problematic george benson erotic moods and prints when preparing material for television broadcast.

Through the use of computer circuits, technicians at Fox television were able to control each of the primary colors on the clips separately and, in effect, remix the color electronically to compensate for any dye loss in the original material.

George Benson - Erotic Moods

Although this technique george benson erotic moods reasonably successful for television broadcast, it cannot correct problems in theatrical release prints. While distributors are understandably concerned over the significant problem of color fading, their concern tends to overshadow the additional problem of color consistency that occurs when films photographed in one color process are printed in another.

When new prints are needed on films originally shot in three-strip Technicolor, it is common practice for distributors to make up an Eastman internegative and strike prints on Eastman film.

The three matrices were then transferred in a conventional manner. In the forties Kennedy was known as an extremely technical actor capable of saying his dialogue perfectly again and again. It goes against the entire grain of the film industry, which is to get the most money out of a picture at the time of initial release. Un harmonica amène une coloration bluesy et crue mais c'est la rythmique de guitare qui fournit la colonne vertébrale du morceau. Goody - GY

In the Fifties and Sixties this was done mainly for economic reasons, but now that Technicolor has phased out imbibition printing Hollywood no longer has a choice.

This change from Technicolor to Eastmancolor results in a dramatic shift in color tone and balance. Serious shifts in yellow tones occur, and Eastmancolor is simply not george benson erotic moods of reproducing the distinctive, saturated primary colors that distinguished three-strip Technicolor. Eastman prints of The Red Shoes struck recently lack the deep blacks and reds of the Technicolor imbibition prints. New prints of Meet Me In St.

Louis and On The Town lack the vibrant quality they originally had. The Leopard was originally processed by Technicolor in Italy, but when Fox distributed the film in Great Britain and the United States they struck prints in DeLuxe color from a duplicate negative.

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This seriously affected the subtle, tapestry-like shadings Visconti had striven for, and sacrificed values in color fidelity and definition as well.

Whether the problem involves color consistency or color fading, there is little a director can do about it after a film opens. Francois Truffaut admitted, somewhat fatalistically, that the best he could do to insure good color quality in Farenheit would be to check personally the prints scheduled for major first-run engagements in Europe and the United States.

Cinematographers are equally exasperated by the proliferation of faded prints that continue to circulate for years. Gordon Willis, who has worked with several directors known as meticulous color stylists Francis Ford Coppola, Alan Pakula, Woody Allenwas understandably volatile when asked about the lax preservation of prints and negatives.

Studios and labs usually think of film in terms of yardage. But I certainly have no illusions about what a print will look like five years after its release. Retired cinematographer Arthur E. I sometimes take a look at my films when they turn up on television, and I can tell they have deteriorated.

George benson erotic moods there was a continuity in laboratory procedures and systems, and we would also usually get the time to do things our way. But the detrimental effects of color fading on various film collections are spoken of without levity.

But Eileen Bowser, a george benson erotic moods curator at MOMA, cites color fading as the biggest problem in film preservation today — she fully expects the problem to get worse as the years go by. The Museum is currently putting its films into cold storage at just below freezing, in the hope that an economic method of dealing with color preservation will be developed in the next few years.

The Museum is also involved in making new prints of all the David O. The new prints will be prepared under the supervision of film technician Ralph Sargent and his staff at Film Technology Laboratory in California, specialists in the painstaking art of archival print manufacture. The chemical process is very complicated, and rushing it can be a disaster. Actually, all handling, storage, and use of a film contributes to fading.

David L. The bulk of all their back titles could be considered non-commercial, except for the occasional reissue or booking into a repertory cinema. It goes against the entire george benson erotic moods of the film industry, which is to get the george benson erotic moods money out of a picture at the time of initial release.

The studios are also loath to throw good money after bad in the case of a film that was a financial disappointment the first time around. Archives that store Hollywood films are not the only ones threatened by color fading. Even the National Aeronautic and Space Administration, which owns the most elaborate archive in the United States for the storing of original film and slides from the manned space flights, will eventually have to face the problem of color fading. The bulk of our most spectacular space footage is in color.

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Color fading problems are, of course, not confined to archives in the United States. Harold Brown, Chief Preservation Officer for the British Film Institute, reported that early examples of hand-colored or stenciled films have survived much better than color films from the Fifties and Sixties.

New george benson erotic moods by Swedish directors such as Ingmar Bergman, Jan Troell, and Bo Widerberg start to fade, almost imperceptibly to the layman, as soon as they are made, and no one really knows how to halt the process, which accelerates with the passage of time. Without exception, each archive questioned said that Technicolor imbibition prints were in almost as good a condition as when they were first struck, with no measurable color fading.

They were all distressed that Technicolor had discontinued a print process that had provided archives with a reprieve from color deterioration. Technicolor had continued to offer its superior imbibition process in the United States george benson erotic moodsand Hollywood opted for it on such large-quantity print runs as My Fair LadyDr.

Zhivagoand The Godfather and Faced with waning interest and increased costs, Technicolor finally closed its Hollywood inhibition plant in February, Their Rome operations were discontinued on June 1,and the rencontre pour mariage gratuit imbibition plant, in London, was shut down on June 14, The imbibition process did not go out, however, without a fitting hail and farewell.

Critics were enthusiastic about the film — and ecstatic about the color quality. Operation of the plant began in The Chinese are using the process to make large numbers of release prints of documentaries and training films.

This makes China the last place where Technicolor imbibition printing can be done. Recently, the Chinese let it be known that they would be delighted to contract work from U. Alas, color fading is not a problem that engages the concern of the general public.

What little attention the problem does receive is due in part to the efforts of Henry Wilhelm, a specialist in the history of color in film. They have also been negligent in informing the public of just what the projected life of their dyes is.

But color fading is george benson erotic moods touchy subject with them. Indeed, for many years Eastman Kodak avoided dealing with the problem by issuing blanket statements on the quality of their products and affixing a famous disclaimer to every can of film they sold, warning that the film was not insured against any changes in dye color. The first involves new film stocks with improved dye stability, which Kodak estimates will last up to twenty times longer than their other stocks.

Company spokesman Michael More said that the new stocks are currently available in 16mm, but that Eastman Kodak will make them available in 35mm upon request. The second development at Eastman Kodak is a method by which faded transparencies can actually be restored to their original color.

This complex process is akin, at least in rudimentary theory, to the electronic restoration used by Fox to color-correct faded film clips. The three primary colors are separated and re-combined in their proper ratio, restoring the transparency to its correct color. In george benson erotic moods segments of the photography world, there has been great excitement over a new system of printing color transparencies called Cibachrome.

The visual excellence of Cibachrome is even more attractive because it is between three and ten times george benson erotic moods stable than Technicolor imbibition printing. Officials at Ilford, Inc. If it were to be used this way, it would probably be the most stable method of storage as yet discovered. A permanent solution to the problem of color stability could involve the use of holograms, and important research, partially funded by the National Endowment for the Arts, is being conducted in this area.

The holographic process, when refined, would utilize lasers to record and reconstruct correct film color. Whatever method proves to be the key to color preservation in the future, it is a simple reality that the international film industry cannot be expected to be the curators of its own past.

The money machine will not be responsible for the dream factory. The business of Hollywood is to make films. Asking them to make and preserve them may be giving them too much responsibility. I think an outside group, backed by the government, should keep good prints and original negatives for the studios, and allow the studios retrieval rights to their films. The idea of a national repository is an attractive one, and could probably be funded for surprisingly little cost.

Wilhelm suggests that a slight increase in copyright fees could cover the entire tab. Still, the studios have good relations with the archives: MGM gives its original three-strip negatives to Eastman House; Fox contributes prints to the U. There is also the possibility for corporate action. Philip Morris not only picked up the tab for all the restoration on the original negative, but paid for a duplicate negative george benson erotic moods be deposited with the American Film Institute.

By whatever means the problem of color fading is ultimately solved, it is george benson erotic moods that a problem of such magnitude will require the hard work — and hard cash — of distributors, archivists, laboratories, and researchers. Color fading is a problem that was created by more than one segment of george benson erotic moods film industry, and it george benson erotic moods a problem whose solution will be found in the combined efforts of all groups involved.

One thing is clear: the task is formidable and the deadline is now. Projected color, or colored lighting, has a long history in Hollywood.

In fact, we can profitably see it as a continuation of the additive color techniques of tinting and toning which were more or less dominant during the silent era Salt 78, Color laid over the image could have an overt semantic and representational function, but could also swell into an expressive register. Russell Metty has saturated the blue a bit more, perhaps because shooting in tungsten-balanced Eastmancolor meant he would no longer rely on uncorrected arcs, but gelled incandescents.

The intricate play of color temperature to separate playing areas and generate character juxtapositions is much the same [web illustrations ]. All that Heaven Allows follows the pattern set by Gone with the Wind in which tortured lovers seem to constantly find themselves standing next to windows, a tactic that helps cinematographers find color equivalents to the greater latitude of black-and-white cinematography [web illustrations ]. Narrative and formal arcs have been building to this point.

Metty and Sirk need to extend and exceed the tone of that scene, but the diegetic motivation for moonlight is no longer available. Sirk and Metty scale the heights of chromo-drama, where color enters an operatic register and sweeps across the frame. Neither position does justice to the care and skill with which the effect is carried out. Sirk and Metty likely recognized that this color effect was a reach for the diegesis, and so the sequence includes three shots showcasing the rainbow window 1, 4, 6.

The establishing shot is crucial; as Kay crosses to her bed we are given a clear demonstration of the source and direction of the lighting [web illustrations ]. Metty has achieved a meticulous balance of temperatures in the scene. Wyman receives only warm to neutral light from the window, while Talbott dips into less flattering blues and greens [web illustrations ].

It is not just a matter of keeping the star beautiful, or even legible, but of giving us access to her facial expressions and channeling our empathic investment. Noriel Vilela, Eis o "Ôme" : Umbanda, samba-rock e Flabbergasted Vibes. Bahia Flâneur. Terceira Diaspora. Berceuse Electrique. Quelques grands disques de musique brésilienne de Il y a 1 an.

Banda Desenhada. Bossa Nova Brasil.

When a 2. Vous pouvez en faire le tour avec des mots, mais ne pourrez décrire son essence. Prestige Bluesville - Faced with increasing competition from Eastmancolor, Technicolor considered advertising its imbibition process on the basis of its excellent stability. The color system of the film does not always use red to separate objects or characters from the setting in order to emphasize the narrative or to comment on ideologies.

Modifié en dernier par Zou le sam. Y'a de l'info dans ton post!

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