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Relevant bibliographies by topics / Cinematic observation in Asia

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Academic literature on the topic 'Cinematic observation in Asia'

Author: Grafiati

Published: 6 September 2023

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Journal articles on the topic "Cinematic observation in Asia"

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Djagalov, Rossen, and Masha Salazkina. "Tashkent ‘68: A Cinematic Contact Zone." Slavic Review 75, no. 2 (2016): 279–98. http://dx.doi.org/10.5612/slavicreview.75.2.279.

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AbstractThis essay seeks to reconstruct the history of the first Tashkent Festival of Cinemas of Asia and Africa (1968). It offers an account of the festival as a highly heterogeneous and productive site for better understanding the complex relationship between the Soviet bloc and the Third World in the crucial moment between the victory of post-colonial independence movement and the end of the Cold War.

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Sengupta, Roshni. "Historical Continuities in South Asian Film Narratives:Contemporary Representations of Religious,Ethno-linguistic and Sexual Minorities." Society and Culture in South Asia 6, no. 2 (June 26, 2020): 238–72. http://dx.doi.org/10.1177/2393861720923811.

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The article attempts to examine the construction and representation of minority identities in the visual cultures of Pakistan, Bangladesh and Sri Lanka, thereby endeavouring to establish a cinematic historiography of South Asia. Since the cinematic medium can accomplish what written history cannot, this article makes an effort to understand the underlying causes of linearity and simultaneity which are fortes of the moving image, with regard to visual construction and representation of religious, ethno-linguistic and sexual identities. The major objectives of this article are to establish a comparative framework for the study of South Asian cinema with focus on films from Pakistan, Bangladesh and Sri Lanka, outline a possible theoretical structure for the future study of South Asian cinema, contextualize the intervening spaces between cinema and politics—particularly the realms of cinematic representation of religious or communal identities in South Asian cinema, categorise existing trends and observe transformations in the methodology of cinematic representation of identities.

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Dixon, Ian. "ALTERNATIVES TO LOVE: INDIAN CINEMA REINVENTED IN GREATER ASIA." Miguel Hernández Communication Journal 13 (July 28, 2022): 407–27. http://dx.doi.org/10.21134/mhjournal.v13i.1505.

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As conventional Bollywood continues to thrive, independent productions supported by Netflix and other streaming apps are embracing more insurgent themes and challenging storylines. While Netflix steers its Asian production arm toward South Korea, India remains a vital focus on the world cinema scene. Following the lead of maverick actor/producer Amir Khan in the wake of Dhobi Ghat (2010), films such as A Death in the Gunj (2016) and Sir (2018) not only feature women’s themes but aggregate the colour and movement of Indian cinema while enlisting serious subject matter. Netflix and other streaming apps may provide a vital platform, but the traditions of culture and cinema predate this distribution opportunity by centuries. Drawing from film theorists such as Ashvin Devasundaram, Madhuja Mukherjee, Chidananda Das Gupta and Neelam Sidhar Wright, I examine the two exemplary films as textual analysis and story-based in a historical context. Along with the influence of Hindu mythology, this paper seeks a template for effective, globally relevant cinema which does not pander to Edward Said’s notion of Orientalism. While considering the storytelling traditions of Rabindranath Tagore and Satyajit Ray as literary and cinematic voices, this paper also consults Western screenwriting gurus Stephen Cleary and Robert McKee in its search to support the artistic aims of streaming-based art cinema from India. India, especially at this time of pandemic crisis, deserves to be championed for its centuries of unrivalled artistic achievement and unparalleled cinematic exuberance.

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Дружинин, Андрей Сергеевич. "CINEMATIC OBSERVATION IN LINGUISTICS AND BEYOND: TOWARDS AN EMPIRICAL SCIENCE." Pedagogical Review, no. 2(32) (March 25, 2022): 9–29. http://dx.doi.org/10.23951/2312-7899-2022-2-9-29.

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Обсуждается проблема методологии в науке о языке и предлагается возможный путь ее решения, который заключается в обращении к визуальной семиотике кинофильма как источнику эмпирических научных данных. Утверждается, что в основе методологического кризиса классического языкознания лежит принцип самодостаточности аналитической логики как единственного инструмента познания языковых данных, в роли которых выступают письменные тексты. Причины, по которым лингвистика оказалась в подобном кризисе, носят эпистемологический характер. Во-первых, наука изучает не столько то, что есть объект на самом деле, сколько то, как этот объект функционирует в процессе взаимодействия с точки зрения наблюдателя. Язык, напротив, рассматривается как абсолютизированная система знаков, существующая «в себе» и «для себя». Во-вторых, степень валидности научных знаний об объекте определяется логической связностью теоретического построения, упорядочивающего эмпирические данные о мире, что означает функциональную взаимосвязь теории и наблюдения, обеспечивающую науке опытную проверку и верификацию любых выдвигаемых гипотез и тезисов, доказательность которых не может исчерпываться другими гипотезами или другими тезисами. В лингвистике, однако, подобная верификация и проверка осуществляются методом логической интерпретации и анализа текстов, которые не являются источником эмпирических данных, а представляют собой продукты того же самого интерпретационного анализа. Такая методология создает порочный круг по той простой причине, что тексты не могут выступать в качестве эмпирической доказательной базы, поскольку лишены перцептуальной динамики, и поэтому их невозможно наблюдать ни в обыденном, ни в научном смысле этого слова. Чтобы отойти от устоявшейся логико-позитивистской традиции и изучать язык не только на материале текстов, лингвистике необходим поворот в сторону эмпирического подхода. Такой поворот возможен, если признать эмпирическую ценность кинофильмов в изучении того, как экспериенциальный мир человека конструируется и «разыгрывается» в пределах сюжетной линии. Исходя из того, что работа человеческого воображения становится доступной для непосредственного наблюдения посредством кино, лингвистика и смежные дисциплины, включая когнитивные науки, могут использовать на практике данный эмпирический материал в качестве доказательной базы для различных утверждений о том, как человек воображает мир, конструирует значения, общается с другими и использует язык в целом, чтобы осуществить все эти когнитивные процессы. В статье подробно описывается и объясняется эмпирическая методология исследования языка, уточняется, какие виды действий и взаимодействий с семантическими объектам можно наблюдать косвенно или напрямую в кинофильмах (в частности, направление внимания, динамику пережитого опыта, эмоциональные и сенсомоторные процессы). Концепция языка как экспериенциальной динамики, наблюдаемой в фильмах, продолжает философские идеи радикального конструктивизма и энактивизма, согласно которым человек подобно актеру «разыгрывает», или генерирует в своих перцептуальных действиях, мир как биологическую, социальную, культурную историю всех предыдущих подобных действий. The article raises the problem of methodology in the language science and discusses a possible way of solving this problem by recognizing films as a source of observational scientific data. The article claims that the reliance of classical linguistics upon logical analysis and interpretation as a sufficient method of research with texts as primary sources of data is a a fallacy. This fallacy is accounted for by a number of epistemological factors. Firstly, science generally concerns itself not with what things are, but how they appear to the standard observer in the process of interaction. Language, oppositely, is studied as a self-sufficient sign system in and of itself. Secondly, any science constructs its object and produces valid knowledge about this object on the basis of empirical data put together in a logical way, which means that theory and observation are two co-dependent technologies of science ensuring that any claim about the experiential world is verified and “life-tested”. In linguistics, conversely, such an empirical test and verification of claims is replaced by a logical procedure of interpretation and analysis on the basis of texts, which is far from empirical evidence, but rather appears as another set of claims. In other words, texts take on the role of empirical data in linguistics, which is wrong for one simple reason that texts are logical interpretations devoid of any perceptual dynamics and, therefore, unable to be observed. In order to break with such a product-oriented approach and the logico-positivist tradition, and study language beyond written texts only, especially given that illiterate people are language users too, linguistics needs to take an empirical turn. To make this turn possible, linguists need to reconsider the empirical role motion pictures play in the study of how a human’s experiential world is enacted and constructed into a coherent story. Recognizing that films make the work of somebody else’s imagination observable, linguists and cognitive scientists as well could make practical use of cinematic observations as a primary source of evidence for claims about how a human imagines things, constructs meanings, communicates with others, and uses language in general to make all of those things possible. The article elaborates on the cinema-mediated empirical methodology of language studies and specifies what types of observable actions (or their implications) upon linguistic objects we can find in films, including attentional processes, the dynamics of the lived experience, emotioning and sensorimotor activity. As opposed to apparatus theory, the conception of language as experiential dynamics observable in films fits in with the philosophy of radical constructivism and enactivism according to which a human, by analogy with an actor, enacts the world as a (biological, social and cultural) history of her previous actions, these enactments becoming the world itself.

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Kljueva, Ljudmila Borisovna. "Observing the Observer, or the Poetics of Deconstruction. Based on New York, I Love You by A. Zvyagintsev." Journal of Flm Arts and Film Studies 3, no. 3 (September 15, 2011): 6–22. http://dx.doi.org/10.17816/vgik336-22.

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The article analyses the director's strategy in A. Zvyagintsev's New-York, I Love You. This film is an observation, a cinematic deconstruction revealing the inner dramaturgy of the examined event. The film's semantic field is structured by the opposition the observer - the observed object. The scholar's task is to penetrate into the text's poetics based on double observation, i.e. the observation of the observer.

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Frisch, Simon. "The Aesthetics of Flow and Cut in the Way of Film: Towards Transnational Transfers of East Asian Concepts to Western Film Theory." Arts 8, no. 3 (September 16, 2019): 119. http://dx.doi.org/10.3390/arts8030119.

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The general concepts in theorising the aesthetics of film are still rooted in occidental traditions. Thus, thinking about film is dominated by Western terms and aesthetic paradigms—such as “pieces of work”, the representation of reality or regarding the arts as an act of communication. From such an angle, it is difficult to describe different characteristics of the cinematic image, for example, its ephemeral character. In contrast to occidental thinking, the cultural traditions of East Asia are based on the concept of the way (dō or dao), which allow for the description of aesthetics of transitions and transformations. Inspired by the concept of kire-tsuzuki, as developed by the Japanese–German philosopher Ryōsuke Ōhashi, I shall, in this paper, describe some alternative ways of understanding appearance and occurrence in relation to the cinematic picture.

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Wibisono, Sony. "Photography as Cinematic Ekphrasis: Intermedial Study in Garin Nugroho’s Opera Jawa." Harmonia: Journal of Arts Research and Education 23, no. 1 (June 29, 2023): 64–78. http://dx.doi.org/10.15294/harmonia.v23i1.39633.

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The Opera Jawa (2006), directed by Garin Nugroho is an Indonesian film with unique hybridity of art media (music, dance, visual art installation, acting, photography). This study aims to provide an overview of photographic ekphrasis’s form, process, and function. This research used a descriptive qualitative method. Data collection was through observation with the note-taking documentation technique. Through intermedial studies, data analysis was carried out using Agnes Petho’s cinematic ekphrasis and photo-filmic theory. The results of the study show that Opera Jawa displays the characteristics of intermedial reference media through cinematic ekphrasis of photography in film. This matter is manifested at the diegetic media level through family photos of the character Setyo-Siti, and the extra-diegetic media through photographic frames introducing film characters. Cinematic Ekphrasis works with exchange strategies and crossing the borders of basic media modalities (material, sensory, space-time, semiotic) from film to photography. Cinematic ekphrasis ultimately forms a metaphor that mediates the experience and knowledge of film audiences toward the target media and the source media. Thus, Opera Jawa, as the target media, can offer its ideology as a result of Sinta Obong’s source media interpretation.

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Hoek, Lotte. "Urban Wallpaper: Film Posters, City Walls and the Cinematic Public in South Asia." South Asia: Journal of South Asian Studies 39, no. 1 (January 2, 2016): 73–92. http://dx.doi.org/10.1080/00856401.2016.1139029.

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Sun, Luyue. "The Development of Queer Film Identity." International Journal of Education and Humanities 4, no. 2 (September 1, 2022): 56–58. http://dx.doi.org/10.54097/ijeh.v4i2.1484.

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As a medium of visualization, the film has provided a vivid visual record, using its unique strengths in restoring reality and historical reenactment as an important means of documenting how human society has explored, perceived, and understood gender identity and emotional desire over the centuries. Queer films, as a branch of cinematic development, have their unique artistic appeal and logic of thinking in terms of gender awareness exploration and erotic expression. In this article, I will focus on the development of queer in Asia, especially in China and Hong Kong. Comparing the different attitudes towards LGBT in western countries and Asia. The analysis is done through the perspective of some queer in the representative movie "Farewell My Concubine".

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Sheen, Dong-Hoon, and Jin Soo Shin. "Observation of continuous microseismicPwaves in Asia." Journal of Geophysical Research: Solid Earth 121, no. 1 (January 2016): 248–59. http://dx.doi.org/10.1002/2015jb012420.

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Dissertations / Theses on the topic "Cinematic observation in Asia"

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Moriizumi, Jun, Takehisa Ohkuraa, Shigekazu Hirao, Yuki Nono, Hiromi Yamazawa, Yoon-Shin Kim, Qiuju Guo, Hitoshi Mukai, Yasunori Tohjima, and Takao Iida. "Continuous Atmospheric Radon-222 Concentration Observation in East Asia." American Institite of Physics, 2008. http://hdl.handle.net/2237/12040.

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Deng, Bingying. "Popular Cinematic Representations of China as a Rising Global Power." Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/23290.

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Ever since 2000s, the mainland Chinese film industry is becoming increasingly globalised, implementing policies to encourage the making of popular marketable films for local and international audiences, while adhering to state-sanctioned narratives and ideologies. Among those policies, the 2003 implementation of the Closer Economic Partnership Agreement (CEPA) between the governments of Mainland China and Hong Kong had a significant impact on their respective film industries, one major consequence being that co-produced movies were no longer viewed as international or foreign, but domestic productions. In this context, cultural interaction between China and Hong Kong is greatly increased which further diversifies the representation of China as a rising global power. Popular action cinema, including Chinese martial arts films, Hong Kong gangster films, undercover cop films and cop thrillers that flourished in Hong Kong and become internationally well-known, becomes a proper vehicle to project China as a rising global power. My thesis explores the above impacts in post-2002 martial arts and gangster films in the context of co-production directed by three major directors: Zhang Yimou, Johnnie To, Cheng Er. I explore how these filmmakers mobilise the tropes and features of the gangster film genre to explore China’s position as a global superpower. I read these films as political allegories about China’s rise as a superpower and its relations with Hong Kong and Southeast Asia. I focus on how these films rearticulate the ‘xia’ figure, which originated in Chinese literature and was later used and transformed in Hong Kong gangster films, in terms of gender. I therefore demonstrate how the films’ gendered re-articulation of the ‘xia’ figure forms a dialogue with China’s state narratives.

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Angel, Julie Margaret. "Ciné Parkour : a cinematic and theoretical contribution to the understanding of the practice of parkour." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/6119.

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Through a meeting of practice and theory this thesis shifts the locus of attention from the spectacle to the everyday practice of parkour. Using documentary filmmaking with anthropological intentions and extended access over a six year period, this thesis explores the subjective everyday lived performances and essence of parkour, as experienced by a select group of experienced practitioners, as well as those who were involved in parkour’s creation and development. Parkour is a multidimensional phenomenon that can be experienced as an art, training discipline, sport, set of values, and practice of freedom, depending on an individual’s motivations, cultural understanding and exposure to the history of the practice. The research establishes that parkour is an imaginative and particular way of thinking; remapping the landscape with ‘parkour vision’. Parkour transforms how one experiences, moves, connects and participates in the environment, challenging notions of normative behaviour, socialisation, identity and self-determining actions through explorations of, as well as expressions of the self. The results of which are a means to find a more authentic deeper inner sense of self, producing feelings of inclusion and an enhanced sense of freedom through the creation of an autonomous social body. Parkour encourages self-reliance and mutual co-operation whilst enabling participants to reclaim the wonderment and magic of the human experience, valuing confrontations of fear, pleasure and pain in transcending the real and imagined boundaries of one’s own limitations, play and freedom of expression. This thesis explores themes such as shared cinema, collaborative filmmaking, participant observation and issues of representation. Parkour is discussed theoretically from the perspectives of Eichberg’s work on body cultures, Foucauldian relations of power and technologies of the self, alongside Merleau Ponty’s phenomenology, Csikszentmihalyi’s optimal flow experience, Wellmann’s insights into networked individualism and Charles Taylor’s work on the search for an authentic self and the complexities of a modern identity. This thesis contributes to the growing field of research into body cultures and the continually evolving culture of parkour.

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Pollard, Lucy Petica. "Curiosity, learning and observation : Britons in Greece and Asia Minor, 1603-1688." Thesis, Birkbeck (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.572780.

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This thesis is a study of English-speaking travellers (both 'passengers' and 'inhabitants') who travelled to Greece and Asia Minor between 1603 and 1688. It includes diplomats and chaplains, merchants, scholars, individual adventurers and a Quaker missionary, almost all of them men and all but two (who were Scots) English. The study is based on their published and unpublished writings. Chapter 1 is an analysis of the texts (classical, biblical and later) cited by travellers, a subject which is considered in the light of the classical education which many of them had received. This is followed in chapter 2 by a discussion of travellers' attitudes to antiquities and ancient sites, their practice as collectors, and changes which began to take place in the 1670s. The third chapter looks at attitudes to various ethnic and religious groups: Greeks and the Greek church, Turks/Muslims, Catholics, Jews, and other Europeans whom travellers encountered in the Greek world. The thesis concludes (in chapter 4) with a study of John Covel, chaplain to the English embassy in Constantinople in the 1670s, and is based on his unpublished diaries and other papers. I suggest that travellers to the Greek world carried with them the intellectual inheritance of the classics, which had an overwhelming effect on their reactions to the Greek landscape, including classical remains, and people. While earlier travellers visited sites such as Troy because of their literary associations, in the 1670s a group of scholars began to look at classical sites in a more analytical way that can perhaps be described as a kind of 'proto-archaeology'. They attempted more systematically to relate the ruins they saw to the texts they had read. Although the 'terrible Turk' is a stock character in English literature at this period, the attitudes of those who actually visited the Ottoman world are much more nuanced than this stereotype would suggest.

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Kim, Se Young. "Crisis in neoliberal Asia: violence in contemporary Korean and Japanese cinema." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/3116.

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This dissertation performs close readings of a body of well-known East Asian films. The Japanese films discussed include Kitano Takeshi's Hana-bi (1997) and Fukasaku Kinji's Battle Royale (2000). From Korea, the dissertation focuses on Peppermint Candy (1999, Lee Chang-dong), The Coast Guard (2002, Kim Ki-duk), The Chaser (2008, Na Hong-jin), and four films by Park Chan-wook: Joint Security Area (1999), Sympathy for Mr. Vengeance (2002), Oldboy (2003), and Lady Vengeance (2005). Through an analysis of these films, this dissertation argues that the narrative cinema of South Korea and Japan, produced between 1997 and 2008, uses the representation of violence to foreground and critique the ideology of capitalism. Both South Korea and Japan see substantial economic growth, collapse, and rebuilding in the twentieth century. From 1986 to 1991, Japan experienced an asset price bubble, but its collapse in 1991 led to the period known as Japan's “Lost Decade” which marked the end of the nation's post-war economic miracle. A comparable trajectory occurs in South Korea. Following significant development in the 80s and 90s, the Asian Financial Crisis brings South Korea to a halt in 1997. In what came to be locally known as the “IMF Crisis,” South Korea had to rely on a $21 billion bailout loan from the International Monetary Fund. Just as Japan's economic collapse almost immediately preceded Korea's, both countries attempt to work through the trauma of the Lost Decade and the IMF Crisis in their national cinemas. Mirroring what audiences in East Asia were experiencing, the characters in these films endure instances of violent displacement. In response to their disenfranchisement, the protagonists of films such as Hana-bi and Sympathy for Mr. Vengeance brutally lash out. But unlike in the majority of narrative cinema, the characters' violent actions do not lead to resolution. Instead, violence only creates a recursive loop where systemic inequity persists. As a result, the brutal cinema of Korea and Japan pushes the representation of violence to its limit point and reveals the tacit goal-oriented logic where it is repeatedly used as a justified means to legitimate ends. By illustrating and problematizing this idea, these films uncover how this ideology of violence is a central tenet to the larger structure that actually produced the source of alienation: neoliberal capitalism. This dissertation thus demonstrates two points. First is the way in which economic trauma in Japan resonates in Korea, a process that carries over into their respective cinemas. Second is how these films assert that the representation of violence does not merely concern issues of film and media, but rather shares a deeper connection with the dominant ideology within globalization. As the films demonstrate, capitalism ultimately benefits the capitalist, a dynamic that can only occur at the expense of the laborer. These films thus articulate the inherent violence in this worldview that disregards the wellbeing of the Other. At the same time, the films also contend that it is that single-minded impetus towards profit that fueled the economic collapse, an almost inevitable result of the region's furious adaptation of industrial capitalism in a process referred to as ‘compressed modernity.’ Less interested in the enormous prosperity resulting from modernization in the region, the films confront and lament the often neglected but equally exorbitant costs. The violent cinema of South Korea and Japan thus insists that the financial crises of the late twentieth century, the persistence of economic inequality, the cinematic representation of violence, as well as the growth of its own industries, constitute a knot that can only be understood in its totality.

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Oozeer, Muhammad Yaasiin. "On the occurrence and transport of biomass burning haze in south-southeast Asia using observation data and computational methods." Thesis, University of Nottingham, 2018. http://eprints.nottingham.ac.uk/49090/.

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Biomass-burning haze (BBH) is an environmental concern which has a tremendous impact on human health and the economy in Southeast Asia (SEA). One of the worst haze events to ever hit Peninsular Malaysia occurred in June 2013 due to smoke from Riau, Central Sumatra. While biomass-burning in the region is common, the early occurrence of a haze episode of this magnitude is uncharacteristic of the seasonality of extreme fire events which usually occur between August and October in the Maritime Continent (MC). Previous studies on the June 2013 event mostly include statistical studies of the impacts of haze on air quality and health. Therefore, this study aims to investigate the phenomenology of this peculiar haze event and its underlying meteorological forcing agents. The aerosol and meteorological environment during the event is examined using the Moderate Resolution Imaging Spectroradiometer (MODIS) active fire hotspot detections and aerosol optical thickness (AOT) retrievals, satellite based precipitation retrievals and meteorological indices. Particular attention is given to El Niño Southern Oscillation (ENSO) and Madden-Julian Oscillation (MJO) conditions since these phenomena influence inter-annual and intra-seasonal fire-activity, respectively, as well as the influence of tropical cyclones (TC) over the South China Sea. The above datasets are then supported by a WRF-Chem nested simulation to provide a comprehensive picture of the event’s meteorology and aerosol transport phenomenology. Indeed, while the use of weather models to study BBH has become more popular, more modelling efforts need to be put into studying the June 2013 haze event to identify the mechanisms of long range transport of haze. A set of 13 sensitivity simulations are run to determine the physics settings which best represent the meteorology over the model domain during the June 2013 haze episode. The physics options used in the sensitivity simulations are selected based on previous WRF physics sensitivity studies and work which include WRF simulations with domains over Asia and SEA. In particular, the microphysics, cumulus parameterisation and planetary boundary layer (PBL) schemes are looked into to obtain the best agreement to observation data. The output from the sensitivity simulations are evaluated with satellite based precipitation retrievals and ground station data over Malaysia. The simulations run with the Lin microphysics scheme, Betts-Miller-Janjić (BMJ) cumulus parameterisation scheme and Mellor-Yamada-Janjić (MYJ) planetary boundary layer scheme performed best overall. These best settings, based on the sensitivity studies, are then used in the numerical simulations which are evaluated with satellite and ground station data. The evaluation shows that model produces similar patterns and magnitudes of AOT and successfully captures the variations in smoke plume height when compared to MODIS AOD and Cloud-Aerosol Lidar and Infrared Pathfinder Satellite Observation (CALIPSO) aerosol extinction profile datasets. The analysis of the time series ENSO conditions and MODIS fire count show that while extreme fire events are more characteristic of El Niño years, the MODIS fire count over the MC in June for the years 2001–2015 was highest in 2013 when neutral conditions prevailed. Although, the mean daily precipitation for June 2013 was below average for June for the years 2003–2015. In addition, the highest ratio of 0.89 of fire count for SPM to MC for any month for the period 2001–2015 was recorded in June 2013. An early and active TC season, which could have been the result of a strong transiting MJO, occurred in June 2013. The results show that the combined induced subsidence and flow enhancement due to TC Bebinca and the dry phases of the strong MJO event contributed to the event. The simulations further show that downward vertical motion of at least 6 cm s-1 prevailed over Sumatra on 22 June when TC Bebinca was most intense, while upward vertical motion reaching at least 9 cm s-1 prevailed over the same region before TC Bebinca on 17 June. Indeed, smoke sources were concentrated under this particular region of subsidence, where surface PM2.5 concentrations reached at least 1000 μg m-3 on 22 June. Vertical cross-sections across the model domain also show that subsidence during phase 6 of the MJO prevailed over Sumatra. Intense and early TC seasons over the Western North Pacific can therefore be an indication of the occurrence of early and extreme haze events over the MC. The numerical simulations are also used to study the convective mechanisms which are responsible for uplifting biomass-burning haze in the troposphere. These mechanisms over Sumatra and Peninsular Malaysia are under-studied and their physical mechanisms remain unclear. The PM2.5 mass concentration, vertical wind speed plots at different levels and vertical cross-sections of major smoke plumes are analysed and the corresponding convective mechanisms identified. Three main convective mechanisms are identified, namely, orographic motion over the Barisan Mountains of Indonesia, morning convergence over the strait of Malacca and orographic motion over Peninsular Malaysia. Results show that smoke is lifted to heights of at least 10 km in the atmosphere due to orographic lifting over Peninsular Malaysia while the average plume height increased to higher than 2 km as TC Bebinca subsided, due to the resulting decrease in subsidence. The identified mechanisms are able to uplift the biomass-burning emissions to the upper troposphere and this could have significant long-range transport and global climatic effects.

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Das, Sana. "Problems in theorising a priori conditions of cinematic-spectatorial experience in Asia." Thesis, 2018. http://localhost:8080/xmlui/handle/12345678/7542.

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Huang, Yuan-Chun, and 黃元俊. "Influence of India and Pakistan Terrorist Activities in South Asia Security: Observation Based on 2008 Mumbai Attack." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/87103454122238471674.

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碩士
國立臺灣師範大學
政治學研究所
99
In this study, 2008 Mumbai terrorist attack is the observation basis in order to explain the relation that between terrorist attacks and India-Pakistan conflict. All contents strive to explore "What are the impacts in the context of India-Pakistan conflict and terrorism development to the South Asia regional security?" This study used four research methods, they were literature review method, historical research methods, case study analysis and induction method. Purpose of this study is integrated exploring on the following items : First, the India-Pakistan conflict attributions and meanings under history development; Second, the impacts of India-Pakistan conflict’s to the South Asian regional security; Third, the impacts of India-Pakistan terrorist development to South Asia regional security; Fourth, making example about major terrorist attack, exploring the impacts of India-Pakistan relation; Fifth, India, Pakistan and international actions to the terrorism. This study found the following three points: First, solving the economic, social and political problem of uneven development in India and Pakistan are both urgent. Kashmir is the priority region. Second, India and Pakistan must to make greater effort to "inner force" and "external force" on anti-terrorism actions. Third, using the international powers (international organizations) to exert pressure in order to promote peaceful development between India and Pakistan, and the South Asia regional security stability as well.

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Hu, Ran. "Teaching English the lingua franca of Asia an interview and observation study of English reading instruction in three Beijing public elementary schools /." 2008. http://purl.galileo.usg.edu/uga%5Fetd/hu%5Fran%5F200808%5Fphd.

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Books on the topic "Cinematic observation in Asia"

1

Nakano, Shin-ichi, Tetsukazu Yahara, and Tohru Nakashizuka, eds. The Biodiversity Observation Network in the Asia-Pacific Region. Tokyo: Springer Japan, 2012. http://dx.doi.org/10.1007/978-4-431-54032-8.

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Envisioning Asia: On location, travel, and the cinematic geography of U.S. orientalism. Ann Abor: University of Michigan Press, 2010.

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Roan, Jeanette. Envisioning Asia: On location, travel, and the cinematic geography of U.S. orientalism. Ann Arbor: University of Michigan Press, 2010.

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Churchill, Jan. Hit my smoke!: Forward air controllers in Southeast Asia. Manhattan, Kan: Sunflower University Press, 1997.

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Li, Qi. Li shi ji yi yu xian shi ce guan: Zhong Ya yan jiu = Historical menory and realistic observation : Central Asia study. Beijing: Zhongguo she hui ke xue chu ban she, 2016.

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Iranian Cosmopolitanism: A Cinematic History. Cambridge University Press, 2019.

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Rekabtalaei, Golbarg. Iranian Cosmopolitanism: A Cinematic History. University of Cambridge ESOL Examinations, 2020.

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Rekabtalaei, Golbarg. Iranian Cosmopolitanism: A Cinematic History. Cambridge University Press, 2019.

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Rekabtalaei, Golbarg. Iranian Cosmopolitanism: A Cinematic History. Cambridge University Press, 2018.

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Roan, Jeanette. Envisioning Asia: On Location, Travel, and the Cinematic Geography of U. S. Orientalism. University of Michigan Press, 2010.

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Book chapters on the topic "Cinematic observation in Asia"

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Yip, David Kei-Man. "Cinematic Surrealism of the Interactive Virtual Space." In Reconceptualizing the Digital Humanities in Asia, 53–71. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-4642-6_4.

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Dung, Yun-An Olivia, and Stijn Reijnders. "Paris Offscreen: Chinese and Taiwanese Tourists in Cinematic Paris." In Film Tourism in Asia, 203–19. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-5909-4_13.

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Cheung, King-Kok. "Is Shakespeare “Translatable”? Cinematic Adaptations by Kozintsev, Kurosawa and Feng Xiaogang." In Shakespeare and Asia, 177–89. New York, NY: Routledge, 2019. |: Routledge, 2018. http://dx.doi.org/10.4324/9780429022807-13.

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Fawn, Rick. "European-Central Asian International Election Observation Cooperation and Contestation." In Europe-Asia Connectivity, 157–90. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-8707-6_8.

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Espiritu, Talitha. "National Allegory, Modernization, and the Cinematic Patrimony of the Marcos Regime." In Popular Culture in Asia, 43–64. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137270207_3.

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Hawes, John H., and Teresita C. Schaffer. "Nuclear Risk Reduction and Cooperative Aerial Observation." In Nuclear Risk Reduction in South Asia, 125–44. New York: Palgrave Macmillan US, 2004. http://dx.doi.org/10.1057/9781403981684_7.

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Doraiswamy, Rashmi. "The Encounter of Modernities: Cinematic Adaptations of Two Stories by Aitmatov." In Cultural Histories of Central Asia, 133–52. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003332138-17.

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Anand, Anupam, and Jyotheshwar Nagol. "Disaster Mitigation and Management and Importance of Earth Observation." In Environmental Geography of South Asia, 3–20. Tokyo: Springer Japan, 2016. http://dx.doi.org/10.1007/978-4-431-55741-8_1.

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Marod, Dokrak, and Utis Kutintara. "Biodiversity Observation and Monitoring in Thailand." In The Biodiversity Observation Network in the Asia-Pacific Region, 53–63. Tokyo: Springer Japan, 2012. http://dx.doi.org/10.1007/978-4-431-54032-8_5.

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Gutierrez, Jose. "Cinematic Contemplation Online: The Art and Philosophy of Life-world Series (2017)." In Reconceptualizing the Digital Humanities in Asia, 31–52. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-4642-6_3.

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Conference papers on the topic "Cinematic observation in Asia"

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Borkiewicz, Kalina, AJ Christensen, Drew Berry, Christopher Fluke, Greg Shirah, and Kel Elkins. "Cinematic scientific visualization." In SA '19: SIGGRAPH Asia 2019. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3355047.3359398.

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Zorkóczy, István. "Assassin's Creed origins cinematic trailer." In SA '18: SIGGRAPH Asia 2018. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3278625.3278652.

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Bohus, Eszter. "Watch dogs exposed cinematic trailer." In SIGGRAPH Asia 2013 Computer Animation Festival. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2542398.2542420.

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Bohus, Eszter. "Assassin's Creed 3 cinematic trailer." In SIGGRAPH Asia 2013 Computer Animation Festival. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2542398.2542492.

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Beaupied, Johanne. "The crew 2 E3 cinematic trailer." In SA '17: SIGGRAPH Asia 2017. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3145631.3145652.

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Suwalski, Tomasz, and Piotr Prokop. "Company of Heroes 3 - cinematic trailer." In SA '21: SIGGRAPH Asia 2021. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3463912.3481885.

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Mark, Linda. "Assassin's Creed Unity E3 cinematic trailer." In SIGGRAPH Asia 2014 Computer Animation Festival. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2671032.2671054.

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Beaupied, Johanne. "Beyond Good and Evil 2 E3 cinematic trailer." In SA '17: SIGGRAPH Asia 2017. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3145631.3145651.

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Lagergren, Nils, Emnet Mulugeta, and Jan Cafourek. "Skull and Bones - Long Live Piracy Cinematic Trailer." In SA '22: SIGGRAPH Asia 2022 Computer Animation Festival. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3550339.3555953.

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Ichikari, Ryosuke, Ryohei Hatano, Toshikaz Oshima, Fumihisa Shibata, and Hideyuki Tamura. "Designing cinematic lighting by relighting in MR-based pre-visualization." In ACM SIGGRAPH ASIA 2009 Posters. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1666778.1666813.

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Reports on the topic "Cinematic observation in Asia"

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Alter, Ross, Sandra LeGrand, Freddie Spates, William Ledbetter, Sherman Minnigan, John Thompson, Kindra Carter, and Phillip Elliott. Meteorological influences of a major dust storm in Southwest Asia during July–August 2018. Engineer Research and Development Center (U.S.), November 2022. http://dx.doi.org/10.21079/11681/45960.

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Dust storms can be hazardous for aviation, military activities, and respiratory health and can occur on a wide variety of spatiotemporal scales with little to no warning. To properly forecast these storms, a comprehensive understanding of the meteorological dynamics that control their evolution is a prerequisite. To that end, we chose a major dust storm that occurred in Southwest Asia during July–August 2018 and conducted an observation-based analysis of the meteorological conditions that influenced the storm’s evolution. We found that the main impetus behind the dust storm was a large-scale meteorological system (i.e., a cyclone) that affected Southwest Asia. It seems that cascading effects from this system produced a smaller, near-surface warm anomaly in Mesopotamia that may have triggered the dust storm, guided its trajectory over the Arabian Peninsula, and potentially catalyzed the development of a small low-pressure system over the southeastern end of the peninsula. This low-pressure system may have contributed to some convective activity over the same region. This type of analysis may provide important information about large-scale meteorological forcings for not only this particular dust storm but also for future dust storms in Southwest Asia and other regions of the world.

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Proceedings of the regional knowledge forum on drought: Earth observation and climate services for food security and agricultural decision making in South and Southeast Asia. Kathmandu, Nepal: International Centre for Integrated Mountain Development (ICIMOD), 2020. http://dx.doi.org/10.53055/icimod.955.

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