Film & Video

The Quarterly Review of Film and Video, founded in 1962, and now published five times a year (four regular issues, plus one “bonus” issue) by Taylor and Francis, presents critical, historical, and theoretical essays, book reviews, and interviews in the area of moving image studies including film, video, and digital imaging studies. Quarterly Review of Film and Video scope is international and interdisciplinary, and is recognized as one of the world’s leading journals in film studies.

Quarterly Review of Film and Video is devoted to providing innovative perspectives from a broad range of methodologies, including writings on newly developing technologies, as well as essays and interviews in any area of film history, production, reception and criticism. Quarterly Review of Film and Video is also interested in essays on video games and video installations, and postmodern examinations of images in popular culture and the video arts that intersect with film/video.

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The term video commonly refers to several shortage formats for moving eye pictures: digital video formats, including DVD, QuickTime, and MPEG-4; and analog videotapes, including VHS and Betamax. Video can be recorded and transmitted in various physical media: in magnetic tape when recorded as PAL or NTSC electric signals by video cameras, or in MPEG-4 or DV digital media when recorded by digital cameras.

The size of a video image is measured in pixels for digital video, or horizontal scan lines and vertical lines of resolution for analog video. In the digital domain (e.g. DVD) standard-definition television (SDTV) is specified as 720/704/640×480i60 for NTSC and 768/720×576i50 for PAL or SECAM resolution. However in the analog domain, the number of visible scanlines remains constant (486 NTSC/576 PAL) while the horizontal measurement varies with the quality of the signal: approximately 320 pixels per scanline for VCR quality, 400 pixels for TV broadcasts, and 720 pixels for DVD sources. Aspect ratio is preserved because of non-square "pixels".

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A wide variety of methods are used to compress video streams. Video data contains spatial and temporal redundancy, making uncompressed video streams extremely inefficient. Broadly speaking, spatial redundancy is reduced by registering differences between parts of a single frame; this task is known as intraframe compression and is closely related to image compression. Likewise, temporal redundancy can be reduced by registering differences between frames; this task is known as interframe compression, including motion compensation and other techniques. The most common modern standards are MPEG-2, used for DVD and satellite television, and MPEG-4, used for home video.

Stereoscopic video requires either two channels — a right channel for the right eye and a left channel for the left eye or two overlayed color coded layers. This left and right layer technique is occasionally used for network broadcast, or recent "anaglyph" releases of 3D movies on DVD. Simple Red/Cyan plastic glasses provide the means to view the images discretely to form a stereoscopic view of the content.