Journal articles on the topic 'Cinematic Model'
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Cassell, Bradley, and R. Young. "Ember, Toward Salience-Based Cinematic Generation." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 9, no. 4 (June 30, 2021): 78–81. http://dx.doi.org/10.1609/aiide.v9i4.12630.
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Automatic cinematic generation for virtual environments and games has shown to be capable of generating general purpose cinematics. There is initial work that approaches cinematic generation from the perspective of narrative instead of low level camera manipulation. In our work, we further extend this idea to take into consideration a model of user memory. Models of reader comprehension and memory have been developed to attempt to explain how people comprehend narratives. We propose using these models of narrative comprehension and memory to augment a system for cinematic generation so that it can produce a cinematic that can communicate character deliberation to the viewer by maintaining the salience of specific events.
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Bronguleyev, V. Vad. "3-d CINEMATIC MODEL OF SLOPE EVOLUTION." Geomorphology RAS, no. 1 (April 23, 2015): 3. http://dx.doi.org/10.15356/0435-4281-2011-1-3-13.
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Martin, Philip. "Toward a Model of Distributed Affectivity for Cinematic Ethics." Projections 13, no. 2 (June 1, 2019): 80–107. http://dx.doi.org/10.3167/proj.2019.130205.
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Many contemporary applications of theories of affect to cinematic ethical experience focus on its consequences for empathy and moral allegiance. Such approaches have made advances in bridging phenomenological and cognitivist approaches to film-philosophy, but miss the importance of complex affects that problematize empathy and moral judgment. For example, the rendering of trauma in Aimless Bullet (Hyun-mok Yu, 1961) involves aesthetic shifts that reframe its depiction of postwar experience and build a complex emotional picture of sociopolitical conditions that affect individual and community life. In this article, I argue that to understand the ethical significance of complex cinematic emotion we can develop an account of how affective-aesthetic affordances establish distributed spaces for dynamic affective engagement. To do this, I draw upon theories of scaffolded mind, classical Indian rasa aesthetics, and phenomenological aesthetics. This hybrid account will allow us to articulate the ways that film can help us comprehend the ethical significance of complex affective situations.
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Simonton, Dean Keith. "Cinematic success, aesthetics, and economics: An exploratory recursive model." Psychology of Aesthetics, Creativity, and the Arts 3, no. 3 (August 2009): 128–38. http://dx.doi.org/10.1037/a0014521.
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Kovács, András Bálint, Gal Raz, Giancarlo Valente, Michele Svanera, and Sergio Benini. "A Robust Neural Fingerprint of Cinematic Shot-Scale." Projections 13, no. 3 (December 1, 2019): 23–52. http://dx.doi.org/10.3167/proj.2019.130303.
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This article provides evidence for the existence of a robust “brainprint” of cinematic shot-scales that generalizes across movies, genres, and viewers. We applied a machine-learning method on a dataset of 234 fMRI scans taken during the viewing of a movie excerpt. Based on a manual annotation of shot-scales in five movies, we generated a computational model that predicts time series of this feature. The model was then applied on fMRI data obtained from new participants who either watched excerpts from the movies or clips from new movies. The predicted shot-scale time series that were based on our model significantly correlated with the original annotation in all nine cases. The spatial structure of the model indicates that the empirical experience of cinematic close-ups correlates with the activation of the ventral visual stream, the centromedial amygdala, and components of the mentalization network, while the experience of long shots correlates with the activation of the dorsal visual pathway and the parahippocampus. The shot-scale brainprint is also in line with the notion that this feature is informed among other factors by perceived apparent distance. Based on related theoretical and empirical findings we suggest that the empirical experience of close and far shots implicates different mental models: concrete and contextualized perception dominated by recognition and visual and semantic memory on the one hand, and action-related processing supporting orientation and movement monitoring on the other.
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Toma, Georgeta. "Research Concerning the Dynamic Model of the Conventional Sucker Rod Pumping Units." Revista de Chimie 70, no. 8 (September 15, 2019): 2818–21. http://dx.doi.org/10.37358/rc.19.8.7434.
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The study of the dynamic model of the conventional sucker rod pumping units requires first determining the variation on the cinematic cycle of the synthesis parameters (the reduced moment and the reduced mass moment of inertia) and then the variation of the angular speed of the cranks, in response to the dynamic and resistant actions on the component elements that appear during operation. The paper presents the way of determining the variation on the cinematic cycle of the synthesis parameters of the dynamic model corresponding to the conventional pumping unit mechanism and of the variation of the angular speed of its cranks. The experimental records have been processed with the Total Well Management program. The simulations have been performed with a computer program developed by the author using the Maple programming environment.
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Wang, Kenny, and Chong Han. "Cinematic Equivalence in Subtitling: A Case Study of the Biographical Drama Forever Enthralled." Studies in Linguistics and Literature 4, no. 2 (March 16, 2020): p1. http://dx.doi.org/10.22158/sll.v4n2p1.
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We propose in this paper a conceptual model of how equivalence may be achieved in subtitling to allow the target language viewers the opportunity to enjoy a comparable cinematic experience as that enjoyed by the source language viewers. We follow Brock’s (2015) adaptation of Goffman’s (1981) participation framework in communication and take Nida’s (1964) Dynamic Equivalence as the point of departure to propose Cinematic Equivalence as the conceptual model as well as the aim of film subtitling. This model is illustrated by examining the English subtitles of a Chinese biographical film called Forever Enthralled (?????). Based on our conceptual model, we make suggestions for subtitling training and practice.
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Romanescu, Alina Elena, Laura Diana Grigorie, and Daniela Vintilă. "Theoretical and Experimental Studies on the Motion of a Pneumatically Actuated Manipulator." Applied Mechanics and Materials 823 (January 2016): 423–28. http://dx.doi.org/10.4028/www.scientific.net/amm.823.423.
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The current study reveals a method of cinematic calculus of a manipulator, whose geometry has been created according to the model of a plant. The calculus method has been experimentally checked on a scale model.
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Edwards, D. A. "A differential equation model of North American cinematic box-office dynamics." IMA Journal of Management Mathematics 12, no. 1 (July 1, 2001): 41–74. http://dx.doi.org/10.1093/imaman/12.1.41.
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Edwards, D. A., R. Buckmire, and J. Ortega-Gingrich. "A mathematical model of cinematic box-office dynamics with geographic effects." IMA Journal of Management Mathematics 25, no. 2 (June 2, 2013): 233–57. http://dx.doi.org/10.1093/imaman/dpt006.
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Vallury, Raji. "On difference and repetition in cinematic adaptation: Bertolucci's Before the Revolution and Stendhal's The Charterhouse of Parma." Journal of Italian Cinema & Media Studies 8, no. 2 (March 1, 2020): 173–87. http://dx.doi.org/10.1386/jicms_00015_1.
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Abstract Critical reflections on the cinematic adaptation of literary texts are usually structured by the dialectics of fidelity and betrayal, identification and estrangement. Through a theoretical framework constructed by the concepts of Gilles Deleuze, Gérard Genette and André Bazin, my article interrogates the Oedipal model of imitation and rebellion used to understand an act of cinematic adaptation. Analysing the links between Bernardo Bertolucci's Before the Revolution (1964) and Stendhal's The Charterhouse of Parma (1838), I propose that cinematic adaptation may be understood as an engagement with a differential singularity; as the assemblage of a point of view in relation with another point of view. Adaptation is the creation and production of difference in concert with another difference, rather than the repetition of the same. Bertolucci's encounter with Stendhal expresses a type of historical consciousness; an expression that takes place on the planes of aesthetics and politics.
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Breen, M. S., O. M. Jawhar, E. S. Lustrin, and M. G. Young. "3D Cinematic Volume-Rendering Technique of Traumatic Spine Injuries: A Powerful Tool for Radiology Education." Neurographics 12, no. 4 (October 1, 2022): 203–9. http://dx.doi.org/10.3174/ng.2100069.
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Spine trauma represents a common indication for imaging in the emergency department. Multidetector CT imaging, with its advantage of multiplanar reconstructions and fast image acquisition, is the technique of choice in the initial assessment of a patient with polytrauma. While many simple spinal fractures are adequately evaluated on 2D multiplanar reconstruction images, more complex, potentially displaced fracture patterns can be more fully highlighted on 3D reconstructions. Compared with conventional volume-rendering techniques, cinematic rendering uses a complex illumination model to create a more photorealistic representation of the fracture patterns, images that are certain to excite both trainees and clinicians. This review demonstrates the educational value and clinical utility of 3D cinematic rendering images in understanding complex spinal column injuries.Learning Objective: To demonstrate the methodology, clinical applicability, and educational utility behind 3D photorealistic cinematic rendering images of spine injuries, with emphasis on the “tension bands” biomechanical concept
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Zaezjev, Alexandre. "From Dusk till “DAU”: the Rise of Heterotopic Cinema in the Times of Pandemic." Baltic Screen Media Review 8, no. 1 (December 1, 2020): 68–81. http://dx.doi.org/10.2478/bsmr-2020-0007.
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Abstract The release of Ilya Khrzhanovsky’s megalomaniacal cinematic project DAU coincided with the global Covid-19 pandemic. With festivals postponed and public screenings no longer possible, Khrzhanovsky moved his project online, integrating the unprecedented experience of the global lockdown and quarantine into the cinematic universe of DAU. Using the concept of heterotopia devised by French philosopher Michel Foucault, this paper examines the ways in which self-isolation altered the conditions of spatio-temporal engagement with DAU. Ultimately, the paper presents an original theoretical model of heterotopic cinema to demonstrate that confinement is precisely what allows Khrzhanovskiy’s artistic method to fully function.
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Javadi, Mohammad Hossain Moshref, Mohsen Allameh, and Arash Zare. "Analysis of Factors Affecting Technology Acceptance by Iranian Movie Producers." International Journal of Human Resource Studies 2, no. 1 (February 23, 2012): 147. http://dx.doi.org/10.5296/ijhrs.v2i1.1360.
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Since investment on cinematic technologies imposes excessive costs on authorities, acceptance of these technologies among its users has an important role in their success and final efficiency. The purpose of this study was to analyze factors influencing on acceptance of technology among Tehran cinematic artists. In this study, at first, by collecting information from the library, determinant variables of usage of new technologies were specified. On this basis, in addition to the variables of model of acceptance of technology, social influence, resistance to change and self- efficacy were studied. In next stage, for surveying the effect of studied components, closed- end 27- items questionnaire was used for collecting data. The measurement tools in this study were the established questionnaire made of a technology acceptance model. The number of sample was determined equal to 211 according to the preliminary study that samples included Tehran cinematic actors. Based on the results, all variables, except for resistance to change and self- efficacy of computer that had meaningful difference less than average, other had meaningful difference more or equal to average. Mean difference of attitude toward usage of technology and of social influence was meaningful in different graduate ranges and mean of other factors shows no meaningful difference in different graduate ranges. All assumptions were confirmed in 5% meaningful level. Keywords: Technology Acceptance Model, Cinema, Social Influence, Resistance to Change, Self- Efficacy.
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Cassell, Bradley. "Toward a Narrative Comprehension Model of Cinematic Generation for 3D Virtual Environments." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 8, no. 6 (June 30, 2021): 10–13. http://dx.doi.org/10.1609/aiide.v8i6.12485.
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Most systems for generating cinematic shot sequences for virtual environments focus on the low-level problems of camera placement. While this approach will create a sequence of camera shots which film individual events in a virtual environment, it does not account for the high-level effects shot sequences have on viewer inferences. There are systems which are based on well known cinematography principles such as the rule of thirds and other framing principals, however these usually utilize schemas or predefined shots and do not reason about the high level cognitive effects on the viewer. In this paper a system is proposed which can reason directly about these high-level cognitive and narrative effects of a shot sequence on the viewer’s mental state.
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Csönge, Tamás. "Moving Picture, Lying Image: Unreliable Cinematic Narratives." Acta Universitatis Sapientiae, Film and Media Studies 10, no. 1 (August 1, 2015): 89–104. http://dx.doi.org/10.1515/ausfm-2015-0028.
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Abstract By coining the term “unreliable narrator” Wayne Booth hypothesized another agent in his model besides the author, the implicit author, to explain the double coding of narratives where a distorted view of reality and the exposure of this distortion are presented simultaneously. The article deals with the applicability of the concept in visual narratives. Since unreliability is traditionally considered to be intertwined with first person narratives, it works through subjective mediators. According to scholarly literature on the subject, the narrator has to be strongly characterized, or in other words, anthropomorphized. In the case of film, the main problem is that the narrator is either missing or the narration cannot be attributed entirely to them. There is a medial rupture where the apparatus mediates the story instead of a character’s oral or written discourse. The present paper focuses on some important but overlooked questions about the nature of cinematic storytelling through a re-examination of |the lying flashback in Alfred Hitchcock's Stage Fright. Can a character-narrator control the images the viewer sees? How can the filmic image still be unreliable without having an anthropomorphic narrator? How useful is the term focalization when we are dealing with embedded character-narratives in film?
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Chamier-Waite, Clea von. "Somatic Montage for Immersive Cinema." Cultural Science Journal 13, no. 1 (December 1, 2021): 113–28. http://dx.doi.org/10.2478/csj-2021-0009.
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Abstract The formal, cinematic language specific to immersive motion pictures is an area of cinema theory that has been neglected up until now. This paper investigates a new language of cinematic montage specific to immersive cinema, somatic montage, while it examines historical precedents in the sciences, arts, and cinema of the twentieth century. We propose somatic montage as a model for developing new poetic structures in time-based works that inhabit a three-dimensional, architectonic space – a space of embodiment, motion, perception, and participation in the reception of a work of art. In this paper, we consider cinema as a four-dimensional artwork conceptually engendered by the principles of hyper-dimensions, the outgrowth of scientific discoveries made at the turn of the twentieth century. The expanded cinema mediums of fulldome cinema, immersive video and film installation, virtual reality, and extended reality, when approached as four-dimensional cinema space, allow for a spatialized, non-linear juxtaposition of the cinematic elements. Somatic montage is presented here as an extended, supra-dimensional notion of what Sergei Eisenstein called the ‘disjunctive method of narration’.
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O’Halloran, Kieran. "Creating a film poem with stylistic analysis: A pedagogical approach." Language and Literature: International Journal of Stylistics 24, no. 2 (May 2015): 83–107. http://dx.doi.org/10.1177/0963947015571022.
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A film poem is a cinematic artwork that takes a written, often canonical, poem as its stimulus. Many are imaginative and arresting performances of poems, going far beyond the likely intentions of the poet into something completely new. However, with this genre, the poem’s stylistic detail is largely irrelevant to its visual realisation. I highlight how this limitation can be addressed by bringing film poems into stylistics teaching and assessment. After providing background on the film poem genre, I model an assignment where students draw on their cinematic literacy to dramatise a poem imaginatively. As with other film poems, the student creates a series of cinematic images and connects them to the poem’s lines, activating new meanings in them. In contrast with the traditional construction of film poems, the procedure involves another stage – the student also connects the images they have created to the poem’s stylistic detail. In turn, as I show, this extra connection helps drive the film’s narrative, adding to the creativity of the film. This staged procedure is different from established (pedagogical) stylistic practice where interpretation and stylistic analysis of a poem are simultaneous, with the stylistic analysis providing support for the burgeoning interpretation. To model this student assignment, I produce a film script of Philip Larkin’s poem, ‘Wants’. The script depicts the activities of a serial killer; some readers may find the script graphic.
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Homem, Luís. "U-mentalism Patent: The Beginning of Cinematic Supercomputation." International journal of Web & Semantic Technology 12, no. 1 (January 31, 2021): 1–18. http://dx.doi.org/10.5121/ijwest.2021.12101.
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This paper discloses in synthesis a super-computation computer architecture (CA) model, presently a provisional Patent Application at INPI (nº 116408). The outline is focused on a method to perform computation at or near the speed of light, resorting to an inversion of the Princeton CA. It expands from isomorphic binary/RGB (typical) digital “images”, in a network of (UTM)s over Turing-machines (M)s. From the binary/RGB code, an arithmetic theory of (typical) digital images permits fully synchronous/orthogonal calculus in parallelism, wherefrom an exponential surplus is achieved. One such architecture depends on any “cell”-like exponential-prone basis such as the “pixel”, or rather the RGB “octet-byte”, limited as it may be, once it is congruent with any wave-particle duality principle in observable objects under the electromagnetic spectrum and reprogrammable designed. Well-ordered instructions in binary/RGB modules are, further, programming composed to alter the structure of the Internet, in virtual/virtuous eternal recursion/recurrence, under man-machine/machine-machine communication ontology.
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Schouwenaars, Rafael, Víctor H. Jacobo, and Armando Ortiz. "Analysis of the Asymmetric Roll Bonding Process by Means of the Slab Method." Materials Science Forum 704-705 (December 2011): 1322–27. http://dx.doi.org/10.4028/www.scientific.net/msf.704-705.1322.
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In asymmetric roll bonding, two metal sheets with dissimilar properties are subject to a rolling step to create a bimetal strip. The paper reviews earlier work in this field which generally uses the upper-bound or finite element methods. The use of the slab method appears simpler than the former, but allows identifying critical aspects of process and model which were not addressed before. To obtain a complete set of equations, the bonding problem must be analysed not only from the cinematic viewpoint, but also from a mechanical one. After defining mechanical equilibrium, one additional cinematic equation is needed to solve the problem, which is obtained by minimising the plastic work in the zone where both sheets deform plastically but are not yet bonded. The new model has the advantage over earlier approaches in that it not only predicts the final thickness of both sheets but also permits to determine whether the bonding is possible under given process conditions. Keywords: Roll Bonding, Cladding, Modelling, Adhesion, Slab method.
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Alfaleh, Ahmad, and Ali Fayad. "The importance of modern digital technologies in the Jordanian film industry The movie "Captain Abu Raed" as a model." Dirasat: Human and Social Sciences 49, no. 2 (August 2, 2022): 13–30. http://dx.doi.org/10.35516/hum.v49i2.1726.
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Modern digital technologies in cinema have added a great development in many fields; the most important of which is the field of cinematography, lighting, and the field of film editing. This research highlights the important role of these technologies in the development of the Jordanian digital cinematic film industry by analyzing one film as a sample, the Jordanian digital film "Captain Abu Raed", which used modern digital technologies in its production in cinema in 2008. The film is analyzed qualitatively and the role of modern digital technologies in making is examined. The research consists of four sections, where the first section includes the definition of the research problem, objectives, significane, the procedural definitions, and the research sample. The second section includes the theoretical framework for the research, where the research discusses the importance of modern digital technologies in Jordanian cinema and their development, and presents a theoretical framework regarding the basic elements in digital cinematography as follows: cinematography, lighting, and film editing. The third section also analyzes the research sample, which is a Jordanian digital cinematic film "Captain Abu Raed", and it highlights the digital technical aspects in its production. The fourth section includes the research results related to the research.
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Presner, Ruslana, Nataliia Tsolyk, Oleksandra Vanivska, Ivan Bakhov, Roksolana Povoroznyuk, and Svitlana Sukharieva. "Cognitive and Semiotic Model of Translation." Postmodern Openings 12, no. 3Sup1 (September 10, 2021): 125–42. http://dx.doi.org/10.18662/po/12.3sup1/355.
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The paper aims to give a comprehensive cognitive and semiotic analysis of translation strategies implied in the translation of the film “Darkest Hour”. Regarding a film as a communicative process mediated by certain semiotic features makes it possible to analyze the semiotic character of film discourse in translation. Thus, it was decided that translation is not just a speech-oriented process but a communicative act taking place within a definite semiotic space in a cross-cultural perspective. The semiotic model of cinematic discourse has a complicated structure and is analyzed based on semantic, syntactic, and pragmatic criteria. The choice of the semiotic system primarily depends on the communicative situation and its recipients. As the semiotic system of the film “Darkest Hour” is both socioculturally and situationally conditioned, the translator reconstructed the sense of the source language text by implying the translation transformations that assured the accuracy and adequacy of its translation into the target language text.
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Pick, Anat, and Chris Dymond. "Permacinema." Philosophies 7, no. 6 (October 27, 2022): 122. http://dx.doi.org/10.3390/philosophies7060122.
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This article charts the contiguity of farming and film, blending permaculture and cinema to advance a modality of sustainable film theory and practice we call “permacinema.” As an alternative approach to looking and labour, permaculture exhibits a suite of cinematic concerns, and offers a model for cinematic creativity that is environmentally accountable and sensitive to multispecies entanglements. Through the peaceable gestures of cultivation and restraint, permacinema proposes an ecologically attentive philosophy of moving images in accordance with permaculture’s three ethics: care of earth, care of people, and fair share. We focus on work by Indigenous artists in which plants are encountered not only as raw material or as aesthetic resource but as ingenious agents and insightful teachers whose pedagogical and creative inputs are welcomed into the filmmaking process. By integrating Indigenous epistemologies and cosmologies we hope to situate permacinema in the wider project of cinema’s decolonization and rewilding.
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Thilmany, Jean. "The Model of Good Health." Mechanical Engineering 140, no. 04 (April 1, 2018): 32–37. http://dx.doi.org/10.1115/1.2018-apr-2.
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This article explores the innovative ways of using advanced modeling, simulation, and analysis software in medical field. In order to meet design requirements, engineers who work for medical device makers have been putting advanced modeling, simulation, and analysis software to use in innovative ways, such as creating models of the human anatomy that can be used to virtually test potential medical technologies. They have also put new tools such as 3D printers to work building model prototypes for real-world testing. The Food and Drug Administration’s Center for Devices and Radiological Health is now creating a simulated human capable of serving as an in-silico guinea pig. The center is building a library of computer regulatory testing models and a family of ‘virtual patients’ for product design and testing. The article also describes that medical device developers can use cinematic rendering, such as an image of the blood vessels in the skull created in Syngio via Frontier, an application enabling the realistic depiction of volume datasets, to help create better treatments.
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Hiscock, Peter. "Cinema, Supernatural Archaeology, and the Hidden Human Past." Numen 59, no. 2-3 (2012): 156–77. http://dx.doi.org/10.1163/156852712x630761.
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Abstract Close analysis of modern movies reveals — yet archaeologists and historians have failed to understand — that the dominant representation of archaeological research and ancient human culture in mainstream cinema involves explorations of supernatural objects and events. Cinematic archaeology tends to be mythic rather than realistic in focus. Movies frequently present images of the human past that are pseudoarchaeological in the sense that these films tell the same stories as ‘alternative archaeology,’ even though they may not make an explicit claim to the truthfulness of the events depicted. This pattern is documented through a review of films employing the ancient astronaut model in which visiting aliens changed human development in the past, and through an examination of the work of writer/director Roland Emmerich who has specialized in those films. The cinematic history of these narratives is long, demonstrating that cinema does not merely reproduce popular pseudoarchaeological research, it has also contributed to the growth of these stories.
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Badoiu, Dorin, and Georgeta Toma. "Research Concerning the Predictive Evaluation of the Motor Moment at the Crankshaft of the Conventional Sucker Rod Pumping Units." Revista de Chimie 70, no. 2 (March 15, 2019): 378–81. http://dx.doi.org/10.37358/rc.19.2.6920.
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It is well known that the variation on the cinematic cycle of the motor moment at the crankshaft of the conventional pumping units characterizes their proper functioning. In the paper it was developed a predictive calculation model of the motor moment at the crankshaft depending on the force at the polished rod. The estimation of the predictive model parameters has been done by minimizing a function that contains the calculus model errors. The experimental records have been processed with the program Total Well Management. The simulations have been performed with a computer program developed by the authors using Maple programming environment.
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Olaru, Adrian, and Serban Olaru. "Assisted Research of the Robots Kinematics and Dynamics Behavior with LabVIEW Instrumentation." Applied Mechanics and Materials 332 (July 2013): 276–85. http://dx.doi.org/10.4028/www.scientific.net/amm.332.276.
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In the industrial robots research one of the most important problem is to know cinematic and dynamic behavior to use them in the optimization process of the 3D space trajectory. Now, in the world, the results of the dynamic behavior research where obtained by research without one complex matrix model and without LabVIEW virtual instrumentation. In this paper it is show one assisted method and mathematical modeling with quadratic 6x6 matrix equations in the theoretical and experimental cinematic and dynamic analyze of didactical robot. For that where realized and used many virtual LabVIEW instruments (VI) and one didactical robot. All VI-s work on-line with the possibility to change some constructive and functional parameters of the structure or of the command low and see what is happened with the position, velocities, accelerations, forces and moments in all robot’s joints It is possible to try different control low of the movements like: simultaneously, successive or successive and simultaneously in all joints. The most important of the results is the possibility to know in every moment what is the better velocity characteristic for the dynamic behavior, validate easily the dynamic model and to know what is the variation of the absolute joint’s moments, forces, accelerations and velocities to can calculate all mechanical parts in each joints.
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Dinev, Georgi. "An Approach for Simulation Design of Mechanical Assembled Units." Advanced Materials Research 463-464 (February 2012): 1085–88. http://dx.doi.org/10.4028/www.scientific.net/amr.463-464.1085.
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An approach for cinematic analysis of mechanical assembled unit is presented. The equation for study of reciprocating movement of safety overflow valve is defined. We give the values of limiting technological parameters. Base these limiting conditions for pressure and rate of transported fluids developed a simulating model. Thus we are searching for collision, between components in composed assembled unit and are grounded the values for regulation of limiting conditions of flexible element in designed product. The results could be used for training of students of master degree and post-graduated students in this field of CAD design, as well as for creating animation models of assembled units in engineer design.
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Marin, Florin Bogdan, Ionel Petrea, and Madalin Deacu. "Computer Vision Algorithm for Collision Detection in Case of Industrial Environment." Advanced Materials Research 1143 (February 2017): 200–203. http://dx.doi.org/10.4028/www.scientific.net/amr.1143.200.
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This paper presents a computer vision algorithm for achieving fast collision detection. This paper presents a solution for a highly adaptable solution. The acquired depth images are used to calculate a possible collision with industrial machines. Using a robot model and marked cells on the floor any robot cinematic configurations can be checked for collisions with human detected in the workspace. The proposed approach is applicable to a variety of industrial applications where operators are under threat of accidents.
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Zauderer, Elizabeth. "Is a rose is a rose is a rose? Appropriating polysemy in film: The case of rose imagery in American Beauty." Semiotica 2015, no. 205 (June 1, 2015): 191–205. http://dx.doi.org/10.1515/sem-2015-0009.
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AbstractThe issue of cultural appropriation is at the crux of adaptation studies with emphasis on what constitute cultural junctures in cinematic renditions of textual sources, rather than how formal processes facilitate contextual and intertextual overlap. This paper explores processes for the appropriation of textual polysemy in visual terms in film. Drawing on classical semiotics and film semiotics, I propose a theoretical model for reconstructing the effect of contextual complexity and overlap manifest in textual polysemy in terms of visual signification in film. The proposed model is applied in an analysis the recurrent rose imagery in American Beauty (Sam Mendes 1999).
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Uwah, Innocent. "Identity and culture in theorising African perspectives of communication: The case of an African cinematic model." Communicatio 38, no. 2 (August 2012): 181–94. http://dx.doi.org/10.1080/02500167.2012.717347.
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de Strycker, Carl, and Hans Vandevoorde. "Het prozagedicht in Vlaanderen en Nederland als model." Nederlandse Letterkunde 19, no. 3 (December 1, 2014): 251–75. http://dx.doi.org/10.5117/nedlet2014.3.stry.
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Abstract The Prose Poem in Flanders and the Netherlands as a Model. On Genres and GenerationsThis article explores the ways in which the genre of the prose poem functioned as a model in Flemish and Dutch literature from the 1890’s to the 1920’s. Focusing on two cases ‐ a prewar and a postwar one ‐, it is argued that the genre was reinterpreted by new literary generations and, infused with new elements, became a productive model for new texts. A first case study deals with Pol de Mont and Ellen Corr. The former modified the model as he borrowed it from the authors of the Eighties movement, and it subsequently became a productive model for an epigone like Corr. In a second case study, dealing with Herman Heijermans and Constant van Wessem, we show how the genre was modified again in the period following World War I, and was made to incorporate modern elements such as cinematic processes and a businesslike, objective form. Finally, these cases reveal that models go beyond the genre, since their evolution is often based on eye-catching features that are not necessarily essential to the definition of the genre per se.
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Żaglewski, Tomasz. "Infinite Narratives on Infinite Earths. The Evolution of Modern Superhero Films." Panoptikum, no. 22 (December 17, 2019): 158–72. http://dx.doi.org/10.26881/pan.2019.22.06.
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After almost 20 years of a succesful run of superhero films it seems that we are now entering into the fully-developed format of this kind of cinema. Through films like “Avengers: Infinity War”, “Logan” or “Spider-Man: Into the Spider-verse” the general audience all over the world is becoming familiar with strictly comics-based forms and ideas like retcon, crossover or the multiverse paradigm (that serves as a model for ‘infinite’ superhero narratives and limitless iterations of characters). Despite the fact that popular cinema had already introduced some of these elements before – like the crossover aesthetic in Universal Studios’ horrors from the 1930s and 1940s – modern superhero cinematic universes can be seen as much more demanding productions for the viewers in terms of following strongly comic books-based modes of the ‘multiverse-centric’ perception. As a result we can right now observe an emerging process of turning even the non-superheroic popular cinematic features into very ‘comic booky’ narrative patterns. In this article I’m interested in analyzing the most recent cases of superhero cinema by looking at some specific titles as a way of introducing the narrative systems and tools from superhero comics into cinema.
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Falzon, Christopher. "ExperiencingForce Majeure." Film-Philosophy 21, no. 3 (October 2017): 281–98. http://dx.doi.org/10.3366/film.2017.0052.
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This article looks at the 2014 Swedish comedy-drama Force Majeure as a kind of moral thought experiment, but also insofar as it might not fit such a model. The idea of a cinematic ethics, of cinema as providing an avenue for thinking through ethics and exploring ethical questions, finds at least one expression in the idea of film as experimental in this sense. At the same time, simply subsuming film to the philosophical thought experiment risks forgetting what film itself brings to the proceedings; and how the cinematic medium might allow for an experimentation that goes beyond what can be done within the philosophical text. As experimental in a broad sense, Force Majeure evokes an experience, the extraordinary event beyond one's control, capable of putting a moral agent to the test, challenging one's sense of who one is and what one stands for. The film unfolds as a reflection on the results of this encounter with experience, and on the kind of moral self this experiment brings to light; and in the course of this reflection, it suggests some general conclusions about the human condition.
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Muir, Lorna. "‘Control Space?: Cinematic Representations of Surveillance Space between Discipline and Control’." Surveillance & Society 9, no. 3 (March 27, 2012): 263–79. http://dx.doi.org/10.24908/ss.v9i3.4273.
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Recent developments in surveillance practices and their related technologies suggest that the heretofore dominant Foucauldian paradigm of discipline, with its sites of confinement in which space is “segmented, immobile [and] frozen”, may no longer be an adequate theoretical framework in which to discuss space within surveillance studies (Foucault, 1995: 195). In his essay Postscript on Control Societies, Gilles Deleuze claims that these sites are in the midst of widespread breakdown, leading to a fundamental shift in the notion of space, characterised by the term ‘modulation’ (Deleuze, 1990: 178-179). In the control model, urban surveillance can be said to be characterised by an emphasis on the use of digital surveillance practices, leading to a view of urban space and the city, as well as its inhabitants, which largely resides within a computer mainframe. This raises the question: if the surveillance carried out within this conception of urban space can be described as concentrated, hidden, passive, functional, mobile, and varied, how can these changes be communicated cinematically since there is an obvious problem of representation; when much of the surveillance technology is computer and digital in form, how does cinema make visible the potentially invisible? In considering the question of how film engages with urban space between the paradigms of discipline and control, two cinematic views of the (informational) city will be discussed by considering three scenes from Erasing David (2009) and Minority Report (2002) in order to identify some of the cinematic strategies used in communicating contemporary surveillance practices increasingly characterised as invisible and immaterial.
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Sabatino, Anna Chiara. "Audiovisual Means to Therapeutic Ends. The Cinematic Dispositive within Medical Humanities." Cinéma & Cie. Film and Media Studies Journal 22, no. 39 (January 24, 2023): 53–68. http://dx.doi.org/10.54103/2036-461x/17748.
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Dominant narratives across Medical Humanities have been focused on the cultural construction of the notion of medicine as epistemic discourse and social practice, on the role of humanities in medical design of the disease as well as on the humanization of the clinical encounter in order to facilitate the anamnesis, the therapy and the care. Among the main declinations, a more complex point of view arises, suggesting the critical integration and exploitation of a variety of methodologies, previously used by art and humanities research, into a peculiar human-centered dispositive, both narrative and therapeutic, in which audiovisual practices and languages acquire new healing potential and activate bias for unprecedented processes of subjectivization for particular target of suffering human beings. Based on the aforementioned premises, the essay aims at investigating the therapeutic set as performative and methodological model, consistent with art-therapy and narrative-based medical approaches, applicable in specific pathological conditions and health-care contexts. Within such reflexive and operational framework including documentary studies and visual anthropology, self-representational and amateur theories, the therapeutic set becomes a media environment where the formative encounter, both technical and pragmatic, finally ethical, between the self and the world, the action and the awareness takes place. My purpose is to explore the theoretical pillars of the therapeutic set as transformative interplay between profaned cinematic dispositive and psychotherapy setting, dwelling on bodily involvement, audiovisual gestures and amateur self representation to which active participants, storytellers of their own illness and treatment, are called in the making of therapy and narrative. The paper finally intends to illustrate selected interdisciplinary case studies in order to discuss the healing potential of creative participatory processes and self-representations, occurring thanks to the relocation and amateurization of the contemporary cinematic experience.
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Elsaesser, Thomas. "What Is Left of the Cinematic Apparatus, or Why We Should Retain (and Return to) It." Recherches sémiotiques 31, no. 1-2-3 (November 20, 2014): 33–44. http://dx.doi.org/10.7202/1027439ar.
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In this essay I shall briefly summarize what it was about the original formulation of the cinematic apparatus that seemed crucial; what were subsequently perceived to be its shortcomings; how in my own media-archaeological approach I have tried to extend as well as to relativize/historicise the model of the apparatus/dispositif; and finally, what avenues I see for invigorating the theoretical challenges apparatus theory still poses, now in the context of viewing situations that either pastiche and inflate the original paradigm or completely bypass or ignore it.
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Vidal, Fernando. "Accuracy, Authenticity, Fidelity: Aesthetic Realism, the “Deficit Model,” and the Public Understanding of Science." Science in Context 31, no. 1 (March 2018): 129–53. http://dx.doi.org/10.1017/s0269889718000078.
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Argument“Deficit model” designates an outlook on the public understanding and communication of science that emphasizes scientific illiteracy and the need to educate the public. Though criticized, it is still widespread, especially among scientists. Its persistence is due not only to factors ranging from scientists’ training to policy design, but also to the continuance of realism as an aesthetic criterion. This article examines the link between realism and the deficit model through discussions of neurology and psychiatry in fiction film, as well as through debates about historical movies and the cinematic adaptation of literature. It shows that different values and criteria tend to dominate the realist stance in different domains:accuracyfor movies concerning neurology and psychiatry,authenticityfor the historical film, andfidelityfor adaptations of literature. Finally, contrary to the deficit model, it argues that the cinema is better characterized by a surplus of meaning than by informational shortcomings.
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Aharoni Lir, Shlomit, and Liat Ayalon. "“WHAT IS RIGHT AND REAL – IS THE STORYTELLING”: MASCULINITY, MEDIA AND CREATIVITY." Creativity Studies 15, no. 2 (April 19, 2022): 348–63. http://dx.doi.org/10.3846/cs.2022.15383.
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The stereotypical view of creativity as an emblem of youth, and old age as a signifier of decline can hold grave consequences for filmmakers in the second half of life, as this misconception can result in negative attitudes, a decline in media coverage, and less funding for film production. Thus, ageing male film directors might face a collisional intersection, when the gender-based status that provides social privileges, meets with older age-based status, which leads to social weakening. This qualitative study explored the means which male directors in the second half of life use to remain creative and make films in an ageist, vastly changing world. The study is based on a dataset of transcribed semi-structured interviews with 13 well-known Israeli male directors over the age of 55. The findings led to the formation of a model of creativity in older age, which consists of the following six pathways: inspiration, adaptation, innovation, preservation, circumvention and imagination. While some of the interviewed directors emphasized their ability to change and adapt to the new cinematic world, others adhered to their old filmmaking language. The understanding of the cinematic creation as based upon the art of storytelling was common among both “camps”.
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Nurzia, Franco, Chiara Palomba, and Pierpaolo Puddu. "Some Considerations about the Rotating Cell Structure." International Journal of Rotating Machinery 2009 (2009): 1–7. http://dx.doi.org/10.1155/2009/709754.
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Rotating stall instability in axial flow compressors arises when the mass flow is reduced at constant rotational speed. Despite the number of experimental and theoretical work already published in the scientific literature, many questions still remain unanswered. A complete model that could be of help both in the design process and in the modelling process of existing engines is not yet available. A fundamental research program has been carried out at the Department of Mechanical Engineering of the University of Cagliari with the scope of reaching a better understanding of the basic flow field structures and of the global performance in stall. The cinematic structure of the cell during abrupt full 1-cell stall in a two-stage axial flow compressor with IGV has been analysed with the aid of hot-wire anemometer and of a total pressure probe. The results have revealed interesting features about the cell flow structures and their variations along the stalled performance branch of the compressor. The present paper aims at pursuing further the flow analysis including the investigation of upstream flow field. Therefore, the inlet duct has been extended to perform the measurements. The complete flow field measurements will allow to obtain a complete cinematic description of the cell.
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Schofield, Paul. "Action and Agency inThe Red Shoes." Film-Philosophy 22, no. 3 (October 2018): 484–500. http://dx.doi.org/10.3366/film.2018.0091.
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In this paper, I argue that Michael Powell and Emeric Pressburger's ballet musical The Red Shoes (1948) is concerned with topics surrounding phenomenology, action, and embodied agency, and that it exploits resources that are uniquely cinematic in order to “do philosophy.” I argue that the film does philosophy in two ways. First, it explicates a phenomenological model of action and agency. Second, it addresses itself to the philosophical question of whether an individual's non-reflective movements – those that are not the result of deliberation or practical reasoning – are properly understood to be actions attributable to her as her own.
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Grines, V. Z., E. V. Zhuzhoma, and O. V. Pochinka. "Dynamical Systems and Topology of Magnetic Fields in Conducting Medium." Contemporary Mathematics. Fundamental Directions 63, no. 3 (December 15, 2017): 455–74. http://dx.doi.org/10.22363/2413-3639-2017-63-3-455-474.
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We discuss application of contemporary methods of the theory of dynamical systems with regular and chaotic hyperbolic dynamics to investigation of topological structure of magnetic fields in conducting media. For substantial classes of magnetic fields, we consider well-known physical models allowing us to reduce investigation of such fields to study of vector fields and Morse-Smale diffeomorphisms as well as diffeomorphisms with nontrivial basic sets satisfying the A axiom introduced by Smale. For the point-charge magnetic field model, we consider the problem of separator playing an important role in the reconnection processes and investigate relations between its singularities. We consider the class of magnetic fields in the solar corona and solve the problem of topological equivalency of fields in this class. We develop a topological modification of the Zeldovich funicular model of the nondissipative cinematic dynamo, constructing a hyperbolic diffeomorphism with chaotic dynamics that is conservative in the neighborhood of its transitive invariant set.
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Afifah, Nur, Ilzar Daud, and Morella Mulyadina. "Viewer Behavior On Social Media: Viral Marketing of A Movie Trailer In Indonesia." Gadjah Mada International Journal of Business 24, no. 2 (June 2, 2022): 178. http://dx.doi.org/10.22146/gamaijb.49987.
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A trailer is a brief description of a film and provides a 1 to 3 minute cinematic experience that displays images from the film to influence consumer behavior. This research was conducted to propose a conceptual model regarding affective, cognitive, and environmental responses to viral marketing, which are moderated by audience behavior, for the movie trailer of “Spiderman: Far from Home.” The film was released in July 2019 by Marvel Cinematic Universe (MCU). This study adopted the wheel of consumer analysis to bridge the research gap. An online survey was forwarded to 200 respondents using structured questionnaires through social media sites, such as Line, WhatsApp, Facebook, and e-mail. The data were then analyzed using structural equation modeling (SEM). The results showed that the audience’s affective, cognitive, and environmental responses significantly influenced viral marketing. The results further indicated that the audience’s behavior was not a moderating variable, as the significance level was less than 0.05. The results can contribute to determining social media marketing strategies for promoting film trailers that are beneficial for companies, especially in Indonesia. Therefore, the companies can grow and become more competitive in the film industry. Although this study discusses viral marketing in the film industry, the results can also contribute to other industries, in order to increase the popularity of their products.
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THAMER, Raad Abdul-Jabbar, and Hussain Abdul-Aziz MUHAMMAD. "THE STRUCTURAL CONSTRUCTION OF THE ELEMENTS OF EXPRESSION IN REALISTIC FILMS (JAAFAR ALI) AS A MODEL." Rimak International Journal of Humanities and Social Sciences 4, no. 3 (May 1, 2022): 765–76. http://dx.doi.org/10.47832/2717-8293.17.44.
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The problem of the current research was crystallized by raising the following question: What are the cinematic tools and elements that director Jaafar Ali employed in addressing reality during his films? Therefore, the aim of the research seeks to reveal the structural structure of the elements of expression in realistic films, Jaafar Ali as a model. To verify the objective of the research, the researchers chose an intentional sample of the films of the director (Jaafar Ali) represented by the movie (The Curve, 1975), as the justifications for choosing this model as it deals with one of the real issues of Iraqi society was analyzed according to a tool prepared for this purpose, and the researchers came out with a group of The most important results are: The director's vision is linked to the awareness and culture of director Jaafar Ali in his dealings with the visual and audio elements in the film. Keywords: Structural Construction, Elements of Film Expression, Realism.
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Popescu, Daniel. "FRICTION ANALYSIS IN CASE OF THE CARRIAGE- FEED SHAFT CINEMATIC COUPLING AT CNC LATHE." International Journal of Engineering Technologies and Management Research 7, no. 5 (May 19, 2020): 30–37. http://dx.doi.org/10.29121/ijetmr.v7.i5.2020.671.
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The paper presents a mathematical model for analysis of friction between the tool bearing saddle and conductor at CNC lathe. The analysis of longitudinal advance movement laws is performed taking into account the appearance and development of disturbing harmonic forces created by auto-vibrations determined by the interaction between the partial elastic systems of tool and workpiece. The friction force is emphasized as product of two components depending on the sliding speed and on the normal disturbing force. By establishing the dynamic response of the system, when the normal force depends linearly on speed, acceleration and mobile ensemble position, the premises are created for stability analysis of the friction movement, obtaining the limit speeds under which the stick-slip phenomenon occurs. Thus, it is provided for a rational design of CNC lathe elastic structure, in order to improve the surface quality and the dimensional precision.
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Szaloky, Melinda. "Silence Fiction : Rethinking (Under) Representations of the “Feminine” Through Social Cognition." Cinémas 12, no. 2 (October 31, 2007): 89–115. http://dx.doi.org/10.7202/024882ar.
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ABSTRACT This essay readdresses the issue of the social marginalization of women in light of social cognitive theories of schema- and stereotype-driven perception, reasoning, memory, and behavior. The notions of "fundamental attribution error," "stereotype threat," and "outcome dependency" will help elucidate why women's words and actions have traditionally been construed as less consequential than those of their male peers. Moreover, the essay discusses the benefits of the social cognitive model for film scholarship. It argues that social cognition's comprehensive, micro-level understanding of how our habitual, normative reality is constructed can usefully complement those theories of cinematic defamiliarization that invoke the psychology of the mind (e.g., Deleuze's "time-image").
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Avsec, Jurij, Milan Marcic, and Maks Oblak. "Valve Gear Refinement." Journal of Mechanical Design 124, no. 1 (February 1, 2000): 86–90. http://dx.doi.org/10.1115/1.1425812.
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This paper describes a new type of valve gear cam—MULTICAM—which consists of seven curves and allows an optimum cam profile design. In order to calculate the cinematic and dynamic values and to assess the minimum oil film thickness in the valve gear, the mathematical model of an ideal valve gear was used. In addition, the comparison of the results between the polysine cam and the new MULTICAM cam design was made. By means of the new cam design the Hertz pressures were reduced at the point of contact between the cam and the cam follower and the lubrication properties at the top of the cam improved.
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Kharmandar, Mohammad Ali. "Argumentation-based literary translation quality assessment." Journal of Argumentation in Context 5, no. 2 (October 14, 2016): 139–56. http://dx.doi.org/10.1075/jaic.5.2.02kha.
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This study correlates argumentation, translation, and literature to construct a new model for assessing the quality of translated literature. Literary translation is described as being compatible with the rhetorical stream of argumentation studies, while the study rests on the overriding notion of ethics of difference in argumentative cross-cultural and translational encounters. The model incorporates ethics of difference and interpretive act, pragma-dialectical contributions of scheme/structure and rhetorical/dialectical situations, and aesthetic features including figures of speech and (sub)genres of literature. Application of the model to an English translation of a classical poem (a Rumi’s allegory) shows that the model can be systematically applied to quality assessment of translated literature (and literary genres e.g. plays, novels, audiovisual/cinematic products, etc.). Considering the implications and suggestions for further research, the study can progressively develop into a literary or cross-linguistic subgenre of argumentation theory, with implications for comparative literature, philosophy of meaning, translation theory, and dialectical hermeneutics.
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Silva, Dagmar De mello, and Larissa Príncipe. "um menino no mundo." childhood & philosophy 15 (April 29, 2019): 1–19. http://dx.doi.org/10.12957/childphilo.2019.37912.
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This paper is the result of encounters with cinema in a course entitled Cultural Activities, a required class in the undergraduate education program of the School of Education at Brazil’s Fluminense Federal University. The goal was to produce aesthetic experiences with the moving images of cinematic language that would go beyond the usual didactic and utilitarian ways of exemplifying course content. We counted on the power of moving images to produce affective images, an aesthetic device that drives the relation between thought and language, thereby contributing to a pause in time, thereby allowing us the opportunity to examine more carefully the existential human condition as historically constituted in the world today. This paper was thus the result of using cinema as a tool of social analysis and a methodological resource for the training of undergraduate education students. The cinematic artifact presented here is an animated feature whose story unfolds through the eyes of a child confronting a world tainted by the misfortunes of capitalism. For theoretical support, we focus on authors who analyze the capitalist political and socioeconomic model and its effects on the human condition. Through O menino e o mundo, a student and teacher share their different, but nonetheless powerful, ideas about the field of education, work, and the consumerism and alienation that result from current modes of production. It is particularly important to emphasize that the paper itself is a byproduct of the methodological approach of the course.
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SWANSON, ROSS. "Archive and Authenticity: Cinematic Tourism in El abrazo de la serpiente (2015) by Ciro Guerra." Bulletin of Hispanic Studies: Volume 99, Issue 9 99, no. 9 (October 1, 2022): 903–26. http://dx.doi.org/10.3828/bhs.2022.54.
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The film El abrazo de la serpiente (2015) by Colombian director Ciro Guerra has been praised for its decolonial and ecological aesthetics. In this article I problematize these readings by arguing that the film, through its references to the archive of Amazonian photography and writing, works to satisfy touristic desires for contact with an ‘authentic’ Other, expressed most clearly in the indigenous shaman character, Karamakate. The film’s touristic aesthetic culminates in the final scenes, in which Karamakate bestows his shamanic knowledge on a white traveller character. This act not only heightens the sense of profound contact with the Other but also constructs a fantasy of reconciliation with indigenous peoples over the violence of colonialism. In this way, the film attempts to assuage guilt over colonial wrongdoings while doing little to model new and better ways of relating with indigenous peoples.