Academic literature on the topic 'Motion pictures - Psychological aspects'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Motion pictures - Psychological aspects.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Motion pictures - Psychological aspects"
1
Zheleznyak, N. E. "FILM AS A MEANS OF TEACHING AND THERAPY OF PSYCHOEMOTIONAL STATES OF YOUTH AND STUDENTS." Educational Psychology in Polycultural Space 66, no. 2 (2024): 35–49. http://dx.doi.org/10.24888/2073-8439-2024-66-2-35-49.
Full textAbstract:
The article is devoted to the use of cinema as a psychotherapeutic tool in the correction of mental and emotional states of students and youth. Its main purpose is to demonstrate the value and suitability of using motion pictures in the therapeutic process. The means of influence that a film can have on the viewer were analyzed. An attempt is made to analyze the concept of “film therapy” and the list of its components is clarified, the theoretical foundations of the method are analyzed, the main approaches are selected, the most expressive trends of modern psychological practice of using films are described. The article provides a general overview of the available research results on the use of films in therapeutic practice, using publications by Russian and foreign authors. A conceptual and definitional analysis of this phenomenon is carried out, and the most popular views on it are presented. The psychological mechanisms of the impact of films on the viewer, such as catharsis, identification with the hero, are considered. The main stages of the film therapy process are highlighted. It is shown that psychological work using works of cinematography can help young people cope with life difficulties, develop new positive personal qualities, increase tolerance, empathy and offer new ways of understanding specific problems, as well as be useful in learning. The tools of film therapy work are quite wide and can be used in various situations. The most undeveloped and controversial aspects of psychological work with the help of cinema are highlighted, such as the lack of standardized and sufficiently tested materials for work, which requires further research. By analyzing the available materials, it was found that films are an increasingly popular and effective method of therapy for psychoemotional conditions in Russia and the world. The results of the research conducted to date indicate that the use of film images in psychological practice, as well as at training events, gives positive psychotherapeutic effects.
2
Madhona, Rizkyka Hamama, and Yenny. "Representasi Emosional Joker Sebagai Korban kekerasan Dalam Film Joker 2019 (Analisis Semiotika Ferdinand De Saussure)." Soetomo Communication and Humanities 3, no. 1 (May 26, 2022): 1–13. http://dx.doi.org/10.25139/sch.v3i1.4475.
Full textAbstract:
This study aims to explain the emotional representation of the Joker as a victim of violence in the 2019 Joker film based on Ferdinand De Saussure's theory. Joker is a psychological thriller genre film. The film opens with Arthur Fleck trying out various expressions. With a clown-style make-up, Arthur pulled his face in a motion pulling the corners of his lips up to create a smiling facial expression. Arthur then lowered the corners of his lips down to make a sad expression with his lips down, and then pulled his lips back into a smile. A few tears flowed between her black eye makeup. The research method used in this paper is descriptive qualitative. This means that the data used in this study is qualitative data (data that does not consist of numbers) in the form of words and pictures that may be the key to what is being studied. Then the existing data are described from a number of aspects of signs or semiotics in a number of scenes. For example, from the emotional side that appears in a scene, the facial expressions of the actors, the dialogue delivered by the actors, background music and so on. Emotional representation is also shown through messages that are interpreted semiotically based on Ferdinand de Saussure's theory through changes in costumes (markers), from being originally monochrome (dark dominant) to being more colorful, and changes in a person's character from being closed to being more expressive in expressing their feelings sign).
3
Sretić, Stefan. "Program content in relation with compositional and technical solutions found in piano pieces by Modest Mussorgsky." Artefact 7, no. 1 (2021): 33–49. http://dx.doi.org/10.5937/artefact2101033s.
Full textAbstract:
The thesis focuses on the analysis of three program pieces - Catacombs, The Hut on Hen's Legs (Baba Yaga) and The Great Gate of Kiev from the Modest Mussorgsky's piano suite Pictures at an Exhibition. A starting point is the analysis of the wider context out of which the mentioned pieces originated which throws light on the stylistic characteristics of Romanticism, and provides grounds for a detailed pondering on the artistic creations of the iconic composer. The study can be valuable for the pianists and musical pedagogists, as the analysis in its essence explores the ways of interpretation of the mentioned compositions. The article PROGRAM CONTENT IN RELATION WITH COMPOSITIONAL AND TECHNICAL SOLUTIONS FOUND IN PIANO PIECES BY MODEST MUSSORGSKY consists of the following chapters: Introduction, Modest Mussorgsky - Features of Artistic Oeuvre and Musical Language, Pictures at an Exhibition: Catacombs, The Hut on Hen's Legs (Baba Yaga) and The Great Gate of Kiev - Analysis of the Contents and Performance Aspects, Conclusion and References. The introductory part offers an explanation of the research framework, presents the research methods and objectives and gives a short review of the literature used for the study. The following chapters are drafted in such a way as to offer to the reader the important information on the characteristics of Mussorgsky's oeuvre in order to provide for a well-founded introspection of the selected compositions. The central part of the thesis is reserved for the analysis of the compositions, first by presenting their program content, and then by focusing on its bonds with compositional and technical solutions found in each piece. In order to come up with fuller consideration of the employed means of expression and their role in evoking the specific contents, the work offers the author's own solutions, all backed up by notational examples and explanations. The piano suite Pictures at an Exhibition by Mussorgsky is a work of exceptional value, very inspiring for the performer. Pieces contrast with each other in tempo, character, as well as harmonic and expressive means. In addition to achieving it's unity, it is important that each piece is well conceived, that the main points are singled out and that the narrative of each piece is recognized and complied in the interpretation. Taking into account the atmosphere of the piece Catacombs, the performer should keep the chords long enough and move from one to the other without haste. Another important element of the performance is the acoustic connection of the chords without interruption and being out of context, so it is important to listen well to each chord, with a special focus on the sound level just before the next one. Baba Jaga's flight in a large attic is characterized by a constant vertical in the texture, largely composed of octaves and massive chords, frequent leaps and rapid changes of the register along the entire keyboard. In order to evoke the fierce and evil nature of the character, the composer establishes a characteristic rhythmic scheme. The witch's impatient and angry steps are represented by accents on the weak parts of the beat. The invoice is composed of unison, doubled or tripled octaves. With its sumptuous sound, in full piano capacity, the piece The great gate of Kiev completes the work in an imposing way. Inspired by folklore and church motifs, the composer pays tribute to the Russian people, historical heritage, tradition and cultural values. The grand fi nale opens with the long chords of E-flat major, a key that has often been associated with heroism and fame in the history of music. The massive sonority and triumphant character of this theme, which also closes the cycle, can be connected with the sound of a Russian folk melody sung by large masses of people, in a way that symbolizes the vitality of the national spirit. Mussorgsky's melodic line is characterized by a wide range of expressions, in accordance with the aesthetic and psychological principles of individual paintings; it less often contains "long breath" or longer motion in one direction. Of the selected pieces in this work, except in The great gate of Kiev, the melodic lines are mostly comprised of short motifs. The rhythmic component is extremely important for certain pieces of the cycle (among which is certainly baba yaga). Harmony includes unusual and frequent changes of tonal centers, as well as the appearance of modality. Particularly expressive properties of harmony can be observed in the Catacombs, where dissonances are supported by sharp dynamic extremes, with the aim of evoking the psychological state of the observer in the eclipse of ancient Christian hiding places and tombs. The fi nal considerations, which are focused on the contribution of the research, offer possible perspectives for further studies of pianistic poetics as a means of interpretation of program compositions. I believe that my research has contributed to the elucidation of possible perspectives for further reflections on pianistic poetics in the service of interpreting and evoking compositions of a programmatic character. Also, I hope that this work will be useful to all pianists who are looking for their own solutions and personal path to achieving high creative and artistic achievements.
4
Murray, John B. "Psychophysiological Aspects of Motion Sickness." Perceptual and Motor Skills 85, no. 3_suppl (December 1997): 1163–67. http://dx.doi.org/10.2466/pms.1997.85.3f.1163.
Full textAbstract:
Motion sickness may occur during travel by sea, automobile, airplane, and space. Susceptibility changes with age and may be influenced by psychological factors. Susceptibility can be reduced in most people by medications that involve histamine or neurotransmitters acetylcholine and noradrenaline, and influence the vestibular system.
5
Jiménez, Paul, Anita Dunkl, Kerstin Eibel, Elisabeth Denk, Vincent Grote, Christina Kelz, and Maximilian Moser. "Evaluating Psychological Aspects of Wood and Laminate Products in Indoor Settings with Pictures." Forest Products Journal 65, no. 5-6 (September 2015): 263–71. http://dx.doi.org/10.13073/fpj-d-14-00003.
Full text
6
Frenţiu, Luminiţa, and Codruţa Goşa. "From West to East: Romeo Must Die but Shakespeare is the Sun." Romanian Journal of English Studies 11, no. 1 (March 1, 2014): 167–82. http://dx.doi.org/10.2478/rjes-2014-0021.
Full textAbstract:
Abstract The paper presents a mini survey of the hallmark English language motion pictures which are explicitly based on William Shakespeare’s Romeo and Juliet. The selection of the six films under investigation takes into account various criteria such as aspects of chronology, culture, impact or novelty of approach. The analysis is based on four categories: genre, auteurism (authorship), reception and verisimilitude.
7
Basilowski, M., B. Schönfeld, S. Esser, A. Jatho, M. Kownatka, J. Signerski-Krieger, H. Esselmann, et al. "From Bones to Brain: 50 Years of Star Trek and Changes in the Stigmatization of Psychological Disorders." Current Psychology 39, no. 5 (May 19, 2018): 1705–14. http://dx.doi.org/10.1007/s12144-018-9868-9.
Full textAbstract:
Abstract The Star Trek franchise currently includes five spin-off series and 13 motion pictures. Star Trek’s central theme is the utopian future of mankind, but the series does not disregard issues that were socially relevant for its time of production. Therefore, Star Trek has functioned as a representation of history throughout its 50-year lifespan. This paper conducts a comparative analysis of fictional representations of psychological disorders and corresponding treatments to retrace the cultural changes in the portrayal and treatment of psychological disorders from the 1960s to the turn of the millennium. Video material produced between 1966 and 1999 was analysed with a focus on psychological disorders and coded according to the ICD-10. The results of the quantitative analysis indicate that the different Star Trek series demonstrate similar patterns of percentage distributions for psychological disorders. The qualitative analysis shows that psychological disorders were portrayed and treated in an increasingly realistic fashion. Changes in society’s attitude towards psychological disorders can be comprehensively illustrated through Star Trek episodes produced through 1999. Psychological phenomena are increasingly destigmatized, and the necessity of treatment has not been disregarded.
8
Khorob, S. I. "THE CREATION OF A CINEMA WORLD AS A FICTIONAL PROCESS (ON THE MATERIAL OF FILMS OF UKRAINIAN “POETIC CINEMA”)." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 2(54) (January 22, 2019): 288–97. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-288-297.
Full textAbstract:
The article considers some aspects of a creative process over the film. On the example of motion pictures of the representatives of the Ukrainian “poetic cinema”, as well as of the creative work of their producers the attempt is made to single out peculiarities of psychology of creative work, its phases and stages. It is proved that such movies as “Tini zabutykh predkiv”, “Propala hramota”, “Vechir na Ivana Kupala”, “Kaminnyi khrest”, “Vavylon XX” and their creators substantially renewed the aesthetics of the cinematographic art of Ukraine.
9
Sumiharti, Sumiharti, and Sainil Amral. "Bentuk Pengungkapan Citraan pada Aspek Kejiwaan dalam Sajak Penyair Jambi Dimas Arika Miharja." Jurnal Ilmiah Dikdaya 13, no. 2 (October 3, 2023): 566. http://dx.doi.org/10.33087/dikdaya.v13i2.527.
Full textAbstract:
This research is included in the type of descriptive research with a content analysis approach to documents in the form of poetry literary works. The purpose of this study is to describe the type of image revealing psychological aspects contained in the poems of Jambi poet Dimas Arka Mihardja. The primary data in this study are words or sentences in the form of expressions contained in poems by Jambi poet Dimas Arka Mihardja which are related to the image of revealing psychological aspects. While the source of data in this study is the Anthology of Jambi Poetry Poems by Dimas Arka Mihardja. Research data were collected using documentation study techniques. The research data were analyzed using document analysis techniques that rely on rhyme discourse containing psychiatric aspects. From the results of the study, it was found that the poems of Jambi poet Dimas Arka Mihardja contained many forms of imaging revealing psychological aspects in the form of visual images, auditory images, olfactory images, taste images and motion images. Psychiatric aspects found include depression, obsession, irritation, fear, frustration, hope, attention, and anxiety.
10
Oliveira Lopes, Rui. "A New Light on the Shadows of Heavenly Bodies." Religion and the Arts 20, no. 1-2 (2016): 160–96. http://dx.doi.org/10.1163/15685292-02001008.
Full textAbstract:
The distinct tradition of Indian shadow puppetry has been the subject of much interest among scholars, focusing mainly on its origin, the mutual exchange between different regions across Asia, and the relationship between theater performance and popular culture. This study discusses the similarities of shadow puppets with temple mural painting and loose-leaf paintings, and shows how puppets may have shifted technically from narrative paintings on loose-leaf folios toward motion pictures, in order to create a more interactive link between the audience and the storyteller. The first part of this paper explores the archetypal and psychological meanings of shadow in Indian culture and religion, as well as its relationship with the origins of painting. The main issues include archetypal references to the shadow of Hindu gods described in Vedic, epic, and Purāņic sources, the use of prototypes to transmit knowledge to humankind, and the analysis of shadow puppets as moving pictures. Secondly, the paper analyzes the materiality of puppets and their consistency with Indian aesthetics and art criticism in the form of theoretical principles found in classical texts and art treatises such as the Nāțyaśāstra, the Viṣṇudhārmottāra, and the Śilpaśāstra.
Dissertations / Theses on the topic "Motion pictures - Psychological aspects"
1
Bardsley, Karen. "Out of sight : resemblance, illusion and cinematic perception." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84465.
Full textAbstract:
In my thesis I develop a theory of our mental, physiological and emotional involvement with motion pictures that accounts for the distinct role of perception in our cinematic experiences. In particular, I present a (limited) resemblance view of cinematic perception and depiction that begins with an analysis of motion picture screenings as events in the world to which audience members share perceptual access and to which we can attribute complex visual and auditory properties. By understanding the precise nature of these properties and by understanding the mind's rich and dynamic relationship to visual and auditory stimuli, we can meet the demand of explaining the essential contribution of perception to our cinematic experiences. This positive theory is introduced through a philosophical and empirical critique of the work of several contemporary "cognitivist" film theorists who can been faulted for (i) falling into the traps of traditional illusion accounts, (ii) failing to account for the perceptual nature of our film experiences, or (iii) incorrectly characterizing the nature of our perceptual relationship to cinematic content.
2
Rassos, Effie School of Media Film & Theatre UNSW. "Everyday narratives - reconsidering filmic temporality and spectatorial affect through the quotidian." Awarded by:University of New South Wales. School of Media, Film & Theatre, 2005. http://handle.unsw.edu.au/1959.4/25717.
Full textAbstract:
This thesis takes as its focus the relation between particular constructions of filmic time and the resulting affective and emotional experiences these temporalities produce on a spectatorial level. This connection between time and affect is thought through more specifically here in relation to an idea of the everyday not only as a thematic concern with the minutia of routine daily existence but also as distinct, and yet shifting, conceptions of filmic and viewing time. While film studies has often approached the temporal construction of the quotidian through the rubric of ???real time,??? I explore different articulations of the everyday in a number of film practices through the writings of Henri Lefebvre. As a sociologist and philosopher preoccupied with the revolutionary quality of everyday time in both material reality and art practices including film, Lefebvre???s work enables this thesis to approach film as an especially potent and significant site for affective experiences of time and of the everyday. Beginning with John Cassavetes??? Faces (1968) and an analysis of an affective everyday temporality that film is able to produce as a temporal medium, this thesis goes on to consider the quotidian through photography and stillness in Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975), dying and witnessing via Silverlake Life: The View from Here (Tom Joslin and Peter Friedman, 1993), and finally melodrama and unrequited love in Wong Kar-wai???s In the Mood for Love (Huayang Nianhua, 2000). In the analysis of these films and videos, this thesis draws on film debates explicitly concerned with time as well as focusing on those places in philosophy and critical theory where a promising and productive articulation of film and its inscription of time and affect can be found and conceptualised. In this investigation, the everyday as both a temporal construction and a spectatorial affective experience is a means to reflect on the cinema as a continually shifting and dynamic affective site.
3
Mercer, Nicholas R. "Thinking the commodity through the moving image : a philosophical investigation into cinematic consciousness and the commodity as a mode of communication." University of Western Australia. English and Cultural Studies Discipline Group, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0261.
Full textAbstract:
This thesis explores the historical, theoretical and philosophical development of cinematic media as a collective form of technological perception and consciousness. Central to my inquiry is the philosophical notion that with the invention of cinema emerges a cyborg vision, a new modern mechanics of thinking that extends the phenomenological and epistemological experience of human perception and knowledge into hitherto unknown realms of thinking, sensation and being. Drawing on some of the key cultural thinkers and philosophers of the twentieth century, including Walter Benjamin and Gilles Deleuze, as well as contemporary philosophers of media such as Jonathan Beller, Sean Cubitt, D.N. Rodowick and Mark B. Hansen, my research into the philosophy of cinema and digital media articulates a branch of media theory that reads the political economy of the moving image through an amalgam of continental philosophy, marxist theory and film studies. Coterminous with the investigation into the philosophical object of cinematic or media consciousness, the thesis also endeavors to map the historical genealogy of the moving image as it evolves from the industrial mechanics of cinematic technologies to the virtual informatics of digital culture. Central to this inquiry is the idea that the history of cinematic and visual media is inextricably connected with the rise, towards the end of the twentieth century, of postmodern consumer culture and the global information society. The transition from a modern industrial economy to a postmodern information economy that reorganises the logic of production according to the 'variables' of scientific knowledge, communication and informational technologies, parallels a metamorphosis in our media consciousness as the representational ontology of cinematic moving image is transformed by the virtual ontology of the digital image. The first part of my thesis looks at the period of industrial cinema, focusing on Soviet constructivism and the films of Dziga Vertov and Sergei Eisenstein. In this section I trace the origins of cinema as a mode of communication for the commodity, examining how the modern cinematic imaginary opens up new economies of vision and sensation for capital. Following this investigation into what Jonathan Beller calls the cinematic mode of production, the second part of my thesis proceeds to investigate how cinematic consciousness is transformed from the industrial to the post-industrial era. Taking Deleuze's historiographical demarcation of cinema into the two regimes of the 'movement-image' and the 'time-image' as a philosophical frame, the second section of my thesis investigates how in the post-war films of the Italian neorealists and Michelengelo Antonioni our cinematic consciousness develops a new way of thinking the ontology of time and space. This analysis leads into my discussion of how in the age of digital special effects and the Hollywood blockbuster, cinematic consciousness is further expanded with the time-consciousness of the 'virtual' as our bodies attempt to accommodate the heightened flows of information that bombard our senses in the interfaces of digital culture.
4
Roesch, Stefan, and n/a. "There and back again - comparative case studies of film location tourists� on-site behaviour and experiences." University of Otago. Department of Tourism, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080211.090920.
Full textAbstract:
Over the last decade, film location tourism has been established as a niche segment in the tourism industry. While this niche has attracted attention from both researchers and marketers alike, not much knowledge has been accumulated about the tourist encounter itself. It is the main purpose of this thesis to research on-site behavioural and experiential aspects of the film location encounter.
For the overall research design, an inductive, comparative case-study approach was implemented. Three cases were selected for this research: The Lord of the Rings locations in New Zealand, The Sound of Music locations in Austria and Star Wars locations in Tunisia. The applied methods are participant observation, image-based data and semi-structured interviews. The data collection was conducted while participating in organised film location tows in order to secure access to the informants.
The first fundamental outcome of this research is that there is no 'film location tourist' as such. People who travel to film locations come from different socio-economic backgrounds, comprise all age groups and possess varying degrees of fandom. The majority of film location tourists, however, have one thing in common, regardless of the underlying movie genre: the longing to connect with the imaginary world of the film by visiting the physical and thus 'real' location places. These places are consumed in two ways: as places of spectacle and as sacred places.
The nature of the location consumption is dependent on a number of factors, including the degree of fandom of the consumers, the attractiveness of the encountered locations, the consistency of the interpretive community, the amount and nature of external distortions and, if applicable, the structure of the location tour. Means of consumption of film locations as spectacle are formal posing, sight recordings and shot re-creations. When experiencing film locations as sacred places, shot re-creations, mental simulations and filmic re-enactments occur. The latter form of consumption can result in a symbiosis between the imaginary and the real place component: the gazing subject becomes the previously (photographed) object.
Regardless of the degree of experiential satisfaction, film location tourists want to bring some of the magic back home. This is achieved not only via mental pictures and physical photographs, but also through souvenirs. These can be off- or on-site. Regarding the latter, these souvenirs are almost holy relics, brought home from a successful pilgrimage and subsequently framed and displayed in an altar-like fashion. The benefits from this are not only self-pride and satisfaction, but also the distinction to other movie fans who have not been able to do the journey themselves. Thus, the person in possession of such a relic gains privileged status amongst peers which in turn raises the satisfaction with the location encounter.
The film location experience cycle comes to a full closure by re-watching the movie. This procedure involves a renewed connection to both the imaginary filmic places as well as the real locations visited. The filmic gaze is extended, as the movie scenes are now seen as part of a real place which extends beyond the filmic sight.
Keywords: Film location tourism - multiple, comparative on-site case study inquiry - film locations as spatial and temporal constructs - the film location tourist encounter - behavioural and experiential interactions with place.
5
Fleming, David H. "Drugs, danger, delusions (and Deleuzians?) : extreme film-philosophy journeys into and beyond the parallel body and mind." Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/985.
Full textAbstract:
Drugs, Danger, Delusions (and Deleuzians?) opens up a philosophical investigation into a series of ‘extreme’ mind and body films drawn from different historical contexts. Through two sections and four distinct chapters, cinema is explored as an agent of becoming that allows viewers to think and feel in an affected manner. Investigating a broad spectrum of extreme narratives focusing on drugs, hooligan violence, insomnia and madness, the project provides a focused historical understanding of the films’ affective regimes and aesthetic agendas. The different lines of flight and escape explored on-screen all somehow appear to spiral around the same issues, concepts, ideas and philosophies. Utilising the cinematic theories of Gilles Deleuze along with his philosophical work co-authored with Félix Guattari, the thesis aims to investigate a range of related films, that in the extreme, reveal underlying models of an integrated or parallel mind and body and immanently embedded identity; wherein the concept of a stable and fixed being is replaced by that of a fluid becoming. All chapters investigate how immanently embedded characters embark upon extreme or dangerous lines of escape, where the reinvention of living and thinking is explored and made visible. The first section investigates a range of ‘head-films’ that take the mind as their theme, but are found to plicate and expand consciousness into the parallel body. The second section investigates extreme body films that push the sensory-motor schema to its limits so that thought, perception and consciousness become affected. The two interrelated sections investigate how the films and filmmakers employ different regimes of mind and body cinema to aesthetically convey and relay these concepts to the spectator. The project thus strives to develop Deleuzian paradigms beyond their original scope to explore parallel-image regimes and sequences that allow spectators to think and feel the films’ underlying philosophical concepts and positions.
6
Smolenski, Kristina Lyn. "High fidelity: Adapting narcissism to film." CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2101.
Full text
7
Gérard, Fabien. "La certitude et de doute: recherche du mystère et quête identitaire dans le cinéma de Bernardo Bertolucci." Doctoral thesis, Universite Libre de Bruxelles, 2002. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211352.
Full text
8
Chan, Shuen-yan, and 陳旋茵. "History and memory in Hou Hsiao-hsien's A City of Sadness and Tian Zhuangzhuang's The Blue Kite." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31951843.
Full text
9
Ntsane, Ntsane Steve. "The dual world metaphor and the 'struggle' in selected South African and African films (1948 to 1996)." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53628.
Full textAbstract:
Thesis (MA)--Stellenbosch University, 2003.ENGLISH ABSTRACT: The terminology used in segregationist discourse that South Africa is a combination of 'first world' and 'third world' elements has been appropriated from an international discourse about problems of world-wide socio-economic development. The terms are used to describe the sophisticated metropolitan areas inhabited by highly developed whites and simple, backward, isolated, rural regions occupied by undeveloped or underdeveloped blacks. However, in South Africa this dual world metaphor, which has socio-political implications that have brought great misfortune to blacks, was institutionalised by apartheid, with the consequences that blacks have expressed their resistance in what became known as the 'struggle' against the dualist system. Selected South African and African films whose themes have a bearing on such a socio-economic system are explored in this thesis. A supplementary exploration of films dealing with the theme of the 'struggle', which has become a metaphor for the 'generations of resistance', has been undertaken by means ofa detailed analysis. The interpretation of 'development' in this thesis finds a link betweeen the dualist paradigm, the perpetuation of poverty and the migratory labour system. The peculiar relationship which the 'struggle' has had with the cultures of black people, in which there is a mutual influence between the 'struggle' and the nature of these cultures, is explored in the relevant films. However, this thesis offers no solutions, but exposes a VICIOUS system which IS threatening to gain world ascendency.
AFRIKAANSE OPSOMMING: Die terminologie gebruik in die segregasie-diskoers tot die effek dat Suid-Afrika 'n kombinasie van 'Eerste Wêreld' en 'Derde Wêreld' elemente is, is oorgeneem uit 'n internasionale diskoers wat handeloor wêreld-wye sosio-ekonomiese ontwikkeling. Dié terme word gebruik om die gesofistikeerde metropolitaanse areas bewoon deur hoogsontwikkelde blankes en eenvoudige, agterlike, geïsoleerde, landelike streke beset deur onder- of on-ontwikkelde swartes te beskryf. Maar in Suid-Afrika is hierdie dubbelwêreld metafoor - met die sosio-politiese implikasies daarvan wat tot groot ellende vir swartes aanleiding gegee het - deur Apartheid geïnstitusionaliseer, met die gevolg dat swartes hul weerstand uitgedruk het in wat bekend geword het as die 'struggle' teen dierdie dualistiese sisteem. 'n Keur van films uit Suid-Afrika en die res van Afrika, die tema's waarvan betrekking het op hierdie sosio-ekonomiese sisteem, word ondersoek in hierdie skripsie. 'n Bykomstige ondersoek na films wat handeloor die tematiek van die 'struggle', wat metafories geword het vir die 'generasie van weerstand', is by wyse van 'n meer gedetaileerde analise uitgevoer. Die interpretasie van 'ontwikkeling' in hierdie skripsie ontbloot 'n verband tussen die dualistiese sisteem, die voortsetting van armoede en die sisteem van trekardbeid. Die besonderse manier wat die 'struggle' met die kulture van swart mense verhou, waarin daar 'n wedersydse beïnvloeding tussen die 'struggle' en die aard van die kulture plaasvind, word ondersoek in die relevante films. Hierdie skripsie bied egter geen oplossings nie, maar ontmasker eerder 'n wrede sisteem wat dreig tot wêreld-oorheersing.
10
Ray, Radharani. "The rhetoric of postcolonialism Indian middle cinema and the middle class in the 1990s /." Access restricted to users with UT Austin EID, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3035171.
Full textBooks on the topic "Motion pictures - Psychological aspects"
1
Wolfenstein, Martha. Movies: A psychological study. Glencoe, Ill: Free Press, 1987.
Find full text
2
Per, Persson. Understanding cinema: A psychological theory of moving imagery. Cambridge: Cambridge University Press, 2003.
Find full text
3
Siegfried, Kracauer. From Caligari to Hitler: A psychological history of the German film. Princeton, N.J: Princeton University Press, 2004.
Find full text
4
Botz-Bornstein, Thorsten. Films and dreams: Tarkovsky, Bergman, Sokurov, Kubrick, and Wong Kar-wai. Lanham, MD: Rowman & Littlefield, 2007.
Find full text
5
Ohler, Peter. Kognitive Filmpsychologie: Verarbeitung und mentale Repräsentation narrativer Filme. Münster: MakS Publikationen Münster, 1994.
Find full text
6
Ostaszewski, Jacek. Rozumienie opowiadania filmowego. Kraków: Wydawn. Uniwersytetu Jagiellońskiego, 1999.
Find full text
7
Anderson, Joseph. The reality of illusion: An ecological approach to cognitive film theory. Carbondale: Southern Illinois University Press, 1996.
Find full text
8
Lebeau, Vicky. Lost angels: Psychoanalysis and cinema. London: Routledge, 1995.
Find full text
9
Sobchack, Vivian Carol. Carnal thoughts: Embodiment and moving image culture. Berkeley: University of California Press, 2004.
Find full text
10
Sparks, Tav. Movie yoga: How every film can change your life. Santa Cruz, Calif: Hanford Mead Publishers, Inc., 2009.
Find full textBook chapters on the topic "Motion pictures - Psychological aspects"
1
Molenda, Michael H. "History and Development of Instructional Design and Technology." In Handbook of Open, Distance and Digital Education, 1–18. Singapore: Springer Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-0351-9_4-1.
Full textAbstract:
AbstractThe origins and evolution of instructional technology and instructional design are treated in this chapter as separate concepts, although having intertwined histories. As with other technologies, their origins can be traced to the scientific discoveries on which they are based. Early in the twentieth century, new discoveries in optics and electricity stimulated educators to the adoption of technological innovations such as projected still pictures, motion pictures, and audio recording. Individuals and, later, groups of affiliated professionals promoted enriching learning by adding visual and, later, audiovisual resources where verbal presentations previously dominated. As radio broadcasting grew in the 1930s and then television in the 1950s, these mass media were perceived as ways to reach audiences, in and out of school, with educative audiovisual programs. In the 1960s, the wave of interest in teaching machines incorporating behaviorist psychological technology engendered a shift in identity from audiovisual technologies to all technologies, including psychological ones. As computers became ubiquitous in the 1990s, they became the dominant delivery system, due to their interactive capabilities. With the global spread of the World Wide Web after 1995, networked computers took on communication functions as well as storage and processing functions, giving new momentum to distance education. Meanwhile, research during and after World War II prompted a technology of planning – systems analysis. In the 1960s, educators adapted the systems approach to instructional planning, starting the development of instructional systems design (ISD). Since the 1980s, ISD has been the reigning paradigm for instructional design, while instructional design has become the central activity of instructional technology professionals.
2
Molenda, Michael H. "History and Development of Instructional Design and Technology." In Handbook of Open, Distance and Digital Education, 57–74. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-2080-6_4.
Full textAbstract:
AbstractThe origins and evolution of instructional technology and instructional design are treated in this chapter as separate concepts, although having intertwined histories. As with other technologies, their origins can be traced to the scientific discoveries on which they are based. Early in the twentieth century, new discoveries in optics and electricity stimulated educators to the adoption of technological innovations such as projected still pictures, motion pictures, and audio recording. Individuals and, later, groups of affiliated professionals promoted enriching learning by adding visual and, later, audiovisual resources where verbal presentations previously dominated. As radio broadcasting grew in the 1930s and then television in the 1950s, these mass media were perceived as ways to reach audiences, in and out of school, with educative audiovisual programs. In the 1960s, the wave of interest in teaching machines incorporating behaviorist psychological technology engendered a shift in identity from audiovisual technologies to all technologies, including psychological ones. As computers became ubiquitous in the 1990s, they became the dominant delivery system, due to their interactive capabilities. With the global spread of the World Wide Web after 1995, networked computers took on communication functions as well as storage and processing functions, giving new momentum to distance education. Meanwhile, research during and after World War II prompted a technology of planning – systems analysis. In the 1960s, educators adapted the systems approach to instructional planning, starting the development of instructional systems design (ISD). Since the 1980s, ISD has been the reigning paradigm for instructional design, while instructional design has become the central activity of instructional technology professionals.
3
Bradley, D. C. "Motion Perception: Psychological and Neural Aspects." In International Encyclopedia of the Social & Behavioral Sciences, 10099–105. Elsevier, 2001. http://dx.doi.org/10.1016/b0-08-043076-7/03497-5.
Full text
4
Hochberg, Julian, and Virginia Brooks. "Movies In The Mind’s Eye." In In The Mind’s Eye Julian Hochberg, 376–95. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195176919.003.0020.
Full textAbstract:
Abstract Most writers on film, and most filmmakers, need no science. But any serious discussion of whether the medium was used effectively or artistically in any instance requires some understanding of how we perceive and remember moving pictures, and that must derive from research: Introspection will not serve. Scattered aspects of cognitive science have begun to appear, therefore, in recent writings on film. On the other side of the aisle, students of perception and visual memory cannot afford to ignore moving pictures, but until recently they have mostly confined their attention to low-level motion phenomena, as have introductory film texts. The latter, if they write at all about perception, still proclaim that we perceive motion from successive still frames because of (heavens protect us!) ‘‘persistence of vision.’’ In any case, stroboscopic motion is only a small part of the perception of visual events, which is what film is about.
5
Ladjailia, Ammar, Imed Bouchrika, Nouzha Harrati, and Zohra Mahfouf. "Encoding Human Motion for Automated Activity Recognition in Surveillance Applications." In Applied Video Processing in Surveillance and Monitoring Systems, 170–92. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-1022-2.ch008.
Full textAbstract:
As computing becomes ubiquitous in our modern society, automated recognition of human activities emerges as a crucial topic where it can be applied to many real-life human-centric scenarios such as smart automated surveillance, human computer interaction and automated refereeing. Although the perception of activities is spontaneous for the human visual system, it has proven to be extraordinarily difficult to duplicate this capability into computer vision systems for automated understanding of human behavior. Motion pictures provide even richer and reliable information for the perception of the different biological, social and psychological characteristics of the person such as emotions, actions and personality traits of the subject. In spite of the fact that there is a considerable body of work devoted to human action recognition, most of the methods are evaluated on datasets recorded in simplified settings. More recent research has shifted focus to natural activity recognition in unconstrained scenes with more complex settings.
6
Ladjailia, Ammar, Imed Bouchrika, Nouzha Harrati, and Zohra Mahfouf. "Encoding Human Motion for Automated Activity Recognition in Surveillance Applications." In Computer Vision, 2042–64. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-5204-8.ch089.
Full textAbstract:
As computing becomes ubiquitous in our modern society, automated recognition of human activities emerges as a crucial topic where it can be applied to many real-life human-centric scenarios such as smart automated surveillance, human computer interaction and automated refereeing. Although the perception of activities is spontaneous for the human visual system, it has proven to be extraordinarily difficult to duplicate this capability into computer vision systems for automated understanding of human behavior. Motion pictures provide even richer and reliable information for the perception of the different biological, social and psychological characteristics of the person such as emotions, actions and personality traits of the subject. In spite of the fact that there is a considerable body of work devoted to human action recognition, most of the methods are evaluated on datasets recorded in simplified settings. More recent research has shifted focus to natural activity recognition in unconstrained scenes with more complex settings.
7
Hay, Peter. "Real To Reel." In Movie Anecdotes, 16–28. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780195045949.003.0002.
Full textAbstract:
Abstract Motion pictures, because of the enormous technical complexity involved, is the ultimate art form of our technological era. As Francis Ford Coppola once observed, very few inside the profession are familiar with more than one or two aspects of film-making. And, despite the avalanche of magazines, behind-the-scenes and interview programs, the whole process of how films are made remains a complete mystery to the average moviegoer.
8
Gillespie, Michael Patrick. "Gothic Forms in Irish Cinema." In Irish Gothic, 83–97. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781399500555.003.0005.
Full textAbstract:
Though many Irish films have aspects of the Gothic, their structures generally adhered in a programmatic fashion to the guidelines of Classic Hollywood Cinema, and in this way they are similar to generic motion picture structures that could come from international studios in any part of the world. A select few films have produced uniquely Irish Gothic narratives, that is to say motion pictures that echoed the post-Modern tendencies of German Expressionists with unapologetically fragmented cultural contexts. To underscore these contrasts, this essay offers a sampling of the more conventional approaches and then take a closer look at these truly innovative forms. The construction of the Gothic films touched on underscores the oscillating perspectives of homegrown filmmakers presenting motion pictures contextualized in an environment of evolving characteristics of Irishness. In the twenty-first century, Irish cinema, like all of Irish society, struggles to discern a cultural identity. The Celtic Tiger did much to make Ireland more European, and even after the economic bubble burst those sentiments remain strong. It seems most likely that future Irish Gothic films will increasingly put their national character in brackets and move towards a more post-Modern sensibility.
9
Abe, Akinori. "The Possibility of the Literary Work Generation by Computer." In Computational and Cognitive Approaches to Narratology, 76–90. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0432-0.ch002.
Full textAbstract:
Recently the importance of entertainment for senior citizens and children has been pointed out. Accordingly, it is necessary to develop robots who can write poems, compose music, paint pictures, etc. For that, for instance, an automatic poem or story generation system will be necessary. This chapter will show the possibility of literary-work (poem, story, novel etc.) generation. First, the author introduces the research field, “Language-Sense Processing Engineering (LSE)” where the affective or psychological aspects of language is focused on. The author defined “language sense (the key concept in LSE)” as affective or psychological aspects of language. One of the features can be used for literary work generation is the “intertextuality” proposed by J. Kristeva. The possibility of the automatic literary work generation will be shown by the strategy to generate waka (Japanese poem). In addition, several strategies to generate literary works will be shown to illustrate the possibility of the automatic literary work generation.
10
Hieronymi, Pamela. "What is a will?" In Free Will, 13–20. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197572153.003.0002.
Full textAbstract:
This chapter presents two contrasting pictures of the will. On the first, “the will” is a psychological structure or module within a person that originates spontaneous or endogenous activity, independently of external influence. On the second, “the will” is that collection of ordinary states of mind (cares, concerns, beliefs, desires, commitments, fears, etc.) that generates intentional, voluntary, or responsible activity—it is the functioning together of those aspects of mind that account for human activity. A challenge is posed for each. The challenge for the first is to say how the outputs of this module are the activity of the person. The challenge for the second is to say how psychological activity that might be entirely explained by a person’s history and environment can nonetheless be free and responsible activity. The replies take up an important question about the role of consciousness in each picture.
Conference papers on the topic "Motion pictures - Psychological aspects"
1
Popescu, Dragos marian, Adrian Macovei, Marian Macri, and Andreea mihaela Popescu. "VIRTUAL ENVIRONMENT SICKNESS - A TAKE FROM AVIATION MEDICINE PERSPECTIVE." In eLSE 2017. Carol I National Defence University Publishing House, 2017. http://dx.doi.org/10.12753/2066-026x-17-256.
Full textAbstract:
Virtual Environment (VR) helmets are now mainstream, and a variety of uses arose. We focus here on medical and aeronautical use, with the main goal of identifying and possible counteracting the motion sickness phenomena. Methods: A literature review of the main medical problems associated with VR displays, filtered through personal experience with spatial disorientation, NVG, flight simulators and commercial 3D and VR devices. Discussion: A brief introduction to the physiology of 3D viewing and surround visual field is presented. A history of stereoptical devices will be given, along with the problems that plagued them. Significant differences between optical (accommodation-vergence conflict, depth of focus), technological (resolution, refresh rates, flicker), and psychological problems (involvement, object consistencies) will be given. Virtual environment (VR) sickness depends on factors as realism, immersion and user presence, all required for a successful VR. Current display tech have more than one plague to hinder the perfect VR experience. The mismatch brain experience and expectation and the actual perceived input leads to cybersickness, as an extension to Reason model for motion sickness. The two has more in common than apparent, and it may have a more profound ontologic semnification that we are used to believe. Cybersickness is an unintended psychophysiological response to exposure to the perceptual illusions of virtual environments. Reported symptoms include stomach awareness, burping, salivation, drowsiness, nausea and occasionally even vomiting, as well as disorientation, dizziness, headaches, difficulty focusing, blurred vision and eyestrain. Some factors associated with the VR systems used can induce cybersickness. These include poor calibration and lags resulting from transport delay or update rate. Other factors are refresh rate, flicker, the realism of the display, and spatial properties such as field-of-view and viewing region. Human factors that influence the motion sickness are: degree of experience, participant’s interaction, immersion, flicker sensitivity, race, gender, hormonal status. Military experience with simulator sickness will be reviewed. The most encountered health effects as a general guideline for future studies (like a motion sickness chart): eye strain, general discomfort, nausea, focusing difficulty, headache. Successful usage of a VR display depends on habituation, with three key components: desenzitation, immersion and retention, last one being the hardest to achieve. A review of current commercially available technology types will be given regarding medical aspects. VR devices are useful, but on current state one must still endure. Habituation is unfortunately not transferable. We do not foresee a current operational use as yet.
2
Popescu, Maria magdalena, and Filofteia Repez. "TEACHING DIGITAL IN PANDEMIC TIMES: RECALIBRATING THE CLASSROOM FOR WEB 3.0 STUDENTS." In eLSE 2021. ADL Romania, 2021. http://dx.doi.org/10.12753/2066-026x-21-057.
Full textAbstract:
In post pandemic times when looking forward to the normality is the focus of everyone's attention, research areas abound in papers spinning around the same topic- COVID-19. From disinformation to a mired economy, to the effects on global mobility, education, health, social and political aspects, all papers observe, analyze, count and draw conclusions on what COVID-19 meant for the whole world. Studies vary from a national level approach to the international, continental and global, with a specialist or generalist approach, from analyses on figures from economy and tourism to lexical analyses on occurrences of news topics or frequently used words, to measure society in terms of psychological unrest and confidence, after an invariable introductory section about the context and time COVID-19 first started and where it initiated, to stages of the virus spread and sectors affected. Looked at on the long term, education along with general and mental health are among the most frequently brought under lenses mainly due to the long term isolation consequences on social evolution. In this context, the present paper aims at highlighting the need for a recalibration of the educational process, to tune in with a virtual area, to accommodate a differently represented type of student and a variety of pedagogical approaches to adapt the syllabus and tailor activities to facilitate learning in an environment which has been recently re-purposed to fit and last, to answer and to teach. The universal tool-bag is extremely generous, the technological support products are abundant in apps designed for educational purposes, while the key to set it all in motion is creativity, attention to students' needs, a proper selection of the pedagogical resorts and of the content, in a close combination with specificities of online communication in such contexts. A comparison will be drawn between two apps used for formal synchronous learning, three types of students, and four components in class management, all having one goal, the knowledge transfer.