Academic literature on the topic 'Noah (Motion picture : 2014)'

Abstract In this Letter, we give a detailed analysis of the M3.3 class flare that occurred on 2013 August 17 (SOL2013-08-17T18:16). It presents a clear picture of mutual magnetic interaction initially from the photosphere to the corona via the abrupt rapid shearing motion of a small sunspot before the flare, and then suddenly from the corona back to the photosphere via the sudden retraction motion of the same sunspot during the flare’s impulsive phase. About 10 hr before the flare, a small sunspot in the active region NOAA 11818 started to move northeast along a magnetic polarity inversion line (PIL), creating a shearing motion that changed the quasi-static state of the active region. A filament right above the PIL was activated following the movement of the sunspot and then got partially erupted. The eruption eventually led to the M3.3 flare. The sunspot was then suddenly pulled back to the opposite direction upon the flare onset. During the backward motion, the Lorentz force underwent a simultaneous impulsive change both in magnitude and direction. Its directional change is found to be conformable with the retraction motion. The observation provides direct evidence for the role of the shearing motion of the sunspot in powering and triggering the flare. It especially confirms that the abrupt motion of a sunspot during a solar flare is the result of a backreaction caused by the reconfiguration of the coronal magnetic field.

AbstractAdvertising is commonly used as a major marketing tool by many firms to support their new product release. Quantifying the effectiveness of pre-release advertising campaigns, however, is both challenging, since no sales data are available, and costly, because of the need to conduct consumer surveys. This is especially true for movie industry for which the majority of advertising dollars are spent before the movie’s release. Using the recent availability of online data on consumer search behaviors on a popular website dedicated to the movie industry, we construct a consumer interest measure to help the decision makers evaluate their advertising effectiveness. We build a dynamic model to show how this cost-efficient measure of consumer interest can be used to capture pre-release advertising dynamics, and the impact of advertising on weekly movie revenues starting with the opening week. Using a procedure based on

This study aims to determine the development of a picture and picture learning model for locomotor motion material for fifth grade students at SD Negeri 060890. The research method used by researchers is the Research and Development method. Research and development (R&D) is a basic research activity to obtain information on user needs (needs assessment), then proceed with development activities to produce products and examine the effectiveness of these products (Sugiyono, 2014). Based on the table presented on the previous page, it can be seen that the total score achieved by the teacher in learning through locomotor motion using the picture and picture model with media images at meetings is 35 with Enough criteria. It can be seen in the table, at the meeting that the teacher's skills have not achieved success according to the indicators set. Therefore, at the next meeting the researcher must be able to carry out improvements in learning using poetry writing strategies using picture and picture models with picture media. An effective way for students to avoid pressure is by playing rock-paper-scissors or throwing the ball while singing the rabbit and when the ball stops, it comes forward to show pictures and imitate its movements. After that, the exploration stage. At this stage the teacher forms a discussion group to discuss locomotor movements based on the images shown. The teacher forms this group to make it interesting. In his creations, groups can be made with animal names. And the group imitated the movement based on the animal's name. Next, the teacher provides a learning evaluation. The teacher calls students one by one to imitate what the teacher shows in the picture. Finally, teachers and students reflect on learning. This activity is to get students' responses to the material that has been implemented.

AbstractCrosslinguistic studies of expressions of motion events have found that Talmy's binary typology of verb-framed and satellite-framed languages is reflected in language use. In particular, Manner of motion is relatively more elaborated in satellite-framed languages (e.g., in narrative, picture description, conversation, translation). The present research builds on previous controlled studies of the domain of human motion by eliciting descriptions of a wide range of manners of walking and running filmed in natural circumstances. Descriptions were elicited from speakers of two satellite-framed languages (English, Polish) and three verb-framed languages (French, Spanish, Basque). The sampling of events in this study resulted in four major semantic clusters for these five languages: walking, running, non-canonical gaits (divided into bounce-and-recoil and syncopated movements), and quadrupedal movement (crawling). Counts of verb types found a broad tendency for satellite-framed languages to show greater lexical diversity, along with substantial within group variation. Going beyond most earlier studies, we also examined extended descriptions of manner of movement, isolating types of manner. The following categories of manner were identified and compared: attitude of actor, rate, effort, posture, and motor patterns of legs and feet. Satellite-framed speakers tended to elaborate expressive manner verbs, whereas verb-framed speakers used modification to add manner to neutral motion verbs.

The post-theatrical exhibition has become essential for motion pictures to break even. Nevertheless, besides the first attempts to study TV broadcasters and streaming providers as release windows, academic research in marketing has concentrated primarily on the initial theat-rical release. This article examines factors influencing supply and demand during the sequential release process of the motion picture industry. The authors build a modelling framework to ana-lyze the drivers resulting in comprehensive supply and strong demand in major exhibition win-dows (i.e., during the home video, video-on-demand, and free-to-air TV exhibition). They esti-mate the conceptual model of regressions using market data from Germany, including all 5 200 theater-released motion pictures between 2005 and 2014. The authors expand the existing suc-cess-breeds-success theory and use a winner-takesall theory to explain market supply and de-mand in sequential distribution. The results reveal a limited set of influencing factors (e.g., word-of-mouth communication or certain genres) that increase the probability of comprehensive exhibition and strong demand. Other influencing factors depend on the exhibition window (e.g., age ratings). The results add to existing theories of sequential distribution and can help research-ers and managers improve movie-specific exhibition strategies.

We consider a relativistic heavy quark which moves in the quark-gluon plasmas. By using the holographic methods, we analyze the Langevin diffusion process of this relativistic heavy quark. This heavy quark is described by a trailing string attached to a flavor brane and moving at constant velocity. The fluctuations of this string are related to the thermal correlators and the correlation functions are precisely the kinds of objects that we compute in the gravity dual picture. We obtain the action of the trailing string in hyperscaling violation backgrounds and we then find the equations of motion. These equations lead us to constructing the Langevin correlator which helps us to obtain the Langevin constants. Using the Langevin correlators we derive the spectral densities and simple analytic expressions in the small- and large-frequency limits. We examine our works for planar andR-charged black holes with hyperscaling violation and find new constraints onθin the presence of velocityv.

In recent years, numerous marketing and organizational theorists have called attention to the analogy between jazz and management strategy. From the perspective of this jazz metaphor, key questions concern the implications of jazz training for marketing education. Too often—say, in motion pictures or television dramas—jazz is portrayed as an innocent folk music whose performance requires more feeling than knowledge. This inaccurate stereotype colors the treatment of music instruction found in the film Mr. Holland’s Opus (1995). A contrasting view of jazz as a technically demanding art form appears in the movie Whiplash (2014). These two films also represent diametrically opposed teaching styles—the first nurturing and customer-oriented, the second sadistic and product-oriented. A third motion picture entitled Keep On Keepin’ On (2014) presents a resolution of this dialectic in the form of a marketing-oriented instructor whose method of teaching combines kindness (the customer-oriented thesis) with rigor (the product-oriented antithesis) to achieve a balanced reconciliation (the marketing-oriented synthesis). From this perspective, like jazz training, marketing education is itself embarked on a marketing project that benefits from a rapprochement of customer-oriented and product-oriented impulses to attain a marketing-oriented synthesis. Thus, insights about jazz training become relevant to the challenges of marketing education—as illustrated by various examples from the author’s own experiences.

Cada divendres les cartelleres cinematogràfiques s’omplen de nous títols que cerquen atraure el màxim nombre d’espectadors al cinema. Poques pel·lícules aconseguiran mantenir-se a la gran pantalla durant algunes setmanes; la majoria seran reemplaçades ràpidament per deixar lloc a les noves produccions, que esperen ser estrenades. Des dels anys vuitanta del segle XX molts autors s’han interessat per determinar a partir d’un model matemàtic quins factors ajuden a aconseguir l’èxit d’una pel·lícula i, d’aquesta manera, mitiguen l’alt risc que suposa el negoci cinematogràfic. Algunes de les preguntes que s’han plantejat aquests autors de forma més recurrent són les següents: com responen els espectadors davant l’obtenció d’un premi?, com influeix en el públic incloure en l’elenc un actor reconegut? o quin efecte té la crítica professional en la decisió d’anar al cinema a veure una pel·lícula determinada? El repte principal d’aquesta recerca ha estat adaptar a la realitat del cinema català els criteris que fins ara s’han emprat per analitzar altres indústries cinematogràfiques, sobretot la nord-americana. La disparitat entre el model cultural i industrial d’aquestes dues cinematografies augurava uns resultats significativament diferents. S’ha recollit informació de 267 produccions catalanes estrenades entre els anys 2008 i 2014 i, seguint el treball dels autors consultats, s’ha realitzat una anàlisi multivariable per contrastar de forma conjunta tots els possibles factors que poden intervenir en l’èxit cinematogràfic. Només d’aquesta manera ha estat possible reduir considerablement el nombre de determinants de l’èxit per establir els que realment tenen influència en l’explotació en sala d’una pel·lícula. Els resultats que s’han assolit són reveladors i definidors de la realitat en la qual es desenvolupa la producció de cinema a Catalunya i refermen amb evidències científiques el coneixement subjectiu d’aquest sector. Per tant, el principal valor d’aquesta recerca radica en el contrast objectiu mitjançant una tècnica provada estadísticament, que, en refermar el coneixement subjectiu previ, aporta seguretat a l’hora de prendre mesures i d’actuar sobre la realitat examinada. Una primera conclusió general del treball realitzat és la poca connexió d’una part de la producció cinematogràfica catalana amb els espectadors ja que un terç de la producció catalana del període analitzat no ha estat vista per gairebé cap espectador. En segon lloc, i com a resum de les conclusions que s’han obtingut amb aquesta recerca es pot avançar que els aspectes pressupostaris i l’estructura empresarial del sector són els aspectes que més influeixen en l’èxit d’una pel·lícula catalana, seguits del reconeixement generat pels guardons principals dels premis Goya —i dels premis Gaudí a Catalunya—, que comporta una forta repercussió en el nombre d’espectadors que aconseguirà aquella pel·lícula. Per contra, la presència en festivals no té cap influència en l’èxit intern d’una pel·lícula, però és determinant en la internacionalització. Pel que fa als factors artístics, només s’ha trobat una relació directa entre l’idioma utilitzat per al rodatge i els resultats obtinguts en taquilla. La resta de factors que s’han introduït en l’anàlisi s’han descartat, atès que no aporten informació significativa al model. La comparació de l’anàlisi sectorial amb els resultats del treball empíric assenyala una peculiar coincidència entre els principals problemes que afecten el sector cinematogràfic català i els factors que intervenen en l’èxit de la seva producció: nivell de pressupost i estructura empresarial són factors que limiten la producció cinematogràfica catalana, però, alhora, apareixen com els determinants més influents en la consecució d’uns bons resultats d’explotació, tant al mercat interior (l’espanyol) com a l’exterior (l’europeu).
Every Friday, movie listings fill up with new films seeking to attract as many moviegoers to the cinema as possible, but only a few movies will manage to stay on the big screen for weeks. During the 1980s, many researchers used mathematical models to attempt to determine the factors which help to make a film successful, and so mitigate the high risks involved in the movie business. The main challenge of this study has been to adapt to the Catalan cinema industry the criteria which have been used to analyze other film industries, above all the American industry. Following the work of the researchers consulted, data from 267 new Catalan productions from between 2008 and 2014 was obtained, and a multivariable analysis was carried out to evaluate all the possible factors which might contribute to the success of a film. The results obtained are revealing, and help to clarify the reality of film production in Catalonia, providing scientific evidence to back up the subjective knowledge of the sector. Thus the value of the study lies in employing a statistically proven method to reinforce previously subjective knowledge, and provide security when making key decisions in film-making. To summarize the conclusions obtained in this study, it can be stated that budgetary factors and production company characteristics are the aspects which play the most important role in the success of a Catalan film, followed by the recognition generated by the main awards, the Goyas – and the Gaudi awards in Catalonia – which also have a major impact on the number of moviegoers who choose to see the film. By contrast, movies’ presence at festivals has no influence on the national success of a film but is decisive in its international career. As for artistic factors, it has only been possible to establish a direct relationship between the language in which the film is made and the results at the box office. The rest of the factors introduced in the analysis have been discounted, given that they do not contribute any significant information to the model.

The aim of this research is to explore the idea of the disembedded, creative, unencumbered neo-liberal subject. I explore this within the context of the creative industries and the creative career, firstly because creative workers exemplify a move away from traditional notions of career to more informal precarious and intermittent employment, secondly because they are said to be ‘iconic’ in terms of the new economy (Gill, 2002; Leadbeater and Oakley, 1999; Ross, 2007) and thirdly because the biographical patterns of creative workers and creative careers reflect the structural force of postmodern, reflexive modernity. This thesis investigates the degree to which the guiding ideas and institutional features of modernity and the industrial era (class, gender, family, community) continue to govern the lives of aspiring film and television workers. Beck (1992), Beck and Beck-Gernsheim (2002) and Giddens (1991) for example, argue that the features of traditional life no longer hold sway, and that people’s identities are now reflexively constructed. However, this research finds that there are residual effects of class and gender that continue to shape the biographical narratives and identities of working-class creative aspirants. By conducting a series of semi-structured life history interviews and through participant observation and narrative analysis, this thesis argues that class and gender norms continue to operate at the heart of society and specifically creative work, and that these norms have the capacity to guide people’s trajectories and sense of self.