Relevant bibliographies by topics / Feature film

Academic literature on the topic 'Feature film'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Feature film"

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V. Domínguez, Daisy. "American Indians in feature films: beyond the big Screen." Collection Building 33, no. 4 (September 30, 2014): 121–26. http://dx.doi.org/10.1108/cb-03-2014-0015.

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Purpose – The purpose of this paper is to examine whether library collections accurately represent the breadth of portrayals of American Indians in feature film. It also provides collection development resources for developing and strengthening feature film collections by and about American Indians. Design/methodology/approach – This study compares WorldCat holdings of a sample of theatrically released films about American Indians with independent American Indian-made films. Findings – WorldCat holdings as a whole do not represent the breadth of portrayals of American Indians in feature film. Originality/value – There are no studies that examine library holdings of feature films by and about American Indians. This paper presents an opportunity to examine our collecting habits and recommends resources for building feature film collections that better represent the manifold Native American experience.
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Giunta, Catherine. "An Evolving Model of the Use of Feature Films in Undergraduate and Graduate Business Curriculum: The Education Awakens." Journal of Business and Economics 9, no. 7 (July 20, 2018): 555–65. http://dx.doi.org/10.15341/jbe(2155-7950)/07.09.2018/001.

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This paper/exploratory analysis presents an evolving model for enhancing the use of full-length, feature film as a tool in undergraduate and graduate business curriculum. This model includes processes for determination of student perceptions of the efficacy of the use of feature film to teach business, including marketing and human resources competencies. Therefore, this work considers student perceptions of the use of film in undergraduate and graduate business education and their final outcomes. Awareness of students' views of this tool can be valuable information during the design of business curriculum. To date, limited research has coupled the business students’ perceptions of film in business curriculum along with implementation of feature films in business pedagogy. Therefore, the evolution of a working model aims to contribute to the understanding of students' expectations when film is used in business curriculum. There is a dearth of literature that covers the use of popular, full-length films in Marketing and in MBA Human Resource courses. This paper helps to fill that gap.
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Shyrman, Roman, and Dmytro Berdnikov. "Manifestations of Drama in Feature Films." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 5, no. 2 (December 22, 2022): 199–206. http://dx.doi.org/10.31866/2617-2674.5.2.2022.269528.

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The purpose of the article is to study the manifestations of drama in feature cinema and to consider dramaturgy and conflict as the main aspects of feature cinema to form the interest of the audience. The research methodology is based on the use of analytical and systematic methods (to comprehend the basic principles of the conflict as a result of the theoretical material’s study and analysis of its interpretation specifics in the artistic structure of the film and to determine its place in the construction of a film); method of theoretical generalization (to summarize the manifestation of drama in feature films and its role in shaping the interest of the audience). Scientific novelty. The modern film industry is built on a variety of stories based on the drama of the plot, which is built on conflict (conflict between peoples, countries, and worlds). The modern literature, in particular of Ukrainian authors, has been processed, which made it possible to conclude the interest in the outlined topics in the context of national theoretical thought. Conclusions. Dramaturgy in feature films is a way of organizing the material and methods of dynamics of viewer interest. Dramaturgy, built by the modern needs of the viewer, forms the success and high rating of feature films. As a result of the theoretical sources analysis and consideration of individual examples of cinematographic art, it is possible to determine the fundamental differences in the construction of the collision of the screen spectacle with the literary work. Thanks to this, it was possible to outline the specific means by which the director or playwright of the film industry can achieve the goal.
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Ojiambo-Hongo, Evelyn, John Mugubi, and Rosemary Nyaole. "The Gender Agenda in Kenyan Children’s Feature Films." Journal of African Theatre, Film and Media Discourse 1, no. 1 (February 12, 2020): 44–56. http://dx.doi.org/10.33886/kujat.v1i1.125.

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The gender agenda has featured substantially in creative works from Africa and particularly Kenya. Although film is considered a new form of creative expression in Africa, compared to the west, it has not been excluded in exploring gender issues. While the gender discussion has prominently featured adults, the Kenyan film has gone a step further and explored gender on a different level. Gender has been explored from the point of view of the child and employed the child character as a suitable medium. Kenyan filmmakers by employing the child character on the subject of gender seem to suggest that engendering of any member of the society begins in childhood and progresses into adulthood. This is a unique aspect about the Kenyan film yet has not been critically examined. This paper therefore examines the child character and the exploration of gender in Kenyan films about children to ascertain the significance of the child character in exploring gender issues in society. It focuses on three selected films that extensively explore the engendering of children namely: Subira, Malika and Becoming A Girl. The films mainly focus on the engendering of the girl child by the society and that this happens in childhood. They also employ the girl child as acharacter in exploring the issue of gender. Examination of the child character will be guided by the Sociological theory of film and the Formalist film theory. The structure of the paper is as follows: A background on the gender issue in creative works, theoretical perspectives on gender, analysis of Kenyan children’s films on gender and conclusions on the use of the child character in exploring gender.
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Dimitrova, Svetla. "Film Review: Posh Corps: The Feature Film." Teaching Sociology 43, no. 4 (August 19, 2015): 324–26. http://dx.doi.org/10.1177/0092055x15601672.

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Guangteng, G., P. M. Cann, A. V. Olver, and H. A. Spikes. "Lubricant Film Thickness in Rough Surface, Mixed Elastohydrodynamic Contact." Journal of Tribology 122, no. 1 (July 14, 1999): 65–76. http://dx.doi.org/10.1115/1.555330.

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A spacer layer imaging method has been employed to map lubricant film thickness in very thin film, rough surface, rolling elastohydrodynamic (EHD) contacts. A series of model roughnesses have been produced by depositing tiny ridges and bumps on a steel ball surface and the influence of these features on film thickness has been investigated at a range of rolling speeds. It has been shown that all the model surface features studied form speed-dependent, micro-EHD lubricating films, but the detailed shape and thickness of these films depends upon the geometry of the feature and the rolling speed. All model surface features also produce a net increase in mean film thickness, compared to the smooth surface, under operating conditions where the film thickness is less than the out-of-contact height of the surface feature studied. For a real, random, rough surface, however, mean film thickness is less than the smooth surface case. The film thickness mapping technique has also been used to measure the effective roughness of surfaces in lubricated contact. This shows that surfaces based on 2-D array of tiny circular bumps become rougher as the rolling speed and thus film thickness increases. However, real, rough surfaces appear to show a decrease of in-contact roughness with increasing rolling speed. [S0742-4787(00)01001-8]
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Melnyk, George. "Remembrance and Canadian national cinema: Incorporating classic themes." Short Film Studies 10, no. 1 (January 1, 2020): 73–77. http://dx.doi.org/10.1386/sfs.10.1.73_1.

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Abstract This analysis of Remembrance (2001) shows how this short film displays five distinct features of Canadian national cinema ‐ Canadian setting, the failed male, lack of narrative closure, auteurism and anti-romance. By displaying these characteristics found in Canadian feature-length films Remembrance rises above the short film genre.
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Pronin, Alexander A. "Feature Film Quotation in a Documentary Portrait: a Functional-Semantic Aspect." Journal of Flm Arts and Film Studies 7, no. 3 (September 15, 2015): 62–71. http://dx.doi.org/10.17816/vgik7362-71.

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The article analyzes the underresearched practice of using feature film quotations in portrait documentaries. A certain number of contemporary films help to single out the most typical sphere of quotations usage, demonstrate typical means of incorporating film quotations into the new film text, and present a classification of quotation variants according to their functional-semantic aspect.
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Maciejewska, Marta. "O wielogatunkowości filmów pełnometrażowych Jana Švankmajera." Literatura i Kultura Popularna 24 (April 18, 2019): 11–24. http://dx.doi.org/10.19195/0867-7441.24.2.

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On genre-crossing in Jan Švankmajer’s feature filmsJan Švankmajer, a Czech film director and artist is known mostly for his short animated films. In 1994, however, a change in his filmmaking career took place — he devoted himself to working only on feature films. This change of medium is connected both to the length of these films, and using language, narration and genre features typical of feature films. What is important, Švankmajer does not adjust his artistic visions to all the directives of a certain genre. Rather, the director chooses some elements of these genres, and creates new, hybrid qualities. Genres that have the biggest impact on his feature films are: horror, comedy, and speculative fiction.
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Restivo, Angelo. "Using Feature Film Clips to Illustrate Film Aesthetics." Cinema Journal 34, no. 3 (1995): 80. http://dx.doi.org/10.2307/1225747.

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Dissertations / Theses on the topic "Feature film"

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Frykholm, Joel. "Framing the Feature Film : Multi-Reel Feature Film and American Film Culture in the 1910s." Doctoral thesis, Stockholm : Acta Universitatis Stockholmiensis : eddy.se [distributör], 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-29742.

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Miami, Silas. "Tero Buro: Feature film script." Master's thesis, Faculty of Humanities, 2020. http://hdl.handle.net/11427/32801.

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The conflict and controversy sparked by the production and public consumption of creative work wherein African queerness is liberally expressed is rarely explored from the perspective of the African queer creative. This paper examines how South African queer creatives interpret and understand the often-tumultuous reception that exhibitions of queerness in film and television receive from largely heterosexual South African audiences. With its focus trained on locating the labor concomitant to queer visibility, labor carried predominantly by members of the queer community, it interrogates the positioning of cinematic presentations of African queerness within South Africa's past and current social and cultural landscape by examining how performative resistance of African queer narratives impact the Black queer creative community in South Africa. Finally, this study critically explores the line of reasoning behind the displacement central to arguments that simultaneously seek to strip African queerness of any legitimate claim to ownership of indigenous African cultures and stories. Jon Trengrove's film, Inxeba (The Wound) (2017), functions as this paper's primary text. Inxeba's conceptualisation, production, reception, and the controversy that succeeded its release will ultimately ground this paper's examination of the consequential impact that its exhibition's spectacle had on the lives, and production outputs, of Black African queer creatives
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McMillan, Matthew Christopher. "Editing the independent, digital feature film, mosaic." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16558/1/Matt_McMillan_Thesis.pdf.

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The production of the independent, digital feature film titled Mosaic was performed on a very low budget. The design and implementation of the post-production of the film required consideration of budgetary constraints, and solutions to these constraints that would still allow the creative freedom of the editor and the director. The technical design was based around digital filmmaking technology. The choice of this technology influenced how the editor was able to address aesthetic and technical challenges.
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McMillan, Matthew Christopher. "Editing the independent, digital feature film, mosaic." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16558/.

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The production of the independent, digital feature film titled Mosaic was performed on a very low budget. The design and implementation of the post-production of the film required consideration of budgetary constraints, and solutions to these constraints that would still allow the creative freedom of the editor and the director. The technical design was based around digital filmmaking technology. The choice of this technology influenced how the editor was able to address aesthetic and technical challenges.
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Fowler, Richard. "Towards a Blueprint for a Music Centred Feature Film." Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/23112.

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This research examines how insights drawn from the domain of film can provide provocation for creativity in the praxis of a musically inclined screenwriter-director. Through a research-based approach, a framework was sought to underpin the writing of a screenplay for a music-centred feature film. An extensive survey of films led to the fashioning of the Integrated Montage Interface - a digital tool for the process of script development. Nova emerged as an original screenplay, in which the exploration of narrative threads called for a more holistic praxis. Narrative directions were interrogated and refined to reflect the creative development within the discrete phases of filmmaking. Scaffolded by the unique perspective of the Integrated Montage Interface, a new multi-modal impetus was given voice within the work, engendering nuanced storytelling. Combinatory possibilities established a blueprint for a fully-fledged feature film production in emotional relief, where momentary tensions are mapped to multi-modal phrasing across audio, dialogue and visual strands. In purposed irony, the Nova-project’s protagonist mirrors the thesis - both being liberated by a fundamental reliance on synaesthesia found so readily in the cinematic experience and so crucially in Nova’s.
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Paitaki, Gregory. "Cast-off: Original script for a feature film." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/12651.

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Patterson, John Andre. "Implementing autonomous crowds in a computer generated feature film." Texas A&M University, 2005. http://hdl.handle.net/1969.1/3107.

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The implementation of autonomous, flocking crowds of background characters in the feature film “Robots” is discussed. The techniques for obstacle avoidance and goal seeking are described. An overview of the implementation of the system as part of the production pipeline for the film is also provided.
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Christy, June Beverley. "Prospects for a feature film industry in British Columbia." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/31230.

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The purpose of this thesis is to assess the potential of establishing a viable indigenous feature film industry in British Columbia. An understanding of the B.C. situation was gained by researching and illustrating the organization of the various parts: production, distribution, and exhibition. This was undertaken by reading various industry publications on the "business" of film making and reading newspaper and trade journal articles. Information about the history of public policy as well as current federal and provincial programs for feature film making was taken from task force reports, Canadian Film Corporation reports, and Telefilm Canada annual reports. Statistics on the industry were gained from Statistics Canada, Telefilm Canada, the Canadian Film and Video Certification Office, and provincial agencies, in particular, B.C. Film annual reports. Personal interviews based on a questionnaire were held with eighteen British Columbia producers who were initiating feature film projects in 1988. Canadian producers are dependent on access to federal and provincial sources of finanicng for as much as 62 per cent of their financing. The balance is provided by broadcasters, private investors, and deferral agreements, or through co-productions with other countries. Because of Hollywood's control of Canada's exhibition market, only 3-5 per cent of screen time is accorded to Canadian feature films. Because of our small domestic market, Canadian producers must rely on international sales to break even. Moreover, feature filmmaking in Canada, like in most other countries, is characterized by great risk and little chance of profitability. The Canadian government is now supporting a nucleus of Canadian-owned distributors with subsidies to help them establish both a capital base and contacts in the international marketplace. Domestic television production has also been a factor in Canada's feature film development. Writers, directors, producers, and technicians have gained experience by being able to work in the broadcast medium. Successful production companies produce a mixture of both television and feature films. As well, these companies have established relationhips with companies in other countries, thereby providing them with an expanded market and opportunites for co-productions. B.C.'s feature film sector is comprised of small production companies with limited revenues who produce feature films on a project-by-project basis through the opportunities provided by B.C. Film and Telefilm. Few have enough capital to plan and manage substantial feature film or television production. Increases in B.C. production are a direct result of success in getting this support. However, Telefilm's funding to the province's filmmakers is unreliable, evidenced by the production of eleven films in 1988 and only one in 1990. A major drawback for B.C. producers is the geographic distance from head offices of existing Canadian broadcasting networks and major feature film distribution companies in Eastern Canada. However, B.C. producers have access to a strong local base of crews, studio facilities, and substantial post production, facilitated by the breadth of American location shooting and commercial production being done in our province. The need is to establish a new, realistic level of operation for the feature film industry in B.C. and to provide the support to sustain it for 5-7 years in order to it to become viable. Given the above conditions, the three main factors in achieving a viable feature film industry in B.C. will be: a) the development of several medium-size companies; b) the provision of adequate funds from federal and provincial sources; and, c) the promotion of the supply of good quality scripts.
Applied Science, Faculty of
Community and Regional Planning (SCARP), School of
Graduate
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Johnston, Jacob H. "The Sherwood Method creating an independent Christian feature film /." Lynchburg, Va. : Liberty University, 2009. http://digitalcommons.liberty.edu.

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Haynes, Thomas. "Modernization and the Wilhelmine feature film : vision, multitude, motion." Thesis, University College London (University of London), 2017. http://discovery.ucl.ac.uk/10024667/.

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Germany’s first feature films have been largely overlooked. As is the case with most European cinemas, the films of the early 1910s sit awkwardly between those made by the pioneers of the 1890s and the masterpieces of the 1920s, almost entirely obscured by both. While much has been done to understand the emergence and development of cinema in Wilhelmine Germany, and in particular its social, institutional and economic underpinnings, very little attention has been paid to the films themselves. Whereas the majority of textual analyses have been preoccupied with works that paved the way for Expressionism, as with the Autorenfilme and fantasy films, relatively little has been done about Germany’s popular cinema – those genres that were widely dismissed at the time but which had an enormous commercial appeal: comedy films, crime films and sensational melodramas. By learning from the new film history that close film analysis must be supported by an equally close understanding of broader social and cultural contexts and the history of film style, this thesis thus turns to some of these overlooked works both as effects of Germany’s delayed but rampant modernization around the turn of the twentieth century and also as works that belong to a medium undergoing its own significant transformation. By paying close attention to the stylistic devices and motifs that these films invoke, plus to the contemporary debates about the status of cinema and attempts to come to terms with modern experience more broadly, this thesis thus treats these texts as formal artefacts that are of interest in and of themselves, as records of a crucial stage of a medium’s development, which also enable us to register the impact of emerging discourses and practices at a time of widespread social and cultural upheaval.
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Books on the topic "Feature film"

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Gordon, Douglas. Feature film. London: Artangel Afterlives, 1999.

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Life, San Francisco Public Library Friends for. Feature film list. [San Francisco, CA]: The Library, 1995.

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Framing the feature film: Multi-reel feature film and American film culture in the 1910s. Stockholm: Stockholms Universitet, 2009.

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Falk, Feliks, and Jerzy Stuhr. Wodzirej: Współczesny film satyryczno- obyczajowy = Top dog. New York: Contal International Inc., 1988.

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Čepinčiḱ, Miroslav. klkt rer yeesraqwq Makedonskiot igran film =: Macedonian feature film. Skopje: Kinoteka na Makedonija, 1992.

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Canada, Public Archives, and National Film, Television and Sound Archives (Canada), eds. Canadian feature film index, 1913-1985. [Ottawa]: Public Archives Canada, 1987.

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Gaunthalee: First Nepali lyrical feature film. 2nd ed. [Kathmandu]: Sarala Rijal, 2000.

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Valut︠s︡kiĭ, Vladimir, and Leonid Kvinikhidze. Mėri Poppins, do svidanii︠a︡. Moskva: "Krupnyĭ Plan", 2011.

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Carl, Allison, ed. Communication in film III: Teaching communication courses using feature films. 3rd ed. Australia: Wadsworth/Thomson Learning, 2002.

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The Hollywood feature film in postwar Britain. London: Croom Helm, 1987.

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Book chapters on the topic "Feature film"

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Chatzistefanou, Aris, Jack Newsinger, Steve Presence, and Mike Wayne. "European feature docs." In Contemporary Radical Film Culture, 221–27. London ; New York : Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9781351006385-19.

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Petrie, Duncan J. "British Feature Film Production." In Creativity and Constraint in the British Film Industry, 63–107. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21473-0_5.

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Arandjelović, Ognjen, and Andrew Zisserman. "On Film Character Retrieval in Feature-Length Films." In Interactive Video, 89–105. Berlin, Heidelberg: Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/978-3-540-33215-2_5.

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Bendazzi, Giannalberto. "Early Animation and the Feature Film." In Twice the First, 47–51. Boca Raton : Taylor & Francis, CRC Press, 2018. | Translation of: Due volte l’oceano.: CRC Press, 2017. http://dx.doi.org/10.1201/9781315149004-9.

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Izod, John. "Architecture of the Feature Film, 1915–25." In Hollywood and the Box Office, 1895–1986, 38–52. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19324-0_5.

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Frykholm, Joel. "The Breakthrough of the Multi-reel Feature Film." In George Kleine and American Cinema, 43–70. London: British Film Institute, 2015. http://dx.doi.org/10.1007/978-1-84457-771-2_3.

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Bendazzi, Giannalberto. "The First Feature Length Animated Film in History." In Twice the First, 33–37. Boca Raton : Taylor & Francis, CRC Press, 2018. | Translation of: Due volte l’oceano.: CRC Press, 2017. http://dx.doi.org/10.1201/9781315149004-6.

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Lijun, Sun. "Havoc in Heaven, the first cartoon feature film." In The History of Chinese Animation I, 230–66. Abingdon, Oxon; New York: Routledge, 2020. | Series: China perspectives | Translation of: Zhongguo dong hua shi yan jiu.: Routledge, 2020. http://dx.doi.org/10.4324/9780367854867-15.

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Anderson, Gillian B. "Music’s Role in the Development of the ‘Mute’ Feature Film." In Music and Sound in Silent Film, 111–23. New York : Routledge, 2019. | Series: Routledge music and screen media series: Routledge, 2018. http://dx.doi.org/10.4324/9781315276274-7.

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Bendazzi, Giannalberto. "Peludópolis: The First Animated Feature Length Film with Sound." In Twice the First, 75–88. Boca Raton : Taylor & Francis, CRC Press, 2018. | Translation of: Due volte l’oceano.: CRC Press, 2017. http://dx.doi.org/10.1201/9781315149004-14.

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Conference papers on the topic "Feature film"

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Wong, Mike. "The StormRiders feature film." In ACM SIGGRAPH 98 Conference abstracts and applications. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/280953.282472.

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Kanyuk, Paul, and Stephen Gustafson. "AI in feature film animation." In SA'15: SIGGRAPH Asia 2015. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2818143.2818170.

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Siragusano, Daniele. "Target Screensize for Stereoscopic Feature Film." In SMPTE Stereoscopic 3D Conference. IEEE, 2010. http://dx.doi.org/10.5594/m001409.

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Byrd, Scot. "Rhythm & Hues 2007 feature film work." In ACM SIGGRAPH 2008 computer animation festival. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1400468.1400537.

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Beisswenger, Melanie. "Character Animation: Learning From Feature Film Techniques." In Annual International Conferences on Computer Games, Multimedia and Allied Technology. Global Science & Technology Forum (GSTF), 2009. http://dx.doi.org/10.5176/978-981-08-3190-5_460.

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Dahlberg, Henrik, David Adler, and Jeremy Newlin. "Machine-learning denoising in feature film production." In SIGGRAPH '19: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3306307.3328150.

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Aubry, Kim, and Richard Mizer. "DVD Dailies: Creative Collaboration for Feature Film Makers." In SMPTE Technical Conference. IEEE, 1999. http://dx.doi.org/10.5594/m00343.

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"Feature Selection Applied to Human Tear Film Classification." In International Conference on Agents and Artificial Intelligence. SCITEPRESS - Science and and Technology Publications, 2014. http://dx.doi.org/10.5220/0004809403950402.

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Sharma, Rajesh, and Brian Wherry. "Software Development for Disney Animated Feature Film Production." In 2009 Agile Conference (AGILE). IEEE, 2009. http://dx.doi.org/10.1109/agile.2009.60.

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Jing, Hao, Yongyi Yang, Laura M. Yarusso, and Robert M. Nishikawa. "Textural feature comparison between FFDM and film mammograms." In 2011 8th IEEE International Symposium on Biomedical Imaging (ISBI 2011). IEEE, 2011. http://dx.doi.org/10.1109/isbi.2011.5872375.

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Reports on the topic "Feature film"

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Bożek, Małgorzata. FILM PRODUCTION IN POLAND. STAGES: FROM AN IDEA TO THE SCREEN. Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11112.

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The Polish film system is characterized by a variety of forms. Michał Zabłocki, the author of the comprehensive study of the «Organization of the production of feature film in Poland», isolates two models of world cinema: a producer and a producer – director. The first one features the dominant role of the producer, which means the person who is responsible for the work of all the film departments – direction, cinematography, production management, scenography and costume design. The second one, the model which is still the most popular in Poland, assumes close cooperation between the producer and the director.
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Hethmon, P., and R. Elz. Feature negotiation mechanism for the File Transfer Protocol. RFC Editor, August 1998. http://dx.doi.org/10.17487/rfc2389.

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Sladen, W. E., R. J. H. Parker, P. D. Morse, S V Kokelj, and S. L. Smith. Geomorphic feature inventory along the Dempster and Inuvik to Tuktoyaktuk highway corridor, Yukon and Northwest Territories. Natural Resources Canada/CMSS/Information Management, 2022. http://dx.doi.org/10.4095/329969.

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Thaw of permafrost and associated ground ice melt can reduce ground stability, modify terrain, and reconfigure drainage patterns affecting terrestrial and aquatic ecosystems and presenting challenges to northern infrastructure and societies. The integrity of ground-based transportation infrastructure is critical to northern communities. Geomorphic features can indicate ground ice presence and thaw susceptibility. This Geological Survey of Canada Open File presents the digital georeferenced database of landforms identified in continuous permafrost terrain using high-resolution satellite imagery. The database is for a 10 km-wide corridor centered on the Dempster and Inuvik-Tuktoyaktuk highways. This 875 km-long transect traverses a variety of geological and physiographic terrain types, including glaciated and non-glaciated terrain, in the northcentral Yukon and northwestern Northwest Territories, where variation in climate, relief, ecology, and disturbance have produced a variety of periglacial conditions. We identified geomorphic features in high-resolution (0.6 m) satellite imagery visualized in 3D, and digitized them in ArcGIS. We used custom Python scripts to populate the attributes for each geomorphic feature. A total of 8746 features were mapped by type and categorized within three main classes: hydrological (n = 1188), mass movement (n = 2435), and periglacial (n = 5123). Features were identified at 1:10 000 and mapped at 1:5000. This report presents the geospatial database in ESRI shapefile, Keyhole Markup Language (KML), and comma-delineated formats.
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Morse, P. D., R. J. H. Parker, W. E. Sladen, S L Smith, and H. B. O'Neill. Remote permafrost terrain mapping, Grays Bay-Yellowknife corridor, Northwest Territories and Nunavut. Natural Resources Canada/CMSS/Information Management, 2022. http://dx.doi.org/10.4095/330206.

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The new Grays Bay - Yellowknife corridor will provide transportation, energy, and telecommunications to northcentral Canada, and connect existing highway infrastructure to a deep-sea port on the Arctic Ocean. This infrastructure will improve access for exploration and development, and reduce operating costs in this mineral-rich region of the Northwest Territories and Nunavut, one of the biggest impediments to development in this region. Relatively little information on permafrost and ground ice conditions is available for most of the corridor. To fill this information gap, the Geological Survey of Canada's GEM-GeoNorth program is compiling permafrost and surficial geology information, mapping periglacial terrain features, and modelling ground ice conditions along the corridor. This poster presents the periglacial feature mapping component. Periglacial features are landforms associated with cold environments and typically contain permafrost. Permafrost, and its related ground ice, affect terrain sensitivity to climate change and surface disturbance. With development of this periglacial terrain and accelerated climate warming in the north, communities, planners, and regulators require this information to make informed decisions on how and where to build and manage environmentally sustainable and climate change-resilient infrastructure, and determine best adaptation strategies.
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Alviarez, Vanessa, Michele Fioretti, Ken Kikkawa, and Monica Morlacco. Two-Sided Market Power in Firm-to-Firm Trade. Inter-American Development Bank, August 2021. http://dx.doi.org/10.18235/0003493.

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Firms in global value chains (GVCs) are granular and exert bargaining power over the terms of trade. We show that these features are crucial to understanding the well-established variation in prices and pass-through across importers and exporters. We develop a novel theory of prices in GVCs, which tractably nests a wide range of bilateral concentration and bargaining power configurations. We test and evaluate the models predictions using a novel dataset merging transaction-level U.S. import data with balance sheet data for both U.S. importers and foreign exporters. Our pricing framework enhances traditional frameworks in the literature in accurately predicting price changes following a tariff shock. The results shed light on the role of firms in determining the tariff pass-through onto import prices.
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MacDonald, Stuart, Connor Rees, and Joost S. Remove, Impede, Disrupt, Redirect: Understanding & Combating Pro-Islamic State Use of File-Sharing Platforms. RESOLVE Network, April 2022. http://dx.doi.org/10.37805/ogrr2022.1.

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In the face of content takedown and account suspensions on the biggest social media platforms, terrorist groups and their supporters have resorted to the use of file-sharing sites to ensure stable access to their propaganda. Amongst those to have employed this strategy are supporters of the so-called Islamic State (IS). Yet, while studies have repeatedly highlighted the key role that file-sharing platforms play in the dissemination of IS propaganda, there has been little investigation of the strategic considerations that may influence the choice of file-sharing sites from the many available. To address this, this report uses data gathered from 13 public IS Telegram channels over a 45-day period in July - September 2021 to assess three possible strategic considerations: the features offered by different file-sharing sites (such as data storage capacity, maximum upload size, and password file protection); a platform’s enforcement activity; and the ability to generate large banks of URLs quickly and conveniently. Based on these findings, the report proposes a four-pronged strategy to combat the exploitation of file-sharing sites by supporters of IS and other terrorist groups: remove terrorist content at the point of upload; impede the automated generation and dissemination of banks of URLs; disrupt the posting of these URLs on other platforms; and redirect users to other content and support services.
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Nuguer, Victoria, and Alan Finkelstein-Shapiro. Labor Market and Macroeconomic Dynamics in Latin America Amid COVID: The Role of Digital Adoption Policies. Inter-American Development Bank, April 2022. http://dx.doi.org/10.18235/0004226.

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We study how policies that facilitate firm digital adoption shape the labor market and economic recovery from COVID-19 in a search and matching framework with firm entry and exit where salaried firms can adopt digital technologies and the labor market and firm structure embodies key features of Latin American economies. Using Mexico as a case study, we first show that the model quantitatively replicates the dynamics of the labor market and output at the onset of the COVID recession and in its aftermath, including the sharp decline in labor force participation and informal employment that is unique to the COVID recession. We then show that a policy-induced permanent reduction in the barriers to adopting digital technologies introduced at the trough of the recession bolsters the recovery of GDP, total employment, and labor income, and leads to a larger expansion in the share of formal employment compared to the no-policy scenario. In the long run, the economy exhibits a long-run reduction in total employment and labor force participation, but higher levels of GDP and labor income, greater average firm productivity, a larger formal employment share, and a marginally lower unemployment rate.
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Merzlykin, Olexandr, and Iryna Topolova. Developing of Key Competencies by Means of Augmented Reality in Science and Language Integrated Learning. [б. в.], May 2018. http://dx.doi.org/10.31812/123456789/2897.

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Using of new learning and IC technologies is necessary for effective learning of modern students. That is why it can be reasonable to introduce augmented reality and content-language integrated learning in educational process. Augmented reality helps create firm links between real and virtual objects. Content and language integrated learning provides immersion in an additional language and creates challenging group and personal tasks in language and non-language subjects. Using these technologies in complex provides social and ICT mobility and creates positive conditions for developing 9 of 10 key competencies. The paper deals with the features, problems and benefits of these technologies’ implementation in secondary schools.
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Klugman, Jeni, and World Bank UNHCR Joint Data Center. The Gender Dimensions of Forced Displacement: Findings from New Empirical Analysis. World Bank - UNHCR Joint Data Center on Forced Displacement, December 2021. http://dx.doi.org/10.47053/jdc.141221.

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To date, research and analysis of the gendered dimensions of forced displacement have been limited. This Quarterly Digest highlights findings from a new, major World Bank Research Program which has sought to fill this important gap. The papers published from the Program include eight detailed country investigations and three multi-country studies covering 17 countries, and feature innovative methodological approaches, combining different sources of data to test hypotheses. The Digest presents the results over four main areas of research (poverty, livelihood, intimate partner violence, and gender norms), and concludes with a series of recommendations to improve the collection of data to investigate the intersectionality of gender and displacement. The Program’s findings lend support to a number of expected patterns, like the disadvantages faced by displaced women in economic opportunities, but also reveal some counter-intuitive results in particular settings, underscoring the importance of country-specific analysis.
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AKHADOVA, R. A., and M. L. SHTUKKERT. ‘THE DREAM OF A RIDICULOUS MAN’ F.M. DOSTOEVSKY AND A. PETROV: POETICS OF THE FEAR. Science and Innovation Center Publishing House, 2021. http://dx.doi.org/10.12731/978-0-615-67323-3-8-21.

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The purpose of the study is to determine the features of the structure and functioning of the fear motive in F.M. Dostoevsky’s “fantastic story” “The Dream of a Ridiculous Man” and in A. Petrov’s cartoon of the same name. The report first examines the images, details, etc., with which the fear motive is created in the story, and then analyzes the ways of embodying this motive and transmitting a certain frightening atmosphere in the cinema. There is revealed and determined the ontological significance and the main character of fear in the “The Dream of a Ridiculous Man”, which, in our opinion, manifests itself in the fundamental nature and primacy of this feeling in human nature. It can be observed in the transition from the dream world, not defiled by the fall, to the terrible reality of St. Petersburg, described in the story. The scientific novelty lies in the fact that a comprehensive analysis of the fear motive in the story of F. M. Dostoevsky and the peculiarities of the interpretation of this motive in the animated film by A. Petrov has not been carried out before. The study revealed, firstly, a number of repetitive means by which the fear motive is formed in both works (and their functions were determined), and secondly, there was noted the originality of the representation of the analyzed motive in the cinema.
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