Relevant bibliographies by topics / Experience of film

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Experience of film'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 January 2023

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Journal articles on the topic "Experience of film"

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de Roo, Ludo. "Elemental Imagination and Film Experience." Projections 13, no. 2 (June 1, 2019): 58–79. http://dx.doi.org/10.3167/proj.2019.130204.

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In an age of ecological disasters and increasing environmental crisis, the experience of any cinematic fiction has an intrinsic ethical potential to reorient the spectator’s awareness of the ecological environment. The main argument is that the spectator’s sensory-affective and emphatically involving experience of cinema is essentially rooted in what I call “elemental imagination.” This is to say, first, that the spectator becomes phenomenologically immersed with the projected filmworld by a cinematic expression of the elemental world, and second, much like there is no filmworld without landscapes, the foundational aspect of elements are revealed as preceding and sustaining the narrative and symbolic layers of film experience. While suggesting the existential-ethical potential of this fundamental process of film experience, the second aim of this article is to show that this form of elemental imagination complements more mainstream “environmentalist” films, such as climate change documentaries and blockbuster apocalyptic genre films.
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Aubert, Michelle. "Materials Issues in Film Archiving: A French Experience." MRS Bulletin 28, no. 7 (July 2003): 506–10. http://dx.doi.org/10.1557/mrs2003.147.

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AbstractThe following article is based on a presentation given as part of Symposium X—Frontiers of Materials Research on December 4, 2002, at the 2002 Materials Research Society Fall Meeting. The cinema is just over 100 years old. From the beginning of motion pictures in the mid-1890s, the materials used for films have been at the heart of cinema technology. The material first used was cellulose nitrate film—unrivaled in its mechanical, physical, and aesthetic qualities, and also dangerously flammable. In the 1950s, cellulose nitrate was replaced, for safety reasons, by cellulose triacetate. Today, polyester film is widely used; nevertheless, the fact remains that the majority of the world's film heritage exists on two main material formats, cellulose nitrate and cellulose triacetate, both of which decay over time. Film archivists are engaged in a race to save historic film footage from being lost forever. Digital technology, now widely used in cinema, does not resolve the issue of the long-term preservation of films because digital formats are still evolving. This article discusses the materials used in motion-picture technology over the years, the mechanisms active in film decomposition, and international efforts to preserve and restore historic films.
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Guynn, William. "LUMINOUS AMBUSH: SEIZING THE HISTORICAL EXPERIENCE OF CATASTROPHE THROUGH FILM." Culture Crossroads 14 (November 9, 2022): 37–53. http://dx.doi.org/10.55877/cc.vol14.89.

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“There are wounds with which we should never cease to suffer, and, sometimes, in the life of a civilization, illness is better than health” [Ankersmit, “Remembering the Holocaust”]. My book, “Unspeakable Histories: Film and the Experience of Catastrophe” (2016), addresses films that depict 20th century atrocities and focuses on historical experience, not historical truth, and the emotions that still adhere to unresolved traumatic events. Using key concepts and analysis from this book, my goal here is to dem onstrate, through the interpretation of three films, how such historical experiences can be represented. In Yaël Hersonski’s “A Film Unfinished” (2010) the filmmaker deconstructs a Nazi propaganda film on the Warsaw Ghetto and brings us into direct contact with the experience of survivors. Rithy Panh in “S-21: The Khmer Rouge Killing Machine” (2003) and Joshua Oppenheimer in “The Act of Killing” (2012), use a technique I call psychodramatic mise?en?scène to incite perpetrators to reenact their genocidal acts. These films, among others, I argue, are capable of triggering moments of heightened awareness in which the reality of the past may be recovered in its material being.
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Wohlfeil, Markus. "Learning from the professionals: film tourists’ “authentic” experiences on a film studio tour." Arts and the Market 8, no. 1 (May 8, 2018): 47–63. http://dx.doi.org/10.1108/aam-08-2017-0020.

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Purpose The purpose of this paper is to explore how consumers perceive, experience and engage with the art of filmmaking and the industrial film production process that the film studios present to them during their guided film studio tours. Design/methodology/approach Drawing on the author’s own film tourist experiences, observations and participatory interactions with fellow visitors at a major Hollywood film studio, this paper takes an autoethnographic “I’m-the-camera”-perspective and a hermeneutic data analysis approach. Findings The findings reveal that visitors experience the “authentic” representation of the working studio’s industrial film production process as an opportunity and “invitation to join” a broader filmmaker community and to share their own amateur filmmaking experiences with fellow visitors and professionals – just to discover eventually that the perceived community is actually the real “simulacrum”. Research limitations/implications Although using an autoethnographic approach means that the breadth of collected data is limited, the gain in depth of insights allows for a deeper understanding of the actual visitor experience. Practical implications The findings encourage film studio executives, managers and talent agents to reconsider current practices and motivations in delivering film studio tours and to explore avenues for harnessing their strategic potential. Originality/value Contrary to previous studies that have conceptualised film studio tours as simulacra that deny consumers a genuine access to the backstage, the findings of this study suggest that the real simulacrum is actually the film tourists’ “experienced feeling” of having joined and being part of a filmmaker community, which raises question regarding the study of virtual communities.
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Hesselberth, Pepita, and Carlos M. Roos. "Short Film Experience: Introduction." Empedocles: European Journal for the Philosophy of Communication 5, no. 1 (January 1, 2015): 3–12. http://dx.doi.org/10.1386/ejpc.5.1-2.3_2.

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Huang, Tseng-Lung, and Yi-Mu Chen. "Young audiences’ emotional experience on smartphone film: an application of dual-coding theory." Young Consumers 15, no. 2 (June 10, 2014): 193–208. http://dx.doi.org/10.1108/yc-07-2013-00384.

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Purpose – This study aims to determine whether smartphones create the best communication fit with a young audience. Design/methodology/approach – To validate the hypotheses, a task-based laboratory study was conducted. And smartphone film and television (TV) film were provided in the laboratory. Young respondents were recruited in the classroom and brief introduction and film were broadcasted. After watching the film, levels of respondent’s emotional experience was measured via questionnaire. Findings – The results indicate that when the text of the film matches the young audience’s schema, the young audience uses, mainly, imagery coding to interpret the text and achieve an emotional experience. Conversely, when the text and schema do not match, the young audience uses both proposition coding and imagery coding. Practical implications – Based on the results found in this study, companies should use different texts to match the different schema of young audiences to ensure that audiences can process coding and enjoy emotional experiences when using smartphone. Originality/value – Dual-coding theory is applied to determine which coding system the audience use to interpret the new-media text, such as smartphone films.
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Schwan, Stephan, and Sermin Ildirar. "Watching Film for the First Time." Psychological Science 21, no. 7 (June 7, 2010): 970–76. http://dx.doi.org/10.1177/0956797610372632.

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Although film, television, and video play an important role in modern societies, the extent to which the similarities of cinematographic images to natural, unmediated conditions of visual experience contribute to viewers’ comprehension is largely an open question. To address this question, we compared 20 inexperienced adult viewers from southern Turkey with groups of medium- and high-experienced adult viewers from the same region. In individual sessions, each participant was shown a set of 14 film clips that included a number of perceptual discontinuities typical for film. The viewers’ interpretations were recorded and analyzed. The findings show that it is not the similarity to conditions of natural perception but the presence of a familiar line of action that determines the comprehensibility of films for inexperienced viewers. In the absence of such a line of action, extended prior experience is required for appropriate interpretation of cinematographic images such as those we investigated in this study.
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Kuhn, Annette, Daniel Biltereyst, and Philippe Meers. "Memories of cinemagoing and film experience: An introduction." Memory Studies 10, no. 1 (January 2017): 3–16. http://dx.doi.org/10.1177/1750698016670783.

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Over the past two decades, the relationship between cinema and memory has been the object of increasing academic attention, with growing interest in film and cinema as repositories for representing, shaping, (re)creating or indexing forms of individual and collective memory. This Special Issue on memory and the experience of cinemagoing centres on the perspective of cinema users and audiences, focusing on memories of films, cinema and cinemagoing from three continents and over five decades of the twentieth century. This introduction considers the relationship between memory studies and film studies, sets out an overview of the origins of, and recent and current shifts and trends within, research and scholarship at the interface between historical film audiences, the cinemagoing experience and memory; and presents the articles and reviews which follow within this frame. It considers some of the methodological issues raised by research in these areas and concludes by looking at some of the challenges facing future work in the field.
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D'Aloia, Adriano. "Francesco Casetti (2008) Eye of the Century: Film, Experience, Modernity." Film-Philosophy 14, no. 2 (October 2010): 181–90. http://dx.doi.org/10.3366/film.2010.0057.

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Shaw, Dan. "Robert Sinnerbrink (2016) Cinematic Ethics: Exploring Ethical Experience Through Film." Film-Philosophy 21, no. 2 (June 2017): 245–48. http://dx.doi.org/10.3366/film.2017.0046.

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Dissertations / Theses on the topic "Experience of film"

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Hilton, David Edward. "Film and the Dartington experience." Thesis, University of Plymouth, 2004. http://hdl.handle.net/10026.1/1730.

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This project is a study of Dartington under the leading question 'What is Dartington?' and comprises a number of interlinked methodological phases of enquiry. The first explores Dartington's use of film as a process of documenting its experimental activities, and as a commercial product in the form of the films made and distributed by the Dartington Hall Film Unit. The second strategy engages with archive film materials in the production of compilation videos, which were then developed into a series of Photoworks designed to facilitate a personal interpretation of its particular history. The third approach resulted in the production of three forty minute videos {After the Facts 2003) which articulate an understanding of Dartington's history of engagement with film, a personal experimental engagement with filmmaking, and an interrogation of the possibilities of applying a particular reading of the experimental ethos of Dartington to a filmic practice. A pervading concern has been with the mythic nature of Dartington during the inter-war years and the function of the filmic form in myth generation and perpetuation. The final part of the project presents an overview of these strategies, assessing their successes and limitations. By the ordering of the visual archive, the creative juxtaposition of historic and contemporary images in the Photoworks, and the interfacing of place and self in After the Facts the intention has been to show the ways in which a creative practice has been able to understand Dartington as a changing and variable experience.
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Camargo, Sandy. "Once more with feeling : film genre and emotional experience /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9988650.

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Gordon, Stephani Rae. "Film and the illusion of experience." Thesis, Montana State University, 2010. http://etd.lib.montana.edu/etd/2010/gordon/GordonS0510.pdf.

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Thesis (MFA)--Montana State University--Bozeman, 2010.
Typescript. Chairperson, Graduate Committee: Dennis Aig. Chasing birds in Beringia is a DVD accompanying the thesis. Includes bibliographical references (leaves 34-39).
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Rocha, Antunes Luis. "The multisensory film experience : a cognitive model of experiential film aesthetics." Thesis, University of Kent, 2017. https://kar.kent.ac.uk/62461/.

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This thesis introduces the concept of the multisensory film experience through a cognitive model of experiential film aesthetics in which we argue in favour of the idea that spectators can have perceptual experiences of film in the realm of thermoception, nociception and the vestibular sense-all of which are senses outside of the classic senses of sight and hearing examined in the context of film studies. We examine each of these senses in relation to the work of three contemporary film directors who have taken stylistic and experiential advantage of these senses to build their own authorial voices, namely, Gus Van Sant, Ki- duk Kim and Knut Erik Jensen. We employ a combination of arguments from the field of multisensory studies (neuroscience) and cognitive film theory and from our own analysis of the stylistic elements of film. We call this a model of 'experiential film aesthetics' because of the intersection between stylistic elements and spectators' own perceptual mechanisms. Experiential film aesthetics are, therefore, a film experience that involves not the conventional idea of watching film in a perceptually detached manner but rather the idea of perceptually participating with senses that have no direct stimulation but rather indirect stimulation through visual and aural information. In this sense, we explore our proposed viewpoint, which is characterised by the apparent paradox that the film medium in its conventional audio-visual form is a sensory gateway to a multisensory experience. These experiential film aesthetics can serve as a useful introduction to further investigations of the experiential nature of film and across sensory modalities that have not yet been examined in film studies.
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Dadgarnia, Alireza. "Film as home : accented film practice and the materiality of displaced lived experience." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/68843/.

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Duck, Stephen R. (Stephen Randall) 1968. "Architecture as film : animation and the phenomenological experience." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/73349.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.
Includes bibliographical references (p. 91-93).
In his film L'Awentura, Michelangelo Antonioni develops startling relationships between his characters and their surroundings. This thesis proposes to use a portion of his film as a precedent for both the architecture's dialectic with its surroundings and the realization of internal spatial disposition. Just as Antonioni uses the camera to amplify juxtaposed psychological states, the design for this Mediterranean cultural center and resort, set in Playa de Granadella, Spain uses different spatial elements to explore the division between the elements--earth, water and sky. To analyze the film, a methodology involving analysis, recombination, and interpretation was developed. This methodology allowed deeper exploration of the complex relationships between the characters and the landscape within Antonioni's film and a better understanding of the underlying themes behind these relationships. The methodology was then used to inform and inspire the design of the resort.
by Stephen R. Duck.
M.Arch.
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Wang, Xiwen. "Xin Yi: A Dramatic Exploration of International Student Experience." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1081.

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The paper identifies the lack of representation of the international student experience on screen and examines how Xin Yi is a film script that explores this subject matter. The analysis provides a survey of film and television that addresses similar topics and uses the theoretical framework of exilic filmmaking by Hamid Naficy. Xin Yi revolves around a Chinese mother-daughter relationship. The mother visits her daughter who studies in the U.S during Chinese New Year and reveals her divorce before she departs.
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Mazzoni, Antonella. "Mood Glove : enhancing mood in film music through haptic sensations for an enriched film experience." Thesis, Queen Mary, University of London, 2018. http://qmro.qmul.ac.uk/xmlui/handle/123456789/39757.

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This research explores a new way of enhancing audience experience in film entertainment, presenting the design and implementation of a wearable prototype system that uses haptic sensations to intensify moods in lm music. The aim of this work is to enrich the musical experience of film audiences and might also have implications on the hearing-impaired, providing them with a new enhanced emotional experience while watching a movie. Although there has been previous work into music displays of a visual and haptic nature, and on the importance of music in film, there is no documented research on musical enhancement experience in film entertainment. This work focuses on the mood conveyed by film music in order to understand what role it plays in creating the film experience, and also explores the possibility of enhancing those feelings through haptic sensations. Drawing on HCI and interaction design principles, the design of a piece of haptic wearable technology is proposed and used as the tool for user studies. This research contributes to the fields of: HCI, interaction design, user experience design, multimodal interaction, creative technology, wearable technology, haptics, entertainment technology and film music. This work also provides a set of design suggestions to aid future research and designers of haptic sensations for media enhancement. Proposed guidelines are based on a number of empirical findings that describe and explain aspects of audience emotional response to haptics, providing some first evidence that there is a correlation between vibrotactile stimuli (such as frequency and intensity) and perceived feelings.
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Laamanen, Carl. "The Address of the Soul: Phenomenology and the Religious Experience of Film." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1554287220304112.

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Weidinger, Eli Benjamin. "The Sopranos Experience." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4610.

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My thesis explores what I call the "Sopranos Experience," which draws upon both the historical conventions of the gangster genre as well as the aesthetics and economics of pay-cable television to complicate The Sopranos' (HBO, 1999-2007) psychological relationship with the 21st-century, neoliberal American audience. The Sopranos Experience explicates how wavering identifications and dis-identifications that develop for the spectator through the series' form and content draw the responsibility of an audience away from moral ultimatums that attempt to finalize their experience with the genre, and towards a more personal ethical entanglement with the characters and their socioeconomic anxieties and desires. The ethical entanglement highlighted by The Sopranos reveals an entanglement that has always existed for the gangster genre throughout its history that has been recognized, but not thoroughly explored by previous gangster scholarship. Because of the The Sopranos' psychotherapy story arc through Tony's (James Gandolfini) relationship with Dr. Melfi (Lorraine Bracco), psychoanalysis plays a key role in the Sopranos Experience. The serial form and narrowcasting develop a more in-depth psychological relationship between the spectator and the characters than seen in previous gangster genre films. Through the psychoanalytic theory of Jean Laplanche, I argue the spectator's closer relationship with the series not only results in the spectator's constitution of self through the fictional characters, but that this constitution of self extends into their lived, everyday experiences with others. In this discussion of the psychological connection between the spectator and the characters, their shared anxieties about and desires for socioeconomic stability in a neoliberal environment mobilizes the spectator's relationship not just with the series, but with others in their lives. In recognizing their atomized role in the viewership experience, The Sopranos allows the spectator to make ethical demands about their atomization and vulnerability in a neoliberal society. Because they can recognize the collective's similar situation, the spectator is situated to make larger demands about socioeconomic systems that atomize the individual.
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Books on the topic "Experience of film"

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Corrigan, Timothy. The film experience: An introduction. Boston: Bedford/St.Martins, 2011.

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Corrigan, Timothy. The film experience: An introduction. Boston: Bedford/St. Martin's, 2004.

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The cinematic experience: Film, contemporary art, museum = film, arte contemporanea, museo. Pasian di Prato (UD) [i.e. Udine, Italy]: Campanotto, 2010.

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Cox, Geoffrey. Soundings: Documentary film and the listening experience. Huddersfield: University of Huddersfield Press, 2018.

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Walsh, Andrea S. Women's film and female experience, 1940-1950. London: Praeger, 1986.

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Eye of the century: Film, experience, modernity. New York: Columbia University Press, 2008.

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1949-, Telotte J. P., ed. The Cult film experience: Beyond all reason. Austin: University of Texas Press, 1991.

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Pulling focus: Intersubjective experience, narrative film, and ethics. New York: Continuum, 2008.

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Moving viewers: American film and the spectator's experience. Berkeley: University of California Press, 2009.

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Hedges, Inez. Breaking the frame: Film language and the experience of limits. Bloomington: Indiana University Press, 1991.

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Book chapters on the topic "Experience of film"

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Cañas-Bajo, Jose. "Emotional Film Experience." In Human–Computer Interaction Series, 105–23. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53483-7_7.

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Greiner, Rasmus. "Film/History/Experience." In Cinematic Histospheres, 49–73. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70590-9_4.

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AbstractThis chapter describes the interactions and intersections between film experience and historical experience. The first section introduces the phenomenological theories underpinning the notion of film experience and applies them to the historical film. Focusing on concepts of embodied film perception, it discusses the spectator’s impression of making direct contact with a film’s historical world. This imaginary contact with history bears similarities to Frank R. Ankersmit’s theory of historical experience, which is examined in the second section. The interconnections between Ankersmit’s concept and Vivian Sobchack’s phenomenological theory of film experience are considered in greater depth in the third section. The aim is to develop a concept of histospheres in which sensuous and cognitive perceptions are fused into a unified cinematic experience of history.
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Cornelius, Steven, and Mary Natvig. "Music and Film." In MusicA Social Experience, 261–80. 3rd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003155812-16.

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Cornelius, Steven, and Mary Natvig. "Music and Film." In Music a Social Experience, 229–47. Second edition. | New York ; London : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315222868-14.

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Falzon, Christopher. "Philosophical Experience and Experimental Film." In Philosophy and Film, 159–73. New York : Taylor & Francis, 2019. | Series: Routledge research in aesthetics ; 10: Routledge, 2019. http://dx.doi.org/10.4324/9780429435157-10.

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Davies, David. "Philosophical Dimensions of Cinematic Experience." In Philosophy and Film, 135–56. New York : Taylor & Francis, 2019. | Series: Routledge research in aesthetics ; 10: Routledge, 2019. http://dx.doi.org/10.4324/9780429435157-9.

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Vodrazkova, Katrin. "Film – System – Communication." In Design, User Experience, and Usability. Theories, Methods, and Tools for Designing the User Experience, 601–9. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-07668-3_58.

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Hindle, Maurice. "The Audience: Individual and Collective Experience." In Shakespeare on Film, 5–8. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-53172-8_2.

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Trindade, Hanna. "The Lived Experience of Motion Pictures." In Philosophy and Film, 239–63. New York : Taylor & Francis, 2019. | Series: Routledge research in aesthetics ; 10: Routledge, 2019. http://dx.doi.org/10.4324/9780429435157-15.

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Kork, Yuri. "How Film Tourists Experience Destinations." In Tourism and Culture in the Age of Innovation, 145–56. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-27528-4_10.

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Conference papers on the topic "Experience of film"

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Schulz, Florian, and Frank Beyrau. "Systematic Investigation of Fuel Film Evaporation." In WCX World Congress Experience. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2018. http://dx.doi.org/10.4271/2018-01-0310.

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Zhao, Le, Zhihao Zhao, Xiucheng Zhu, Nitisha Ahuja, Jeffrey Naber, and Seong-Young Lee. "High Pressure Impinging Spray Film Formation Characteristics." In WCX World Congress Experience. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2018. http://dx.doi.org/10.4271/2018-01-0312.

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Zhu, Qingyang, Yiqiang Pei, Lili Lu, and Zhenshan Peng. "Characteristics of Single Fuel Droplet Impact on Oil Film." In WCX SAE World Congress Experience. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2019. http://dx.doi.org/10.4271/2019-01-0304.

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Chao, Yipeng, Chao Zheng, Xin Luo, and Yuxiao Ma. "Study on Passenger Cabin under Passive Radiative Cooling Film." In WCX SAE World Congress Experience. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2022. http://dx.doi.org/10.4271/2022-01-0191.

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Liang, Zhengxing, Junhao Yan, Gang Li, Timothy Lee, Li Zhang, and Chia-Fon Lee. "Measurements of the Evaporation Behavior of the Film of Fuel Blends." In WCX World Congress Experience. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2018. http://dx.doi.org/10.4271/2018-01-0290.

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Mishra, Shivam, Yasin Sohret, and Sanjay R. "Advanced Exergy Analysis of Air-Film Blade Cooled Marine Gas Turbine (LM2500+)." In WCX World Congress Experience. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2018. http://dx.doi.org/10.4271/2018-01-1372.

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Wang, Yuqian, Yiqiang Pei, Jing Qin, Lili Lu, Xiang Li, and Zhenshan Peng. "Study on Hydrodynamic Characteristics of Fuel Droplet Impact on Oil Film." In WCX SAE World Congress Experience. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2020. http://dx.doi.org/10.4271/2020-01-1429.

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Mishra, Rohit, and Christopher Rutland. "Evaluating Surface Film Models for Multi-Dimensional Modeling of Spray-Wall Interaction." In WCX SAE World Congress Experience. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2019. http://dx.doi.org/10.4271/2019-01-0209.

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Go, Jasper Camille. "The Dimensions of Co-Authorship in a Playthrough Experience of Guild Wars 2." In – The Asian Conference on Media, Communication & Film 2020. The International Academic Forum(IAFOR), 2021. http://dx.doi.org/10.22492/issn.2186-5906.2021.1.

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Pires, Filipe, Abhinav Tyagi, Andrew MacIntyre, Kyle Bostelmann, Jordan Marczak, Amir Abbasnejad, Ewan Johnson, and Devin Horsman. "The Fushimi Inari Experience: An Interactive Volumetric Film." In IMX '22: ACM International Conference on Interactive Media Experiences. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3505284.3533027.

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Reports on the topic "Experience of film"

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Mokhtarani, Akbar, Matthew Andrews, Jason Hick, and William Kramer. Large File System Backup: NERSC Global File System Experience. Office of Scientific and Technical Information (OSTI), October 2008. http://dx.doi.org/10.2172/941678.

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Nixdorf, U. Experience with a run file archive using database technology. Office of Scientific and Technical Information (OSTI), December 1993. http://dx.doi.org/10.2172/93589.

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Tremaine, Robert. Experience Catalysts: Understanding How They Can Help Fill the Acquisition Experience Gap for the Department of Defense? Fort Belvoir, VA: Defense Technical Information Center, April 2011. http://dx.doi.org/10.21236/ada544189.

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Shah, Ayesha, Jan Olek, and Rebecca S. McDaniel. Real Life Experience with Major Pavement Types. Purdue University, 2022. http://dx.doi.org/10.5703/1288284317371.

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Pavement performance is a complex issue which depends on many contributing factors. Examining the performance of real-life pavements across the state determines what the actual service lives are for the pavements. For the purposes of this study, only selected LTPP projects were examined, along with a database containing all the historic repair projects completed in Indiana. Pertinent information present in the Indiana Historic Contracts Database was extracted concerning the types of pavement repair and treatments options commonly employed within the state, the time between repairs, etc. These data were used to determine descriptive statistical parameters and was summarized in graph form. Similarly, data about selected LTPP GPS and SPS sites were downloaded from the online website, LTPP InfoPave and a comparative study between companion sites was performed. These data included study site and pavement-related information, such as construction dates, pavement structure details, maintenance and repair history, and pavement distress surveys. These data were used to draw conclusions about the impact of treatment applications, climatic and geologic factors, traffic volume, and pavement structures on pavement performance. Gaps in knowledge about pavement failure modes, distress data, and effectiveness of treatment applications mentioned in the contracts database file hampered efforts to form a complete picture of the effectiveness of treatment options and their timely (or untimely) application. Similarly, details about pavement mixture design and differentiating factors between companion sites prevented researchers from narrowing down the causes leading to the observed pavement distress.
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Caplin, Andrew, Minjoon Lee, Søren Leth-Petersen, Johan Saeverud, and Matthew Shapiro. How Worker Productivity and Wages Grow with Tenure and Experience: The Firm Perspective. Cambridge, MA: National Bureau of Economic Research, August 2022. http://dx.doi.org/10.3386/w30342.

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Saha, Amrita, Jodie Thorpe, Keir Macdonald, and Kelbesa Megersa. Linking Business Environment Reform with Gender and Inclusion: A Study of Business Licensing Reform in Indonesia. Institute of Development Studies (IDS), January 2021. http://dx.doi.org/10.19088/k4d.2021.001.

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Business environment reform (BER) targets inadequate business regulations. It is intended to remove constraints to business investment, enabling growth and job creation, and create opportunities for international business to contribute to and benefit from this growth. However, there is a lack of detailed knowledge of the impact of BER on gender and inclusion (G&I). While a review of existing literature suggests that in general, there is no direct link between BER and G&I, indirect links are likely through the influence of BER on firm performance. Outcomes will be influenced by the differential ways in which women-led firms experience the business environment when compared to their male counterparts, with disparities based on how they are treated under the law, as well as structural and sociocultural factors. The fact that in many countries, female-led firms are fewer and smaller than those of their male counterparts, and may operate in different sectors, also affects these dynamics. This research offers new insights through an in-depth analysis of the impact of the Pelayanan Terpadu Satu Pintu (PTSP) or one-stop shop business licensing reform in 2009 on firm performance in Indonesia, and how these impacts vary based on the gender of firm leadership. The results find that on average, firms benefited from improved business performance (sales), as a direct or indirect effect of this reform, as well as an increase in the number of medium and large-scale firms. Outside Jakarta (Bali, Banten, Lampung), women-led firms experienced a small but significant benefit relative to male-led firms, related to both sales and the number of medium and large-scale firms they run. In Jakarta, women-led firms continued to lag behind men and there were no significant effects on employment, and this held across province and gender. These findings are based on an analysis of the PTSP reform using data from the World Bank Enterprise Survey (WBES), a survey of small, medium and large firms (i.e. with more than four employees) which took place in Indonesia between 2009 and 2015.
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Connors, Caitlin, Melanie Cohen, Sam Saint-Warrens, Fan Sissoko, Francesca Allen, Harry Cerasale, Elina Halonen, Nicole Afonso Alves Calistri, and Claire Sheppard. Psychologies of Food Choice: Public views and experiences around meat and dairy consumption. Food Standards Agency, March 2022. http://dx.doi.org/10.46756/sci.fsa.zoc432.

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This report presents findings drawn from qualitative remote ethnography research with 24 UK participants conducted during July and August 2021, plus nine peer-to-peer interviews conducted by main sample participants with their friends and family. This research aimed to build on existing evidence in this area to fill gaps and provide an up-to-date snapshot of UK public experiences. Areas of focus included: Motivations for dietary choices Any gaps between consumer intention and behaviour Trade-offs and contextual differences (e.g. in vs. out-of home behaviours) The roles of specialist diets, substitution approaches, alternatives and ‘imitations’, locally/UK sourced meat and dairy, socio-demographics, culture and family Impact and role of food labelling and terminology The sample represented a range of variables including age, gender, nationality (England, Wales, Northern Ireland), urbanity/rurality, lifestage and household composition - and dietary profile (carnivore, ‘cutting down,’ vegetarian, vegan). This report was informed by an evidence review by the University of Bath on the factors underpinning the consumption of meat and dairy among the general public.
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Mahat, Marian, and Wesley Imms. A Day in the Life of a Student: Facilitator Guide. University of Melbourne, 2020. http://dx.doi.org/10.46580/124325.

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A Day in the Life of a Student workshop is a design thinking workshop developed by DLR Group (an integrated design firm) and adapted by the Innovative Learning Environment and Teacher Change project at the University of Melbourne, Australia. The activities involve educators mapping out how one student spends his/her day in school and building a model of the learning environment based on this one student. With an emphasis on the visual learning that comes from modelling experiences, this workshop helps participants develop student-improvement focused practices in innovative learning environments.
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Salama, Hana, and Emma Bjertén-Günther. Women Managing Weapons: Perspectives for Increasing Women’s Participation in Weapons and Ammunition Management. United Nations Institute for Disarmament Research, July 2021. http://dx.doi.org/10.37559/gen/2021/02.

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UNIDIR’s new study Women Managing Weapons: Perspectives for Increasing Women’s Participation in Weapons and Ammunition Management seeks to fill this gap by exploring women’s participation in the field of weapons and ammunition management, particularly their lived experiences in WAM technical roles, such as stockpile managers, armourers, ammunition and technical experts, explosive ordnance disposal specialist. The purpose is to unpack the challenges faced by these women and identify good practices for further inclusion of women in WAM. It also provides ideas for states, international organizations and disarmament stakeholders to improve gender diversity in implementation of arms control commitments, such as the UN PoA and its relevant instruments.
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Occhiali, Giovanni, Doris Akol, and Philip M. Kargbo. ICT and Tax Administration in Sub-Saharan Africa: Adopting ITAS in Uganda and Sierra Leone. Institute of Development Studies, October 2022. http://dx.doi.org/10.19088/ictd.2022.014.

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The adoption of information and communication technologies (ICTs) in the public sector, including for tax administration, has been hailed as potentially transformational over the last few decades. Its impact has been less far-reaching than imagined. A literature examining the determinants of – and obstacles to – ICT adoption arose as a result, almost exclusively focusing on the experience of high-income countries. However, understanding the experience of adoption in low-income countries is equally important, especially given the potential role that ICTs can play in tackling various development issues, including increasing mobilisation of domestic revenue. To help fill this gap, we present two in-depth case studies of the process of adopting an integrated tax administration system (ITAS) in Uganda and Sierra Leone, based on a series of semi-structured interviews with members of the respective revenue authorities and ministries of finance. Our analysis shows that many of the factors that facilitate and impede the adoption process are the same as those identified in high-income countries. However, we also identify some factors that are more likely to be relevant for low-income countries. These include the impact of the timeline for disbursing donor funding, the processes donors require to be used for procurement, and the quality of legacy data to be migrated into the new system. The need to embark on change management and re-engineering business processes was also recognised more fully than might have been expected in countries with relatively little prior experience in e-government services.
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