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Journal articles on the topic 'Motion picture'

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Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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1

Verberck, Bart. "Motion picture." Nature Physics 10, no. 5 (April 30, 2014): 332. http://dx.doi.org/10.1038/nphys2971.

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2

Kubota, Toshihiro, and Yasuhiro Awatsuji. "Femtosecond motion picture." IEICE Electronics Express 2, no. 9 (2005): 298–304. http://dx.doi.org/10.1587/elex.2.298.

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3

Smallridge, Rachel. "A motion picture." Nature Reviews Molecular Cell Biology 3, no. 4 (April 2002): 228. http://dx.doi.org/10.1038/nrm786.

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4

Boegner, Ray F. "Motion-Picture Projectors." Scientific American 279, no. 4 (October 1998): 134–35. http://dx.doi.org/10.1038/scientificamerican1098-134.

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5

Offit, Paul. "Motion picture sickness." New Scientist 230, no. 3070 (April 2016): 20–21. http://dx.doi.org/10.1016/s0262-4079(16)30705-9.

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6

Jeffries, Judson L. "Jordan Peele (Dir.), Us (Motion Picture), Universal Pictures." Journal of African American Studies 24, no. 2 (April 14, 2020): 288–96. http://dx.doi.org/10.1007/s12111-020-09470-x.

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7

Trotto, Paul A., and Robert J. Tracy. "The Effect of Implied Motion on the Recall of Interactive Pictures." Imagination, Cognition and Personality 13, no. 3 (March 1994): 249–58. http://dx.doi.org/10.2190/xmb4-47dd-ceth-xuh9.

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The literature has customarily defined interaction between pictured objects in two ways. First, interaction has been defined as simply a conjoined union or physical touching of objects within a given picture scene. The second definition portrays interaction as predetermined action or implied motion between the pictured objects. Researchers typically assume these two modes of defining interaction as essentially equivalent. Generally stated, the purpose of this study was to uncover the effect that implied motion has on the processing of visual information. A factorial design was conducted with dependent variables being imageability, nameability, and recall of pictured objects. Independent variables were implied motion and viewing time. Results showed that implied motion pictures presented at a short viewing time were more nameable and better recalled than stationary pictures presented at a short viewing time. But when subjects were given more time to view visual information, implied motion and stationary pictures were equally nameable and recalled. The results indicate that when visual information is presented for a sufficiently short time, implied motion heightens the availability of a verbal code.
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8

Christopherson, S., and M. Storper. "The City as Studio; The World as Back Lot: The Impact of Vertical Disintegration on the Location of the Motion Picture Industry." Environment and Planning D: Society and Space 4, no. 3 (September 1986): 305–20. http://dx.doi.org/10.1068/d040305.

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Motion picture production is currently carried out by small firms under contract to an independent producer rather than in large integrated firms, the major studios. In this paper the emergence of this vertically disintegrated industry is traced and its impact on the location of the motion picture industry is analyzed. Vertical disintegration has led to a reagglomeration of motion picture employment and establishments in Los Angeles, despite the dispersal of film shooting throughout the world. The processes that are shaping the present-day organization of motion pictures can be observed across a range of industries. An examination of these processes in motion pictures suggests that their association with reagglomeration in urban centers could have an important impact on patterns of urbanization.
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9

Watt, Fiona M., and Richard Sever. "Consortia – the motion picture." Journal of Cell Science 118, no. 21 (November 1, 2005): 4915. http://dx.doi.org/10.1242/jcs.118.21.4915.

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10

Fovet, Frederic. "120 BPM [Motion Picture]." Journal of Homosexuality 66, no. 11 (October 18, 2018): 1626–28. http://dx.doi.org/10.1080/00918369.2018.1517498.

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11

Finnie, Paul, and Yoshikazu Homma. "Epitaxy: the motion picture." Surface Science 500, no. 1-3 (March 2002): 437–57. http://dx.doi.org/10.1016/s0039-6028(01)01730-7.

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12

Cleveland, David. "Preservation of motion picture films." Journal of Audiovisual Media in Medicine 8, no. 4 (January 1985): 133–36. http://dx.doi.org/10.3109/17453058509155997.

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13

Umenhoffer, Tamás, László Szécsi, and László Szirmay-Kalos. "Hatching for Motion Picture Production." Computer Graphics Forum 30, no. 2 (April 2011): 533–42. http://dx.doi.org/10.1111/j.1467-8659.2011.01878.x.

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14

TERAMATSU, Shogo, Tetsu NAGASAKA, Ryoichi HASEGAWA, and Hiroshi KAMADA. "Motion Picture Color Learning System." Journal of JSEE 67, no. 6 (2019): 6_47–6_52. http://dx.doi.org/10.4307/jsee.67.6_47.

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15

Holman, Tomlinson. "Motion picture theater loudspeaker system." Journal of the Acoustical Society of America 81, no. 5 (May 1987): 1662. http://dx.doi.org/10.1121/1.395048.

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16

Abramson, Nils. "Motion picture of short pulses." Nature Photonics 5, no. 7 (June 30, 2011): 389–90. http://dx.doi.org/10.1038/nphoton.2011.138.

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17

L., Jagath J., Shalij P. R, and Haris Naduthodi. "Motion Picture Data Management System." International Journal of Business Innovation and Research 1, no. 1 (2020): 1. http://dx.doi.org/10.1504/ijbir.2020.10034213.

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18

Jenkins, C. Francis. "History of the Motion Picture." SMPTE Journal 98, no. 3 (March 1989): 188–94. http://dx.doi.org/10.5594/j02808.

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19

Kennel, Glenn, John Pytlak, Richard Sehlin, and Ronald Uhlig. "Major Motion-Picture Production Standards." SMPTE Journal 97, no. 12 (December 1988): 985–90. http://dx.doi.org/10.5594/j02849.

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20

Ward, Anne. "Trash Trout Motion Picture Show." Journal of Appalachian Studies 29, no. 1 (April 1, 2023): 132–36. http://dx.doi.org/10.5406/23288612.29.1.10.

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21

Stauder, Jurgen, Corinne Porée, Patrick Morvan, and Laurent Blondé. "Gamut Mapping for Motion Picture." Conference on Colour in Graphics, Imaging, and Vision 5, no. 1 (January 1, 2010): 380–86. http://dx.doi.org/10.2352/cgiv.2010.5.1.art00060.

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22

Lee, Sangjoon. "Creating an anti-communist motion picture producers’ network in Asia: the Asia Foundation, Asia Pictures, and the Korean Motion Picture Cultural Association." Historical Journal of Film, Radio and Television 37, no. 3 (March 10, 2016): 517–38. http://dx.doi.org/10.1080/01439685.2016.1157292.

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23

Cemelelioğlu Altın, Nur, and Hami Onur Bingöl. "Place of flip book animation technique in communication design education." Journal of Human Sciences 15, no. 2 (May 22, 2018): 943. http://dx.doi.org/10.14687/jhs.v15i2.5346.

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Due to the interdisciplinary nature of design education, it has a very broad spectrum ranging from motion picture to informative design methods. Animation techniques are also one of the important parts of this wide variety of work. Today, almost every institution is involved in animation techniques in design education. Animation with various application methods is the field where the most creative examples of motion pictures are revealed. The purpose of this research is to discuss the place of flip book animation in design education and to investigate its contributions to design education, which is one of the creative animation techniques.It is considerably significant that students experience how the form of motion pictures is created through one of the methods at a beginning level and understand the nature of motion picture in design education process. Flip book animation, is a method by which students will be able to grasp the logic of creating motion pictures using static drawing or photography. Flip book animation is one of the first animation techniques to be achieved by combining successive still images processed with different surfaces. It may be considered as an old and outdated motion pictures technique for that reason, yet there are still flip book festivals and it is used as an effective method in teaching animation process.
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24

Scott, Tom. "SMPTE Progress Report: Engineering, Motion Picture." SMPTE Motion Imaging Journal 116, no. 9 (September 2007): 331. http://dx.doi.org/10.5594/j16064.

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25

Golitzinsky, Michel. "Motion Picture Laboratory Services Technology (L6)." SMPTE Motion Imaging Journal 116, no. 9 (September 2007): 344. http://dx.doi.org/10.5594/j16075.

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26

Ponech, Trevor. "Visual Perception and Motion Picture Spectatorship." Cinema Journal 37, no. 1 (1997): 85. http://dx.doi.org/10.2307/1225691.

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27

Yeston, Jake. "Motion picture of a conical intersection." Science 361, no. 6397 (July 5, 2018): 38.11–40. http://dx.doi.org/10.1126/science.361.6397.38-k.

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28

Wakabayashi, Akio, and Asami Katsumata. "The Motion Picture Mind-Reading Test." Journal of Individual Differences 32, no. 2 (January 2011): 55–64. http://dx.doi.org/10.1027/1614-0001/a000034.

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The Motion Picture Mind Reading (MPMR) Test is a novel naturalistic mind-reading task, designed to measure individual differences in a young adult population in Japan. Short scenes from TV films showing characters in social situations were presented to 128 university students; participants judged the mental state of a character in these films. The distribution of task performance (MPMR Test) of participants was approximately normal and its psychometric properties were found to be satisfactory. The MPMR Test scores correlated positively with those of the Eyes Test and also with scores on the empathy quotient (EQ); they correlated negatively with scores on the systemizing quotient (SQ). The MPMR Test provides a further method for assessing subtle individual differences in mind-reading ability in the general population.
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29

Baetens, Jan. "Still: American Silent Motion Picture Photography." History of Photography 38, no. 3 (July 3, 2014): 317–19. http://dx.doi.org/10.1080/03087298.2014.912500.

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30

Kubick, Chris, and Anne Walsh. "Sound Library: A Motion Picture Event." Leonardo Music Journal 16 (December 2006): 54–55. http://dx.doi.org/10.1162/lmj.2006.16.54.

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31

Kim, Hyounggon, and Sarah L. Richardson. "Motion picture impacts on destination images." Annals of Tourism Research 30, no. 1 (January 2003): 216–37. http://dx.doi.org/10.1016/s0160-7383(02)00062-2.

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32

Koltz, Rebecca. "Open Water 2: Adrift [Motion Picture]." Journal of Creativity in Mental Health 3, no. 2 (July 31, 2008): 175–78. http://dx.doi.org/10.1080/15401380802226687.

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33

Cochrane, Robert H. "Beginning of motion picture press agenting." Film History: An International Journal 19, no. 3 (September 2007): 330–32. http://dx.doi.org/10.2979/fil.2007.19.3.330.

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34

Murphy, Shawn. "Motion Picture Scoring Stages an Overview." Acoustics Today 9, no. 2 (2013): 22. http://dx.doi.org/10.1121/1.4817490.

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35

Griffen, Ann P. "Packaging Innovations for Motion-Picture Films." SMPTE Journal 98, no. 3 (March 1989): 184–87. http://dx.doi.org/10.5594/j02807.

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36

Sasaki, H., K. Karaki, M. Mitsunaga, and N. Uesugi. "Holographic motion picture: theory and observations." Journal of Luminescence 64, no. 1-6 (May 1995): 273–81. http://dx.doi.org/10.1016/0022-2313(95)00042-o.

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37

Stauder, Jürgen, Corinne Porée, Patrick Morvan, and Laurent Blondé. "Motion Picture Versioning by Gamut Mapping." Color and Imaging Conference 18, no. 1 (January 1, 2010): 178–83. http://dx.doi.org/10.2352/cic.2010.18.1.art00031.

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38

Wicks, Frank. "Picture This." Mechanical Engineering 126, no. 07 (July 1, 2004): 32–35. http://dx.doi.org/10.1115/1.2004-jul-3.

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This article highlights that the adage, a picture is worth a thousand words, is a flawed understatement. Our memories, knowledge, and opinions rely heavily on pictures. Words can only provide an explanation to information contained in a good picture. Time always moves forward, but a picture allows us to look back to some prior moment in time. Photography, which means writing with light, would require replacing the artist’s paper with a chemically coated screen, exposing the screen to the image, and then stabilizing the resulting picture. The first practical photographic process was announced in France in 1839 by Louis Daguerre, who had achieved fame as a designer of theater stages and lighting effects. George Eastman built a magnificent Colonial Revival Mansion on East Avenue in Rochester in 1905. It is a National Historic Landmark and is chartered by the State of New York as the International Museum of Photography and Film. It displays a rare collection of photographs, cameras, projectors, books, and motion pictures.
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39

NAKAZONO, Kaoru. "Motion Detection from Animated Sign Language Picture Using Motion Vector." Journal of the Visualization Society of Japan 23, Supplement1 (2003): 331–34. http://dx.doi.org/10.3154/jvs.23.supplement1_331.

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40

Nakasu, Eisuke, Kikufumi Kanda, Atsuro Ichigaya, Masaaki Kurozumi, and Yukihiro Nishida. "Picture Quality Assessment Test for Digitally Coded Motion Pictures in Multi-Formats." Journal of The Institute of Image Information and Television Engineers 62, no. 2 (2008): 262–70. http://dx.doi.org/10.3169/itej.62.262.

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41

Schwester, Richard W. "Tenets of Public Management and the World War II Mot ion Picture Genre." Public Voices 11, no. 1 (December 8, 2016): 41. http://dx.doi.org/10.22140/pv.100.

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The motion picture as an artistic medium amplifies emotions through the combination of imagery and sound. This medium has proven ideal for chronicling the American World War II experience. The World War II film genre has portrayed the American combat soldier as heroic and resourceful (Suid 2002). These portrayals of actions and leadership on the battlefield are, to some measure, applicable to contemporary public management. This paper examines select World War II motion pictures in the context of the following questions: (1) what tenets do these motion pictures convey and (2) to what extent do these tenets apply topublic management? Patton (1970), Saving Private Ryan (1998), and The Great Escape (1963) are examined
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42

ECHIZEN, ISAO, YASUHIRO FUJII, TAKAAKI YAMADA, SATORU TEZUKA, and HIROSHI YOSHIURA. "PERCEPTUALLY ADAPTIVE VIDEO WATERMARKING USING MOTION ESTIMATION." International Journal of Image and Graphics 05, no. 01 (January 2005): 89–109. http://dx.doi.org/10.1142/s0219467805001677.

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Video watermarks must maintain picture quality and withstand image processing, and resolving the tradeoff between these conflicting requirements has been one of the central problems in research on video watermarking. This paper shows that watermarks are less perceptible where picture contents are moving and proposes a new criterion for measuring watermark imperceptibility from motion vectors and deformation quantities. It also proposes a watermarking method that uses this criterion to allocate watermarks to picture areas adaptively. Experimental evaluation showed that the proposed method reduces degradation in picture quality and that, for the same picture quality after MPEG encoding and decoding, between 30% and 40% more watermarks can be embedded, improving detection reliability after MPEG processing by an average of 9.5%. The proposed method would be most effective when used with MPEG encoders because they already have the necessary motion estimation functions.
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43

DuMont, C. L., A. F. Kurtz, B. D. Silverstein, and D. H. Kirkpatrick. "Design Improvements for Motion Picture Film Projectors." SMPTE Journal 110, no. 11 (November 2001): 785–91. http://dx.doi.org/10.5594/j16428.

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44

정성욱. "Korea-Japan Overseas Motion Picture Subject Comparison." Journal of the society of Japanese Language and Literature, Japanology ll, no. 40 (February 2008): 317–38. http://dx.doi.org/10.21792/trijpn.2008..40.016.

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45

Powell, Steven J., Richard C. Sehlin, Roland J. Zavada, and Mitchell J. Bogdanowicz. "Interface of Motion-Picture Films and Video." SMPTE Journal 95, no. 6 (June 1986): 614–23. http://dx.doi.org/10.5594/j06522.

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46

Mitsunaga, M., H. Sasaki, K. Karaki, and N. Uesugi. "Holographic motion picture by Eu^3+:Y_2SiO_5." Optics Letters 19, no. 10 (May 15, 1994): 752. http://dx.doi.org/10.1364/ol.19.000752.

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47

Gavrilov, E. V., and V. K. Kirillovskii. "Modern motion-picture lenses and their testing." Journal of Optical Technology 72, no. 10 (October 1, 2005): 773. http://dx.doi.org/10.1364/jot.72.000773.

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48

Miyamori, Shinji. "Digital sound recording on motion picture film." Journal of the Acoustical Society of America 102, no. 5 (1997): 2475. http://dx.doi.org/10.1121/1.420424.

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49

Schiefer, P. "Picture processing RAMs (PPRAMs) for motion estimation." IEEE Transactions on Consumer Electronics 38, no. 3 (1992): 570–75. http://dx.doi.org/10.1109/30.156738.

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50

Lubbers, Charles A., and William J. Adams. "Merchandising in the Major Motion Picture Industry." Journal of Promotion Management 10, no. 1-2 (May 11, 2004): 55–63. http://dx.doi.org/10.1300/j057v10n01_05.

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