Auswahl der wissenschaftlichen Literatur zum Thema „Geographical perception in motion pictures“
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Zeitschriftenartikel zum Thema "Geographical perception in motion pictures"
Marta Zarzycka and Bettina Papenburg. „Motion Pictures: Politics of Perception“. Discourse 35, Nr. 2 (2013): 163. http://dx.doi.org/10.13110/discourse.35.2.0163.
Der volle Inhalt der QuelleJóźwiak, Marek, Brian Po-Jung Chen, Bartosz Musielak, Jacek Fabiszak und Andrzej Grzegorzewski. „Social Attitudes toward Cerebral Palsy and Potential Uses in Medical Education Based on the Analysis of Motion Pictures“. Behavioural Neurology 2015 (2015): 1–8. http://dx.doi.org/10.1155/2015/341023.
Der volle Inhalt der QuelleLorteije, Jeannette A. M., J. Leon Kenemans, Tjeerd Jellema, Rob H. J. van der Lubbe, Frederiek de Heer und Richard J. A. van Wezel. „Delayed Response to Animate Implied Motion in Human Motion Processing Areas“. Journal of Cognitive Neuroscience 18, Nr. 2 (01.02.2006): 158–68. http://dx.doi.org/10.1162/jocn.2006.18.2.158.
Der volle Inhalt der QuelleReddy, K. Manideep. „Face Recognition for Criminal Detection“. International Journal for Research in Applied Science and Engineering Technology 10, Nr. 6 (30.06.2022): 2856–60. http://dx.doi.org/10.22214/ijraset.2022.44528.
Der volle Inhalt der QuelleMulahi, Samiha. „North Africa in Russian Travelers Perception: Algeria, Tunisia, Egypt in Russian Travelogues“. Polylinguality and Transcultural Practices 17, Nr. 4 (15.12.2020): 505–13. http://dx.doi.org/10.22363/2618-897x-2020-17-4-505-513.
Der volle Inhalt der QuelleNather, Francisco Carlos, Vinicius Anelli, Guilherme Ennes und José Lino Oliveira Bueno. „Implied Movement in Static Images Reveals Biological Timing Processing“. Paidéia (Ribeirão Preto) 25, Nr. 61 (August 2015): 251–59. http://dx.doi.org/10.1590/1982-43272561201513.
Der volle Inhalt der QuelleMulier, Lana, Eva Meersseman, Iris Vermeir und Hendrik Slabbinck. „Food on the Move: The Impact of Implied Motion in Pictures on Food Perceptions through Anticipated Pleasure of Consumption“. Foods 10, Nr. 9 (16.09.2021): 2194. http://dx.doi.org/10.3390/foods10092194.
Der volle Inhalt der QuelleYamauchi, Naoto, Kazuko Shinohara und Hideyuki Tanaka. „Crossmodal Association Between Linguistic Sounds and Motion Imagery: Voicing in Obstruents Connects With Different Strengths of Motor Execution“. Perception 48, Nr. 6 (01.05.2019): 530–40. http://dx.doi.org/10.1177/0301006619847577.
Der volle Inhalt der QuelleYano, Sumio. „Biological Response to Pictures on Television. Perception and Control of Self-motion for Observer's Visual Field.“ Journal of the Institute of Television Engineers of Japan 50, Nr. 4 (1996): 429–35. http://dx.doi.org/10.3169/itej1978.50.429.
Der volle Inhalt der QuelleTang, Ming, und Adekunle Adebisi. „Using Eye-Tracking for Traffic Control Signage Design at Highway Work Zone“. Interdisciplinary Journal of Signage and Wayfinding 6, Nr. 2 (04.11.2022): 43–54. http://dx.doi.org/10.15763/issn.2470-9670.2022.v6.i2.a120.
Der volle Inhalt der QuelleDissertationen zum Thema "Geographical perception in motion pictures"
Bardsley, Karen. „Out of sight : resemblance, illusion and cinematic perception“. Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84465.
Der volle Inhalt der QuelleBurge, Eric William. „Sound Design for Non-fiction Film and Video: A Discussion of Methodology, Perception, and Ethics“. Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/burge/BurgeE1207.pdf.
Der volle Inhalt der QuelleChéné, Johanne. „La représentation de la femme dans des films québécois mettant en scène les années 1900 à 1950“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq26050.pdf.
Der volle Inhalt der QuelleElkington, Trevor G. „Moments in space, spaces in time : phenomenology and the embodied depth of cinematic image /“. Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/6621.
Der volle Inhalt der QuelleMarnewick, Benjamin Meiring. „Drawing on/from a mirror : a self-reflexive study of the representation and perception of violence in contemporary film“. Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6582.
Der volle Inhalt der QuelleENGLISH ABSTRACT: The cinematic communication process starts with the creative enunciation by the filmmaker and ends with the viewer's subjective perception of the film. This thesis represents a theoretical and experiential investigation of this process and entails critical and self-reflexive discussions of stylistic approaches to filmic representation. The focus of this representation falls on on-screen violence. This study is a practice-led process, and therefore the fields of research are applied to my own work, namely the filmmaking process of a feature film entitled Preek. The research was prompted by my need to take an academic stance on the filmmaking process, instead of a mere practical one, and to form an intellectual awareness of the filmmaker and viewer dynamic. As a practicing filmmaker interested in the mimetic quality of film representations, it was necessary for me to form a conscious apprehension of how a film may be understood as a reflection on reality on the one hand, and an expression formulated through the filmmakers creative decisions on the other. The representation of violence in film was investigated by the way of critical readings of selected films, framed by both contemporary and classical film theory. Through contemporary film theory, I investigated the viewer's perception and identification with the film's diegesis, and particularly with its characters. The „classic‟ film theories of the realists and formalists allowed me to discern two stylistic approaches to the representation of violence in film, and to explore the emotional affect and cathartic release these approaches may elicit from viewers. These discussions were then applied to my own film Preek, in order to critically understand the relationship between filmmaker and viewer. The research and the application thereof, indicated that the stylistic approach to the representation of violence and its intensity in a film, unveils the filmmaker's motivation for communicating through the film medium. The arguments showed that I represented the violence in Preek in such a way that it may result in a traumatic affect on the viewer rather than an appreciation of its aesthetic value, and that this affect is the result of an engagement with the film's diegesis, due to the viewer's own identificatory participation. The research concluded that the viewer's subjective identification with the film forms a triangular relationship and communication between filmmaker, film and viewer.
AFRIKAANSE OPSOMMING: Die kinematiese kommunikasieproses begin met die kreatiewe uitdrukking van die filmmaker, en eindig met die kyker se subjektiewe waarneming van die film. Hierdie tesis verteenwoordig 'n teoretiese en ervaringsgerigte ondersoek van die kinematiese kommunikasieproses, en behels kritiese en self-reflektiewe argumente van stilistiese benaderings tot filmiese uitbeelding. Die fokus van hierdie uitbeelding is op geweld gerig. Die navorsing is 'n prakties-georiënteerde studie en daarom word die navorsing op my eie werk toegepas, naamlik die filmmaak-proses van die vollengte film, Preek. Die navorsing was aangespoor deur my behoefte daaraan om die filmmaak-proses vanuit 'n akademiese oogpunt te benader, in pleks daarvan om 'n suiwer praktiese posisie teenoor die filmmaak-proses in te neem. Vervolgens is die navorsing aangespoor deur my behoefte daaraan om intellektuele bewustheid oor die dinamika tussen die filmmaker en kyker te skep. As 'n praktiserende filmmaker wat geïnteresseerd is in die mimetiese eienskap van film-uitbeeldings, was dit vir my belangrik om 'n duidelike begrip te ontwikkel van die manier waarop film verstaan kan word, eertstens as 'n weerspieëling van realiteit, en tweedens as ‟n uitdrukking wat deur die kreatiewe besluite van die filmmaker gevorm is. Die verteenwoordiging van geweld in films is ondersoek deur middel van die kritiese beskouing van uitgesoekte films wat deur beide kontemporêre en klassieke film-teorie gevorm is. Ek het deur kontemporêre film teorie die kyker se waarneming en vereenselwiging met die film se diegesis en veral die film se karakters, ondersoek. Die klasieke film teorieë van die realiste en formaliste het my in staat gestel om tussen twee stilistiese benaderings tot die uitbeelding van geweld in film te onderskei, en om die emosionele effek en katartiese vrystelling wat hierdie benaderings by die kyker kan ontlok, te verken. Hierdie besprekings is gevolglik toegepas op my film, Preek, ten einde 'n kritiese begrip van die verhouding tussen filmmaker en kyker te vorm. Die navorsing en die toepassing daarvan het getoon dat die stilistiese benadering tot die uitbeelding van geweld, asook die intensiteit daarvan in film, die filmmaker se motivering tot kommunikasie deur die film-medium ontbloot. Die argumente het getoon dat ek die geweld in Preek op so 'n manier uitgebeeld het dat dit 'n traumatise affect op die kyker kan hê, in pleks van 'n waardering vir estetiese. Die argumente het verder aangedui dat hierdie effek die resultaat is van ‟n betrokkenheid by die film se diegesis, en dat dit te danke is aan die kyker se deelname aan vereenselwiging. Die navorsing het die slotsom gekom dat die kyker se subjektiewe identifikasie met die film 'n drieledige verhouding tussen filmmaker, film en die kyker vorm.
White, Theresa Renee. „Media as pedagogy and socializing agent influences of feminine beauty aesthetics in American teen-oriented films and magazines on African American adolescent female self image /“. Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1610103761&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Der volle Inhalt der QuelleBouxsein, Benjamin D. „An Analysis of the Depiction of Romantic Relationships in Western Cinema Compared to Cultural Perceptions of Relationships“. Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556721347157763.
Der volle Inhalt der QuelleAkal, Shari Tamar. „Costuming gender : an investigation into the construction and perception of drag costume in mainstream film“. Thesis, 2015. http://hdl.handle.net/10321/2423.
Der volle Inhalt der QuelleThe years succeeding 1990 have seen a significant increase in the release of mainstream film featuring transgendered characters. The inclusion of such characters in popular film becomes a point of interest as transgendered identities differ from the hegemonic heterosexism of the audiences at whom these films are targeted. This investigation aims to gain a better understanding of how audience members read gendered identity through the visual appearance of drag queen characters in mainstream film. Due to the emblematic contrast between the male body and a hyper-feminine dress aesthetic, drag queens pose an overt visual challenge to the normative expectation of anatomical sex determining gender and gendered expression. This investigation is conducted from the paradigmatic perspective that recognises the impossibility of a ‘correct’ reading of dress aesthetics and is thus concerned with discovering the various gendered meanings audience members may attach to drag costume in film. This interpretivist standpoint, however, is held in conjunction with the critical understanding that prevalent contemporary socio-political constructs with regard to gender and dress will undoubtedly affect these perceptions. Segments from selected Hollywood films featuring drag queen protagonists were screened for a heterogeneous focus group and the subsequent discussion analysed through critical discourse analysis. Academic discourse concerning the socially constructed gender dichotomy and the debated subversive potential of the drag act is reviewed in order to provide a theoretical framework for analysing the participants’ comprehension of gendered performance. Gendered associations with dress and the body together with film theory are examined to better understand how an audience may perceive gendered identity through drag costume in film and what affect this may have on their conception of sartorial gendered expressions in reality. Finally, to situate and provide further context for this investigation, Queer theory critiques of the representation and reception of transgendered characters in past mainstream films are considered.
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Walker, Susan M. „An explanatory analysis of relationships between personality constructs, anxiety, racial identity, and reactions to an experiental learning tool about race relations /“. Diss., 2004. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3154574.
Der volle Inhalt der QuelleGreenwood, Dara N. „Transporting to TV -land: The impact of idealized character *identification on self and body image“. 2004. http://books.google.com/books?id=Q61kAAAAMAAJ.
Der volle Inhalt der Quelle"Printed in 2005 by digital xerographic process on acid free paper"--Prelim. p. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 65-69).
Bücher zum Thema "Geographical perception in motion pictures"
Jarvis, Brian. Postmodern cartographies: The geographical imagination in contemporary American culture. New York: St. Martin's Press, 1998.
Den vollen Inhalt der Quelle findenJarvis, Brian. Postmodern cartographies: The geographical imagination in contemporary American culture. Chicago: Pluto Press, 1998.
Den vollen Inhalt der Quelle findenO, Mi-il. Sŏnmang kwa chilsi ŭi lok'ŏllit'i: Locality of envy and jealousy. 8. Aufl. Sŏul-si: Somyŏng Ch'ulp'an, 2013.
Den vollen Inhalt der Quelle findenKlaus, Kreimeier, und Ligensa Annemone, Hrsg. Film 1900: Technology, perception, culture. New Burnet, England: John Libbey, 2009.
Den vollen Inhalt der Quelle findenKlaus, Kreimeier, und Ligensa Annemone, Hrsg. Film 1900: Technology, perception, culture. New Burnet, England: John Libbey, 2009.
Den vollen Inhalt der Quelle findenEsquenazi, Jean-Pierre. Film, perception et mémoire. Paris: L'Harmattan, 1994.
Den vollen Inhalt der Quelle findenBill, Richardson. Spatiality and symbolic expression: On the links between place and culture. New York: Palgrave Macmillan, 2015.
Den vollen Inhalt der Quelle findenLangkjær, Birger. Den lyttende tilskuer: Perception af lyd og musik i film. København: Museum Tusculanums Forlag, 2000.
Den vollen Inhalt der Quelle findenDonaldson, Lucy Fife. Texture in film. Hampshire: Palgrave Macmillan, 2014.
Den vollen Inhalt der Quelle findenSasaki, Atsushi. Kono eiga o mite iru no wa dare ka? 8. Aufl. Tōkyō: Sakuhinsha, 2019.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Geographical perception in motion pictures"
Hochberg, Julian, und Virginia Brooks. „The Perception of Motion Pictures“. In Cognitive Ecology, 205–92. Elsevier, 1996. http://dx.doi.org/10.1016/b978-012161966-4/50008-6.
Der volle Inhalt der QuelleHochberg, Julian, und Virginia Brooks. „Movies In The Mind’s Eye“. In In The Mind’s Eye Julian Hochberg, 376–95. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195176919.003.0020.
Der volle Inhalt der QuelleLadjailia, Ammar, Imed Bouchrika, Nouzha Harrati und Zohra Mahfouf. „Encoding Human Motion for Automated Activity Recognition in Surveillance Applications“. In Applied Video Processing in Surveillance and Monitoring Systems, 170–92. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-1022-2.ch008.
Der volle Inhalt der QuelleLadjailia, Ammar, Imed Bouchrika, Nouzha Harrati und Zohra Mahfouf. „Encoding Human Motion for Automated Activity Recognition in Surveillance Applications“. In Computer Vision, 2042–64. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-5204-8.ch089.
Der volle Inhalt der QuelleReynolds, David. „Whitehall, Washington, and the Promotion of American Studies in Britain, 1941–1943“. In From World War to Cold War, 179–98. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780199284115.003.0011.
Der volle Inhalt der QuelleMoore, Marshall. „The Charioteers“. In Playing Out The Empire, 291–97. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198119906.003.0007.
Der volle Inhalt der QuelleStrohm, Reinhard. „Townscape–Soundscape“. In Music in Late Medieval Bruges, 1–9. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780193164185.003.0001.
Der volle Inhalt der QuelleHochberg, Julian, und Virginia Brooks. „Film Cutting And Visual Momentum“. In In The Mind’s Eye Julian Hochberg, 206–28. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195176919.003.0014.
Der volle Inhalt der QuelleBlum, Bruce I. „In the Tradition“. In Beyond Programming. Oxford University Press, 1996. http://dx.doi.org/10.1093/oso/9780195091601.003.0006.
Der volle Inhalt der QuelleGriep, Mark A., und Marjorie L. Mikasen. „The Dark and Bright Sides of Chemistry in the Movies“. In ReAction! Oxford University Press, 2009. http://dx.doi.org/10.1093/oso/9780195326925.003.0004.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Geographical perception in motion pictures"
Panchenko, Svetlana. „Mental Map of Yekaterinburg in the Book 'The Drawn City' By A. Ryzhkov: Linguistic Analysis“. In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-42.
Der volle Inhalt der QuelleSun, Xiaotian. „The smell of the scene - Mapping the digital smell of scenes around Beijing“. In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001777.
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