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Relevant bibliographies by topics / Asia In motion pictures

Academic literature on the topic 'Asia In motion pictures'

Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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Journal articles on the topic "Asia In motion pictures"

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Lee, Sangjoon. "Creating an anti-communist motion picture producers’ network in Asia: the Asia Foundation, Asia Pictures, and the Korean Motion Picture Cultural Association." Historical Journal of Film, Radio and Television 37, no. 3 (March 10, 2016): 517–38. http://dx.doi.org/10.1080/01439685.2016.1157292.

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Jóźwiak, Marek, Brian Po-Jung Chen, Bartosz Musielak, Jacek Fabiszak, and 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.

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This study presents how motion pictures illustrate a person with cerebral palsy (CP), the social impact from the media, and the possibility of cerebral palsy education by using motion pictures. 937 motion pictures were reviewed in this study. With the criteria of nondocumentary movies, possibility of disability classification, and availability, the total number of motion pictures about CP was reduced to 34. The geographical distribution of movie number ever produced is as follows: North America 12, Europe 11, India 2, East Asia 6, and Australia 3. The CP incidences of different motor types in real world and in movies, respectively, are 78–86%, 65% (Spastic); 1.5–6%, 9% (Dyskinetic); 6.5–9%, 26% (Mixed); 3%, 0% (Ataxic); 3-4%, 0% (Hypotonic). The CP incidences of different Gross Motor Function Classification System (GMFCS) levels in real world and in movies, respectively, are 40–51%, 47% (Level I + II); 14–19%, 12% (Level III); 34–41%, 41% (Level IV + V). Comparisons of incidence between the real world and the movies are surprisingly matching. Motion pictures honestly reflect the general public’s point of view to CP patients in our real world. With precise selection and medical professional explanations, motion pictures can play the suitable role making CP understood more clearly.

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Sangjoon Lee. "The Asia Foundation's Motion-Picture Project and the Cultural Cold War in Asia." Film History 29, no. 2 (2017): 108. http://dx.doi.org/10.2979/filmhistory.29.2.05.

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Oliveira Lopes, Rui. "A New Light on the Shadows of Heavenly Bodies." Religion and the Arts 20, no. 1-2 (2016): 160–96. http://dx.doi.org/10.1163/15685292-02001008.

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The distinct tradition of Indian shadow puppetry has been the subject of much interest among scholars, focusing mainly on its origin, the mutual exchange between different regions across Asia, and the relationship between theater performance and popular culture. This study discusses the similarities of shadow puppets with temple mural painting and loose-leaf paintings, and shows how puppets may have shifted technically from narrative paintings on loose-leaf folios toward motion pictures, in order to create a more interactive link between the audience and the storyteller. The first part of this paper explores the archetypal and psychological meanings of shadow in Indian culture and religion, as well as its relationship with the origins of painting. The main issues include archetypal references to the shadow of Hindu gods described in Vedic, epic, and Purāņic sources, the use of prototypes to transmit knowledge to humankind, and the analysis of shadow puppets as moving pictures. Secondly, the paper analyzes the materiality of puppets and their consistency with Indian aesthetics and art criticism in the form of theoretical principles found in classical texts and art treatises such as the Nāțyaśāstra, the Viṣṇudhārmottāra, and the Śilpaśāstra.

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Juknevičiūtė, Laima. "The soft power implications of the new South Korean cinema: Approaching audiences in East Asia and Lithuania." Acta Orientalia Vilnensia 12, no. 1 (January 1, 2011): 121–37. http://dx.doi.org/10.15388/aov.2011.0.1100.

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Vytautas Magnus UniversitySouth Korea’s experience wielding soft power is usually associated with the Korean Wave, which swept the Asian region off its feet predominantly during the first decade of this century. In this article I will however argue that the phenomenon of the Korean Wave has never been intended as a calculated attempt on the part of the South Korean government to enhance the overall South Korean image worldwide and thus increase South Korean international might and prestige. To prove the validity of this hypothesis, I will provide a concise historical overview of the inception, development and spread of South Korean popular culture, while at the same time tracing its underlying soft power implications. I will likewise attempt to discuss the popular reception of the Korean Wave in three East Asian countries, i.e. Mainland China, Taiwan and Japan, and one European country, i.e. Lithuania. The scope of the endeavour has been largely restricted to the cinematic aspect of the Korean Wave, for I consider the creation of motion pictures and drama serials to be by far the most precious, influential and revealing form of art.

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Paksiutov, Georgii D. "Transformation of the Global Film Industry: Prospects for Asian Countries." Russia in Global Affairs 19, no. 2 (2021): 111–32. http://dx.doi.org/10.31278/1810-6374-2021-19-2-111-132.

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The current rapid development of some Asian economies and the projected economic dominance of Asia in the 21st century are reasons enough to call it “the Asian century.” But will Asia’s economic growth entail an increase in political power and cultural influence? In this article the author looks at the topic through the lens of the film industry, a field of activity with a plethora of intertwined economic, political, and cultural factors. Cinema is studied here as an industry that produces “meanings” and is coupled with the concept of “strategic narratives.” According to some statistics, Asian cinema is becoming increasingly important in terms of the size of national film markets, but for a variety of reasons the U.S. remains the world’s most important exporter of motion pictures. The position of Asian countries in world cinematography is undermined by such global institutions as award ceremonies and film festivals that are held in the U.S. and Europe and tend to favor Western filmmakers. This article emphasizes the dramatic influence of digital transformation on modern cinematography and the opportunities it opens up for Asian film producers in creating a new, global streaming services market. Finally, the paper discusses development prospects for the film industries in four Asian leaders in this field—China, Japan, South Korea, and India. Japan and South Korea are likely to increase their cooperation with the U.S. in cinematography. There are great opportunities for cooperation between the film industries of India and China, but they are heavily dependent on political relations between the two nations. China’s film industry is expected to continue to develop rapidly.

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Imai, Yuji, Biao Zhou, Yoshiharu Ito, Hiroki Fijimori, Akiko Kobayashi, Zhe-Ming Wang, and Hayao Kobayashi. "Cover Picture: Freezing of Ring-Puckering Molecular Motion and Giant Dielectric Anomalies in Metal-Organic Perovskites (Chem. Asian J. 12/2012)." Chemistry - An Asian Journal 7, no. 12 (November 26, 2012): 2733. http://dx.doi.org/10.1002/asia.201290047.

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Lim, Bliss Cua. "Fragility, Perseverance, and Survival in State-Run Philippine Archives." Plaridel 15, no. 2 (December 2018): 1–40. http://dx.doi.org/10.52518/2018.15.2-01bclim.

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This article considers the consequences of the 2004 dissolution of the Philippine Information Agency’s Motion Picture Division (PIA-MPD) on three key collections entrusted to it: films from the National Media Production Center; from the Movie and Television Review and Classification Board (themselves remnants of the previous archival collapse of the Film Archives of the Philippines in 1986); and lastly, a number of films produced by LVN Pictures, a studio founded in 1938. Using approaches from cultural policy, archival theory, feminist epistemology, and postcolonial historiography, the essay draws on an array of sources—archival films, legislative records, PIA documents, oral history interviews, and personal papers from members of the Society of Filipino Archivists for Film and the South East Asia Pacific Audio Visual Archives Association. The aftermath of the PIA-MPD’s abolition underscores the drawbacks of a narrowly profit-driven perspective on state film archiving that devalued analog cinema in relation to digital media while also ignoring the unique demands of audiovisual (AV) archiving by conflating it with paper-based librarianship. This study affirms the Filipino AV archive advocacy’s repeated calls for legislation to safeguard the institutional continuity and autonomy of Philippine film archives from the vagaries of political whim. Reflecting on the archivist-activists who endured the decline of various state-run film collections, the article concludes by conceptualizing archival survival as not only involving the material preservation of analog or digital AV carriers but as also entailing exhaustion and persistence on the part of archivists who persevere in institutional conditions they work to change.

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DIXON, GORDON, and PETER KARBOULONIS. "DEVELOPMENT AND MARKETING OF INTERACTIVE ENTERTAINMENT SOFTWARE." Journal of Enterprising Culture 08, no. 04 (December 2000): 411–36. http://dx.doi.org/10.1142/s0218495800000218.

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This paper examines the entertainment software industry within a market perspective. It addresses marketing issues such as acquisitions, mergers, franchising, direct investment, and collaborative arrangements, in an industry where there is significant change in business activity. New entrants in this highly competitive and high value market are identified as being more likely to be developers rather than publishers. Consumer spending in Europe alone for games and interactive entertainment is expected to rise to US $6.1 billion within three years, and by 2002 on-line game players are expected to number five million. Trends point to the income from computer games software and video games surpassing major box office receipts of the motion picture industry. Markets are also emerging to satisfy new classes of consumers both in Europe and in Asia.

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Young, Linda. "Motion Pictures." SMPTE Journal 105, no. 4 (April 1996): 177–78. http://dx.doi.org/10.5594/j15829.

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Dissertations / Theses on the topic "Asia In motion pictures"

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Murphree, Hyon Joo Yoo. "Toward an "accented" critique of culture theorizing postcolonial East Asia /." Related electronic resource:, 2007. http://proquest.umi.com/pqdweb?did=1342729001&sid=1&Fmt=2&clientId=3739&RQT=309&VName=PQD.

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Li, Chun-hoi Benjamin. "Madame butterfly and orientalism." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B22535305.

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Tateishi, Ramie. "Film genre and the Asian subject /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9992385.

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Kumar, Priya Haryant. "Ruptured nations, collective memory & religious violence : mapping a secularist ethics in post-partition South Asian literature and film." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37904.

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This dissertation maps the emergence of a 'secularist ethics' in post-independence South Asian literature and film, an ethics which is a deeply felt poetic response to particular historical conjunctures marked by religio-nationalist conflict in the Indian subcontinent. It is my argument that literary and cultural productions, in striving to dream and envision a world free of violence, terror and religious intolerance, have some central contributions to make to contemporary intellectual and political debates on secularism. Through close readings of fictions by Salman Rushdie, Amitav Ghosh, Mukul Kesavan, Bapsi Sidhwa, Saadat Hasan Manto, Khwaja Ahmad Abbas, Rajinder Singh Bedi, Jamila Hashmi, Jyotirmoyee Devi, and Lalithambika Antherjanam, as well as films by M. S. Sathyu, Saeed Akhtar Mirza, Khalid Mohamed and Shyam Benegal, which are concerned to address the issue of peaceful co-existence between different religious communities and nations in the Indian subcontinent, I argue that literary and imaginative endeavors by way of their alternative secularist imaginaries enable us to begin to imagine the possibilities of more habitable futures. Significantly, the 'secularist' fictions and films I invite attention to in my project enable a revisioning of the secular in terms quite different from normative understandings of liberal secularism. Such a renewed secularism seeks to make visible the normalization and neutralization of majoritarian religious beliefs and practices as constitutive of the representative secular-nationalist self in post-Partition India; it also emerges, significantly, from a gendered critique of the deep-seated patriarchal norms underlying most religious communities. Responding to different moments of crisis, predominantly the Partition of India in 1947, the 1984 anti-Sikh riots, and the destruction of the Babri Masjid in 1992, the radical secularist poetics of these works call attention to the fundamentalist agenda of Hindu nationalism, the limit

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Liu, Zhan. "Communicating race and culture in media appropriating the Asian in American martial arts films /." Pullman, Wash. : Washington State University, 2008. http://www.dissertations.wsu.edu/Thesis/Fall2008/l_zhan_091108.pdf.

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Thesis (M.A. in communication)--Washington State University, December 2008.
Title from PDF title page (viewed on Dec. 31, 2008). "Edward R. Murrow College of Communication." Includes bibliographical references (p. 72-85).

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Bae, Juyeon. "The representation of Asian others in Korean cinema since 2003 : multiculturalism, nationalism and sub-imperialism." Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/33610/.

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This thesis elucidates current industrial and representational tendencies in South Korean films that depict Asian others. Asian others such as migrant workers, marriage migrants, overseas ethnic Koreans and North Korean defectors have become increasingly important in South Korean filmic discourse and practice since 2003. This thesis examines how contemporary Korean cinema has responded to the multicultural society and how it seeks to articulate Korean nationalism in the globalised era through the appropriation of Asian others. Such films are intertwined with governmental policies of multiculturalism and discourses on globalisation and thus reflect historical formations both inside and outside South Korean cinema. In particular, this thesis places the celebration of multicultural identity in Korean cinema into dialogue with existing debates on nationalism and sub-imperialism. Through case studies of selected films, this thesis investigates the tension between a changing society and emerging sub-imperial perspectives. The specific interest of this thesis lies in the examination of historical, geopolitical and socio-cultural trajectory in the representation of Asian others, since this discursive structure has been formed around Asia and its regional socio-political history. In doing so, this thesis aims to shift the discursive sphere of these films, which is limited to the discussion of multiculturalism and globalisation, to an expanded sphere which embraces historical and regional perspectives.

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de, Feo-Giet Danielle Karanjeet J. "Fantasies of authenticity, anxieties of culture : global capital, entertainment and cultural nationalism in the contemporary popular cinemas of India and China since 1990." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:39cbae3c-354c-4ebc-be09-386af42f78d0.

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My thesis is dedicated to the study of popular, commercial cinema as a force within the discourse of national and personal identity in the rapidly changing mega-economies of India and China, and their diasporas, since the watershed year of 1990. Its purpose is to reveal the unique pattern of like and unlike that exists between the "Social Representations" (Serge Moscovici 2000) of contemporary India and China on screen through a juxtapositional comparative approach, close visual analysis, and the development of original theoretical tools. Tense networks of fantasy and anxiety emerge as popular culture actively circulates their shared experiences of changing global status, uneven economic growth (Gong Haomin 2012), and social change. Transnational subjects, Hua and Desi, arrive on screen ready to carve out culturally inflected modernities, in search of "tradition" and "values" to suit contemporary cultural-nations-beyond-borders. I treat film as consumer product, diegetic entity, and text: hence narrative, visual, linguistic and contextual aspects of over fourteen popular commercial films ("Bollywood" and "Yulepian"), are explored. My analysis comprises two interlocking halves: the first two chapters focus chiefly on identities - Hua and Desi, and diasporic persons. The former, conduits for the cultural nation to re-think modernity, the latter a dreamed vanguard of "claim-staking" ethnicised global consumers, defenders of the cultural nation in the "host" country. Chapters Three and Four focus on genres - comedy and history films. Through comedy, these films create state-serving heterotopias or challenge the status quo; perhaps they build cultural nationalist mythos, or lace cynical questions through lavish history film. To understand internecine relationships between economics, society and the imagination, entertainment film cannot be dismissed - in India and China, where change has had intended and unintended consequences unfolding even as uncertainty looms, I show that fresh study, especially in comparison, is absolutely essential.

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Yuan, Yilei. "Subtitling Chinese cinema : a case study of Zhang Yimou's films." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7724/.

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In recent years, more and more Chinese films have been exported abroad. This thesis intends to explore the subtitling of Chinese cinema into English, with Zhang Yimou’s films as a case study. Zhang Yimou is arguably the most critically and internationally acclaimed Chinese filmmaker, who has experimented with a variety of genres of films. I argue that in the subtitling of his films, there is an obvious adoption of the domestication translation strategy that reduces or even omits Chinese cultural references. I try to discover what cultural categories or perspectives of China are prone to the domestication of translation and have formulated five categories: humour, politeness, dialect, history and songs and the Peking Opera. My methodology is that I compare the source Chinese dialogue lines with the existing English subtitles by providing literal translations of the source lines, and I will also give my alternative translations that tend to retain the source cultural references better. I also speculate that the domestication strategy is frequently employed by subtitlers possibly because the subtitlers assume the source cultural references are difficult for target language subtitle readers to comprehend, even if they are translated into a target language. However, subtitle readers are very likely to understand more than what the dialogue lines and the target language subtitles express, because films are multimodal entities and verbal information is not the only source of information for subtitle readers. The image and the sound are also significant sources of information for subtitle readers who are constantly involved in a dynamic film-watching experience. They are also expected to grasp visual and acoustic information. The complete omission or domestication of source cultural references might also affect their interpretation of the non-verbal cues. I also contemplate that the translation, which frequently domesticates the source culture carried out by a translator who is also a native speaker of the source language, is ‘submissive translation’.

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Huang, Tsung-yi Michelle. "Amidst slums and skyscrapers the politics of walking and the ideology of open space in East Asian global cities /." online access from Digital dissertation consortium, 2001. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3051067.

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Khor, Denise. "Asian Americans at the movies race, labor, and migration in the Transpacific West, 1900-1945 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3291752.

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Thesis (Ph. D.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed March 17, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 297-213).

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Books on the topic "Asia In motion pictures"

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Asia yŏnghwa ŭi onŭl: Asia yŏnghwa mihak kwa sanŏp = Asia cinema today : Asia film aesthetics & industry. P'aju-si: Hanul Ak'ademi, 2012.

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Shaw, Sylvie. Filmography: A filmography of Asian films and films about Asia. Canberra City: Asian Studies Council, 1990.

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Film in contemporary Southeast Asia. Abingdon, Oxon: Routledge, 2011.

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East Asian cinemas: Regional flows and global transformations. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2011.

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Mencutekin, Mustafa. Ideology in Turkish cinema. Clifton, New Jersey: Blue Dome Press, 2014.

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Server, Lee. Asian pop cinema: Bombay to Tokyo. San Francisco, Calif: Chronicle Books, 1999.

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Cine/Asia Africa e Oceania. Roma: Lithos, 2012.

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Hwang, Tong-mi. Asia kongdong chejak hyŏnhwang kwa palchŏn pangan. Sŏul-si: Yŏnghwa Chinhŭng Wiwŏnhoe, 2002.

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Conflict and development in Iranian film. Leiden]: Leiden University Press, 2013.

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Asian cinema: A field guide. New York: Collins, 2007.

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Book chapters on the topic "Asia In motion pictures"

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kydd, Elspeth. "Motion Pictures." In The Critical Practice of Film, 17–37. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34527-0_2.

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Kamada, Seiichi. "Motion Pictures." In Springer Monographs in Mathematics, 39–73. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4091-7_3.

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Kamada, Seiichi. "Motion pictures." In Mathematical Surveys and Monographs, 63–70. Providence, Rhode Island: American Mathematical Society, 2002. http://dx.doi.org/10.1090/surv/095/09.

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Czitrom, Daniel. "Early Motion Pictures." In Communication in History, 175–83. Seventh edition. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315189840-26.

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Walters, James. "Perpetual motion pictures." In The Routledge Companion to World Cinema, 382–92. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315688251-32.

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Prinz, Jesse. "Affect and Motion Pictures." In The Palgrave Handbook of the Philosophy of Film and Motion Pictures, 893–921. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19601-1_38.

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Walls, W. David. "Motion Pictures, Economics of." In The New Palgrave Dictionary of Economics, 1–7. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/978-1-349-95121-5_1942-1.

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Walls, W. David. "Motion Pictures, Economics of." In The New Palgrave Dictionary of Economics, 9164–70. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95189-5_1942.

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Lee, Sangjoon. "The Asia Foundation’s Motion Picture Project." In Cinema and the Cultural Cold War, 17–46. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501752315.003.0002.

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This chapter investigates how and to what extent the Asia Foundation (TAF) and its field agents covertly acted to construct an alliance of anticommunist motion picture producers in Asia. It explores how US government–led Cold War cultural policies influenced the Asian regional film industry in the 1950s. It also scrutinizes the ways TAF agents responded to the various needs of local film executives and negotiated with the constantly changing political, social, and cultural environments in the region during the project's early activities. The chapter reviews the origin of TAF, the Committee for a Free Asia (CFA), which is intended to advance US foreign policy interests in Asia. It discusses the CFA's core activities, which include the broadcasting of Radio Free Asia.

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Lee, Sangjoon. "The Rise and Demise of a Developmental State Studio." In Cinema and the Cultural Cold War, 137–70. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501752315.003.0007.

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This chapter introduces five motion picture studios that stood out in Asia at the beginning of the 1960s, such as Shin Films in South Korea, GMP and CMPC in Taiwan, and Shaw Brothers and MP&GI in Hong Kong and Singapore. It examines how film studios in the region aspired to implement the rationalized and industrialized system of mass-producing motion pictures known as the Hollywood studio system. It also explains that the Hollywood studio system evolved in the United States to handle film production, distribution, and exhibition during the first three decades of the twentieth century. The chapter recounts how the studio system became a highly efficient system that produced feature films, newsreels, animations, and shorts to supply its mass-produced motion pictures to subsidized theaters. It describes Fordism as the famous American system of mass production with particular American circumstances.

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Conference papers on the topic "Asia In motion pictures"

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MAEDA, Toshiyuki, Masumi YAJIMA, and Akiyoshi WAKATANI. "Frequency-based Skill Analysis for Motion Pictures." In 2018 12th France-Japan and 10th Europe-Asia Congress on Mechatronics. IEEE, 2018. http://dx.doi.org/10.1109/mecatronics.2018.8495892.

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Kakue, Takashi, Takashi Nishitsuji, Tetsuya Kawashima, Tomoyoshi Shimobaba, and Tomoyoshi Ito. "Real-time electro-holography with parabolic mirrors for projecting floating 3D motion pictures." In SA'15: SIGGRAPH Asia 2015. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2820926.2820968.

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Liu, Fang, Xi Guang Liang, Yue Jin Zhao, Li Chang Wang, and Fei Yu. "Improved measurement methods for motion picture resolution of LCD." In Photonics Asia 2007, edited by Anbo Wang, Yimo Zhang, and Yukihiro Ishii. SPIE, 2007. http://dx.doi.org/10.1117/12.756045.

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Hirokazu Takahashi, Takahiro Murooka, and Kan Toyoshima. "A secure stream multicasting architecture for 4K motion picture." In 2007 Asia-Pacific Conference on Communications. IEEE, 2007. http://dx.doi.org/10.1109/apcc.2007.4433539.

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Lagendijk, R. L., and M. I. Sezan. "Motion compensated frame rate conversion of motion pictures." In [Proceedings] ICASSP-92: 1992 IEEE International Conference on Acoustics, Speech, and Signal Processing. IEEE, 1992. http://dx.doi.org/10.1109/icassp.1992.226178.

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Karaki, Koichi, Hiroko Sasaki, and Masaharu Mitsunaga. "Holographic motion pictures by hole burning." In International Conferences on Optical Fabrication and Testing and Applications of Optical Holography, edited by Toshio Honda. SPIE, 1995. http://dx.doi.org/10.1117/12.215315.

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Alexander, P. "Development of integral holographic motion pictures." In Display Holography: Fifth International Symposium, edited by Tung H. Jeong. SPIE, 1995. http://dx.doi.org/10.1117/12.201899.

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Chuang, Yung-Yu, Dan B. Goldman, Ke Colin Zheng, Brian Curless, David H. Salesin, and Richard Szeliski. "Animating pictures with stochastic motion textures." In ACM SIGGRAPH 2005 Papers. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1186822.1073273.

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Holynski, Aleksander, Brian Curless, Steven M. Seitz, and Richard Szeliski. "Animating Pictures with Eulerian Motion Fields." In 2021 IEEE/CVF Conference on Computer Vision and Pattern Recognition (CVPR). IEEE, 2021. http://dx.doi.org/10.1109/cvpr46437.2021.00575.

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Baecker, Ronald, Alan J. Rosenthal, Naomi Friedlander, Eric Smith, and Andrew Cohen. "A multimedia system for authoring motion pictures." In the fourth ACM international conference. New York, New York, USA: ACM Press, 1996. http://dx.doi.org/10.1145/244130.244142.

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Reports on the topic "Asia In motion pictures"

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Koschmann, Anthony, and Yi Qian. Latent Estimation of Piracy Quality and its Effect on Revenues and Distribution: The Case of Motion Pictures. Cambridge, MA: National Bureau of Economic Research, August 2020. http://dx.doi.org/10.3386/w27649.

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