film reader

film reader

[′film ‚rēd·ər]
(electronics)
A device for converting a pattern of transparent or opaque spots on a photographic film into a series of electric pulses.
(optics)
A device for projecting or displaying microfilm so that an operator can read the data on the film; usually provided with equipment for moving or holding the film.
References in periodicals archive ?
From the Third Eye: The Evergreen Review Film Reader, edited by Ed Halter and Barney Rosset.
The beautifully made reader is called the 'Recordak Library Film Reader (Model C)', and was built by Kodak in the 1940's.
Brent Plate, the massive volume diverges from a typical academic reader akin to The Religion and Film Reader (2007, ed.
Recently, a specialized scanner called a dental X-ray film reader has been used to convert dental X-ray films into digital images.
The Film Reader. London and New York: Routledge: 169-180.
(1) David Parkinson, ed., The Graham Greene Film Reader: Reviews, Essays, and Film Stories (New York: Applause Books, 1994), xxii.
Sherman, Cyborgs, Santa Claus and Satan: Science Fiction, Fantasy and Horror Films Made for Television, 2000, reprinted 2009; Alain Silver, James Ursini, ed., Horror Film Reader, 2000, reprinted 2006; Sue Harper, Women in British Cinema: Mad, Bad and Dangerous to Know, 2000; Paul Wells, Horror Genre: From Belzebub to Blair Witch, 2000; Andrew Boot, Fragments of Fear: An Illustrated History of British Horror Movies, 2000; Paul Parla, Charles P.
(1) See Geoff King, Film Comedy, Columbia University Press, 2002; Frank Krutnik, Hollywood Comedians: The Film Reader, Routledge, 2002; Frank Krutnik and Steve Neale, Popular Film and Television Comedy, Routledge, 1990.
(4) Tim Burstall, 'Twelve Genres of Australian Film', Bulletin, 24 August 1977, reprinted in Albert Moran & Tom O'Regan (eds), Australian Film Reader, Currency Press, Sydney, 1985, p.
The editors situate this collection within the discourse of conceptual studies of horror including Noel Carroll's Philosophy of Horror (1990), Carol Clover's Men, Women and Chainsaws (1992), Harry Benshoffs Monsters in the Closet (1997), Isabel Cristina Pinedo's Recreational Terror (1997), and Cynthia Freeman's The Naked and the Undead (2000); studies of horror films including Robin Wood's The American Nightmare (1979), Barry Keith Grant's The Dread of Difference (1996), Ken Gelder's The Horror Reader (2000), and Mark Jancovich's The Horror Film Reader (2002), among others; and the critical work of genre writers such as H.
He is the author of Intelligence Work: The Politics of American Documentary (Columbia UP, 2008), and the editor of The Documentary Film Reader: History, Theory, Criticism, forthcoming from Oxford University Press.
"Pre text and Text in Gentlemen Prefer Blondes." Hollywood Musicals: The Film Reader. Ed.