Academic literature on the topic 'Domestic space in motion pictures'
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Journal articles on the topic "Domestic space in motion pictures"
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Jarenski, Shelly. "Playing Dead: Eadweard Muybridge’s Residential Photo Albums and Spiritualist Aesthetics." Nineteenth Century Studies 35 (November 2023): 54–74. http://dx.doi.org/10.5325/ninecentstud.35.0054.
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Abstract Eadweard Muybridge, whose studies of animals in motion precipitated the first motion pictures, has been associated with positivism, modernism, and masculinity. Late nineteenth-century spiritualism has been associated with mysticism, Victorianism, and femininity. These associations make the Kate and Robert Johnson Residential Photo Album, photographed by Muybridge, a compelling artifact. The album is an anomaly in both Muybridge’s career and within spiritualism. Along with preserving images of the Johnsons’ domestic space, it also features astonishing images that are the only known examples of spirit photography by Muybridge. Because the couple was alive and took turns posing as the spirits, these photographs are an anomaly within spiritualism as well since spirit photographs generally constituted proof of contact with the netherworld. As such, the artifact helps us reevaluate the relationship between nineteenth-century positivism and spiritualism and consider the aesthetic influence of the sitter Kate Johnson on the album’s production. This article also places the album in the context of other visual culture phenomena, such as scrapbooking and album practices, as well as museum aesthetics. Finally, it considers narratives of gender, sexuality, and the nuclear family, within and beyond the album itself and the discourses surrounding spiritualism.
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Lee, Dae Yeol, Hyunsuk Ko, Jongho Kim, and Alan C. Bovik. "On the space-time statistics of motion pictures." Journal of the Optical Society of America A 38, no. 7 (June 7, 2021): 908. http://dx.doi.org/10.1364/josaa.413772.
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Scharf, David, Jacob Wilbrink, and John A. Hunt. "SEM Stop-Frame, Color, 3D Animation for Motion Pictures." Microscopy and Microanalysis 4, S2 (July 1998): 16–17. http://dx.doi.org/10.1017/s1431927600020201.
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A stop-frame animation system has been developed for producing high-resolution, color and stereo motion picture animation sequences. The first of these sequences can be seen in the recently released IMAX 3D movies, “Four Million House Guests” a.k.a. “The Hidden Dimension”. IMAX movies have long been known for their breathtaking special effects that seem incredibly realistic because of the large projection screen (about 7 stories high) which is close to the entire audience, high resolution, and powerful audio effects. IMAX 3D is an extention to the traditional format that allows the audience to see three dimensional special effects with the aid of electronically shuttered viewing glasses. IMAX movies are an ideal medium to demonstrate the high resolution digital images that are possible with the SEM.The goal of the SEM movie project was to produce movie sequences where viewers feels like they are flying smoothly through micro-space past microscopic creatures and objects in three dimensions and in color.
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Beroiza, Alanna. "How Pictures Make Bodies and Bodies Make Pictures." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 2 (September 1, 2020): 1–35. http://dx.doi.org/10.1215/02705346-8359494.
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This article examines the visual dynamics underlying wrong-body narratives of gender through Lacanian psychoanalytic readings of Annie Leibovitz’s photographs of Caitlyn Jenner for Vanity Fair (2015) and Pedro Almodóvar’s film La piel que habito (Spain/France, 2011). Leibovitz’s photographs, seen as the public culmination of Jenner’s gender transition, and Almodóvar’s fictional film, centered on the forced surgical sex reassignment of one of its characters, both comment on the role of technically produced images in constructing visually articulated bodily materiality as central to gender. Staged in Jenner’s domestic space, often before mirrors that reflect the camera alongside its subject, Lei-bovitz’s photos portray Jenner at the center of complex scenarios of mastery over her image. These images demonstrate an awareness of their constructed nature at the same time as they offer themselves as the optical proof of Jenner’s transition; they reveal and, ostensibly, dominate what Lacan refers to as the fundamental misrecognition at the heart of all scopic scenarios of recognition. Almodóvar’s film imagines the reverse scenario in which the body-as-image exerts violent control over the individual, not only erasing the apparent sex of one of its characters, Vicente, but also, and less tolerably, attempting to erase the absence, or misrecognition, of his body in its status as what Lacan calls “objet a,” or object of desire. The distinct ways in which Leibovitz’s images and Almodóvar’s film theorize the relationship between bodies and images with regard to misrecognition and absence point to the continued necessity of considering the influence of scopic relations in formations of gender identity.
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Wilke, Margrith. "Hemkulturens makt." Tidskrift för genusvetenskap 16, no. 2-3 (June 20, 2022): 73–80. http://dx.doi.org/10.55870/tgv.v16i2-3.4822.
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During the interwar period in the 1920's and 1930's, the general opinion on domestic life was that it should be run in an efficient and rational way. In her book A New Spirit in the Home, Miep van Rooy spöke about the functional use of space in the home. She explained how movements create space and depicted the activities of the housewife in such terms. It was the housewife who should decide about the use of the available space in the home and rationalise the domestic chores so that she could devote more time to her children and family. Her main duty was apparently to be at home. Guidebooks 011 home furnishing and interiör decoration can tell us a good deal about the prevailing views on lifestyle, morality and consumption. When reading Van Rooy and her contemporaries, one discovers that the women were entangled in the nets that had been knit by domestic science and well-meaning architects. The scientists and the architects based their knowledge on empirical facts about domestic life, and their descriptions of household functions were more or less impartial. Household duties could be done by anyone, they said. But they still remained with the women. The power of the prevailing home culture had thus been underestimated. The famous foundation of Goed Wonen, (Good Housing), had a more existential approach to domestic life. It is apparent in books like the guide to interiör decoration written by Cora Nicolai in the 1960's. She emphasized the various activities in the home and described family life in terms of togetherness, intimacy and perconal contact. Space was seen as stemming from and exisiting by human interaction. This is why there are people present in most of the pictures of interiörs in her book. They remind us strongly of 19th century pictures of the happy family. Father is seen reading or talking to bis friends, sometimes playing with bis son. Mother is serving tea or doing needlework, the daughter is reading a book. These pictures do not only show how family life should be, but also what activities constitute the idea of the family home. Not even the architects of Goed Wonewwere able to go beyond the traditional view on the division of work with respect to gender. In this way, the women were caged in their homes, being at the same time "place" and "movement".
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Kaczmarek, Jerzy. "Visual sociological research using film and video, on the example of urban studies." Acta Universitatis Lodziensis. Folia Sociologica, no. 73 (June 30, 2020): 5–19. http://dx.doi.org/10.18778/0208-600x.73.01.
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The use of film and video in sociological research, or social sciences in general, has a long and well-established tradition. Motion pictures have, on the one hand, been the object of analysis, as in the case of sociology of film, and, on the other, they have been used as a research tool. Moreover, films can be scientific statements in their own right, as is the case with sociological film.
The use of visual methods based on both still and moving pictures works very well for exploring the physical and social space of the city. The article looks at ways of using films and the actual process of obtaining film data in sociological research. Works featuring urban themes will be considered as special cases to illustrate the author’s reflections. It is noteworthy that early cinema already showed urban space, as exemplified in the films by the Lumière brothers who, incidentally, treated their motion pictures primarily as a scientific tool.
City-related topics appear in research by film sociologists who analysed films featuring urban themes, among other things. Later, sociologists themselves began to use cameras in their studies and teaching. One way of using a camera for these purposes is simply to record observations of certain places and people’s behaviour. These video recordings are subsequently analysed, applying various methods developed in the field of sociology and other sciences. Another technique, well-suited for exploring urban space, is a mobile camera, used for example for video tours, as introduced by Sarah Pink. And, finally, sociological film focusing on the city plays a vital role in social research.
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Tang, Wei, Amin Biglari, Ryan Ebarb, Tee Pickett, Samuel Smallidge, and Marcy Ward. "A Smart Sensing System of Water Quality and Intake Monitoring for Livestock and Wild Animals." Sensors 21, no. 8 (April 20, 2021): 2885. http://dx.doi.org/10.3390/s21082885.
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This paper presents a water intake monitoring system for animal agriculture that tracks individual animal watering behavior, water quality, and water consumption. The system is deployed in an outdoor environment to reach remote areas. The proposed system integrates motion detectors, cameras, water level sensors, flow meters, Radio-Frequency Identification (RFID) systems, and water temperature sensors. The data collection and control are performed using Arduino microcontrollers with custom-designed circuit boards. The data associated with each drinking event are water consumption, water temperature, drinking duration, animal identification, and pictures. The data and pictures are automatically stored on Secure Digital (SD) cards. The prototypes are deployed in a remote grazing site located in Tucumcari, New Mexico, USA. The system can be used to perform water consumption and watering behavior studies of both domestic animals and wild animals. The current system automatically records the drinking behavior of 29 cows in a two-week duration in the remote ranch.
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Herowati, Herowati, Agung Pambudi, and Nurbayti Nurbayti. "Metode Pembelajaran Sistem Pakar Diagnosa Penyakit Ikan Hias Air Tawar Pada SMK Negeri 2 Tangerang." CICES 3, no. 1 (February 28, 2017): 48–60. http://dx.doi.org/10.33050/cices.v3i1.422.
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The year 1830, munculah called zoetrope, cylindrical object with empty spaces with pictures drawn by hand on the surface of it. While playing, the same motion effect. The year 1870, an inventor from France, Emile Reynaud added a mirror in the middle of the cylinder space. A few years later, he discovered the version of Windows will arise. By adding light reflector and lenses to magnify images on the screen. The year 1892, he did a demonstration in Paris's Theatre Optique, with hundreds of images using the hands to cause the effect of motion pictures for 15 minutes. Rouben Mamoulian, an American film director born in 1929 demonstrated various types of sound in a movie. This is then pushed the filmmaker makes the soft-spoken. The first film camera that uses a color separation. Technicolor Camera that was discovered in 1932 using the principle of "Three-strip" that divides the image into the three primary colors red, yellow, blue (cyan, magenta, yellow). This camera into movie production tool fullcolor using the principle of the "three-strip"
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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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Alonso Alonso, Rosa. "Boundary-crossing events across languages." Review of Cognitive Linguistics 18, no. 2 (December 4, 2020): 316–49. http://dx.doi.org/10.1075/rcl.00062.alo.
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Abstract This study analyses how speakers of two typologically distinct first languages (English (N = 12) and Spanish (N = 16)) and a group of 19 Spanish second language learners of English express boundary-crossing events, what type of verb they use, and how they segment these motion events. The stimuli used were 12 pictures of boundary-crossing events indicating motion into, out of and over a bounded space. In task 1 participants described each of the 12 scenes freely and in task 2 they were provided with a specific Manner verb between brackets. Significant differences were found in boundary-crossing and event segmentation in both L1 and L2. Participants also differed significantly in the type of verb used in the two tasks.
Dissertations / Theses on the topic "Domestic space in motion pictures"
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Pasholok, Maria. "Imaginary interiors : representing domestic spaces in 1910s and 1920s Russian film and literature." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:c9d47ca1-6164-48fb-99f1-67ef37c77c4a.
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This thesis is an exploration of the ways in which a number of important Russian writers and filmmakers of the 1910s and 1920s appropriated domestic interiors as structural, visual and literary metaphors. My focus is on the artistic articulation of the closed space of the Russian domestic interior, in particular as it surfaced in the narratives of the modernist literature and cinema of the time and became an essential metaphor of its age. In my discussion I take issue with two standard ways of understanding domestic space in existing literature. I argue that representations of home spaces in early twentiethcentury Russian culture mount a challenge to the conventional view of the home as a place of safety and stability. I also argue that, at this point, the traditional approach to the room and the domestic space as a fixed closed structure is assailed by representations that see domestic space as kinetic. The importance of the 'room in motion' means that I address cinematic as well as literary representations of domestic space, and show that even literary representation borrow cinematic techniques. My different chapters constitute case studies of various separate, but complementary, aspects of the representation of home space. The first chapter shows how domestic space in reflected in the poetical language of Anna Akhmatova. The second chapter focuses on the parallel exploration of rooms and a child's consciousness in Kotik Letaev by Andrei Belyi. The third chapter discovers the philosophy of a room built by Sigizmund Krzhizhanovskii in his short stories of the 1920s. The next three chapters focus on interiors of three different cinematic genres. The fourth chapter looks closely at films created by Evgenii Bauer, showing the director's innovative techniques of framing and set-design. The fifth chapter explores the film Tret'ia Meshchanskaia by Abram Room, focusing on the director's employment of the room as a structural device of the film. The last chapter analyses two lyrical comedies by Boris Barnet to show the comic effect produced by the empty room and domestic objects in his films, and also focuses on the image of staircase. In conclusion, I speculate that the representation of interior spaces in the period in question goes beyond genre, medium, and narrative structure and becomes an important and culturally dynamic motif of the time.
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Galt, Rosalind. "Redrawing the map of Europe space, history and spectacle in new European cinema /." [S.l. : s.n.], 2002. http://books.google.com/books?id=kV9ZAAAAMAAJ.
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Toth, Benjamin. "Dream space." Diss., Connect to the thesis, 2001. http://thesis.haverford.edu/2/01/2001TothB.pdf.
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Yung, Yuk-yu. "Teaching film as a space of interpretative interaction." Click to view the E-thesis via HKUTO, 1998. http://sunzi.lib.hku.hk/HKUTO/record/B38628557.
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Carroll, Elizabeth. "The representation of space in musical numbers." Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/374396/.
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My area of research is best described as the promotion of a new methodological approach to the study of film. It is an approach that is founded upon a spatial reading, based on an exploration into abstract aesthetics and pays particular attention to the interactions between sound and image. Whilst this methodological approach can be utilised to read any film, this thesis looks particularly at the musical genre and, more specifically, the musical number and its representation of space. The need to delimit my study notwithstanding, the musical has been taken as a case study in order to demonstrate how this spatial methodology should pay attention to, and be aware of, the peculiarities and idiosyncrasies that genres encapsulate. My thesis challenges the dominance of cognitive theory by providing an approach based upon gestalt theory, making use of ‘forensic’ analysis to remove aesthetics from their narrative context. Theorists such as Rick Altman (1989, 1999) and Jane Feuer (1993) have long discussed the structural qualities of the musical genre in an attempt to delimit the musical number from that which surrounds it. A different representation of space emerges in the musical number, one that permits a deeper exploration into the negotiated relationship between sound and image. In this thesis I examine this space closely utilising a range of innovative analytical techniques including virtual reconstruction and diagrammatic notation. This ‘forensic’ analysis is considered within the overarching framework of gestalt theory: that the whole is more than the sum of its parts. This thesis studies film as an audio-visual medium and considers a range of different spatial realms in order to best understand the complex negotiations between sound and image. Previous scholars of the musical genre have largely focused upon narrative readings of either new or canonical filmic texts. I argue that these narrative readings, whilst 4 providing significant contributions to the field, are ultimately deficient as they fail to adequately explore the finer qualities of film language.
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Peng, Huwan. "An analysis of promotion strategies for domestic youth films in China between 2010 and 2015." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/299.
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This study has three objectives: 1) to explore the social background of current youth films, 2) to identify the characteristics of youth films, and 3) to indicate the relationships between the five-attribute concept of diffusion of innovation (DOI) and promotion strategies for youth films. A total of 20 individuals, including seven film scholars, eight film promotion practitioners and five filmmakers were interviewed. This paper concludes that eleven characteristics are prominent in youth films. Specifically, these characteristics are IP film, fan film, consistency, emotional resonance, nostalgia, campus life, youthfulness, networkedness, new media, topicality and timeliness. These characteristics were categorized into the five attributes of DOI theory. Eight promotion strategies corresponding to five attributes of DOI theory were summarized from interviews with film industry practitioners. This study found that the attributes of relative advantages and compatibility are enhanced with strategies such as promotion materials, trailers and clips and topic setting and theme songs, whereas complexity, trialability and observability are often influenced by campus preview, new media promotion, O2O ticketing applications, collaborative marketing and word-of-mouth management. Furthermore, emotional resonance is perceived to be essential in both youth films and the corresponding promotion.
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Yung, Yuk-yu, and 容若愚. "Teaching film as a space of interpretative interaction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B38628557.
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Ramlochand, John. "Japanese cinema : time space nation." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102159.
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This work utilizes a spatial theory approach to meditate on postwar Japanese society and cinema. It is not a history of Japanese postwar cinema, or a survey of notable directors and genres. Rather, the focus is specifically on film and its relation to the deeper tropes of Japanese society; in particular, on how the sense of nation is affirmed and/or challenged within a postwar period of remarkable change. Understanding such a structure greatly aids in analyzing the forms and meanings within the films. The question of National Cinema, then, is approached by exploring how the interaction of spatial-temporal elements affect both the social construction and filmic practices of the nation.The first part of the dissertation features an extended analysis of Japanese society using a variety of historical, philosophical and theoretical sources, both Japanese and foreign. They provide a theoretical base and a social history that ground the critical readings of the selected films; all of which are well-known and widely available. Part two is a close textual analysis of five 1950s productions---from a range of films and genres---that are contrasted with three films from the late 1980s/early 1990s. The final chapter examines notions about National Cinema in light of the preceding film analysis.
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Chen, Lusi, and 陳露絲. "Mapping the production of space in Pang Ho-cheung's Love in a puff and Love in the buff." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/206560.
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Drawing from Michel de Certeau’s notion of the production of space as a practice, this dissertation examines the production of space in Pang Ho-Cheung’s Love in a Puff (2010) and Love in the Buff (2012) in three aspects: 1) smoking in daily life, 2) Hong Kong-mainland co-productions in the film industry, and 3) the affective space produced in “non-place.”
First, in Love in a Puff, the spatial practice of smokers smoking in back alleys produces a space for them to deflect the power of Hong Kong’s Smoking Ordinance, which can be interpreted as a form of victory of ordinary people over an oppressive system. This mode of resistance can be read allegorically as a tactic of Hong Kong filmmakers working in the space of co-production between Hong Kong and Mainland China, as illustrated by an analysis of the film Love in the Buff. Third, both films are set in globalized urban cities that are full of “non-places” of consumption and transportation. This “non-place”ful space of ambivalence and detachment is in juxtaposition with the protagonists’ practice to develop relationships, generate emotions and resolve their interpersonal problems. Space production opens up alternative ways to understand the world and our daily life. This dissertation attempts to offer an interpretation of the two films in light of de Certeau’s spatial theories.published_or_final_version
Literary and Cultural Studies
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Master of Arts
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Walsh, John. "A space and time machine : actuality cinema in New York City, 1890s to c. 1905." Thesis, University of Nottingham, 2005. http://eprints.nottingham.ac.uk/10142/.
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Urban actuality films are short, single shot views of street scenes, skyscrapers or construction sites, or views from moving vehicles. They are, typically, regarded as simple filmic snap-shots. Conversely, early cinema is conventionally thought to be a complex hybrid medium, a crucible for the idea and representation of the modern. Through close, contextualised analysis of a series of New York films, this study addresses the discrepancy between the putative insubstantiality of actuality films and the evident complexity of early cinema. A hitherto overlooked historical coincidence of actuality cinema, the modernisation of New York and its intermedial culture is shown to provide both a subject and setting for filmmakers. Actuality cinema is a technology of the present; accordingly, temporality is pivotal for this study. Tom Gunning's 'cinema of attractions' thesis and a neurological conception of modernity posit a familiar shocks-and-jolts axis of the relations between cinema and modernity. In contrast, I argue for an alternative axis, founded in periods, rather than moments, of time and seek to demonstrate cinema's role as a technology of an expanded present time. Fifteen films of transport systems, skyscraper building sites and ways of seeing New York's streets, make up the primary source material. In these films, time provides a space for the representation and negotiation of the modern. An expanded present fosters a thickened visuality. Within New York's intermedial culture, the adoption of stereoscopic visual practices was key to constructing a coherent filmic present, and a place for the spectator within a cinematic world. As a functioning space and time machine, a cinema of simultaneity, the complexity of actuality filmmaking practices increasingly moved actualities towards, and enabled their interrelation with, an emerging narrative cinema. Rather than a failed experiment, New York actuality cinema is here demonstrated to be an example of cinema working.
Books on the topic "Domestic space in motion pictures"
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1945-, Everett Wendy E., and Goodbody Axel 1950-, eds. Revisiting space: Space and place in European cinema. Oxford: P. Lang, 2005.
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Farber, Manny. Negative space: Manny Farber on the movies. New York: Da Capo Press, 1998.
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Space oddities: Women and outer space in popular film and culture, 1960-2000. New York: Continuum, 2010.
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1943-, Elsaesser Thomas, and Barker Adam, eds. Early cinema: Space, frame, narrative. London: BFI Pub., 1990.
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Cinema, space, and polylocality in a globalizing China. Honolulu: University of Hawaii Press, 2010.
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Jameson, Fredric. The geopolitical aesthetic: Cinema and space in the world system. Bloomington, Ind: Indiana University Press, 1992.
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The geopolitical aesthetic: Cinema and space in the world system. Bloomington: Indiana University Press, 1992.
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Cadigan, Pat. The making of Lost in space. New York: HarperPrism, 1998.
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Pallasmaa, Juhani. The Architecture of image: Existential space in cinema. Helsinki: Rakennustieto, 2001.
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Pallasmaa, Juhani. The architecture of image: Existential space in cinema. 2nd ed. Helsinki: Rakennustieto, 2007.
Find full textBook chapters on the topic "Domestic space in motion pictures"
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Hao, Xiaofei. "Au Revoir Taipei: Tourist view on the space of empathy." In Motion Pictures and the Image of the City, 133–203. Wiesbaden: Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-14340-4_4.
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Schmidt, Freek. "The Rise of the Staircase : Motion in Eighteenth-Century Dutch Domestic Architecture." In Early Modern Spaces in Motion. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463725811_ch05.
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In the eighteenth-century homes of the Dutch elite, the indispensable but inconspicuous device of the stairs developed into a monumental, designed centrepiece of the house. This contribution considers the new open-well staircase in the broader context of the growing demand for social space, a recurring interest in French (court) culture and fashion, and a specific interest among the Dutch elite in graceful movement of the civilized human body. A closer study of architectural model books, etiquette manuals, and reflections on cultured behavior, style, elegance, and physical movement helps to explain the rise of this space-consuming element in eighteenth-century houses in the Netherlands and Amsterdam in particular.
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Morgan, David. "The Visual Rhetoric of Northern Evangelicalism." In Protestants & Pictures Religion, Visual Culture, and the Age of American Mass Production, 75–120. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195130294.003.0004.
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Abstract iewed as a single iconographical system, the images illustrating the tracts, almanacs, books, and periodicals of the ATS form a pattern of messages that circulated a distinct ideology about Protestantism and the new American republic. The argument of this chapter is that images distributed by the Tract Society articulated a more or less uniform rhetoric and propagated a national mythology that consisted of expanding boundaries emanating from an inner heartland. In the introduction to their important study of sacred space, David Chidester and Edward Linenthal have argued quite cogently that a boundary or frontier is not a line but “a zone of intercultural contact and interchange.”1 Living as a native on the border of an expansive society means living in a situation that places the heartland to one’s back and the land of others before one’s face. The mass-mediated images produced by the ATS envisioned a national ideology that configured a border advancing against aliens in order to expand the heartland. The two-border and heartland-were constructed as parts of a single cultural system, positing one another in the politics of representation. The border was coded male and consisted of the conquest of such others as Mexicans, Indians, and Catholic immigrants; whereas the heartland was female, the domestic domain of the interior that generated the nation from within. While male colporteurs and missionaries engaged ethnic and racial others on the advancing borders of the American republic, the heartland was visualized in Tract Society publications as the sphere of the nurturing mother, ensconced in her domestic space caring for children. The two iconographies were part of a single ideology and intermingled on occasion, as I will show.
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Aguayo, Angela J. "Subjugated Histories and Affective Resistance." In Documentary Resistance, 149–82. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190676216.003.0005.
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Starting in the early 1970s, many documentaries began addressing the shifting cultural climate surrounding the issue of abortion in the United States. While some consideration has been given to how abortion has been represented on television and in motion pictures, scant attention has been paid to how the documentary genre has forged the public space for this controversial issue. This chapter briefly maps and assesses how feminists have documented and utilized the documentary genre to recover women’s history and reclaim public space for reproductive justice and the failures to accomplish these aims as access to reproductive care continues to erode. The chapter tracks how women, engaged in feminist struggle, create documentary commons specific to the collision between lived experience and social expectations. The chapter focuses particularly on a moment in 2005 when Third Wave feminist and activist filmmakers attempted to engage abortion politics through the documentary confessional mode. Tracking the move from public confession to representations of an escalating and violent antichoice movement brings the struggle into sharper focus. Analysis of these documentaries and their parallel activist interventions includes interviews with three directors, archival material, and ethnographic research.
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Conrath, Ryan. "Andy Warhol in Stitches." In Between Images, 3–26. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197612293.003.0001.
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Abstract In the summer of 1968, amid the white walls of an otherwise unremarkable sixth-floor office space in Manhattan, Valerie Solanas aims a gun at Andy Warhol and shoots him. This was at once an event of relation and of montage, one that inextricably intertwined the fates of two lives through the violent “editing” of the body of the most famous artist in the world, setting into motion an entirely new sequence of images and works. In subsequent years, Warhol’s cut-and-sutured body entered into a complex constellation of images and practices, first in portraits by Richard Avedon and Alice Neel, and later in Warhol’s rarely discussed “bonus photographs,” knitting drawings, and sewn photographs. This chapter traces the circulation of Warhol’s stricken body (and its attendant wounds) across this unlikely constellation of works, before turning to a close engagement with what was arguably the artist’s longest-running project, the “stitched photographs,” made up of multiple identical photographs stitched together with thread. This chapter argues that the true content of these objects lies not in the pictures themselves but in the visible threads holding them together. Against a conception of the cut as a threatening or even traumatic space, Chapter 1 places Warhol’s unorthodox objects (and his photographic practice in general) in conversation with the film-theoretical discourse of suture.
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Torrisi-Steele, Geraldine. "Theoretical Foundations for Educational Multimedia." In Encyclopedia of Multimedia Technology and Networking, Second Edition, 1391–98. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-60566-014-1.ch188.
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The notion of using technology for educational purposes is not new. In fact, it can be traced back to the early 1900s during which time school museums were used to distribute portable exhibits. This was the beginning of the visual education movement that persisted through the 1930s as advances in technology such as radio and sound motion pictures continued. The training needs of World War II stimulated serious growth in the audiovisual instruction movement. Instructional television arrived in the 1950s, but had little impact, mainly due to the expense of installing and maintaining systems. The advent of computers in the 1950s laid the foundation for CAI (computer assisted instruction) through the 1960s and 1970s. However, it was not until the 1980s that computers began to make a major impact in education (Reiser, 2001). Early applications of computer resources included the use of primitive simulation. These early simulations had little graphic capabilities and did little to enhance the learning experience (Munro, 2000). Since the 1990s, there have been rapid advances in computer technologies in the area of multimedia production tools, delivery, and storage devices. Throughout the 1990s, numerous CD-ROM educational multimedia software was produced and was used in educational settings. More recently, the advent of the World Wide Web (WWW), together with the emergence of mobile devices and wireless networking, has opened a vast array of possibilities for the use of multimedia technologies and associated information and communications technologies (ICT) to enrich the learning environment. Today, educational institutions are investing considerable effort and money into the use of multimedia. The use of multimedia technologies in educational institutions is seen as necessary for keeping education relevant to the twenty-first century (Selwyn & Gordard, 2003). The term “multimedia” as used in this article refers any technologies which make possible “the entirely digital delivery of content presented by using an integrated combination of audio, video, images (twodimensional, three-dimensional) and text” along with the capacity to support user interaction (Torrisi-Steele, 2004, p. 24). Multimedia may be delivered on computer via CD-ROM, DVD, the Internet, or on other devices such as mobile phones and personal digital assistants, or any digital device capable of supporting interactive and integrated delivery of digital audio, video, image, and text data. The notion of interaction in educational multimedia may be viewed from two perspectives. First, interaction may be conceptualised in terms of “the capacity of the system to allow individual to control the pace of presentation and to make choices about which pathways are followed to move through the content; and the ability of the system to accept input from the user and provide appropriate feedback to that input” (Torrisi- Steele, 2004, p. 24). Second, given the integration of multimedia with communication technologies, interaction may be conceptualized as communication among individuals (teacher-learner and learner(s)-learner(s)) in the learning space that is made possible by technology (e-mail, chat, video-conferencing, threaded discussion groups, and so on).
Conference papers on the topic "Domestic space in motion pictures"
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Barberá Pastor, Carlos. "Fotografías que seccionan una mirada a Le Corbusier." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.681.
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Resumen: El texto, titulado Fotografías que seccionan una mirada a Le Corbusier, analiza algunas imágenes de casas construidas de Le Corbusier y Pierre Jeanneret. Las fotografías tienen características comunes que nos presentan un plano en dos dimensiones, el marco de un hueco, y un espacio en tres dimensiones, el de la habitación representada. Las fotografías, al mostrar un hueco y un espacio, incitan a pensar que se están refiriéndose a la experiencia arquitectónica de traspasar un vano. Interpretaciones sobre el uso y la actividad en el interior del espacio doméstico en relación con el espacio público componen el resto del escrito. Abstract: The text, entitled Photographs that severed a look at Le Corbusier, analyzes some pictures to houses built by Le Corbusier and Pierre Jeanneret. The photographs have common characteristics that lead to the interpretation that we have a plan in two dimensions within a hole, and three-dimensional space, the room represented. The photographs, showing a hole and a space, incite to think that they are referring to the architectural experience of crossing a vain. Interpretations on the use and activity within the domestic space in relation to the public space make up the rest of the writing. Palabras clave: Le Corbusier, Iglesia, Savoye, Cook, Planeix, Ozenfant. Keywords: Le Corbusier; Church; Savoye; Cook; Planeix; Ozenfant. DOI: http://dx.doi.org/10.4995/LC2015.2015.681
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Sambasivan, R. "Polychromatic Holographic Correlation Techniques for Enhancing Resolution in Remote Sensing Applications." In Laser and Optical Remote Sensing: Instrumentation and Techniques. Washington, D.C.: Optica Publishing Group, 1987. http://dx.doi.org/10.1364/lors.1987.tuc24.
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In optical remote sensing by photo-reconnaissance satellites or in ground-observation by orbiting space telescopes, the diffraction-limited theoretical resolution possible, is degraded by accidental & vibratory motion of the imaging camera, defocussing, atmospheric turbulence effects on satellite-pictures transmitted, etc. For instance, an orbiting space telescope (height, h ′ = 275 km above earth) with an effective focal length, f = 57.6m and equipped with a CCD camera with pixel, d = 15 microns, has a theoretical resolution: R = ( h ′ d / f ) → = 7.16 cm ( ! ) on ground; however, in practice due to image-degradation, the feasible resolution is of 10-15m only(which can be improved with rigid satellite attitude-control, to 1-2m).
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Soares, Leonardo Ribeiro, Nathállia Alamino Silva, Pedro Vinicyus Novais e. Souza, Alexandre Roriz Blumenschein, and Nayara Alves Freitas Lemos. "Multidisciplinary treatment after doxorubicin extravasation: Improvement of range of motion in the elbow joint." In Brazilian Breast Cancer Symposium 2023. Mastology, 2023. http://dx.doi.org/10.29289/259453942023v33s1060.
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Introduction: Chemotherapy extravasation is an infrequent complication with challenging consequences for the patient and the care team. Doxorubicin is a chemotherapeutic used in the treatment of breast cancer, being classified as a DNAbinding vesicant agent, and its spillage into the interstitial space can lead to severe tissue damage. The acute condition includes pain, hyperemia, edema, ulceration, and necrosis in the region, evolving with fibrosis, restriction of range of motion (ROM), and other chronic sequelae. Objective: The objective of this study was to describe the multidisciplinary treatment of a case of Doxorubicin extravasation with ROM restriction in the elbow joint. Report: A female, 29 years old, with invasive ductal carcinoma, cT2N1M0, with luminal phenotype B. Neoadjuvant chemotherapy was initiated with AC scheme (Doxorubicin + Cyclophosphamide). There was a suspicion of extravasation in the peripheral access (cubital fossa) during the application of Doxorubicin in the first cycle. Topical treatment with corticosteroids was started, but the patient developed burning sensation, edema, and local hyperemia. In the following days, oral corticosteroids, antibiotics, and dimethylsulfoxide (DMSO) were added, followed by physiotherapy. Despite partial improvement, the patient evolved with skin hyperpigmentation, tissue fibrosis, restriction of elbow extension movement, and arm retraction at 90º, making it difficult to perform domestic and daily activities. After oncological surgical treatment, zetaplasty was performed on the affected arm, with an increase in ROM of about 20º. Subsequently, with the intensification of physiotherapy and pilates sessions, the patient achieved a global improvement of 30º and returned to most daily activities. Thus, we describe a case of Doxorubicin extravasation with chronic sequelae, which was managed by a multidisciplinary team. In this context, physiotherapy played a key role in improving the patient’s ROM and returning to daily activities.