Digital cinema (d-cinema) is the highest quality electronic motion imagery for entertainment. The cinema is presented in a theatrical environment, with high brightness projectors, high rate data transfer, and high resolution color imagery. The entertainment industry uses formats that are specific to film-based electronic imagery. This report describes software tools for viewing digital cinema s...

In his article "The Suppression of Satirizing Belgian Community Difficulties in Flemish Cinema and the Film Adaptation of Will-O'-the Wisp" Gertjan Willems analyzes two film projects of Frans Buyens. In 1970, Buyens received a positive funding recommendation for Top-Hit Girl, a satire about community difficulties in Belgium. However, Minister of Culture Frans van Mechelen refused to support the...

Interactive narratives designed for television and cinema demands new interaction mechanisms. In the TV context, thousands of viewers sharing the same narrative at different places must have the opportunity to interact with ongoing stories. The same requisite is valid for cinema, where the whole audience in the theater must have the opportunity to interact. This paper presents a multi-user natu...

Since the start of Indian cinema, a number of films have been made where a particular song is based on a certain raga. These songs have been taking a major role in spreading the essence of classical music to the common people, who have no formal exposure to classical music. In this paper, we look to explore what are the particular features of a certain raga which make it understandable to commo...

Stereoscopic cinema has seen a surge of activity in recent years, and for the first time all of the major Hollywood studios released 3-D movies in 2009. This is happening alongside the adoption of 3-D technology for sports broadcasting, and the arrival of 3-D TVs for the home. Two previous attempts to introduce 3-D cinema in the 1950s and the 1980s failed because the contemporary technology was...

An effort is underway to enable digital cinema distribution with new products and new standards covering a wide range of technology. Exhibitors, studios, equipment manufacturers, and others involved in this effort require a universal, long-term digital cinema standard. Complicating the drive toward a single standard, however, are two issues: 1) not all players have the same priorities in specif...