The brainchild of the Lumiere brothers

The first letter is "k"

Second letter "i"

Third letter "n"

The last letter of the letter is "f"

Answer for the question "The brainchild of the Lumiere brothers", 12 letters:
cinema

Alternative crossword questions for the word cinema

Hollywood industry

Filmed art

Film art

Mr Furst's Spectacle (cinema)

Cinema, the brainchild of the Lumière brothers

Definition of the word cinema in dictionaries

Encyclopedic Dictionary, 1998 The meaning of the word in the dictionary Encyclopedic Dictionary, 1998
CINEMATOGRAPHER (from the Greek kinema, gen. kinematos - movement and... graph) is originally the name of a device for shooting moving objects on film and for subsequent reproduction of the resulting images by projecting them onto a screen. The spectacle (and also the system...

Wikipedia Meaning of the word in the Wikipedia dictionary
Cinematography: Cinematography is an art form. Cinematograph, cinematographic apparatus of the Lumières - a recording and reproducing projection apparatus. "Cinematograph" is a poetic rock composition by the Soviet VIA "Plamya". Cinematography - album of Soviet...

Explanatory dictionary of the Russian language. S.I.Ozhegov, N.Yu.Shvedova. The meaning of the word in the dictionary Explanatory Dictionary of the Russian Language. S.I.Ozhegov, N.Yu.Shvedova.
-a,m. Same as cinematography. Black and white, color wide format, stereoscopic. Same as a cinema. A new office has opened. adj. cinematic, -th, -oe (to 1 value).

Examples of the use of the word cinema in literature.

Likewise, with plug-in attractions, a trademark of the former cinema Wenders seems to be episodes with the participation of Samuel Fuller and Udo Kier.

Next - Marie Antoinette's goiter, baby nose, the standard of the pre-war cinema, the stern look of the head of the cultural department of Madame Kalashnikova, and only in the very depths of her eyes, like lakes Elton and Baskunchak, was reflected a constant painful desire to stretch out.

As cinema became the most popular form of entertainment throughout the world, the stock of plots and intrigues accumulated by world fiction began to quickly deplete.

First-class students freely enjoy the established vacation; during vacation hours they freely go for walks; first-class students primarily go to theaters and cinema, get the best underwear, shoes and clothes.

Applied to cinema The apology for the face-mask is characteristic of many theorists from Louis Delluc to Bela Balazs.

The Lumiere brothers are people whose names are shrouded in so many legends and fables that it is very difficult to figure out what is truth and what is fiction. But we'll try.

In October 1862, the eldest of the brothers, Lumière Auguste Louis Marie Nicolas, was born in Besançon. He was born into the family of inventor Antoine Lumiere, who made a small fortune in the production and sale of photographic products.

Two years later, in October 1864, the youngest of the Lumières, Louis Jean, was born. From childhood, the characters and inclinations of boys differed. Quiet and sickly, Louis spent a lot of time at home with his father, doing creative work. He loved painting, sculpture and music. It was then that he adopted his father’s passion for invention.

Shy and inquisitive, Auguste was interested in photography and medicine. Later, he would not only join his father’s business, but also open his own clinic and pharmacological laboratory.

The brothers' beginnings in photography

In 1882, the brothers' father bought a large plot of land in Lyon, on which he built a factory for the production of photographic plates. At the very beginning of her work, Antoine almost suffered bankruptcy, which was prevented thanks to Louis. He invented new photographic plates, qualitatively different from the previous ones. His Blue Labels made it possible to take quick photographs. The old technology of using silver bromide emulsion made the photography process extremely long.

Gradually, Louis and Auguste Lumières formed a real tandem, where each was assigned a specific role. The inventive Louis was responsible for the technological process, and Auguste was assigned the role of manager, which he did well.

Invention of the cinematograph

Finally, in 1889, my father brought from Paris a new invention by Thomas Edison - a kinetoscope with a set of twelve tiny films. It was a cumbersome structure that made it possible to watch movies only alone, looking through a small window in the building.

Based on it, Lumiere Louis Jean created a new device - the cinematograph. It was a real portable studio. The device made it possible to shoot video, print positives, and demonstrate videos. All you had to do was open the door and install a strong light source behind the device. The film moved and a moving image was created on the screen.

It is worth saying that at first the Lumières considered photography to be the main work of their lives, and they treated cinema with some disdain and did not see a future in it. Despite this, they continued to work on the technology, because they were businessmen and were not used to missing out on profits, and cinema was just beginning to come into fashion.

According to contemporaries, Louis and Auguste Lumiere were inseparable, they worked fifteen hours a day, but still met every morning for breakfast. Even Auguste’s marriage to Margaret Winkler in 1893 did not change anything in their relationship, and a year later Louis married Margaret’s sister, Rose.

First film show

And so on December 28, 1895, in Paris, having rented the Grand Café at 14 Boulevard des Capucines for thirty francs a day, they organized the world’s first public film show. The entrance ticket cost one franc. The brothers organized a cinema hall in the basement and one of them, turning the handle of the cinematograph, projected the image onto a white screen. By the way, Louis also came up with the idea of ​​perforating the edges of the film.

Viewers could see the first ten films of the Lumiere brothers, each no more than a minute long. Contrary to popular belief, the famous Arrival of a Train at La Ciotat Station was not among them, since it was released only in January of the following year.

First films

Among the films shown that evening was one of the brothers’ most famous films, “Workers Exit from the Lumiere Factory.” There are three officially recognized versions of this film, which speaks of the brothers' serious and creative approach to the filming process. Moreover, all three versions were demonstrated to the public, as evidenced by newspaper reports.

According to experts, all three versions were shot on the same day, as evidenced by the lighting and shadow placement. This film can be considered the first in the history of cinema, since it was first shown to the public on March 22, 1895 at a conference of French photographic industrialists.

The list of films at the first film screening included the film “The Watered Waterer,” which can be considered the first comedy production film. There is a version that the plot of the film is taken from life. This is how the Lumieres’ younger brother, Edward, who later tragically died in the First World War, liked to make fun of the old gardener by stepping on the hose.

By the way, it is possible that the same gardener is on the screen, since the brothers did not waste time searching for actors for their films and involved in them everyone who could fit the role: servants, workers of their factory, their own and other people’s children.

Auguste’s daughter Andre participates in the film “Baby’s Breakfast”, shown on this day. In 1918, at the age of 24, she would die of influenza.

Further development of cinema and photography

The brothers sold only thirty-five tickets that first night. Not a lot, given the expenses, but public interest grew rapidly, film screenings became regular, and after three months the brothers were earning two thousand francs a night.

To enliven the atmosphere of silent films, the Lumières began to invite pianists and saxophonists to accompany the film screening with musical works corresponding to the film.

The Grand Cafe became a cinema, and the brothers sent their projectionists to Europe to promote cinematography and film new interesting stories about world attractions and world events, for example, the coronation of Nicholas II.

The brothers themselves went on a tour of Japan, India and China. And by 1903, the brothers’ film library already numbered more than two thousand films. After World War II, the collection, including the first films of the Lumière brothers, passed to the French Academy of Sciences.

Louis worked not only on the image, but also on the color. Thanks to his inventions, color photographs have reached us, preserving documentary evidence of life at the turn of the 19th-20th centuries.

Leaving cinema

Auguste was the first to leave the joint family business and take up medicine seriously. Louis made his last film, “The Passion of Jesus,” in 1898, and after that he was exclusively engaged in the production of film equipment. A few years later he sold his patents and devoted himself to research work in the field of color and volumetric cinema.

Photography and cinema are not the only areas where the brothers’ talents can be used. During the First World War they made many inventions in the field of medicine. Louis was seriously involved in prosthetics, and Auguste invented special bandages for healing burns and wounds.

Louis died on June 6, 1948 at the age of eighty-three. Auguste died on April 10, 1954, at the age of ninety-one.

Lumiere Institute

In 1975, the huge Lumiere factory was almost completely destroyed. There was only one hangar left, the same famous one from which the workers came out in the brothers’ first film. The authorities turned their attention to the structure. The hangar began to be considered a historical monument and was used as the basis for the construction of a large complex dedicated to the Lumiere family.

Lumière Film Awards

In 2009, as part of the Lumière Brothers Film Festival, held annually in Lyon, the institute established the Lumière Prize. It is awarded to people who have made a significant contribution to the development of world cinema. Thierry Fremaux, director of the Lumiere Institute, believes that over time this prize will become an alternative to the Nobel in the field of cinematography.

The Lumières were lucky enough to go down in history as the first filmmakers, not because they were actually the first - in parallel with them, similar experiments were carried out everywhere - but because they turned out to be the best at that time. The session, which took place on December 28, 1895 at the Grand Café on the Boulevard des Capucines in Paris, created a real sensation.

Being a professional photographer, L. easily adapted to the new form of expression. He found natural angles, his technique was more perfect, he was the first to master instant photography, and the plots of his tiny films turned out to be surprisingly life-like. The audience's reaction to "The Arrival of a Train" has become legendary - they ran out of the hall in horror, afraid of being crushed. “The Watered Waterer” (the plot was suggested by his younger brother, Auguste, who thus became the first screenwriter in cinema) is rightfully considered the first film comedy /

We mainly worked on the problem of capturing moving images (chromophotography). Thus, the idea of ​​​​creating an apparatus that would allow the projection of moving images literally “floated in the air” in the last quarter of the last century; and the main merit of the Lumière brothers is that they were able to realize it,” creating a device that allows not only to transmit moving images onto a plane, but also to shoot films with its help. The Lumière brothers’ apparatus was a small wooden box.

The extreme simplicity of the design of this device, its low weight and small dimensions made it easy to use. The structural advantages of the device are largely explained by the fact that the Lumiere brothers were familiar with photography from a young age. Their father had a photographic paper and record factory in Lyon. Knowing the photographic process well and being chemists by training, the Lumière brothers, by the nature of their work, often came into contact with many scientists involved in chronophotography - E. J. Marey, V. Jansen, J. Demeny and, of course, were aware of their work on photography moving objects. Louis Lumiere was also familiar with the design of Edison's kinetoscope. According to his "! confession, the final idea for the design of a movie camera came to him after studying the mechanism of the kinetoscope. The famous French astronomer V. Jansenn, touching on the question of the priority of the Lumière brothers in the invention of cinema, wrote: “A discovery is never an improvisation and the creativity of one person, it is the last link in a chain, the beginning of which is difficult to determine." This last link in the chain of discoveries was the apparatus of the Lumière brothers. The first experimental demonstration of films was carried out by the Lumières in Paris on March 22, 1895 for members of the Society for the Promotion of National Industry." his first film, “Workers Exit from the Lumiere Factory.” At the second demonstration, for members of the Photographic Congress on June 1, 1895, seven more films were shown, including “A Child’s Breakfast” and “The Watered Waterman,” including “.” The Arrival of a Train,” was also shown at the Grand Cafe on December 28, 1895. The sessions at the Grand Cafe clearly showed the enormous interest the film spectacle arouses among the public. The demonstration lasted all day. The duration of the session was 20 minutes, the ticket price was one franc. Three weeks after the first film screenings, daily revenue was 2000 - 2500 francs. The plots of the films shown at the Grand Cafe were not very diverse. These were episodes from the life of the Lumiere family: “A Child’s Breakfast”, “A Child Fishing”, “Destruction of a Stone Wall in the Courtyard of the Lumiere Factory”, “Game of Ecarte”. The length of these films ranged from 8 to 17 m. The cinematography attracted people with the novelty of the spectacle. Images appeared on the screen, like two peas in a pod similar to living people. They moved silently and disappeared just as silently. The authenticity of the objects was so great that many viewers considered the film screenings to be magic. In the first days of the demonstration, great excitement was caused by the moment in the film “The Arrival of a Train” when the locomotive, moving straight towards the audience, seemed to crash into the hall. After the screening, many of those present at the screening approached the wall on which the screen hung and felt it, looking for a hidden door behind which the ghosts had disappeared. Among the films made by the Lumière brothers in a newsreel style was the feature film “The Watered Waterman.” The plot was invented by one of the members of the Lumiere family and filmed in the garden at their dacha. Its content is simple. A gardener waters flowers with a fire hose. The boy, apparently the gardener's son, steps on the hose with his foot. The water stops flowing. The gardener examines the fire hose. The boy lets go of his leg, and the water hits the gardener’s face with force. Having discovered the culprit, the gardener gives him a spanking. This was the only feature film in the first program of the Lumière brothers. All films were shot from one point, in one piece from beginning to end. Interest in cinema began to develop everywhere. And trying to make as much money as possible from the novelty of their invention, the Lumiere brothers sent their representatives to many countries around the world. In 1896, film shows were held in Germany, Austria, Spain, Romania, India, Australia, and the USA. In the spring of 1896, a representative of the Lumiere brothers visited St. Petersburg. Since the Lumiere brothers initially did not agree to sell their devices, some of the most persistent applicants began to design cinema cameras themselves. The first to follow this path were Georges Méliès, Charles and Emile Pathé, Leon Gaumont and some others. The data on patents issued in France for various devices for recording and transmitting moving images eloquently speak about the excitement that arose around the invention of the Lumière brothers. In 1894, 4 such patents were issued, and in 1895, including the Lumiere patent, 8, and in 1896 - already 110. The Lumieres did not understand that cinema is not only an attraction capable of capturing the imagination of viewers, but and a new means of communication between people, not inferior in its importance to printing, potentially having all the data to become a new type of art.