Academic literature on the topic 'Film for Discussion'
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Journal articles on the topic "Film for Discussion"
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Clay, Felix, Emanuele Osimo, and Sara Al-Nakeeb. "The Cambridge Mental Health Film Club: lessons to learn, feedback, expansion and development of a standard operating protocol." BJPsych Open 7, S1 (June 2021): S132. http://dx.doi.org/10.1192/bjo.2021.378.
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AimsTo report on our progress and feedback running the Cambridge Mental Health Film Club. To share the recent development of a Standard Operating Protocol to help others organise Mental Health Film Screenings in order to foster discussion, engage the public, reduce stigma about mental health and build understanding.BackgroundCinema lends itself to exploring social and mental health issues such as stigma in an enjoyable way within a limited time and budget. Viewing a film with those from different backgrounds and having a chance to discuss perspectives on meaning and significance is an effective way to promote a collaborative stance and expand perspectives. We have been running a Mental Health Film Club in Cambridge for the past 3 years and have recently celebrated our 10th screening.MethodWe give details of our screenings and feedback. We also share our Standard Operating Protocol which covers important topics such as resources to find suitable films, obtaining copyright permission, finding suitable venues, supporting open discussions, use of social media and promoting inclusivity.ResultOur Mental Health Film club shows three films a year and over time has opened up to both professionals and members of the public who are interested in discussing mental health through movies and supporting recovery. We have screened many challenging and interesting films: from the impact of religious control on emergent adolescent sexuality (‘The Miseducation of Cameron Post’) to a classic film on Alcohol Dependency (‘Days of Wine and Roses’). We also support local festivals with a similar mental health theme (e.g. MEDFEST) and have recently run a very successful screening with the University of Cambridge Psychiatry Society which was introduced by a student offering subjective experience of growing up with a sibling with an Autism Spectrum Disorder (‘Life, Animated’). We promote screenings and publish all film discussions on our website (www.tinyurl.com/psychfilmclub) and Twitter in order to contribute to resources for educational use within Psychiatry training and to further involve the wider public. Feedback shows that our sessions are highly rated at helping audiences see mental health in a new way with post film discussion especially valued.ConclusionOur experience and practical advice can inspire others to start a Mental Health Film Club and promote cohesion, resilience and collaborative thinking within their locality. For future events we plan to expand into more public engagement via local Film Festivals. We welcome delegates ideas, experiences and film recommendations.
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Balčus, Zane Balčus. "DISCUSSION: JURIS PODNIEKS AND THE CONSTELLATIONS OF TIMES." Culture Crossroads 18 (October 31, 2022): 75–88. http://dx.doi.org/10.55877/cc.vol18.84.
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The discussion Juris Podnieks and the Constellations of Times took place on 4 December 2020, in the framework of the research conference Culture Crossroads. Every year special thematic section of the conference focuses on cinema, and this time it was dedicated to Juris Podnieks (1950–1992), one of the most important documentary filmmakers of Latvian cinema who would have turned 70 on 5 December 2020. Juris Podnieks began working at the Riga Film Studio at the second half of the 1960s. In 1969, he entered the All-Union State Institute of Cinematography to become a documentary cinematographer. His graduation film was Herz Frank’s full-length documentary “Restricted Area” (Aizliegtā zona, 1975), which he filmed (together with another cinematographer, Sergejs Nikolajevs) at the youth delinquents’ colony in the town of Cēsis. Soon after, in 1977 he made his directorial debut with the newsreel Padomju Latvija/ “Soviet Latvia” (No. 3, 1977, entitled “The Cradle”/ Šūpulis). Since the beginning of the 1980s, Podnieks directed fulllength documentary films, and each of those became a notable artistic achievement and resonated in society. His first full-length film “Constellation of Riflemen” (Strēlnieku zvaigznājs, 1982) told the story of the Latvian riflemen who fought for their country under different regimes in the early 20th century. At the beginning of the film, Podnieks introduces himself and presents the film’s premise. It is still rarely used approach in Latvian documentary at the time, with the filmmaker participating and involving himself actively in the film. It was Podnieks’ subsequent full-length film “Is It Easy to Be Young?”(Vai viegli būt jaunam?, 1986), which made his name known both in the Soviet Union and internationally, and paved the way for international assignments (covered also in the discussion below). This was an unusually honest testimony of young people of the Soviet Latvia, who dared to speak frankly and express their inner feelings and thoughts about the system they lived in. In the film history of the 1980s, this is one of the most important films coming out of the region referenced as signifiers of Gorbachev’s perestroika.1 The strong voice of the filmmaker manifested in “Is It Easy to Be Young?” was the reason for receiving the commission from Central Independent Television that turned into the grand portrait of the falling Soviet Union – a five-part series “Hello, Do You Hear Us?” (Mēs, 1989, title in the USA – “Soviets”). The changing political landscape, fighting for freedom became the theme of Podnieks’ last films – “Homeland” (Krustceļš, 1990), “Post Scriptum” (Pēcvārds, 1991, which includes episodes of Barricades in Riga in January 1991, when his cameraman Gvido Zvaigzne was wounded (and later passed away in the hospital), but Andris Slapiņš killed on the spot in the attack), “The End of Empire” (Impērijas gals, 1991), and the last short film “The Moment of Silence” (Klusuma stunda, 1992, dedicated to Zvaigzne and Slapiņš). He died tragically in 1992. Almost thirty years after Podnieks’ passing, at this discussion we aim to examine his working methods, approach to documentary, specific films, and other issues paying tribute to him and his legacy that remains.
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Hanifi, Muhammad Luthfan, and Redyanto Noor. "KRONIK FILMEDIA’S RECEPTION TOWARDS FLORIAN GALLENBERGER’S COLONIA." HUMANIKA 27, no. 1 (June 6, 2020): 11–22. http://dx.doi.org/10.14710/humanika.v27i1.29469.
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This paper analyzes the audience’s reception of Colonia, a 2016 film by Florian Gallenberger. As a popular work, Colonia is a docudrama film that presents historical events happened in Chile during the coup of General Augusto Pinochet in 1973. The problems analyzed in this article are the reception process of respondents and the quality of Colonia as popular films. The film is chosen for the study as it received five nominations from German Film Awards 2016 and won Bavarian Film Awards 2016 for Best Production category, but it only has a rating of 26% from 47 reviews by Rotten Tomatoes. The respondents involved in this study are members of Kronik Filmedia of Diponegoro University. Kronik Filmedia is the university film club that focuses on producing short films and appreciating films by conducting film discussions. The purpose of the study is to describe the reception processes of respondents who are affected by their horizon of expectations and to prove that not all of popular works are low literature. The theory used in this paper is the Aesthetic of Reception theory by Hans Robert Jauss. The main concept of this theory is horizon of expectations. Horizon of expectations is a reader’s preferences from the previous experiences or readings. For the methodology, this paper uses qualitative research and focus group discussion as the data collecting method. Focus group discussion is a gathering data method by means of interviewing respondents in a forum consisted of five to eight people. Focus group discussion is an effective method to observe a social phenomenon or a case study. The data obtained is then analyzed as texts to draw a conclusion. The research involves eight members of Kronik Filmedia as respondents. The results of the research show the reception of Kronik Filmedia as Colonia can satisfy and even surpass seven out of eight respondents’ horizon of expectations as the film goes to be more ‘interesting’ and ‘thrilling’. All respondents also view that Colonia is worth to be studied and discussed as those of high literature.
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Panzer, W., and N. Petoussi. "Film Processing - Summary of Discussion." Radiation Protection Dosimetry 49, no. 1-3 (September 1, 1993): 111. http://dx.doi.org/10.1093/oxfordjournals.rpd.a081914.
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Panzer, W., and N. Petoussi. "Film Processing - Summary of Discussion." Radiation Protection Dosimetry 49, no. 1-3 (September 1, 1993): 111. http://dx.doi.org/10.1093/rpd/49.1-3.111.
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Zitmane, Marita. "Diskusijas “Vai Latvijas kino trūkst sieviešu stāstu?” apspriede sociālajā medijā Facebook. Komentāru analīze." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums 27 (March 10, 2022): 306–19. http://dx.doi.org/10.37384/aplkp.2022.27.306.
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Imbalanced gender representation and the reproduction of stereotypes in cinema are the subjects of international discussion and intervention by gender mainstreaming in the film industry. According to the UNESCO 2018 Global Report “Re|Shaping Cultural Policy”, women are under-represented in the film industry, have limited access to resources, and face significant gender pay gaps. Change is needed to create a world in which a woman as often as a man is a decision-maker and in which watching films written, directed, and made by women is widespread. The shortcomings in the management of funding and in the principle of diversity need to be addressed so that viewers can see different and diverse stories and experiences on cinema screens. The discussion “Stolen Kristaps” of the LTV1 program “100 grams of culture” actualized and localized the problem of gender parity in the film industry in Latvia. The discussion that started in TV format also continued on social media. The aim of the article is to explore the discussions inspired by the social media Facebook. The aim of the article is to find out what was discussed, what arguments were used, where are we, and where do we want to go? The analysis of the discussions reveals that there is no consensus among the representatives of the film and art industry on whether the lack of women’s stories in Latvian cinema is a problem. There is also a strong disagreement about possible approaches to resolving the situation.
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Sullivan, Gordon. "“We Do Not Look At Them As They Really Are”: Technics andPhotogéniein Jean Epstein's Film-Philosophy." Film-Philosophy 22, no. 3 (October 2018): 406–27. http://dx.doi.org/10.3366/film.2018.0087.
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This article argues that we can understand Jean Epstein's theory of photogénie as an instance of technics. Starting from a reading of Epstein's final fictional film Le Tempestaire (1947), we can see that Epstein collapses the distinction between human and technological. This insight leads to a discussion of Epstein's theory of photogénie more generally, and one that highlights the term's relationship to temporality. This temporal dimension recalls Bernard Stiegler's discussion of technics in Technics and Time (3 volumes). As the series evolves, Stiegler increasingly foregrounds cinema as technics, and the essay ends with a discussion of the ways that Epstein's understanding of photogénie can press on Stiegler's claims.
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Kapetanović, Amir. "“Kaya” from Novella to Film." Colloquia Humanistica, no. 7 (December 18, 2018): 135–52. http://dx.doi.org/10.11649/ch.2018.008.
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Kaya from Novella to FilmThis paper analyses the transformation of K. Quien's novella Kaya into a screenplay adaptation and a film of the same name by eminent Croatian director Vatroslav Mimica. The analysis points out both significant characteristics of the transformation of the text and the transformation of the portrayed Mediterranean urban area (a crime in Trogir), as well as the linguistic stylisation of the characters' Trogir dialect, which contributes to the atmosphere of the film. Discussion of this film has so far only unfolded on the basis of a comparison of Quien's novella and Mimica's film. This analysis thus contributes important information about the structural and narrative characteristics of the unpublished screenplay, which sheds more light on the paths towards the creation of this Croatian film,which is considered V. Mimica's best work and one of the best Croatian films. Kaya, od noweli do filmuW artykule analizowane jest przekształcenie noweli Kaya, zabiję cię K. Quiena w scenariusz adaptacji filmowej, a następnie w film pod tym samym tytułem, nakręcony przez wybitnego chorwackiego reżysera Vatroslava Mimicę. Analiza skupia się na dwóch kwestiach. Po pierwsze, dotyczy przekształcenia tekstu i obrazu przestrzeni śródziemnomorskiego miasteczka (Trogiru). Po drugie, omawiana jest stylizacja językowa, wykorzystanie cech dialektu trogirskiego, przyczyniające się do stworzenia atmosfery filmu. Dotychczasowa dyskusja o filmie jedynie powierzchownie dotykała związków z nowelą Quiena na poziomie porównawczym. Niniejszy artykuł przynosi ważne informacje o strukturalnych i narracyjnych cechach niepublikowanego dotąd scenariusza, co rzuca nowe światło na proces tworzenia filmu, uznawanego za najwybitniejsze dzieło Mimicy i jeden z najlepszych chorwackich filmów w ogóle. Kaya, od novele do filmaU ovom radu analizira se transformacija novele K. Quiena Kaja, ubit ću te preko scenarističke adaptacije u istoimeni film istaknutoga hrvatskoga redatelja Vatroslava Mimice. U analizi se ističu ne samo bitne značajke transformacije teksta nego i transformacija predočene mediteranske urbane sredine (zločin u Trogiru) te jezična stilizacija trogirskoga govora likova, koji doprinosi ambijentalnom ugođaju filma. Do sada se o filmu raspravljalo samo na temelju usporedbe Quienove novele i Mimičina filmskoga ostvarenja, pa ova analiza donosi neke važne podatke o strukturnim i narativnim značajkama neobjavljenoga scenarija, čime se jače osvjetljavaju putovi kreacije toga hrvatskoga filma, koji se smatra najboljim redateljskim ostvarenjem V. Mimice i jednim od najboljih hrvatskih filmova.
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Lippit, Akira Mizuta, Noëël Burch, Chon Noriega, Ara Osterweil, Linda Williams, Eric Shaefer, and Jeffrey Sconce. "Round Table: Showgirls." Film Quarterly 56, no. 3 (2003): 32–46. http://dx.doi.org/10.1525/fq.2003.56.3.32.
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As recently as December, 2002, the New York Times' Elvis Mitchell referred to the "wreckage"of Showgirls (1995). Yet the Film Quarterly editorial board had just been galvanized by a discussion of the same film. Apparently there exists a number of secret and not-so-secret devotees of the film. Showgirls has, perhaps unexpectedly, served to stimulate scholarly thought around issues of camp, satire, class, gender, the fallen woman, showgirl musicals, trash cinema,sexploitation films, hedonistic criticism, and reading and teaching the film. Noëël Burch, Akira Mizuta Lippit, Chon Noriega, Ara Osterweil, Eric Schaefer, Jeffrey Sconce, and Linda Williams have contributed to this discussion of the film. Perhaps Showgirls can still be rescued from the wreckage?
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Li, Manxi, Wenqing Su, and Xinman Li. "New Documentary Film Seeks to Be “More Real”." Scientific and Social Research 3, no. 5 (November 5, 2021): 169–73. http://dx.doi.org/10.36922/ssr.v3i5.1246.
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After the birth of documentary film, the discussion of “fiction” and “non-fiction” has not stopped. Influenced by the ideological trend of postmodernism, “new documentary film” overturns the concept of traditional documentary film and believes that it is feasible and meaningful for documentary to take “fiction” as a means. Adhering to the “new” exploration of this documentary, the author discusses the historical origin of new documentary films, the authenticity of new documentary films at home and abroad and the creative techniques of new documentary films, in order to provide innovative support for the true publication of new documentary films.
Dissertations / Theses on the topic "Film for Discussion"
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Miller, Caroline H. "eXplicit Content: A Discussion of the MPAA Film Rating System and the NC-17 Rating." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/582.
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The United States film industry is controlled by the Motion Picture Association of America (MPAA) and its six signatories--the major productions studios (Sony, Warner Brothers, Universal, Walt Disney, 20th Century Fox, Time Warner), and through this joint-partnership they have monopolized prime production, distribution, exhibition and classification of the U.S film market.
The objective of this project is to shed light on biases present in the MPAA rating system's treatment of sex and violence under the X/NC-17 rating in order to demonstrate the lack of viability of the system in today's world.
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Walsh, Mary E. (Mary Elizabeth) 1941, Barbara Quinn, Callista Roy, and Annette McDermott. "Women Religious Handing on the Faith in America (Film and Discussion):." The Church in the 21st Century Center at Boston College, 2012. http://hdl.handle.net/2345/bc-ir:102674.
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Burge, Eric William. "Sound Design for Non-fiction Film and Video: A Discussion of Methodology, Perception, and Ethics." Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/burge/BurgeE1207.pdf.
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Traditional documentary films, particularly science and natural history works, presume to authentically or legitimately convey accurate representations of historical events that actually occurred at a prior time. Factual and convincing representations are not necessarily congruent, and a film's merit of authenticity is often based on the perceived validity of the visual content represented. While visual imagery dominates a presentation's general delivery, a film's sound design is a fundamental structural element that is often overlooked or less scrutinized with regard to factual or accurate recounting of these same historical events. The purpose of this thesis is to examine methodologies of sound acquisition and reproduction and to discuss how various acoustic contents are perceived in relation to associated visual elements. While discerning viewers may notice critical discrepancies in picture contents that may invalidate a film's credibility, a complex matrix of sonic elements does not lend itself to deconstruction as easily. Thorough analysis of a science and natural history film must include an examination of its complete sound design. Consideration must be given to the ethical implications of using any synthesized or borrowed audio tracks if such a work is to be considered as "factual" documentary. The standards of acceptance or rejection should be no different than those associated with fabricating unnatural or contrived visual contents, no matter how compelling may be the end product.
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Nordgren, Johannes. "An Alien discussion : Using the film Alien to highlight and discuss sexual violence and gender roles in the Swedish upper secondary EFL classroom." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-101923.
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The essay attempts to analys the film Alien directed by Ridley Scott and released in 1979 to see if the film’s themes and iconography can be interpretedas metaphors forsexual violence and gender norms. investigates if the film can be used in a Swedish upper secondary EFL classroom as a basis for discussing the societal problems of sexual violence and oppressive gender norms. Methods for film analysis by Barker and Austin is applied along with the gender theories of Moi and Connell among others.
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Aragón, Pablo. "Characterizing online participation in civic technologies." Doctoral thesis, Universitat Pompeu Fabra, 2019. http://hdl.handle.net/10803/668042.
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This thesis constitutes one of the first investigations focused on characterizing online participation in civic technologies, a type of platform increasingly popular on the Internet that allows citizens new forms, on a larger scale, of political participation. Given the opportunities of civic technologies in democratic governance, it should be noted that their design, like that of any online platform, is not neutral. The ways in which information is presented or interaction between users is allowed can greatly alter the results of participation. For this reason, we analyze the impact of different interventions in civic technologies in relation to online conversation views, ordering criteria for ranking petitions, and deliberative interfaces. Since these interventions were carried out by the corresponding development teams, the analyses have required to develop novel computational and statistical methods, while also extending generative models of discussion threads to better characterise the dynamics of online conversations. Results of the different case studies highlight the social and political impact of these interventions, suggesting new directions for future research and the need to develop a paradigm of citizen experimentation for democracy.Esta tesis constituye una de las primeras investigaciones en caracterizar la participación online en tecnologías cívicas, un tipo de plataforma cada vez más popular en Internet que permite a la ciudadanía nuevas formas, a una mayor escala, de participación política. Dadas las oportunidades de las tecnologías cívicas para la gobernanza democrática, cabe señalar que su diseño, al igual que el de cualquier plataforma online, no es neutral. La forma en que se presenta la información o se permite la interacción entre las usuarias puede alterar en gran medida los resultados de la participación. Por este motivo, analizamos el impacto de diferentes intervenciones en tecnologías cívicas en relación a las vistas de las conversaciones online, los criterios de ordenación en rankings de peticiones e interfaces deliberativas. Dado que estas intervenciones fueron llevadas a cabo por los propios equipos de desarrollo, los análisis han requerido desarrollar nuevos métodos computacionales y estadísticos, a la vez que se han ampliado modelos generativos de hilos de discusión para caracterizar mejor la dinámica de las conversaciones online. Los resultados de los diferentes estudios de caso destacan el impacto social y político de estas intervenciones, sugiriendo nuevas líneas de investigación en el futuro y la necesidad de desarrollar un paradigma de experimentación ciudadana para la democracia.
Aquesta tesi és una de les primeres investigacions que té per objecte la caracterització de la participació en línia en tecnologies cíviques, un tipus de plataforma cada vegada més popular a Internet que permet a la ciutadania noves formes, a major escala, de participació política. Donades les oportunitats de les tecnologies cíviques per a la governança democràtica, cal assenyalar que el seu disseny, com el de qualsevol plataforma en línia, no és neutral. La forma en què com es presenta la informació o es permet la interacció entre les usuàries pot alterar en gran mesura els resultats de la participació. Per aquest motiu, analitzem l'impacte de diferents intervencions en tecnologies cíviques en relació amb les vistes de conversa en línia, els criteris d'ordenació en rànquings de peticions i amb interfícies deliberatives. Atès que aquestes intervencions van ser dutes a terme pels propis equips de desenvolupament, les anàlisis han requerit desenvolupar nous mètodes computacionals i estadístics, alhora que s'han ampliat models generatius de fils de discussió per caracteritzar millor la dinàmica de les converses en línia. Els resultats dels diferents estudis de cas destaquen l'impacte social i polític d'aquestes intervencions, suggerint noves línies d'investigació en el futur i la necessitat de desenvolupar un paradigma d'experimentació ciutadana per a la democràcia.
Cette thèse constitue l'une des premières recherches sur la caractérisation de la participation en ligne à des technologies civiques, un type de plateforme de plus en plus populaire sur Internet qui permet aux citoyens de nouvelles formes, à plus grande échelle, de participation politique. Compte tenu des opportunités offertes par les technologies civiques dans la gouvernance démocratique, il convient de noter que leur design, comme celui de toute plateforme en ligne, n'est pas neutre. La façon dont l'information est présentée ou l'interaction entre les utilisateurs est permise peut grandement modifier les résultats de la participation. Pour cette raison, nous analysons l'impact de différentes interventions dans le domaine des technologies civiques par rapport à l’agencementaux des conversations en ligne, aux critères d'ordre de classement des pétitions et aux interfaces délibératives. Comme ces interventions ont été réalisées par les équipes de développement correspondantes, les analyses ont nécessité de développer nouvelles méthodes informatiques et statistiques, tout en élargissant les modèles génératifs de fils de discussion afin de mieux caractériser la dynamique des conversations en ligne. Les résultats des différentes études de cas mettent en évidence l'impact social et politique de ces interventions, suggérant de nouveaux axes de recherches futures et la nécessité de développer un paradigme d'expérimentation citoyenne pour la démocratie.
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Van, Winkle Lisa K. "Sargon's Flute: A Pedagogical Discussion." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1186%5F1%5Fm.pdf&type=application/pdf.
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CUNHA, Marla Cardoso Oliveira. "Vou te contar uma história! : estudo a partir do filme Simeão, o boêmio, de João Bennio." Universidade Federal de Goiás, 2011. http://repositorio.bc.ufg.br/tede/handle/tde/2788.
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Previous issue date: 2011-06-30The object of this research is to investigate the cinema produced in Goiás specifically in the film by João Bennio (1927-1984) Simeão, o boêmio (1969), from its sociocultural and historical relevance and from interpretations constituted by a discussion group, formed by eight students and three professors of the Social/Audiovisual Communication Course at Universidade Estatual de Goiás. In order to discuss the possible relations between public and film producer, seven meetings with the discussion group have been called and happened in two phases. The first encompassed six meetings organized with the project proposal presentation; film projection and discussion; argumentation with the group based on various images which relate to the film and our trajectories and affection; creation and realization of a visual narrative derived from those images and their interpretations. The second phase consisted of only one gathering intended for presenting the result obtained with the the finalized visual narrative to the discussion group. Considering that the relations between the spectator and the film are part of the social practices in a constant relationship between teaching and learning, the viewer is thought of not as a passive consumer, but as a main character who produces social value and cultural languages, integrating the complexity of the contemporary society complexities. I consider that the histories described in this paper have not been concluded, still they bear some reserve for other possible histories yet to come and many more.
O objetivo desta pesquisa é investigar o cinema feito em Goiás com recorte no filme de João Bennio (1927-1984) Simeão, o boêmio (1969), a partir da sua relevância no âmbito sociocultural e histórico e de interpretações constituídas pelo grupo de discussão, formado por oito alunos e três professores do Curso de Comunicação Social/Audiovisual da Universidade Estadual de Goiás. Para discutir sobre as possíveis relações entre público e realizador de cinema, foram promovidos sete encontros com o grupo de discussão, que aconteceram em duas etapas. A primeira contou com seis encontros organizados com a apresentação da proposta do projeto; projeção e discussão do filme; discussão com o grupo a partir de imagens diversas que se relacionam com o filme e nossos percursos e afetos; criação e realização de uma narrativa visual a partir dessas imagens e suas interpretações. A segunda etapa constituiu-se de apenas um encontro para apresentação, ao grupo de discussão, do resultado obtido com a narrativa visual finalizada. Considerando que as relações entre o espectador e o filme fazem parte das práticas sociais em uma constante relação entre ensinar e aprender, o espectador é pensado não como um consumidor passivo, mas como personagem principal que produz valores sociais e linguagens culturais, integrando a complexidade das dinâmicas da sociedade contemporânea. Considero que as histórias apresentadas neste trabalho não foram finalizadas, mas portam reticências para outras possíveis histórias que virão e outras tantas mais.
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COSTA, LARISSA MAGALHÃES. "AUDIO DESCRIPTION IN FILMS: HISTORY, CONCEPTUAL DISCUSSION, AND RECEPTION RESEARCH." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2014. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=29932@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
A presente pesquisa aborda a audiodescrição (AD) e situa-se no campo da tradução audiovisual (TAV), mais especificamente na área de tradução intersemiótica. A AD é a transformação de imagem em texto verbal, isto é, de código visual em código auditivo, e é realizada em produtos culturais, tendo como propósito torná-los acessíveis às pessoas com deficiência visual, noção que inclui cegueira congênita, cegueira adquirida e baixa visão. Embora a AD possa ocorrer em diferentes produtos, aqui ela é trabalhada somente em filmes, a partir de duas dimensões — uma fundamentalmente teórica e outra, prática — que se relacionam e se interalimentam. Na primeira dimensão, desenvolve-se uma reflexão sobre interpretar e descrever, a partir da exigência de se limitar a um mínimo a interpretação. As normas em geral estabelecem a busca pela objetividade para impedir manipulações ou atitudes paternalistas, evitando-se, por conseguinte, escolhas subjetivas, normalmente relacionadas ao uso de qualificativos. Leigos e especialistas com frequência ainda concebem descrever e interpretar dicotomicamente, e priorizam a descrição, tida como objetiva, em detrimento da interpretação, considerada subjetiva, valorativa. Pretende-se desconstruir essa dicotomia por meio de uma lógica de gradação que assume a necessidade empírica dos termos descrição e interpretação, mas que critica sentidos absolutizantes, excludentes, que lhes são atribuídos. Na segunda dimensão, isto é, num campo mais propriamente empírico, analisam-se, em uma pesquisa de recepção, as audiodescrições de gestos — entendidos como mímicas e estados emocionais — das personagens, por serem elementos pouco ou nada estudados, muito propícios à reflexão sobre as recomendações de não interpretar ou de limitar a um mínimo a interpretação. A pesquisa visa testar se audiodescrições mais interpretativas podem ser necessárias, ou mesmo indispensáveis, para a fruição da obra cinematográfica, e também se, de acordo com o tipo de deficiência visual, há diferentes preferências por ADs menos ou mais descritivas ou interpretativas. A pesquisa contou com dois grupos, um composto por alunos do Instituto Benjamin Constant (IBC) e outro composto por integrantes da Associação dos Deficientes Visuais do Estado do Rio de Janeiro (ADVERJ). Em conjunto, os alunos do IBC assistiram ao filme O palhaço e os integrantes da ADVERJ, ao filme Menos que nada; em seguida, em entrevistas individuais, responderam um questionário com perguntas referentes à compreensão do filme e aspectos específicos relativos a gestos. Além disso, assistiram novamente a quatro trechos do filme, um para cada tipo de gesto (substitutivos, divergentes, emotivos simples e complexos); cada trecho contou com duas versões de AD, uma mais descritiva e outra mais interpretativa, havendo neste caso maior uso de adjetivos e de advérbios, para que escolhessem a versão de sua preferência. Desse modo, procurou-se testar as conclusões teóricas em um contexto empírico de informações estritamente visuais e refletiu-se sobre características da AD que podem ser mais adequadas aos nossos públicos, principalmente a AD de gestos. Em sua parte inicial, a tese faz uma historiografia da AD como atividade e como objeto de estudo, de sua inserção nas esferas da mídia e da academia na Europa, nos Estados Unidos e no Brasil.
This dissertation is about audio description (AD), a subject included in the field of audiovisual translation (AVT), more specifically in the area of intersemiotic translation. AD is the transformation of image into verbal text, i.e., of visual code into auditory code, and is performed on cultural products in order to make them accessible to visually impaired people, a spectrum that includes congenital blindness, acquired blindness and low vision. Even though AD can occur in different products, this study will be limited to motion pictures, in two different dimensions — one fundamentally theoretical and the other practical — that are interrelated and influence each other. In the first dimension, a discussion about interpreting and describing is triggered by the requirement of limiting interpretation to a minimum. Norms in general establish the search for objectivity in order to prevent manipulation or paternalistic attitudes, thus avoiding subjective choices, usually related to the use of qualifiers. Frequently, both lay people and specialists still conceive describing and interpreting as a dichotomy, and prioritize description, seen as objective, over interpretation, considered as subjective and valuational. The study aims at deconstructing this dichotomy by means of a many-valued logic that acknowledges the empirical need for the terms description and interpretation, but criticizes the absolutizing and excluding senses attributed to them. In the second, more empirical dimension, audio descriptions of characters gestures — understood as mimicry and emotional states — were subjected to reception analysis. Gestures were chosen because there has been little or no study at all about them and because they are quite convenient when it comes to reflecting upon the recommendations of not interpreting or of limiting interpretation to a minimum. The research aimed at determining whether more interpretive audio descriptions may be necessary, or even indispensable, to the enjoyment of motion pictures, and also whether, according to the type of visual impairment, there are different preferences for less or more descriptive or interpretive ADs. The study included two groups, one made up of students from the Benjamin Constant Institute (IBC) and another of members of the Associação dos Deficientes Visuais do Estado do Rio de Janeiro (Association of the Visually Impaired of Rio de Janeiro) (ADVERJ). The group of IBC students watched the film O palhaço (The clown), and the members of ADVERJ watched the film Menos que nada (Less than nothing); after that they were individually interviewed and answered a questionnaire with questions pertaining to the comprehension of the film itself and aspects specific to gestures. They also watched four passages of the movies again, one for each type of gesture (substitutive, divergent, simple and complex affect displays); each passage had two AD versions — one more descriptive and another more interpretive, with more adjectives and adverbs —, so that they could choose the version they preferred. The proposal, then, was to test theoretical conclusions in an empirical context of strictly visual information and to reflect upon AD characteristics that may be more adequate to Brazilian audiences in Rio de Janeiro, specially gesture AD. In its initial part, the dissertation presents a historiography of AD both as an activity and as an object of investigation. It also shows how AD came to be present in the different spheres of the media and the academy in Europe, the United States and Brazil.
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Oliver, Stephanie. "Creating Discussion: An Auteur Analysis of Films Directed by Adrian Lyne." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984139/.
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This thesis examines the various "signature" threads that are present within the "oeuvre" of the Hollywood filmmaker Adrian Lyne. The goal of this thesis is to showcase both how and why Lyne can be thought of as an auteur and to open up his films to new and previously unexplored meanings. Lyne's eight feature films are analyzed in-depth individually and in comparison to one another from a variety of theoretical frameworks and points of focus in each of the body chapters.
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Halla, Martin, Julia Schmieder, and Andrea Weber. "Job Displacement, Family Dynamics and Spousal Labor Supply, Discussion Paper Series." IZA - Institute of Labor Economics, 2018. http://epub.wu.ac.at/6509/1/dp11752.pdf.
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We study interdependencies in spousal labor supply and the effectiveness of intrahousehold insurance in a sample of married couples, where the husband loses his job due to a mass layoff or plant closure using data from the Austrian Social Security Database. We show that in our sample of relatively young couples the shock hits households at crucial stages of family formation, which requires careful modeling of the wives' counterfactual lifecycle labor market patterns. In our empirical analysis, we propose three independent control groups of unaffected households to identify the causal effects of husbands' displacement
on wives' labor supply. Our empirical results show that husbands suffer large and persistent employment and earnings losses over the first 5 years after displacement. But wives' labor supply increases only moderately and they respond predominantly at the extensive margin. The implied participation elasticity with respect to the husband's earnings shock is very small, about -0:04. While the wives' earnings gains recover only a tiny fraction of the household income loss, public transfers and taxes are a more important insurance at least
in the short run. In terms of non-labor market related outcomes, we find a small positive effect on the probability of divorce, but no effect of the husband's job displacement on fertility. The presence and ages of children in the household are crucial determinants of the wife's labor supply response. The most responsive group are mothers, who are planning to return to the labor market after a maternity break, while mothers of very young children or wives without children remain unresponsive. We thus conclude that Austria's strong gender identity norms are an explanation for the limited scope of intra-household insurance.
Books on the topic "Film for Discussion"
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1949-, Fumerton Richard A., and Jeske Diane 1967-, eds. Introducing philosophy through film: Key texts, discussion, and film selections. Malden, MA: Wiley-Blackwell, 2010.
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Harold, Augenbraum, ed. How to organize a Steinbeck book or film discussion group. San Jose, CA: Center for Steinbeck Studies, San Jose State University, 2002.
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Branch, Canada Cultural Industries. A review of Canadian feature film policy : discussion paper =: Examen de la politique cinématographique canadienne : document de discussion. Ottawa, Ont: Canadian Heritage = Patrimoine canadien, 1998.
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UCLA Entertainment Symposium (12th 1987). Reel of fortune: A discussion of the critical business and legal issues affecting film and television today. [Los Angeles?]: Regents of the University of California, 1987.
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Canada, Canadian Heritage Film Video and Sound Recording. Canadian content in the 21st century: A discussion paper about Canadian content in film and television productions. Hull, Quebec: Dept. of Canadian Heritage, Film, Video, and Sound Recording, 2002.
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Heritage, Canada Canadian. Canadian content in the 21st century: A discussion paper about Canadian content in film and television productions March 2002. Ottawa: Canadian Heritage, 2002.
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Printing, London College of. The cabinet of Dr Calligri: A discussion of the film and dits reputation : design history dissertation forBA MPD 1987. London: LCP, 1987.
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Heritage, Canada Canadian. Canadian content in the 21st century : a discussion paper about Canadian content in film and television productions =: Le contenu canadien au 21e siècle : un document de discussion sur le contenu canadien des productions cinématographiques et télévisuelles. Hull, Qué: Canadian Heritage = Patrimoine canadien, 2002.
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Pollacchi, Elena. Wang Bing's Filmmaking of the China Dream. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463721837.
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This volume offers an organic discussion of Wang Bing's filmmaking across China’s marginal spaces and against the backdrop of the state-sanctioned 'China Dream'. Wang Bing's cinema gives voice to the subaltern. Focusing on contemporary China, his work testifies to a set of issues dealing with inequality, labour, and migration. His internationally awarded documentaries are considered masterpieces with unique aesthetics that bear reference to global film masters. Therefore, this investigation goes beyond the divides between Western and non-Western film traditions and between fiction and documentary cinema. Each chapter takes a different articulation of space (spaces of labour, history, and memory) as its entry point, bringing together film and documentary studies, Chinese studies, and globalization studies. This volume benefits from the author's extensive conversations with Wang Bing and insider observations of film production and the film festival circuit.
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Ayyām al-Fīsbūk: Masāʼil wāqiʻīyah fī ʻālam iftirāḍī. al-Qāhirah: al-Hayʼah al-Miṣrīyah al-ʻĀmmah lil-Kitāb, 2012.
Find full textBook chapters on the topic "Film for Discussion"
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Nornes, Abé Mark. "Discussion Afterword." In The Japan/America Film Wars, 183–86. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003205289-9.
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Chen, Yuping. "Discussion and Conclusion." In Translating Film Subtitles into Chinese, 145–64. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-6108-1_7.
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Vegas, Carolina León. "Discussion Forums in Literature and Film." In Designing Courses with Digital Technologies, 9–13. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003144175-3.
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Böer, Karl W. "Basic Physics Discussion of CdS/CdTe." In Handbook of the Physics of Thin-Film Solar Cells, 665–75. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-36748-9_36.
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Hofmann, Kay H. "Agency Problems in Financer Deals: Results and Discussion." In Co-Financing Hollywood Film Productions with Outside Investors, 84–105. Wiesbaden: Springer Fachmedien Wiesbaden, 2012. http://dx.doi.org/10.1007/978-3-658-00787-4_6.
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Hofmann, Kay H. "Agency Problems in Slate Financing Arrangements: Results and Discussion." In Co-Financing Hollywood Film Productions with Outside Investors, 111–26. Wiesbaden: Springer Fachmedien Wiesbaden, 2012. http://dx.doi.org/10.1007/978-3-658-00787-4_8.
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Ashkenazi, Ofer. "Assimilating the Shrew: Alraune and the Discussion of Biological Difference in Weimar Horror Film." In Weimar Film and Modern Jewish Identity, 77–110. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137010841_4.
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Dynel, Marta. "When Both Utterances and Appearances are Deceptive: Deception in Multimodal Film Narrative." In Perspectives in Pragmatics, Philosophy & Psychology, 205–52. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-56696-8_12.
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AbstractThis article gives a comprehensive theoretical account of deception in multimodal film narrative in the light of the pragmatics of film discourse, the cognitive philosophy of film, multimodal analysis, studies of fictional narrative and – last but not least – the philosophy of lying and deception. Critically addressing the extant literature, a range or pertinent notions and issues are examined: multimodality, film narration and the status of the cinematic narrator, the pragmatics of film construction (notably, the characters’ communicative level and the one of the collective sender and the recipient), the fictional world and its truth, the recipient’s film engagement and make believing, as well as narrative unreliability. Previous accounts of deceptive films are revisited and three main types of film deception are proposed with regard to the two levels of communication on which it materialises, the characters’ level and the recipient’s level, as well as the intradiegetic and/or the extradiegetic narrator involved. This discussion is illustrated with multimodally transcribed examples of deception extracted from the American television seriesHouse.In the course of the analysis, attention is paid to how specific types of deception detailed in the philosophy of language (notably, lies, deceptive implicature, withholding information, covert ambiguity, and covert irrelevance) are deployed through multimodal means in the three types of film deception (extradiegetic deception, intradiegetic deception, and a combination of both when performed by both cinematic and intradiegetic narrators). Finally, inspired by the discussion of Hitchcock’s controversial lying flashback scene inStage Fright, as well as films relying on tacit intradiegetic, unreliable narrators (focalising characters) an attempt is made to answer the thorny question of when the extradiegetic (cinematic) narrator can perform lies (through mendacious multimodal assertions) addressed by the collective sender to the recipient, and not just only other forms of deception, as is commonly maintained.
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Bennesved, Peter, and Casper Sylvest. "Embedding Preparedness, Assigning Responsibility: The Role of Film in Sociotechnical Imaginaries of Civil Defence." In Cold War Civil Defence in Western Europe, 103–28. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84281-9_5.
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AbstractThis chapter examines the role of film and television in embedding sociotechnical imaginaries of civil defence during the early nuclear age (c. 1949–1965) by zooming in on Sweden and Denmark, two neighbouring countries that differed both in terms of their political position in the Cold War and in the scale of their civil defence efforts. Following a theoretical discussion of the psychosocial effects of films and their manner of circulation, we analyse Swedish and Danish films in two periods demarcated by the thermonuclear disruption of civil defence during the mid-1950s. The analysis highlights how films were used to frame technologies and script and perform social norms. We argue that films constitute an important source for understanding the difficulties of embedding sociotechnical imaginaries of civil defence.
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Kvithyld, Anne, Jan Anders Sæter, Martin Syvertsen, Harry Fossheim, Arne Nordmark, Ronny Sottar, and Thorvald Abel Engh. "Discussion of Bi-Film Index and LiMCA Data in Industrial Aluminum Remelting Trials." In The Minerals, Metals & Materials Series, 855–61. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-72284-9_111.
Full textConference papers on the topic "Film for Discussion"
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HS Pu, Marina. "The Discussion Between Puzzle Film and Non-Linear Narrative Film." In 5th International Conference on Research in Humanities. Acavent, 2022. http://dx.doi.org/10.33422/5th.icrhconf.2022.08.300.
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Lv, JingHua, and Huaidong Zhao. "Brief Discussion on Micro-film Creation Art." In 2015 International Conference on Economics, Social Science, Arts, Education and Management Engineering. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/essaeme-15.2015.8.
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Guo, Yu. "Discussion on Conceptual Design in Fantasy Film." In 2016 International Conference on Contemporary Education, Social Sciences and Humanities. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/iccessh-16.2016.89.
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Chen, Yu-Xiu, Pei-Ning Hsu, Yu-Min Chung, Hsin-Cheng Hsu, Huai-San Ku, Chin-Chih Yeh, Nan-Tzu Lian, Tahone Yang, Kuang-Chao Chen, and Chih-Yuan Lu. "A Discussion of Dielectric Film Deformation by E-Beam Energy." In ISTFA 2018. ASM International, 2018. http://dx.doi.org/10.31399/asm.cp.istfa2018p0196.
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Abstract A recently developed technique known as Electron Beam Induced Resistance Change (EBIRCH) equipped with a scanning electron microscope (SEM) utilizes a constant electron beam (e-beam) voltage across or current through the defect of interest and amplifies its resistance variation. In this study, EBIRCH is applied for a 3D NAND structure device fault isolation but suffered from nearby dielectric film deformation. The characterization of such dielectric deformation and the possible mechanisms of e-beam induced damage are discussed. As well, a threshold condition to avoid from triggering the occurrence of dielectric damage is presented for shallow defect analysis in EBIRCH application.
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Wen, Yi. "Discussion on the Design of Film and Television Recessive Advertising." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.89.
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Zheng, Yanan, and Biji Fang. "A Brief Discussion on the Application of Film in Abnormal Psychology Teaching." In 2013 International Conference on Information, Business and Education Technology (ICIBET-2013). Paris, France: Atlantis Press, 2013. http://dx.doi.org/10.2991/icibet.2013.292.
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Li, Fangjiao, Yuqiang Zhu, Xiang Zhang, Rao Fu, and Litian Deng. "Discussion and Practice of Film and Television Production: Innovation with Big-data." In Proceedings of the 3rd International Conference on Economics and Management, Education, Humanities and Social Sciences (EMEHSS 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/emehss-19.2019.80.
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Zhao, Lei, and Ting Wang. "Discussion About the Practice of Using a Heated Surface in Film Cooling Studies." In ASME 2011 Turbo Expo: Turbine Technical Conference and Exposition. ASMEDC, 2011. http://dx.doi.org/10.1115/gt2011-46614.
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It is found in many film-cooling experiments and computational analyses that a heated surface is employed to simulate the actual film-cooling condition with a cooling jet and a hot main flow. Considering that the dominant energy passage in turbine airfoil film cooling is always from the hot combustion gas flowing into the airfoil, employing a heated surface to simulate the actual film cooling condition does not provide the correct physics of the heat flow under an actual film cooling condition, and therefore, the results are questionable. The objective of this paper is to investigate the consequent results associated with the practice of employing a heated surface by comparing its result with actual conditions including a conjugate metal wall and internal cooling via a series of computational simulations. When the surface is heated, in some conditions, negative film cooling effectiveness can be found as a result of a higher surface temperature than the main gas stream temperature. This is unrealistic for an operational turbine system. The heated wall acts as an active heat source; as a result, the concept of using the adiabatic wall temperature (Taw) as the driving temperature potential is no longer valid because an artificially created competing heat source is added into the system, and the heat transfer mechanism on the airfoil is not solely determined by Taw. Heating the surface to simulate the film cooling boundary condition, although it does not provide correct physics, can provide the heat transfer coefficient value within 10–15% of the value calculated from the correct boundary conditions. Using a heated surface is only correct under one condition: when all the conditions are reversed, i.e. with a hot jet and cold main gas flow. The practice of using a jet flow with the same temperature of the hot gas (isoenergetic jet) to obtain the film heat transfer coefficient will result in about 20–25% discrepancy from the cooling jet case. The uniformly cooled wall cases fair better than heated cases because it provides correct physics in most part of the surface.
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Tanifuji, Shoichi, Yuji Aota, Suguru Kameda, Tadashi Takagi, and Kazuo Tsubouchi. "Discussion of millimeter wave FBAR with very thin AlN film fabricated using MOCVD method." In 2009 IEEE International Ultrasonics Symposium. IEEE, 2009. http://dx.doi.org/10.1109/ultsym.2009.5441657.
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Wang, Ting, and Lei Zhao. "A Revised Equation for Heat Flux Reduction in Film Cooling Studies and Discussion of Its Applications." In ASME 2011 Turbo Expo: Turbine Technical Conference and Exposition. ASMEDC, 2011. http://dx.doi.org/10.1115/gt2011-45953.
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In film cooling experimental studies, due to the difficulty in measuring the surface heat flux variation, a Heat Flux Ratio (HFR) equation originally derived by Mick and Mayle [1], has been widely employed to calculate the surface heat flux distribution using the measured adiabatic film effectiveness and surface temperature. A close examination of the derivation process and applications of the HFR equation reveals two issues of concern. First, an implicit assumption was introduced by letting the wall surface temperature of the system without-film be the same as that which would occur with a film-cooled condition. A revised equation is then derived by removing this implicit assumption and incorporating the wall temperature change due to film cooling Secondly, a uniform value of the non-dimensional metal temperature φ (or film cooling effectiveness) has been used in all the previous applications of the HFR equation. This practice implicitly implies that a uniform wall temperature is distributed throughout the entire surface under film cooling, which is usually not the case in real conditions. A series of computational experiments are conducted to verify the revised HFR equation under different conditions as well as examine the validity of using a constant surface temperature in the HFR equation. Results reveal that using a constant value of φ (0.5 ∼ 0.7) to calculate surface heat flux may result in a negative HFR in some simulated cases showing the commonly adopted value φ = 0.5∼0.7. This could induce errors and give false HFR. The error is reduced in 3D cases because the streamwise wall temperature becomes more uniform than 2D cases. The difference between the old and new equations can reach about 20%. A conjugate wall cooling simulation shows negative HFR is possible in the region close to the film hole due to the heat conduction from the downstream hotter region into the cooler region near the film hole. Using the actual wall temperature as the φ-value, the newly revised HFR equation produces the exact heat flux as calculated by CFD including the correct calculation of negative heat flux caused by the conjugate wall.
Reports on the topic "Film for Discussion"
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Zhao, Hao, Chunhao Liu, Yanlong Li, and Xiaoyi Li. Prognostic factors for survival in differentiated thyroid cancer with pulmonary metastases: a protocol of systematic review and meta-analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, February 2022. http://dx.doi.org/10.37766/inplasy2022.2.0026.
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Pulmonary metastasis (PM) is the most common form of distance metastasis in differentiated thyroid cancer (DTC), which has a poor prognosis. However, the prognostic risk factors are not yet well identified and analyzed. This systematic review and meta-analysis aims to fill this blank though identifying and discussing survival prognostic risk factors systematically for DTC patients with PM. Pulmonary metastasis (PM) is the most common form of distance metastasis in differentiated thyroid cancer (DTC), which has a poor prognosis. However, the prognostic risk factors are not yet well identified and analyzed. This systematic review and metastases aims to fill this blank though identifying and discussing survival prognostic risk factors systematically of DTC patients with PM. Condition being studied: differentiated thyroid cancer with pulmonary metastases.
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Patel, Yusef. File to Factory: A case study of automated prefabrication house-building methods for small-to-medium enterprises. Unitec ePress, December 2017. http://dx.doi.org/10.34074/ocds.0823.
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The Eco-Digital Fabrication (EDFAB) research project aimed to investigate how automated prefabrication technologies and off-the-shelf construction products can be employed to disrupt building industry norms. The aim of this research – conducted at the University of Auckland and Unitec Institute of Technology from 2014 onward – was to provide small-to-medium enterprises in the construction industry with a pathway to upskill and increase construction productivity through the use of these processes. The availability of automated machines and easy-to-use fabrication software is increasing dramatically and this can be paired with readily available construction products to produce novel mass-customised housing solutions. The application of basic automated technologies – such as CNC (Computer Numerical Control) routers – allowed researchers to create ‘recipes’ that can be adopted and adapted relatively easily. By no means did the research favour digital manufacture or assembly processes over traditional analogue construction techniques – the goal was to provide logical, productive and accessible blended solutions for greater affordability and flexibility in design. For example, the designed experiments were required to be built from readily available products, and used simple readymade screw fixings rather than digitally produced custom fixings or joining mechanisms. The research project aimed to generate discussion and provide recommendations on how the construction industry might support the adoption of automated prefabrication technology in small-to-medium enterprise (SME).
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Young, Stephen, Jessica Diaz, Bert De Coutere, and Holly Downs. Leadership Development in the Flow of Work: Leveraging Technology to Accelerate Learning. Center for Creative Leadership, 2022. http://dx.doi.org/10.35613/ccl.2022.2047.
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"A recent industry trend survey of CEOs found that only 11% of organizations report having a strong enough bench to fill leadership roles (Rhyne, 2021). As such, effective leadership development is an imperative for any high-performing organization. Rather than focusing time, money, and energy on only a small subset of “high-potential” employees, organizations can realize the full potential of their entire workforce by providing tech-enabled leadership development to leaders at all levels. This paper shares the following insights for Chief Learning Officers interested in leveraging evidence-based practices to accelerate leader development at scale and unlock the collective potential of their workforce: • A brief overview of why we need new ways to develop leaders and a high-level description of the new digital assessment and development tools that meet individuals where they are – offering a highly personalized approach to development in-the-flow of work. • A review of eight research-based learning practices that provide a foundation for leveraging technology to make in-the-flow leadership development better, faster, and more accessible to leaders at all levels. For every learning practice, we provide implementation tips and discuss illustrative example tools. • We conclude with a discussion around the strategic use of the eight learning practices for enabling better organization-wide development outcomes. "
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Jefferson, Brian. Reviewing Information Technology, Surveillance, and Race in the US. Just Tech, Social Science Research Council, May 2022. http://dx.doi.org/10.35650/jt.3033.d.2022.
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The past decade has been marked by a growing awareness of the potential harms of personal computing. This recent development was spurred by a surge of news reports, films, and studies on the unforeseen side effects of constantly using networked devices. As a result, the public has become increasingly aware of the cognitive, ideological, and psychological effects associated with the constant use of personal computing devices. Alongside these revelations, a growing chorus of activists, journalists, organizers, and scholars have turned attention to surveillance technology-related matters of a different kind—those related to the carceral state and border patrol. These efforts have sparked a shift in the public consciousness, from individual experiences of technology users to how technology is used to maintain social divisions. These studies show how the explosion of network devices not only changes society but also maintains longstanding divisions between social groups. This field review highlights key concepts and discussions on information technology, surveillance, carceral governance, and border patrol. Specifically, it explores the evolution of information communication technology and racial surveillance from the late nineteenth century until the present. The review concludes by exploring avenues for bringing these conversations into a transnational dialogue on surveillance, technology, and social inequality moving forward.
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Kelly, Luke. Lessons learnt from humanitarian negotiations with the Taliban, 1996-2001. Institute of Development Studies (IDS), September 2021. http://dx.doi.org/10.19088/k4d.2021.11.
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This rapid literature review finds that humanitarian actors responded in a variety of ways to Taliban actions limiting principled aid in the country during the period of their rule (1996-2001). The report is focused on the findings around humanitarian negotiation and the strategy of humanitarian actors in response to Taliban policies limiting women's ability to work for humanitarian organisations or access services. The findings are not intended to imply parallels with the current situation in Afghanistan. Evidence is in the form of a number of evaluations, academic articles and lessons learned papers on negotiating with the Taliban. It discusses the methods of negotiating with the Taliban (e.g. co-ordination, working with the leadership or rank-and-file), the content of negotiations and particularly the question of reaching agreement on women’s rights, as well as humanitarian actors’ negotiating capacity. There is less discussion on the negotiation of specific programmes (e.g. anti-gender-based violence programmes). Due to the different goals and principles of humanitarian actors, as well as different ideas of feasibility, conclusions on the effectiveness of negotiating tactics vary. Strategies therefore cannot be judged as 'successful' without reference to a conception of what is most important in humanitarian programming, and the constraints of the situation. The review highlights lessons on good negotiating practices. The main issue being negotiated was the clash between the Taliban's restrictions on women and humanitarian actors' aim of providing aid to all, including women, according to need. Various strategies were used to persuade the Taliban to consent to principled aid. This review considers aid agency negotiating strategy and tactics, as well as the underlying interests and constraints that may make negotiations more or less successful.
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Kelly, Luke. Lessons Learnt from Humanitarian Negotiations with the Taliban, 1996-2001. Institute of Development Studies (IDS), September 2021. http://dx.doi.org/10.19088/k4d.2021.126.
Full textAbstract:
This rapid literature review finds that humanitarian actors responded in a variety of ways to Taliban actions limiting principled aid in the country during the period of their rule (1996-2001). The report is focused on the findings around humanitarian negotiation and the strategy of humanitarian actors in response to Taliban policies limiting women's ability to work for humanitarian organisations or access services. The findings are not intended to imply parallels with the current situation in Afghanistan. Evidence is in the form of a number of evaluations, academic articles and lessons learned papers on negotiating with the Taliban. It discusses the methods of negotiating with the Taliban (e.g. co-ordination, working with the leadership or rank-and-file), the content of negotiations and particularly the question of reaching agreement on women’s rights, as well as humanitarian actors’ negotiating capacity. There is less discussion on the negotiation of specific programmes (e.g. anti-gender-based violence programmes). Due to the different goals and principles of humanitarian actors, as well as different ideas of feasibility, conclusions on the effectiveness of negotiating tactics vary. Strategies therefore cannot be judged as 'successful' without reference to a conception of what is most important in humanitarian programming, and the constraints of the situation. The review highlights lessons on good negotiating practices. The main issue being negotiated was the clash between the Taliban's restrictions on women and humanitarian actors' aim of providing aid to all, including women, according to need. Various strategies were used to persuade the Taliban to consent to principled aid. This review considers aid agency negotiating strategy and tactics, as well as the underlying interests and constraints that may make negotiations more or less successful.
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Kelly, Luke. Lessons Learnt from Humanitarian Negotiations with the Taliban, 1996-2001. Institute of Development Studies, September 2021. http://dx.doi.org/10.19088/k4d.2021.119.
Full textAbstract:
This rapid literature review finds that humanitarian actors responded in a variety of ways to Taliban actions limiting principled aid in the country during the period of their rule (1996-2001). The report is focused on the findings around humanitarian negotiation and the strategy of humanitarian actors in response to Taliban policies limiting women's ability to work for humanitarian organisations or access services. The findings are not intended to imply parallels with the current situation in Afghanistan. Evidence is in the form of a number of evaluations, academic articles and lessons learned papers on negotiating with the Taliban. It discusses the methods of negotiating with the Taliban (e.g. co-ordination, working with the leadership or rank-and-file), the content of negotiations and particularly the question of reaching agreement on women’s rights, as well as humanitarian actors’ negotiating capacity. There is less discussion on the negotiation of specific programmes (e.g. anti-gender-based violence programmes). Due to the different goals and principles of humanitarian actors, as well as different ideas of feasibility, conclusions on the effectiveness of negotiating tactics vary. Strategies therefore cannot be judged as 'successful' without reference to a conception of what is most important in humanitarian programming, and the constraints of the situation. The review highlights lessons on good negotiating practices. The main issue being negotiated was the clash between the Taliban's restrictions on women and humanitarian actors' aim of providing aid to all, including women, according to need. Various strategies were used to persuade the Taliban to consent to principled aid. This review considers aid agency negotiating strategy and tactics, as well as the underlying interests and constraints that may make negotiations more or less successful.
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Latané, Annah, Jean-Michel Voisard, and Alice Olive Brower. Senegal Farmer Networks Respond to COVID-19. RTI Press, June 2021. http://dx.doi.org/10.3768/rtipress.2021.rr.0045.2106.
Full textAbstract:
This study leveraged existing data infrastructure and relationships from the Feed the Future Senegal Naatal Mbay (“flourishing agriculture”) project, funded by the US Agency for International Development (USAID) and implemented by RTI International from 2015 to 2019. The research informed and empowered farmer organizations to track and respond to rural households in 2020 as they faced the COVID-19 pandemic. Farmer organizations, with support from RTI and local ICT firm STATINFO, administered a survey to a sample of 800 agricultural households that are members of four former Naatal Mbay–supported farmer organizations in two rounds in August and October 2020. Focus group discussions were conducted with network leadership pre- and post–data collection to contextualize the experience of the COVID-19 shock and to validate findings. The results showed that farmers were already reacting to the effects of low rainfall during the 2019 growing season and that COVID-19 compounded the shock through disrupted communications and interregional travel bans, creating food shortages and pressure to divert seed stocks for food. Food insecurity effects, measured through the Household Food Insecurity Access Scale and cereals stocks, were found to be greater for households in the Casamance region than in the Kaolack and Kaffrine regions. The findings also indicate that farmer networks deployed a coordinated response comprising food aid and access to personal protective equipment, distribution of short-cycle legumes and grains (e.g., cowpea, maize) and vegetable seeds, protection measures for cereals seeds, and financial innovations with banks. However, food stocks were expected to recover as harvesting began in October 2020, and the networks were planning to accelerate seed multiplication, diversify crops beyond cereals, improve communication across the network. and mainstream access to financial instruments in the 2021 growing season. The research indicated that the previous USAID-funded project had likely contributed to the networks’ COVID-19 resilience capacities by building social capital and fostering the new use of tools and technologies over the years it operated.