“The Cinema is Dead! Long Live the Cinema!” The Future of Media According to Peter Greenaway

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Angelina Milosavljević-Ault

2015-09-01

Full Text Available Peter Greenaway, director and artist is rethinking the notion of cinema in relation to other media and technologies, such as TV, painting, theater. “The Cinema is Dead! Long Live the Cinema!” is an interpretation of the known phrase that implies the continuation of the institution in spite of changes in personell. During the short history of cinema as an “aesthetic technology”, or “technological aesthetics”, Greenaway recognizes three periods of style which correspond to Winckelmann’s periodization of art: birth, maturity and decline. The director builds his thesis on the maturity of cinema of today in this premise, claiming that the cinema not annihilated, but invogorated by new technologies, which enrich both the cinema and our aesthetic experience. According to Greenaway, cinema has a glorious future.

Cinema Futures: Cain, Abel or Cable?

NARCIS (Netherlands)

Elsaesser, Thomas; Hoffmann, Kay

1998-01-01

In the late 1960s, the cinema was pronounced dead. Television, like a Biblical Cain had slain his brother Abel. Some thirty years later, a remarkable reversal: rarely has the cinema been more popular. And yet, rarely has the cinema's future seemed more uncertain. Cinema Futures: Cain, Abel or Cable?

Government and Cinema in France: How to Stand Up against American Cinema

OpenAIRE

Hojatollah Ayoobi

2008-01-01

Cinema is the most influential cultural instrument in the contemporary world. The seventh art first brought culture in theaters and then in homes by T.V. and modern audio – visual devices. Perhaps, for this reason, André Marlow paid special attention to the cinema and regarded it as a shortcut to the popularization of culture or achieving cultural democracy. Since its birth, cinema in France experienced a significant progress and was the best before the Second World War. But with the entrance...

[Deficiency, disability, neurology and cinema].

Science.gov (United States)

Collado-Vázquez, Susana; Cano de la Cuerda, Roberto; Jiménez-Antona, Carmen

2010-12-16

Cinema has been defined in many different ways, but most of them agree that it should be considered both a technique and an art. Although films often depict fantasy stories, in many cases they also reflect day-to-day realities. In its earliest days cinema was already attracted to the world of health and sickness, and frequently addressed topics like medical practice, how patients lived with their illnesses, bioethical issues, the relationship between physician and patient or research. To review the presence of neurological pathologies in the cinema with a view to identifying the main neurological disorders that have been portrayed in films. Likewise it also intends to describe the medical praxis that is employed, the relationship between physician and patient, how the experiences of the patient and the family are represented, the adaptation to social and occupational situations, and the intervention of other health care professionals related with neurological patients. Some of the most significant films that have addressed these topics were reviewed and it was seen that in some of them the illness is dealt with in a very true-to-life manner, whereas others tend to include a greater number of inaccuracies and a larger degree of fiction. Cinema has helped to shape certain ways of thinking about the health care professionals who work with neurological patients, the importance of support from the family and the social role, among other things. This confirms that resorting to cinematographic productions is a fruitful tool for stimulating a critical interest in the past and present of medical practice.

Dos "naturais" ao documentario : o cinema educativo e a educação do cinema entre os anos 1920 1930

OpenAIRE

Rosana Elisa Catelli

2007-01-01

Resumo: Esta pesquisa teve por finalidade avaliar as propostas de cinema educativo, entre os anos de 1920 e 1930, no Brasil. Teve por objetivo refletir a respeito das concepções de cinema nacional, cinema educativo e cinema documentário no período, além de investigar a inserção do cinema no contexto cultural daquele momento. Para isso foi analisada a bibliografia referente ao cinema educativo, em especial aquela vinculada aos educadores da Escola Nova, que foram os principais formuladores des...

IRANIAN CINEMA: PRE-REVOLUTION AND POST-REVELOUTION.

OpenAIRE

Majid Sarsangi; Hamed Soleimanzadeh.

2018-01-01

The Cinema of Iran or Cinema of Persia refers to the cinema and film industries in Iran which produce a variety of commercial films annually. Iranian art films have garnered international fame and now enjoy a global following. Iran has been lauded as one of the best exporters of cinema in the 1990s. Some critics now rank Iran as the world\\'s most important national cinema, artistically, with a significance that invites comparison to Italian neorealism and similar movements in past decades. A ...

Mental health in Tamil cinema.

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Mangala, R; Thara, R

2009-06-01

Tamil cinema is a vibrant part of the lives of many in south India. A chequered history and a phenomenal growth have made this medium highly influential not only in Tamil Nadu politics, but also in the social lives of the viewers. This paper provides an overview of the growth of Tamil cinema, and discusses in detail the way mental health has been handled by Tamil films. Cinema can be used very effectively to improve awareness about mental health issues.

Historiography of the Colombian Cinema 1974-2015

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Alvaro Andres Villegas

2017-07-01

Full Text Available This article makes a balance about the actual state of the historical investigation in colombian cinema. With that in mind, we searched, read, reviewed and registered in a database more than 96 works of articles, book chapters and books. We divided in 9 groups with similar characteristics: 1 Panoramic histories, 2 exhibition and publics, 3 censorship, criticism and film clubs, 4 bio-filmography, 5 cinema representations about places or collective subjects, 6 formats and genres, 7 silent film, 8 "first sound cinema", 9 70s and 80s cinema. In conclusion we mention some promising investigation fields, like technological and economic history, publics history and the history between cinema and others media.

Cinema on Cinema: The Kinship between Cinema Paradiso and Zıkkımın Kökü, Karpuz Kabuğundan Gemiler Yapmak, Sinema Bir Mucizedir

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Basak Demiray

2011-08-01

Full Text Available This study consists of a comparative analysis of four films which fall under the category of “cinema on cinema”. These films are Cinema Paradiso (Giuseppe Tornatore, 1988, Italy, Zıkkımın Kökü (Memduh Ün, 1993, Turkey, Karpuz Kabuğundan Gemiler Yapmak/ Boats out of Watermelon Rinds ( Ahmet Uluçay, 2004, Turkey, Sinema Bir Mucizedir/ Cinema is a Miracle (Memduh Ün- Tunç Başaran, 2005, Turkey. It will be argued that these films have four main points of similarity. First, they are the instances of “cinema on cinema”; second, they are biographical films; third, their plots are constructed upon the rural lives of the past; fourth, they are about cinephilia.

Interactive cinema : engagement and interaction

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Vosmeer, M.; Schouten, B.; Mitchell, A.

2014-01-01

Technologies that were initially developed to be applied within the domain of video games are currently being used in experiments to explore their meaning and possibilities for cinema and cinema audiences. In this position paper we examine how narrativity, interactivity and engagement are mutually

National Identities and Cinema: a critical recension of the book Directory of World Cinema: Spain

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Isabel Macedo

2012-12-01

Full Text Available This critical review concerns the book Directory of World Cinema: Spain. This book is part of a series of volumes published in the Directory of World Cinema, by Intellect Books. The first part consists of a critique of the film "Biutiful", an interview with the director Jaime Rosales, followed by a reflection on the Spanish film industry. This part is also composed of a chapter in which are discussed the aspects that the authors consider to define the Spanish culture, concluding with a reflection on the work of some Spanish filmmakers. In the second part are presented ten film genres that characterize the Spanish cinema, and analyzed ten films by each gender. This book would benefit from a final reflection on the Spanish cinema, by recognizing and discussing the national character of the films produced, very marked by the national spaces and by the political, cultural and social history lived. Many European cinematographies became known as belonging to a particular national culture, and some even developed a style or have become specialized in a particular genre. This seems to be the reality of Spanish cinema, were the genre classified in this book as author melodram is very present.

CINEMA 4D The Artist's Project Sourcebook

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McQuilkin, Kent

2011-01-01

Cinema 4D is a fully integrated 3D modeling, animation, and rendering package used extensively in the film, television, science, architecture, engineering and other industries. Generally ranked as the 3rd most widely-used 3Dapplication Cinema 4D is widely praised for its stability, speed and ease of use. Recent film and broadcast productions that have used Cinema 4D include Open Season, Monster House, Superman Returns, Polar Express, Monday Night Football. This third edition of Cinema 4D is updated to address the latest release of the application as well as its critically acclaimed MoGr

Towards a transnational lesbian cinema.

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Lewis, Rachel

2012-01-01

This article explores the relationship between lesbian independent cinema and transnational cinema in Europe. The first part of the article outlines two main directions--one thematic and the other aesthetic--in which independent lesbian films in Europe utilize aspects of transnational cinema. The next section considers how these films articulate lesbian desire in relation to new discourses of sexual citizenship and immigration in Europe. The third part of the article examines lesbian independent films that seek to underscore the violence of immigration controls in Fortress Europe. What is significant about this group of films is that they encourage us to rethink the issue of sexual citizenship from a transnational perspective.

[Amyotrophic lateral sclerosis in literature, cinema and television].

Science.gov (United States)

Collado-Vázquez, Susana; Carrillo, Jesús María

2014-07-01

Amyotrophic lateral sclerosis (ALS) is a neurodegenerative disease with a progressive course that affects the corticospinal and spinal cord motor neurons, the main manifestations of which are muscular weakness, amyotrophy and hyperreflexia. It has an incidence of 0.4-2.4 cases/100,000 inhabitants/year, and a prevalence of 4-6 cases/100,000 inhabitants. It is more frequent in adult males over 50 years of age. A number of different neurological diseases have been portrayed in literature, cinema and television, including ALS, which has been presented correctly and realistically. To analysis how literature, cinema and television have addressed ALS. Several different literary works have dealt with ALS, such as El desencuentro, Lou Gehrig: the luckiest man or Tuesdays with Morrie; the cinema has also depicted this disease in films such as The pride of the Yankees, My love beside me (closer to Heaven) or Right to die; and on television this disease has been shown in series, documentaries and television films, such as: Tuesdays with Morrie, Jenifer or A love affair: the Eleanor and Lou Gehrig Story. Most of the works are of a biographical and testimonial nature, and portray the disease realistically, with the intention of making ALS more widely known and raising the population's awareness about the condition. Literature, cinema and television have portrayed ALS in a realistic and believable manner, unlike some other diseases of a neurological origin.

Addictive behavior in cinema demand: evidence from Korea

OpenAIRE

Sangho KIM; Donghyun PARK

2010-01-01

It is intuitively plausible that the demand for cinema services may be partly driven by addiction or habit. Yet there is almost no empirical literature which tests for whether cinema demand is addictive. We estimate addiction models for cinema demand using Korean time series data from 1963 to 2004. Our estimation results indicate that (i) addictive behavior characterizes the demand for cinema services, (ii) this behavior is rational, and (iii) habit is one of most important determinants of ci...

The system design of TRIO cinema Mission

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Jin, Ho; Seon, Jongho; Kim, Khan-Hyuk; Lee, Dong-Hun; Kim, Kap-Sung; Lin, Robert; Parks, George; Tindall, Craig; Horbury, T. S.; Larson, Davin; Sample, John

TRIO (Triplet Ionospheric Observatory) CINEMA ( Cubesat for Ion, Neutral, Electron, MAg-netic fields) is a space science mission with three identical cubesats. The main scientific objec-tives are a multi-observation of ionospheric ENA (Energetic Neutral Atom) imaging, ionospheric signature of suprathermal electrons and ions and complementary measurements of magnetic fields for particle data. For this, Main payloads consist of a suprathermal electron, ion, neutral (STEIN) instrument and a 3-axis magnetometer of magnetoresistive sensors. The CINEMA is a 3-unit CubeSat, which translates to a 10 cm x 10 cm x 30 cm in volume and no more than four kilograms in mass. An attitude control system (ACS) uses torque coils, a sun sensor and the magnetometers and spin CINEMA spcaecraft 4 rpm with the spin axis perpendicular to the ecliptic plane. CINEMA will be placed into a high inclination low earth orbit that crosses the auroral zone and cusp. Three institutes are collaborating to develop CINEMA cubesats: i) two cubesats by Kyung Hee University (KHU) under their World Class University (WCU) program, ii) one cubesat by UC Berkeley under the NSF support, and iii) three magnetometers are provide by Imperial College, respectively. In this paper, we describe the system design and their performance of TR IO cinema mission. TRIO cinema's development of miniature in-strument and spacecraft spinning operation will play an important role for future nanosatellite space missions

Genetic Manipulation: Frankenstein’s New Monster in the Cinema

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Francisco Javier de Prada Pérez

2008-10-01

Full Text Available On many occasions the cinema has been concerned with launching the questions raised by scientific progress and its repercussions on the lives of human beings. Not in vain is science fiction a genre dedicated to this task, that of attempting to predict where humanity is going thanks to the application of new discoveries. Genetic manipulation, because of its extraordinary range of possibilities, could not escape scripts that try to glimpse how society might apply it in the near future.             This article analyses three representative titles, The Boys from Brazil (1978, Godsend (2004 and The Island (2005, to show how the cinema has not abandoned the narrative model begun by James Whale’s Frankenstein (1931, which in turn takes the Greek myth of Prometheus to show the terrible consequences undergone by those who dare to emulate God, the only creator of life.             Finally, a more detailed analysis of Gattaca (1997 by Andrew Niccol makes it possible to abandon this sensationalist model and, with an almost prophetic script which today is more science than fiction, call attention to the current fears of jurists, experts in bioethics and bodies such as the UNESCO regarding genetic privacy and the presumed determinism of the human genome.

Some European capabilities in satellite cinema exhibition

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Bock, Wolfgang

1990-08-01

The likely performance envelope and architecture for satellite cinema systems are derived from simple practical assumptions. A case is made for possible transatlantic cooperation towards establishing a satellite cinema standard.

The Neuro-Image: Alain Resnais's Digital Cinema without the Digits

NARCIS (Netherlands)

Pisters, P.

2011-01-01

This paper proposes to read cinema in the digital age as a new type of image, the neuroimage. Going back to Gilles Deleuze's cinema books and it is argued that the neuro-image is based in the future. The cinema of Alain Resnais is analyzed as a neuro-image and digital cinema .

World Cinema: Diary of a Day. A Celebration of the Centenary of Cinema: In Conjunction with bfi [British Film Institute].

Science.gov (United States)

Cowie, Peter, Ed.

This publication resulted from a project of the British Film Institute (bfi). The aim was to emphasize that cinema takes a number of different forms, fulfills a variety of roles within different societies, and has different models of its social function. Toward this end, film-makers from all over the world were invited to write a diary about the…

CINEMA OF MIYAZAKI AND AUTEUR THEORY

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Ali KARATAY

2015-10-01

Full Text Available Many different ideas have been put forward under the headings of ideas, theories, technology, technique and etc. in the environment where cinema as a concept is discussed. The discipline which is closely and explicitly connected to the artistic activities is no doubt cinema. Therefore, cinema has always maintained its position on the agenda. Methods being dependent on Auther Theory and produced as a reaction and alternative to the present cinema concept within the process have created their own languages by coping with certain bureaucratic requirements and managed to eliminate the understanding of producer's cinema. This step which Studio Ghibli and also Miyazaki have taken against the prevailing animation sector and concept of the period on the way to find their own style by preserving their sel-identity and this attitude developed and introduced by them are equivalent owing to the likeness between them. Miyazaki Cinema both decorating all elements used in its films with extremely fine details and being extremely specialized in detail possesses a value which can be judged by holistic approach even though it stands in a different position in terms of the relevant period. It is quite remarkable to be able to create such quality works both by aiming to appeal to general audience and without diverting from fictitious perspective. Particularly, the issue of being didactic, which is the reason for fear for many others, is of no concern for Miyazaki and he has transferred his discourse in his films to another dimension, that is, subject of future by delivering important milestones to the young people whom he has given value and advice without having any concern in being didactic.

Film festival as a factor of art cinema social institutionalization

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O. Ye. Konovalov

2014-05-01

Full Text Available The increasing recently interest towards the art house cinema stipulates the relevance in the field of sociological investigations of the cinema proper as a social institution and directly the art cinema, as this area most brightly covers those pressing problems and cardinal social changes that occur nowadays. The article deals with the analysis of the film festival as a structural element when researching the art house cinema as a social institution. At the same time, carrying out the function of the mass media and social institution, the art house cinema represents a great interest for studying in the field of sociology. Acting as mass media, art cinema can originally influence its audience, forming specific models of behavior, social aims, and sometimes political views of its audience. A new judgment of factors of social institutionalization of art cinema is offered for consideration, one of which is the film festival. Basic research on the basis of modern scientific works of foreign researches of the cinema is conducted. This subject offers judgment of processes concerning social interaction in the framework of film festival acting as establishment for performing the function of mass media and a social institution on behalf of the art house cinema.

World Cinema: Realismus, Evidenz, Präsenz

OpenAIRE

Elsaesser, T.

2012-01-01

World cinema (as a successor to national cinema) has always defined itself against Hollywood on the basis of its greater realism. Whether one thinks of Italian neo-realism, the French nouvelle vague’s semi-documentary cinéma vérité, or Ingmar Bergman’s clinically probing psychological realism: our notions of "representative" or "authentic" filmmaking are generally tied to some version of a realist aesthetics. At the same time, world cinema also partakes in the increasing realization that in t...

Asian Cinema and the Social Imaginary

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Dissanayake, Wimal

2009-01-01

There is growing interest by schools and universities in understanding Asian societies and cultures. One way of deepening this interest productively is through the imaginative use of cinema. In this article, the author explores how cinema can be a window into the dynamics of contemporary Asian societies and cultures. Through "aesthetic…

Third World Cinema. Factfile No. 10.

Science.gov (United States)

Elsas, Diana, Ed.; And Others

The nations included in this guide are countries in Africa (non-Arab), Latin America (including Cuba, Mexico, and Puerto Rico), India, and Southeast Asia (including the Philippines). The organizations listed with descriptive information are either actively involved in Third World cinema, international cinema as a whole, or will serve as resource…

An Intimate Encounter: Negotiating Subtitled Cinema

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Niall Flynn

2016-01-01

Full Text Available The question of subtitling has received little attention in Film Studies, despite being the primary means by which foreign-language cinema is experienced. Current literature focuses on important matters of language and translation, but there are other aspects that exceed these matters when we watch subtitled films, aspects which are able to affect and move viewers without relying on explanation through translation. My paper shows how viewers have to negotiate these affective elements in order to apprehend foreign-language films, with special attention on their indeterminate characteristics that escape representation. It considers the negotiation of subtitled cinema from numerous theoretical perspectives. Gilles Deleuze’s film-philosophy is popular in Film Studies for its theoretical flows and lines of flight, but this paper engages another Deleuzian thread—one of gaps and fissure—in order to explore the indeterminate negotiations of subtitled films. But in thinking about subtitling, we also have to reconsider the constitution of media. Cinema is not just made up of individual parts; rather, it is made of many interacting media, which cannot be separated. I argue that subtitled cinema consists of multiple affective elements that go beyond the interpretive methods of language and translation, and that the practice of negotiation is one way to apprehend them. In conclusion, this article, by exploring non-linguistic issues, argues that subtitling is not simply supplementary to cinema.

Historiografia do cinema canadense: balanço inicial * Historiography of Canadian cinema: starting survey

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LUIZ ALEXANDRE PINHEIRO KOSTECZKA

2013-08-01

Full Text Available Resumo: O presente artigo apresenta os principais e mais referenciados estudiosos canadenses que se dedicaram ao estudo das elaborações audiovisuais do Canadá. Narra os percursos dessa historiografia e indica os principais eixos interpretativos utilizados para a análise de uma filmografia que perpassa mais de um século de intensa produção. Esses textos indicam uma diversidade de perspectivas, porém, apresentam um fio condutor comum que aloca esses trabalhos na envergadura do pensamento acerca da identidade canadense. Inferir a respeito da possibilidade/impossibilidade do conceito de nação nesse país é um elemento constituinte desses textos. Dessa forma, este artigo perscruta os meios e métodos utilizados nessas bibliografias para responder aos intermitentes dilemas da identidade nacional no cinema produzido no Canadá.Palavras-chave: Historiografia – Cinema – Canadá. Abstract: This paper presents the leading and most referenced Canadian scholars who have devoted themselves to the study of cinema production in Canada. It lists the movements of such historiography and point out the main interpretative axes used for the analysis of a filmography that pervades more than a century of powerful production. These several texts show a variety of perspectives; however, they have a common thread that allocates these works in the current of thought on the Canadian identity. To infer about the possibility/impossibility of the concept of nation in this country is a constitutive component of these texts. Therefore, this article aims to scrutinize the proceedings and methods used in these bibliographies to answer to the intermittent dilemmas of national identity in the cinema produced in Canada.Keywords: Historiography – Cinema – Canada.

Portrayal of gay characters in Bollywood cinema.

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Bhugra, Dinesh; Kalra, Gurvinder; Ventriglio, Antonio

2015-01-01

Hindi cinema production from India is the largest in the world. Cinema reflects the society which it portrays, and in turn influences social attitudes. Hindi cinema, often known as Bollywood, demonstrates deep roots in society. In the last decade homosexual behaviour was legalized by the Delhi High Court but subsequently deemed illegal by the Supreme Court. These changes reflect changes in social attitudes. In this paper we highlight social attitudes to homosexuality - both male and female - in the context of portrayal in Hindi cinema. Historically, cultural and social values and the attitudes towards sexuality in India have been sex positive, but over the past 200 years under the British colonial rule they became very negative and indeed punitive towards homosexuality and homosexual men and women in line with prevalent Victorian attitudes to sex and sexual activity. Various descriptions and sexual identities have been identified and described in the literature. In this paper we describe a small selection of films from Hindi cinema which depict homosexuality. These portrayals have been largely negative. We describe the possible reasons for this and the potential impact these portrayals may have on audiences.

Cinema and science, nature and culture

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Marcio Barreto

2017-05-01

Full Text Available http://dx.doi.org/10.5007/1807-1384.2017v14n2p19 Faced with contemporary issues that call into question the boundaries between nature and culture, man and machine, society and environment, cinema is taken here as a guide for reflection on modern science by Bergson and Deleuze’s texts, among  other authors. Operating the passage from science to art and from art to science, cinema is here considered as a technical object and technical object as instrument to magnify perception. To highlight the artificiality of these borders, Newton's gravitational law is presented in its physical and metaphysical implications by the writings of Betty Dobbs and Newton himself. Through the lens of cinema, especially on movies such as 2001 A Space Odyssey, by Stanley Kubrick and Out of the present, by Andrei Ujica, the article shows that the power of cinema contributes to the perception that dimensions of science, which go beyond their alliances with the State and the market, are relevant to the challenges on the horizon of the 21’s century.

Language and national identity in Novo Cinema Galego

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Brais ROMERO SUÁREZ

2015-12-01

Full Text Available The talk of town since its inception in 2010, the Cinema Novo Galego has been successful in all competitions and festivals that has been present. From the FIPRESCI prize in Cannes to the Best Emerging Director at Locarno, this new wave of cinema places Galicia in the world film stage. But does Novo Cinema Galego an accurate representation of Galicia? What's the role of Galicia in this movement?

Assessing ‘New’ Greek cinema of the 1960s and the role of Theodoros Angelopoulos in Hellenic cinematography

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Angelo Nicolaides

2012-01-01

Full Text Available In this review of Greek Cinema in in the 1960s special consideration is given to the issue of what constitutes ‘quality’ cinema with a Greek flavour. By examining the period in question as the locus of inquiry, namely the 1960s, the study identifies a number of factors which influenced the Greek filmmaking industry’s functional flexibility and seeks to answer a number of important questions. Specifically, the study investigated what constituted ‘New’ Greek cinema (NEK? How did it differ from ‘Old’ Greek cinema (PEK and what did the Hellenic state do to promote the cultural standing of cinema in its policies? What made films produced in Greece have a distinct Hellenic flavour whilst simultaneously appearing to be authentic? What was the role of Theodoros Angelopoulos inter alia in promoting Hellenic cinema and where does it stand today? The film identity of NEK and cinametic culture merge as interpretative meta-concepts evoked within the sociopolitical context of the 1960s.This concept-analytical type article was thus undertaken with a view to have a better grip on the attributes of NEK. With this as the main focus, the study, also sought to highlight the Greek film industry role during a period of rigid Military Junta control in Greece (1967-1974. This article will hopefully contribute towards both a better understanding of NEK, and a realisation that the film industry is more influential in moulding society than is sometimes believed.

Claro e confuso: a mistura de imagens no cinema

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Jacques Aumont

2008-11-01

Full Text Available No cinema, a mistura de imagens é um procedimento narrativo que pode ser obtido a partir da superposição de dois ou mais planos filmados. Este recurso vem sendo utilizado desde a fase do cinema mudo até os cineastas de vanguarda; pode ser facilmente observado tanto em filmes hollywoodianos quanto experimentais. Ao superpor imagens num mesmo quadro, o cinema nos obriga a pensar no estatuto e na "lógica" da imagem em movimento, estimulando-nos a entender, em última instância, o próprio processo de percepção e de constituição do sentido a partir de sua articulação no interior do plano ou entre planos. É da problemática da instauração e da apreensão perceptual e conceitual dessas imagens "misturadas" que este artigo se ocupa, valendo-se das relações possí­veis entre cinema, pintura e fotografia. Palavras-chave cinema, imagem, mistura, percepção, sentido Abstract In cinema, the dissolving of one image into another is a narrative procedure that is obtained through the juxtaposition of two or more shots. This resource has been utilized ever since the silent film era through to the vanguard filmmakers. It is present as much in Hollywood blockbusters as in experimental films. In superimposing images within a single frame, the cinema obliges us to in perceive the logic of the images in movement, leading us eventually to understand the actual process of perception and constitution of meaning through its articulation either within a single shot or between shots. This article is concerned with the issue of establishing these blended images and their perceptual, conceptual comprehension, exploring the possible relations between cinema, painting and phothograpy. Key words cinema, image, dissolve, perception, meaning

CINEMA E ESCOLA, SOB O RISCO DA DEMOCRACIA

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Cezar Migliorin

2010-06-01

Full Text Available Cinema e escola, sob o risco da democracia. Ensaio sobre a presença do cinema na escola e a dimensão política dessa prática a partir das características e potências do cinema. O ensaio desenvolve uma reflexão sobre a relação entre estética e democracia e a conexão desta com a educação.

Two versions of the road back home: native cinema in the USA and Canada Two versions of the road back home: native cinema in the USA and Canada

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Márgara Avebach

2010-06-01

Full Text Available

Native cinema is still a new on North-American screens and working to establish the sharp differences between Western America and the “Thirld World” reality on the reservations for Native Americans remain the poorest minorities in the US and in Canada. It is also new as the space whereaboriginal people shave control of their filmic representation, showing, for one, the diversity of tribal cultures preserved and thriving. The films analysed are Powwow Highway and Medicine River, both based on novels of the same title by David Seals and Thomas King, respectively. The theme is avery dear one to Native Literature: the trip back to one´s community and the figure of the trices as mediator or guide of this return.

Native cinema is still a new on North-American screens and working to establish the sharp differences between Western America and the “Thirld World” reality on the reservations for Native Americans remain the poorest minorities in the US and in Canada. It is also new as the space whereaboriginal people shave control of their filmic representation, showing, for one, the diversity of tribal cultures preserved and thriving. The films analysed are Powwow Highway and Medicine River, both based on novels of the same title by David Seals and Thomas King, respectively. The theme is avery dear one to Native Literature: the trip back to one´s community and the figure of the trices as mediator or guide of this return.

Free Cinema: o elogio do homem comum

OpenAIRE

Mello, Cecília Antakly de

2008-01-01

Este artigo investiga o movimento documentarista "Free Cinema", que integrou a onda de renovação do cinema inglês durante o período pós-Segunda Guerra Mundial. "Free Cinema" é o nome de uma mostra de filmes organizada em fevereiro de 1956 no National Film Theatre em Londres, e reiterada por outras cinco vezes até a derradeira sexta edição em março de 1959. O termo se refere também ao movimento iniciado pelos diretores Lindsay Anderson, Karel Reisz e Tony Richardson, organizadores da primeira ...

Childhood and Exile in Chilean Cinema

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José Miguel Palacios

2017-07-01

Full Text Available This article approaches the trauma of the Chilean dictatorship through the intersection between childhood and exile. It analyzes the role of childhood in Chilean exile cinema, focusing on documentaries produced throughout the 1970s and 80s. We will study the presence of childhood as a symbol in the political imaginary of exile, discuss the ways in which cinema recognizes and authorizes children’s testimony, and cover the dilemmas of desexilio and counter-nostalgia in films devoted to the theme of return. The article argues that Chilean exile cinema turns to childhood as a key experience to understand the cultural phenomenon of uprootment, its psychological and social repercussions, and its role in the formation of an exilic subjectivity.

Film versus digital cinema: the evolution of moving images

Science.gov (United States)

Tinker, Michael

2003-05-01

Film has been used for movies for over 100 years. D-cinema will soon produce images that equal or surpass film. When that happens, movies will take their basis from computer technology, leading to higher quality, lower cost, and greater flexibility for all aspects of the industry. For example, d-cinema will allow higher frame rates, flexible subtitles, alternative content, and resolutions and color spaces beyond film. Given these opportunities, we must not simply emulate the mechanical past. Insisting, for instance, on a single type of compression or security scheme is misguided. Both these areas are evolving, and we should take advantage of that evolution, while promoting standards that allow that evolution to happen in an orderly way. Mechanical projectors can play back only one kind of film; computer servers can play back any number of formats. It would be wrong to select a single format at this time, only to have the technology become more capable in the near future. We must allow the continuously evolving technology that characterizes computers, not the frozen technology that has characterized mechanical systems. We must work toward an environment that allows interoperability of d-cinema technologies-not systems that limit us to a single technology.

The absent father of Sino-French cinema: Contemporary Taiwanese cinema and 1950s French auteurs

OpenAIRE

Bloom, ME

2014-01-01

© 2014 Taylor & Francis. In contemporary Sino-French cinema, father characters who are dead, long lost or geographically distant leave gaping holes in the lives of the offspring left behind. The absent fathers in Sino-French films by Taiwanese auteurs Cheng Yu-chieh, Hou Hsiao-hsien and Tsai Ming-liang serve as metaphors for French auteurs. French New Wave films constitute the majority of the intertexts; however, early 1950s French cinema and even late nineteenth-century painting reflect th...

Registros documentais no cinema da Revolução Mexicana Pictures of the Mexican Revolution: cinema and politics in documentary records

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Maurício de Bragança

2007-01-01

Full Text Available Este artigo pretende focar as relações entre cinema e história nas duas primeiras décadas do século XX no México. O cinema foi apresentado pela primeira vez no país em uma sessão dedicada a Porfirio Díaz. Percebendo seu potencial propagandístico, o ditador logo se converteria na primeira grande estrela do cinema mexicano. O cinema forjava-se como "documento histórico" stricto sensu, num registro da verdade inquestionável. A Revolução redefiniu seu papel, registrando a ebulição pela qual passava a sociedade em documentários que se distanciavam do mero aspecto da curiosidade espetacular para atingir uma verdadeira presença do realizador junto ao cenário político nacional. O desdobramento da Revolução, com a superação da fase insurrecional, e o processo de domesticação do discurso revolucionário no âmbito oficial acabaram por esvaziar o teor de contestação das imagens documentais. A imagem do corpo de Zapata assassinado, que circulou pelo território nacional, é um emblema deste projeto.This article shows the connections between cinema and history in the two first decades in XX century in Mexico. The cinema arrived in Mexico in a session dedicated to Porfirio Díaz. The president soon became the first star movie in mexican cinema, interested in its publicity potencial. The movies were seen as historical documents that pointed the true. The Mexican Revolution redefined the cinema role showing the social movement by the contact between the filmaker and the national politic moment. The development of the revolution after its battle phase, and the process of institucionalization of its discourse in the official sphere removed the protest power from the documental images. The image of Zapata dead body went all the country through and became a emblem of this project.

Contemporary Developments in Cinema Exhibition

OpenAIRE

Hanson, Stuart

2014-01-01

he work offered for this PhD by Published Works charts the history of cinema exhibition in Britain from the late 1950s to the present. At the start of this period, cinemagoing as a form of public entertainment entered a long period of decline that was only arrested with the development and growth of multiplex cinemas in the 1980s and 1990s. Despite these changes, the feature film itself remained a culturally and commercially valuable artefact, though increasingly this meant the Hollywood fil...

Introduction: Special issue on Global Lesbian Cinema.

Science.gov (United States)

Farr, Daniel

2012-01-01

This article offers a brief introduction to this special issue on Global Lesbian Cinema. This issue particularly highlights the importance of recognizing lesbian discourse as a separate, related piece of the discourse of queer transnational and global cinema. Subsequently, brief summaries of the eight articles of this collection are provided.

Cinema and Pedagogy: An Urban Education Seminar

Science.gov (United States)

Meyer, Karen Ann; Vellani, Al-Munir

2014-01-01

In "Cinema Paradiso" (Tomatore, 1988), Salvatore's love of movies came from spending his earlier, young life inside a cinema with the fatherly projectionist Alfredo, now blind and bitter. Alfredo is right. Life is much harder, yes, yet still very much "like in the movies" filled with frustrated actions, performed inside blind…

World Cinema: Realismus, Evidenz, Präsenz

NARCIS (Netherlands)

Elsaesser, T.

2012-01-01

World cinema (as a successor to national cinema) has always defined itself against Hollywood on the basis of its greater realism. Whether one thinks of Italian neo-realism, the French nouvelle vague’s semi-documentary cinéma vérité, or Ingmar Bergman’s clinically probing psychological realism: our

European cinema: face to face with Hollywood

NARCIS (Netherlands)

Elsaesser, T.

2005-01-01

In the face of renewed competition from Hollywood since the early 1980s and the challenges posed to Europe's national cinemas by the fall of the Wall in 1989, independent filmmaking in Europe has begun to re-invent itself. European Cinema: Face to Face with Hollywood re-assesses the different

Dialetical Images in the cinema

OpenAIRE

Angélica Antonechen Colombo

2013-01-01

This paper aims to discuss cinema as a Work of Art, its main elements, as the image technique, montage and its role as an essential factor of the aesthetic, perceptive and cognitive variation, from the advent and analyzing the Eisenstein’s intellectual montage, based on Walter Benjamin, Vilém Flusser and Christian Metz ’s theory. Discutir o cinema como obra de arte, seus principais elementos, como a imagem técnica, a montagem e o seu papel como fator essencial das variações estéticas, perc...

Cinema Catalogue.

Science.gov (United States)

Lubovisk, Git, Ed.

This catalog lists some 14,600 books, magazines, photos and other material related to the film industry that are available from Larry Edmunds Bookshop Inc., Hollywood, Calif. The 488-page catalog is divided into eight sections. The first and largest section is labelled "Literature of the Cinema" and lists books in categories from aesthetics and…

A tensão pós-moderna no cinema

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Maria Helena Braga e Vaz da Costa

2007-01-01

Full Text Available Increasing interest in new special effect technologies has fostered new possibilities in the use of cinema apparatuses. Digital as well as other technologies, which have been used to represent illusion, fantasy or realism, have been a feature of contemporary cinema production. The general understanding is that cinema´s strength lies in the possibility of creating images of the real – not necessarily the real. This is the key element in the production of meaning, making cinema a signifying system connected to reality. Starting from different theories about the condition of post-modernity, this paper discusses contemporary cinema production by looking at the representation of urban space and violence as well as new paradigms for representing and understanding cultural identity in post-modernity and how we represent it through images

Irish Intercultural Cinema: Memory, Identity and Subjectivity

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Murray, Enda Vincent

2015-12-01

Full Text Available Irish intercultural cinema looks at the development of a cinematic genre which focuses on issues of Irish migrancy but is produced outside of Ireland. This paper has as its focus the cultural landscape of Irish-Australia. The essay uses methodologies of ethnographic and documentary theory plus textual analysis of film and written texts to establish a throughline of Irish intercultural film. The essay begins by contextualising the place of the Irish diaspora within the creation of Irish identity globally. The discussion around migrancy is widened to consider the place of memory and intergenerational tensions within not just the Irish migrant population, but also within the diverse cultures which comprise the contemporary Australian landscape. The historical development of intercultural cinema is then explored internationally within a context of colonial, gender and class struggles in the 1970s and1980s. The term intercultural cinema has its origins in the Third Cinema of Argentinians Solanas and Getino in the 1970s and covers those films which deal with issues involving two countries or cultures. The term was refined by Laura Marks in 2000 and further developed by Hamid Naficy in 2001 in his discussion of accented cinema which narrows its definition to include the politics of production. The paper then traces the development of Irish intercultural cinema from its beginnings in England in the 1970s with Thaddeus O'Sullivan through to Nicola Bruce and others including Enda Murray in the present day. The essay concludes by bringing these various strands together to see where intercultural film might have a place in today's globalised cultural landscape. Common traits within intercultural film such as the notion of place, autobiographical film and personal identity are explored using examples of intercultural filmmaking from around the globe. These commonalities point to a way forward for the future of a sustainable multicultural film culture.

Another Cinema

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Roger Crittenden

2010-12-01

Full Text Available É necessário reafirmar o lugar do cinema na cultura de cada lugar em particular e, além disso, que os realizadores apenas se tornam verdadeiramente enraizados em seus locais se eles fizerem filmes manteod o espírito que emana de suas próprias tradições: não imitando gêneros de segunda mão que têm dominado as telas quase desde o início do cinema. Isso diz respeito a ser passional em relação a suas raízes e inspirar-se em cada expressão criativa e artística em vez de inspirar-se apenas em outros filmes. Neste artigo, proponho debater tal questão em relação à minha própria experiência e em relação a alguns realizadores em particular, que representam a variedade da expressão cinematográfica agora disponível a nós ao redor do mundo.

CINEMA: FERRAMENTA OU ESTRATÉGIA PARA A EDUCAÇÃO JURÍDICA? / CINEMA: TOOL OR STRATEGY TO LEGAL EDUCATION?

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Anna Clara Lehmann Martins

2014-12-01

Full Text Available This article aims to approach some of the limitations and potentialities offered by the cinema to the teaching of law, departing from the presence or absence of a specific problematic element during its use: the effort of contextualization. Our approach uses as comparative substrate two distinct conceptions of using cinema as a didactical pedagogical resource: cinema as tool and cinema as strategy. Each of these conceptions relate differently to the effort of contextualization, the former for its dispensability, the latter taking it as essential. Assuming that both conceptions can be applied with relative success in classes, depending on the proposal of the lesson, this work unfolds into two objectives: first, to verify, through bibliographic research, the limitations and potentialities unleashed by such conceptions to the learning of law, under the criteria of time and development of critical awareness; and, then, by suggesting the practical applicability of both conceptions in classrooms, through suggestions the use of Charles Chaplin’s film “Monsieur Verdoux” (1947, providing a lifeful color to the points raised earlier under theoretical form.

Experiments in interactive panoramic cinema

Science.gov (United States)

Fisher, Scott S.; Anderson, Steve; Ruiz, Susana; Naimark, Michael; Hoberman, Perry; Bolas, Mark; Weinberg, Richard

2005-03-01

For most of the past 100 years, cinema has been the premier medium for defining and expressing relations to the visible world. However, cinematic spectacles delivered in darkened theaters are predicated on a denial of both the body and the physical surroundings of the spectators who are watching it. To overcome these deficiencies, filmmakers have historically turned to narrative, seducing audiences with compelling stories and providing realistic characters with whom to identify. This paper describes several research projects in interactive panoramic cinema that attempt to sidestep the narrative preoccupations of conventional cinema and instead are based on notions of space, movement and embodied spectatorship rather than traditional storytelling. Example projects include interactive works developed with the use of a unique 360 degree camera and editing system, and also development of panoramic imagery for a large projection environment with 14 screens on 3 adjacent walls in a 5-4-5 configuration with observations and findings from an experiment projecting panoramic video on 12 of the 14, in a 4-4-4 270 degree configuration.

Peruvian cinema, national identity and political violence 1988-2004

OpenAIRE

Barrow, Sarah

2007-01-01

The role of national cinema in shaping, reflecting and contesting a complex national identity that is the site of conflict and struggle is the central interest of this study of contemporary Peruvian cinema, 1988-2004. This project examines the relationship between cinema, state and identity in Peru, with a specific focus on the representation of the political violence between the state and Sendero Luminoso (Shining Path) that began in 1980. It looks in particular at portrayals of important ev...

A critical analysis of patriarchal cinema

OpenAIRE

Haugg, Birgit Gabriele

2016-01-01

The aim of this study is to analyze the representation of gender in selected Hollywood films from the 21st century for patriarchal cinema patterns. Where 20th century films are characteristic for a dichotomizing representation of gender and therefore fit the patriarchal pattern, several 21st century films show an ambigious representation of masculinity and femininity. This observation leads to the question if the theories of patriarchal cinema as proposed by feminist film studies since the 19...

El príncipe destronado (Miguel Delibes, 1973/La guerra de papá (Antonio Mercero, 1977, and third way spanish cinema

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Faulkner, Sally

2011-04-01

Full Text Available This articles examines Daddy’s War as an example of Third Way cinema, and considers the reasons for its box office success. First, it compares Delibes’s original novel with the film version. Above all, it considers the use of the child’s point of view (underlined in Delibes’s title and the treatment of the Spanish Civil War (the focus of Mercero’s title. After analysing Daddy’s War in the context of contemporary Spanish auteur and commercial cinemas, it concludes that Mercero finds a half-way house between both tendencies that was enjoyed by audiences. Thus, the film is an example of Spanish middlebrow culture. Finally, the study considers the links between Delibes’s novel, Mercero’s cinema, and Spanish television today.Este artículo examina La guerra de papá como ejemplo de la Tercera Vía, y considera las razones de su éxito de taquilla. Mediante el análisis comparado de la novela original de Delibes y la versión cinematográfica de Mercero, se detiene en el uso del punto de vista infantil (subrayado en el título de Delibes y el tratamiento de la Guerra Civil (focalizado en el título de Mercero. Tras analizar La guerra de papá en el contexto del cine de autor y cine comercial contemporáneos españoles, concluye que Mercero encuentra un punto de encuentro entre ambas tendencias que explica su éxito de público como un ejemplo de la cultura media española. Por último, el estudio considera los vínculos entre la novela de Delibes, el cine de Mercero, y la televisión española de momento.

(Repensando a tradio e as transformaes do cinema documentrio (Rethinking tradition and transformations on documentary filmmaking

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Juliano Jos de Arajo

2012-01-01

Full Text Available O livro Tradio e reflexes: contributos para a teoria e esttica do documentrio discute por meio de 16 artigos, propostas clssicas e reflexes contemporneas sobre o cinema documentrio, que vo desde a tradio griersoniana at as transformaes decorrentes das novas tecnologias da comunicao.The book Tradio e reflexes: contributos para a teoria e esttica do documentrio (whose title in English means Tradition and reflections: contributions to the documentarys theory and aesthetics discusses, through sixteen articles, classic proposals and contemporary reflections on documentary filmmaking, which range from the griersonian tradition to the changes arising from the new Communication technologies.

Visual Narratives and (AntiExpanded Cinema in Julião Sarmento

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Miguel Mesquita Duarte

2015-02-01

Full Text Available Beyond the difficulties in circumscribing expanded cinema theoretical and epistemological field – due to the plurality and multiple developments that it comprises, - one of the most pressing aspects concerning expanded cinema refers its relation with problems of narrativity. Although less obvious, the mention to Julião Sarmento’s work in this field seems to us particularly useful; to begin with, for the way his work is animated by a counter-narrative compulsion which, building up in the interior of a specific dialectic between cinema and photography, efficiently undermines structural centeredness and the linearity of sequential images. Following a thread encompassing the experimental films from the mid-70s to the installations of 2000s, we seek to argue that the importance of structuralism, as well the genealogical approach to the history and memory of cinema, constitute, within Sarmento’s oeuvre, increasingly important aspects to assess the new forms of perceptive, cognitive and topological arrangements that go along the emergence of the so called expanded cinema. Ultimately, the originality and the critical stance maintained by the artist leads us towards the consideration of an anti-expanded-cinema: more than a thematic traced within the limits of technological development and multi-disciplinary spreading, in Sarmento’s case, the expansion of cinema concerns, mostly, the expansion of the criteria related with the circulation of thought and desire throughout a topology of infra-signification that emerges from the new possibilities of narration, of making and exhibiting cinema. Accordingly, what is at issue is an overall distinct possibility of identify, designate and problematize the category of expanded cinema, beyond its orthodox definition.

Childhood and Exile in Chilean Cinema

OpenAIRE

José Miguel Palacios; Catalina Donoso Pinto

2017-01-01

This article approaches the trauma of the Chilean dictatorship through the intersection between childhood and exile. It analyzes the role of childhood in Chilean exile cinema, focusing on documentaries produced throughout the 1970s and 80s. We will study the presence of childhood as a symbol in the political imaginary of exile, discuss the ways in which cinema recognizes and authorizes children’s testimony, and cover the dilemmas of desexilio and counter-nostalgia in films devoted to the them...

Por uma memória do cinema documentário no Rio Grande do Sul: desafios para uma nova historiografia do cinema brasileiro

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Cássio dos Santos Tomaim

2010-12-01

Full Text Available A partir de pesquisa bibliográfica e consulta a catálogos e dicionários de filmes brasileiros, buscamos uma compreensão histórica da produção de documentários no Rio Grande do Sul, a fim de problematizar a memória deste cinema. Primeiro foi preciso existir o cinema de não-ficção no Estado, em especial o de curta-metragem, para somente mais tarde ser possível o longa-metragem de ficção gaúcho. Indicativo de que a história do cinema no Rio Grande do Sul não é uma coleção de episódios isolados, como nos fez acreditar a historiografia clássica do cinema brasileiro.

The Invisible Cinema

NARCIS (Netherlands)

Hanich, Julian; Fossati, Giovanna; van den Oever, Annie

The Invisible Cinema was an experimental movie theater designed by an experimental filmmaker. Devised by the Austrian avantgardist Peter Kubelka, it served as the first place of exhibition for the Anthology Film Archives in New York. Apart from the screen (and some exit signs and aisle lights

[Cinema and neurology: early educational applications].

Science.gov (United States)

Collado-Vázquez, Susana; Carrillo, Jesús M

2015-03-01

Since its earliest days, cinema has been used in the teaching of neurology both to illustrate the professor's explanations and to make learning easier for students. To analyse some of the first applications of cinema to the teaching and learning of neurology. Shortly after the birth of the film projector it became apparent that it could be a valuable aid in teaching medicine, and especially neurology. Initially, actual recordings made by doctors themselves were used, and later documentaries, short films and feature films were employed as means of showing diagnostic and therapeutic methods, as well as different pathological signs, such as movement disorders. The intention was not to replace other methodologies but instead to complement them and to make the process of acquiring knowledge easier. Applying cinema in teaching is a useful way to portray the contents of different subjects, especially in the field of neurology, and to favour the acquisition of both specific and cross-disciplinary competences, with very positive results being obtained among students.

Single-Frame Cinema. Three Dimensional Computer-Generated Imaging.

Science.gov (United States)

Cheetham, Edward Joseph, II

This master's thesis provides a description of the proposed art form called single-frame cinema, which is a category of computer imagery that takes the temporal polarities of photography and cinema and unites them into a single visual vignette of time. Following introductory comments, individual chapters discuss (1) the essential physical…

Mathematics in Literature and Cinema: An Interdisciplinary Course

Science.gov (United States)

Chabrán, H. Rafael; Kozek, Mark

2016-01-01

We describe our team-taught, interdisciplinary course "Numb3rs in Lett3rs & Fi1ms: Mathematics in Literature and Cinema," which explores mathematics in the context of modern literature and cinema. Our goal with this course is to advance collaborations between mathematics and the written/theatre-based creative arts.

For a history of the histories of Portuguese cinema

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Paulo Cunha

2016-02-01

Full Text Available For decades, the history of Portuguese cinema was made without historians or academics in the social sciences and humanities, but made by curious, enthusiasts and writers who were committed to the object itself. It was therefore that these early writings, although an essential role in collecting and inventariações sources, promoted the creation of myths, more implicitly or explicitly manipulated the past of Portuguese cinema and conditioned its historic narrative.This thematic dossier brings together four essays that analyze and reflect on different ideas and conceptions of Portuguese Cinema which have been outlined in stocks, texts and films over the decades. The purpose of this dossier is not to answer questions, but take advantage of them to review preconceived ideas and to launch reading hypotheses to classic and current issues in the history of Portuguese cinema.

The Cinema Alone

NARCIS (Netherlands)

Williams, James S.; Temple, Michael

2000-01-01

This volume of essays constitutes a comprehensive and interdisciplinary engagement with Jean-Luc Godard's current film and video work. Its key focus is the eight-part magnum opus Histoire(s) du cinema (1988-1998), an extraordinary experiment in film history that attempts to tell 'all the stories of

Representations of the armed conflict in Colombian cinema

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Jerónimo León Rivera-Betancur, M.A.

2010-01-01

Full Text Available Cinema is an act of representation and it is based on the construction of reality inspired by experience. In Colombia, cinema has not been the product of a structured industry, but rather the effort of some filmmakers who have found different ways of telling stories about topics that are part of the national experience. The armed conflict in Colombia, understood as the confrontation between government forces and organized outlawed groups, has prevailed for more than fifty years and has been present in art forms ever since. This research examines a sample of Colombian films to establish the different ways the subject of the armed conflict has been represented in Colombian cinema.

Bibliometric Analysis of Manuscript Title Characteristics Associated With Higher Citation Numbers: A Comparison of Three Major Radiology Journals, AJNR, AJR, and Radiology.

Science.gov (United States)

Chokshi, Falgun H; Kang, Jian; Kundu, Suprateek; Castillo, Mauricio

Our purpose was to determine if associations exist between titles characteristics and citation numbers in Radiology, American Journal of Roentgenology (AJR), and American Journal of Neuroradiology (AJNR). This retrospective study is Institutional Review Board exempt. We searched Web of Science for all original research and review articles in Radiology, AJR, and AJNR between 2006 and 2012 and tabulated number of words in the title, presence of a colon symbol, and presence of an acronym. We used a Poisson regression model to evaluate the association between number of citations and title characteristics. We then used the Wald test to detect pairwise differences in the effect of title characteristics on number of citations among the 3 journals. Between 2006 and 2012, Radiology published 2662, AJR 3998, and AJNR 2581 original research and review articles. There was a citation number increase per title word increase of 1.6% for AJNR and 2.6% for AJR and decrease of 0.8% for Radiology. For all, P citation increases for AJNR (16%), Radiology (14%), and AJR (7.4%). Title acronym was associated with citation increases for AJNR (10%), Radiology (14%), and AJR (13.3%). All P citation numbers in Radiology, AJR, and AJNR. Copyright © 2016 Elsevier Inc. All rights reserved.

Non realist tendencies in new Turkish cinema

OpenAIRE

Can, İclal

2016-01-01

http://hdl.handle.net/11693/29111 Thesis (M.S.): Bilkent University, Department of Communication and Design, İhsan Doğramacı Bilkent University, 2016. Includes bibliographical references (leaves 113-123). The realist tendency which had been dominant in cinema became more apparent with Italian neorealism affecting other national cinemas to a large extent. With the changing and developing socio economic and cultural dynamics, realism gradually has stopped being a natural const...

Clique size and network characteristics in hyperlink cinema. Constraints of evolved psychology.

Science.gov (United States)

Krems, Jaimie Arona; Dunbar, R I M

2013-12-01

Hyperlink cinema is an emergent film genre that seeks to push the boundaries of the medium in order to mirror contemporary life in the globalized community. Films in the genre thus create an interacting network across space and time in such a way as to suggest that people's lives can intersect on scales that would not have been possible without modern technologies of travel and communication. This allows us to test the hypothesis that new kinds of media might permit us to break through the natural cognitive constraints that limit the number and quality of social relationships we can manage in the conventional face-to-face world. We used network analysis to test this hypothesis with data from 12 hyperlink films, using 10 motion pictures from a more conventional film genre as a control. We found few differences between hyperlink cinema films and the control genre, and few differences between hyperlink cinema films and either the real world or classical drama (e.g., Shakespeare's plays). Conversation group size seems to be especially resilient to alteration. It seems that, despite many efficiency advantages, modern media are unable to circumvent the constraints imposed by our evolved psychology.

Instant Cinema 4D starter

CERN Document Server

Kaminar, Aaron

2013-01-01

Get to grips with a new technology, understand what it is and what it can do for you, and then get to work with the most important features and tasks.This book is written in a friendly, practical style with lots of screenshots and help that will ensure you grow in confidence chapter by chapter.This book is recommended for artists that have experience in other 3D software packages, and who want to learn Cinema 4D. That being said, dedicated readers without experience in other 3D software should not be discouraged from reading this book to learn the basics of Cinema 4D as their first 3D package.

Vertigo, poetry and creed of Alfred Hitchcock's cinema

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Rafael J. Pascual

2011-09-01

Full Text Available In this article we analyse the film Vertigo -undoubtedly one of the North-American film di- rector Alfred Hitchcock’s masterpiece- as an audiovisual poem we could identify with such a characteristic and defining name as film-poetry. We will try to show some elements very typical of cinema -the use of the light, colour, and music, the aesthetic treatment of image and the camera movement- they all aspects that in- fluence -as well as does plot- the rhythm, form and content in the same way as a poem does, in order to place cinema at the same level as poetry. We will try to describe in a very essential way the relations between cinema and arts such as music, painting and literature.

El Teatre Bartrina i el cinema (del cinema mut al cinema sonor)

OpenAIRE

Mestre, Joan Ramon

2014-01-01

El Teatre no va veure una programació estable de cinema professional mut fins a la seva inauguració com a Teatre Bartrina l’any 1918. Entre la programació destaca la projecció per episodis de Búfalo Bill, el 1920; El Conde de Montecristo, el 1921 i Don Juan conquistador, el 1922. Els grans esdeveniments cinematogràfics són l’estrena de La sardanista, d’Alfons Roure, la primera pel·lícula muda amb subtítols en català. El 1927 s’anuncia com a novetat la projecció de Miguel Strogoff, com a film ...

[Madness in the German cinema (1913-1933].

Science.gov (United States)

Aulas, J J

1980-01-01

During these twenty years, from 1913 to 1933, of the history of the German cinema, the cinematographic representation of madness varies according to the fluctuations of the social and economical background. The political and ideological chaos of the immediate post-war years was symbolized in the allegorical imagery of unreason in the expressionist cinema. The same equivalence, the same symbolization can be found in the cinema of the thirties when the crash of Wall-Street foretells a crisis like the former. On the contrary in the course of the so-called "relative stabilization" (1924-1929) the meaning of the representation of madness is totally different from the representation of the previous period. At this period of economical restoration, madness which could henceforth be cured on the psychoanalyst's couch (acc. G. W. Pabst's film: "Geheimnisse einer Seele") became the symbol of the absolute power rediscovered by Germany.

Image compression evaluation for digital cinema: the case of Star Wars: Episode II

Science.gov (United States)

Schnuelle, David L.

2003-05-01

A program of evaluation of compression algorithms proposed for use in a digital cinema application is described and the results presented in general form. The work was intended to aid in the selection of a compression system to be used for the digital cinema release of Star Wars: Episode II, in May 2002. An additional goal was to provide feedback to the algorithm proponents on what parameters and performance levels the feature film industry is looking for in digital cinema compression. The primary conclusion of the test program is that any of the current digital cinema compression proponents will work for digital cinema distribution to today's theaters.

The Filmmaker as Metallurgist: Political Cinema and World Memory

NARCIS (Netherlands)

Pisters, P.

2016-01-01

Compared to earlier waves of political cinema, such as the Russian revolution films of the 1920s and the militant Third Cinema movement in the 1960s, in today's globalized and digital media world filmmakers have adopted different strategies to express a commitment to politics. Rather than directly

nel cinema italiano contemporaneo

African Journals Online (AJOL)

italiano come era rappresentato nel cinema italiano del passato, per esempio in Rocco e i suoi ..... parole che Michele rivolge a Ioan ad un certo punto del film, “Si può .... temporaneo equilibrio e supporto in una inusuale relazione che va.

O Cine Debate promovendo encontros do cinema com a escola

Directory of Open Access Journals (Sweden)

Andreza Berti

2013-12-01

Full Text Available Partindo da hipótese-cinema, de Alain Bergala (2008, reconhecemos o cinema como alteridade, pois a experiência com o cinema permite ser o outro, viver em outro território, flanar por diferentes espaços e tempos. Nesse processo, o cinema pode entrar na escola como potência criadora: promover o encontro dos(as alunos(as com diferentes experiências estéticas; provocar a dúvida, o questionamento, colocando em xeque o lugar-comum, os padrões socioculturais, as identidades fixas. A experiência com Cine Debate em escolas públicas de Ensino Médio, nos municípios do Rio de Janeiro e Niterói, permitiu problematizar a produção cinematográfica, favorecer a aproximação do cinema com a escola, contribuir para a ampliação do número de filmes brasileiros assistidos, questionar o que consideramos "olhar". Por meio de uma pesquisa qualitativa, percebemos o desejo dos estudantes em aprofundar os temas discutidos, conhecemos seus gêneros cinematográficos preferidos e a frequência com que assistem a filmes. Esse resultado indica a continuidade da experiência com o Cine Debate.

Cinema Fire Modelling by FDS

International Nuclear Information System (INIS)

Glasa, J; Valasek, L; Weisenpacher, P; Halada, L

2013-01-01

Recent advances in computer fluid dynamics (CFD) and rapid increase of computational power of current computers have led to the development of CFD models capable to describe fire in complex geometries incorporating a wide variety of physical phenomena related to fire. In this paper, we demonstrate the use of Fire Dynamics Simulator (FDS) for cinema fire modelling. FDS is an advanced CFD system intended for simulation of the fire and smoke spread and prediction of thermal flows, toxic substances concentrations and other relevant parameters of fire. The course of fire in a cinema hall is described focusing on related safety risks. Fire properties of flammable materials used in the simulation were determined by laboratory measurements and validated by fire tests and computer simulations

Cinema Fire Modelling by FDS

Science.gov (United States)

Glasa, J.; Valasek, L.; Weisenpacher, P.; Halada, L.

2013-02-01

Recent advances in computer fluid dynamics (CFD) and rapid increase of computational power of current computers have led to the development of CFD models capable to describe fire in complex geometries incorporating a wide variety of physical phenomena related to fire. In this paper, we demonstrate the use of Fire Dynamics Simulator (FDS) for cinema fire modelling. FDS is an advanced CFD system intended for simulation of the fire and smoke spread and prediction of thermal flows, toxic substances concentrations and other relevant parameters of fire. The course of fire in a cinema hall is described focusing on related safety risks. Fire properties of flammable materials used in the simulation were determined by laboratory measurements and validated by fire tests and computer simulations

Cinema 4D Dalam Pipeline Produksi Serial Animasi

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Ardiyansah Ardiyansah

2011-04-01

Full Text Available Cinema 4D is best known as software that is efficient in render time. This is very beneficial especially for those who engaged in animated projects with tight deadlines and require work time efficiency, such as serial project. In addition to time, in the animated series production pipeline also generally require various items of work that involves a lot of resources implemented in parallel. This is to avoid delays to the overall project progress whenever a work item suffers setback due to any reason. Cinema 4D as a tool, allowing a project carried out with the most efficient method in accordance with needs, and flexibility that is the appeal of Cinema 4D as well as strength in the context of the animated series production. 

Portrait pictures of actors in Ukrainian cinema posters of 1920s - early 1990s (based on the materials of Ukrainian cinema posters collection from the fonds of V. Vernadsky National Library of Ukraine

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Hutnyk L.

2015-01-01

Full Text Available The author examines cinema posters as a source of visual information. Based on the materials of Ukrainian cinema posters collection of V. Vernadsky National Library of Ukraine, the article analyzes posters, the compositions of which contain portrait pictures of Ukrainian and world cinema actors. It characterizes approaches which were used by the artists during their work of posters creaton in order to present the cinema activity of the actors through the creation of cinema images in graphics or collage technique. The author traces main stylistic peculiarities of the posters with portrait pictures and creative style of certain poster artists. It is worth acknowledging that nowadays unique posters to some films of 1920-1930s which have not been preserved up to the present are of special value as important artistic documents in the history of cinema. Despite the fact that the period of the first third of the twentieth century was an age of silent black-and-white films in the history of cinema, all the posters that accompanied the films release were colored, and together they became a bright and unique page in the history of Ukrainian graphic art and cinema advertising

Two versions of the road back home: native cinema in the USA and Canada

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Márgara Avebach

2008-01-01

Full Text Available Native cinema is still a new on North-American screens and working to establish the sharp differences between Western America and the “Thirld World” reality on the reservations for Native Americans remain the poorest minorities in the US and in Canada. It is also new as the space whereaboriginal people shave control of their filmic representation, showing, for one, the diversity of tribal cultures preserved and thriving. The films analysed are Powwow Highway and Medicine River, both based on novels of the same title by David Seals and Thomas King, respectively. The theme is avery dear one to Native Literature: the trip back to one´s community and the figure of the trices as mediator or guide of this return.

Reconfiguring film studies through software cinema and procedural spectatorship

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Marina Hassapopoulou

2014-12-01

Full Text Available The increasing use of software and database aesthetics in film and video production has created hybrid modes of spectatorship by altering the dynamic between media production and reception. Software-generated narratives (preprogrammed databases that create films through random selection and combination of discrete audio, visual, and/or textual tracks remove the viewer from the actual algorithmic process, drawing his/her attention instead on interactions between hardware and software. Here, the element of unpredictability that is part of cinematic pleasure lies in the recombination of discrete elements (audio, visuals, subtitles, and so on and the unexpected ways in which the software stitches those elements together. The subsequent reduction in the degree and compass of authorial control invites us to reconsider existing frameworks of spectatorship and narration within new contexts of mobility, performance, and databases. In this article I consider Soft Cinema films (Lev Manovich, Andreas Kratky, et al., 2003 as prototypical software-driven examples of this shift in viewing conditions and reception contexts. I argue that, despite its emerging and changing techniques and aesthetics, software-generated cinema retains one of the primitive socio-pedagogical functions of the cinema: training audiences to receive and buffer contemporary medial sensations. Just as early cinema prepared audiences and worked as a buffer for shocks of technological and industrial modernity, software cinema trains the viewer in new modes of film spectatorship and new modes of narrative and affective subjectivity that correspond to the hypertextual ways in which we interact with digital technologies. These viewing modes create a new form of procedural spectatorship that has been evident since the first pioneering experiments in generative cinema and a form that is, nonetheless, not entirely detached from existing theoretical paradigms of cinematic spectatorship and the

Ir ao cinema em São Paulo nos anos 20

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Sheila Schvarzman

2005-01-01

Full Text Available As críticas cinematográficas de Octávio Gabus Mendes publicadas na década de 1920 em Cinearte, revista carioca dedicada ao cinema, permitem conhecer o panorama do que era exibido em São Paulo, mas também as aspirações cinematográficas do crítico e os projetos para o cinema brasileiro.Mostram a relação entre as possibilidades de desenvolvimento do cinema brasileiro e as imagens que deveria mostrar do Brasil, e o papel central que as salas de cinema tinham na constituição da atividade cinematográfica no país. Pleiteando a constituição de salas ricas em bairros de freqüência burguesa, o cinema, nas aspirações do crítico, torna-se espaço de diferenciação social, e não de inclusão.Mostram já nos anos 20 a dicotomia entre as possibilidades de constituição do cinema popular, e as aspirações elitistas que deveriam norteá-lo tanto na constituição das imagens que deveria veicular, como na sua freqüentação e distribuição espacial na cidade.In the 20's, Octavio Gabus Mendes published film critics in Cinearte, a magazine on movies. His texts present an extensive coverage of the movie scene in São Paulo, as well as of his film-making ideas and his projects for Brazilian cinema. They show the relationship between the development of the Brazilian movie industry and the images they might construct about the country, and also the central role of movie theaters in the constitution of cinematographic activity in Brazil. As they look for rich theaters in rich places, movies might represent social exclusion rather than inclusion. In this process,we can see even in the 20's a dicothomy between the constitution of cinema as a popular activity and its elitist aspirations as shown by images, spaces and frequency.

Semantically transparent fingerprinting for right protection of digital cinema

Science.gov (United States)

Wu, Xiaolin

2003-06-01

Digital cinema, a new frontier and crown jewel of digital multimedia, has the potential of revolutionizing the science, engineering and business of movie production and distribution. The advantages of digital cinema technology over traditional analog technology are numerous and profound. But without effective and enforceable copyright protection measures, digital cinema can be more susceptible to widespread piracy, which can dampen or even prevent the commercial deployment of digital cinema. In this paper we propose a novel approach of fingerprinting each individual distribution copy of a digital movie for the purpose of tracing pirated copies back to their source. The proposed fingerprinting technique presents a fundamental departure from the traditional digital watermarking/fingerprinting techniques. Its novelty and uniqueness lie in a so-called semantic or subjective transparency property. The fingerprints are created by editing those visual and audio attributes that can be modified with semantic and subjective transparency to the audience. Semantically-transparent fingerprinting or watermarking is the most robust kind among all existing watermarking techniques, because it is content-based not sample-based, and semantically-recoverable not statistically-recoverable.

Cinema advertising and the Sea Witch ‘Lost Island’ film (1965)

OpenAIRE

Farmer, Richard

2016-01-01

Cinema advertising films have for many decades constituted an important element of British cinema programmes, yet they remain relatively under-researched. This article examines the production, distribution and reception of one such film, a 90-second mini-epic called ‘Lost Island’, which was made in 1965 to promote Sea Witch hair dyes. As well as outlining the technological and experiential aspects of the cinema and cinemagoing that continued to make film an attractive medium for advertisers e...

Kilts, tanks, and aeroplanes: Scotland, cinema, and the First World War

OpenAIRE

David Archibald; Maria Velez-Serna

2015-01-01

This article charts commercial cinema’s role in promoting the war effort in Scotland during the First World War, outlining three aspects of the relationship between cinema and the war as observed in Scottish non-fiction short films produced between 1914 and 1918. The existing practice of local topical filmmaking, made or commissioned by cinema managers, created a particular form of engagement between cinema and war that was substantially different from the national newsreels or official fi...

Authorship and cinema

OpenAIRE

Cook, Pam

2007-01-01

The chapter reviews the history and cultural impact of debates about authorship and cinema, from the French concept of the 'politique des auteurs' and American and British auteur theory to the structuralist rejection of auteurism and its revision and revival in recent cultural theory. The main text is accompanied by case studies that provide detailed analysis of key films and film-makers.

Cinema 4D R13 Cookbook

CERN Document Server

Szabo, Michael

2012-01-01

This book contains short recipes designed to effectively teach tools in the minimum amount of time. Each recipe hits on a topic that can be combined or incorporated with other recipes to give you the building blocks you need to start making great designs with Cinema 4D. Rather than demonstrating how to make a few specific and extensive projects, the recipes create a solid base of knowledge to help the reader understand the tools available to foster their own creativity. This book is for anyone who wants to quickly get up to speed with Cinema 4D to create 3D projects that run laps around simple

Art-House Cinema, Avant-Garde Film, and Dramatic Modernism

Science.gov (United States)

Cardullo, Bert

2011-01-01

In this article, the author talks about art-house cinema, avant-garde film, and dramatic modernism. He believes that the most important modes of film practice are art-house cinema and the avant-garde, both of which contrast with the classical Hollywood mode of film practice. While the latter is characterized by its commercial imperative, corporate…

The Great War: Cinema, Propaganda, and The Emancipation of Film Language

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Stojanova Christina

2017-12-01

Full Text Available The relation between war and cinema, propaganda and cinema is a most intriguing area, located at the intersection of media studies, history and film aesthetics. A truly tragic moment in human history, the First World War was also the first to be fought before film cameras. And while in the field, airborne reconnaissance became cinematic (Virilio, domestic propaganda occupied the screen of the newly emergent national cinemas, only to see its lucid message challenged and even subverted by the fast-evolving language of cinema. Part one of this paper looks at three non-fiction films, released in 1916: Battle of Somme, With Our Heroes at the Somme (Bei unseren Helden an der Somme and Battle of Somme (La Bataille de la Somme, as paradigmatic propaganda takes on the eponymous historical battle from British, German and French points of view. Part two analyses two war-time Hollywood melodramas, David Wark Griffith’s Hearts of the World (1918 and Allen Holubar’s The Heart of Humanity (1919, and explains the longevity of the former with the powerful “text effect” of the authentic wartime footage included. Thus, while these WWI propaganda works do validate Virilio’s ideas of the integral connections between technology, war and cinema, and between cinema and propaganda, they also herald the emancipation of post-WWI film language.

Cinema and Prosthetic Memory: The Case of the Korean War

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Judith Keene

2010-04-01

Full Text Available This paper assesses the explanatory possibilities of the concept of prosthetic memory, with cinema as the enabler of popular understanding, when applied to the Korean War. The essay examines why it was that the conflict in Korea for many decades occupied a memory void and whether the explanations that have been offered for other similar “forgotten “wars are useful in relation to Korea. The analysis sugggests that cinema may be important in the formation of popular understanding but that there are serious analytical drawbacks in assuming that cinema can provide a window into popular mentalities.

Nippon Cinema at the digital turning point

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Marek Bochniarz

2014-01-01

Full Text Available This article is a review of a book written by Mitsuyo Wada Marciano – Japanese Cinema in the Digital Age. The author of this book examines the recent developments in the Japanese film industry at the turning point in the development of digital technologies. The book seeks to overcome the western approach to the subject, reinterprets classic films and explores new trends in transnational Japanese cinema (the term was proposed by the author to explain the situation of Japanese films in the context of Asian countries.

Introduction: film-philosophy and a world of cinemas

OpenAIRE

Martin-Jones, David

2016-01-01

This Special Section arose out of the 2014 Film-Philosophy conference,\\ud held at the University of Glasgow, which took as its theme: A World of\\ud Cinemas. The aim of both the conference theme and this resulting Special\\ud Section is to broaden the debate in film-philosophy, both in terms of a\\ud world of cinemas and a world of philosophies. This introduction considers\\ud the reasons why such an intervention is worthwhile.

Cinema e territorio. Processi di valorizzazione e promozione (cineturistica delle destinazioni minori / Cinema and territory. Processes of enhancement and (cinetouristic promotion of minor destinations

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Angela Cresta

2016-05-01

Il contributo, a partire da un’analisi delle più celebri pellicole girate in Irpinia, rilegge dunque il legame tra Cinema e territorio alla luce delle esperienze di progettualità in corso che vedono nel cine-turismo una possibile forme di sviluppo locale da valorizzare. The objective of the paper is to make a reflection on the relationship between cinema, creativity and practical tourism in the processes of development and promotion of cinetourism which affect, in particular, the minor destinations. To this end, the experience of Irpinia is presented, where the authenticity of the places and the aspirations of a few enlightened by love for the “Seventh Art” has, since the early twentieth century, inspired several film projects, mixing suggestions real with virtual effects film, have proposed a transposition of the culture and customs, traditions and ways of life of Irpinia. A combination between the cinema and Irpinia which transforms Avellino, at the time one of the poorest and remotest provincial of Italy, the world capital of cinema neorealist; able to influence actively on backwardness typical of southern reality. The contribution, through an analysis of the most famous films shot in Irpinia, reads the link between cinema and territory based on the experience of existing projects that see in cine-tourism possible forms of local development to be enhanced.

Life after Birth: the Klan and cinema, 1915-1928.

OpenAIRE

Rice, T.

2007-01-01

"Life after Birth" considers the relationship between the Ku Klux Klan and cinema during the 1920s, highlighting how the Klan used, produced and protested against film in order to recruit members, generate publicity, and define itself as a traditional Protestant American organisation. In my opening chapter I reassess the significance of The Birth of a Nation in the development of the Klan, and introduce a number of other overlooked films, such as The Face at Your Window that Kleagles (Klan re...

Criticism of cinema from the concept of Cultural Industry

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Angélica Antonechen Colombo

2015-06-01

Full Text Available This article aims to discuss the film as a work of art, but also as a cultural and appropriate merchandise for Cultural Industry, and its role as an essential factor of aesthetic, perceptual and cognitive changes, based on the theories of Theodor Adorno. The methodology considers the position of this philosopher in relation to cinema, from its advent, analyzing its characteristics, its elements, the effects of the spectators, the role of industry in the evolution of cinema and its relation to the ideology of the culture industry, the changes that the cinema brought to the theories of art and society. It also states that the article is the product of an ongoing research, so your introductory content.

Football and cinema in Brazil: an entanglement

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Mauricio Murad

2010-12-01

Full Text Available São fecundas e infinitas as possibilidades relacionais entre futebol e cinema, dois dos maiores espetáculos do mundo contemporâneo. No Brasil, os esforços para fundar e desenvolver um futebol e um cinema brasileiros começaram cedo, já nas primeiras décadas do século XX, e prosseguem enfrentando contradições e conflitos internos e externos. Futebol e cinema chegaram ao Brasil na mesma conjuntura histórica e participam de espaços sociais, tempos históricos, origem de classe e popularização semelhantes e são elementos constitutivos de nosso ethos e identidades coletivas. É preciso discutir essas realidades e relações, pois há no Brasil muito mais filmes sobre o futebol do que se imagina e muito menos do que deveria. Este artigo pretende justamente discutir alguns dos aspectos presentes nessas relações e refletir sobre a produção cinematográfica destinada ao futebol

The Power of Cinema on the Korean Peninsula

OpenAIRE

Samyel Lee

2015-01-01

Abstract: The Korean peninsula is constantly in a dynamic discussion of identity and direction. For South Korean society, it is no surprise that the Korean War and the existential threat that North Korea poses loom large over its collective conscience. Although mostly disregarded within scholarly discussions in international relations, cinema has always been, and continues to be, an insightful, powerful, and transformative forum. This essay discusses the ways in which cinema as an art form ha...

"Jacob and the Other": in the Light of the Cinema (Apollo.

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Armando Escobar

2018-01-01

Full Text Available The relationship between Uruguayan writer Juan Carlos Onetti and the cinema is extensive and. When we analyze one of the many adaptations of his work, we have to consider that it is a relationship of double influence, since our author has also take from the cinema to develop one of the most extensive and essential works of Latin American literature. For this reason, it is increasingly common to find interpretations that propose a cinematic reading of Onetti's work. As part of a similar exercise, we propose to read the story "Jacob and the Other" (1961 in the light of his adaptation to the cinema made by Álvaro Brechner in Un mal día para pescar (2009. In doing so, Onetti's tale obtains new interpretations that can be reached by analyzing it with the eyes of the cinema.

Thermal Analysis of TRIO-CINEMA Mission

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Jaegun Yoo

2012-03-01

Full Text Available Thermal analysis and control design are prerequisite essential to design the satellite. In the space environment, it makes satellite survive from extreme hot and cold conditions. In recent years CubeSat mission is developed for many kinds of purpose. Triplet Ionospheric Observatory (TRIO–CubeSat for Ion, Neutral, Electron, MAgnetic fields (CINEMA is required to weigh less than 3 kg and operate on minimal 3 W power. In this paper we describe the thermal analysis and control design for TRIO-CINEMA mission. For this thermal analysis, we made a thermal model of the CubeSat with finite element method and NX6.0 TMG software is used to simulate this analysis model. Based on this result, passive thermal control method has been applied to thermal design of CINEMA. In order to get the better conduction between solar panel and chassis, we choose aluminum 6061-T6 for the material property of standoff. We can increase the average temperature of top and bottom solar panels from -70°C to -40°C and decrease the average temperature of the magnetometer from +93°C to -4°C using black paint on the surface of the chassis, inside of top & bottom solar panels, and magnetometer.

Camera Movement in Narrative Cinema

DEFF Research Database (Denmark)

Nielsen, Jakob Isak

2007-01-01

section unearths what characterizes the literature on camera movement. The second section of the dissertation delineates the history of camera movement itself within narrative cinema. Several organizational principles subtending the on-screen effect of camera movement are revealed in section two...... but they are not organized into a coherent framework. This is the task that section three meets in proposing a functional taxonomy for camera movement in narrative cinema. Two presumptions subtend the taxonomy: That camera movement actively contributes to the way in which we understand the sound and images on the screen......, commentative or valuative manner. 4) Focalization: associating the movement of the camera with the viewpoints of characters or entities in the story world. 5) Reflexive: inviting spectators to engage with the artifice of camera movement. 6) Abstract: visualizing abstract ideas and concepts. In order...

Cinema and Media Studies: Snapshot of an "Emerging" Discipline

Science.gov (United States)

Gabbard, Krin

2006-01-01

Cinema and media studies have been a prominent part of American academy since the 1960s and at a few universities since the 1910s, but it was only in the mid-1990s that the field was declared to be an emerging discipline. A discussion on the state of cinema and media studies is presented as they stand on the verge of being officially recognized as…

Cinematic realism and digital special effects in Hollywood cinema

OpenAIRE

Güney, Tolga

1996-01-01

Ankara : Department of Graphic Design and Institute of Fine Arts, Bilkent Univ., 1996. Thesis (Master's) -- Bilkent University, 1996. Includes bibliographical refences. This thesis attempts to understand changing conceptions of realism in entertainment cinema by the emergence of digital special effects as an implication of new modes of production in contemporary Hollywood cinema. It focuses on the reflexive, intertextual, and hyperreal characteristics of contemporary Holl...

O Cinema Educativo nos Anos de 1920 e 1930: algumas tendências presentes na bibliografia contemporânea

OpenAIRE

Rosana Elisa Catelli

2008-01-01

This paper presents a research published in the early years about the educational cinema from 1920 until 1930. Within those decades, there was an intense debate about national cinema and its possibilities as a pedagogical tool. Many projects were implemented, and, among them, the creation of the Instituto National de Cinema Educativo (Educational Cinema National Institute), in 1937. The approach for this research follows four thematic paths: Cinema and State, History and National Cinema Criti...

European Cinema and the Postheroic Narrative: Jean-Luc Nancy, Claire Denis, and 'Beau Travail'

NARCIS (Netherlands)

Elsaesser, T.

2012-01-01

What is European cinema? First: European cinema does not exist, except as a bureaucratic dream or a promotional tool for national producers and distributors of art house films. Second: insofar as it is willed into existence, European cinema has over the past three decades been funded mainly by

Synesthesia and rhythm. The road to absolute cinema

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Ricardo Roncero Palomar

2017-05-01

Full Text Available Absolute cinema, developed during the historical avant-garde, con-tinued with a long artistic tradition that linked musical with visual experience. Due to cinema as médium of expression, this filmmakers were able to work with the moving image to develop concepts such as rhythm, also with more complex figures than the colored spots that other devices could create at those time. This study starts with the published texts in 1704 by Newton about color, and provides an overview of those artistic highlights that link image and sound, and which creates the origins of absolute cinema. The connections and equivalences between the visual and sound experiences used by these filmmakers are also studied in order to know if there was a continuous line with the origins of these studies or if there was a rupture and other later investigations were able to have more repercussion in their works.

Amateur filmmaking in the history of Brazilian cinema

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Lila Silva Foster

2016-07-01

Full Text Available As in many national cinemas, the history of Brazilian amateur film is still in its early stages of investigation. In addition to this historiographical deficit, there are many ways in which amateur cinema is a small and less visible production: films shot in 16mm, 9.5mm and Super 8 are dispensable and Brazilian film archives and cinemateques only started cataloguing these materials in recent years. In the following paper we wish to establish a set of theoretic and historical guidelines to analyse amateur films that express different forms of amateur production. Through the collection of home movies from Alves de Lima family deposited at Cinemateca Brasileira (São Paulo, the amateur fictional films from Cinemateca Capitólio (Porto Alegre and Raymond Chauvin's  experimental films belonging to Hipólito José da Costa Communications Museum (Porto Alegre we want to give visibility to films that are not yet part of Brazilian cinema history.

History of autostereoscopic cinema

Science.gov (United States)

Funk, Walter

2012-03-01

This paper covers the history of autostereoscopic cinema, from the beginnings of autostereoscopy in the 1800s, the development of motion capability and it's subsequent evolution to present techniques. Public viewings of autostereoscopic movies have occurred on a semi-ongoing basis since the early 1940s. In Moscow and other cities, theaters were constructed called stereokinos, for showing autostereoscopic films, with specially positioned seating for proper viewing. The Cyclostéréoscope was an autostereoscopic cinema system invented by François Savoye in France. It was based around a drum made of metal bars that revolve around a screen. For several years in the 1940s and 1950s, it was open to the public in Paris. Any film made in a dual film format could be shown. Besides dedicated theaters in Russia and France, exhibits of content have occurred outside devoted theaters. The paper focuses on the history of autostereoscopic technology developed for entertainment, public viewing of content, the individuals involved and the content itself.

Title list of documents made publicly available. Volume 16, Number 5

Energy Technology Data Exchange (ETDEWEB)

1994-07-01

The Title List of Documents Made Publicly Available contains descriptions of the information received and generated by the US Nuclear Regulatory Commission (NRC). This information includes (1) docketed material associated with civilian nuclear power plants and other uses of radioactive materials and (2) nondocketed material received and generated by NRC pertinent to its role as a regulatory agency. As used here, docketed does not refer to Court dockets; it refers to the system by which NRC maintains its regulatory records. This series of documents is indexed by a Personal Author Index, a Corporate Source Index, and a Report Number Index.

Title list of documents made publicly available. Volume 16, Number 5

International Nuclear Information System (INIS)

1994-07-01

The Title List of Documents Made Publicly Available contains descriptions of the information received and generated by the US Nuclear Regulatory Commission (NRC). This information includes (1) docketed material associated with civilian nuclear power plants and other uses of radioactive materials and (2) nondocketed material received and generated by NRC pertinent to its role as a regulatory agency. As used here, docketed does not refer to Court dockets; it refers to the system by which NRC maintains its regulatory records. This series of documents is indexed by a Personal Author Index, a Corporate Source Index, and a Report Number Index

Cinema Education as an Exercise in "Thinking through Not-Thinking"

Science.gov (United States)

Decoster, Pieter-Jan; Vansieleghem, Nancy

2014-01-01

In this article we explore the educational potential of cinema. To do this we first analyse how the American critical thinker Henry Giroux tries to give body to an educational theory in relation to cinema. His "film pedagogy" is described as developing a critical response of the learner in relation to the public sphere of film.…

Educação e Cinema / Education and Cinema

OpenAIRE

Cielo, Fernanda; de Oliveira, Valeska Fortes

2013-01-01

Rosália Duarte é professora do Departamento de Educação edo Programa de Pós-Graduação em Educação, da PUC do Rio deJaneiro. É graduada em Psicologia, mestre e doutora em Educação,pela Universidade do Estado do Rio de Janeiro e Fundação GetúlioVargas, respectivamente. Atualmente coordena o Grupo dePesquisa Educação e Mídia na PUC/Rio de Janeiro, trabalhandotemas como cinema, mídias, televisão na educação.

[Tics and Tourette syndrome in literature, cinema and television].

Science.gov (United States)

Collado-Vázquez, Susana; Carrillo, Jesús M

2013-08-01

Different neurological diseases have often been portrayed in literature, cinema and television. Tics and Tourette syndrome, for example, are commonly represented from different perspectives, which are sometimes very realistic but in some cases are used for more dramatic purposes or to make a character look ridiculous. One of the main effects of these inadequate views is to further stigmatise those who suffer these movement disorders. To review the way tics and Tourette syndrome have been portrayed in certain literary works, films and television. Tics are rapid, stereotypic, involuntary, recurring, non-purposeful movements of the skeletal and pharyngeal-laryngeal muscles. In Gilles de la Tourette syndrome a number of tics are associated to involuntary vocalisations (echolalia, coprolalia). They begin in childhood and are usually associated to obsessive-compulsive behaviours. These disorders have appeared in literature in works such as Little Dorrit, Angel Guerra, La torre de los siete jorobados or Motherless Brooklyn. Film-makers have also shown an interest in tics and Tourette syndrome and they have been portrayed in films such as Young and Innocent, The Tic Code or Matchstick Men. Likewise, a number of television series also contain characters with these disorders, including Shameless, Ally McBeal, Quincy, M.E. or L.A. Law. Tics and Tourette syndrome have frequently been portrayed in literature, cinema and television, sometimes in a very realistic manner. In other cases, however, the way they are dealt with has only helped to create false beliefs and stereotyped images of the disorders.

Dermatology in the cinema.

Science.gov (United States)

Reese, V

1995-12-01

The depiction of skin disease in the cinema can be divided into three categories. These include skin findings on actors independent of the roles they portray, cutaneous disease used as a representation of evil, and skin disease represented realistically and sympathetically. Examples from a wide range of films are given, and implications for dermatologists and their patients are discussed.

Geografias audiovisuais: Para além das Geografias de Cinema

Directory of Open Access Journals (Sweden)

Tiago de Almeida Moreira

2012-01-01

Full Text Available O artigo faz uma revisão e análise crítica do que vem sendo apresentada como uma nova área da pesquisa geográfica, as Geografias de Cinema. A partir desta revisão o autor propõe uma área de pesquisas geográficas mais abrangente, as Geografias Audiovisuais, que inclui não só as Geografias de Cinema, mas também a análise geográfica de obras televisivas, de propaganda, de animação, os jogos de vídeo-game e outros. Esta nova área proposta pretende abrir a possibilidade de análise geográfica e uso didático da linguagem audiovisual em todas as suas formas. Abstract AUDIO VISUAL GEOGRAPHIES: FROM BEYOND THE GEOGRAPHIES OF CINEMA The paper makes a review and a critical analyzes by a new area of the geographic researches that has been presented as Geographies of Cinema. By this review the author proposes a new and more abridgment area of geographic researches, the Audio Visual Geographies, that includes not only the Geographies of Cinema, but also the geographic analyzes of television productions, of the propaganda, of the animations, of the video games and others. That new area proposed pretend open the possibility of geographic analyzes and didactic use of the audio visual language in all of your forms.

China's iGeneration - Cinema and Moving Image Culture for the Twenty-First Century

OpenAIRE

Johnson, Matthew D.; Wagner, Keith B.; Yu, Tianqui; Vulpiani, Luke

2014-01-01

Collection of essays on twenty-first century Chinese cinema and moving image culture. This innovative collection of essays on twenty-first century Chinese cinema and moving image culture features contributions from an international community of scholars, critics, and practitioners. Taken together, their perspectives make a compelling case that the past decade has witnessed a radical transformation of conventional notions of cinema. Following China's accession to the WTO in 2001, personal ...

Titaanide heitlus: Forum Cinemas vs Cinamon

Index Scriptorium Estoniae

2009-01-01

Cinamon Group avab Solarise keskuses uue Cinamoni kinoketti kuuluva kino, mis konkureerib Coca-Cola Plazaga (võrdlev tabel, allikad: Cinamoni turundusjuht Evelyn Laar ja Forum Cinemas' levijuhi asetäitja Timo Diener)

The West in Early Cinema

NARCIS (Netherlands)

Verhoeff, Nanna

2006-01-01

Verhoeff investigates the emergence of the western genre, made in the first two decades of cinema (1895-1915). By analyzing many unknown and forgotten films from international archives she traces the relationships between films about the American West, their surrounding films, and other popular

V-Cinema : canons of Japanese film and the challenge of video

NARCIS (Netherlands)

Mes, T.P.

2018-01-01

The cinema of Japan has long played a central role in the study of film. But its well-established canon of master directors and classic films obscures as much as it reveals. A case in point is video, arguably the most transformative technological change in cinema since the introduction of sound

On Digital Film Theory: Liquid Cinema and Liquid Film Theory

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Hakan Erkılıç

2017-12-01

Full Text Available Referring to Bauman’s (2005 concept of “liquid modernity”, this paper aims to discuss the new film theory that has emerged from the digitalization of cinema. The concepts of perceptual reality and elastic reality constitute the two most important parts of the theory. Bauman argues that contemporary modern societies are “liquid” because of their dynamic character. Although contemporary societies are in constant movement, he indicates that they lack certainty and borders, and flexibility and uncertainty become prominent instead. The digital cinema that Belton (2002 has defined as “a false revolution” is nothing but 1’s and 0’s. The key concept here is CGI (computer graphics imaging. Manovich (1995 points out that we have arrived at a digitally transformable reality that depends on computer programs and which is beyond photographic reality due to the digitalization of cinema: This is elastic reality. The second concept in the theoretical discussion of digital cinema through visual effects is brought by Prince (1996: "Perceptual realism". This paper opens a theoretical debate through CGI examples and is based on the argument that Bauman's concept of “liquid” constitutes a social and cultural background for digital theory.

Roberto De Gaetano: impulse-images and the cinema between the forms and the forces

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Bruno Bueno Pinto Leites

2015-08-01

Full Text Available Since the early nineties Roberto De Gaetano works on the relationship between cinema, aesthetics and philosophy. In this interview, he talks about the impulse-images, a concept among Gilles Deleuze`s taxonomy that has remained someway “marginal” although being powerful for understanding a large set of problems, as the body of images, the inscription of a death drive in cinema and the conception of worlds in the act of their own destruction. We also had the opportunity to talk about De Gaetano`s latest works and the difference that he establishes between cinema of form and the cinema of force.

Laser Digital Cinema

Science.gov (United States)

Takeuchi, Eric B.; Flint, Graham W.; Bergstedt, Robert; Solone, Paul J.; Lee, Dicky; Moulton, Peter F.

2001-03-01

Electronic cinema projectors are being developed that use a digital micromirror device (DMDTM) to produce the image. Photera Technologies has developed a new architecture that produces truly digital imagery using discrete pulse trains of red, green, and blue light in combination with a DMDTM where in the number of pulses that are delivered to the screen during a given frame can be defined in a purely digital fashion. To achieve this, a pulsed RGB laser technology pioneered by Q-Peak is combined with a novel projection architecture that we refer to as Laser Digital CameraTM. This architecture provides imagery wherein, during the time interval of each frame, individual pixels on the screen receive between zero and 255 discrete pulses of each color; a circumstance which yields 24-bit color. Greater color depth, or increased frame rate is achievable by increasing the pulse rate of the laser. Additionally, in the context of multi-screen theaters, a similar architecture permits our synchronously pulsed RGB source to simultaneously power three screens in a color sequential manner; thereby providing an efficient use of photons, together with the simplifications which derive from using a single DMDTM chip in each projector.

[Parkinson's disease in literature, cinema and television].

Science.gov (United States)

Collado-Vázquez, Susana; Cano-de-la-Cuerda, Roberto; Carrillo, Jesús M

2014-02-01

INTRODUCTION. Since James Parkinson published what can be considered the first treaty on the disease that bears his name in 1817, the scientific literature on this pathology has not ceased to grow. But the illness has also been represented in literature, the cinema and on television, where the symptoms, treatment and socio-familial context of the disease have often been examined very closely. AIM. To address the cases in which Parkinson's disease appears in literature, cinema and television, as well as to reflect on the image of the condition presented in those contexts. DEVELOPMENT. We reviewed some of the most important works in the literature dealing with Parkinson's disease from any period of history and many of them were found to offer very faithful portrayals of the disease. Likewise, we also reviewed major films and TV series that sometimes offer the general public a close look at the vision and the impact of the disease on patients or their relatives. CONCLUSIONS. Literature, cinema and television have helped provide a realistic view of both Parkinson's disease and the related healthcare professionals, and there are many examples that portray the actual experiences of the patients themselves, while also highlighting the importance of healthcare and socio-familial care.

[Multiple sclerosis in literature, cinema and television].

Science.gov (United States)

Collado-Vazquez, S; Carrillo, J M; Cano-de-la-Cuerda, R

2016-12-16

Today, the care of patients with multiple sclerosis and those around them represents a clinical and therapeutic challenge for healthcare professionals. The aim of this study is to analyse the appearance of multiple sclerosis in literature, cinema and television, and to reflect upon the image it has in these media. Several representative works that have addressed multiple sclerosis were reviewed, and many of them were seen to offer a very true-to-life vision of the disease. Likewise, a review was also conducted of the most relevant films and TV series that, on occasions, offer the general public a close look at the impact of the disease on patients or relatives, although they are sometimes somewhat exaggerated for the sake of increased dramatic effect and offer a slightly distorted view of reality. Literature largely reflects the real epidemiology, the symptoms and development of the disease, while less attention seems to be given to the diagnostic and therapeutic options open to patients. Cinema and television have offered a correct image but sometimes with the addition of more dramatic effects. It is important for literature, cinema and television to offer a realistic view of this neurological disease so as to make it better known among the public and to help lessen the stigma attached to it.

A Terra em Transe: o cosmopolitismo às avessas do cinema novo

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Angela Prysthon

2008-11-01

Full Text Available Usando como referencial teórico os estudos culturais, este artigo analisa o cinema novo brasileiro como parte de uma estratégia terceiro mundista de conceber a cultura. A partir da emergência do conceito de terceiro mundo e das lutas de descolonização nos anos 1950 e 1960, a ideologia cosmopolita foi sendo vista pelos intelectuais de esquerda como a versão cultural da aliança com as forças hegemônicas da Europa e dos Estados Unidos. O projeto do cinema novo chama a atenção por suas afinidades ideológicas com o terceiro mundismo, mas, paradoxalmente, trazendo à tona uma polí­tica cosmopolita da periferia. Palavras-chave cinema novo, identidade, cultura brasileira, terceiro mundismo, estudos culturais. Abstract Using the cultural studies theoretical framework, this paper analyzes the cinema novo movement in Brazil as a part of the Third World conception of culture. Following the creation of the term "Third World" and the international politics of colonial independence of the 1950s and 1960s, a cosmopolitan attitude was seen by the intellectuals of the left as a cultural version of the alliance with the hegemonic forces of Europe and North America. Even though the cinema novo project can be associated with the ideology of an united Third World ,it brings about, paradoxically, a very cosmopolitan politics of the periphery. Key words cinema novo, identity, Brazilian culture, third world, cultural studies.

[Epilepsy in literature, cinema and television].

Science.gov (United States)

Collado-Vázquez, Susana; Carrillo, Jesús María

2012-10-01

Literature, cinema and television have often portrayed stereotypical images of people that have epilepsy and have helped foster false beliefs about the disease. To examine the image of epilepsy presented by literature, cinema and television over the years. Epilepsy has frequently been portrayed in literary works, films and television series, often relating it with madness, delinquency, violent behaviours or possession by the divine or the diabolical, all of which has helped perpetuate our ancestral beliefs. The literary tales and the images that appear in films and on television cause an important emotional impact and, bearing in mind that many people will only ever see an epileptic seizure in a film or in a TV series or might gain some information about the disorder from a literary text, what they see on the screen or read in the novels will be their only points of reference. Such experiences will therefore mark the awareness and knowledge they will have about epilepsy and their attitudes towards the people who suffer from it. Novels and films are fiction, but it is important to show realistic images of the disease that are no longer linked to the false beliefs of the past and which help the general public to have a more correct view of epilepsy that is free from prejudices and stereotypes. Literature, cinema and television have often dealt with the subject of epilepsy, sometimes realistically, but in many cases they have only helped to perpetuate false beliefs about this disease.

O que o cinema aprendeu com Edgar Allan Poe: (e o que a literatura ainda aprende com o cinema

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Gerbase, Carlos

2009-01-01

Full Text Available Edgar Allan Poe é um dos autores mais adaptados pelo cinema em todos os tempos. Há quase 200 filmes baseados ou inspirados em obras de Poe. Este ensaio analisa os motivos da fascinação que Poe exerce sobre o mundo do cinema, a partir de um ensaio do realizador e teórico Jean Epstein, publicado em 1921, e de reflexões mais recentes de Umberto Eco sobre traduções e adaptações. As semelhanças e diferenças entre as linguagens literária e cinematográfica também são abordadas, na perspectiva pragmática do processo de realização

North and South: two early texts about cinema-going by Louis Couperus

NARCIS (Netherlands)

Blom, I.L.

2008-01-01

This paper reprints and puts into historical context two contrasting reports of cinema-going by the Dutch writer, dandy and Italophile, Louis Couperus. While Couperus in 1911 wrote in denigrating terms about visiting an Italian cinema, five years later he praised Italian film shows in comparison

La tradizione del nuovo nel cinema di Ugo Nespolo

OpenAIRE

Bertetto, Paolo

2018-01-01

On the background of Nespolo’s cinema there are on the one hand the new rules and the new structures assigned by art to itself during the Twentieth Century. On the other hand the “logic of dada”, based on the immediacy of the creation through a gesture of everyday objects presentation. Therefore, by exploring the experimental use of camera and of its technical possibilities, what Nespolo does is avant-gardist cinema in two senses: as an elaboration of visual image that represents surrealistic...

The History of World Cinema.

Science.gov (United States)

Robinson, David

This survey of the history of world cinema begins with the "Pre-history" of film making and covers developments, by major periods, through 1972. The film making of all major countries, except Australia, receives attention, and the appendixes contain a note on animated films, a selected filmographies list, and a bibliography. Aspects of…

Mograph Cinema 4d untuk Menunjang Efek Visual Video Klip

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Ardiyan Ardiyan

2010-10-01

Full Text Available This research is to talk about the advantages of MoGraph as one reliability feature in 3D modeling application, 4D Cinema as the implemented example in Cinta Laura video clip. The advantage in MoGraph is the ability to create multiple object moving effect accordingly and (or randomly easily and efficiently, also supported by the render quality of Cinema 4D that clean and relatively fast. The advantage made MoGraph Cinema 4D is suitable to use to enrich the visual effect a motion graphic work. The quality is hoped to support MoGraph usage as more creative. Regarding today’s visual variation is effected by the digital technology development, therefore the implementation of MoGraph Conema 4D is hoped to be optimally supporting creativity in making video clip in motion graphic art content. 

THE SOUND OF CINEMA: TECHNOLOGY AND CREATIVITY

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Poznin Vitaly F.

2017-12-01

Full Text Available Technology is a means of creating any product. However, in the onscreen art, it is one of the elements creating the art space of film. Considering the main stages of the development of cinematography, this article explores the influence of technology of sound recording on the creating a special artistic and physical space of film (the beginning of the use a sound in movies; the mastering the artistic means of an audiovisual work; the expansion of the spatial characteristics for the screen sound; and the sound in a modern cinema. Today, thanks to new technologies, the sound in a cinema forms a specific quasirealistic landscape, greatly enhancing the impact on the viewer of the virtual screen images.

Cinema in the Transmedia Horizon: Between Franchise and Narration Device

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Giancarlo Cappello

2016-04-01

Full Text Available The text proposes some precisions around the so-called transmedia cinema in the frame of multiplatform narratives. For this reason, the creative role of audiences and their repercussion in the development of stories, as well as the logic behind the principles of multiplicity and expansion, are especially disaggregated. Finally, in the light of recent productions, the author describes some practices and uses of technology that would bring cinema to a transmedia experience.

An empirical study to detect effective factors to increase number of moviegoers

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Yasaman Giyahi

2012-08-01

Full Text Available In this paper, we present an empirical study to detect important factors, which could increase the number of moviegoers. The study distributes a questionnaire among different people at four age groups including 35.2% (men, and 64.8% (women, most of them are single (between 21 to 30 years living at 3- to 4-member families, holding BA degree with 4 to 7 million Rials monthly salary. Inferential statistics tests, including Kolmogorov–Smirnov, binominal or ratio, Chi Square and Friedman, show that type of story, genre and artists, casts are considered as the most important factors in selection of film while quality of sound, seat comfort, ventilation of cinema hall are regarded as the most important factors in selection of cinema. In addition, cinema is not predominant pastime or hobby of individuals during holidays and existence of more attractive pastimes than cinema is the most important factor, which hinders individuals from going to cinema. Individuals go to cinema fewer than three times a year, primarily during the afternoon of holidays at the weekend. TV teasers and word of mouth advertisements are the most significant publicity tools for those individuals who intend to go to cinema halls. These two factors, i.e. TV teasers and word of mouth advertisements, are the most significant sources of studying individuals for the selection of film. Individuals almost select their favorite movies before going to cinema and if ticket is finished at the box office of cinema, they suspend watching film in another time and finally, they re-plan watching film. It should be noted that satisfaction of individuals from cinema is much more effective than their satisfaction from film.

East Asian Cinema (College Course File).

Science.gov (United States)

Ehrlich, Linda; Ma, Ning

1990-01-01

Provides guidelines for instructors who teach entire courses on (or who include) films from Japan and China. Considers issues of concern in contemporary Asian cinema such as conflicts between tradition and modernity, indigenous definitions of cultural identity and artistic form, and internationalization. (KEH)

The Representation of Female Characters by Women Directors in Surveillance Spaces in Turkish Cinema

OpenAIRE

Berceste Gülçin Özdemir

2017-01-01

The representation of women characters in cinema has been discussed for centuries. In cinema where dominant narrative codes prevail and scopophilic views exist over women characters, passive stereotypes of women are observed in the representation of women characters. In films shot from a woman’s point of view in Turkish Cinema and even in the films outside the main stream in which the stories of women characters are told, the fact that women characters are discussed on the basis of feminist f...

Wide-Screen Television and Home Movies: Towards an Archaeology of Television and Cinema Convergence Before Digitalisation

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Tom James Longley Steward

2014-12-01

Full Text Available In this article, Tom Steward uses past interrelations of television and cinema spectatorship, exhibition, production and aesthetics to historicize phenomenological digital-era discourses on, ontological definitions of, and cultural arguments about television and cinema convergence. He argues that television and cinema assisted in defining each other as late 20th Century media and cultural forms, have a multi-directional industrial and artistic flow, and are often interdependent in reception and distribution. Television and cinema convergence demonstrates the need for historical breadth in media convergence theory and an understanding of medium-specificity that incorporates interactions with other media.

CINEMA (Cubesat for Ion, Neutral, Electron, MAgnetic fields)

Science.gov (United States)

Lin, R. P.; Parks, G. K.; Halekas, J. S.; Larson, D. E.; Eastwood, J. P.; Wang, L.; Sample, J. G.; Horbury, T. S.; Roelof, E. C.; Lee, D.; Seon, J.; Hines, J.; Vo, H.; Tindall, C.; Ho, J.; Lee, J.; Kim, K.

2009-12-01

The NSF-funded CINEMA mission will provide cutting-edge magnetospheric science and critical space weather measurements, including high sensitivity mapping and high cadence movies of ring current, >4 keV Energetic Neutral Atom (ENA), as well as in situ measurements of suprathermal electrons (>~2 keV) and ions (>~ 4 keV) in the auroral and ring current precipitation regions, all with ~1 keV FWHM resolution and uniform response up to ~100 keV. A Suprathermal Electron, Ion, Neutral (STEIN) instrument adds an electrostatic deflection system to the STEREO STE (SupraThermal Electron) 4-pixel silicon semiconductor sensor to separate ions from electrons and from ENAs up to ~20 keV. In addition, inboard and outboard (on an extendable 1m boom) magnetoresistive sensor magnetometers will provide high cadence 3-axis magnetic field measurements. A new attitude control system (ACS) uses torque coils, a solar aspect sensor and the magnetometers to de-tumble the 3u CINEMA spacecraft, then spin it up to ~1 rpm with the spin axis perpendicular to the ecliptic, so STEIN can sweep across most of the sky every minute. Ideally, CINEMA will be placed into a high inclination low earth orbit that crosses the auroral zone and cusp. An S-band transmitter will be used to provide > ~8 kbps orbit-average data downlink to the ~11m diameter antenna of the Berkeley Ground Station. Two more identical CINEMA spacecraft will be built by Kyung Hee University (KHU) in Korea under their World Class University (WCU) program, to provide stereo ENA imaging and multi-point in situ measurements. Furthermore, CINEMA’s development of miniature particle and magnetic field sensors, and cubesat-size spinning spacecraft will be important for future nanosatellite space missions.

DEPRIVATION, CLASS AND IDENTITY ISSUE IN CONTEMPORARY TURKISH CINEMA

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Neşe Kaplan

2016-01-01

Full Text Available New economy–politics and globalization have not only been changing the structure of class but the representation of identities as well. New social roles are reproduced and also criticized by the means of cultural production in which media and cinema instruments included. In past, the class structure and attachment to identities were effected by modernization process; in a similar way; in the current state of modernization, the new cultural sphere shaped by global communication networks and global consumption attitudes have been alternating the class structure and attachment to identity. With this context, this study analyzed some contemporary social realistic films (Zerre, Araf, Köksüz, Yozgat Blues to understand how the position of individual changes within its role with herself and its relation to social institutions through a critical approach towards the dimensions of culture and economy-politics of the change. The aim is to start a discussion over cinema, about the effect of cultural change on class and representation of identity. The theoretic frame enlightening the change of the relation of the individual with her work, family, and society was built with the help of critical works. The economy-politics result of the globalization phenomenon has isolated the individual and detached her from its position, subject of politics. The structure of class has changed, the attachment to identity has weakened. The desperation of individual belonging to nothing, is a subject of cinema as well. The isolation and the deprivation of the new individual emerges as the very “violence” itself in the fantastic world of cinema.

Cinema and Prosthetic Memory: The Case of the Korean War

OpenAIRE

Keene, Judith

2010-01-01

This paper assesses the explanatory possibilities of the concept of prosthetic memory, with cinema as the enabler of popular understanding, when applied to the Korean War. The essay examines why it was that the conflict in Korea for many decades occupied a memory void and whether the explanations that have been offered for other similar “forgotten “wars are useful in relation to Korea. The analysis sugggests that cinema may be important in the formation of popular understanding but that th...

Cinema as Relief and Final Goal

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Ricardo ALDARONDO

2017-09-01

Full Text Available In the history of cinema many films, from fiction to documentaries, have reflected how death and disease affect human beings. A few of them, however, have established a total and truthful relationship, almost symbiotic, between a terminal patient and the recorded image. Lightning Over Water (1979 by Nicholas Ray and Wim Wenders, and Las alas de la vida (2006, by Antonio Pérez Canet have explored the role of the camera not only as an element of communication for the patient to transmit his or her sensations in the final stretch of life, but also as a kind of palliative care for the patient. But the presence of the camera, the filming of the dying moments to convert them into a film can also lead to some intimate reflections and moral dilemmas around the terrain that falls somewhere between the documentary as a source of knowledge and the spectacle that cinema always entails, although in a slight and tangential way.

Teaching the Five Cs with Cinema

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Rimma Garn

2012-08-01

Full Text Available This paper discusses teaching the five Cs (as noted in the following introduction, delineated in the “National Standards for Foreign Language Learning in the 21st Century,” through a college content course based on cinema. It provides an overview of a 2009 Berkeley workshop, “Teaching Language and Culture with Film,” that addressed larger issues related to such courses within the curriculum, their design and teaching. The paper goes on to describe three Russian courses based on the same textbook, KinoTalk, yet designed for different student audiences: for traditional third year students and for various kinds of non-traditional students, for heritage speakers, and for former missionaries with two-years experience in the target country but minimal formal training in the language. In conclusion, the paper suggests ideas for further courses taught using the same textbook and for teaching the five Cs through language and cinema in general.

"The Advance Guard of a New Motion Picture Art": Experimental Cinema, 1930-1933.

Science.gov (United States)

Brandon, Thomas

1978-01-01

Ninety-eight articles from the five issues of "Experimental Cinema" are annotated. The magazine appeared from 1930 to 1933 and is credited with stimulating the emergence of world cinema culture in the United States, while demonstrating perceptions of working class interests and even revolutionary projections. (JMF)

Video - Personal Competence Manager (Digital Cinema pilot)

NARCIS (Netherlands)

Santos, Patricia

2008-01-01

Video demonstrating the PCM (version year 2007) in the context of the Digital Cinema pilot. Elaborated for a eLearning Seminar within the International Master on Communication and Education (Autonomous University of Barcelona, academic year 2008)

Turismo Induzido por Filmes: A Imagem do Nordeste Propagada pelo Cinema Brasileiro no Ponto de Vista do Estudante de Cinema no Ceará

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Francisco Samuel Pereira Neto

2013-12-01

Full Text Available Esta pesquisa trata do fenômeno Turismo Induzido por Filmes como uma estratégia de marketing para lugares, abordando conceitos das três áreas alicerce, sendo elas o Marketing, o Turismo e o Cinema, para o estudo, explanação e formação das ideias. Traz o desenvolvimento do fenômeno no mundo, sua história, primeiras constatações de sua existência e valor como formador e fixador da imagem de um lugar na mente do público, além de enfatizar os benefícios na aplicação de tal estratégia para o crescimento local. Em seguida, o referencial teórico aborda a condição do cinema e a aplicação da estratégia no Brasil, e então trata da imagem do Nordeste, abordando, a princípio, como fora formada a ideia de nordeste que se tem mais fortemente fixada no imaginário das pessoas hoje, e como as artes, e mais tarde, o cinema, contribuiu e ainda contribui para isso. Finalmente, a pesquisa trata, por meio da aplicação de questionários, da visão dos estudantes de Cinema no Ceará, representados pela Universidade Federal do Ceará (UFC e Universidade de Fortaleza (UNIFOR, sobre as produções cinematográficas nacionais que retratam o Nordeste e a imagem que propagam da região.DOI: 10.5585/podium.v2i2.42

Dialetical Images in the cinema

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Angélica Antonechen Colombo

2013-04-01

Full Text Available This paper aims to discuss cinema as a Work of Art, its main elements, as the image technique, montage and its role as an essential factor of the aesthetic, perceptive and cognitive variation, from the advent and analyzing the Eisenstein’s intellectual montage, based on Walter Benjamin, Vilém Flusser and Christian Metz ’s theory.

Horror, humor e sexo no cinema de bordas

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Bernardette Lyra

2008-04-01

Full Text Available Por suas características, modos, técnicas e procedimentos, certos filmes de ficção se enquadram naquilo que chamo de cinema de bordas. O cinema de bordas se faz sobre fragmentos reciclados de gêneros, subgêneros e espécies, sem que, no entanto, nenhum dentre os modelos usados se apresente determinante. Tal reciclagem genérica tem por conseqüência a ausência da novidade e da originalidade, em favor da continuidade e da repetição daquilo já anteriormente conhecido. Nesse sentido, o cinema de bordas comumente recorre a formas que materializam a ação e o sentimento, utilizados tanto por alguns gêneros cinematográficos como pela literatura popular ou literatura de massa. Este trabalho enfoca, em especial, a produção com as formas do horror, do humor e do sexo, quase sempre excluídas do discurso das instituições que consagram uma centralidade canônica. O resultado específico é uma mistura que se alimenta das bordas compostas por diferentes instâncias culturais que vai do estrato mais erudito ao mais popular e vice-versa.

Contesting a National Cinema in Becoming: The Cinemalaya Philippine Independent Film Festival (2005-2014

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Emerald O. Flaviano

2017-12-01

Full Text Available Since its birth in 2005, the Cinemalaya Philippine Independent Film Festival has proven itself a major force in the Philippine f ilm industry. Established with the twin goals of “[encouraging] the creation of new cinematic works by Filipino filmmakers—works that boldly articulate and freely interpret the Filipino experience with fresh insight and artistic integrity” and “[invigorating] Philippine filmmaking by developing a new breed of Filipino filmmakers,” Cinemalaya has been instrumental in the recent rise of what Tiongson (“The Rise of the Philippine New Wave Indie Film” has called the “New Wave Indie” films. This recent wave of independent cinema, in turn, is taken to be the next significant moment in the history of Philippine national cinema. By considering the film festival—a spatiotemporally demarcated event and a unique discoursegenerating institution—as point of entry, this article discusses the contested process of constructing a coherent narrative of becoming of a national cinema. This process is found, more than ever, to surface resistance to any singular notion of “national cinema,” not least because of the inescapably transnational nature of all film production and consumption. It is within this context that any discussion about “saving” a Philippine national cinema is framed, particularly as to how international recognition has legitimized local independent cinema and influenced local spectatorship practices. Cinemalaya has helped revive a failing industry by giving shape to a new film movement, essentially def ined by contestation, as the f ilm festival’s experience in moderating the controversies it has found itself embroiled in has proven. More than anything, these contestations have brought to the fore previously unchallenged assumptions about what cinema a national public deserves to see.

Families in Bollywood cinema: changes and context.

Science.gov (United States)

Deakin, Nicholas; Bhugra, Dinesh

2012-04-01

With increasing and rapid urbanization and population changes in India, a growing number of people are migrating from rural areas to urban areas, which brings about major changes in support systems. As a result, the portrayal of families has also changed in Hindi cinema over the last 50 years. Recent family melodramas have focused on an idealized version of joint and extended families. In this paper we use some key Hindi films of the 1960s and of the last two decades to compare how films have changed and how, in view of changing audiences, they have created a version of the family which is far from real. Clinicians need to be aware of these changes while dealing with patients and their families (the latter may have unrealistic expectations of their own family members).

Kilts, tanks, and aeroplanes: Scotland, cinema, and the First World War

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David Archibald

2015-12-01

Full Text Available This article charts commercial cinema’s role in promoting the war effort in Scotland during the First World War, outlining three aspects of the relationship between cinema and the war as observed in Scottish non-fiction short films produced between 1914 and 1918. The existing practice of local topical filmmaking, made or commissioned by cinema managers, created a particular form of engagement between cinema and war that was substantially different from the national newsreels or official films. The article offers an analysis of surviving short ‘topicals’ produced and exhibited in Scotland, which combine images of local military marches with kilted soldiers and enthusiastic onlookers and were designed to lure the assembled crowds back into the cinema to see themselves onscreen. Synthesising textual analysis with a historical account of the films’ production context, the article examines the films’ reliance on the romanticised militarism of the Highland soldier and the novelty appeal of mobilisation and armament, sidelining the growing industrial unrest and anti-war activities that led to the birth of the term ‘Red Clydeside’. The article then explores how, following the British state’s embracing of film propaganda post-1916, local cinema companies such as Green’s Film Service produced films in direct support of the war effort, for example Patriotic Porkers (1918, for the Ministry of Food. Through their production and exhibition practice exhibitors mediated the international conflict to present it to local audiences as an appealing spectacle, but also mobilised cinema’s position in Scottish communities to advance ideological and practical aspects of the war effort, including recruitment, refugee support, and fundraising.

O Cinema sem Imagens

Directory of Open Access Journals (Sweden)

Paulo Andrade

2001-12-01

Full Text Available A obra cinematográfica de Marguerite Duras, praticamente desconhecida pelo grande público, estabeleça intricadas relações com sua obra literária, ao promover a indiscernibilidade entre os dois campo, sem, contudo, instituir qualquer tipo de subordinação de um ao outro. O processo de criação do filme Lê camion, de 1977, aponta para outras possibilidades de se pensar o cinema e a literatura.

Cinema e novas tecnologias

Directory of Open Access Journals (Sweden)

Selonk, Aletéia Patrícia de Almeida

2003-01-01

Full Text Available Tomando como ponto de partida o Mito do Narciso, onde um homem fica fascinado pela sua imagem refletida e a teoria de Marshall McLuhann (1964, de que os individuos são facilmente seduzidos por qualquer extensão de si mesmos, em qualquer material que não seja o seu próprio corpo, o cinema é um dos artefatos tecnológicos mais importantes do século XX

Reel Socialism: Making sense of history in Czech and German cinema since 1989

DEFF Research Database (Denmark)

Bechmann Pedersen, Sune

has been a vehicle of similar sense-making processes in the two history cultures. Much of the research on cinema in Germany has treated the subject in isolation, blind to the commonalities it shares with other post-communist countries, while Czech post-communist history culture and cinema has been...

O negro no cinema brasileiro: O período silencioso

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Noel dos Santos Carvalho

2003-01-01

Full Text Available Este artigo trata da participação do negro no cinema brasileiro no período de 1898 até os anos 1920. Seu objetivo é: 1 contextualizar o cinema no Brasil em relação à problemática vivida pela população negra no período pós-abolicionista; 2 descrever, ainda que sucintamente, os filmes que trazem representações sobre o negro brasileiro, 3 discutir as representações do negro em cinco filmes.

Cinema as a tool of political communicationin the Post-Soviet Space

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O. E. Grishin

2016-01-01

Full Text Available The article investigates the use of cinema as an instrument of political communication on the post-So- viet space. The authors analyze its qual- itative state, given the prospects and trends of modern cinema, as an aggre- gate for the manipulation of conscious- ness technologies. The article presents a comparative analysis of partial Holly- wood and Russian films in terms of its impact on the political consciousness of citizens. Particularly acute, this prob- lem concerns young people who acquire “political maturity”, becoming voters. It was concluded that not all the tradition- al means of political communication lose their strength and ability to use. At this stage of development of the state there is a need to find new ways of commu- nication between the state and society. One of them is still cinema.

Women Directors in ‘Global’ Art Cinema: Negotiating Feminism and Representation

OpenAIRE

Mantzari , Despoina

2014-01-01

The thesis explores the cultural field of global art cinema as a potential space for the inscription of female authorship and feminist issues. Despite their active involvement in filmmaking, traditionally women directors have not been centralised in scholarship on art cinema. Filmmakers such as Germaine Dulac, Agnès Varda and Sally Potter, for instance, have produced significant cinematic oeuvres but due to the field's continuing phallocentricity, they have not enjoyed the crit...

Looming Over the Nation, Uneasy with the Folks: Locating Mike de Leon in Philippine Cinema

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Patrick F. Campos

2006-12-01

Full Text Available The article draws on filmic, popular, and scholarly references in order to trace how Mike de Leon and his films have been regarded, since his landmark entrance into Philippine cinema as director, up to the present. Specifically, it locates De Leon within the subtly shifting discourse of nationalist film scholarship and historicizing, and discusses how he and his films are written about, identified, associated or networked with other filmmakers and films, or utilized in discourses about the Philippines, Philippine cinema, or Philippine culture.The article locates De Leon as (1 an insider of Philippine cinema history, (2 an outsider of the commercial film industry, and (3 a hero of the mythic Golden Age of the National Cinema. It also maps out his filmography within the nationalist agenda; appraises what filmmakers, commentators, and scholars have articulated about his films; and analyzes the thematic and stylistic trajectories of his later works. Finally, it discusses how De Leon is being written into today’s discourse of Philippine cinema.

Liberamente tratto da... Storie, codici, tragitti, mediazioni tra letteratura e cinema Loosely adapted from… Stories, codes, travels, mediations between literature and cinema

Directory of Open Access Journals (Sweden)

Donata Meneghelli

2012-12-01

Full Text Available

Il saggio, a partire da una ricognizione della più recente letteratura critica sull’argomento, vuole proporre una riflessione critica sull’adattamento, sui confini che delimitano tale pratica e, in particolare, sulle questioni specifiche messe in gioco dall’adattamento cinematografico dei testi letterari, all’interno del più vasto campo dei rapporti tra letteratura e cinema. Tali questioni investono in primo luogo l’adattamento dei testi del canone, i ‘grandi’ testi della tradizione occidentale: è soprattutto in questo contesto che viene chiamata in causa la nozione di fedeltà. ‘Fedeltà’ è un termine apparentemente neutrale, che in realtà nasconde sempre un’implicita gerarchia e un atteggiamento difensivo nei confronti di una supposta superiorità assiologica della letteratura come forma ‘alta’, dotata di una dignità, di un’indipendenza creativa che mancherebbero al cinema in quanto arte popolare e di massa.

Starting from a survey of the most recent studies on the topic, the essay proposes a critical reflection on adaptation and the (possible borders of this cultural practice. It particularly focuses on the issues raised by cinematic adaptation of literary texts, a phenomenon which needs to be contextualized in the larger field of relationships between literature and cinema. Such issues, however, do not emerge in the same way for any text: they are especially urgent when we tackle the cinematic adaptation of

Reconciliation Modes. Two Remakes of 60s Films in Contemporary Argentine Cinema

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Jorge SALA

2017-06-01

Full Text Available The article analyzes two contemporary movie remakes of the 60s cinemas in Argentina: Aniceto (Leonardo Favio, 2008 and La patota (Santiago Mitre, 2015. The objective is to explore the transformations and continuities between the source texts and the later subsidiary texts. It tries to recognize the immanent issues, the procedural and pragmatic aspects involved in these rewriting operations. The central hypothesis to be demonstrated proposes that both films generate, through different paths, a reconciliation with the past constructing a perspective through the present. In Aniceto, the conciliation gesture occurs in the form of a synthesis of the two tendencies that characterized Favio’s cinema: a first one associated with the aesthetics of modernity versus the second one, in which the approach to the popular universe and other practices belonging to the mass culture predominates. For its part, the work of Santiago Mitre assembles a film of an Argentinean classic movie maker (Daniel Tinayre under the light of the current cinema. Besides, La patota ties the characteristics of a great commercial production with the structure and aesthetic of the «anomalous cinema».

Cinema in Jamaica - Legacy of The Harder They Come

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Sabrina Ceccato

2015-11-01

Full Text Available Mainstream cinema representing Jamaica and Jamaicans has always made use of clichés and stereotypes. The emergence of a local Jamaican cinema—beginning in 1972 with Perry Henzell’s movie—immediately started to give a new image of the country and its inhabitants. From The Harder They Come up to most recent movies, Jamaican cinema has used consistent style, techniques, and themes to give a new vision of the country. Jamaican movies may have low production value, but they provide a more authentic representation of Jamaica’s culture. Viewing Jamaican movies gives the audience a sense of a small but growing cinematic tradition.

Feeling Absence: Horror in Cinema from Post War to Post-Wall

OpenAIRE

Wynter, Kevin Anthony

2014-01-01

Since the early 1990s the twin leitmotifs of the European art house, and French cinema in particular, have been images of intense graphic violence and explicit sexuality. Scholars and critics generally refer to this phenomenon as a tendency toward "New Extremism" in cinema. In this dissertation, I demonstrate that the violence and sexuality in these films is neither "new" nor "extreme," but extends and expands upon the themes and elements of the modern American horror film. Historical context...

Ontology of Time in Cinema A Deleuzian reading of Still Life and Prince Ehtejab With an emphasis on the concept of Time-Image

OpenAIRE

Ali Fath Taheri; Faezeh Jafariyan

2017-01-01

Gilles Deleuze, the notable post-modern philosopher, in his two-volume cinematic books Cinema 1: movement-image (1986) and Cinema 2: time-image (1989) recognizes two major periods in history of cinema (classic and modern) in terms of representing movement and time respectively. Referring to various films of modern cinema especially post-war European cinema like Italian neorealism, Cinema2 speaks about the possibility of direct presentation of time in cinematic works. Explaining Deleuze’s theo...

[Locked-in syndrome in literature, cinema and television].

Science.gov (United States)

Collado-Vázquez, Susana; Carrillo, Jesús M

2012-05-01

Many diseases have been dealt with in literature, cinema or television, including epilepsy, cancer, mental disorders, movement disorders or infectious diseases. Among the many pathologies that have been considered, locked-in syndrome is one that has been of particular interest to writers and film-makers. To review how locked-in syndrome has been portrayed in literature, cinema and television. Locked-in syndrome is a state that is generally secondary to a brainstem lesion with involvement of the corticobulbar and corticospinal tracts, thereby impeding the patient from producing any kind of motor response. Patients remain conscious, maintain their higher functions and can both see and hear. Yet, they are quadriplegic with paralysis of the lower cranial nerves and cannot move or speak. They only conserve the capacity to move their eyes vertically and their eyelids, which they can use as a way to communicate. This pathology has come to the attention of writers and film and television directors, who have described characters with this syndrome. Likewise, there are also stories told in the first person by patients who have experienced this condition and who have written their story using eye movements as a means to communicate. Literature, cinema and television have shown an interest in locked-in syndrome and have placed special attention on the problems these patients have to communicate with others.

Psychopathy and the cinema: fact or fiction?

Science.gov (United States)

Leistedt, Samuel J; Linkowski, Paul

2014-01-01

The authors investigated the relationship between cinema and psychopathy to describe and analyze the portrayal of fictional psychopathic characters in popular films and over cinematic history. From 400 films (1915-2010), 126 fictional psychopathic characters (21 female and 105 male) were selected based on the realism and clinical accuracy of their profiles. Movies were then analyzed by senior forensic psychiatrists and cinema critics. Secondary (71%) and manipulative (48%) subtypes were the most common in the female group, while secondary (51%) and prototypical (34%) were the most common in the male group. Corresponding to the increased understanding of clinical psychopathy by professional mental health providers over time, the clinical description of and epidemiological data on fictional psychopaths in popular films have become more realistic. Realistic fictional psychopaths remain in the minority but are very important for didactic purposes in Academic facilities, as "teaching Movies." © 2013 American Academy of Forensic Sciences.

The butler(s) DID it - dissociative identity disorder in cinema.

Science.gov (United States)

Byrne, P

2001-06-01

Beginning with classic Hollywood melodramas of the 1940s, cinema has maintained a prolific output of films with their own take on mental illnesses-none more so than the rare syndrome of dissociative identity disorder (DID). DID films are a popular and enduring genre, whose influence can be seen throughout mainstream cinema. Exploration of DID in cinema is a useful exercise in that it touches on issues in film studies, psychiatry and the mythology around mental illness. Despite "detective story" narratives and conformity to the codes of the psychological thriller, DID representations correspond closely to contemporary thinking about its phenomenology and aetiology. That said, some films confuse DID with schizophrenia, and many reinforce two other misconceptions within film psychiatry: mental illness as violence and the belief that every mentally ill person harbours one "great dark secret". Those sceptical about DID have suggested that popular written accounts increase its profile: so too, powerful cinematic images may suggest the possibility of DID to susceptible people, including clinicians. Recent DID films reflect the real debate within psychiatry about the diagnostic validity and scientific basis of DID.

Can Cinema Be Thought: Alain Badiou and the Artistic Condition

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Alex Ling

2006-10-01

Full Text Available Alain Badioursquo;s philosophy is generally understood to be a fundamentally mathematical enterprise, his principle categories of being, appearing, and truth being themselves thought only though specific scientific events. However the event itselfmdash;which constitutes the nexal point of his so-called lsquo;materialist dialecticrsquo;mdash;is contrarily thought not through mathematics but through art. And yet despite the fundamental role art plays in his philosophy Badioursquo;s lsquo;inaestheticrsquo; writings seem unduly proscriptive, allowing room principally for the expressly lsquo;literalrsquo; arts while eschewing for the most part those manifold arts which have little recourse to the letter. Badioursquo;s polemical writings on cinema are both symptomatic and serve as the most extreme example of this position, his cinema being one which wavers precariously on the border of art and non-art. This paper accordingly questions whether cinema can truly occupy a place in Badioursquo;s inaesthetics. I argue the hegemony of the letter in Badioursquo;s inaesthetics to be ultimately one of convenience and suggest that if cinematic truths are to be registered Badioursquo;s understanding of cinema as (what I interpret to be an art of dis-appearance must be rejected. I conclude by contending the oppressive literality of Badioursquo;s philosophy to be symptomatic of its mathematical basismdash;a paradoxical position insofar as the very non-mathematical nature of art allows for evental thoughtmdash;the consequence of which being that Badiou regrettably neglects by and large those manifold illiterate arts that might otherwise serve to augment his thought.br /

The human chameleon: Hybrid Jews in cinema

NARCIS (Netherlands)

Vudka, A.

2016-01-01

This research explores the seditious potential of hybrid Jewish figures in cinema, based on certain thinkers of post WWII French philosophy, feminist and postcolonial theories, and traditional Jewish texts, which in different ways point to a reevaluation of the "chameleon Jew" in positive terms.

THE ROLE OF THE SOVIET PROPAGANDA FILM AND AN OVERVIEW OF CINEMAS IN THE STALIN'S ERA

OpenAIRE

Apele, Diana

2016-01-01

Scientists have discovered that architecture is a reflection of social, political, economic and many other processes occurring in the country, and it changes along with the society, reflecting its social structure within the space and time. In the research the role of cinema in Soviet propaganda is described, the architecture of Stalin era, cinema buildings in Latvia is reviewed and analysed and a film repertory during the existence of the cinema „Zvaigzne” in Rezekne is evaluated. The method...

Women in the Cinema of Nuri Bilge Ceylan

Directory of Open Access Journals (Sweden)

Funda Masdar Kara

2018-04-01

Full Text Available This study in general examines the representation of women in Turkish cinema with a retrospective evaluation and tries to understand the present condition, specifically it examines the ways in which women were treated in the films of Nuri Bilge Ceylan, one of the most important directors of Turkish cinema in the recent period. The study focuses on  Climate, Three Monkeys, Once Upon A Time in Anatolia and Winter Sleep named movies of Ceylan, and these movies were analysed with the qualitative content analysis method. According to the findings of the study, in his films Ceylan generally picks men as the main characters. In his own words, he finds men's world more complicated and fragmented and women are the secondary characters who are suppressed under patriarchal structure and male domination.

Study of cysticercosis in the fourth ventricle by CSF cinema MRI

International Nuclear Information System (INIS)

Wang Lianqing; Liu Lianxiang; Wu Jie; Wu Jing; Zhang Renshu; Wu Yujin

1997-01-01

Purpose: To evaluate the diagnostic value of cysticercosis in the fourth ventricle by CSF cinema MRI. Materials and methods: Nine patients with intraventricular cysticercosis in the fourth ventricle were studied. The diagnosis was confirmed by surgery in all cases. All of these patients were examined systematically before the operation and studied with CSF cinema MRI in mid sagittal section and finger-gated scan technique. Results: (1) The path of CSF flow was directly displayed. All cysticercosis presented as a filling defect, and a cyst with a smooth wall. (2) The ventricular compliance was normal in cysticercosis. (3) The cysticercosis in active stage was free in the fourth ventricle and could be rolled over, its shape might change slightly within a cardiac cycle. In the degenerative stage, its wall could adhere to the ependyma and obstruct the CSF flow. Conclusion: CSF cinema MRI can demonstrate the degree of obstruction and pattern of CSF flow in cysticercosis of the fourth ventricle, thereby providing useful information for proper management

Avant-Garde Film: Cinema as Discourse.

Science.gov (United States)

MacDonald, Scott

1988-01-01

Considers the state of the avant-garde film movement. Contends that for those who are convinced of the potential importance of the broadest articulation of cinema, it is necessary to demonstrate the excitement and value of using avant-garde films in a wide range of academic contexts and as one of academic film activity's essential components. (MS)

Wide-Screen Cinema and Stereophonic Sound.

Science.gov (United States)

Wysotsky, Michael Z.

Developments in the techniques of wide screen cinema and stereophonic sound throughout the world are detailed in this book. Particular attention is paid to progress in the Soviet Union in these fields. Special emphasis is placed on the Soviet view of stereophonic sound as a vital adjunct in the search for enchanced realism as opposed to the…

Santiago Ramón y Cajal and three-dimensional cinema.

Science.gov (United States)

Santarén, Juan Fernández

2015-01-01

In this article, I present and comment on two unpublished letters written by the Spanish engineer Carlos Mendizábal Brunet to Santiago Ramón y Cajal informing him of the development of a new device for three-dimensional cinema and asking for his approval. Fortunately, the answers given by Cajal to these two letters have also been preserved, and they reveal his interest in three-dimensional cinema; in the letters, he reported that he himself had designed a prototype capable of creating on a screen a feeling of 3-D relief, a subject about which he was always passionate.

The Anthropological Cinema and Approach the Health of Indigenous Folk

Directory of Open Access Journals (Sweden)

Diana Milena BERRÍO CUARTAS

2017-03-01

Full Text Available The article aims to address the concept of anthropological or ethnographic cinema and its relevance in Latin America. As an example of anthropological cinema has been chosen Gerónima, Argentina film, directed by Raul Tosso, released in 1986 and based on the book by psychiatrist Jorge Luis Pellegrini. Gerónima relate the story of an Indian family intervened by a team of public health. The objectives are to present some ways of exploring cultural diversity in the film industry and analyze how health and preventive and curative interventions in different socio?cultural contexts values.

People with Hemianopia Report Difficulty with TV, Computer, Cinema Use, and Photography.

Science.gov (United States)

Costela, Francisco M; Sheldon, Sarah S; Walker, Bethany; Woods, Russell L

2018-05-01

Our survey found that participants with hemianopia report more difficulties watching video in various formats, including television (TV), on computers, and in a movie theater, compared with participants with normal vision (NV). These reported difficulties were not as marked as those reported by people with central vision loss. The aim of this study was to survey the viewing experience (e.g., frequency, difficulty) of viewing video on TV, computers and portable visual display devices, and at the cinema of people with hemianopia and NV. This information may guide vision rehabilitation. We administered a cross-sectional survey to investigate the viewing habits of people with hemianopia (n = 91) or NV (n = 192). The survey, consisting of 22 items, was administered either in person or in a telephone interview. Descriptive statistics are reported. There were five major differences between the hemianopia and NV groups. Many participants with hemianopia reported (1) at least "some" difficulty watching TV (39/82); (2) at least "some" difficulty watching video on a computer (16/62); (3) never attending the cinema (30/87); (4) at least some difficulty watching movies in the cinema (20/56), among those who did attend the cinema; and (5) never taking photographs (24/80). Some people with hemianopia reported methods that they used to help them watch video, including video playback and head turn. Although people with hemianopia report more difficulty with viewing video on TV and at the cinema, we are not aware of any rehabilitation methods specifically designed to assist people with hemianopia to watch video. The results of this survey may guide future vision rehabilitation.

Independent Mexican cinema and the dream of a national cinema in 1970s Mexico

OpenAIRE

Ramirez Vargas, Erika Michelle

2011-01-01

This thesis analyzes film production during the Echeverría sexenio (1970-1976) where Mexican cinema would undergo both an infrastructural as well as developmental change. The Echeverría sexenio followed one of the most traumatic moments in Mexico City's history where politicized thought would be violently repressed. As a result of political and cultural changes post the 1968 student movements many students would begin to experiment and create independent film under the newly developed cinemat...

Cinema e Política: a representação do jornalismo e do marketing político no cinema brasileiro

Directory of Open Access Journals (Sweden)

Lisandro Nogueira

2007-06-01

Full Text Available O cinema brasileiro dos anos noventa busca diagnosticar as rápidas mudanças ocorridas no campo da comunicação nesse período. O filme Doces Poderes, de Lúcia Murat, mostra como o jornalismo brasileiro, quando submetido ao marketing político e à publicidade, perde seu papel de fonte primária de informação e abre espaço para a "notícia enquanto produto". Ainda que o filme aparentemente vise lançar um olhar crítico sobre a situação do jornalismo dos anos noventa, a linguagem cinemática e a estrutura narrativa nele usadas solapam seu intento, revelando assim as fragilidades e limitações do cinema brasileiro de viés político.

Quantitative and qualitative problems of short film production in cinema education in Turkey

Directory of Open Access Journals (Sweden)

Erkanı Mehmet Emrah

2016-01-01

Full Text Available Although Turkish cinema has completed its 100 years, short film could not find the place it deserves in the institutions and in the sector. There are problems in terms of the narrative and technical characteristics of short films beside presentation, marketing and international festival attendance issues. Low budgets, course schedules and structures of the cinema departments and short films and the sector’s ignorance of the importance of short film are the obstacles to the development of short films in Turkey. Increasing the government support, strengthening the cooperation between the sector and the university, improving the festivals’ screening conditions, reforming the arrangements to increase the sponsorship incentives, solving the equipment problems of the institutions will positively affect the productivity of Turkish cinema.

Cinema and Politics since 9/11: the Democratic Pardox of Media

OpenAIRE

Marteau, Aurélie

2006-01-01

The question of whether cinema is democratic is a vast one, which requires research limitations of time and place to actually find an answer for. In this study, the place will be the United States, because nowhere else is the industry of cinema so powerful and generates more elements of popular culture; where also the country is considered to be democratic and practicing freedom of speech. The time will be the period following 11th September 2001: a date after which American politics has been...

[Pictures of autism in the American cinema].

Science.gov (United States)

Matusevich, Mauricio; Matusevich, Daniel

2005-01-01

The aim of this article is to analyze the different ways in which the autism appears in the american cinema; the genres chosen are comedy, thriller and road movie because they represent classical movie patterns. The movies commented are: Mercury rising, Rainman, Who eats Gilbert Grape.

Observational cinema and embodied vision

OpenAIRE

Uslu, Ayşe

2011-01-01

Ankara : The Department of Communication and Design, İhsan Doğramacı Bilkent University, 2011. Thesis (Master's) -- Bilkent University, 2011. Includes bibliographical references leaves 87-89. The aim of this study is to discuss the notion of embodiment in respect of Merleau Ponty's philosophy of phenomenology and its relation to observational cinema. For this aim, this thesis dwells on the embodied nature of perception of seeing and its relation to epistemological approaches...

De opkomst van het moderne medium cinema in de Ottomaanse hoofdstad Istanbul, 1896-1914

NARCIS (Netherlands)

Özen, M.

2007-01-01

The first two decades of cinema in the Ottoman capital of Istanbul, 1896-1914 This study explores the development of cinema in Istanbul, starting from the first public shows in December 1896 till the outbreak of the First World War in 1914. This period marks the transformation of the medium from an

Architectonic context and technological implements for Teodoro Ansagasti’s Monumental Cinema

Directory of Open Access Journals (Sweden)

A. Lavilla

2017-06-01

Full Text Available Overcoming the economical crisis that Spain suffered in the twentieth century allowed to build more edifices and made possible to follow the concepts of modern European movement. Cinemas were one of the best examples of this attempt of modernity. There are few examples of real quality architecture, and majority of them were built in Madrid or Barcelona. In this context, one of that years’ greatest works has to be put in value: Teodoro Anasagasti’s Monumental Cinema, providing additional architectonic and technological data to the existing historiography.

The Portuguese Cinema, Trans-temporality and the Myth

Directory of Open Access Journals (Sweden)

Sara Castelo Branco

2016-02-01

Full Text Available Eduardo Lourenço has focused some of his research on the historical-mythical relationship of the Portuguese with their country, claiming that they have been living in a kind of hyper-identity, incorporating an obsession with the past, which co-exists with a waiting utopian by future, as is demonstrates the Sebastianism myth. Focused on the representations of trans-temporality, identity, collective memory and myth, The Portuguese Cinema, Trans-temporality and the Myth, concentrated especially in Eduardo Lourenço's work to propose a research on how the identity myths – created and disseminated by Portuguese literature over the centuries – earned imagistic representations in the twentieth and twenty-first century’s, through a cinema that built or deconstructed these historical and patriotic mythological, inscribing image capacities to continually rebuild one mythologized common heritage.

Cinema, ciência e percepção.

Directory of Open Access Journals (Sweden)

Márcio Barreto

Full Text Available Resumo O cinema invoca a questão dos limites da percepção humana, pois modula o tempo em imagens tão reais quanto artificiais, revelando algo mais próximo de uma nova dimensão da realidade do que de sua representação. No início do século XX, a ciência modifica o real percebido através das lentes dos microscópios e das teorias da física moderna; o parentesco entre cinema e ciência está principalmente naquilo que excede o campo perceptivo e é explorado neste artigo para mostrar como a tensão entre o caráter estático da fotografia e a fluidez fugitiva do tempo revela a ciência sem seus estereótipos habituais.

Chatter, reverberation, and the static in the system: Noise in American cinema culture

Science.gov (United States)

Ward, Meredith C.

Noise is unwelcome in film culture; it has long been associated with disruption, counter-productivity, and discord. Yet taking a historical approach to noise and connecting its various manifestations to American auditory culture at large reveals noise to be a historiographically productive category for study. Approaching noise through its effects on four areas of American cinema culture---the social, technological, acoustical, and aesthetic---in four key historical moments, this dissertation demonstrates that listening to noise can explain conflicts in the history of film sound and audiences. Examples include silencing the social noise of rowdy spectators during the nickelodeon period; the Academy of Motion Picture Arts and Science's attempt to compete with Bell Laboratories with technological, noise-based research during film's transition to sound; the rise of acoustical design in film theaters to quash noise and produce contemplative listening in film spectators; and the user's current navigation of her attention between the sounds of media and urban life while viewing films on smartphones. In each case, the presence of noise has produced tensions that reveal the power structure of film culture. Terming sound "noise" is an act of judgment that has social ramifications, and the struggle against noise is also a struggle between groups vying for power within cinema culture: conflict over who may determine whose sound is "noise"; competition between industries regarding who owns sound knowledge; debates about which sounds are "noise" and which are legitimate components of the cinema experience; and tensions between our established expectations of noisy public space and the ways in which we create quiet spheres via mobile listening. Looking to the aural historical dialogues in which cinema culture partook, this project outlines the conditions of possibility within which listening to the cinema emerged in these periods. Understanding these historical contexts, we can

Bridging views in cinema: a review of the art and science of view integration.

Science.gov (United States)

Levin, Daniel T; Baker, Lewis J

2017-09-01

Recently, there has been a surge of interest in the relationship between film and cognitive science. This is reflected in a new science of cinema that can help us both to understand this art form, and to produce new insights about cognition and perception. In this review, we begin by describing how the initial development of cinema involved close observation of audience response. This allowed filmmakers to develop an informal theory of visual cognition that helped them to isolate and creatively recombine fundamental elements of visual experience. We review research exploring naturalistic forms of visual perception and cognition that have opened the door to a productive convergence between the dynamic visual art of cinema and science of visual cognition that can enrich both. In particular, we discuss how parallel understandings of view integration in cinema and in cognitive science have been converging to support a new understanding of meaningful visual experience. WIREs Cogn Sci 2017, 8:e1436. doi: 10.1002/wcs.1436 For further resources related to this article, please visit the WIREs website. © 2017 Wiley Periodicals, Inc.

Ontology of Time in Cinema A Deleuzian reading of Still Life and Prince Ehtejab With an emphasis on the concept of Time-Image

Directory of Open Access Journals (Sweden)

Ali Fath Taheri

2017-12-01

Full Text Available Gilles Deleuze, the notable post-modern philosopher, in his two-volume cinematic books Cinema 1: movement-image (1986 and Cinema 2: time-image (1989 recognizes two major periods in history of cinema (classic and modern in terms of representing movement and time respectively. Referring to various films of modern cinema especially post-war European cinema like Italian neorealism, Cinema2 speaks about the possibility of direct presentation of time in cinematic works. Explaining Deleuze’s theories and his two formulations of direct presentation of time as ‘pure optical situations’ and ‘sheets of the past’, in this essay we try to give an analysis of the two most important films of Iranian history of cinema: Still Life (1974 and Prince Ehtejab (1974. Finally, we will conclude that these films are not mere representation of preexisting philosophical concepts, rather in contrast to linguistic thought, they provide some kind of visual and non-linguistic philosophical meditations of time, cinema of time

Os oito odiados: o cinema épico de Quentin Tarantino

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Rosana Cristina Zanelatto Santos

2017-12-01

Full Text Available Propomos, neste artigo, uma leitura da película Os oito odiados (2015, de Quentin Tarantino, naquilo em que ela pode ser aproximada do teatro épico de Bertolt Brecht, utilizando, para qualificá-la, a rubrica cinema épico. Os objetivos deste trabalho são refletir sobre: a dinâmica dos gêneros, a importância da funcionalidade e do efeito para os estudos sobre os gêneros e o papel didático (como postulado por Brecht para seu teatro épico do cinema de Tarantino. Para tanto, analisamos os modos pelos quais Os oito odiados desenvolve o papel didático, encenando situações-limites do ser humano e promovendo reflexões em torno de possíveis questões que impelem o ser humano rumo à violência. Para a leitura dessa película, valemo-nos das perspectivas teóricas de Wolfgang Kayser sobre o gênero, de Noé Jitrik sobre o efeito, de Bertolt Brecht e de Anatol Rosenfeld sobre o teatro épico e de Ariano Suassuna sobre as relações possíveis entre teatro e cinema.

Commercial cinema: a medium for development communication.

Science.gov (United States)

Riber, J; Smith, S

1985-01-01

Worldview International Foundation, an international voluntary organization whose activities focus on practical participation in the information process, established a media center in Dhaka, Bangladesh in 1982 in an effort to use the film media to disseminate development messages. Initially, WIF worked with the Ministry of Education (MOE) to promote literacy. Using the social marketing approach to promote a development theme, the producers were able to plug into a commercially successful network that assured them of reaching a large, attentive audience for a very low cost. An estimated 8 million Bangladeshis have seen this literacy film in cinema halls, mobile film projection vans, and on television. Project evaluation showed that 95% of the surveyed audience enjoyed the film and understood the intended message. The film was so popular that it was submitted as the Bangladesh entry at an international film festival in Moscow. WIF's next project was the production of another film, this time for the Social Marketing Project -- an Agency for International Development (AID) funded family planning cimmunication project. This time a family planning theme was the social development message. The script was developed from research conducted by Manoff International, Inc., an American social marketing agency who worked closely with MRCB, a Bangladeshi market research agency. They identified the target audiences and the constraints against using contraceptive methods in Bangladesh. Then messages were designed to address these issues. A love story entitled "Together" was developed. The social message revolves around a newlywed couple; both are hesitant to immediately start a family, but neither feels comfortable discussing his/her feelings on the subject with the other because of strong cultural taboos against such a delay. As the story develops, the barriers are surmounted, and this "model couple" begins to discuss the issue -- using singing and dancing to express their

American cinema and the construction of masculinity in film in the Federal Republic after 1945.

Science.gov (United States)

Leal, Joanne

2012-01-01

Since 1945, film in the Federal Republic has maintained an ambivalent relationship to American cinema and its embedded ideologies and nowhere is this more evident than in (West) German film's representations of masculinity. This article focuses on three historical moments when political and social shifts resulted in a problematising of male identities in the Federal Republic: the mid-1950s, the early 1970s and the late 1990s. Cinema responded to a perceived destabilisation of gender norms by exploring constructions of German masculinity in relation to the ambivalently received models of male identity offered by American cinema. With a detailed analysis of three specific examples – Georg Tressler's Die Halbstarken (1956), Rainer Werner Fassbinder's Der amerikanische Soldat (1970) and Fatih Akin's Kurz und schmerzlos (1998) – this article investigates the manner in which German cinema engages with these competing conceptions of masculinity and demonstrates the ways in which divergent understandings of gender identity can impact on representations of national and ethnic identity.

Wide-Screen Television and Home Movies: Towards an Archaeology of Television and Cinema Convergence Before Digitalisation

NARCIS (Netherlands)

Steward, Tom James Longley

2014-01-01

abstractIn this article, Tom Steward uses past interrelations of television and cinema spectatorship, exhibition, production and aesthetics to historicize phenomenological digital-era discourses on, ontological definitions of, and cultural arguments about television and cinema convergence. He argues

Eurimages and Turkish cinema: history, identity, culture

NARCIS (Netherlands)

Yılmazok, L.

2012-01-01

Out of the new sources for financing films that emerged in the post-1990 Turkish cinema, Eurimages is the only non-domestic, supra-national one wherein support decisions are taken by the representatives of various member states. Eurimages was established as a part of the framework of the Council of

Student Communities and Individualism in American Cinema

Science.gov (United States)

Warnick, Bryan R.; Dawson, Heather S.; Smith, D. Spencer; Vosburg-Bluem, Bethany

2010-01-01

Hollywood films partially construct how Americans think about education. Recent work on the representation of schools in American cinema has highlighted the role of class difference in shaping school film genres. It has also advanced the idea that a nuanced understanding of American individualism helps to explain why the different class genres are…

O Guarani no cinema brasileiro: o olhar imigrante

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Sheila Schvarzman

2012-12-01

Full Text Available O Guarani, de José de Alencar,de 1857, transformado em ópera por Carlos Gomes em 1870 serviu de base para 8 filmes entre 1908 e 1926.Traçamos aqui o percurso cultural da apropriação cinematográfica d´O Guarani pelo diretor italiano Vittorio Capellaro. Como as construções românticas da nacionalidade cristalizadas na literatura e na ópera do século XIX são apropriados num film d´art, gênero em voga na Europa e nas telas brasileiras. Como Capellaro e seus atores, todos imigrantes, integraram o cinema europeu, sua encenação e dramaturgia, às representações e ao imaginário nacional e aos fazeres do nascente cinema brasileiro. E de que forma sua obra dialoga com a sociedade que a recebe.

Promenade architecturale : paralelismos hápticos na Arquitectura e no Cinema

OpenAIRE

Trabulo, Maria Leonor Ramos Tomé de Almeida

2016-01-01

Dissertação de mestrado em Arquitectura. Exame público realizado em 3 de Maio de 2017, às 15H30. A Arquitectura encontra no Cinema vários paralelismos que fazem com que estas duas artes se unam, contagiando-se reciprocamente. O movimento no espaço, resultante da introdução do tempo, é um ponto comum que liga estas artes. Esta dissertação procura explicar e demonstrar a relação existente entre a arquitectura e o cinema e o modo como o espectador experiência o espaço quer na arquitectura,...

The depiction of electroconvulsive therapy in Hindi cinema.

Science.gov (United States)

Andrade, Chittaranjan; Shah, Nilesh; Venkatesh, Basappa K

2010-03-01

There is little literature on the depiction of electroconvulsive therapy (ECT) in movies. In India, Hindi cinema is an important source of public information and misinformation about ECT. We identified depictions of ECT in Hindi cinema through inquiries with e-communities, video libraries, and other sources. We also searched the PubMed database using search terms related to ECT and movies. Between 1967 and 2008, 13 Hindi movies contained referrals to or depictions of ECT. By and large, the depictions were inaccurate, distorted, and dramatized. Electroconvulsive therapy was administered to punish, to obliterate identity, to induce insanity, and for other rarely clinically valid indications. Electroconvulsive therapy was almost always administered by force. Premedication was rare. Genuine ECT devices were uncommonly used. Electroconvulsive therapy stimulation almost invariably appeared to cause pain. Multiple shocks were frequently delivered in the same session. The convulsions were usually bizarre. The treatment caused mental disturbance, amnesia, weakness, and even a zombielike state, thought not mortality; clinical improvement was rare. There was no pattern of increasing accuracy of depiction of ECT with recency of movie release. We examine the extent to which the identified inaccuracies are practically important and offer reasons for the inaccuracies. Although the inaccuracies are a cause for concern, we suggest that because Hindi cinema is generally hyperbolic, the public may be willing to distinguish real life from reel life when facing clinical decisions about ECT. Nevertheless, considering the potential for harm in the dissemination of misinformation, filmmakers should exhibit a greater sense of ethics when creating impressions that might adversely influence health.

The Intimacy of Distance: South Korean Cinema and the Conditions of Capitalist Individuation

OpenAIRE

Kim, Jisung Catherine

2013-01-01

In The Intimacy of Distance, I reconceive the historical experience of capitalism's globalization through the vantage point of South Korean cinema. According to world leaders' discursive construction of South Korea, South Korea is a site of "progress" that proves the superiority of the free market capitalist system for "developing" the so-called "Third World." Challenging this contention, my dissertation demonstrates how recent South Korean cinema made between 1998 and the first decade of the...

Development of Creative Potential of Cinema Tourism

Science.gov (United States)

Dzhandzhugazova, Elena A.; Ilinaa, Elena L.; Latkin, Aleksander N.; Koshelevava, Anna I.

2016-01-01

The relevance of the problem indicated in the article is caused by the fact that under current conditions it is necessary to offer high-quality and demanded tourist products, formed at the combination of various industries on the basis of wide application of creative potential of different industries, including tourism and cinema, a harmonious…

Toward the Development of a Raza Cinema.

Science.gov (United States)

Camplis, Francisco X.

Chicano teatro, poetry, and art appear to be more developed forms of Chicano cultural expression. Chicano literature and film are just getting off the ground. Film is the least developed of the two, primarily because it is an expensive medium. However, this medium can be a tool for social change. "Raza Cinema" could Conceivably include…

Cinema as the Interdisciplinary Conjuncture of Political Thought and History

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S. M. Alavipoor

2015-02-01

Full Text Available From the dawn of its history, cinema has been considered as a phenomenon in which different thoughts, among them the political, could be addressed. Indeed, many film-makers have presented various aspects of political norms and the good order of society through movies. However, this combination of the idea and image has been addressed in different ways and among others, as seems, the historical narrative has the potentiality to convey critical and normal political ideas in cinema. Exploring different types of representing the political thought in cinematic historical narratives, the present study attempts to identify cinema’s interdisciplinary potential as a conjuncture for the disciplines of history and political thought.

Women, engagement and censorship in the Spanish Cinema. 1939-1959

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Fátima Gil Gascón, Ph.D.

2010-01-01

Full Text Available his article analyses the formation of women’s identity in relation to love and courtship in the Spanish cinema during the first Franco regime (1939-1959. To this end, two hundred films produced in Spain during this time were analysed. These films were chosen based on two criteria: Their permanence in the box office and their relevance to the subject under study. This research was complemented with the analysis of the censorship reports about these films, which facilitated the understanding of the guidelines and influence of the government towards the representation of an official model of the Spanish women. Moreover, in order to know whether other media also contributed to the creation of the feminine identity, we consulted the most important women’s magazines and compared their messages whit those offered to women on the big screen.The analysis shows that the cinema of this years present a vision of love that was very far from the romantic and passionate feeling that appeared in other artistic representations. Female audiences that went to the cinema during this time assimilated a concept of love intrinsically linked to marriage and the formation of a family. This reality was in consonance with the mission to which, according to the Francoist regime, the Spanish women were destined.

Kracauer e os fantasmas da história: reflexões sobre o cinema brasileiro

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Cristiane Freitas Gutfreind

2009-09-01

Full Text Available Resumo Este texto tem o objetivo de compreender, a partir das ideias de Kracauer, como as relações entre a teoria fílmica e a abordagem histórica, no cinema, possibilitam a consciência daquilo que as particularizam na conjuntura contemporânea. Para isso, utilizaremos como ilustração filmes recentes com vocação histórica que abordam a ditadura militar brasileira, o que possibilita uma reflexão sobre a representação estética e os discursos críticos oriundos dessa temática e que determinam uma função salvadora do cinema. Palavras-chave: Kracauer; cinema; comunicação histórica. Resumen El objetivo de este texto es comprender, a partir de las ideas de Kracauer, cómo las relaciones entre teoría fílmica y abordaje histórico en el cine, posibilitan la conciencia de aquello que las particulariza en la coyuntura contemporánea. Para ello, utilizaremos como ilustración películas recientes con vocación histórica que son relacionadas con la dictadura militar brasileña, lo que posibilita una reflexión sobre la representación estética y los discursos críticos oriundos de esa temática y que determinan una función salvadora del cine. Palabras-clave: Kracauer; cine; comunicación histórica. Abstract The purpose of this paper is to understand, from Kracauer’s point of view, how the relationship between film theory and historical approach enables awareness of what makes them particular in the contemporary cinema. For that purpose, historical movies that focus on the Brazilian military dictatorship will be analyzed. This strategy favors our reflection on aesthetic representations and critical discourses that determine their roles as savior of the cinema. Keywords: Kracauer; cinema; historical communication.

Uma estética da precariedade: migrações e trocas interculturais no cinema de Ozualdo Candeias (1967-1992 An esthetics of precariousness: migration and intercultural exchanges in the cinema of Ozualdo Candeias (1967-92

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Ângela Aparecida Teles

2007-01-01

Full Text Available Este artigo analisa a relação cinema e história através da estética da precariedade elaborada pelo cineasta Ozualdo Candeias. A mobilidade, a oralidade caipira, a precariedade esteticamente elaboradas através das mesclas entre a ficção e o documentário, da desconstrução de clichês do cinema clássico são trocas culturais, entre o mundo urbano e o rural, suscitadas pelo processo de industrialização e urbanização, vivido intensamente em São Paulo, a partir dos anos 50 do século XX.This article analyses the relation between cinema and history through the esthetics of the precariousness elaborated by a film director called Ozualdo Candeias. The mobility, the countryman orality as well as the precariousness esthetically worked out by mixing fiction and documentary, the disconstruction of classical cinema clichés are cultural trades between the urban world and the rural one raised by the industrialization and urbanization process intensified in the fifties of XXth century.

O cinema e a escola: formas imagéticas da violência

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Guimarães Áurea M.

1998-01-01

Full Text Available Este artigo pretende analisar as relações entre mito, violência e cinema. Queremos saber que suportes a narrativa fílmica oferece para que o público, ao ver um filme, possa criar e recriar sentidos, indo além dos valores reiterados pela estrutura fílmica. A escola seria um dos espaços para que a literatura, as artes em geral, e o cinema em particular, germinassem as possibilidades de alunos e professores transformarem-se em "sujeitos imaginantes", produtores e não apenas reprodutores de sentidos.

O cinema e a escola: formas imagéticas da violência

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Áurea M. Guimarães

Full Text Available Este artigo pretende analisar as relações entre mito, violência e cinema. Queremos saber que suportes a narrativa fílmica oferece para que o público, ao ver um filme, possa criar e recriar sentidos, indo além dos valores reiterados pela estrutura fílmica. A escola seria um dos espaços para que a literatura, as artes em geral, e o cinema em particular, germinassem as possibilidades de alunos e professores transformarem-se em "sujeitos imaginantes", produtores e não apenas reprodutores de sentidos.

O cinema do futuro: Entre novas e tradicionais tecnologias, entre a morte e a reinvenção

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Julio Bezerra

2010-03-01

Full Text Available O cinema não é mais a experiência audiovisual matriz em nossa “sociedade das imagens”. Essa enorme rede heterogênea que vai se constituindo no terreno da produção e circulação de imagens-sons tem nos mostrado que é preciso mudar a nossa percepção do lugar do cinema entre os demais dispositivos. O objetivo deste texto é pensar o cinema em suas relações com o que vem sendo chamado de novas mídias. Nossa posição se aproxima de certa maneira de Phillipe Dubois: afirmando o cinema como uma espécie de referência fundante para todo o audiovisual sem ressentimentos e/ou opiniões fechadas com relação às novas tecnologias. Neste caminho, passamos invariavelmente por algumas falsas questões, pela melancólica idéia da “morte do cinema”, pelo surgimento de uma novíssima cinefilia digital e rizomática, por um cinema contemporâneo pra lá de impuro.

Cinema, from scientific enquiry to artistic expression

CERN Document Server

CERN Bulletin

2013-01-01

The CERN Cinéclub’s October cycle explores the evolution of cinema with film-makers Adelina von Fürstenberg and Jan Peters.   "In the Mirror of Maya Deren", a film by Martina Kudlácek. For the past few decades, the CERN Cinéclub has been screening films for the CERN community on Thursday evenings. New members have brought with them greater enthusiasm and new ideas for this Cinéclub tradition. The greatest of these new ideas has been the addition of “cycles”, dedicated either to directors (Luis Bunuel, Serguei Paradzanov, Emir Kusturica, Ken Loach) or to particular themes (Czech new wave, science fiction). Inspired by discussions with Jan Peters - winner of the Collide@CERN Geneva prize and CERN’s filmmaker in residence - the Cinéclub’s October film cycle has explored the evolution of cinema from a form of scientific enquiry to a true form of artistic ...

Memory and regional identity in Udihara’s cinema Memória e identidade regional no cinema de Udihara

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Caio Júlio Cesaro

2007-01-01

Full Text Available The cinema produced by the Japanese immigrant Hikoma Udihara, for over 30 years, is a record of the first decades of colonization in Northern of Paraná. The content – a little more than 10 hours of images – constitutes essence of the memory and identity in the region. A file which, in spite of private and institutional efforts for its maintenance, is vanishing and deteriorating quickly. For this reason, urgent action is required for recuperation and preservation. O cinema produzido pelo imigrante japonês Hikoma Udihara, ao longo de mais de 30 anos, documenta as primeiras décadas da colonização do Norte do Paraná. O conteúdo – de pouco mais de dez horas de imagens – constitui-se essência da memória e da identidade da região. Um acervo que, apesar de esforços particulares e institucionais para sua manutenção, está esvaecendo e se desintegrando rapidamente. Em razão disso, necessita de ações urgentes de recuperação e preservação.

In the Style of Ozu: Critical Making and Postwar Japanese Cinema

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Erin Schoneveld

2017-04-01

Full Text Available Interest in modern and contemporary Japanese visual culture—whether through film, art history, or literature—is growing among students who already have an exposure to and love for Japanese popular culture via visual media such as manga, anime, video, and social media. In combination with student demand for courses that engage with the visual, there is institutional demand for innovative courses that offer experiential and active learning approaches to critical inquiry. This pedagogical essay introduces the concept of “critical making” and the importance of new modes of student assessment that engage with creative acts of making. It discusses the development and application of a semester-long student filmmaking project in Postwar Japanese Cinema and concludes with a critique of the project and the broader implications for including critical making in East Asian studies courses that emphasize the study of visual culture. This student film project reflects my background and training in Japanese art, cinema, and visual culture—not in filmmaking or media production—and is just one example of how to approach the study of postwar Japanese cinema through the lens of critical making.

Idabloki unustatud kino : Ülevaade konverentiskogumikust "Via Transversa : Lost Cinema of the Former Eastern Bloc" / Martin Oja

Index Scriptorium Estoniae

Oja, Martin, 1978-

2009-01-01

2007. a. oktoobris Tallinnas toimunud konverentsi "Via Transversa : Lost Cinema of the Former Eastern Bloc" ettekannetel põhinevast kogumikust: Via Transversa : Lost Cinema of the Former Eastern Bloc / editors Eva Näripea, Andreas Trossek. Tallinn : Eesti Kunstiakadeemia, 2008. (Koht ja paik ; 7)

Literatura e cinema: interseções

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Vera Lúcia Follain de Figueiredo

2011-01-01

Full Text Available Literature and cinema: intersections Vera Lúcia Follain de Figueiredo This article will focus on intersections and convergences motivated by market mediation in the field of cultural assets and technological advances that indicate a change of the position of literature in the cultural hierarchy. For this reason, it is questioned the eventual effects of the expansion of audio-visual means on the production, consumption and valuation agendas of literature works.

An intimate encounter: negotiating subtitled cinema

OpenAIRE

Flynn, Niall

2016-01-01

The question of subtitling has received little attention in Film Studies, despite being the primary means by which foreign-language cinema is experienced. Current literature focuses on important matters of language and translation, but there are other aspects that exceed these matters when we watch subtitled films, aspects which are able to affect and move viewers without relying on explanation through translation. My paper shows how viewers have to negotiate these affective elements in order...

Framing Mass Shootings: Fictional Depictions of Real-life Gun Massacres in American Cinema

OpenAIRE

Tryggeseid, Ane Johannessen

2017-01-01

This thesis examines the concept of real-life mass shootings and its depiction in American fictional cinema. The issue of mass shootings is a highly controversial subject of discussion, both within the public and political sphere, as it necessarily touches upon rigid perceptions of civil liberties – specifically those of the Second Amendment – which further permeates the field of fictional cinema. As opposed to assessing the issue of mass shootings as a product of a prevailing culture of guns...

Narrativa audiovisual i cinema d'animació per ordinador

OpenAIRE

Duran Castells, Jaume

2009-01-01

DE LA TESI:Aquesta tesi doctoral estudia les relacions entre la narrativa audiovisual i el cinema d'animació per ordinador i fa una anàlisi al respecte dels llargmetratges de Pixar Animation Studios compresos entre 1995 i 2006.

Some Structural Approaches to Cinema: A Survey of Models

Science.gov (United States)

Cook, David A.

1975-01-01

Examines the impact of linguistic and structural methodologies on film theories. Available from: Cinema Journal, Publications Order Dept., The University of Iowa, West College Street, Iowa City, Iowa 52242 (Subscription rates: $4.00 per year; $2.00 single copies). (MH)

Cinema brasileiro nos jornais : uma análise da crítica cinematográfica na Retomada

OpenAIRE

Joaquim da Silva Junior, Luiz

2004-01-01

O cinema realizado no Brasil vem sofrendo mudanças em vários aspectos desde 1995 ano que deu início ao período batizado como o da Retomada do cinema brasileiro. Acompanhando essas mudanças, a crítica cinematográfica publicada nas editorias de cultura dos jornais diários do país também experimentou alterações. O objetivo de nosso trabalho é analisar o desenvolvimento do discurso dessa crítica sobre o cinema nacional até o ano 2002. Os textos utilizados como objeto dest...

An Essay on Actor, Actress in Turkish Cinema, Human Ans Sector Ethics in the 21st Century

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Nevin Algül

2015-07-01

The purpose of this article is to analyze the definition of actor, actress mostly addressing female performers, give some examples in history and in today’s world, promote the re-thinking on the reason why cinema is important over the 21st century ‘human’ and to bring the responsibilities of sector and artists up for discussion and to analyze the ethics/responsibilities of the sector in countries such as Turkey where the level of education is low and problematic and where social differences are very evident. The difference between theater and cinema and the acting in cinema and theater were also addressed.

“Not in Our Good”: Nationalist and other Concerns in the Censorship Debates in Early Indian Cinema

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Binayak Bhattacharya

2016-02-01

Full Text Available The present article traces the historical and cultural roots of the censorship practices in cinema in late-colonial India. The emergence of the censorship in India, it suggests, carries a larger concern of the hierarchized nationalist public sphere which sought to establish its effective social control over the newly emerged medium of popular mobilization. Interestingly, the British film industry could enjoy only a limited entry into the film industry in India, and the colonial authority too showed their apparent reluctance towards carrying out necessary reforms in securing the prospects of the nascent sector. This specific feature eventually necessitated a coalition between the dominant social institutions and the colonial authority in carrying out the cultural policing of cinema. The development was further valorized by the emerging sector of literary intelligentsia whose rejection of all forms of films other than literary cinema instigated the middle class professional to enter into the production vis-à-vis the discursive domain of cinema in India. The article summarizes this historical process to locate the coordinates of the social control which, in the virtual absence of a regimented censored regime, produced the normative rules for cultural policing in order to overpower the constitutional exercise of censorship in India.  Keywords: Censorship; Indian cinema; Late-colonial India; Bengal.

Censura e doppiaggio nelle forme narrative del cinema italiano, nel cruciale passaggio al sonoro degli anni Trenta

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Antonio Catolfi

2015-10-01

Full Text Available Il cinema italiano durante gli anni Venti conosce una profonda crisi determinata da vari fattori, tra cui il fallimento dell’Unione cinematografica italiana. I film muti prodotti in Italia passano dai 1029 del 1911 ai 415 del 1920. Sono solo 23 nel 1929. Nel 1930 si tocca il fondo con 18 film italiani e 374 stranieri. Dal 1932 al 1933 invece riprendono in modo lento a crescere: 1931 (27 italiani e 262 stranieri, 1932 (31 italiani e 229 stranieri, 1933 (36 italiani e 260 stranieri probabilmente grazie al cinema sonoro che inizia a diffondersi e ad altre concause. Dopo il successo negli Stati Uniti del film il Cantante di Jazz l’industria si converte rapidamente alla possibilità di rendere sonora la pellicola. In Italia il Cantante di Jazz arriva due anni dopo, il 19 aprile 1929. Appena nato il sonoro nel cinema, l’industria cinematografica italiana deve affrontare subito il problema delle barriere linguistiche che causava una difficoltà enorme per la commerciabilità dei prodotti italiani fuori dai confini nazionali. L’avvento del regime fascista non aiuta la situazione della crisi generale del cinema italiano perché nella sua prima fase il regime non si occupa del cinema in maniera diffusa.

Title list of documents made publicly available, March 1--31, 1998. Volume 20, Number 3

Energy Technology Data Exchange (ETDEWEB)

NONE

1998-05-01

The Title List of Documents Made Publicly Available is a monthly publication. It describes the information received and published by the US Nuclear Regulatory Commission (NRC). This information includes (1) docketed material associated with civilian nuclear power plants and other uses of radioactive materials and (2) nondocketed material received and published by NRC pertinent to its role as a regulatory agency. As used here, docketed does not refer to Court dockets; it refers to the system by which NRC maintains its regulatory records. This series of documents is indexed by a personal author index, a corporate source index, and a report number index.

Title list of documents made publicly available, March 1--31, 1998. Volume 20, Number 3

International Nuclear Information System (INIS)

1998-05-01

The Title List of Documents Made Publicly Available is a monthly publication. It describes the information received and published by the US Nuclear Regulatory Commission (NRC). This information includes (1) docketed material associated with civilian nuclear power plants and other uses of radioactive materials and (2) nondocketed material received and published by NRC pertinent to its role as a regulatory agency. As used here, docketed does not refer to Court dockets; it refers to the system by which NRC maintains its regulatory records. This series of documents is indexed by a personal author index, a corporate source index, and a report number index

CINEMA COMO ARTE OU ENTRETENIMENTO: UMA VISÃO DE SEUS REALIZADORES E A ESTRUTURA ORGANIZACIONAL DE SUAS PRODUTORAS.

Directory of Open Access Journals (Sweden)

Giordano Schmitz Toldo

Full Text Available RESUMO Esse trabalho abrange uma visão crítica sobre cinema como peça artística ou mercadológica estabelecendo uma relação com as características estruturais das produtoras. A pesquisa objetiva entender as formas como as empresas de cinema do Rio Grande do Sul se estruturam procurando uma correspondência com o tipo de cinema produzido. Para caracterizar as estruturas organizacionais foram utilizadas as definições de Richard Hall e Henry Mintzberg, sobre tipos de estruturas. O arcabouço teórico para compreender a visão dos realizadores sobre cinema foi construído com base em autores como Ricciotto Canudo, Jaques Aumont, Jean-Claude Bernadet, entre outros. As empresas estudadas foram: Avante Filmes, Gus Gus Cinema, Millimetros, Otto Desenhos, Tokyo Filmes, Panda Filmes, Prana Filmes, TGD. A partir de entrevistas realizadas com as produtoras, dois conceitos de Mintzberg (1994 foram determinantes para as definições de estrutura: a Adhocracia e a Burocracia Profissional. Como resultado, percebeu-se que as empresas Avante Filmes, Gus Gus Cinema, Millimetros, Tokyo Filmes e Prana Filmes se encaixaram na categoria adhocrática e foram elas que apresentaram uma inclinação para o cinema de arte, reflexivo e de maior preocupação estética. Na Burocracia Profissional, há as produtoras Otto Desenhos, Panda Filmes e TGD, cujas produções cinematográficas se relacionam com questões primordialmente mercadológicas. O reconhecimento das diferenças estruturais e ideológicas permite que se avance nas políticas de desenvolvimento do cinema no estado e no país. Desenvolvimento ainda enraizado em políticas públicas de incentivo, fomento e apoio que procura ser democrático na distribuição de seus prêmios. Novas medidas governamentais de apoio ao audiovisual já correlacionam a distribuição do incentivo conforme a visão sobre cinema dos realizadores. Questões estruturais também servem de critérios para a criação dos incentivos

O cinema português: entre a arte e a indústria: 45 anos de políticas públicas (1971-2016)

OpenAIRE

Simões, Carla Alexandra Neves

2017-01-01

O cinema é arte e indústria e no jogo de forças entre estes pólos, quase sempre conflituais, muito cedo se definiram dois campos distintos na produção, exibição, processos de legitimação e públicos. Vulgarmente identificados como cinema de autor e cinema comercial, os dois campos existem em todos as latitudes, com pesos relativos distintos, transumâncias e convivências mais ou menos pacíficas. Portugal não é excepção e sendo o cinema português uma actividade quase sem mercado e ...

The Jollywood Manifesto: Trans-local Film Cultures in Haiti's Emerging Cinemas

Directory of Open Access Journals (Sweden)

Doris Posch

2015-10-01

Full Text Available Taking into account Haiti’s peripheral and/or temporary position within World Cinema’s politics, this paper focuses on a recent phenomenon of cinematographic productions of Haiti’s emerging filmmaker’s generation: Jollywood. The Ciné Institute is the only film school in the French-speaking part of the West Indies that currently provides training to a young generation of filmmakers and videographers. Its Jollywood Manifesto is based on the political, cultural and societal as well as media-related vision of a self-sustaining film market in Haiti. Based on lowest-budget productions made possible by the huge rise of digital film, this recent phenomenon not only asks for new modes of production, circulating distribution and reception. It also stands for a reconsideration of film and media theory for “internationalized” World Cinemas on a discursive level. This level will be approached by interlacing a twofold concept: On the one hand, theories on (Post- Third Cinemas that have been known since their inception in the late 1960s in Latin America and that have subsequently been adapted in the Asian and African Cinemas. On the other hand, today’s assumptions of considering cinema in its political message on a transglobal space are called into question. The global film market, mostly dominated by the triad of Bollywood, Nollywood and Hollywood, also questions the margins of hegemonic centerlines of power relations. Haiti’s cinematic productions are located at the interstices of local and national(ist  imaginaries in line with a (postcolonial independent film industry. This ambiguity stands for the resulting translocal and transcultural attributions of Haiti’s emerging film cultures and the ambiguous formations of the notions of being and belonging. The analysis of the Jollywood phenomenon on transnational/-local/-cultural levels aims at a methodological detangling of geopolitical spaces and temporalities in the media.

The Shock and Vibration Digest. Volume 18, Number 4

Science.gov (United States)

1986-04-01

the aseismic foundation The Malaysian Rubber Producers’ Research system is shown to offer a number of advantages Association, Hertford, England over... Cinema - tographic Society; National Environmental 22-25 World Cogaress an Compuatiunal Protection Authority of Hungary] Szeged, Hun- Mechanics

De-framing video games from the light of cinema

Directory of Open Access Journals (Sweden)

Bernard Perron

2015-09-01

Full Text Available In this essay, we shall try to step back from a blinding cinema-centric approach in order to examine the impact such a framing has caused, to question its limitations, and to reflect on the interpretive communities that have relied on film (communities we are part of, due to our film studies background to position video games as an important cultural phenomenon as well as an object worthy of scholarly attention. Using Gaudreault and Marion’s notion of cultural series and wishing to spread a French theoretical approach we find very relevant to the discussion, we will question the bases on which we frame video games as cinema. This inquiry will focus on the audiovisual nature of both media and highlight their differing technical and aesthetic aspects, which will lead us to consider video games as being closer to other forms of audiovisual media.

Cinema e jornalismo: o melodrama e a tragédia moderna

Directory of Open Access Journals (Sweden)

Lisandro Nogueira

2008-12-01

Full Text Available O cinema clássico e o telejornalismo possuem formas de narrar aproximáveis. Eles são semelhantes na busca da "objetividade" e na ênfase ao melodrama e ao espetáculo como eixo de identificação do espectador. Doces Poderes (1996, de Lucia Murat, se situa nessa chave. Um céu de estrelas (1996, da cineasta Tata Amaral, se distancia do melodrama, se aproxima de um sentido de tragédia e critica os procedimentos objetivos do telejornalismo. A análise dos filmes possibilita averiguar como o cinema brasileiro representa o telejornalismo e avalia as proximidades e diferenças entre os dois campos.

Cinema e jornalismo: o melodrama e a tragédia moderna

Directory of Open Access Journals (Sweden)

Nogueira, Lisandro

2008-01-01

Full Text Available O cinema clássico e o jornalismo possuem formas de narrar aproximáveis. Eles são semelhantes na busca da “objetividade” e na ênfase ao melodrama e ao espetáculo como eixo de identificação do espectador. Doces Poderes (1996, de Lucia Murat, se situa nessa chave. Um céu de estrelas (1996, da cineasta Tata Amaral, se distancia do melodrama, se aproxima de um sentido de tragédia e critica os procedimentos objetivos do telejornalismo. A análise dos filmes possibilita averiguar como o cinema brasileiro representa o telejornalismo e avalia as proximidades e diferenças entre os dois campos

A força do cinema para a massificação ou para a promoção da diversidade cultural

Directory of Open Access Journals (Sweden)

Cecília Leão Oderich

2017-12-01

Full Text Available A imagem influencia a compreensão, o conhecimento, a formação ideológica de indivíduos e grupos. Este trabalho apresenta um ensaio que analisa a força do cinema como arte que pode tanto legitimar padrões em processos de apropriação, padronização e massificação cultural, quanto pode se constituir como um espaço de inclusão, de crítica, de diversidade cultural e diálogo intercultural. São apresentados exemplos de filmes e os desafios dos cinemas nacionais e do cinema independente quando buscam além da hegemonia do visual. A perspectivação sobre diferentes temas, desde questões étnicas, da obesidade, do colonialismo, da escolarização, da “deformidade”, por exemplo, pode ocorrer a partir do cinema de massa ou do cinema independente. A pesquisa sobre cinema pode ajudar na crítica anticolonizadora, no diálogo intercultural e na ampliação da tomada de consciência sobre a importância da arte e do cinema nas forças que conjuminam em modelos e padrões para uma suposta normalidade ou sucesso, na busca por relações menos estereotipadas.

Geografias audiovisuais: Para além das Geografias de Cinema

Directory of Open Access Journals (Sweden)

Tiago de Almeida Moreira

2012-01-01

Full Text Available O artigo faz uma revisão e análise crítica do que vem sendo apresentada como uma nova área da pesquisa geográfica, as Geografias de Cinema. A partir desta revisão o autor propõe uma área de pesquisas geográficas mais abrangente, as Geografias Audiovisuais, que inclui não só as Geografias de Cinema, mas também a análise geográfica de obras televisivas, de propaganda, de animação, os jogos de vídeo-game e outros. Esta nova área proposta pretende abrir a possibilidade de análise geográfica e uso didático da linguagem audiovisual em todas as suas formas.

INIS: Authority list for journal titles

Energy Technology Data Exchange (ETDEWEB)

NONE

2003-03-01

This is the twenty-ninth revision of the INIS: Authority List for Journal Titles (IAEA-INIS-11). It lists the titles of 12 990 journals which have contained articles within the scope of INIS. The purpose of this report is to provide descriptive cataloguers with a standard entry for the full title of a journal. In addition to the full journal title, the ISSN (International Standard Serial Number), administered by the ISSN International Centre, Paris, France, and/or CODEN, assigned by Chemical Abstracts Service, USA, are given in this manual. In order to help the reader to find titles easily, the list is divided into two parts. In Part I, the full journal titles are grouped by country or international organization responsible for coverage and ordered alphabetically. In Part II, the full journal titles of all countries or international organizations are arranged alphabetically. The country name or the international organization name responsible for coverage of the journal title to INIS is entered in parentheses. Journal titles marked with an asterisk are regularly scanned by INIS. Titles that have been identified by INIS Centres as 'Key Journals' are marked with the hash sign.

INIS: Authority list for journal titles

International Nuclear Information System (INIS)

2003-01-01

This is the twenty-ninth revision of the INIS: Authority List for Journal Titles (IAEA-INIS-11). It lists the titles of 12 990 journals which have contained articles within the scope of INIS. The purpose of this report is to provide descriptive cataloguers with a standard entry for the full title of a journal. In addition to the full journal title, the ISSN (International Standard Serial Number), administered by the ISSN International Centre, Paris, France, and/or CODEN, assigned by Chemical Abstracts Service, USA, are given in this manual. In order to help the reader to find titles easily, the list is divided into two parts. In Part I, the full journal titles are grouped by country or international organization responsible for coverage and ordered alphabetically. In Part II, the full journal titles of all countries or international organizations are arranged alphabetically. The country name or the international organization name responsible for coverage of the journal title to INIS is entered in parentheses. Journal titles marked with an asterisk are regularly scanned by INIS. Titles that have been identified by INIS Centres as 'Key Journals' are marked with the hash sign

Insanity and Cinema: Keys to understand a complicated affair

Directory of Open Access Journals (Sweden)

Beatriz Vera Poseck

2008-10-01

Full Text Available Psychopathology and mental disturbances have always been prevalent in cinema because they add an element of drama and mystery. Films portraying mentally disturbed characters like Dr. Dippy´s Sanitarium (1906 or Das Kabinett des Dr. Caligari (1919 by Robert Wiener were released only a short time after the Lumière brothers had invented the cinematographer. Since then, there are a large number of films whose plot and intrigue are based on insanity and its manifestations. The list grows steadily every year.             This article is a review of some of the mental disturbances that have been portrayed in films. Its main purpose is to establish sensible choices and mistakes that have been committed while attempting to address the bottomless world of madness.

The Performative Force of Bodies: Affective Realism in Contemporary Brazilian Cinema

Directory of Open Access Journals (Sweden)

Alessandra Brandão

2015-10-01

Full Text Available http://dx.doi.org/10.5007/2175-8026.2015v68n3p161 This paper traces the emergence of a younger generation of Brazilian filmmakers whose works bypass traditional themes in Brazilian cinema such as urban violence and historical revisionism to engage in post-identity politics avoiding narratives of nation, class and gender. One of the most prominent features in these recent works is a questioning of the status of the image, which vacillates between fiction and documentary without a point of resolution. This vacillation can be understood in terms of the performative nature of films like The Monsters, The Residents, The Earth Giveth, The Earth Taketh and Avenida Brasilia Formosa. Such films are centered around improvisations that open up the image to the real. Therefore, these films produce a space between fiction and documentary, between reality and artifice that is productive and politically charged. This proposal aims at discussing this “Brand New” Brazilian Cinema (Novísssimo Cinema Brasileiro and the performative force of bodies in its affective realism. No longer a referent for a sociological truth about Brazilian society, realism is taken as something that the image does, i. e., as an affect that challenges the viewer's response-ability.

Asya Politik Sineması Üzerine Notlar / Notes on Asian Political Cinema

Directory of Open Access Journals (Sweden)

Mustafa Ali MİNARLI

2015-01-01

Full Text Available Sinema, diğer sanat dalları gibi, topluma ve onu etkileyen faktörlere kayıtsız kalmamış ve hangi biçim ya da dil vasıtasıyla olursa olsun yaşama ayna olma vazifesini yerine getirmekten geri durmamıştır. Sinemanın toplumu yine kendisine yansıtarak tanıtması ve onu eleştirmesi bölgeden bölgeye ve kültürden kültüre farklılıklar göstermektedir. Sinema, tıpkı Lumiere Kardeşler’in sinematografından hareketle dünyaya yayılıp biçim ve dil değiştirerek yaşamını çok yönlü sürdürdüğü gibi, bugün de çeşitliliğini ve zenginliğini muhafaza etmeye devam etmektedir. Asya politik sineması günümüzde toplumsal hareketler ve sinema ilişkisi bağlamında en özgün örneklerin ortaya çıktığı alanlardan birini teşkil etmektedir. Asyalı sinemacılar, kendi ülkelerindeki toplumsal hareketlenmeleri veya siyasi değişimleri işlerken sinemanın farklı anlatım biçimlerini kullanmışlardır. Özellikle dünyanın kanayan yarası Ortadoğu’nun sinemacılarının toplumu nasıl gördükleri ve toplumun kendi kendisini nasıl tanıması gerektiği konusunda yaptıkları çalışmalar tüm dünyada ilgiyle takip edilmektedir. Bu çalışmada, Asya politik sineması önde gelen ülkeler bazında tek tek incelenerek, bölgelerin ve ülkelerin geçmişten günümüze gelişimleri mercek altına alınacaktır. Rus sinemasının çevre bölgesine etkisi, İran sinemasının kendine has özellikleri ve onu öne çıkaran nedenler, son olarak bu ekollerin Batılı örneklerle olan ilişkisi tartışılacaktır. / Cinema does not stay indifferent to the society and the factors effecting it and does not abstain from the duty for reflecting the life by means of every language and every form like the other branches of art do. Cinema’s process of introducing society by reflecting it to itself and criticizing society varies from region to region and culture to culture. In addition to the fact that cinema led a

Drone Age Cinema

DEFF Research Database (Denmark)

Christiansen, Steen Ledet

such physical movements and responses through vectors, droning, kinetics, telesomatics and volatility and in so doing unveils new modes of perception that acclimatise us for warfare. Drawing on theories from film-philosophy and a consideration of the aesthetics and phenomenology of war, this is an innovative......At a time when technological advances are transforming cultures and supporting new automated military operations, action films engage the senses and, in doing so, allow viewers to embody combat roles. This book argues that through film the viewer adapts to an ecology of fear, one that reflects...... global panic at the near-constant threat of conflict and violence. Often overwhelming in its audiovisual assault, action cinema attempts to overpower our bodies with its own through force and intensity. In this book, Steen Ledet Christiansen identifies five aspects central to how action films produce...

Title list of documents made publicly available: May 1--31, 1997. Volume 19, Number 5

International Nuclear Information System (INIS)

1997-07-01

The Title List of Documents Made Publicly Available is a monthly publication. It describes the information received and published by the US Nuclear Regulatory Commission (NRC). This information includes (1) docketed material associated with civilian nuclear power plants and other uses of radioactive materials and (2) non-docketed material received and published by NRC pertinent to its role as a regulatory agency. As used here, docketed does not refer to Court dockets; it refers to the system by which NRC maintains its regulatory records. This series of documents is indexed by a Personal Author Index, a Corporate Source Index, and a Report Number Index

Title list of documents made publicly available: October 1--31, 1994. Volume 16, Number 10

Energy Technology Data Exchange (ETDEWEB)

1994-12-01

The Title List of Documents Made Publicly Available is a monthly publication. It contains descriptions of the information received and generated by the US Nuclear Regulatory Commission (NRC). This information includes (1) docketed material associated with civilian nuclear power plants and other uses of radioactive materials and (2) nondocketed material received and generated by NRC pertinent to its role as a regulatory agency. As used here, docketed does not refer to Court dockets; it refers to the system by which NRC maintains its regulatory records. This series of documents is indexed by a Personal Author Index, a Corporate Source Index, and a Report Number Index.

Title list of documents made publicly available: May 1--31, 1997. Volume 19, Number 5

Energy Technology Data Exchange (ETDEWEB)

NONE

1997-07-01

The Title List of Documents Made Publicly Available is a monthly publication. It describes the information received and published by the US Nuclear Regulatory Commission (NRC). This information includes (1) docketed material associated with civilian nuclear power plants and other uses of radioactive materials and (2) non-docketed material received and published by NRC pertinent to its role as a regulatory agency. As used here, docketed does not refer to Court dockets; it refers to the system by which NRC maintains its regulatory records. This series of documents is indexed by a Personal Author Index, a Corporate Source Index, and a Report Number Index.

Title list of documents made publicly available: February 1--29, 1996. Volume 18, Number 2

Energy Technology Data Exchange (ETDEWEB)

NONE

1996-04-01

The Title List of Documents Made Publicly Available is a monthly publication. It contains descriptions of the information received and generated by the US Nuclear Regulatory Commission (NRC). This information includes (1) docketed material associated with civilian nuclear power plants and other uses of radioactive materials and (2) nondocketed material received and generated by NRC pertinent to its role as a regulatory agency. As used here, docketed does not refer to Court dockets; it refers to the system by which NRC maintains its regulatory records. This series of documents is indexed by a Personal Author Index, a Corporate Source Index, and a Report Number Index.

Title list of documents made publicly available: February 1--29, 1996. Volume 18, Number 2

International Nuclear Information System (INIS)

1996-04-01

The Title List of Documents Made Publicly Available is a monthly publication. It contains descriptions of the information received and generated by the US Nuclear Regulatory Commission (NRC). This information includes (1) docketed material associated with civilian nuclear power plants and other uses of radioactive materials and (2) nondocketed material received and generated by NRC pertinent to its role as a regulatory agency. As used here, docketed does not refer to Court dockets; it refers to the system by which NRC maintains its regulatory records. This series of documents is indexed by a Personal Author Index, a Corporate Source Index, and a Report Number Index

Title list of documents made publicly available: October 1--31, 1994. Volume 16, Number 10

International Nuclear Information System (INIS)

1994-12-01

The Title List of Documents Made Publicly Available is a monthly publication. It contains descriptions of the information received and generated by the US Nuclear Regulatory Commission (NRC). This information includes (1) docketed material associated with civilian nuclear power plants and other uses of radioactive materials and (2) nondocketed material received and generated by NRC pertinent to its role as a regulatory agency. As used here, docketed does not refer to Court dockets; it refers to the system by which NRC maintains its regulatory records. This series of documents is indexed by a Personal Author Index, a Corporate Source Index, and a Report Number Index

More than Movies: Cinema Petra in Amman During the Mandatory Period

Directory of Open Access Journals (Sweden)

Renate Dieterich

2014-12-01

Full Text Available The movie theater can be considered as one of various modernizing forces that dramatically transformed Middle Eastern societies in the 20th century. Cinema Petra was the biggest and most important movie theatre in Transjordan throughout the 1930s and 1940s and had a multi-purpose function. It did not only screen movies but also served as a place of cultural communication and space for interaction. It was a major place of public gathering and entertainment during the 1930s and early 1940s and became part of the public space needed by Amman’s urban elite for their cultural and political activities. Thus the cinema contributed to the emergence of a critical public sphere in the growing young Transjordanian capital.

O novo cinema português. Políticas públicas e modos de produção (1949-1980)

OpenAIRE

Cunha, Paulo Manuel Ferreira da

2015-01-01

Tese de doutoramento em Estudos Contemporâneos, apresentada ao Instituto de Investigação Interdisciplinar da Universidade de Coimbra É objectivo da presente tese trabalhar organizadamente com uma série de dados relacionados com a prática e o estudo do cinema para tentar compreender, na sua complexidade, aquilo que entendo como o Novo cinema português, um momento de renovação na história do cinema português que entendi balizar entre 1949 e 1980: um período delimitado entre o abandono de ...

Putting the Brit into Eurohorror: Exclusions and Exchanges in the History of European Horror Cinema

OpenAIRE

Hutchings, Peter

2016-01-01

British horror cinema is often excluded from critical work dealing with European horror cinema or, as it is frequently referred to, ‘Eurohorror’. This article argues that such exclusion is unwarranted. From the 1950s onwards there have been many exchanges between British and continental European-based horror production. These have involved not just international co-production deals but also creative personnel moving from country to country. In addition, British horror films have exerted influ...

Japan's progressive sex: male homosexuality, national competition, and the cinema.

Science.gov (United States)

Hall, J M

2000-01-01

This essay serves as a broad investigation of the origins of what came to be called the "gay boom" in 1990's Japanese cinema: a culmination of print media, television, and especially films which made the gay male not merely a visible (political) subject but also the site of displaced contestations of gendered (female) desire. The most visible transnational signifier of the "gay boom" was the 1992 film Okoge, a film which, in keeping with a Japanese trend which relocates the gay male as a safe displacement of female desire, posits the heterosexual female as the audience's point of identification in a film about the lives of gay Japanese men. Using this as a starting point, this essay seeks to explore how male homosexuality and gender construction operate within both Japanese nationalism and the transnational discourse of Japanese cinema's dissemination.

Norbert Elias's motion pictures: history, cinema and gestures in the process of civilization.

Science.gov (United States)

Algazi, Gadi

2008-09-01

Norbert Elias's project in The process of civilization (1939) involved reconstructing invisible movement--both the slow tempoof long-term historical change and the modification of psychic structures and embodied dispositions. To do this, he resorted to uncommon devices: treating historical texts as constituting a series amenable to a rudimentary discourse analysis, he constructed an imagined 'curve of civilization' serving as an approximation of the hidden process of change. Elias's curve was not supposed to represent single past states, but movement itself, its direction and pace. This novel concept of historical representation was related to the perception of cinema as a new medium making actual movement visible. But beyond making it possible to imagine how one could telescope long-term historical process, cinema also held the promise of serving as a microscope, making the minute movements of the human body, gestures and manners available for close inspection. While anthropologists were devising ways of using the new medium to document fleeting gestures and bodily postures, it was used by popular audiences as a source for remodelling behaviour and acquiring polite manners and body techniques, as noticed by such acute observers as Marcel Mauss and Joseph Roth. Hence, popular appropriation of the cinema gave rise to a heightened awareness of the historicity of gestures and the changing modalities of their transmission. Cinema was itself part of the accelerated motion of history, of a perceived change of pace in the process of civilization, which in its turn shed light on its historical antecedents and played an essential role in rethinking the notion of civilization and culture.

Cinema utópico: a construção de um novo homem e um novo mundo

OpenAIRE

Erika Savernini Lopes

2011-01-01

O cinema, desde seus primórdios, prefigurou o espaço cibernético como um novo espaço imaterial construído coletivamente. A concepção desse outro lugar não físico para o qual o homem poderia migrar estabelece para o cinema e para o ciberespaço uma relação direta com as utopias. Na acepção do romance filosófico de Thomas More, a Utopia define-se como um outro espaço não-existente, irrealizável e ideal que diagnostica o atual. O cinema carregaria caracteres fundamentais da Utopia tanto no que se...

Theatre and Cinema Architecture: A Guide to Information Sources.

Science.gov (United States)

Stoddard, Richard

This annotated bibliography cites works related to theatres, movie houses, opera houses, and dance facilities. It is divided into three parts: general references, theatre architecture, and cinema architecture. The part on general references includes bibliographies and periodicals. The second and main part of the guide, on theatre architecture,…

Soviet Cinema and State Control: Lenin's Nationalization Decree Reconsidered.

Science.gov (United States)

Kepley, Vance, Jr.

1990-01-01

Proposes a revisionist account of the immediate conditions and consequences of the 1919 Soviet cinema nationalization decree. Argues that nationalization was the least successful of a set of stop-gap measures; that it dispersed and diluted control; and that it actually retarded the growth of the film industry. (KEH)

Development of CINEMA Mission Uplink Communication System

Directory of Open Access Journals (Sweden)

Nayoung Yoon

2012-03-01

Full Text Available Triplet Ionospheric Observatory (TRIO CubeSatforIon, Neutral, Electron MAgneticfields (CINEMA is a CubeSat with the weight 3 kg that will be operated in the orbit conditions of about 800 km altitude and 90° inclination angle, using the S-band and ultra-high frequency (UHF-band communication frequencies. Regarding the communication antenna loaded on the satellite, the two patch antennas has the downlink function in the S-band, whereas the two whip antennas has the function to receive the command sent by the ground station to the satellite in the UHF-band. The uplink ground station that communicates through the UHF-band with the CINEMA satellite was established at Kyung Hee University. The system is mainly composed of a terminal node controller, a transceiver, and a helical antenna. The gain of the helical antenna established at the Kyung Hee University ground station was 9.8 dBi. The output of the transceiver was set to be 5 W (6.9 dB for the communication test. Through the far-field test of the established system, it was verified that the Roman characters, figures and symbols were converted into packets and transmitted to the satellite receiver in the communication speed of 9,600 bps.

Digital cinema video compression

Science.gov (United States)

Husak, Walter

2003-05-01

The Motion Picture Industry began a transition from film based distribution and projection to digital distribution and projection several years ago. Digital delivery and presentation offers the prospect to increase the quality of the theatrical experience for the audience, reduce distribution costs to the distributors, and create new business opportunities for the theater owners and the studios. Digital Cinema also presents an opportunity to provide increased flexibility and security of the movies for the content owners and the theater operators. Distribution of content via electronic means to theaters is unlike any of the traditional applications for video compression. The transition from film-based media to electronic media represents a paradigm shift in video compression techniques and applications that will be discussed in this paper.

Admirável Shakespeare novo: literatura, cinema e vídeo em prospero s books de Peter Greenaway

OpenAIRE

Santos, Eveline Alvarez dos

2012-01-01

A relação entre o cinema e a literatura é muito conhecida através do tempo e dos estudos teóricos comparativos. Em 1991, o inglês Peter Greenaway, diretor de filmes, disse em entrevista para uma importante revista americana que “o cinema não é uma desculpa para ilustrar a literatura”. Apesar disso, nós sabemos que a literatura vem se tornando, mais e mais, um objeto de inspiração para o cinema e a televisão. Dentre estes textos literários, nós temos muitos escritos por Shakespeare, renomado c...

Silencing cinema: film censorship around the world

OpenAIRE

Biltereyst, Daniël; Vande Winkel, Roel

2013-01-01

Why does oppression by censorship affect the film industry far more frequently than any other mass media? "Silencing Cinema" brings together the key issues and authors to examine instances of film censorship throughout the world. Including essays by some of today's leading film historians, the book offers groundbreaking historical research on film censorship in major film production countries, including the United States, the United Kingdom, Russia/Soviet Union, India, China, and Nigeria, amo...

Critiquing the Manipulations of Female Representation in Cinema: A ...

African Journals Online (AJOL)

From Hollywood to Bollywood and to Nollywood's cinematic productions, there has been a trend of filmic manipulations of the woman's identity, which is crafted through male subjugation of women and gender stereotype in which there is a systematic assigning of denigrating roles and routines to female characters in cinema ...

Cinema Experiences at School: Assemblages as Encounters with Subjectivities

Science.gov (United States)

Infante, Marta

2018-01-01

The aim of this article is to analyse how 15 students at a public elementary school detach from immobile representations of identity through aesthetic self-expressive work with cinema. Drawing on Deleuze and Guattari's concept of assemblage, I interrogate students' experiences of discrimination and challenge their processes of developing a short…

O Cinema da Contracultura na Guerra Fria e os Novos Paradigmas Socioculturais

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Guilherme Fellipin dos Santos

2017-06-01

Full Text Available The present paper propose an analysis about what has been the Counterculture in the Cold War context, associating the reconstruction of social ideals with the art production of this period, specially about the cinema (French and United States cinema. It aim to expose this social phenome in the filmmakers works and how they produced this countercultural effect. For the analysis, the movies will be Shoot the Pianist from François Truffaut, Masculim and Feminim from Jean-Luc Godard (both of them to analyse the Nouvelle Vague countercultural French movement, Rebel without a cause from Nicholas Ray, Dr. Strangelove from Stanley Kubrick, Easy Rider from Dennis Hopper, Francis Coppola’s Apocalypse Now and The Godfather.

Spy and Counterspy as a “Cultural Hero” in the Soviet Cinema of the Cold War

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Viktoria Sukovataya

2017-07-01

Full Text Available This article aim to analyze the evolution of the Soviet spy cinema of the Cold War in the context of the cultural history and the social changes in the USA and the Soviet Union, and the relations with the political opponents. The public reception of the Soviet spy and spying was evolved in the Soviet Union and it was reflected in the cinema plots and characters transformations.

Europa Cinemas auhindas Sõpruse kino / Katrin Rajasaare ; interv. Annika Koppel

Index Scriptorium Estoniae

Rajasaare, Katrin

2005-01-01

Euroopa ja Vahemere regiooni kinopidajaid ühendav organisatsioon Europa Cinemas kuulutas Sõpruse kino aasta parimaks noorsooürituste korraldamise kategoorias. Oma tööst räägib Sõpruse juht, kes käis ka 18. nov. Budapestis auhinda vastu võtmas

Browse Title Index

African Journals Online (AJOL)

Vol 21, No 1-2 (2008), L'altro 'Fuori' E L'altro 'Dentro' Nel Cinema Italiano Contemporaneo, Abstract PDF. L Ciavola. Vol 19, No 2 (2006), L'epopea della .... Vol 9, No 2 (1996), Notes and Gleanings - Quaderno proibito: A silenced woman's voice in post-war Italy, Abstract PDF. Piera Carroli. Vol 30, No 2 (2017), Notes and ...

Images and Voices from Beyond the National: How the ‘Trans’ Affected Spanishness in the Cinema of J.A. Bardem

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Urda, Jesus

2015-12-01

Full Text Available Juan Antonio Bardem (1922-2002 is a key cineaste if one wants to understand the evolution of Spanish cinema and its place in the history of European and World cinemas today. Since the 1950s, Bardem contested official nationalist cinema with often hermetic and symbolic narratives that spoke about Francoism’s cultural backwardness, its rigid religious and moral values, and its strict repression against those who lost the Civil War. With major critical and commercial successes as Muerte de un ciclista/Death of a cyclist (1955, Calle Mayor/Main Street (1956, Bardem achieved world recognition as an auteur, and started a career characterised by a clear fetish, hybridised transnational aestheticism. His cinema’s promiscuous relationship with Italian Neorealim and the conventions of the Hollywood genre film would eventually favour a hybrid cinema, which influenced the representation and the expression of identity within the national environment of Francoism. Due in part to the implications of European co-productions and in part to Bardem’s prolific use of intertextuality and obsessive focus on the “other cinemas” as an aesthetic and cultural starting point that both suited his political vision of nationhood and his vision of cinema as an industry, the national character or Spanishness of his films was gradually compromised. Using Mark Betz research on European co-productions during the 1950s and 1960s, this article also explores how the use of foreign actors and intra-national dubbing bespoke a political and aesthetic detachment, and how commercial and marketing strategies might have ended up suffocating identity and political detachment. I argue that while the Francoist’s enforced policy of dubbing foreign films into neutral Castilian Spanish helped nationalise foreign cinema and avoid international cultural and political intoxications, the use of foreign actors to represent Spanish roles in the films of Bardem contributed to a cancellation

Stereo ENA Imaging of the Ring Current and Multi-point Measurements of Suprathermal Particles and Magnetic Fields by TRIO-CINEMA

Science.gov (United States)

Lin, R. P.; Sample, J. G.; Immel, T. J.; Lee, D.; Horbury, T. S.; Jin, H.; SEON, J.; Wang, L.; Roelof, E. C.; Lee, E.; Parks, G. K.; Vo, H.

2012-12-01

The TRIO (Triplet Ionospheric Observatory) - CINEMA (Cubesat for Ions, Neutrals, Electrons, & Magnetic fields) mission consists of three identical 3-u cubesats to provide high sensitivity, high cadence, stereo measurements of Energetic Neutral Atoms (ENAs) from the Earth's ring current with ~1 keV FWHM energy resolution from ~4 to ~200 keV, as well as multi-point in situ measurements of magnetic fields and suprathermal electrons (~2 -200 keV) and ions (~ 4 -200 keV) in the auroral and ring current precipitation regions in low Earth orbit (LEO). A new Suprathermal Electron, Ion, Neutral (STEIN) instrument, using a 32-pixel silicon semiconductor detector with an electrostatic deflection system to separate ENAs from ions and from electrons below 30 keV, will sweep over most of the sky every 15 s as the spacecraft spins at 4 rpm. In addition, inboard and outboard (on an extendable 1m boom) miniature magnetoresistive sensor magnetometers will provide high cadence 3-axis magnetic field measurements. An S-band transmitter will be used to provide ~8 kbps orbit-average data downlink to the ~11m diameter antenna of the Berkeley Ground Station.The first CINEMA (funded by NSF) is scheduled for launch on August 14, 2012 into a 65 deg. inclination LEO. Two more identical CINEMAs are being developed by Kyung Hee University (KHU) in Korea under the World Class University (WCU) program, for launch in November 2012 into a Sun-synchronous LEO to form TRIO-CINEMA. A fourth CINEMA is being developed for a 2013 launch into LEO. This LEO constellation of nanosatellites will provide unique measurements highly complementary to NASA's RBSP and THEMIS missions. Furthermore, CINEMA's development of miniature particle and magnetic field sensors, and cubesat-size spinning spacecraft may be important for future constellation space missions. Initial results from the first CINEMA will be presented if available.

Practices and Poetics Surrealist in the Cinema of Germaine Dulac

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Eva Luisa Gomez Montero

2017-05-01

Full Text Available Germaine Dulac is mainly known for her work La coquille et le clergyman and for his controversial collaboration with Antonin Artaud in it. However, in order to get a closer approach and to understand the germ of the surrealist stage of the filmmaker, it is necessary to know her personal motivations and her critical position towards the values and the position occupied by the figure of women in her time, which was favoured by the artistic and political movements of the moment. This will be the cause that will lead her to experiment and express herself through the formal and narrative elements of the cinema, the study of the movement of the characters and their relation with the scene, as well as the investigation of rhythm, the emphasis on the Psychological and interior world, in order to reach the idea of pure cinema.

America’s Lost Innocence and Cinema

OpenAIRE

Patrycja Włodek

2015-01-01

In my paper America’s Lost Innocence I intend to focus on American cinema of the ’50s, part of ’60s, and contemporary throwbacks to those decades. The ’50s have been called “the last decade of American innocence”, “the happiest decade in America’s history – when things were going on – that everybody misses” (by Jean Baudrillard). That era symbolically ceased on 22 November 1963; however, many scholars and publicists undermine the belief in its very existence. Michael Wood calls the ’50s a tim...

The Ethics of Uncovering Something Else in Histoire(s du cinema

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Jiewon Baek

2014-09-01

Full Text Available In lieu of an abstract, here is the essay's opening paragraph:Marguerite Duras prefaces the second edition of Le navire night, from which an excerpt is cited above, by explaining that after writing the story of a man named J.M., everything came too late, including the realization of the film version of Le navire night. Once the event has been written and the common night of history been closed up, did she have the right to flash a light into the darkness to go back and see? The only seeing through cinema that was possible, she continues, was to film the failure, the disaster of the film. But how does one film the failure of realizing a film adaptation of a written text, which itself was transcribed from an oral re-telling of a story, which itself was adapted from memory? The event already took place – writing, “this history here” –, leaving cinema to film what never took place, namely, the film itself. As Jean-Luc Godard confirms in a chapter titled Seul le cinéma in Histoire(s du cinéma, not only in the form of his project as a whole but also more explicitly in one shot that positions two close-up photographs of his face with the sound of Paul Hindemith’s “Funeral Music” and this text: “Faire une description précise de ce qui n’a jamais eu lieu est le travail de l’historien.” Describing the rise of the film Le navire night from its disastrous death, Duras writes: “On a mis la caméra à l’envers et on a filmé ce qui entrait dedans, de la nuit, de l’air, des projecteurs, des routes, des visages aussi.” The camera turned upside-down, or in the other sense, inside-out, Duras films the entrance of the exterior, a sort of a Levinasian visage. The question no longer is one of having the right but of the duty to re-write history, as is insinuated by the reference to “The Critic as Artist” written across one of the photographs mentioned above, which is again a gesture of Godard’s positioning himself as the

Linguistics, Structuralism, and Semiology Approaches to the Cinema With a Bibliography

Science.gov (United States)

Harpole, Charles H.; Hanhardt, John G.

1973-01-01

An introduction to linguistics, structuralism, and semiology, with special emphasis on how these fields affect and can be applied in the study of cinema. The extensive bibliography includes books and articles in five languages. (CH)

Out of the Shadows: ‘New’ Peruvian Cinema, National Identity and Political Violence

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Sarah Barrow

2014-12-01

Full Text Available This article focuses on two debut works of cinema that were released within a few months of each other shortly after the turn of the century and which offer quite different modes of representation of the 'dirty war' that devastated Peru for two decades before that: Paloma de Papel (Fabrizio Aguilar 2003 and Días de Santiago (Josué Méndez 2004. It sets out a critical analysis of the cinematic treatment of the violence of terror as imagined via their film-makers and reflects upon their critical and commercial reception in Peru and beyond. It seeks to refute the accusations of neglect on the part of film-makers from some journalists and politicians by highlighting the ongoing importance of the period, its events and consequences for cinema in and of Peru. Moreover it explores the extent to which individual films, and cinema as a collective practice, play a key role in harnessing the potential for testimony and triggering debate about cultural and historical heterogeneity. In the final analysis, I argue that fiction cinema continues to play an influential and controversial role in shaping a sense of collective identity in nations such as Peru that are in the process of 'crystallization' and that have suffered recent trauma. I contend that so-called 'national' films (those supported to a certain degree by the State remain vital in their provision of diverse representations of landmark events of national concern that draw attention to the fractured and fragmented nature of such experiences, emphasising the persistence of division at every level.

THE APOSTOLES OF INTERGALACTIC RELIGIOCITY. MOTIF OF SPACE CONTACT IN NEW HOLLYWOOD CINEMA

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Sebastian Jakub Konefal

2010-01-01

Full Text Available American science fiction cinema of the 1970s began To employ eclectically presented references to eclectic views on religious topics. Films directed by artists such as Steven Spielberg and George Lucas offered viewers the stories influenced by the Christian and Buddhist symbolism as well as selected theses of the New Age Movements. The authors wanted to create in their productions new religiousness patterns, derived from the writings of some leading figures of the counterculture, such as Herbert Marcuse, Charles Reich, and Theodore Roszak. For this purpose they processed some storylines from science fiction novels and mass culture. This strategy was continued in the 1980s and first half of the 1990s, however the productions from this period showed a radicalization of the educational-ideological context which was associated with the conservative policy of the USA during this period. The end of the 1990s and the first decade of the twenty-first century is a period of erosion the New Age optimism of science fiction cinema. The growing popularity of plots with catastrophic and dystopian visions of the future indicates that religious topic in contemporary cinema fulfills different functions.

Alur Kerja Tahap Produksi Karakter Animasi Serial 3D Menggunakan Perangkat Lunak Maxon Cinema 4D

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Ardiyan Ardiyan

2011-04-01

Full Text Available 3D Animation serial for television needs have been showed in the national television program, especially fantasy theme and educational program for children. There are so many and sequential needs which tricked by instant and high quality production so the work flow in creating 3D animation serial are facilitating the producers. The article will explain specifically how the software of Maxon Cinema 4D in process production in 3D animation serial. The article will also clarify and focus on how the work flow of Maxon Cinema 4D software in processing production and post-production stages. The writer does research including audio visual tutorial, end-result comparison and rendering time between some software, self-observation of work flow in creating 3D animation serial using Maxon Cinema 4D software and digital literature study (e-book.  

Skepticism films: Knowing and doubting the world in contemporary cinema

NARCIS (Netherlands)

Schmerheim, P.A.

2013-01-01

Cinema has always displayed an affinity to characters with distorted or even hallucinatory relations to reality. With such films as The Truman Show, the Matrix films or Inception, contemporary filmmakers add another layer to this canon of film characters: unwitting ordinary victims of deception for

Review Essay : Virtually Alive or Questionably Dead? The Ambivalence of Modern Korean Identity in Literature and Cinema

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Kim, Kyu Hyun

2012-06-01

Full Text Available Theodore Hughes, Literature and Film in Cold War South Korea: Freedom's Frontier. New York: Columbia University Press, 2012. 304 pp. $55 (cloth.Kyung Hyun Kim, Virtual Hallyu: Korean Cinema of the Global Era. Durham, NC: Duke University Press, 2011, pp. 208. $90 (cloth, $25 (paper.The studies by Kyung Hyun Kim and Theodore Hughes discussed in this essay are rich with information and insights but are also challenging, almost subversive, to some prevalent views on Korean cinema and literature. While Kim looks into contemporary, post-1990s Korean films operating in the global market as an important (but perhaps since 2000 not the most influential wing of the hallyu (“Korean Wave” trend, Hughes deals primarily with early postwar literature and visual arts (including cinema from 1945 to roughly the early 1970s. Both authors are concerned with the history and contemporaneity of Korean identity and with the manners in which this localized identity is constituted, specifically in relation to colonial modernity, global late capitalism, and ethnocentric nationalism. They also address the problematic status of cinema in the context of Korean culture and history, sometimes developing arguments in unexpected directions.

Soundless Speech/ Wordless Writing: Language and German Silent Cinema

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Marc Silberman

2010-12-01

Full Text Available Speech / Wordless Writing: Language and German Silent Cinema Marc Silberman If language loses its communicative and interpretative functions in direct proportion to the loss of its referential grounding, then the modernist crisis is simultaneously a crisis of its signifying practices. This means that the evolution of the silent cinema is a particularly rich site to examine the problematic relationship of language and image. This essay presents several expressionist films as a specific response to this crisis in order to describe the diverse cinematic forms of resistance to the word, to articulated speech. While some film makers developed the silence of the silent film into a “gestural language” that dramatized light and movement, others reproduced the film figures’ silent speech by means of graphically stylized intertitles. My thesis is that the expressionist cinema maintained an idealistic notion of the film as a pure work of art that aimed at a unified composition of all elements and missed the opportunity to explore the rich semiotic possibilities of the new technological medium with its hybrid, synergetic forms and provocative force. Hence, the expressionist cinema marks a transition or even the endpoint of a long process of reflection about the communicative possibilities of language that shifted to a fundamentally new level with the invention of sound cinema at the end of the 1920s. Parole muette / écriture sans mot: Le langage et le cinéma allemand muet Marc Silberman Le langage, dit-on, perd de ses functions communicatrices et interpretatives en proportion directe à la perte de sa force référentielle. On dira que la crise moderniste est également une crise des pratiques signifiantes. Ce qui revient à dire aussi que l’évolution du cinéma muet serait une site particulièrement riche pour examiner les problématiques du langage vs. l’image. Cet essai présente quelques films expressionnistes comme réactions à la crise

Mapping out Patience: Cartography, Cinema and W.G. Sebald

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Taien Ng-Chan

2015-10-01

Full Text Available Cinematic cartography can be an especially powerful tool for deep mapping, as it can convey the narratives, emotions, memories and histories, as well as the locations and geography that are associated with a place. This is evident in the documentary film Patience (After Sebald by Grant Gee, which follows in the footsteps of W.G. Sebald and his walking tour of Suffolk, England, as described in his book The Rings of Saturn. A variety of strategies in cinematic cartography are used quite consciously in Gee’s exploration of space, place and story. Using Teresa Castro’s three cartographic shapes of cinema, I structure an analysis of the film’s opening scene through a discussion of cinematic cartography, or the plotting of geospatial data onto a map, as well as what I will differentiate as cartographic cinema, or the mapping of space through the cinematographic image. I argue that both are necessary not only to have a deep understanding of the world and our place in it, but also in how to transmit that knowledge to others.

On the Road : Screening Chinese Cinema through a Postmodern Lens

NARCIS (Netherlands)

Bian, Y.

2016-01-01

On the Road: Screening Chinese Cinema through a Postmodern Lens includes a variety of navigation services through the central debate on postmodernism as a cross-cultural study that recovers and represents Chinese film world of the past and the present, of home and abroad. Postmodernism in this

The Island Image and Global Links in Puerto Rican Cinema of the 21st Century

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María Cristina Rodríguez

2015-11-01

Full Text Available This essay looks back at the production of Puerto Rican films in the 1980s and 1990s as the point of departure for young Puerto Rican filmmakers in the first decades of the 21st century. Even as the stories of this newer generation differ, their concern with the island image and diasporic movement continue to question Puerto Rican identity. Problems of local film production and outside distribution remain for each film project. This essay analyzes a number of key films by a diverse group of directors whose goal is to rethink the concept of a Puerto Rican cinema.

[The cinema as a device for teaching complexity in mental health].

Science.gov (United States)

Delego, Adriana; Carroll, Hugo

2013-01-01

This article proposes the use of Cinema as an instrument for a complex approach to Teaching in the field of Clinical Psychiatry and Psychopathology in Mental Health. With this aim, intends a different look that pretends the approach not only to the conceptual structures on Psychopathology, but also to the complexity involved, choosing Cinema as a powerful way of "empathic recreation". Based on previous work by several authors, the theoretical framework that supports this modality is presented in the philosophical, cognitive, pedagogical-didactic aspects and their consequences into teaching within Mental Health. This task also implies addressing the historical evolution of the representation of subjectivity in fiction. In this way, a new perspective to those working in the field of mental health, as subjects involved in continuous learning processes, is presented. This perspective emphasizes the interactions underlying psychic problematical.

Israel: New history and post zionist cinema

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Sheila Schvarzman

2013-12-01

Full Text Available This article discusses a cultural and political movement that seeks, by reviewing the history of the creation of Israel, to replace recognition of the Palestinians as well as the responsibility for their exile/deportation. Duty of memory and duty of recognition in which Israeli cinema is engaged, and to which filmmaker Eyal Sivan proposes constitute an archive with testimony of the perpetrators. Not only Palestinian victims, but especially Israeli perpetrators, questioning, too, the forms of documentary. 

Cinema Sessions in Primary Care

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Francisco Ignacio MORETA-VELAYOS

2016-04-01

Full Text Available For a long time films have been used in teaching and at various levels of professional training  and more specifically in the medical area. In this case, through the description of a project developed in a Primary Care Health Center, we intend to justify the use of movies as a tool that could ease, the sometimes difficult task of continued education among Primary Care professionals. We propose different aspects of everyday practice in which cinema can be potentially useful, as well as the way to include it in the Plan of Continued Education of the Centre and its accreditation.Films and issues discussed in each session, and the project evaluation, are detailed.

Aesthetics of destruction in contemporary science fiction cinema

OpenAIRE

Warton, John Phillips

2015-01-01

Mass destruction imagery within the science fiction film genre is not a new cinematic development. However, a swell of destruction-centred films has emerged since the proliferation of digital technologies and computer-generated imagery that reflect concerns that extend beyond notions of spectacle. Through illusionistic realism techniques, the aesthetics of mass destruction imagery within science fiction cinema can be seen as appropriating the implied veracity of other film trad...

Impossible Puzzle Films : A Cognitive Approach to Contemporary Complex Cinema

NARCIS (Netherlands)

Kiss, Miklós; Willemsen, Steven

2017-01-01

Narrative complexity is a trend in contemporary cinema. Since the late 1990s there has been a palpable increase in complex storytelling in movies. But how and why do complex movies create perplexity and confusion? How do we engage with these challenges? And what makes complex stories so attractive?

Cinema 4D R14 cookbook

CERN Document Server

Russell, Simon

2013-01-01

This book is written in a Cookbook style with short recipes designed to effectively teach tools in the minimum amount of time. Each recipe hits on a topic that can be combined or incorporated with other recipes to give you the building blocks you need to start making great designs with Cinema 4D. Rather than demonstrating how to make a few specific and extensive projects, the recipes create a solid base of knowledge to help the reader understand the tools available to foster their own creativity.This book is for professional artists working in architecture, design, production, or games and wan

“PENGARUH INTENSITAS TERPAAN INFORMASI MELALUI TWITTER TERHADAP TINGKAT KEPUTUSAN PEMBELIAN” (Studi Eksplanatif tentang Pengaruh Intensitas Terpaan Informasi Melalui Twitter @cinema21 terhadap Tingkat Keputusan Pembelian yang Dikontrol oleh Sikap dan Tingkat Motif Pembelian Tiket Bioskop Pada Followers @cinema21)

OpenAIRE

SOWOLINO, GLORIA ANASTASIA

2014-01-01

Twitter merupakan salah satu tool masa kini yang marak digunakan oleh perusahaan-perusahaan dalam memasarkan produknya. Hal ini merupakan langkah yang ditempuh dalam melakukan kegiatan advertising atau periklanan bagi perusahaan. Twitter menjadi salah satu social media yang paling diminati oleh manusia saat ini karena sangat gampang diakses, simpel, dan aktual. 21 Cineplex Group merupakan perusahaan bioskop terbesar di tanah air, yang memiliki brand Cinema 21, Cinema XXI,...

Is it necessary to "be" a feminist to "make" feminist cinema? Icíar Bollaín and her cinematographic representation of gender.

OpenAIRE

Julia Cabrera Campoy

2017-01-01

Inequality between men and women in cinema has remained stable from its beginnings. Both behind the cameras and on-screen representation, women have been systematically invisible, underrepresented and objectified. Feminist efforts arose in the 1970s to visualize and subvert the existing power order, working through two axes: the critique on patriarchy and patriarchal cinema industry, and the development of feminist counter-cinema. Despite their efforts, women's situation has not been greatly ...

O CAMPO DISCURSIVO DOS MINI-DOCUMENTÁRIOS SOBRE A CONDIÇÃO DIASPÓRICA NO CINEMA BRASILEIRO

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Mahomed Bamba

2017-02-01

Full Text Available Num contexto histórico marcado por uma intensa discussão sobre a implementação de políticas afirmativas para com as populações afrodescen-dentes, assistimos, no campo cinematográfico e audiovisual brasileiro, a uma proliferação de filmes de curta e média metragem voltados para a represen-tação dos diversos aspectos da identidade cultural “negra”. Neste texto pro-curo entender como os diretores dos “curtadocs” etnicamente engajados re-visitam uma temática recorrente na tradição do cinema brasileiro (“filmes de assuntos negros” do Cinema Novo e também como eles renovam, estetica-mente falando, os modos de figuração desta realidade, criando narrativas que transcendem a questão racial para configurarem-se em ensaios e discur-sos críticos sobre aquilo que chamo de “condição diaspórica” no Brasil. Sendo assim, parto da ideia de que são obras que inspiram uma série de hipóteses para repensar as categorias de “cinema negro” e “filmes diaspóri-cos” no interior do cinema brasileiro contemporâneo.

Title list of documents made publicly available, February 1-29, 1980. Volume 2, Number 2. Monthly report

International Nuclear Information System (INIS)

1980-04-01

The document is a monthly publication containing descriptions of information received and generated by the U.S. NRC. This information includes (1) docketed material associated with civilian nuclear power plants and other uses of radioactive materials and (2) nondocketed material received and generated by NRC pertinent to its role as a regulatory agency. The docketed information includes information formerly issued through U.S. Department of Energy's Technical Information Center under the title Power Reactor Docket Information (PRDI). This document replaces PRDI, which will no longer be prepared. It is indexed by a Personal Author Index, Corporate Source Index, and Report Number Index

Sylvio Back in the tensions between cinema and state: the 60’s and 70’s

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Rosane Kaminski

2015-07-01

Full Text Available This paper discusses filmmaker Sylvio Back and the relationships between cinema and the State during Brazil’s military regime in the 1960s and 1970s. Back then, Brazilian cinema was mainly political and aggressive. At the same time, the government was interested in the film industry, and created awards and financing entities in order to increase national box office earnings. Sylvio Back then started to make films, saying that his intentions were to make “serious” movies, but that could be understood by their public. To analyze this filmmaker’s insertion in the conflicts between cinema and the State, we used interviews and testimonies from Back himself that were published on the press at the time, and understood that his fiction movies were a form of positioning himself on his context’s political and aesthetic matters.

CINEMA E LITERATURA: mediações em “Bonitinha, mas ordinária”

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Elen Duarte MIRANDA e SILVA

2011-01-01

Full Text Available A partir de um intenso movimento de metamorfoses técnicas e narrativas, o cinema passou de seu estado inicial de mero copiador da realidade à categoria de arte e vem estabelecendo uma forte e íntima relação de diálogo com a literatura. É a partir dessa relação que o destaque dessa pesquisa consiste em uma análise sobre a literatura dramatúrgica de Nelson Rodrigues e sua respectiva adaptação pelo cinema de Braz Chediak, com ênfase no trabalho em parceria entre escritor e cineasta:Bonitinha, mas ordinária: até que ponto o filme se subordina ao texto? Há inventividade na inscrição cinematográfica de Braz? Qual o teor criativo da narrativa do cineasta? Em que instância o filme foi produzido? Qual a tendência estética adotada pelo diretor? Essas questões são desvendadas através da colaboração teórica de Roland Barthes, Ismail Xavier, Sábato Malgadi e Robert Stam, bem como alguns outros estudiosos que pensam cinema e literatura e entram em cena para adensarem a análise feita sobre o objeto colocado em foco.

Eradication of the National Element in Ukrainian Cinema in the 1960s–1970s

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Nadia Kindrachuk

2018-06-01

Full Text Available In this article the author studies the elimination of the national element in the Ukrainian cinema of the 1960s and 1970s. The author explores the role and place of national-patriotic issues in Ukrainian cinematography, shows the ideological enslavement of filmmakers, studies the conditions of creative self-realization in the Ukrainian SSR, and analyses the influence of social and political factors on the cultural sphere of Ukrainian people in the outlined period. The representatives of Ukrainian cinema has always tried to popularize national features of their own people, but in the specified period, for censorship reasons, Ukrainian cinema began to be prohibited. The main reason is the struggle with the so-called “Ukrainian bourgeois nationalism”. For such an accusation it was enough to voice any film in Ukrainian and to fill its content with Ukrainian subjects. The characteristic features of Ukrainian cinematography of the 1960s – the early 1970s are as follows: subordination to the Soviet centralized command-administrative system, total control of the CPSU – CPU, russification, denationalization, persecution of all Ukrainian values under the pretext of forming a united Soviet nation.

Forensic characterization of camcorded movies: digital cinema vs. celluloid film prints

Science.gov (United States)

Rolland-Nevière, Xavier; Chupeau, Bertrand; Do"rr, Gwena"l.; Blondé, Laurent

2012-03-01

Digital camcording in the premises of cinema theaters is the main source of pirate copies of newly released movies. To trace such recordings, watermarking systems are exploited in order for each projection to be unique and thus identifiable. The forensic analysis to recover these marks is different for digital and legacy cinemas. To avoid running both detectors, a reliable oracle discriminating between cams originating from analog or digital projections is required. This article details a classification framework relying on three complementary features : the spatial uniformity of the screen illumination, the vertical (in)stability of the projected image, and the luminance artifacts due to the interplay between the display and acquisition devices. The system has been tuned with cams captured in a controlled environment and benchmarked against a medium-sized dataset (61 samples) composed of real-life pirate cams. Reported experimental results demonstrate that such a framework yields over 80% classification accuracy.

As imagens mescladas: expressões da arte de rua, a pop art e o cinema Mixed images: street art expressions, pop art and cinema

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Jheison Holthausen

2010-08-01

Full Text Available This article discourse about the hybrid images in contemporaneity. It establishes a relation among “Le fabuleux destin d’Amélie Poulain” movie images used by graffiti artists in Curitiba. It has recourse to semiotics, parody and the invention and simulation process such as pop art collage, the relation between the street graffiti, photography and cinema, as well as its relation with the worldview and politics. The image hybridism and the appropriation of new languages points to a new synergy between the archaic and the technological. O artigo pretende discorrer sobre as imagens híbridas na contemporaneidade. Para tanto, recorre à semiótica, à paródia e aos processos de criação e re-criação, como a colagem da arte pop, bem como a relação entre os grafites de rua, fotografia e o cinema, e também sua relação com visões de mundo e da política.

Tra cinema e fumetto: due usi del montaggio

Directory of Open Access Journals (Sweden)

Giuseppe Saitta

2016-01-01

Full Text Available Entrambi linguaggi visivi, ove la narrazione si dipana grazie al rapporto di interdipendenza cheogni singola immagine intrattiene con l'immagine che la precede e quella che le succede. Pur dovendo ricorrere dunque a un montaggio di immagini, fumetto e cinema presentano tra di loro grandi differenze, ma anche grandi similitudini. Cercheremo di scoprire quali sono affidandoci all'analisi della duplice trasposizione di "300" da parte di Frank Miller e Zack Snyder.

An Analysis of the Relationship between Cultural- Cinematic Policies of Iran and the Movies Introduced as the Representative of Iranian Cinema to the Academy of Oskar

Directory of Open Access Journals (Sweden)

Azam Ravadrad

2013-06-01

Full Text Available In this article the relationship between cultural policies and cinema in Iran is studied through a comparison between cultural-cinematic policies of two different Iranian states during years 1377 and 1389 and their effects on selecting the representative of Iranian cinema to the academy of Oskar. The theoretical framework of the study is based on the field of sociology of cinema, concentrating on Tony Bennett's theory relating to the effect of politics and state on form and content of cultural products. The methodology of the article is documentary and the technic used is qualitative content analysis. The analysis of cultural policies of cinema, as an issue in the field of sociology of cinema, shows that although form and content of movies are both influenced by social conditions, to which cultural policy is a part, form has been a more important criteria for the selection of movies to present in the academy of Oskar. In other words, there is a general policy in Iran that supports the idea of entering the competition of Oskar each year in order to show that Iranian cinema is so mature that is able to compete with the cinema of other countries. This policy leads to use the form and the aesthetic quality of movies as dominant criteria for the selection. Therefore, although based on each period's policies and state it is expected that selected movies produce some special contents, the importance of form has led to a selection of movies that are not directly appropriate with their co-existing domestic policies. Considering this interesting finding, it can be theoretically concluded that the effect of cultural policies on cinema is more on the content while the form of cinema is to a great extent free from the bounds of cultural policies.

Genetics and Cinema: Personal Misconceptions That Constitute Obstacles to Learning

Science.gov (United States)

Muela, Francisco Javier; Abril, Ana María

2014-01-01

The primary objective of this paper is to find out whether the genetic concepts conveyed by cinema could encourage students' personal misconceptions in this area. To that end, two sources of conceptions were compared: the students' personal concepts (from a consolidated bibliography and from an experimental sample) and the concepts conveyed by…

The Western World in Soviet and Russian Cinema (1946-2016)

Science.gov (United States)

Fedorov, A. V.

2017-01-01

Cinema has always represented a powerful medium for influencing audiences (including in political and ideological ways). Therefore, exploring how the image of the Western world has been transforming in Soviet and Russian films is still relevant today. This study seeks to accomplish the following: define the role and place of the changing portrayal…

Psychoanalysis and the Hindi cinema.

Science.gov (United States)

Bhugra, Dinesh; Gupta, Susham

2009-06-01

Psychoanalysis was developed in nineteenth-century Vienna and led to a major change in thinking about emotions and feelings, and entered common parlance. Psychoanalysis raises notions of individual's growth and development, and defence mechanisms are used to suppress anxiety and stress. Portrayal of psychoanalysis in modern Hindi cinema is rare. In this paper we look at two films released in the late 1960s which dealt directly with psychoanalysis. Using these films we illustrate the relationship between males and females and the interaction between mothers and sons in the Indian context. The role of nurses as nurturing maternal figures and the role of tradition and modernity related to gender and westernization are discussed. These films represent the emergent India and its relationship with modernity and traditional values.

Review Essay : Virtually Alive or Questionably Dead? The Ambivalence of Modern Korean Identity in Literature and Cinema

OpenAIRE

Kim, Kyu Hyun

2012-01-01

Theodore Hughes, Literature and Film in Cold War South Korea: Freedom's Frontier. New York: Columbia University Press, 2012. 304 pp. $55 (cloth).Kyung Hyun Kim, Virtual Hallyu: Korean Cinema of the Global Era. Durham, NC: Duke University Press, 2011, pp. 208. $90 (cloth), $25 (paper).The studies by Kyung Hyun Kim and Theodore Hughes discussed in this essay are rich with information and insights but are also challenging, almost subversive, to some prevalent views on Korean cinema and literatur...

Laughter and collective awareness: The cinema auditorium as public space

NARCIS (Netherlands)

Hanich, Julian

2014-01-01

This article looks at how the collective experience of laughter in the movie theater is related to the idea of the cinema as a public space. Through the non-verbal expression of laughter the audience ‘constructs’ a public space the viewers may not have been aware of to the same degree prior to the

In-Situ Visualization Experiments with ParaView Cinema in RAGE

Energy Technology Data Exchange (ETDEWEB)

Kares, Robert John [Los Alamos National Lab. (LANL), Los Alamos, NM (United States)

2015-10-15

A previous paper described some numerical experiments performed using the ParaView/Catalyst in-situ visualization infrastructure deployed in the Los Alamos RAGE radiation-hydrodynamics code to produce images from a running large scale 3D ICF simulation. One challenge of the in-situ approach apparent in these experiments was the difficulty of choosing parameters likes isosurface values for the visualizations to be produced from the running simulation without the benefit of prior knowledge of the simulation results and the resultant cost of recomputing in-situ generated images when parameters are chosen suboptimally. A proposed method of addressing this difficulty is to simply render multiple images at runtime with a range of possible parameter values to produce a large database of images and to provide the user with a tool for managing the resulting database of imagery. Recently, ParaView/Catalyst has been extended to include such a capability via the so-called Cinema framework. Here I describe some initial experiments with the first delivery of Cinema and make some recommendations for future extensions of Cinema’s capabilities.

See, Seeing, Seen, Saw: A Phenomenology of Ultra-Violent Cinema

Directory of Open Access Journals (Sweden)

Downes Sarah

2014-09-01

Full Text Available Vivian Sobchack claims in Carnal Thoughts that human bodies are continually remade by the “technologies of photography, cinema, and the electronic media” (2004, 135. One such sphere of contemporary media that continuously redefines the notion of the human body is horror cinema. The recent advent of so-called ‘gorenography,’ spearheaded by James Wan and Leigh Whannel’s Saw (2004, issues conceptual and philosophical challenges to the presentation and conceptualization of the phenomenal body. Following in the scope of frameworks advanced by both Sobchack and Jennifer Barker this paper aims to explore how the body of the Saw series is constructed and how it emulates both the conceptualized bodies of its viewers and the state of modern information flow in a technological age. It will be argued that the Saw series not only recognises viewers’ enjoyment of its genre conventions but also acknowledges and manipulates their engagement with the film as a phenomenological object through which a sense of re-embodiment can be enacted

Desejo de cinema, desejo de modernidade

Directory of Open Access Journals (Sweden)

Eliana Kuster

2015-06-01

Full Text Available Como algo que poderia ser simplesmente uma técnica torna-se um instrumento de contar histórias e fomentar o sonho? Partimos dessa questão para explorar os rumos percorridos pela projeção de imagens animadas até chegar ao que chamamos de cinema. Com base na obra de Edgar Morin, Arlindo Machado e Noël Burch, investigamos essa transição, estabelecendo sua relação intrínseca com a nascente modernidade capitalista urbana e o surgimento de novas formas de representação social que atenderam às expectativas da classe burguesa.

Communication in conflict in Alejandro González Iñárritu cinema: ethos and documental fictionality

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Cláudio Coração

2013-12-01

Full Text Available Pretende-se, com este trabalho, identificar aspectos relacionados ao problema da comunicação no cinema de Alejandro González Iñárritu — fundamentalmente os filmes Amores brutos (2000, 21 gramas (2003 e Babel (2006. Por meio da interface teórica da cultura, da comunicação e do audiovisual, categorias como ethos, diversidade e ficcionalidade documental serão tratadas na perspectiva estética do cinema de González Iñárritu, assim como em sua representação da contemporaneidade. 

Chitrachanchala (pictures of unstable mind): mental health themes in Kannada cinema.

Science.gov (United States)

Prasad, Chillal Guru; Babu, Girish N; Chandra, Prabha S; Chaturvedi, Santosh K

2009-06-01

Regional movies in India play an important role in portraying mental illness and also depict awareness and attitudes of society towards people with mental health problems. Kannada (the language spoken by 50 million people from the state of Karnataka in South India) cinema has produced a range of movies depicting conditions ranging from psychosis to personality disorders. However, the descriptions of mental illness in several of these movies is vague and often stigmatizing. Some landmark films have involved psychiatrists in producing and directing the movies, including helping with the story line, which have added value to these films. Despite Karnataka being home to some of the important psychiatrists in the country and to some of the most famous and advanced mental health training and treatment centres, depictions of treatment and the portrayal of psychiatrists continues to be caricatured. As is true of many parts of India, treatment methods are often magico-religious, which is what Kannada cinema also reflects.

Enlaces entre educação e cinema na Argentina e Brasil (1990-2010

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Ana Lucia Faria Azevedo

2015-08-01

Full Text Available O artigo discute questões da educação e cinema na Argentina e Brasil (1990/2010, analisando concepções sobre a formação de professores na interface com o cinema, em projetos e políticas para o magistério. A partir de referenciais teóricos da educação e cinema, realizou-se levantamento e análise de fontes documentais e entrevistas semiestruturadas. Concluiu-se que a exibição e debates de filmes foi a principal estratégia de formação, enfatizando-se aspectos ético-políticos e a prática pedagógica. Palavras chaves: educação e cinema; formação de professores; educação no Brasil e na Argentina. El artículo aborda las cuestiones de educación y cine en Argentina y Brasil (1990/2010, a través del análisis de las concepciones de la formación del profesorado en la interfaz con el cine, en proyectos y políticas para la enseñanza. A partir de los marcos teóricos de la educación y cine, se llevó a cabo la encuesta y el análisis de fuentes documentales y entrevistas semi-estructuradas. Se concluye que ver películas y discutirlas fue la principal estrategia de capacitación, con énfasis en los aspectos éticos y políticos y la práctica pedagógica. Palabras clave: educación y el cine; formación del profesorado; la educación en Brasil y Argentina

Context Based Learning: A Role for Cinema in Science Education

Science.gov (United States)

Arroio, Agnaldo

2010-01-01

This paper discusses the role of cinema as a tool for science education. Based on the socio-cultural approach put forward by Vygotsky, it draws attention to the fact that an audience can interact with the characters and share their emotions and actions showed in an audiovisual setting. Experiences come from an interaction with a learning…

Gender Issues in Popular Cinema | Agba | Annals of Humanities and ...

African Journals Online (AJOL)

Gender issue in cinema like all other media of communication is the product of stereotyping in the ego formations for both male and female folks. The image of a person or group of persons must sell or be destroyed. Discussion on gender issue is often brought into focus to equalize public opinion and treatment for both men ...

Science in Cinema. Teaching Science Fact through Science Fiction Films.

Science.gov (United States)

Dubeck, Leroy W.; And Others

Many feel that secondary school graduates are not prepared to compete in a world of rapidly expanding technology. High school and college students in the United States often prefer fantasy to science. This book offers a strategy for overcoming student apathy toward the physical sciences by harnessing the power of the cinema. In it, ten popular…

"I Caught It at the Movies": Reflections on Medical History, Movie Theaters, and the Cinema of Contagion.

Science.gov (United States)

Wahlert, Lance

2016-01-01

Undertaking an examination of the precarious places of the movies and movie theaters in queer lives in the 20th century, this article takes up a series of anecdotal episodes and feature-length films to consider how the space-related stakes of LGBT health have been best understood in literal cinema houses and the narrative cinema projections inside of them. The author argues for an appreciation of LGBT-themed motion pictures as oscillating between perpetuator of queer pathology and its potential solution.

O horror não está no horror: cinema de gênero, anos Lula e luta de classes no Brasil

OpenAIRE

Kim Wilheim Doria

2016-01-01

Este trabalho se propõe a interpretar o diálogo travado por obras do cinema brasileiro contemporâneo com o repertório do cinema de gênero. A partir de questões suscitadas pela análise fílmica de obras como O invasor (Beto Brant, 2002) e Trabalhar cansa (Juliana Rojas e Marco Dutra, 2011), procura-se refletir sobre o discurso totalizador operado formalmente no cinema contemporâneo de ficção, os valores canônicos de nossa tradição crítica e sua relação com os gêneros cinematográficos e sobre a ...

Políticas culturais e “Cinema Para Todos”: reflexões e caminhos possíveis

Directory of Open Access Journals (Sweden)

Patrícia Gonçalves Saldanha

2015-11-01

Full Text Available Este artigo é um desdobramento da dissertação de mestrado, defendida no PPGMC, que tem como base o projeto “Cinema para Todos” da Secretaria Estadual de Educação do Rio de Janeiro. Pretende-se refletir sobre as possibilidades e limitações das políticas culturais relativas ao cinema na educação pública. Pensando o cinema como visão de mundo e a escola como espaço coletivo e político, seria tal iniciativa governamental realmente para todos? Além disso, sugere-se que as redes de cineclubes em escolas possam atuar como pontos de cultura, propondo-os como caminhos para realização de uma experiência transformadora do ethos e capaz de criar pontes entre os sujeitos, seus pares e suas realidades em um cenário onde a política cinematográfica é denominada como patrimônio nacional. Como metodologia de pesquisa utilizou-se um enfoque múltiplo, articulando a pesquisa de campo e revisão bibliográfica.

Play and Gameful Movies: Ludification of Modern Cinema

DEFF Research Database (Denmark)

Larsen, Lasse Juel

2017-01-01

The aim of this article is to advance a conceptual framework of ludification by separating out current thinking to incorporate two non-interactive cinematic areas – playful aesthetics and gameful narratives. Ludification is usually associated with the construction of ludic identities and cultural...... and transform the narrative compositional structures of modern cinema. The present study’s investigation will present an expanded conceptualisation of ludification, classified by playfulness and gamefulness through interactive/non-interactive properties, aesthetic expressions, and narrative compositions under...

Debbie Ging, Men and Masculinities in Irish Cinema

OpenAIRE

Epinoux, Estelle

2013-01-01

Men and Masculinities in Irish Cinema was written by Debbie Ging, who is a lecturer in Film and Media Studies at Dublin City University’s School of Communications in Ireland. Her book falls into the field of media studies and more precisely film studies. It is divided into nine chapters which interweave the notions of gender, nation, identity and masculinity. The author centres her research around the concept of masculinity, unveiling its multiple understandings within the context of Irish so...

Transformation of Values, Identities & Life Styles at Iranian Society in Cinema Narration

Directory of Open Access Journals (Sweden)

Jamal Mohammadi

2013-12-01

Full Text Available This article is to do a sociologically analysis on transformation of values, Identities and life styles at Iranian post Islamic revolution society in cinema narrations. The method of study is qualitative; first the selected movies have been analyzed by applying semiotic narration analysis based on elements such as images, shots, actions, mise en secene, dialogues and scenes. Then their main social categories have been extracted and sociologically analyzed through thematic analysis strategy based on theoretical foundation of research. The population of research includes all post revolution Iranian cinema movies which 12 movies have been selected by purposive sampling method. These movies include; Narges, Fair People Wedding, Glass Agency, Under City Cover, Protest, Blue Scarf, Hemlock, Boutique, Wednesday Celebration, Trial in Street, about Eli & Separation of Nader & Simin. Findings show that selected movies narrate gaps, distinctness of social life domains, of instrumental rationality expansion & split of value systems

Quantitative analysis of the evolution of novelty in cinema through crowdsourced keywords.

Science.gov (United States)

Sreenivasan, Sameet

2013-09-26

The generation of novelty is central to any creative endeavor. Novelty generation and the relationship between novelty and individual hedonic value have long been subjects of study in social psychology. However, few studies have utilized large-scale datasets to quantitatively investigate these issues. Here we consider the domain of American cinema and explore these questions using a database of films spanning a 70 year period. We use crowdsourced keywords from the Internet Movie Database as a window into the contents of films, and prescribe novelty scores for each film based on occurrence probabilities of individual keywords and keyword-pairs. These scores provide revealing insights into the dynamics of novelty in cinema. We investigate how novelty influences the revenue generated by a film, and find a relationship that resembles the Wundt-Berlyne curve. We also study the statistics of keyword occurrence and the aggregate distribution of keywords over a 100 year period.

[Cinema and professional vocation].

Science.gov (United States)

García Sánchez, José Elías

2011-01-01

Commercial cinema is both narrative art and a widely-used mass medium that is built upon human stories. Among the contents of these stories there are many vocational aspects. Taking advantage of these circumstances we will proceed to analyze health vocations through eight films. Patch Adams allows us to approach the fulfillment of vocation, which has not been an easy task for women, as we can see in Allá en el setenta y tantos. Vocational fulfillment is at the core of the plot in The Citadel. Something the Lord Made is a good example to illustrate an unfulfilled vocation, in the same way as Awakenings and Arrowsmith represent the fulfillment of an unexpected vocation and a long pursued one. Finally, vocation can demand great sacrifices, which is made crystal clear in Korczak, and when vocation is not strictly followed it might lead to the greatest abominations, which is the case in "The Fugitive. "

Conjoined twins: scientific cinema and Pavlovian physiology.

Science.gov (United States)

Krementsov, Nikolai

2015-01-01

Through the lens of a 1957 documentary film, "Neural and humoral factors in the regulation of bodily functions (research on conjoined twins)," produced by the USSR Academy of Medical Sciences, this essay traces the entwined histories of Soviet physiology, studies of conjoined twins and scientific cinema. It examines the role of Ivan Pavlov and his students, including Leonid Voskresenkii, Dmitrii Fursikov and Petr Anokhin, in the development of "scientific film" as a particular cinematographic genre in Soviet Russia and explores numerous puzzles hidden behind the film's striking visuals. Crown Copyright © 2015. Published by Elsevier Ltd. All rights reserved.

Teaching and learning cinema and visual languages through economics-business studies and law in high school: An experimental interdisciplinary approach

Directory of Open Access Journals (Sweden)

Anna Poli

2016-04-01

Full Text Available In Italy, little is being done to promote cinema studies and the ability to analyse films and/or multimedia works among high school students. Although Italian legislation provides guidelines on specific learning objectives, activities and content to be included in high school courses, film and media language is still not encouraged in schools. The pilot introduction of cinema at the C. Tenca High School in Milan had the aim of demonstrating the value of film as an educational and epistemological resource and fostering the development of innovative interdisciplinary teaching strategies. Themes related to cinematographic language, Economics-Business Studies and law were introduced and analysed via the exploration of early films (late 1800s and early 1900s. The students investigated the topics of advertising, building a brand name, online marketing and the role of the media in shaping public opinion. In order to enhance students’ skills in analysing interactive communications, we introduced the themes of data journalism and fact-checking. The results are discussed in terms of a possible role for Cinema in the study of Economics-Business Studies and Law and of how cinema might become an interdisciplinary resource for other school subjects.

Negotiating Colonial Korean Cinema in the Japanese Empire: From the Silent Era to the Talkies, 1923-1939

OpenAIRE

Chonghwa Chung

2012-01-01

This article examines what I call a “system of cooperation” (K. hyŏp’ŏp, J. kyōgyō, 協業) in the colonial Korean film industry from 1923, when silent films appeared, to the late 1930s, when colonial cinema was restructured within an imperial wartime system. In other words, this article examines the interworking of colonial Korean and imperial Japanese cinema from Yun Hae-dong’s “colonial modern” perspective in order to go beyond the long established lens on colonial Korean film and film histori...

The monstrous metallic in medicine and horror cinema.

Science.gov (United States)

Scott, Niall

2014-01-01

`This paper considers the monstrous nature of medical tools and devices through the lens of horror cinema and the art of Damien Hirst. In it I argue for a shift from the monster and the monstrous as organic to the threat of the monster as an inorganic object in tools such as the scalpel and syringe. However, the metaphorical significance of the monster is sustained in these tools where human technological creations continue the discourse of the monster as a product of human creativity.

HISTÓRIAS DE RETIRANTES: RUÍNAS LITERÁRIAS NO CINEMA

Directory of Open Access Journals (Sweden)

Elisabete Alfeld Rodrigues

2009-06-01

Full Text Available Em O caminho das nuvens, Vicente Amorim conta a história da retirada de uma família do interior nordestino para a região sudeste. Uma história que já foi muitas vezes contada, por exemplo, em Vidas Secas: primeiro, na literatura, por Graciliano Ramos e, depois, no cinema, por Nélson Pereira dos Santos. Na retirada contada por Amorim, a migração não ocorre pelos passos na aridez do sertão; ela acontece por bicicletas nas rodovias, estradas e pequenas cidades que a família – pai, mãe e cinco filhos – percorre para chegar à cidade do Rio de Janeiro. A família se desloca da Paraíba em busca de um emprego de mil reais por mês que só pode ser encontrado no sudeste do Brasil – este motivo desencadeador parte de uma história factual. O filme é uma releitura que resgata a literatura, o cinema e a história factual promovendo uma relação dialógica construída por fragmentos das várias histórias.

INIS: Authority list for journal titles

International Nuclear Information System (INIS)

2005-01-01

This is the 31st revision of the INIS: Authority List for Journal Titles (IAEA-INIS-11). This list is published annually and includes the titles of all journals which have contained articles submitted to INIS at the time of publication. The current list contains 13,104 journal titles, 2,078 regularly scanned journals and 561 key journals. It was last updated in February 2005. The purpose of this report is to provide descriptive cataloguers with a standard entry for the full title of a journal. In addition to the full journal title, the ISSN (International Standard Serial Number), administered by the ISSN International Centre, Paris, France, and/or CODEN, assigned by Chemical Abstracts Service, USA, are given in this manual. In order to help the user find titles easily, the list is arranged in six parts, followed by summary statistics: In Part I, all key journals are grouped under the name of the country or international organization responsible for their input in INIS, then sorted alphabetically under their title. In Part II, all key journals are sorted alphabetically under their title. The name of the country or international organization responsible for their input in INIS is entered in parentheses within the body of the entry. In Part III, all journals that are regularly scanned by INIS Centers are grouped under the name of the country or international organization responsible for their input in INIS, then sorted alphabetically under their title. In Part IV, all journals that are regularly scanned by INIS Centers are sorted alphabetically under their title. The name of the country or international organization responsible for their input in INIS is entered in parentheses within the body of the entry. In Part V, all journals are grouped under the name of the country or international organization responsible for their input in INIS, then sorted alphabetically under their title. In Part VI, all journals are sorted alphabetically under their title. The name of the

INIS: Authority list for journal titles

Energy Technology Data Exchange (ETDEWEB)

NONE

2005-03-01

This is the 31st revision of the INIS: Authority List for Journal Titles (IAEA-INIS-11). This list is published annually and includes the titles of all journals which have contained articles submitted to INIS at the time of publication. The current list contains 13,104 journal titles, 2,078 regularly scanned journals and 561 key journals. It was last updated in February 2005. The purpose of this report is to provide descriptive cataloguers with a standard entry for the full title of a journal. In addition to the full journal title, the ISSN (International Standard Serial Number), administered by the ISSN International Centre, Paris, France, and/or CODEN, assigned by Chemical Abstracts Service, USA, are given in this manual. In order to help the user find titles easily, the list is arranged in six parts, followed by summary statistics: In Part I, all key journals are grouped under the name of the country or international organization responsible for their input in INIS, then sorted alphabetically under their title. In Part II, all key journals are sorted alphabetically under their title. The name of the country or international organization responsible for their input in INIS is entered in parentheses within the body of the entry. In Part III, all journals that are regularly scanned by INIS Centers are grouped under the name of the country or international organization responsible for their input in INIS, then sorted alphabetically under their title. In Part IV, all journals that are regularly scanned by INIS Centers are sorted alphabetically under their title. The name of the country or international organization responsible for their input in INIS is entered in parentheses within the body of the entry. In Part V, all journals are grouped under the name of the country or international organization responsible for their input in INIS, then sorted alphabetically under their title. In Part VI, all journals are sorted alphabetically under their title. The name of the

INIS: Authority list for journal titles

International Nuclear Information System (INIS)

2006-01-01

This is the 32nd revision of the INIS: Authority List for Journal Titles (IAEA-INIS-11). This list is published annually and includes the titles of all journals which have contained articles submitted to INIS at the time of publication. The current list contains 13,231 journal titles, 2,125 regularly scanned journals and 555 key journals. It was last updated in February 2006. The purpose of this report is to provide descriptive cataloguers with a standard entry for the full title of a journal. In addition to the full journal title, the ISSN (International Standard Serial Number), administered by the ISSN International Centre, Paris, France, and/or CODEN, assigned by Chemical Abstracts Service, USA, are given in this manual. In order to help the user find titles easily, the list is arranged in six parts, followed by summary statistics: In Part I, all key journals are grouped under the name of the country or international organization responsible for their input in INIS, then sorted alphabetically under their title. In Part II, all key journals are sorted alphabetically under their title. The name of the country or international organization responsible for their input in INIS is entered in parentheses within the body of the entry. In Part III, all journals that are regularly scanned by INIS Centres are grouped under the name of the country or international organization responsible for their input in INIS, then sorted alphabetically under their title. In Part IV, all journals that are regularly scanned by INIS Centres are sorted alphabetically under their title. The name of the country or international organization responsible for their input in INIS is entered in parentheses within the body of the entry. In Part V, all journals are grouped under the name of the country or international organization responsible for their input in INIS, then sorted alphabetically under their title. In Part VI, all journals are sorted alphabetically under their title. The name of the

Parents Ask about Title I = Los padres preguntan del Titulo I.

Science.gov (United States)

RMC Research Corp., Portsmouth, NH.

Title I, the largest federal aid program for elementary, middle, and high schools, is introduced in this publication, which includes both English and Spanish versions. Through Title I, the Federal government gives money to school districts around the country based on the number of low-income families in each district. Each district uses Title I…

The Role of Original Version Cinema into the European Digital Space

Science.gov (United States)

Ledo-Andión, Margarita; López-Gómez, Antía; Castelló-Mayo, Enrique

2017-01-01

This paper reports the results derived from the research project, entitled "eDCINEMA: Towards the European Digital Space. The role of small cinemas in original version" (CSO2012-35784), which focused on the analysis of the role of movies in OV/OVS in achieving diversity of languages and cultures (as viewed from the European Digital…

Contemporary Cinema in Language Learning: From Linguistic Input to Intercultural Insight

Science.gov (United States)

Pegrum, Mark; Hartley, Linda; Wechtler, Veronique

2005-01-01

Foreign-language cinema has generally been relegated to a minor role in language education. This paper reports on and analyses the results of a survey of attitudes towards foreign film among UK university students of French, German and Spanish. The findings reveal students' limited exposure to and relative lack of familiarity with non-anglophone…

Quantitative analysis of the evolution of novelty in cinema through crowdsourced keywords

Science.gov (United States)

Sreenivasan, Sameet

2013-01-01

The generation of novelty is central to any creative endeavor. Novelty generation and the relationship between novelty and individual hedonic value have long been subjects of study in social psychology. However, few studies have utilized large-scale datasets to quantitatively investigate these issues. Here we consider the domain of American cinema and explore these questions using a database of films spanning a 70 year period. We use crowdsourced keywords from the Internet Movie Database as a window into the contents of films, and prescribe novelty scores for each film based on occurrence probabilities of individual keywords and keyword-pairs. These scores provide revealing insights into the dynamics of novelty in cinema. We investigate how novelty influences the revenue generated by a film, and find a relationship that resembles the Wundt-Berlyne curve. We also study the statistics of keyword occurrence and the aggregate distribution of keywords over a 100 year period. PMID:24067890

O cinema: o objeto de uma rede de comunicação relacional

Directory of Open Access Journals (Sweden)

Freitas, Cristiane da Silva

2003-01-01

Full Text Available O cinema pode ser compreendido como uma estrutura plural que engloba produção, consumação, hábitos, criatividade, valores simbólicos e imaginários que dizem respeito a uma sociedade local.

Prodigal daughters: portraying lesbians in Hispanic Caribbean cinema.

Science.gov (United States)

Martinez-Reyes, Consuelo

2012-01-01

During the last twenty years, Hispanic Caribbean cinema has slowly developed roles to represent lesbians. In order to draw a conceptual map and to examine the un/successfulness of this new lesbian "public image," I analyze both independent films that challenge the status quo by portraying openly lesbian characters and mainstream films that insist on denying autonomy to same-sex love. Whereas commercial markets may deem an openly lesbian role transgressive, queer female roles can be considered "appropriate." Gender-queering functions as a symbolically transitional stage toward lesbian visibility and inclusion.

Cinema na Educação: um olhar a partir da categoria gênero

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Fabiana Lima de Lima Leite

2018-01-01

Full Text Available Este artigo busca uma interseção entre Cinema, Educação e Gênero, sobretudo considerando a aprovação da Lei 13.006/14, que determina a exibição de cinema nas escolas públicas e as resistências em incorporar a perspectiva da educação em gênero nas escolas a partir de 2014, com o Plano Nacional de Educação. Estudos são trazidos ao texto para elucidar como a prática escolar historicamente perpetua e reproduz uma cultura dominante sexista e, a partir de um diálogo com a teoria fílmica feminista, sustentamos a hipótese-cinema como dispositivo insurgente capaz de contribuir para processos educativos pautados pela emancipação e equidade de gênero. Palavras-chave: Educação. Cinema. Mulheres. Feminismo.   Movies in education: a look from the gender category ABSTRACT This article seeks an intersection between Movies, Education and Gender, especially considering the approval of Law 13.006/2014, which determines the exhibition of movies in public schools and the resistance to incorporate the perspective of gender education in schools from 2014, with the National Education Plan. Studies are presented in the text to show how the school reproduces a dominant sexist culture and, from a dialogue with feminist fi lm theory, we support the cinema-hypothesis as an insurgent device capable of contributing to educational processes guided by emancipation and gender equity. Keywords: Education. Movies. Women. Feminism.   Cine en la educación: Una mirada desde la categoría género RESUMEN Este artículo busca una intersección entre Cine, Educación y Género, sobre todo considerando la aprobación de la Ley 13.006/14, que determina la exhibición de películas en las escuelas públicas y las resistencias en incorporar la perspectiva de la educación en género en las escuelas a partir de 2014, con el Plan Nacional de Educación. Se acude a estudios en el texto para elucidar como la práctica escolar históricamente perpetúa y reproduce

Energy Information Data Base: serial titles

International Nuclear Information System (INIS)

1980-06-01

The Department of Energy Technical Information Center (TIC) is responsible for creating bibliographic data bases that are used in the announcement and retrieval of publications dealing with all phases of energy. The TIC interactive information processing system makes use of a number of computerized authorities so that consistency can be maintained and indexes can be produced. One such authority is the Energy Information Data Base: Serial Titles. This authority contains the full and abbreviated journal title, country of publication, CODEN, and certain codes. This revision replaces previous revisions of this document

Conservation of the `Piast' Cinema in Słubice: An Architectural, Urban or Moral Problem?

Science.gov (United States)

Eckert, Wojciech

2016-12-01

For many years, attempts have been made to remove the relic of the `Piast' Cinema in the western town of Słubice from Poland's monuments register. This would allow for its demolition and construction of a modern commercial building on the site. The majority of the building has already be demolished, with only the front elevation remaining. The façade of the cinema has unique artistic value, representing a rare example of the art deco style in the region. The building also forms an important part of the cultural landscape of this border town, representing the history of both Słubice and nearby Frankfurt. With its total demolition, Słubice would lose a unique monument and the entire frontage of the street on which it is located would be downgraded.

An Analysis of the Relationship between Cultural- Cinematic Policies of Iran and the Movies Introduced as the Representative of Iranian Cinema to the Academy of Oskar

OpenAIRE

Azam Ravadrad; Amirhossein Tamannaei

2013-01-01

In this article the relationship between cultural policies and cinema in Iran is studied through a comparison between cultural-cinematic policies of two different Iranian states during years 1377 and 1389 and their effects on selecting the representative of Iranian cinema to the academy of Oskar. The theoretical framework of the study is based on the field of sociology of cinema, concentrating on Tony Bennett's theory relating to the effect of politics and state on form and content of cultura...

Image: from the cinema to the performance

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Carina

2014-09-01

Full Text Available In the scope of a research on the body arts, the text approaches the issue of image representation in face of corporeal forces. With Deleuze’s philosophical studies on cinema, we bring his image taxonomy, which passes from a movement-image to a time-image, and we also consider theater to analyze how an image is launched from a stratified and moralizing representation to a performative and resonating image. The work of contemporary artists allows and makes us think an image in its relation with the new, with what is impossible to restrain, with images produced by the art of performance, by a body which creates images successively

Cinema and the Collective Dimensions of Disease

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Carlos TABERNERO HOLGADO

2016-09-01

Full Text Available The purpose of this article is to approach the understanding of the role played by films in the mechanismsfor the socio-cultural construction of health and disease. Our starting point is the consideration ofPublic health and cinema as sets of practices and discourses that are interrelated and essential for theprocesses of construction and functioning of contemporary societies. Based on this premise, we willanalyse the different types of representation of epidemics in films, seen as diseases that go beyond theprivate life of the individual. This provides some explanatory keys regarding our way of understanding,experiencing and managing the collective dimensions of disease.

Design parameters of a non-air-conditioned cinema hall for thermal comfort under arid-zone climatic conditions

Energy Technology Data Exchange (ETDEWEB)

Tiwari, G.N. (Indian Inst. of Tech., New Delhi (India). Centre for Energy Studies); Lugani, N. (Indian Inst. of Tech., New Delhi (India). Centre for Energy Studies); Singh, A.K. (Indian Inst. of Tech., New Delhi (India). Centre for Energy Studies)

1993-01-01

In this communication, a design of a cinema hall suitable for climatic conditions in an arid zone has been presented. The various cooling techniques, namely evaporative cooling, wind tower, ventilation/infiltration and natural cooling, have been incorporated in the design to achieve thermal comfort during the period of operation. The design parameters have been optimized on the basis of numerical computations after establishing an energy balance for each component of a cinema hall. It is observed that cooling treatment, i.e., a wind tower with a cooling pool on the roof provides reasonable thermal comfort inside the enclosure. (orig.)

REPRESENTAÇÕES DA MULHER CABOCLA NA TV E NO CINEMA NACIONAL DA DÉCADA DE 1970

OpenAIRE

Gottwald Junior, Luis Alberto

2015-01-01

O cinema nacional produziu diferentes gêneros fílmicos na década de 1970, o que resultou em múltiplas representações da mulher atrelada ou não a uma perspectiva política e social. Essa pesquisa buscou mostrar que, apesar de não tão evidenciada quanto a indígena ou as afro-brasileiras, a mulher cabocla foi representada na TV e no cinema nacional de diferentes formas, através de filmes e novelas de cineastas e dramaturgoscomo Jorge Bodanzky, Orlando Senna (Iracema: uma transa amazônica, 1974) e...

From “Crocodile City” to “Ville Lumière”: Cinema Spaces on the Urban Landscape of Colonial Surabaya

OpenAIRE

Ruppin, D.

2014-01-01

The development of exhibition spaces in Surabaya, from canvas and bamboo tents to luxurious cinema palaces, between 1897 and World War I demonstrates the burgeoning movie-going scene in this major colonial-era port city in Eastern Java. The evolution of these venues on the modernizing urban landscape came in the context of other processes of development and social change, which informed both the decisions of cinema entrepreneurs and the mobility of spectators. As a site in which technology, r...

Looking West: Understanding Socio-Political Allegories and Art References in Contemporary Romanian Cinema

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Király Hajnal

2016-09-01

Full Text Available The representation of other arts in cinema can be regarded as a different semiotic system revealing what is hidden in the narrative, as a site of cultural meanings inherent to the cinematic apparatus addressing a pensive spectator, or a discourse on cinema born in the space of intermediality. In the post-1989 films of Romanian director Lucian Pintilie, painterly and sculptural references, as well as miniatures become figurations of cultural identity inside allegories about a society torn between East and West. I argue that art references are liberating these films from provincialism by transforming them into a discourse lamenting over the loss of Western, Christian and local values, endangered or forgotten in the post-communist era. In the films under analysis – An Unforgettable Summer (1994, Too Late (1996 and Tertium Non Datur (2006 – images reminding of Byzantine iconography, together with direct references and remediations of sculptures by Romanian-born Constantin Brâncuşi, participate in historico-political allegories as expressions of social crisis and the transient nature of values. They also reveal the tension between an external and internal image of Romania, the aspiration of the “other Europe” to connect with the European cultural tradition, in a complex demonstration of a “self-othering” process. I will also argue that, contrary to the existing criticism, this generalizing, allegorical tendency can also be detected in some of the films of the generation of filmmakers representing the New Romanian Cinema, for example in Radu Jude’s Aferim! (2015.1

Are Shorter Article Titles More Attractive for Citations? Cross-sectional Study of 22 Scientific Journals

Science.gov (United States)

Habibzadeh, Farrokh; Yadollahie, Mahboobeh

2010-01-01

Aim To investigate the correlation between the length of the title of a scientific article and the number of citations it receives, in view of the common editorial call for shorter titles. Methods Title and the number of citations to all articles published in 2005 in 22 arbitrarily chosen English-language journals (n = 9031) were retrieved from citation database Scopus. The 2008 journal impact factors of these 22 journals were also retrieved from Thomson Reuters’ Journal Citation Report (JCR). Assuming the article title length as the independent variable, and the number of citations to the article as the dependent variable, a linear regression model was applied. Results The slope of the regression line for some journals (n = 6, when titles were measured in characters but 7 when titles were measured in words) was negative – none was significantly different from 0. The overall slope for all journals was 0.140 (when titles were measured in characters) and 0.778 (when titles were measured in words), significantly different from 0 (P articles with longer titles received more citations – Spearman ρ = 0.266 – when titles were measured in characters, and ρ = 0.244 when titles were measured in words (P 10 and for 2 out of 14 journals with impact factor <10 (P < 0.001, Fisher exact test). Conclusion Longer titles seem to be associated with higher citation rates. This association is more pronounced for journals with high impact factors. Editors who insist on brief and concise titles should perhaps update the guidelines for authors of their journals and have more flexibility regarding the length of the title. PMID:20401960

Garibaldi e l'epopea garibaldina nel cinema muto italiano. Dalle origini alla I guerra mondiale

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Giovanni Lasi

2011-03-01

Full Text Available The first film producted by an italian studio was "La presa di Roma - 20 settembre 1870" (Albertini & Santoni, 1905 and the Italian Risorgimento will continue to be one of the most favoured subjects of italian cinematography. In the period of silent screen films, between 1905 and 1927, aproximately 60 films were produced in Italy concerning the Risorgimento, of which at least 30 were regarding Garibaldi and his epic actions. Even in the cinema, Garibaldi continued to be the most representative and emblematic figure of the Risorgimento, and his popularity is often exploited in misleading ways by the figures of power during the first decades of the twentieth century to ideologize the figure of Garibaldi, still through cinema.

Representations of masculine hegemony and subalterns in the cinema

OpenAIRE

Vitelli, Celso

2011-01-01

Este artigo discute parte da teoria proposta por Robert Connell sobre masculinidades, relacionando-a com situações do filme Crash, de Paul Haggis. Analisam-se as diferentes masculinidades apresentadas no filme (hegemónica e subalterna) e as suas relações com o poder, incluindo a cultura da imagem, especificamente na linguagem do cinema.This article discusses part of the theory proposed by Robert Connell regarding masculinity as portrayed in the film Crash, by Paul Haggis. We analyze two forms...

Flânerie and Acrophilia in the Postmetropolis: Rooftops in Hong Kong Cinema

NARCIS (Netherlands)

Chow, Y.F.; de Kloet, J.

2014-01-01

Living in the spectacle of Hong Kong's skyscape, how often do its dwellers actually see, not to mention reach, its rooftops? Intriguingly, despite their apparent ephemerality and inaccessibility, the vertical fringes of the city feature frequently in Hong Kong cinema: the rooftop. In this article,

Comparing the characteristics of highly cited titles and highly alted titles

Energy Technology Data Exchange (ETDEWEB)

Didegah, F.; Bowman, T.D.; Bowman, S.; Hartley, J.

2016-07-01

This study examines differences in the types of titles for articles that show high altmetric activity (highly alted articles) versus highly cited articles. This work expands on previous research on document titles in combination with a grounded theory approach to develop a codebook in which articles were manually coded based on 11 characteristics. The results show that there are differences and similarities in titles across many of the examined characteristics; highly cited titles and highly mentioned titles on Wikipedia have some similar characteristics such as they have the the highest percentage of substantive words; in addition, there are no or very few titles referencing outside or with humor/lightness on both platforms. Twitter and Facebook also showed some similarities having the highest percentage of humorous/light titles and lowest percentage of substantive words in their titles. (Author)

Attitudes among Brazilian University Undergraduates regarding Cinema with Contents on Sexual Diversity

Science.gov (United States)

Costa, Angelo Brandelli; dos Santos, Camila Backes; Rodrigues, Manoela Carpenedo; Nardi, Henrique Caetano

2009-01-01

In this experience report we describe an event using cinema as a way to promote affirmative actions regarding sexual diversity among psychology undergraduates. As undergraduate students, we identify the need of a debate that could overcome the boundaries of the traditional notions of gender, sexuality and desire, in order to rethink what is…

Cinema Screen Advertising: An Old Technology with New Promise for Consumer Marketing.

Science.gov (United States)

Austin, Bruce A.

Few individuals think of the theatrically exhibited motion picture as supported by advertising like other major forms of mass communications. Cinema screen advertising can be defined as the presentation of individual advertising messages on movie theatre screens in a distinct and discrete fashion. Screenvision ads run prior to the start of each…

The Theater goes to the cinema: position subject

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Cássia Peres Martins

2013-06-01

Full Text Available This article aims to analyze the play “The Seven Kittens” (Os Sete Gatinhos, written in 1958 by the Brazilian playwright Nelson Rodrigues and its adaptation for the cinema, homonymous, direct by Neville D’ Almeida, launched in 1980. The theoretical approach which will serve as the basis for the above analysis will be the Anlysis of the Discourse of French oriented, as well as other theories that will help, as the reflections about lacanian subject by Bruce Fink (1998 and film studies by Ismail Xavier (2008. Fruit of the basic research of bibliographical and interpretative, this paper aims to present reflections about subject positions, devoting attention to the characters from the materiality of theatrical text, noting whether these positions are displaced in the filmic materiality. It will be verified beyond this possibility of subject positions, the inclusion or withdrawals of dialogues, the senses preserved, removed or added by means of elements that compose the whole of film production such as music, scenery, costumes, constitution of the image by means of the movement of the câmera (first and second plans, focus, etc., strategies aimed at the production of meanings by following the trends of the cinema of the years 70/80. This reflection is done while considering the materiality of the film is the result of a collective productions, led by a director, with different responsible for photography, set design, editing and soundtrack, as well as intervention in the creation of characters by each actor.

The Outsider Within: Béla Tarr and Hungarian National Cinema

OpenAIRE

Lilla Tőke

2016-01-01

Béla Tarr is probably the most paradoxical figure in contemporary Hungarian cinema. His artistic trajectory shows a movement from documentary style realism (Family Nest, 1979) towards more modernist cinematic practices (Satan’s Tango, 1994, Werckmeister Harmonies, 2000, and The Man from London, 2007). A major celebrity in the global film culture that prides itself in being transnational, international, and in crossing linguistic and ethnic boundaries, Tarr has consistently found himself on th...

Eyewitnesses of History: Italian Amateur Cinema as Cultural Heritage and Source for Audiovisual and Media Production

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Paolo Simoni

2015-12-01

Full Text Available The role of amateur cinema as archival material in Italian media productions has only recently been discovered. Italy, as opposed to other European countries, lacked a local, regional and national policy for the collection and preservation of private audiovisual documents, which led, as a result, to the inaccessibility of the sources. In 2002 the Archivio Nazionale del Film di Famiglia (Italy’s Amateur Film Archive, founded in Bologna by the Home Movies Association, became the reference repository of home movies and amateur cinema, promoting the availability of a cultural heritage that had previously been neglected. Today, it preserves about 5,000 hours of footage, contributes to documentary film productions and acts as a cultural and production center. The impact factor of the Home Movies Archive on the Italian audiovisual scenario and the sustainable perspectives strengthen the awareness that amateur film offers new opportunities to discover and represent the past from a different perspective, the one of an eyewitness “from below”. The article overviews the European and Italian discovery of amateur cinema as historical source from the seventies, and some cases from the Italian panorama during the last fifteen years, which powerfully raised the attention on home movies and amateur archive material.

“Mirroring terror”: The impact of 9/11 on Hollywood Cinema

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Thomas Riegler

2016-02-01

Full Text Available By drawing upon Siegfried Kracauer’s concept of cinema as a “mirror” of society, this article explores the impact of the “terror years” since 2001 on US cinema. Hollywood was the main cultural apparatus for coping with 9/11, which had left Americans struggling in the “desert of the real” (Žižek. Visual content simplifies traumatic events like the terrorist attacks for audiences—often expressing them in simple Manichean black and white terms and thereby offering moral guidance, unity, and a sense of destiny. Hollywood’s response to 9/11 included all these different aspects: It appealed to an “unbroken” spirit, strove to reassert the symbolic coordinates of the prevailing American reality, and mobilised for a response to new challenges. With time passing, Hollywood also incorporated the mounting doubts and dissent associated with this process. As the review of relating movies of the “terror years” demonstrates, the American film industry has examined, processed, and interpreted the meaning of the terrorist attacks in great variety: Ranging from merely atmospheric references to re-enactments, from pro-war propaganda to critical self-inquiry.

HVS-based quantization steps for validation of digital cinema extended bitrates

Science.gov (United States)

Larabi, M.-C.; Pellegrin, P.; Anciaux, G.; Devaux, F.-O.; Tulet, O.; Macq, B.; Fernandez, C.

2009-02-01

In Digital Cinema, the video compression must be as transparent as possible to provide the best image quality to the audience. The goal of compression is to simplify transport, storing, distribution and projection of films. For all those tasks, equipments need to be developed. It is thus mandatory to reduce the complexity of the equipments by imposing limitations in the specifications. In this sense, the DCI has fixed the maximum bitrate for a compressed stream to 250 Mbps independently from the input format (4K/24fps, 2K/48fps or 2K/24fps). The work described in this paper This parameter is discussed in this paper because it is not consistent to double/quadruple the input rate without increasing the output rate. The work presented in this paper is intended to define quantization steps ensuring the visually lossless compression. Two steps are followed first to evaluate the effect of each subband separately and then to fin the scaling ratio. The obtained results show that it is necessary to increase the bitrate limit for cinema material in order to achieve the visually lossless.

Sustainability in the Cinema: Akira Kurosawa’s looks

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Rodrigo Avila Colla

2011-12-01

Full Text Available From the thematic context of sustainability, this article analyzes, based on thematic and esthetic-narrative elements, two fictional films directed by Akira Kurosawa: Dersu Uzala, 1975, and Dreams, 1990 For this, some authors from the fields of cinema and, specially, of the environment are used. It seeks to understand, in light of concepts concerning the issue of sustainability, such as Japanese artist expressed the relationship between man and nature in both movies. Over fifteen years, during which separated the release of this two films, can be perceived a development of ecological thinking director.

The Impact of Film. How Ideas Are Communicated Through Cinema and Television.

Science.gov (United States)

Madsen, Roy Paul

The forms and concepts of cinema and television are examined in order to shed light upon the techniques of communicating ideas and achieving psychological effects on film. Part I of the book focuses upon basic cinematic and television concepts, including matters such as the language and grammar of cinematography, the syntax of editing, the…

When Stars Arrives To the Polls: Politics, Cinema and Television in Tamil Nadu

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Alejandra Val Cubero

2015-10-01

Full Text Available In Tamil Nadu, one of the most populated states in the South of India, the relationship between cinema, television and politics can explain the success of some of its political leaders. Leaders who started their public activity as directors, actors or script writers, activities which they were successfully able to combine with their roles as public servants. The ethnical and religious diversity of this region, along with the unswayable support of their groups of fans, gave birth to the creation of nationalist political parties which do not hesitate to defend their cultural idiosyncrasy as a sign of social identity. The political game in Tamil Nadu highlights the importance that media, and especially cinema, has had since the forties and fifties of the twentieth century in shaping the political scene. This article, with a historical perspective, has as an objective to determine the turning points of this complex relationship between audiovisual and politics, correlation characteristic of Tamil Nadu but also of India as a whole.

As exposições universais e o cinema: história e cultura

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Eduardo Victorio Morettin

2011-01-01

Full Text Available O artigo tem por objetivo examinar a presença do cinema nas exposições universais entre 1893 (World's Columbian Exposition, Chicago e 1939 (New York World's Fair. Integrante de uma cultura visual construída por esses espaços dedicados a celebrar o capitalismo, o cinema tem sua trajetória identificada à das diferentes feiras mundiais pela sua capacidade de entreter e, ao mesmo tempo, educar. Consolidando-se como meio de comunicações de massas em meio à Primeira Guerra Mundial, participará de maneira mais intensa das disputas simbólicas de um mundo prestes a entrar em seu segundo conflito mundial. Atingirá um público mais amplo, constituindo-se na principal 'vitrine' em que a nação projeta as virtudes a serem comemoradas. O novo grande espetáculo visual assumirá, nesse quadro, maior destaque por meio de filmes idealizados como verdadeiros monumentos cinematográficos.

Algumas memórias do cinema cubano mais polêmico

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Joel del Río

2011-01-01

Full Text Available Desde a fundação, em 1959, do Instituto Cubano da Arte e Indústria Cinematográficas (Icaic, apareceu um grupo de filmes dedicados a incentivar a polêmica social e a fustigar os erros do socialismo na Ilha. Este texto se propõe a analisar alguns dos principais vetores de pensamento que gravitaram sobre alguns desses filmes (documentários e de ficção capazes de levantar a polêmica, sobretudo, em seu caráter de espelhos fiéis da realidade. Também se tenta demonstrar o vertical compromisso com a realidade e seus dilemas quotidianos que tem caracterizado o melhor cinema cubano - quer dizer, o cinema cubano mais polêmico -, amparado numa política institucional decidida a demonstrar, coerentemente, a relevância artística e social de um cinema anticonformista que revele e denuncie um cinema que critique e questione, profundamente ligado ao compromisso, ao esforço coletivo para atingir uma sociedade mais justa, igualitária e humanista. Desde PM até Fresa y chocolate [Morango e chocolate], passando por Un día de noviembre e Papeles secundarios, o texto se propõe a interpretar as nuanças de cada polêmica, enquanto descreve os aportes de tais filmes à fibra medular da cultura cubana.Desde la fundación, en 1959, del Instituto Cubano del Arte e Industria Cinematográficos (Icaic han aparecido un grupo de filmes dedicados a incentivar la polémica social y a fustigar los errores del socialismo en la Isla. Este texto se propone analizar algunos de los vectores principales de pensamiento que gravitaron sobre algunos de los filmes (documentales y de ficción capaces de levantar la polémica, sobre todo en cuanto a su carácter de espejos fieles de la realidad. También se intenta demostrar el vertical compromiso con la realidad y sus dilemas cotidianos que ha caracterizado al mejor cine cubano - es decir, al cine cubano más polémico - amparado en una política institucional decidida a demostrar, coherentemente, la relevancia art

O cinema a serviço da cultura política nazista

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Bruna Krieck Farche

2017-12-01

Full Text Available O presente artigo analisa a influência do cinema na consolidação do nacional-socialismo alemão, a partir de breve resgate histórico do nazismo e de estudo dos filmes O Triunfo da Vontade (1935, dirigido por Leni Riefenstahl e Jud Süss (1940, dirigido por Veit Harlan. Ambos os filmes tiveram o apoio do governo de Hitler em sua produção e apresentam itens fundamentais da ideologia do Terceiro Reich, como o culto ao “líder salvador” (notável em O Trinfo da Vontade e o sentimento de identidade nacional baseado no inimigo comum do povo ariano (que é promovido de maneira sutil em Jud Süss. Filmes como esses ilustram o importante papel que o uso do cinema e da propaganda tiveram na manipulação das massas, ajudando a consolidar o nazismo como a cultura política hegemônica na Alemanha do contexto estudado, uma cultura que levou a uma das maiores atrocidades já vistas pela humanidade: o Holocausto.

Landscape in Cinema: Images to Think Time through Space

OpenAIRE

Filipa Rosário; Iván Villarmea Álvarez

2017-01-01

This text is an introduction to the special issue on ‘Landscape and Cinema’ published by Aniki. Portuguese Journal of the Moving Image. It is composed of a brief state of the art, which anchors this work within the bibliography on the subject, and a synthetic description of the discourses developed by the six papers included in the issue: the first one addresses the historical and aesthetic evolution of the background in the Russian and Soviet cinema of the first decades of the twentieth cent...

Infectious diseases in cinema: virus hunters and killer microbes.

Science.gov (United States)

Pappas, Georgios; Seitaridis, Savvas; Akritidis, Nikolaos; Tsianos, Epaminondas

2003-10-01

The world of infectious diseases has been rarely presented in the cinema with accuracy. Apart from random biographies of scientists and retellings of stories about great epidemics from the past, most films focus on the dangers presented by outbreaks of unknown agents that originate from acts of bioterrorism, from laboratory accidents, or even from space. We review these films and underline the possible effect that they have on the public's perception of infection--a perception that, when misguided, could prove to be problematic in times of epidemics.

Framing Persoalan Indonesia Melalui Film Dokumenter Model Direct Cinema (Studi Pada Film-film Dokumenter Terbaik, Program Eagle Award Competitions Di Metro TV)

OpenAIRE

Styo Wibowo, Novin Farid

2013-01-01

FRAMING PERSOALAN INDONESIA MELALUI FILM DOKUMENTER MODELDIRECT CINEMA(STUDI PADA FILM-FILM DOKUMENTER TERBAIK, PROGRAM EAGLEAWARD COMPETITIONS DI METRO TV)Frames Indonesia Issues Through Direct Cinema DocumentaryFilm On Television (Framing Analysis of the 3 Best Documentary Film, Eagle AwardCompetitions Program at Metro TV)Novin Farid Styo WibowoJurusan Ilmu Komunikasi, Fakultas Ilmu Sosial dan Ilmu PolitikUniversitas Muhammadiyah MalangEmail : TThe research disc...

Attrattività delle città di celluloide. A Venezia tra cinema "avventura" e turismo / Attractiveness of the celluloid cities. In Venice between “adventure” cinema and tourism

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Donatella Privitera

2016-05-01

Full Text Available Molte destinazioni hanno basato la loro strategia di promozione affidandosi ai prodotti multimediali, considerando i vantaggi legati alla potenza incisiva del cinema. Il cinema conserva un ruolo privilegiato grazie alla sua capacità di suggestione. Lo scopo dello studio è di migliorare la comprensione del cineturismo in location in film noti e di avventura. Quali sono le immagini che i turisti hanno di Venezia visionando i film di James Bond? Le interviste sono state condotte con un gruppo di studenti che hanno visto la pellicola Casino Royale. I risultati mostrano che Venezia nel mondo di Bond contiene elementi attrattivi ma rimane piuttosto in secondo piano.   Film and Tourism share a close relationship. The aim of the study is to improve understanding of film induced tourism on locations featured in popular films. The present research used the case of James Bond film to explore this issue about Venice. Interviews were conducted with students who have seen Casino Royale movie. These interviews indicate that Venice, into the world of Bond contains elements attractive but it remains of little importance compared to Bond.

CINEMA E EDUCAÇÃO: OS PROFESSORES, SEUS IMAGINÁRIOS E SUAS RELAÇÕES COM O AUDIOVISUAL

OpenAIRE

Rozangela Martins da Silva

2015-01-01

Esta pesquisa intitulada Cinema e educação: os professores, seus imaginários e suas relações com o audiovisual está inserida na linha de pesquisa LP1 Formação, Saberes e Desenvolvimento Profissional do Programa de Pós-Graduação da Universidade Federal de Santa Maria. A presente dissertação pretendeu investigar quais os imaginários construídos sobre a sétima arte e seu uso na escola e, como o cinema está sendo retratado nas práticas educativas de professores do Instituto Federal de Tocantins (...

Teaching and learning cinema and visual languages through economics-business studies and law in high school: An experimental interdisciplinary approach

OpenAIRE

Anna Poli; Fulvio Benussi

2016-01-01

In Italy, little is being done to promote cinema studies and the ability to analyse films and/or multimedia works among high school students. Although Italian legislation provides guidelines on specific learning objectives, activities and content to be included in high school courses, film and media language is still not encouraged in schools. The pilot introduction of cinema at the C. Tenca High School in Milan had the aim of demonstrating the value of film as an educational and epistemologi...

The Cinema of Federico Fellini and 8½ | Cardullo | Italian Studies in ...

African Journals Online (AJOL)

L'articolo ripercorre i grandi temi del cinema di Federico Fellini alla luce della sua biografia: nel nodo tra arte e vita, l'autore vede i segni di un rapido superamento delle strettoie del neorealismo, da cui il regista era partito, e un approdo ai grandi temi di un'immaginazione, qui definita 'neo-romantica', che si muove tra ...

The Empire Strikes Back. Russian National Cinema After 2005

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Tomasz Rawski

2017-11-01

Full Text Available The Empire Strikes Back. Russian National Cinema After 2005 The paper provides critical analysis of the latest wave of Russian national cinema (2005-2013, considered one of key instruments of Vladimir Putin’s nation-building cultural policy. The analysis, focused mostly on historical film and war film, reveals the concept of an ‘imperial nation’ as the main concept underlying this policy. The new Russian nation-concept is calculated to binding elements from two former Russian imperial traditions: tradition of the Russian Empire and the Soviet tradition, thus trying to overcome the identity crisis in contemporary Russia.   Imperium kontratakuje. Rosyjskie kino narodowe po 2005 roku Artykuł zajmuje się krytyczną analizą filmów najnowszej fali rosyjskiego kina narodowego (2005-2013, uważanej tu za jedno z kluczowych narzędzi polityki kulturalnej Władimira Putina obliczonej na budowanie narodu. Autorzy artykułu skupiają się przede wszystkim na filmie historycznym i wojennym, odsłaniając pojęcie „imperialnego narodu” jako konceptu stojącego u podstaw oficjalnej polityki. Nowe rosyjskie pojęcie narodu łączy w sobie dwie tradycje rosyjskie: tradycję Imperium Rosyjskiego oraz tradycję Związku Radzieckiego, próbując w ten sposób przezwyciężyć kryzys tożsamościowy współczesnej Rosji.

On Digital Film Theory: Liquid Cinema and Liquid Film Theory

OpenAIRE

Hakan Erkılıç

2017-01-01

Referring to Bauman’s (2005) concept of “liquid modernity”, this paper aims to discuss the new film theory that has emerged from the digitalization of cinema. The concepts of perceptual reality and elastic reality constitute the two most important parts of the theory. Bauman argues that contemporary modern societies are “liquid” because of their dynamic character. Although contemporary societies are in constant movement, he indicates that they lack certainty and borders, and flexibility and u...

CINEMA, INFÂNCIA E ESCOLA: NOVOS OLHARES PARA A EDUCAÇÃO BÁSICA

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Gisela Pascale Camargo Leite

2010-12-01

Full Text Available Esse texto surge como fruto de leituras e debates da disciplina Tópicos especiais: Educação e Cinema do programa de Pós-Graduação em Educação da Universidade Federal do Rio de Janeiro e pretende refletir acerca da qualidade do encontro entre o cinema e a infância no contexto escolar, para além da questão do gosto. O artigo aposta fortemente na hipótese de alteridade de Alain Bergala e promove questões para pensar a pedagogia da criação. Trata-se também de uma proposta de aproximação da experiência escolar como uma forma efetiva de aprender com as crianças a desnaturalizar as formas de ver e estar no mundo, olhando-o como se fosse a primeira vez.

How to Escape? The Trap of the Transition in the Recent Cinema of Bosnia and Herzegovina (2000-2012

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Tomasz Rawski

2014-12-01

Full Text Available How to Escape? The Trap of the Transition in the Recent Cinema of Bosnia and Herzegovina (2000-2012 The paper concerns the latest cinema of Bosnia and Herzegovina (2000-2012. Focusing on the cinema of social criticism (represented by movies which try to rethink the new socio-political order gradually emerging in BiH after the war of 1992-95, the authors recognize the Bosnian society as a community captured in the trap of an unfinished system transition. The story of the Bosnian society, simultaneously stuck in a dysfunctional and oppressive state and completely devoid of any prospects for the improvement of this situation, seems to be dominated by several escape strategies into an alternative reality: the nostalgic past, the imagined present or the utopian future. In that sense, the Bosnian cinema of social criticism turns out to be a cinema of social escapism.   Jak uciec? Pułapka transformacji w najnowszym kinie Bośni i Hercegowiny (2000-2012 Tekst dotyczy najnowszej kinematografii Bośni i Hercegowiny (2000-2012. Skupienie na nurcie kina krytycznego (do którego zaliczone zostały filmy, które próbują interpretować nowy porządek społeczno-polityczny powoli wyłaniający się w Bośni i Hercegowinie po wojnie z lat 1992-95 pozwala ukazać społeczeństwo Bośni i Hercegowiny jako znajdujące się w pułapce wciąż niedokończonej transformacji systemowej. Opowieść o społeczeństwie z jednej strony uwięzionym w dysfunkcjonalnym i opresyjnym państwie, a z drugiej całkowicie pozbawionym perspektyw i nadziei na poprawę sytuacji, zdominowana jest przez rozmaite strategie ucieczki w alternatywną rzeczywistość: nostalgiczną przeszłość, wyobrażoną teraźniejszość lub utopijną przyszłość. W tym sensie, bośniackie kino krytyczne jawi się jako kino eskapizmu społecznego.

Digital aesthetic forms between cinema and television: the need for new research directions

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Antonio Catolfi

2013-03-01

Full Text Available Twentieth century visual conventions — organized by a competitive collusion between cinema and television — did not survive the multiple forms and applications of digital media that put into play the multiplication of screens, the differentiation of production practices and processes of diffusion, and the rise of audience participative experiences.

Meeting of Experts on the Education of the Film-Maker for Tomorrow's Cinema.

Science.gov (United States)

United Nations Educational, Scientific, and Cultural Organization, Paris (France).

A summary of the discussions held by the participants in a 1972 conference on the education of filmmakers in Belgrade, Yugoslavia, is presented. Subjects considered at the meeting included: 1) cinema and television as instruments of culture in contemporary society; 2) the education of the filmmaker as both artist and craftsman; 3) technological…

A leitura, o cinema e os processos educativos na obra de Jonathas Serrano: problemas metodológicos e precauções morais da pedagogia nos anos 1910-30

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André Luiz Paulilo

2012-07-01

Full Text Available  O artigo faz uma revisão da obra de Jonathas Serrano sobre o ensino da leitura e o uso escolar do cinema. Examina os processos de aprendizagem da leitura estabelecendo distinções entre a leitura silenciosa e a leitura em voz alta; discute os problemas envolvidos no estabelecimento de critérios para utilizar os filmes cinematográficos na sala de aula; finalmente, aponta o impacto da racionalidade técnica para alguns aspectos do pensamento de Jonathas Serrano.Palavras-chave: leitura, cinema, história da educação.   Abstract Reading, cinema and educative process in Jonathas Serrano's work: methodological problems and moral precautions related to 1910-30's pedagogy. The article reviews Jonathas Serrano's work about the teaching of reading and the scholar use of cinema. Examines the learning processes of reading by establishing distinctions between silent reading and reading in high voice; discusses problems involved in establishing criteria to utilize movies in the classroom; and, finally, points out the impact of technical rationality concerning some aspects of Jonathas Serrano's thinking. Keywords: reading, cinema, history of education. 

Conservation of the ‘Piast’ Cinema in Słubice: An Architectural, Urban or Moral Problem?

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Eckert Wojciech

2016-12-01

Full Text Available For many years, attempts have been made to remove the relic of the ‘Piast’ Cinema in the western town of Słubice from Poland’s monuments register. This would allow for its demolition and construction of a modern commercial building on the site. The majority of the building has already be demolished, with only the front elevation remaining. The façade of the cinema has unique artistic value, representing a rare example of the art deco style in the region. The building also forms an important part of the cultural landscape of this border town, representing the history of both Słubice and nearby Frankfurt. With its total demolition, Słubice would lose a unique monument and the entire frontage of the street on which it is located would be downgraded.

INIS: Authority list for journal titles

International Nuclear Information System (INIS)

2007-01-01

This is the 33rd revision of the INIS: Authority List for Journal Titles (IAEA-INIS-11). This list is published annually and includes the titles of all journals which have contained articles submitted to INIS at the time of publication. The current list contains 13 396 journal titles, 2 170 regularly scanned journals and 578 key journals. It was last updated in February 2007. A journal - or periodical - is a continuing publication issued in a succession of discrete parts, usually bearing numbering and/or chronological designations and intended to be continued indefinitely. It is generally published within a defined, fixed interval between issues and normally appears more than once per year. It includes a mixture of articles, letters, summaries, etc. Within this definition, annuals such as the Annual Review of Nuclear Science are included, but series titles such as the McGraw-Hill Series in Nuclear Engineering are not. The purpose of this document is to provide descriptive cataloguers with standard elements to include in bibliographic level 'S' of the INIS record. These elements include field (tag) 229 (Full Journal Title), 320 (ISSN) and 321 (CODEN). The full journal title is mandatory, and either the ISSN or the CODEN must be included (both may appear). Instructions on how to use this and other elements of the INIS record format are found in INIS: Guide to Bibliographic Description (IAEA-INIS-1). In order to help the user find titles easily, the list is arranged in six parts, followed by summary statistics: - In Part I, all key journals are grouped under the name of the country or international organization responsible for their input in INIS, then sorted alphabetically under their title. - In Part II, all key journals are sorted alphabetically under their title. The name of the country or international organization responsible for their input in INIS is entered in parentheses within the body of the entry. - In Part III, all journals that are regularly scanned by

Il territorio delle Lipari tra ambiente, cinema e turismo / The territory of Lipari between environment, cinema and tourism

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Elena Di Blasi

2016-05-01

Full Text Available Fino agli anni ’50 le Lipari (dette anche Eolie, sfavorite dall’insularità e con un’economia di sussistenza, basata su attività tradizionali, erano dominate da povertà ed emigrazione. Tutto mutò nel 1949, quando una troupe cinematografica, guidata da Rossellini, girò Stromboli, interpretato da Ingrid Bergman: tra i due era nata una storia d’amore. Poco dopo, un’altra troupe utilizzò Vulcano come location dell’omonimo film, con Anna Magnani, ex fiamma di Rossellini. Questi cult passarono alla storia del cinema come la guerra dei vulcani. I due film, con gli scoop legati alle vicende sentimentali dei protagonisti, hanno innescato un nuovo percorso per le Eolie, fuori dall’atavico letargo, che ha determinato un vero e proprio “boom turistico”. Indagando la variegata realtà delle Lipari, lo scopo del presente articolo è quello di dimostrare come, attraverso un’analisi storica del mercato turistico, l’arrivo del cinema nel territorio eoliano abbia innescato importanti processi di sviluppo economico e cambiamento sociale. Questa ricerca vuole, inoltre, evidenziare il rapporto privilegiato tra insularità e cineturismo. Till the late 50s the Aeolian Islands, plagued by insularity and characterized by a subsistence economy based on traditional activities, had been dominated by poverty and emigration. All changed in 1949 when Rossellini shot Stromboli featuring Ingrid Bergman, his new love. Soon after a crew shot in Volcano the homonymous film starring Anna Magnani, Rossellini’s old flame. The two films, gone down in history as the war of volcanoes, and the scoops about the love scandal have drawn a new path for the Aeolian Islands that has taken them to a tourist boom. The present paper aims to show by means of a historical analysis of the local tourist market how the coming of the film industry have triggered processes of economic growth and social change in the Aeolian Islands. This paper also aims to point out the

Streaming Italian horror cinema in the United Kingdom: Lovefilm Instant

OpenAIRE

Baschiera, Stefano

2017-01-01

This article investigates the distribution of Italian horror cinema in the age of video streaming, analyzing its presence and categorization on the platform Lovefilm Instant UK, in order to investigate the importance of ‘niche’ in what is known as the long tail of online distribution and the online availability of exploitation films. I argue that looking at the streaming presence of Italian horror and comparing it to its prior distribution on home video formats (in particular VHS and DVD) we ...

Representações das masculinidades hegemónicas e subalternas no cinema Representations of masculine hegemony and subalterns in the cinema

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Celso Vitelli

2011-01-01

Full Text Available Este artigo discute parte da teoria proposta por Robert Connell sobre masculinidades, relacionando-a com situações do filme Crash, de Paul Haggis. Analisam-se as diferentes masculinidades apresentadas no filme (hegemónica e subalterna e as suas relações com o poder, incluindo a cultura da imagem, especificamente na linguagem do cinema.This article discusses part of the theory proposed by Robert Connell regarding masculinity as portrayed in the film Crash, by Paul Haggis. We analyze two forms of masculinity in the film (hegemonic and subaltern and their relationships to power, including the culture of the image, specifically, the language of film.

77 FR 30173 - Amendment of Americans With Disabilities Act Title II and Title III Regulations To Extend...

Science.gov (United States)

2012-05-21

... accommodations, there were some comments from title II entities. Organizations representing the hotel industry and individual owners and operators of hotels and campgrounds provided the largest number of comments..., provides state and local governments with flexibility to use other means such as acquisition or redesign of...

AN INTERSECTION IN THE ECOLOGICAL PARADIGM: ECOLOGIST CINEMA

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Refik YASLIKAYA

2015-07-01

Full Text Available We have witnessed the rise of ecologist movements since the second half of 20. Century when it is understood that t he mankind has exploited and polluted the world he/ she lives on as far as the world will be exterminated by the mankind. This rise has sometimes been concrete with the acts of an organization that is environmental protector; has come into existence with t he basic thesis of green parties that contains ecologist policies or has been one of the basic arguments of international politics. As a consequence of this, environmental awareness and protectionist approach have been mentioned from national policy docume nts and green party programs to international/ supranational agreements and acts of environmentalist activists in the academic studies in a broad framework. Moreover, a lot of ecological based philosophical trend like deep ecology, eco - socialism, eco - femin ism, etc. has emerged in this process. In the period in question, a sector has also adopted the environmental awareness as a subject; but this sector’s activities haven’t been mentioned so much in academic studies. Mentioned sector is cinema; in other wor ds, it is American and European based film industry. American based Holywood is the center that made the first production in this sense. Starting from 1970’s, lots of films have been begun to play under the main topic of disaster movie. European film indus try has started to use this theme as of 2000’s yet. First produced films were fictionalized via disaster scenarios which arise depending on a singular problem. In this frame, lots of factors like an earthquake, flood, a disease that a virus appears suddenl y creates were thought as the initiator of disaster. The solutions found for singular problem are usually the solutions found depending on the work of a person or a small group of professionals. In time, we can see that the themes change into global ecolog ical disasters which affect the world in general

Reflexões sobre as atuais políticas públicas para o cinema no Brasil em meio à transnacionalização da cultura

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Cesário, Lia Bahia

2007-01-01

Full Text Available A inflexão das políticas públicas para o cinema, a partir da criação da Lei do Audiovisual (1993, suscita interrogações sobre as relações entre as vertentes industrial e as culturais envolvidas na produção cinematográfica. O presente artigo irá avançar hipóteses sobre o impacto das tendências das políticas públicas para o setor, na construção da história recente do cinema brasileiro, e suas interfaces com a produção simbólica na contemporaneidade. Para tanto, toma como referência uma revisão parcial da literatura disponível e informações provenientes de fontes governamentais e empresas privadas, sobre a produção, distribuição e exibição do audiovisual no Brasil. Tais evidências sugerem a íntima relação das atuais políticas governamentais com o desenvolvimento da cadeia produtiva do cinema e com o papel sociocultural do cinema no país hoje

Is it necessary to "be" a feminist to "make" feminist cinema? Icíar Bollaín and her cinematographic representation of gender.

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Julia Cabrera Campoy

2017-12-01

Full Text Available Inequality between men and women in cinema has remained stable from its beginnings. Both behind the cameras and on-screen representation, women have been systematically invisible, underrepresented and objectified. Feminist efforts arose in the 1970s to visualize and subvert the existing power order, working through two axes: the critique on patriarchy and patriarchal cinema industry, and the development of feminist counter-cinema. Despite their efforts, women's situation has not been greatly improved. However, from the 90s a stream of female authors considered feminists by the critic disowning feminism has spread out. Their films are led by strong capable women, no longer representing women's struggles but assuming their victories and creating from them. New categories of analysis such as post-feminist cinema have been developed for those films. Nevertheless, I question whether these are essentially feminist representations since they are building alternative models of femininity. If they are, does this mean that a feminist consciousness is not necessary to make feminist films? In order to address this question I analyze gender representation in Bollaín’s filmography, and see whether their films fit in any feminist category despite her denial to the term, and the implication this could have.

História em quadrinhos e cinema: meios cada vez mais próximos no ambiente digital

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Cappellari, Márcia Schmitt Veronezi

2009-01-01

Full Text Available A sequência é o principal fator de ligação entre duas das mais apaixonantes formas de comunicação de todos os tempos: o cinema e as histórias em quadrinhos. O surgimento da internet e as possibilidades que o meio dispõe estão proporcionando uma aproximação cada vez maior entre ambos. Os cybercomics estão ganhando som e movimento, rompendo barreiras com o que antes havia sido produzido analogicamente em histórias em quadrinhos. Desse modo, definir o que ainda é desenho seriado e o que é cinema no mundo digital pode acabar se tornando apenas uma questão de ponto de vista

Projeto espreita: o cinema como prática pedagógica no curso de direito da UFSC / “Projeto espreita”: movies and a pedagogical practice in UFSC’s law program

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Carolina Duarte Zambonato

2010-12-01

Full Text Available Resumo O presente trabalho busca refletir criticamente sobre as possibilidades de aproximação entre cinema e direito enquanto prática pedagógica. Objetiva-se também apresentar o Projeto Espreita, projeto de extensão de iniciativa dos acadêmicos do Programa de Educação Tutorial da Universidade Federal de Santa Catarina. Palavras-chave: cinema, direito, extensão, práticas pedagógicas. Abstract This work aims a critical comprehension about the possibilities of an approach between cinema and law, as a pedagogical practice. Also it has as scope introduce Projeto Espreita, an extension project promoted by the law students of the Tutorial Education Program in the Federal University of Santa Catarina. Keywords: cinema, law, extension, pedagogical practices.

Le Comte de Monte Cristo: da literatura ao cinema

OpenAIRE

Caravela, Natércia Murta Silva

2008-01-01

A presente dissertação discute o diálogo estabelecido entre literatura e cinema no tratamento da personagem principal – um homem traído que se vinga de forma cruel dos seus inimigos – na obra literária Le Comte de Monte-Cristo, de Alexandre Dumas, e nas três adaptações fílmicas escolhidas: Le Comte de Monte-Cristo de Robert Vernay (1943); The count of Monte Cristo de David Greene (1975) e The count of Monte Cristo de Kevin Reynolds (2002). O projecto centra-se na análise da ...

Cinema and Literature in Latin America: Mario Bellatin's interventions

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Carlos Leonel Cherri

2015-03-01

Full Text Available In the last turn of the century, literature and cinema produced in Latin America have insisted on represent, in many ways, social violence. This phenomenon has been described as an aestheticized "boom" of violence and, at the same time, as a reflection on the marginality of certain subjects and the biopolitical relations that they expose. This work focuses on certain literary and audiovisual productions by Mario Bellatin such as Salón de Belleza, Bola negra – el musical de Ciudad Juárez and La escuela del dolor humano de Sechuán in order to address such matter.

INIS: Authority list for journal titles

International Nuclear Information System (INIS)

2008-01-01

This is the 34th revision of the INIS: Authority List for Journal Titles (IAEA-INIS-11). This list is published annually and includes the titles of all journals which have contained articles submitted to INIS at the time of publication. The current list contains 13 538 journal titles, 2 106 regularly scanned journals and 613 key journals. It was last updated in February 2008. A journal - or periodical - is a continuing publication issued in a succession of discrete parts, usually bearing numbering and/or chronological designations and intended to be continued indefinitely. It is generally published within a defined, fixed interval between issues and normally appears more than once per year. It includes a mixture of articles, letters, summaries, etc. Within this definition, annuals such as the Annual Review of Nuclear Science are included, but series titles such as the McGraw-Hill Series in Nuclear Engineering are not. The purpose of this document is to provide descriptive cataloguers with standard elements to include in bibliographic level 'S' of the INIS record. These elements include field (tag) 229 (Full Journal Title), 320 (ISSN) and 321 (CODEN). The full journal title is mandatory, and either the ISSN or the CODEN must be included (both may appear). Instructions on how to use this and other elements of the INIS record format are found in INIS: Guide to Bibliographic Description (IAEA-INIS-1). In order to help the user find titles easily, the list is arranged in six parts, followed by summary statistics: - In Part I, all key journals are grouped under the name of the country or international organization responsible for their input in INIS, then sorted alphabetically under their title. - In Part II, all key journals are sorted alphabetically under their title. The name of the country or international organization responsible for their input in INIS is entered in parentheses within the body of the entry. - In Part III, all journals that are regularly scanned by

Use of Linear and Circular Polarization: The Secret LCD Screen and 3D Cinema

Science.gov (United States)

Richtberg, Stefan; Girwidz, Raimund

2017-01-01

References to everyday life are important for teaching physics. Discussing polarization phenomena, liquid crystal displays (LCDs) and 3D cinemas provide such references. In this paper we describe experiments to support students' understanding of linearly polarized light as well as the phenomenon of inverted colors using a secret LCD screen.…

CHANGING THE PERCEPTION OF “I” AND “THE OTHER” IN CINEMA WITHIN THE SCOPE OF ORIENTALISM, NEW ORIENTALISM AND OCCIDENTALISM DISCOURSE

OpenAIRE

Kemal Cem BAYKAL; Hülya ÖNAL

2011-01-01

As an art form and an academic discipline that finds a place in cultural studies and social sciences, cinema is one of the most significant ideological apparatus. Expressing the changing perception of “I” and “the other” throughout the characters it creates, cinema has played important role both as the producer of the intercultural epistemological and ontological difference and signifier of it. In this study, setting out the films done before and after the 11 September which has been accepted...

O vestuário no cinema: percursos de análise em filmes portugueses de etnoficção

OpenAIRE

Cucinotta, Caterina

2016-01-01

A presente tese enfrenta o tema do documentário e da ficção no cinema de etnoficção português pondo ao centro deste binómio o vestuário como fenómeno, ora votado a explicitar a verosimilhança das sequencias, ora ferramenta para criar uma simulação da realidade. Tratamos o termo etnoficção como se fosse um género cinematográfico e escolhemos, como exemplo de analise, 3 trilogias do cinema português. Tratamos o vestuário de acordo com os novos conceitos do corpo revestido que vee...

A DIMENSÃO POLÍTICO/EDUCATIVA DAS OPÇÕES ESTÉTICAS NOS MANIFESTOS FUNDADORES DO CINEMA COMO ARTE

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Rosália Duarte

2010-06-01

Full Text Available Este texto apresenta uma reflexão sobre como o cinema concebeu, originalmente, o papel educativo que poderia vir a desempenhar na sociedade, pelo ponto de vista dos primeiros realizadores. Argumenta-se que o caráter educativo do cinema estava presente, explícita e/ou implicitamente, entre os objetivos de alguns de seus mais importantes criadores. Para tanto, tomam-se como fonte textos de lançamento de movimentos estéticos cinematográficos, surgidos nas primeiras décadas da invenção do cinematógrafo, que tinham como objetivo apresentar propostas para o que deveria ser a nova arte.

System for objective assessment of image differences in digital cinema

Science.gov (United States)

Fliegel, Karel; Krasula, Lukáš; Páta, Petr; Myslík, Jiří; Pecák, Josef; Jícha, Marek

2014-09-01

There is high demand for quick digitization and subsequent image restoration of archived film records. Digitization is very urgent in many cases because various invaluable pieces of cultural heritage are stored on aging media. Only selected records can be reconstructed perfectly using painstaking manual or semi-automatic procedures. This paper aims to answer the question what are the quality requirements on the restoration process in order to obtain acceptably close visual perception of the digitally restored film in comparison to the original analog film copy. This knowledge is very important to preserve the original artistic intention of the movie producers. Subjective experiment with artificially distorted images has been conducted in order to answer the question what is the visual impact of common image distortions in digital cinema. Typical color and contrast distortions were introduced and test images were presented to viewers using digital projector. Based on the outcome of this subjective evaluation a system for objective assessment of image distortions has been developed and its performance tested. The system utilizes calibrated digital single-lens reflex camera and subsequent analysis of suitable features of images captured from the projection screen. The evaluation of captured image data has been optimized in order to obtain predicted differences between the reference and distorted images while achieving high correlation with the results of subjective assessment. The system can be used to objectively determine the difference between analog film and digital cinema images on the projection screen.

Deu anys de l'Alternativa, Festival de Cinema Independent de Barcelona: l'estètica de la resistència

OpenAIRE

Benavente, Fran

2004-01-01

La desena edició de l'Alternativa, Festival de Cinema Independent de Barcelona, ha consolidat el festival cinematogràfic com el més important dels celebrats a la ciutat. A més, constitueix una fita ineludible en el marc català. L'article assenyala la posició singular que ocupa com a oferta cultural, ressegueix la seva història i posa de relleu les línies més destacades, entre les quals destaca l'opció per un cinema al marge dels discursos oficials i la seva vocació d'investigació en ...

The complex plot of pixar: cinema and the human condition

OpenAIRE

Silva, Clayton Antonio Santos da

2013-01-01

Esta tese de doutorado, intitulada A Complexa Trama da Pixar: Cinema e Condição Humana, procura fazer reflexões sobre os filmes produzidos pelo Pixar Animation Studios no período situado entre 1995 e 2011. Ao todo são analisados 12 filmes, a saber: Toy Story (Toy Story, 1995); Vida de Inseto (A Bug s Life, 1998); Toy Story 2 (Toy Story 2, 1999); Monstros S.A (Monsters, Inc., 2001); Procurando Nemo (Finding Nemo, 2003); Os Incríveis (The Incredibles, 2004); Carros (Cars, 2006); Ratatouille (Ra...

Crimes e pecados: Woody Allen, Hollywood e o cinema independente

OpenAIRE

Soares, Marcos; Anjos, Ana Paula B.; Fabris, Marcos

2012-01-01

In this essay we propose an analysis of the film Crimes and Misdemeanors (1989) by Woody Allen in an attempt to focus on its reflections both on the American independent movie production in the 80’s as well as on the conditions of possibility of Allen’s career. Este ensaio traz uma análise do filme Crimes e Pecados (1989) do cineasta Woody Allen que enfatiza suas reflexões tanto sobre a situação do cinema independente no final dos anos 80 nos Estados...

Cinema em cartazes: um passeio pelo percurso da escrita verbovisual

Directory of Open Access Journals (Sweden)

Denise Azevedo Duarte Guimarães

2011-01-01

Full Text Available Este artigo tem cartazes de cinema como objeto de estudo e pretende demonstrar como eles dão continuidade, hoje, a um projeto em busca da visualidade, proveniente do barroco e que conquista espaço e forma na contemporaneidade. A linguagem do cartaz, como produto comunicativo híbrido, é analisada por intermédio de um estudo comparativo sobre a evolução da poesia visual no ocidente. Uma leitura intersemiótica tenta investigar processos criativos que integram signos verbais e interfaces icônicas no texto impresso.

42 CFR 476.86 - Correlation of Title XI functions with Title XVIII functions.

Science.gov (United States)

2010-10-01

... 42 Public Health 4 2010-10-01 2010-10-01 false Correlation of Title XI functions with Title XVIII functions. 476.86 Section 476.86 Public Health CENTERS FOR MEDICARE & MEDICAID SERVICES, DEPARTMENT OF...) Qio Review Functions § 476.86 Correlation of Title XI functions with Title XVIII functions. (a...

JEWISH-­ARAB RELATIONS THROUGH THE LENSE OF ISRAELI CINEMA; THEN AND NOW

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Shmuel Shepkaru

2013-05-01

Full Text Available Israeli cinema has presented different aspects of the relationship between Israeli Jews and Arabs.  These aspects encompass topics such as personal friendships and conflicts, homosexual and heterosexual affairs, gender issues, politics and wars, and questions of identity.  This article focuses on the presentations of the relationships between Jews and Arabs and their desire for normalization and peace.

Intermediality in early cinema studies: An interrogation of a widely used concept for research practice

NARCIS (Netherlands)

Dellmann, S.; Ruppin, D.; de Zwaan, K.

2012-01-01

The authors discuss the concept of intermediality for research in early cinema. After a general introduction to intermediality as research problem in media studies, the question is raised whether the concept of intermediality can be used in diachronic research designs and for media studies that deal

Title list of documents made publicly available

International Nuclear Information System (INIS)

1991-01-01

The Title List of Documents Made Publicly Available is a monthly publication. It contains descriptions of the information received and generated by the US Nuclear Regulatory Commission (NRC). This information includes docketed material associated with civilian nuclear power plants and other uses of radioactive materials and nondocketed material received and generated by NRC pertinent to its role as a regulatory agency. This series of documents is indexed by a Personal Author Index, a Corporate Source Index, and a Report Number Index. The docketed information contained in the Title List includes the information formerly issued though the Department of Energy publication Power Reactor Docket Information, last published in January 1979

Mapas imaginários sobre Porto Alegre: as representações da cidade no cinema

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Miriam de Souza Rossini

2010-12-01

Full Text Available Este artigo apresenta os procedimentos de pesquisa e os resultados obtidos no subgrupo Cinema da pesquisa Porto Alegre imaginada: representações dos cidadãos sobre a cidade. Ao longo de 2007 e 2008, foram mapeados os filmes produzidos e exibidos em Porto Alegre, em diferentes formatos e suportes, e após foi feita a análise do corpus conforme as categorias propostas no projeto geral da pesquisa. O objetivo era compreender como a cidade era percebida e representada nas imagens audiovisuais cinematográficas. Na análise, observamos a estética visual e sonora, a estrutura narrativa e as principais temáticas. A cidade que surge nas telas de cinema com certeza é muito diferente do imaginário que existe sobre a cidade real. Ao invés de uma grande metrópole moderna, o que se percebe é uma cidade que mal consegue sair dos seus limites oitocentistas.

Utopia capitulada em cifra responsável e outros temas do cinema latino-americano hoje

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Sebastião Guilherme Albano da Costa

2012-12-01

Full Text Available Devido à escalada da racionalização no que tange aos processos de produção, distribuição e exibição de filmes na América Latina entre 1990 e 2011 e pela temeridade de se pensar uma teoria do cinema sem nos reportar a uma teoria do cinema como produção social, ideou-se denominar as consequências do Consenso de Washington nas forças políticas e econômicas que permeiam os regimes estéticos do audiovisual da região como formadoras de uma poética da responsabilidade. No plano da representação, por exemplo, a circunstância significou uma redução do repertório retórico (figuras etc. e parece haver instaurado (ou apenas acentuado a dependência simbólica de audiovisualidades hegemônicas.

Title List of documents made publicly available

International Nuclear Information System (INIS)

1982-07-01

The Title List of Documents Made Publicly Available is a monthly publication. It contains descriptions of the information received and generated by the US Nuclear Regulatory Commission (NRC). This information includes: (1) docketed material associated with civilian nuclear power plants and other uses of radioactive materials and (2) nondocketed material received and generated by NRC pertinent to its role as a regulatory agency. As used here, docketed does not refer to Court dockets; it refers to the system by which NRC maintains its regulatory records. This series of documents is indexed by a Personal Author Index, a Corporate Source Index, and a Report Number Index. The docketed information contained in the Title List includes the information formerly issued through the Department of Energy publication Power Reactor Docket Information, last published in January 1979. Microfiche of the docketed information listed in the Title List is available for sale on a subscription basis from the National Technical Information Service (NTIS)

Title List of documents made publicly available

International Nuclear Information System (INIS)

1982-06-01

The Title List of Documents Made Publicly Available is a monthly publication. It contains descriptions of the information received and generated by the US Nuclear Regulatory Commission (NRC). This information includes: (1) docketed material associated with civilian nuclear power plants and other uses of radioactive materials and (2) nondocketed material received and generated by NRC pertinent to its role as a regulatory agency. As used here, docketed does not refer to Court dockets; it refers to the system by which NRC maintains its regulatory records. This series of documents is indexed by a Personal Author Index, a Corporate Source Index, and a Report Number Index. The docketed information contained in the Title List includes the information formerly issued throught the Department of Energy publication Power Reactor Docket Information, last published in January 1979. Microfiche of the docketed information listed in the Title List is available for sale on a subscription basis from the National Technical Information Service (NTIS)

Cinema e pulsão: sobre "Irreversível", o trauma e a imagem Drive and cinema: about "Irréversible", trauma and image

Directory of Open Access Journals (Sweden)

Tania Rivera

2006-06-01

Full Text Available Partindo de um diálogo entre psicanálise e cinema, buscamos refletir sobre o estatuto da imagem na contemporaneidade. Para além de uma configuração imaginária apaziguadora, é indicada a potencialidade traumática da imagem, por meio da concepção freudiana da lembrança encobridora. Tal dimensão traumática é explorada na análise do filme Irreversível, produção francesa de 2002. A violência não é, nessa obra, apenas mostrada em imagens, mas é posta em cena "entre" as imagens. Em seu agenciamento pulsa uma ameaçadora possibilidade de que aquilo de que se trata na imagem, e que diz respeito à ligação entre sexo e violência não possa ser contado, mas apenas repetido.Entwining psychoanalysis and cinema, this paper seeks to reflect about the status of image in contemporary society. This search goes beyond a conformist imaginary configuration to point out the existence of a traumatic potentiality of the image, as indicated by Freudian concept of screen memories. This idea is explored by a discussion about French Director Gaspar Noé production "Irréversible", 2002. In this work, violence isn't simply showed in images but works "between" the images. In its editing pulsates the scaring possibility that something essential about image, related to death and sexuality, can't be told as a history, but destroys everything in a circular repetition.

The cinema-cognition dialogue: a match made in brain

Science.gov (United States)

Dudai, Yadin

2012-01-01

That human evolution amalgamates biological and cultural change is taken as a given, and that the interaction of brain, body, and culture is more reciprocal then initially thought becomes apparent as the science of evolution evolves (Jablonka and Lamb, 2005). The contribution of science and technology to this evolutionary process is probably the first to come to mind. The biology of Homo sapiens permits and promotes the development of technologies and artefacts that enable us to sense and reach physical niches previously inaccessible. This extends our biological capabilities, but is also expected to create selective pressures on these capabilities. The jury is yet out on the pace at which critical biological changes take place in evolution. There is no question, however, that the kinetics of technological and cultural change is much faster, rendering the latter particularly important in the biography of the individual and the species alike. The capacity of art to enrich human capabilities is recurrently discussed by philosophers and critics (e.g., Arsitotle/Poetics, Richards, 1925; Smith and Parks, 1951; Gibbs, 1994). Yet less attention is commonly allotted to the role of the arts in the aforementioned ongoing evolutional tango. My position is that the art of cinema is particularly suited to explore the intriguing dialogue between art and the brain. Further, in the following set of brief notes, intended mainly to trigger further thinking on the subject, I posit that cinema provides an unparalleled and highly rewarding experimentation space for the mind of the individual consumer of that art. In parallel, it also provides a useful and promising device for investigating brain and cognition. PMID:22969715

Matter-Reality in Cinema: Realism, Counter-Realism and the Avant-Gardes

OpenAIRE

Walldén, Rea

2012-01-01

The present text investigates the dialectics of reality and materiality in cin­ema theory and practice. It attempts an epistemological and meta-semiotic approach. Based on Louis Hjelmslev's model of sign-function, it reformu­lates both the haunting of cinema by reality and the avant-gardes' focus on materiality as problematising the relation of cinematic semiosis to the exo-semiotic[1] realm. It starts by laying down the philosophical background of the issues investigated. It then explores th...

20 CFR 404.535 - How much will we withhold from your title VIII and title XVI benefits to recover a title II...

Science.gov (United States)

2010-04-01

... 20 Employees' Benefits 2 2010-04-01 2010-04-01 false How much will we withhold from your title... Officer § 404.535 How much will we withhold from your title VIII and title XVI benefits to recover a title II overpayment? (a) If past-due benefits are payable to you, we will withhold the lesser of the...

[Santiago Ramon y Cajal in literature, cinema and television].

Science.gov (United States)

Collado-Vazquez, S; Carrillo, J M

2016-11-16

The life and work of Santiago Ramon y Cajal has been portrayed in scientific papers, biographical and autobiographical works, comics, films, television series or documentaries that have attempted to reflect upon his life or his contributions to science and to bring him closer to the general public. To analyse the different ways Santiago Ramon y Cajal has been represented in literature, cinema and television, and to become more closely acquainted with this scientist through his fictional writings. A number of biographical works have been written about Santiago Ramon y Cajal, including scientific papers, comics, books for children and youngsters, as well as the autobiographical writings, essays and even science fiction stories, which provide a good introduction to the life of the scientist and his work. His life has also been adapted to film (Leap to fame) or television (Ramon y Cajal, historia de una voluntad; The butterflies of the soul), which have, with varying degrees of success and accuracy, made him better known to the general population. The numerous biographical writings, historical notes, articles, the scientific work itself, the essays and fictional works by Cajal, as well as the portrayals of the Spanish Nobel Prize winner produced for films and television, can be used to obtain some interesting insights into the scientist, teacher, science populariser, humanist physician and, in short, the man who made such important contributions to neuroscience.

Let´s go to the cinema! A movie recommender system for ephemeral groups of users

Directory of Open Access Journals (Sweden)

Guillermo Fernández

2015-08-01

Full Text Available Going to the cinema or watching television are social activities that generally take place in groups. In these cases, a recommender system for ephemeral groups of users is more suitable than (well-studied recommender systems for individuals. In this paper we present a recommendation system for groups of users that go to the cinema. The system uses the Slope One algorithm for computing individual predictions and the Multiplicative Utilitarian Strategy as a model to make a recommendation to an entire group. We show how we solved all practical aspects of the system; including its architecture and a mobile application for the service, the lack of user data (ramp-up and cold-start problems, the scaling fit of the group model strategy, and other improvements in order to reduce the response time. Finally, we validate the performance of the system with a set of experiments with 57 ephemeral groups.

Notas sobre o papel da música de Ennio Morricone na passagem do cinema clássico para o moderno

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Rodrigo Carreiro

2011-06-01

Full Text Available By examining the music composed by the Italian maestro Ennio Morricone for the first four spaghetti westerns directed by Sergio Leone, this paper aims to raise some points about the role played by his compositions in the transition from classical to modern cinema occurred over two decades (1940-1960. Although not usually quoted amongst movie composers responsible for achieving the transition between the two phases of the movie history, Morricone had an effective role in the period introducing some features that would become central to modern cinema in the neo-romantic style, such as taste for citations, elements of pop and musique concrète.

Antagonism and Imaginaries of Plurality in Bolivian Cinema

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Valeria Canelas

2018-03-01

Full Text Available Nowadays, Bolivian cinema is living a period of great activity in a unstable identitarian landscape, wherein negotiations and conflicts between the different national subjectivities are no longer able to be represented within antagonistic patterns producing uniformity. Firstly, this article deals with Jorge Sanjinés’ Filmography in order to offer an explanatory hypothesis to answer why his last productions seem to have been less engaging for national identitarian dynamics. Secondly, an analysis of a series of short films by the Socavón Cine Collective will take place, so as to underline the most important political gestures displayed by their novel audiovisual rhetoric, which have managed to devise a language capable of a more acute examination of the identitarian plurality present in Bolivia.

Reflexões acerca da emergência de um Cine-tv: o hibridismo como marca de um cinema brasileiro contemporâneo

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Guidotti, Flávia

2008-01-01

Full Text Available Este artigo aponta algumas peculiaridades de um cinema brasileiro contemporâneo cuja produção é marcada pelo cruzamento com a televisão. O estudo parte do princípio que o resultado dessa produção envolve aspectos relacionados com o uso de ferramentas e técnicas comuns às duas linguagens, com a migração de profissionais de um campo para o outro, num contexto específico da economia política de produção e distribuição do cinema brasileiro

Humberto Mauro e o cinema como construção da memória

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Paola Prestes Penney

2014-06-01

Full Text Available A resenha trata do livro Humberto Mauro, Cinema, História, no qual Eduardo Morettin estuda dois filmes de Mauro, Descobrimento do Brasil (1937 e Os Bandeirantes (1940, articulando-os com o momento histórico em que são feitos, o início do Estado Novo comandado por Getúlio Vargas.

INIS: Authority list for journal titles

International Nuclear Information System (INIS)

2009-01-01

This is the 35th revision of the INIS: Authority List for Journal Titles (IAEA-INIS-11). This list is published annually and includes the titles of all journals which have contained articles submitted to INIS at the time of publication. The current list contains 13 750 journal titles, 1 965 regularly scanned journals and 593 key journals. It was last updated in March 2009. A journal - or periodical - is a continuing publication issued in a succession of discrete parts, usually bearing numbering and/or chronological designations and intended to be continued indefinitely. It is generally published within a defined, fixed interval between issues and normally appears more than once per year. It includes a mixture of articles, letters, summaries, etc. Within this definition, annuals such as the Annual Review of Nuclear Science are included, but series titles such as the McGraw-Hill Series in Nuclear Engineering are not. The purpose of this document is to provide descriptive cataloguers with standard elements to include in bibliographic level 'S' of the INIS record. These elements include field (tag) 229 (Full Journal Title), 320 (ISSN) and 321 (CODEN). The full journal title is mandatory, and either the ISSN or the CODEN must be included (both may appear). Instructions on how to use this and other elements of the INIS record format are found in INIS: Guide to Bibliographic Description (IAEA-INIS-1). In order to help the user find titles easily, the list is arranged in six parts, followed by summary statistics: - In Part I, all key journals are grouped under the name of the country or international organization responsible for their input in INIS, then sorted alphabetically under their title. - In Part II, all key journals are sorted alphabetically under their title. The name of the country or international organization responsible for their input in INIS is entered in parentheses within the body of the entry. - In Part III, all journals that are regularly scanned by the

Arte e política no cinema de Glauber Rocha: uma análise do filme Deus e o Diabo na Terra do Sol

Directory of Open Access Journals (Sweden)

William Vaz de Oliveira

2011-06-01

Full Text Available This article discusses the relationship between art and politics in the kinematics of Glauber Rocha focusing on the work ―Deus e o Diabo na Terra do Sol‖ Creator of the Cinema Novo in Brazil, Glauber proposes a system that portrays the reality through national a quasi-socialist realism. Hunger, poverty and religion become constant in the works of the moviemaker, in addition to showing a Brazilian culture strongly marked by African customs. Emerged in the late '50s, early '60s, his Cinema Novo was characterized by the search for a language and a truly Brazilian cinematic technique, which should depict all our limitations and our entire underdevelopment, thus seeking to overcome them, trying to approximate the cinematic art of the public. His movie Deus e o Diabo na terra do Sol for instance, highlights this prospect of a purely national cinema.

Eyewitnesses of History: Italian Amateur Cinema as Cultural Heritage and Source for Audiovisual and Media Production

NARCIS (Netherlands)

Simoni, Paolo

2015-01-01

abstractThe role of amateur cinema as archival material in Italian media productions has only recently been discovered. Italy, as opposed to other European countries, lacked a local, regional and national policy for the collection and preservation of private audiovisual documents, which led, as a

Index to conference titles; selected conferences cited in the ERDA data base 1972--1977

International Nuclear Information System (INIS)

Hardin, N.E.; McGinnis, D.H.

1977-08-01

This publication cites energy-related conferences, meetings, symposia, and congresses within the programmatic interests of the Energy Research and Development Administration. It supplements and overlaps Index to Conferences Assigned CONF-Numbers by the Technical Information Center, U.S. Atomic Energy Commission (TID-4045), citing conferences held since January 1, 1972, and assigned a number in the CONF report number series. The Index contains two computer-produced listings, a KWIC (Key-Word-In-Context) index of the conference location and title and a listing numerically arranged by CONF number and providing location, date, and title information for each conference

“Teorema” e San Paolo. Citazioni pasoliniane fra cinema e letteratura

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Alessandra Grandelis

2012-06-01

Full Text Available Comparing Pasolini’s use of cinema and literature, this article examines the references and quotations that appear in Teorema, and dwells upon the two versions of it (novel and film, and the various allusions used each time (literary, pictorial, and biblical. With regard to the scriptural references, the attention will then be shifted to Abbozzo di una sceneggiatura per un film su San Paolo, a film project never carried out that makes a very different use of allusions and quotations than Teorema.

A estética documental no cinema ficcional de horror

OpenAIRE

Amanda Neves de Oliveira

2015-01-01

O presente trabalho tem como proposta estudar o uso de estruturas documentais no cinema ficcional de horror, tipo de narrativa que ficou conhecida popularmente como found footage. Esses filmes fazem uso de uma linguagem propositalmente híbrida, associando a forma do documentário ao conteúdo da ficção e, hoje, encontram-se tão em voga que já possuem até mesmo clichês e estereótipos. A intenção é entender de que forma o gênero do horror se apropria douso de uma estética associada a registros do...

Laughter and collective awareness: The cinema auditorium as public space

Directory of Open Access Journals (Sweden)

Julian Hanich

2014-12-01

Full Text Available This article looks at how the collective experience of laughter in the movie theater is related to the idea of the cinema as a public space. Through the nonverbal expression of laughter the audience ‘constructs’ a public space the viewers may not have been aware of to the same degree prior to the collective public expression. Moreover, the public space created through laughter allows for an expedient type of monitoring: inappropriate laughter may be exposed in front of others. With viewers who laugh approvingly about racist violence or misogynist jokes, we can easily lay bare the ethical implications.

“Clubs aren’t like that”: Discos, Deviance and Diegetics in Club Culture Cinema

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Simon Andrew Morrison

2012-11-01

Full Text Available 0 false 18 pt 18 pt 0 0 false false false This article considers ways in which filmmakers have attempted to address the subject of electronic dance music culture on the big screen. In what ways have directors tried to visually represent EDMC in fictional narratives? And to what extent have they been capable of capturing the recognisable elements of this phenomenon, by expressing its tropes and spirit in a plausible and credible fashion? Is it possible to distil the energy of the dance floor and represent the actions, practices and attitudes of its participants for an arguably passive cinema audience? How, for instance, can a key component of this subcultural terrain—drug consumption—be effectively illustrated through the devices of the movie director? By providing textual analysis of two recent, and similarly titled, North American productions—Ecstasy (dir. Lux 2011 and Irvine Welsh’s Ecstasy (dir. Rob Heydon 2012—this account aims to describe, and critique, both the creative approaches and technical devices adopted to solve this artistic problem. With attention to the work of Sarah Thornton, Stan Beeler and Simon Reynolds, this study will also raise questions about authenticity and verisimilitude in an intermediary field in which the dance floor becomes the subject of the non-documentary storyteller and the focus of the camera lens. The article concludes that when a primarily sonic and social medium is re-configured in a visual format, the results, while superficially engaging and entertaining, struggle to capture the charged excitement of the nightclub, the inspirational potency of its soundtrack and, ultimately, the genuine experience of the individual clubgoer.

Problematizando a indústria dos sonhos: questões sociológicas para analisar o cinema de entretenimento estadunidense

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Túlio Cunha Rossi

2014-01-01

Full Text Available This paper discusses the importance of analysing Hollywood productions in Sociology. Most of these reflections derive from research for my PhD thesis, in which the use of movies to undertake consistent analyses of subjects relevant to life in society was central. Methodological questions about the analysis of fictional movies and its contributions to Sociology are dealt with, as well as about the presence of cinematographic references and audiovisual media in contemporary life. Thus, the article discusses how the mainstream cinema constitutes a relevant object of sociological analysis, which demands specific methods that are capable of going beyond the limits of technical analyses and a simple quantification of reception variables. At the same time, it also problematizes how this particular cinema affects social life and is affected by it.

Cinema em sala de aula: reflexões a respeito do emprego de filmes na prática docente

Directory of Open Access Journals (Sweden)

Humberto Perinelli Neto

2016-09-01

Full Text Available Atualmente, várias são as reflexões sobre o diálogo entre Tecnologias da Informação e Comunicação e Educação. Este artigo, visa, pois, apresentar pesquisa, procurando traçar entendimento sobre o emprego de cinema em salas de aulas do Ensino Fundamental I. Por meio de método “qualiquantitativo”, traçam-se os limites e as possibilidades vinculadas à utilização escolar desse tipo de linguagem. Busca-se, assim, colaborar com a apropriação do cinema nos processos formativos educacionais baseados na autonomia pedagógica, na construção do aprendizado crítico e lúdico e na validade de propostas de ensino, caracterizadas pela inter e transdisciplinaridade.

Costume Cinema and Materiality Telling the Story of Marie Antoinette through Dress

OpenAIRE

Therése Andersson

2011-01-01

In ‘Costume Cinema and Materiality: Telling the Story of Marie Antoinette through Dress’ a materiality-based approach for analysing film narratives through costumes is examined. Sofia Coppola’s film Marie Antoinette (2006) serves as the empirical starting point and the theme of dressing and redressing is pursued throughout the film, crystallizing costume as a significant feature for reading the movie. The article argues that costumes, on a symbolic level, work as agents. It thus focuses on th...

The sixth generation of Chinese cinema : marginalized urban young in contemporary China

OpenAIRE

Linder, Christian

2006-01-01

The purpose of this thesis is to examine the Sixth Generation of Chinese cinema. Specifically what constitutes the Sixth generation, and what the generational designation implies for the Sixth Generation. Central issues are whether there is a Sixth Generation, and how it differs from the preceding generations. In order to understand the debate about the Sixth Generation it is necessary to first look at the discourse on the Generation, and to illuminate what constitutes a generation in Chinese...

The Cinema-Cognition Dialogue: A Match Made in Brain

Directory of Open Access Journals (Sweden)

Yadin eDudai

2012-09-01

Full Text Available That human evolution amalgamates biological and cultural change is taken as a given, and that the interaction of brain, body and culture is more reciprocal then initially thought becomes apparent as the science of evolution evolves (Jablonka & Lamb 2005. The contribution of science and technology to this process is probably the first to come to mind: the biology of Homo sapiens permits and promotes the development of artificial devices that in turn enable us to sense and reach physical niches previously inaccessible, hence extending the biological capabilities, while at the same time endowed with the potential to mould over time selective pressures on these innate capabilities. The jury is yet out on the pace in which critical biological changes take place in evolution, but there is no question that the kinetics of technological and cultural change is much faster, rendering the latter more important in the biography of the individual and at present, of the species alike. However, though the capacity of art to enrich human capabilities is recurrently tapped into by philosophers and critics (e.g. Arsitotle/Poetics, Richards 1925, Smith & Parks 1951, Gibbs 1994, less attention is commonly allotted to the role of the arts in the aforementioned ongoing evolutional tango. My position is that the art of cinema is particularly suited to explore the intriguing dialogue between art and the brain. Further, in the following set of brief notes, which goal is to merely to incite discussion, I posit that cinema provides an unparalleled and highly rewarding experimentation space for the mind of the individual consumer of that art, while at the same time providing a useful and promising device for investigating brain and cognition.

Screening the 'War on Terror' : the politics and aesthetics of torture in American and European cinema

NARCIS (Netherlands)

Bodde, O.C.

2016-01-01

Cinema and society interact. This given becomes fascinating when socio-politically sensitive issues are adapted in films that confront spectators with the frames of reference they use to make sense of society. This thesis studies how North-American and European films depict political torture in the

Browse Title Index

African Journals Online (AJOL)

2004): Special Issue 2004, Differential production of immune parameters by mouse strains ... agglutination and complement fixation tests in the field diagnosis ... List All Titles · Free To Read Titles This Journal is Open Access.

Imagens em (ciberguerra: representações do ciberconflito no cinema de ficção científica (2000-2012

Directory of Open Access Journals (Sweden)

Artur Matos Alves

2013-12-01

Full Text Available This paper aims to discuss representations of cyberconflict in science fiction cinema from 2000 to 2012. It seeks a socio-political perspective on conflict in cyberspace, the representation of people and contexts in which it unfolds, while also relating the emergence of these representations with the historical context of the digital sphere. This paper adopts a critical perspective with elements of rhetorical, semiotic and discursive analysis, focusing on the following questions. Which characters, settings and contexts of cyberconflict are represented in science fiction cinema of the last decade? How are technologies, social groups and individuals represented? Finally, how are the underlying power relations represented, and which are the dominant values that shape these representations?

Literature and Cinema from "Adaptation" to Re-creation: Coping with the Complexity of Human Recollection

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Carlo Testa

2013-01-01

Full Text Available Early 20th-century avant-gardes put a premium on the notion of "originality" and so created a cultural context in which "adaptation" -- in particular, lit-to cinema adaptation -- later came to be construed by film theory as a kind of derivative, inferior notion. This article offers the proof, based on work on the little-known original Russian sources, that none other than Èizenshtein opined differently, so much so that he preferred to argue instead for the use of the term "re-creation"; and that later semiotic theory, especially thanks to Iurii Lotman, provides us with the tools to develop the "re-creation" concept fully. In the process of re-creation, which is always a process of cultural re-contextualization, the original literary complexity lost in the transmutation must be made up in specific cinematic ways, in order to offer a final re-created artefact worthy of recollection by human society. In times of an overburdened human ability to remember historic sufferings, re-created artefacts that lose information vis-a-vis the original will be quite justly forgotten. On this basis, the article concludes with an elaboration on contemporary Italian cinema -- especially some commercially successful noirs -- drawn from literature (or rather, books of fiction and pinpoints the nature of one of that type of cinema's recurrent shortcomings. The essential defect of such films is identified in their inability to make up by cinematic means for the loss of complexity which they endure in the transition from one medium to another. This is all the more true when, as in the case of the noirs examined here, complexity is already scant in the original books in the first place.

The Cinema in the Teaching of Medicine: Palliative Care and Bioethics

Directory of Open Access Journals (Sweden)

Wilson Astudillo Mendinueta

2008-10-01

Full Text Available   The cinema, as a window on human life and its ups and downs, is a very valuable tool for studying those situations that are most transcendental for the human being: pain, disease and death. Its idiosyncrasy and characteristics (ludic nature, sensorial and emotional impact, etc. endow it with “formative skills” in many insurmountable situations, provided that it is backed up by a rigorous definition of objectives and a logical, coherent and structured educational design.             In this sense, the range of films that are useful in medical education is very wide, so wide that it is difficult not only to make a compilation of titles and plots but also fundamentally to make a selection of those that tackle disease from perspectives that are interesting for teaching. In this article emphasis is given to two fundamental aspects in current Medicine, with multiple areas of contact and intersections: terminal diseases –and patients- and bioethics. In the first case an analysis is made of films full of human and scientific elements that make them highly attractive teaching instruments for the broad and deep study of different terminal diseases as well as for the analysis of their individual and collective impact: The Doctor, Wit, Ikiru, Begin the Beguine/ Volver a empezar, The Barbarian Invasions/ Les invasions Barbares, Marvin’s Room, Patch Adams or The 4th Floor/ Planta 4 a.             The second theme tackled, bioethics, is essential in medical practice and possibly has greater specific weight in the field of palliative care. As an element facilitating decision-making, it is underlying in such burning issues as euthanasia, aided suicide, doctor’s responsibility, etc., magnificently reflected in films such as Miss Evers’ Boys, Philadelphia, The Fugitive, The Constant Gardener, Million Dollar Baby or The Sea Within/ Mar Adentro.

Domestic Violence and Social Responsibility in Contemporary Spanish Cinema: A Portfolio View of Behavioral Dynamics

Science.gov (United States)

Zanzana, Habib

2010-01-01

Domestic abuse continues to claim many lives in Spain despite a series of new laws to protect women and to punish abusers. This essay explores the cultural influences of contemporary Spanish cinema on domestic violence. Four films are assessed against a Portfolio Model of social responsibility that uses two basic dimensions: realism and human…

The MAGIC of CINEMA: first in-flight science results from a miniaturised anisotropic magnetoresistive magnetometer

Science.gov (United States)

Archer, M. O.; Horbury, T. S.; Brown, P.; Eastwood, J. P.; Oddy, T. M.; Whiteside, B. J.; Sample, J. G.

2015-06-01

We present the first in-flight results from a novel miniaturised anisotropic magnetoresistive space magnetometer, MAGIC (MAGnetometer from Imperial College), aboard the first CINEMA (CubeSat for Ions, Neutrals, Electrons and MAgnetic fields) spacecraft in low Earth orbit. An attitude-independent calibration technique is detailed using the International Geomagnetic Reference Field (IGRF), which is temperature dependent in the case of the outboard sensor. We show that the sensors accurately measure the expected absolute field to within 2% in attitude mode and 1% in science mode. Using a simple method we are able to estimate the spacecraft's attitude using the magnetometer only, thus characterising CINEMA's spin, precession and nutation. Finally, we show that the outboard sensor is capable of detecting transient physical signals with amplitudes of ~ 20-60 nT. These include field-aligned currents at the auroral oval, qualitatively similar to previous observations, which agree in location with measurements from the DMSP (Defense Meteorological Satellite Program) and POES (Polar-orbiting Operational Environmental Satellites) spacecraft. Thus, we demonstrate and discuss the potential science capabilities of the MAGIC instrument onboard a CubeSat platform.

HYBRIDIZATION BETWEEN MEDIA EDUCATION AND VISUAL ARTS EDUCATION. MIYAZAKI'S CINEMA AS A REVULSIVE

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Ricard Huerta

2011-12-01

Full Text Available In this article we suggest an approximation between media education and visual arts education. Teachers of Primary School interpret the media as a visual artefacts. But this visual artifacts can be analyzed from the education in visual arts. We can offer a suitable formation in the moment on training teachers (Clarembeaux, 2010; Huerta, 2005, but is also necessary move a notion of visual arts. Now, in Spain, visual arts education is far from the media images. We would incorporate the media education in the Primary School curriculum from the visual arts education (Hernández, 2000; Huerta, 2009. We focuses this research in a case of student’s group. They are university training teachers, and we verify their knowledge about cinema and media as a visual culture texts, promoting a major presence of media in visual arts, extending the field of action, and promoting the use of the cinema as useful tool in the Primary School classes. We encourage teachers and students towards the critical and personal readings in media, reforcing knowledge and analysis more than entertainment (Ambrós & Breu, 2007; Fedorov, 2010. For analyze this situation we have chosen the movie Ponyo on the Cliff by the Sea, a film by Hayao Miyazaki.

Legal Forum: Title IX: Does It Apply to Employees?

Science.gov (United States)

McCarthy, Martha

1981-01-01

Briefly reviews a number of Federal court cases that have dealt with Title IX, considering the issue of whether the 1974 regulations prohibiting sex discrimination in employment practices accurately reflect the intent of the 1972 law. (GC)

Cinema and Geography: Geographic Space, Landscape and Territory in the Film Industry

OpenAIRE

Gámir Orueta, Agustín; Manuel Valdés, Carlos

2009-01-01

This document is a direct translation of the original article in Spanish, published in the 'Boletín de la Asociación de Geógrafos Españoles', 2007, nº 45 pp. 157 - 190. This work presents a theoretical and analytical approach to the relationship between cinema and geographic space. First, special cinematographic qualities are differentiated from those of other means of geographic representation, at the same time identifying the differences between real space and film space. Subsequently, t...

Dissemination of European Cinema in the European Union and the International Market

OpenAIRE

Wutz, Josef; Pérez, Valentin

2014-01-01

This report by Josef Wutz aims to take stock of the dissemination of European films in Europe and in the world from 2002 to 2014. To do so, it takes all those working in the film industry into account: filmmakers, distributors, cinema operators, but also video content providers and public bodies providing funding to films. It focuses on four countries: Germany, Spain, France and Italy. Valentin Pérez then makes recommendations aiming at raising the profile of the European film industry. Fo...

INIS: Authority List for Journal Titles

International Nuclear Information System (INIS)

1992-01-01

This is the nineteenth revision of the INIS: Authority List for Journal Titles (IAEA-INIS-11). It lists 10,797 journal titles which have contained articles within the scope of INIS. The purpose of this Authority List is to provide descriptive cataloguers with a standard abbreviation for journal titles and to assist users of INIS products with a tool for verifying the full title of a journal. A journal, or periodical, is generally published within a defined, fixed interval between issues, which usually has more than one issue a year, and which usually includes a mixture of articles, letters, summaries, etc. Within this definition, annuals such as Annual Review of Nuclear Science are included. Series titles as, for example the McGraw-Hill Series in Nuclear Engineering, are not included in this Authority. Entries: Each entry consists of: - the full journal title (highlighted); - the abbreviated title; - ISSN, if available; - CODEN, if available; - additional information related to the journal title. Arrangement: In Part I, the full journal titles are grouped by country or international organization name and ordered alphabetically, followed by the ISSN, the CODEN in square brackets if available, and then the abbreviated title. The abbreviated title is based on the rules of ISO 4: Documentation - International Code for the Abbreviation of Titles of Periodicals. The abbreviations of the words are taken from the ISDS List of Periodical Title Word Abbreviation. In Part II, the order of the citations is reversed: the abbreviated journal titles are arranged alphabetically, followed by country code. Then the full journal titles are followed by the country of publication, and if available, ISSN and CODEN. Additional Information: There is important information related to the journal titles which are fundamental for tracing the history of the title and the present status. They are listed below and are entered whenever applicable: - Ceased publication; - Superseded by

Following the rays of Kurahara Koreyoshi’s Black Sun. Negrophilia in Japanese cinema

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Marek Bochniarz

2018-05-01

Full Text Available This article explores two films by Kurahara Koreyoshi: Black Sun and Safari 5000, in the context of the scholars John Russell and Jonathan D. Mackintosh’s approaches to racism and so-called negrophilia in Japanese mass-culture and cinema. The authors argue that cultural stereotypes even have a negative impact on the artistically original Japanese directors, who only seem to be independent and express their thoughts freely.

Title IX Resource Guide

Science.gov (United States)

Office for Civil Rights, US Department of Education, 2015

2015-01-01

Title IX of the Education Amendments of 1972 (Title IX) prohibits discrimination based on sex in education programs and activities in federally funded schools at all levels. If any part of a school district or college receives any Federal funds for any purpose, all of the operations of the district or college are covered by Title IX. The essence…

Getting to one from title 10 + title 32 unity of effort in the homeland

OpenAIRE

Prosch, Caroline Ross.

2011-01-01

CHDS State/Local Approved for public release; distribution is unlimited This thesis bridges the knowledge gap between Title 10 Active Duty and Title 32 National Guard in order to breakdown cultural barriers and reach unity of effort for response operations in the homeland. Regrettably, a unified response was missing among Title 10 Active Duty and Title 32 National Guard members following Hurricane Katrina. Since then, initiatives based in doctrine, statutes and formal recommendations...

Memória de gestos na obra de Agnès Varda: pintura, fotografia, cinema

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Cristian Borges

2010-01-01

Full Text Available Antiga aluna da Escola do Louvre, Agnès Varda inicia sua carreira como fotógrafa, antes de se dedicar ao cinema. Raramente críticos e acadêmicos percebem ou destacam, em sua obra fílmica, o gosto acentuado e erudito pela pintura e pela fotografia, que se manifesta notadamente através da recorrência de gestos presentes na imagem. Analisaremos três procedimentos em que essa recorrência explícita pode ser percebida em alguns de seus filmes. Primeiramente, ao partir de uma imagem pictórica para reproduzir um gesto singular que se fixa pelo exercício da pausa (pose, colocando "em abismo" a relação pintura/cinema. Um segundo procedimento explora um gesto engendrado por uma fotografia em filmes cujos personagens encontram-se, em algum momento, congelados em seus gestos. Um terceiro procedimento evoca um prolongamento dos gestos, desta vez operado no seio da própria imagem cinematográfica, pela montagem. A recorrência dos gestos, tão presente na obra de Agnès Varda, encontra fortes ecos no pensamento de Gaston Bacherlard, Roland Barthes, Walter Benjamin e Aby Warburg. Assim, o que denominamos aqui uma "memória dos gestos" atesta, em seus filmes, uma fina conivência entre pintura, fotografia e cinema.Former student at the Louvre, Agnès Varda began her career as a photographer before turning to cinema. Critics and scholars rarely see or stand, in her films, the sharp and erudite taste for painting and photography, which manifests itself mainly by recurrent gestures on image. In this article, we are going to analyse three procedures by which that explicit recurrence can be seen in some of her films. First, by obtaining through a pictorial image the reproduction of a singular gesture that is fixed due to the use of pause (pose, proposing a 'mise en abyme' of the relationship between painting and film. A second procedure explores the gesture generated by a photograph, in films whose characters, frozen in their gestures, become

Browse Title Index

African Journals Online (AJOL)

Items 601 - 650 of 788 ... Browse Title Index ... Issue, Title ... Vol 14, No 1 (2006), Social science research: a critique of quantitative and qualitative methods ... Vol 18, No 1 (2010), Stress among part-time business students: a study in a Ghanaian ...

20 CFR 408.931 - How much will we withhold from your title II and title XVI benefits to recover a title VIII...

Science.gov (United States)

2010-04-01

... 20 Employees' Benefits 2 2010-04-01 2010-04-01 false How much will we withhold from your title II... and Overpayments Adjustment of Title II Benefits § 408.931 How much will we withhold from your title...-due benefits. (b)(1) We will collect the overpayment from current monthly benefits due in a month...

Reading of the Architectural Identity via Cinema

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Havva Alkan Bala

2015-07-01

Full Text Available This study focused on the identity and proficiency of the profession of architecture via characters of “architect”, “student of architecture” and “having ambition to become an architect” in various films. Conclusions have been drawn about the professional applications and architectural life from the cinematographic level regarding the architect characters and their jobs via the seven films and a total of eleven different architect characters studied. This study aims to revise, through the cinema, the questions of what does an architect do? How does an architect work? What are the tools that an architect uses? How does an architect create their works? What is the mental map of an architect like? In short, who is an architect? New conclusions have been drawn, via a total of eleven different characters of architects in seven films, about architects and architects’ job from the cinematographic level to Professional practiceand architectural life.

Browse Title Index

African Journals Online (AJOL)

Items 151 - 200 of 229 ... Browse Title Index ... Issue, Title. Vol 14, No 2 ... Vol 15, No 1 (2017), Qualitative and quantitative methods of suicide research in old age, Abstract PDF ... Vol 11, No 2 (2013), Simple Algorithm in the Management of Fetal ...

Silent Majority, Violent Majority: The Counter-Revolution in 70s Cinema

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Peter Andrew Novick

2012-12-01

Full Text Available «There is one question, Inspector Callahan: Why do they call you ‘Dirty Harry’?» Harry, it is explained, «…Hates everybody: Limeys, Micks, Hebes, Fat Degos, Niggers, Honkies, Chinks…especially Spics». Don Siegel’s Dirty Harry (1971, famously labeled «fascist» by prominent film critic Pauline Kael, nonetheless represented something new and unique—the “Silent Majority’s” entry into liberal New Hollywood, a veritable counter-reformation to the new social movements having sprung up in the late Sixties and early Seventies. Far from the traditional American Right, however, and distinctly un-Fascist (in as much as the term means more than a simple epithet, these films acted to unite traditional European philosophy and revolutionary thought with organic conservative American tendencies, resulting in hybrid films which challenged the new social movements, while working within the medium of liberal New American Cinema. The article will address three themes from the era: violence and race in the city, revenge against “liberated women”, and fear and loathing of homosexuality. In each instance, using primary evidence from films and critical reviews from the Seventies and the present era, in addition to American and European theorists, the article will show how the counter-revolution in Seventies cinema failed to expunge the “revolutionary spirit” of the era. Rather, the Silent Majority’s visions of visual violence and reactionary values became part and parcel of the new liberated culture of the “Me Decade,” forever bounding the conservative celluloid revolt to the new cinematic culture.

Life or Death: Anxiety About the Urban in 1950s Egyptian Cinema

OpenAIRE

Paul Sedra

2015-01-01

Life or Death (Haya aw mawt) is a classic of Egyptian cinema, widely interpreted retrospectively by scholars as an ode to progress, modernity, the nation, and the chief emblem of such, the burgeoning city. Indeed, the film was included in the list of ‘the most important 100 Egyptian films,’ commissioned by the Bibliotheca Alexandrina and assembled by Ahmed el-Hadari, Samir Farid, and Kamal Ramzi in 2006. Released in 1954, the film is associated by critics and scholars with the 1952 Free Offic...

Speckle disturbance limit in laser-based cinema projection systems

Science.gov (United States)

Verschaffelt, Guy; Roelandt, Stijn; Meuret, Youri; van den Broeck, Wendy; Kilpi, Katriina; Lievens, Bram; Jacobs, An; Janssens, Peter; Thienpont, Hugo

2015-09-01

In a multi-disciplinary effort, we investigate the level of speckle that can be tolerated in a laser cinema projector based on a quality of experience experiment with movie clips shown to a test audience in a real-life movie theatre setting. We identify a speckle disturbance threshold by statistically analyzing the observers’ responses for different values of the amount of speckle, which was monitored using a well-defined speckle measurement method. The analysis shows that the speckle perception of a human observer is not only dependent on the objectively measured amount of speckle, but it is also strongly influenced by the image content. The speckle disturbance limit for movies turns out to be substantially larger than that for still images, and hence is easier to attain.

Cinema e feminismos entre poética e devir: por uma tecnologia engendrada

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Fernanda Capibaribe Leite

2015-12-01

Full Text Available Esse artigo visa contribuir para a construção de uma poética feminista no cinema e audiovisual contemporâneo concebida na ideia de trânsito ou fluxos para sujeitos de gênero compreendidas/os fora da lógica dos binarismos “cis” e heteronormativos. Para tanto, atualiza a acepção em Lauretis (1987 de que o cinema se constitui como tecnologia de gênero, e aborda tal premissa no contexto das imagens tecnológicas e digitais através do conceito de percepto de devir feminista. Tal relação proposta engloba a ideia de que a poética feminista atualmente se alicerça cada vez mais na prerrogativa das experiências próprias de personagens subjetificadas/os, por um caminho patêmico no qual mulheres cis e trans não mais são colocadas sob o olhar do outro-homem-dominador, mas, ao contrário, se enunciam sob referências de seus próprios cotidianos e espaços de interlocução. Nesse sentido, a atualização da ideia de tecnologia de gênero para o cinema está ligada ao fato de que tais imagens configuram desterritorializações, devires, tanto no que toca a relação hegemonia-subalternidade no sistema sexo-gênero como no que se refere à própria ideia dos sujeitos legítimos e nomeados no feminismo. Como escopo investigativo, lanço um olhar sobre a produção Dude looks Like a Lady, parte da série de curtas em pornografia feminista intitulada XConfessions (LUST, 2013, 125min, oriundos de relatos em texto sobre fantasias e/ou experiências enviadas pela internet. Apesar de tratar de tal realização em particular, a trago também como espaço de acionamento de outras produções na perspectiva do feminismo, que endossam ou potencializam o lugar da diferença em produções com foco nos sujeitos engendrados.

Il cinema di Pasolini e la morte: tra complesso della mummia e sindrome di Frankenstein

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Tomaso Subini

2010-10-01

Full Text Available Cinema's ability to defeat death by stopping the run of time is written inside its own statute. Confiding on this capacity, Pasolini devotes his filmic work to the theme of death (interrogated through Christ's myth and elaborates a linguistic theory (strictly linked to the performative aspects of his artistic work to give an explanation of death through a filmic metaphor.

Yeşilçam Döneminde Van’ın Sinema Kültürü Van’s Cinema Culture in Yeşilçam Period

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Arzu ERTAYLAN

2013-09-01

Full Text Available The increase in the number of theoretical studies concerning cinema due to the increase in the number of communication and fine arts faculties has been a stubborn fact. Many academics and picturegoers have scrutinised the past and present Turkish cinema; many new and old films have been examined in terms of their subject matters, styles, ideologies, genres, directors or the representation of a specific subject; films have been analysed through certain research methods; and eventually, a theoretically significant literature has started to be created. The significance of these kinds of studies cannot be denied. Yet, it is evident that the number of field studies in Turkish cinema falls behind the pleasing increase in the number of theoretical studies. Although there are no requirements to equalise these numbers, it is believed that the significance of field studies should not be ignored.The field studies based on the data collected from a certain pilot region have the potential to provide practical answers for problems specific to this region. In this respect, the study titled “Van’s Cinema Culture in Yeşilçam Period” is considered significant. With this study, it is aimed to obtain data concerning the development of cinema in Van and also to contribute to the advancement of the field. Such a study necessitates research studies that would offer an insight to previous periods or at least official documents that have evidential value. However, the lack of sources materials has been an important problem during the study. This problem has forced the study to be based predicate mainly on interviews and a descriptive analysis. Therefore, the interviews with the owners of old movie theatres as well as the local people of Van who are famous for their interest in cinema and art have become prominent. The data obtained; is associated with the general socio-political and socio-cultural condition of Turkey in the same periods.In the first part, the

In Pompeii and Volterra the Earth Really Trembles: De-Territorialisation, European Art-Cinema, and the Fate of Neorealism in Roberto Rossellini's Journey to ltaly and Luchino Visconti's Sandra

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Stefano Ciammaroni

2007-06-01

Full Text Available Este trabalho se utiliza de dois estudos de caso - Viagem to Italy (1953, de Roberto Rossellini e Sandra (1965, de Luchino Visconti para discutir questões políticas, historiográficas e estéticas [que interferem] no relacionamento entre o neo-realismo como cinema da nação italiana e o "cinema de arte europeu" como uma instituição desnacionalizada.

'From Stories to Worlds: The Continuity of Marvel Superheroes from Comics to Cinema'

OpenAIRE

Sweeney, David

2013-01-01

Abstract\\ud From Stories to Worlds: The Continuity of Marvel Superheroes from Comics to Film\\ud David Sweeney, June 2013\\ud The Avengers (2012), the third most profitable film of all time, built upon the success of, and was interlinked with an entire range of, superhero films from Marvel Studios. Such narrative cohesion across individual texts is virtually unprecedented in American cinema but is the standard practice in the production of superhero comics. As this essay discusses, this approac...

The Relationship Between Religion and Cinema in the Context of the Construction of a Harmonious World: “Life of Pi” Example

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Asife ÜNAL

2015-08-01

Full Text Available By the very first movie in 1902, the first sound - on - movie in 1927 and the first Turkish movie in 1914, cinema is an important art form in our lives from 1895. Throughout the history of 120 years of cinema, as with all areas of life, has been a close relati onship with religion or religious phenomena directly or indirectly. This relationship has lead to positive or negative results but has been effective in each case. The movies like "The Message" which issues the spread of Islam and "The Passion” which issue s the last 24 hours of Jesus’ life are religious films. Beside them movies with subliminal messages also reveal how an important force lies to create religious perception created in this area... In this regard, one of the films that are surrounded by the i nfluence of Hinduism's belief in God “Life of Pi "is an important example. Life of Pi (2012 is an 4 Oscar - winning movie which adapted to the cinema by David Magee by Yann Martel's novel of the same name and directed by Ang Lee. In the movie Pi (Piscine Pa ttel is an Indian boy who struggles for survival in a lifeboat in the Pacific Ocean during 227 days with a Bengal tiger after the sinking of a ship. The movie has a clear message which “leads to belief in God”. Alongside this message it uses many metaphor s to impress the audience and gives a magnificent example for how religion could be used in the cinema. According to the film Pi is a boy questioning beliefs from childhood to find the meaning of life, to recognize God. It’s possible to see him as a child who wants to be a baptized Christian and prays like a Muslim besides being a Hindu. He is questioning a combination of religion. After his father’s quote "there is no difference between to believe in everything at the same time and nothing to believe in" h e understands that it’s not probable to be a follower of all beliefs, but this does not also mean to prevent from understanding the others. Today movies like

Visual discomfort while watching stereoscopic three-dimensional movies at the cinema.

Science.gov (United States)

Zeri, Fabrizio; Livi, Stefano

2015-05-01

This study investigates discomfort symptoms while watching Stereoscopic three-dimensional (S3D) movies in the 'real' condition of a cinema. In particular, it had two main objectives: to evaluate the presence and nature of visual discomfort while watching S3D movies, and to compare visual symptoms during S3D and 2D viewing. Cinema spectators of S3D or 2D films were interviewed by questionnaire at the theatre exit of different multiplex cinemas immediately after viewing a movie. A total of 854 subjects were interviewed (mean age 23.7 ± 10.9 years; range 8-81 years; 392 females and 462 males). Five hundred and ninety-nine of them viewed different S3D movies, and 255 subjects viewed a 2D version of a film seen in S3D by 251 subjects from the S3D group for a between-subjects design for that comparison. Exploratory factor analysis revealed two factors underlying symptoms: External Symptoms Factors (ESF) with a mean ± S.D. symptom score of 1.51 ± 0.58 comprised of eye burning, eye ache, eye strain, eye irritation and tearing; and Internal Symptoms Factors (ISF) with a mean ± S.D. symptom score of 1.38 ± 0.51 comprised of blur, double vision, headache, dizziness and nausea. ISF and ESF were significantly correlated (Spearman r = 0.55; p = 0.001) but with external symptoms significantly higher than internal ones (Wilcoxon Signed-ranks test; p = 0.001). The age of participants did not significantly affect symptoms. However, females had higher scores than males for both ESF and ISF, and myopes had higher ISF scores than hyperopes. Newly released movies provided lower ESF scores than older movies, while the seat position of spectators had minimal effect. Symptoms while viewing S3D movies were significantly and negatively correlated to the duration of wearing S3D glasses. Kruskal-Wallis results showed that symptoms were significantly greater for S3D compared to those of 2D movies, both for ISF (p = 0.001) and for ESF (p = 0.001). In short, the analysis of the symptoms

Hollywood Megaplex cinema building at Pasching near Linz, Austria; Hollywood Megaplex. Grosskino in Pasching bei Linz

Energy Technology Data Exchange (ETDEWEB)

Anon.

1996-08-01

The contribution describes the projecting and construction of a large cinema building at Pasching near Linz. It goes into detail about heating systems, air conditioning systems, and energy conservation measures. (HW) [Deutsch] Es wird berichtet ueber die Planung und die Ausfuehrung der Baumassnahmen Grosskino in Pasching bei Linz. Im Einzelnen: Heizungssysteme; Klimaanlage; Energiesparmassnahmen. (HW)

The Effects of Digital Communication in Cinema: ‘A New Film Language’

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Hidayet Hale Künüçen

2014-12-01

Full Text Available Delving into the digital world and technical development beneath it, the applications on communication have appeared as a promising source for transformation. Rapid progressing internet technology has turned the previously underdeveloped visual communication into an important domain as it is a needed practice to consider the means of communication in conjunction with the content and as far as the image in visual media is concerned, the question of how digital visual communication process is effected emerges. Beginning in 2000s, developments in digital communication technologies have led to a change in the perception of the film language in cinema. Processes dedicated to film-making such as dramatization, visualization, editing and distribution have gone through significant transition. A major contributing fact, DV (Digital Video, has made filmmaking available to amateur shooters which had before been dominated solely by professionals. Amateur filmmakers have begun shooting films of reasonably low costs and sharing them through internet platforms such as Youtube and Vimeo. The unexpected recognition by the audience and considerably high box office earnings have drawn attention to the language used in those films. The experiences and developments in digital communication require academics to correctly interpret the recent changes in filmmaking. Therefore, in this study, it is aimed to discuss the characteristics of the somewhat revolutionary ‘new film language’ introduced by amateur filmmakers and the effects of digital communication technologies in cinema.

Gå på bio : rum för drömmar i folkhemmets Sverige

OpenAIRE

Sjöholm, Carina

2003-01-01

Going to the Pictures The Cinema as a Meeting Place in the 1940s and 1950s Summary At the end of the 1950s, at roughly the same time as television became established, Sweden had the largest number of cinemas of any country in Europe. People went to the cinema in unprecedented numbers. In 1956 ticket sales in Swedish cinemas reached 80 million. There were palatial cinemas which offered people a full-evening experience, but there were also large numbers of people’s halls and lodges where both t...

Remembering the past: Representations of women’s trauma in post-1989 Romanian cinema

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Elena Adam

2016-12-01

Full Text Available The paper focuses on the long-term effects of Romanian communist natality politics and the way in which cinema was used to re-appropriate the past after the shift in political climate in 1989. Romania’s process of coming to terms with the past was characterized by political reluctance to explore the communist legacy. However, personal attempts of recollecting the past have a unique ability to bridge the intergenerational gap and facilitate the transmission of knowledge and memories. This paper therefore presents two examples of Romanian cinema focused on the experiences of those directly affected by the family planning politics of the communist regime. Das Experiment 770 - Gebären auf Behelf (2005, directed by Razvan Georgescu and Florin Iepan, is a documentary based on oral testimonies and documents that sketch the history of Romanian communism and the involvement of various individuals. The second source used—4 Months, 3 Weekes and 2 Days (2007 directed by Cristian Mungiu—is a film that uses a different language and technics in order to re-appropriate the past, not through direct testimony of those involved, but creating fictional characters. The target audience of these movies—as is often the case with historical cinema—is the second or third generation. Cinematography provides a simple and popular way of connecting these generations with the experiences of their predecessors.

The MAGIC of CINEMA: first in-flight science results from a miniaturised anisotropic magnetoresistive magnetometer

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M. O. Archer

2015-06-01

Full Text Available We present the first in-flight results from a novel miniaturised anisotropic magnetoresistive space magnetometer, MAGIC (MAGnetometer from Imperial College, aboard the first CINEMA (CubeSat for Ions, Neutrals, Electrons and MAgnetic fields spacecraft in low Earth orbit. An attitude-independent calibration technique is detailed using the International Geomagnetic Reference Field (IGRF, which is temperature dependent in the case of the outboard sensor. We show that the sensors accurately measure the expected absolute field to within 2% in attitude mode and 1% in science mode. Using a simple method we are able to estimate the spacecraft's attitude using the magnetometer only, thus characterising CINEMA's spin, precession and nutation. Finally, we show that the outboard sensor is capable of detecting transient physical signals with amplitudes of ~ 20–60 nT. These include field-aligned currents at the auroral oval, qualitatively similar to previous observations, which agree in location with measurements from the DMSP (Defense Meteorological Satellite Program and POES (Polar-orbiting Operational Environmental Satellites spacecraft. Thus, we demonstrate and discuss the potential science capabilities of the MAGIC instrument onboard a CubeSat platform.

Target Audience of Live Opera Transmissions to Cinema Theatres from the Marketing Point of View

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Radek Tahal

2016-03-01

Full Text Available Opera has a famous history and even the present-day repertoire in opera houses mostly consists of classical and well-known works. Marketers are trying to find new ways that would enable opera lovers all over the world to enjoy top quality performances. One of the most successful models is real-time transmissions of operas to geographically remote cinemas. Cinemas from all around the world participate in the project. In this paper, the authors analyze the spectators´ profile and point out differences between North America and the Czech Republic, focusing on transmissions of performances by the Metropolitan Opera in New York. The authors submit a detailed analysis of the socio-demographic characteristics of the spectators and the attendance frequency. Special attention is paid to the marketing profile of Czech spectators, based on primary data gathered in the research. The paper is a combination of research report and business case study. The study reveals that female visitors prevail. Elderly people are also represented in high percentages. The spectators are characterized by refined taste in their lifestyles and familiarity with modern technology.

VAGINAL ECONOMY: Cinema and Globalization in the Post-Marcos Post-Brocka Era

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Rolando B. Tolentino

2010-12-01

Full Text Available This essay explores the trope of the vaginal economy that is proliferated in the political economy and nature of Philippine migration. The vaginal economy is both receptacle and symptom of Philippine development. It represents the discourse through cinema, and historicizes the primal debate in the Marcos and Brocka contestation for image-building of the nation. Primarily through the sex-oriented (bomba films and their permutations in the various political life of the contemporary nation, the vaginal economy is historicized even in the after-life of the post-Marcos and post-Brocka era.

La Seconda guerra mondiale sugli schermi: un’analisi sul cinema nel Nordeste

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Andreza Santos Cruz Maynard

2014-03-01

Full Text Available This paper analyzes the relationship between the cinemas located in the city of Aracaju (located in Brazil’s Northeast and the movies shown at the time of World War II. The cinemas’ scheduling varied according to changes in U.S. movie production, and it also depended on the international position of Brazil, considering the War and the countries involved in the conflict. Newspapers and magazines constitute the bulk of the documentation that supports an analysis of the films exhibition at a time when the mass media were controlled with political purposes.

Comparing the Influence of Title and URL in Information Retrieval Relevance in Search Engines Results between Human Science and Agriculture Science

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Parisa Allami

2012-12-01

Full Text Available When the World Wide Web provides suitable methods for producing and publishing information to scientists, the Web has become a mediator to publishing information. This environment has been formed billions of web pages that each of them has a special title, special content, special address and special purpose. Search engines provide a variety of facilities limit search results to raise the possibility of relevance in the retrieval results. One of these facilities is the limitation of the keywords and search terms to the title or URL. It can increase the possibility of results relevance significantly. Search engines claim what are limited to title and URL is most relevant. This research tried to compare the results relevant between results limited in title and URL in agricultural and Humanities areas from their users sights also it notice to Comparison of the presence of keywords in the title and URL between two areas and the relationship between search query numbers and matching keywords in title and their URLs. For this purpose, the number of 30 students in each area whom were in MA process and in doing their thesis was chosen. There was a significant relevant of the results that they limited their information needs to title and URL. There was significantly relevance in URL results in agricultural area, but there was not any significant difference between title and URL results in the humanities. For comparing the number of keywords in title and URL in two areas, 30 keywords in each area were chosen. There was not any significantly difference between the number of keywords in the title and URL of websites in two areas. To show relationship between number of search keyword and the matching of title and URL 45 keywords in each area were chosen. They were divided to three parts (one keyword, two keywords and three keywords. It was determined that if search keyword was less, the amount of matching between title and URL was more and if the matching

Browse Title Index

African Journals Online (AJOL)

Items 201 - 250 of 488 ... African Journal of Paediatric Surgery. ... Ileocecal valve atresia: Introduction of a new surgical approach ... Vol 4, No 1 (2007), Isolated Bilateral Macrostomia: Case Series and ... Vol 9, No 2 (2012), Laparoscopic inguinal hernia repair in ... List All Titles · Free To Read Titles This Journal is Open Access.

Learning to Watch Cinema in the Classroom: Production and Investigation for the Teaching of Cinematographic Language

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Goncalves, Ana Luisa; Fandos, Manuel; Aguaded, Jose-Ignacio

2011-01-01

This article synthesises an investigation of the making of a didactic programme as a consequence of the excess of consumption of audiovisual messages and the non critical and non-thoughtful attitude the youngsters have towards it. As an answer to this problem, the authors have produced a didactical programme about cinema and its language, the main…

From Golden Age Mexican Cinema to Transnational Border Feminism: The Community of Spectators in "Loving Pedro Infante"

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Heredia, Juanita

2008-01-01

The novel "Loving Pedro Infante" by Chicana writer Denise Chavez provides an insightful transcultural feminist critique of Golden Age Mexican cinema culture through a careful examination of gender roles. In the novel, the reception of Pedro Infante's films by spectators bridges generations and national spaces and leads to the formation…

Argel, Buenos Aires, Montreal: el Comité de Cine del Tercer Mundo (1973 / 1974 / Algiers, Buenos Aires, Montreal: the Third World Cinema Committee (1973 / 1974

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Mariano Mestman

2017-02-01

Full Text Available El encuentro de cineastas de Argel (Argelia en diciembre de 1973 es bien conocido en los estudios sobre el cine del Tercer Mundo. En cuanto oportunidad de intercambio y discusión, este encuentro permitió la organización del trabajo de los cineastas y focalizó el debate en tres ejes principales: la contribución del cine a los procesos de liberación nacional, la descolonización de las pantallas del Tercer Mundo y la lucha contra la «alienación cultural». El resultado más importante fue la creación del Comité de Cine del Tercer Mundo. Solo seis meses más tarde, un nuevo encuentro tuvo lugar en Buenos Aires (Argentina. Por un lado, el presente ensayo muestra cómo un proyecto político-cinematográfico (el «tercermundismo» fue tomando forma gradualmente durante esos años y destaca el rol de ambas reuniones en la promoción de esta nueva identidad político-cultural. Por otro, este trabajo también propone la necesidad de incorporar a esta historia otro evento decisivo: los Rencontres Internationales pour un Nouveau Cinema, realizados en Montreal en 1974. Poco considerado incluso por la bibliografía especializada, este encuentro puede considerarse el más importante del cine polí- tico mundial de los años sesenta y setenta. Dada la cantidad y diversidad de los participantes de Europa, Estados Unidos, África y América Latina, la conferencia de Montreal fue crucial en la constitución del diálogo entre los cineastas políticos del Primer Mundo y la tendencia tercermundista construida entre Argel y Buenos Aires.Palabras clave: Tercer Mundo, tercermundismo, Tercer Cine, Nuevo Cine Latinoamericano, Federación Panafricana de CineastasAbstract:The filmmakers meeting held in Algiers (Algeria in December 1973 is a wellknown event among Third World Cinema´s studies. As an opportunity to exchange and discussion, this gathering organised the work of Third World filmmakers and focused the debate on three main issues: the contribution of

The Outsider Within: Béla Tarr and Hungarian National Cinema

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Lilla Tőke

2016-10-01

Full Text Available Béla Tarr is probably the most paradoxical figure in contemporary Hungarian cinema. His artistic trajectory shows a movement from documentary style realism (Family Nest, 1979 towards more modernist cinematic practices (Satan’s Tango, 1994, Werckmeister Harmonies, 2000, and The Man from London, 2007. A major celebrity in the global film culture that prides itself in being transnational, international, and in crossing linguistic and ethnic boundaries, Tarr has consistently found himself on the fringes of the Hungarian cultural and political establishment. In this study Tőke considers Tarr’s films and public persona as catalysts in the debates about what constitutes “Hungarian cinema” in a globalizing world from the 1970s until today.

A mixed air/air and air/water heat pump system ensures the air-conditioning of a cinema; Un systeme mixte PAC air/air et air/eau climatise un cinema

Energy Technology Data Exchange (ETDEWEB)

Anon.

2001-03-01

This article presents the air conditioning system of a new cinema complex of Boulogne (92, France) which comprises a double-flux air processing plant and two heat pumps. Each heat pump has two independent refrigerating loops: one with a air condenser and the other with a water condenser. This system allows to limit the power of the loop and to reduce the size of the cooling tower and of the vertical ducts. This article describes the technical characteristics of the installation: thermodynamic units, smoke clearing, temperature control, air renewing. (J.S.)

Landscape in Cinema: Images to Think Time through Space

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Filipa Rosário

2017-01-01

Full Text Available This text is an introduction to the special issue on ‘Landscape and Cinema’ published by Aniki. Portuguese Journal of the Moving Image. It is composed of a brief state of the art, which anchors this work within the bibliography on the subject, and a synthetic description of the discourses developed by the six papers included in the issue: the first one addresses the historical and aesthetic evolution of the background in the Russian and Soviet cinema of the first decades of the twentieth century; the second discusses the representation of the Portuguese landscape in Manuel Guimarães’ films; the third identifies a few cinematic techniques that work as conventions of psychological landscape film, such as juxtaposition and superimposition; the fourth interprets the meaning of Brazilian urban landscapes showed in the feature film A Vida Provisória (Maurício Gomes Leite, 1968; the fifth deals with the corporeal and conceptual relations between body, memory and landscape through a sensory reading of the films Ten Skies (James Benning, 2004 and Sin Peso (Cao Guimarães, 2007; and finally, the sixth undertakes a comparative analysis of three South American non-fiction works that show several waterscapes as places of memory: El botón de nácar (Patricio Guzmán, 2015, Los durmientes (Enrique Ramírez, 2015 and Las aguas del olvido (Jonathan Perel, 2013. The aim of this preliminary text is therefore to introduce the main contents of the issue and some of its conclusions. In this sense, it is necessary to emphasise the open and polysemic nature of landscape, which works, inside and outside cinema, as a palimpsest in which multiple meanings come together. For this reason, those films that depict, create and intervene in landscape allow to perceive, among other things, the overlapping of historical and subjective times that takes place in certain spaces.

Hikoma Udihara: um imigrante colonizador inaugura o cinema no norte do Paraná

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Paulo César Boni

2010-12-01

Full Text Available For nearly three decades, from 30‘s to 50‘s in the twentieth century, the immigrant Hikoma Udihara recorded the settlement and development of the northern of Paraná. Autodidact, produced about ten hours of footage that, due to its documentary relevance, constitute an essential research‘s resource for the historical recovery, memory preservation and construction of the identity in northern of Paraná, and also for the rescue of the Paraná‘s cinema.

The creative voice: free indirect speech in the cinema of Rohmer and Bresson

OpenAIRE

Heinemann, David

2012-01-01

This article examines a particular use of the voice in cinema which conveys character reflexivity and generates expressive ambiguity in a film's narrative point of view. Drawing on Pasolini's notion of the free indirect style and Deleuze's elaboration of this into his concept of the free indirect speech-act, two different creative uses of speech are analysed: one in Rohmer's Claire's Knee (1970) and the other in Bresson's Diary of a Country Priest (1951). The essay finds that when characters ...

Lab coats in Hollywood science, scientists, and cinema

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Kirby, David A

2013-01-01

Stanley Kubrick’s 2001: A Space Odyssey, released in 1968, is perhaps the most scientifically accurate film ever produced. The film presented such a plausible, realistic vision of space flight that many moon hoax proponents believe that Kubrick staged the 1969 moon landing using the same studios and techniques. Kubrick’s scientific verisimilitude in 2001 came courtesy of his science consultants—including two former NASA scientists—and the more than sixty-five companies, research organizations, and government agencies that offered technical advice. Although most filmmakers don’t consult experts as extensively as Kubrick did, films ranging from A Beautiful Mind and Contact to Finding Nemo and The Hulk have achieved some degree of scientific credibility because of science consultants. In Lab Coats in Hollywood, David Kirby examines the interaction of science and cinema: how science consultants make movie science plausible, how filmmakers negotiate scientific accuracy within production constraints, and ...

Oltre la Bibbia. Il cinema tra narrazione e redenzione

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Mino Chamla

2011-06-01

Full Text Available In the Jewish tradition, the Bible is the origin of any possible interpretative and narrative development. Thus, starting from this statement and in the belief that film is, in its essence, narration and not representation, the author makes some remarks on the close and intimate relationship among Judaism, Jews and film, but also on the difficulty that movies have always experienced in the direct confrontation with the Bible while pretending to “represent it”. Moreover, if the cinema is mainly narrative and creative development of reality, we have to speak, with Walter Benjamin and Sigfried Kracauer, as for the Seventh art, about a sort of redemption of reality, in assonance, here again, with some profound and important trends of Judaism, and especially of the modern Jewish thought.

The cinema LED lighting system design based on SCM

Science.gov (United States)

En, De; Wang, Xiaobin

2010-11-01

A LED lighting system in the modern theater and the corresponding control program is introduced. Studies show that moderate and mutative brightness in the space would attract audiences' attention on the screen easily. SCM controls LED dynamically by outputting PWM pulse in different duty cycle. That cinema dome lights' intensity can vary with the plot changed, make people get a better view of experience. This article expounds the architecture of hardware system in the schedule and the control flow of the host of the solution. Besides, it introduces the design of software as well. At last, the system which is proved energy-saving, reliable, good visual effect and having using value by means of producing a small-scale model, which reproduce the whole system and achieves the desired result.

L’impatto del cinema sul turismo: il fenomeno del cineturismo / The impact of cinema on tourism: the phenomenon of cine-tourism

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Astrid Pellicano

2016-05-01

Full Text Available “Un film è sempre l’inizio di un viaggio”, così il fenomeno del cineturismo ci porta per mano a scoprire le location dei film e le emozioni che si celano dietro la più grande macchina dei sogni: il cinema. Spesso decidere la giusta destinazione per le proprie ferie è difficile, dal momento che esistono vari fattori, dal tempo, all’età, alle esigenze economiche e ai gusti, e luoghi che sono più speciali e più interessanti per trascorrervi le vacanze. Spesso ad influenzare ci pensano oggi film, documentari o fiction, diventati il mezzo potenzialmente migliore per trasmettere i valori, le tradizioni e la cultura di un territorio, in quanto l’attenzione con cui le persone seguono i film e il coinvolgimento emotivo sono irripetibili con altri strumenti di comunicazione. Il cineturismo è dunque un’emergente motivazione al viaggio, che si aggiunge alla già variegata domanda turistica. L’Italia ha cominciato ad elaborare un proprio concetto di cineturismo nel 2003. Delle migliaia di location utilizzate da film e serie tv, solo poche decine tuttavia entrano a far parte del circuito legato al cineturismo. “A film is always the beginning of a journey”, so the phenomenon of movie-induced tourism takes us by the hand to discover the location of the film and the emotions that lie behind the biggest dream machine: the cinema. Choosing the right destination for holidays is difficult, since there are various factors, such as time, age, economic needs and tastes, and places that are more special and more interesting to spend the holidays. Often, we think movies, documentaries or fiction, as means that potentially convey the values, traditions and culture of an area, as the attention that people follow the film and the emotional involvement are unique with other communication tools. Movie-induced tourism is therefore an emerging motivation for travel, which adds to the already varied tourist demand. Italy has begun to develop

Stereotypes at Work in Classroom Interactions: Pupils Talk about the Police in School Cinema Activities in Sweden

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Lindgren, Anne-Li

2015-01-01

The empirical investigation in this paper develops the perspective of media in education by focusing on how the use of film in education stimulates the production of cultural, societal and social values and norms in school when pupils talk about "the police" in school cinema activities in Sweden. "Police" is regarded as a…

Cinema audiences reproducibly vary the chemical composition of air during films, by broadcasting scene specific emissions on breath.

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Williams, Jonathan; Stönner, Christof; Wicker, Jörg; Krauter, Nicolas; Derstroff, Bettina; Bourtsoukidis, Efstratios; Klüpfel, Thomas; Kramer, Stefan

2016-05-10

Human beings continuously emit chemicals into the air by breath and through the skin. In order to determine whether these emissions vary predictably in response to audiovisual stimuli, we have continuously monitored carbon dioxide and over one hundred volatile organic compounds in a cinema. It was found that many airborne chemicals in cinema air varied distinctively and reproducibly with time for a particular film, even in different screenings to different audiences. Application of scene labels and advanced data mining methods revealed that specific film events, namely "suspense" or "comedy" caused audiences to change their emission of specific chemicals. These event-type synchronous, broadcasted human chemosignals open the possibility for objective and non-invasive assessment of a human group response to stimuli by continuous measurement of chemicals in air. Such methods can be applied to research fields such as psychology and biology, and be valuable to industries such as film making and advertising.

Cinema audiences reproducibly vary the chemical composition of air during films, by broadcasting scene specific emissions on breath

Science.gov (United States)

Williams, Jonathan; Stönner, Christof; Wicker, Jörg; Krauter, Nicolas; Derstroff, Bettina; Bourtsoukidis, Efstratios; Klüpfel, Thomas; Kramer, Stefan

2016-05-01

Human beings continuously emit chemicals into the air by breath and through the skin. In order to determine whether these emissions vary predictably in response to audiovisual stimuli, we have continuously monitored carbon dioxide and over one hundred volatile organic compounds in a cinema. It was found that many airborne chemicals in cinema air varied distinctively and reproducibly with time for a particular film, even in different screenings to different audiences. Application of scene labels and advanced data mining methods revealed that specific film events, namely “suspense” or “comedy” caused audiences to change their emission of specific chemicals. These event-type synchronous, broadcasted human chemosignals open the possibility for objective and non-invasive assessment of a human group response to stimuli by continuous measurement of chemicals in air. Such methods can be applied to research fields such as psychology and biology, and be valuable to industries such as film making and advertising.