Relevant bibliographies by topics / Personal films

Academic literature on the topic 'Personal films'

Author: Grafiati
Published: 4 June 2021
Last updated: 19 February 2022

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Journal articles on the topic "Personal films"

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Journal, Baghdad Science. "Study of Stability of Personal Dosimeter." Baghdad Science Journal 6, no. 4 (December 6, 2009): 698–704. http://dx.doi.org/10.21123/bsj.6.4.698-704.

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The study is carried out by using personal dosimeters (film badge). The films are irradiated to absorbed dose of range (0.01-10000 rad). The calibration curves are drawn by using the ordinary method taking into account the filtration effects in three regions (D (Pb/Sn),D(Du),D(300). The calibration films are stored in ambient condition. It is found that the optical density increases, which is attributed to the photodegradation of the films may induce localized states in the energy gap causing increasing in optical absorption, but optical density decreases, which attributed to the photodegradation of the films may cause some cracks at the film surface during the first month, whereas at the rest months we see clear stability in optical density for the irradiated films. Before irradiation, there is increasing in optical density during the second month, and decreasing in optical density during the rest months. It is concluded that aging effects must be considered for personal dosimeter before and after irradiation to know its use ability as a permanent record.
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Maldonado, Nancy S., and Mariann P. Winick. "Films/Videos/DVDs: Public Education and Personal Visions." Childhood Education 81, no. 1 (October 2004): 58–59. http://dx.doi.org/10.1080/00094056.2004.10521298.

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Meade, Melissa R. "Violence, Oppression, and Double Standards in Three Colombian Films." CINEJ Cinema Journal 1, no. 1 (August 4, 2011): 16–23. http://dx.doi.org/10.5195/cinej.2011.13.

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This article compares three Colombian films that tell distinct stories of violence, personal and political oppression, and double standards. The films Confesión a Laura (Confessing to Laura, Jaime Osorio, 1991), La Primera Noche (The First Night, Luis Alberto Restrepo, 2003) and El Rey (The King, José Antonio Dorado, 2004) each highlight the characters’ struggles in the Colombian socio-political landscape. Each film’s content and themes do not merely offer representations of national culture, but also provide a way in which to discuss the political and social struggles of Colombia. The directors explore these stories of violence and socio-political struggle through the use of mis-en-scène, cinematography, sound, and editing.
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Bachrach, Bilha, and Ruth Landau. "Reconstructing the Loss: Bereaved Parents in Personal Commemorative Films." Journal of Loss and Trauma 19, no. 5 (July 14, 2014): 484–95. http://dx.doi.org/10.1080/15325024.2013.806841.

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Marczak, Mariola. "Radosława Piwowarskiego podróże nostalgiczne. Kreowanie pamięci wspólnotowej i „realizm pamięci” w narracjach o Dolinie Dzieciństwa i Młodości." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 28, no. 37 (March 31, 2021): 349–63. http://dx.doi.org/10.14746/i.2020.37.21.

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The article comprises a study of the creative work of the Polish director Radosław Piwowarski, represented by his most characteristic films. The author points out the merger of stylized realism and of the nostalgic (or to be more precise – the realism stylized by means of nostalgia) as constitutive for the film style of this film artist. As a result of film analyses, the narrative structures of Piwowarski’s films appear to be memory structures, as they re-create the reality remembered by the filmmaker, who usually chooses the topos of a trip down memory lane to express his personal and subjective point of view. The film’s story becomes the image of the subjective reality, since it is a product of personal memory, consciousness and imagination. Piwowarski refers to the motif of the Valley of Childhood and Youth, vivid and active in the Polish literature and cinema, as an universum closed up in the past and lost forever, which, however, is accessible through the activity of recalling. The director, by the act of re-creation of a world personally remembered, actualizes the collective memory and therefore creates a community of memory with viewers of his films. The screen image of the past reality therefore gains double reliability – as a personal confession and as a record of the past; in consequence, we achieve the esthetical category of realism of memory.
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Pickering, Barbara A. "Women's Voices as Evidence: Personal Testimony is Pro-Choice Films." Argumentation and Advocacy 40, no. 1 (June 2003): 1–22. http://dx.doi.org/10.1080/00028533.2003.11821594.

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Eken, M. Evren. "How geopolitical becomes personal: Method acting, war films and affect." Journal of International Political Theory 15, no. 2 (March 7, 2019): 210–28. http://dx.doi.org/10.1177/1755088219832328.

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This article is about weaponisation of emotions through visual culture. It interrogates how geopolitics trickles down to everyday life and becomes personal through the embodiment of screen actors. While International Relations is attempting to move beyond the limits of existing disciplinary methods and methodologies to better grasp the emotional depths of world politics, this article delves into the ‘method’ in performance arts to understand how visual culture diffuses emotional narratives of the state to the population and affectively enables people to experience the international from the perspective of the United States. In this sense, focusing on ‘method acting’ which revolutionised performance arts in the United States from the 1950s, the article examines the mundane encounters in visual culture through which screen/state actors emotionally situate the audience to make them viscerally experience geopolitics, personally feel like a state/warrior and embody a commitment to the war effort at an emotional level.
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Dixon, Wheeler Winston. "“All My Films Are Personal”: An Interview with Pat Jackson." Journal of Popular Film and Television 39, no. 4 (November 30, 2011): 150–61. http://dx.doi.org/10.1080/01956051.2011.585669.

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Moehrle, Matthias, and Claus Garbe. "Personal UV Dosimetry by Bacillus subtilis Spore Films." Dermatology 200, no. 1 (2000): 1–5. http://dx.doi.org/10.1159/000018306.

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Jordan, P. Kimberleigh. "Performing Black Subjectivity." Feminist Media Histories 6, no. 3 (2020): 79–103. http://dx.doi.org/10.1525/fmh.2020.6.3.79.

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This article analyzes Black feminist performance through two recently released live performance films. Set a generation apart, Amazing Grace (recorded 1972, released 2018), featuring Aretha Franklin, and Homecoming (2019), featuring Beyoncé, are artful and personal—both inspired by Black culture and the artists' personal histories, and offer virtuoso performances. The article operates in three modes: scholarly, personal, and remembered. The scholarship draws on the work of Hortense Spillers, bell hooks, Daphne Brooks, and others, while the personal and remembered portions consider significant sites of feminist formation that have shaped the author's perceptions and analyses of Black feminist performance in the present. These, along with close readings of the films, tap into Black women's ways of knowing and performing subjectivity.
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Dissertations / Theses on the topic "Personal films"

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Fernandes, Helmut Paulus Kleinsorgen Paes Ferreira. "Etnografias de si: a emergência dos filmes pessoais." Universidade do Estado do Rio de Janeiro, 2006. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=1026.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Ao enfocar o filme de família no contexto da produção pós-moderna, esta dissertação tem por intenção debater a questão da autenticidade, bem como o processo de legitimação cultural de sub-gêneros fílmicos afins surgidos na década de 60, como o filme diário e o filme pessoal. A proliferação deste tipo de produção uma espécie de meio-termo entre auto-etnografias e filmes de arte - desafia as ciências sociais e, mais especificamente, a antropologia visual contemporânea a compreender a emergência de novas formas audiovisuais de representação social. A partir do estudo pioneiro de Bourdieu sobre a função social da fotografia, debate-se a estetização do território familiar e a função social do filme amador.
Focusing on the home movies in the context of post-modern culture, this dissertation intends to debate the question of authenticity, as well as the process of cultural legitimation of filmic sub-genres originated in the sixties: the diary film and the personal film. The proliferation of this type of film production something in-between the autoethnographies and the art films challenges the social sciences and, more specifically, the contemporary visual anthropology to understand the appearance of new audiovisual forms of social representation. The important work of Bourdieu on the social rules of photography is a starting point to debate the aesthetics of private family domain and the social rules of amateur film
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Mikhail, Samia, and fasisami@netspace net au. "The experimental art of Arthur and Corinne Cantrill." RMIT University. Applied Communication, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20061222.094324.

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This thesis analyses the effect of the personal history of Arthur and Corinne Cantrill, two Australian independent filmmakers, on their style of filmmaking. It analyses their representation of film-form experimentation within national Australian art in a range of independent film works. It reflects on their cultural relation to the general history of independent filmmaking in Australia, America and Europe. It studies the circumstances tat resulted in the appearance of the Cantrills' experimental film and their relation to international art theories and film experimentation. This thesis will examine how the Cantrills' film works, which were often critical of conventional filmmaking styles, and their critical writing, statements and promotion of their independent and experimental film work contributed significantly to theoretical discussion and argument about the physical nature of film within Australia. This examination is explored through asking and answering the central question: The work of Aurtheur and Corinne Cantrell is theoretically drawn from a tradition of European arts and visually drawn from Australian landscape and urban culture; can their work be identified and undertood as Australian art?
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Dziekonska, Elzbieta Stefania. "The best of all worlds : public, personal, and inner realms in the films of Krzysztof Kieslowski." Thesis, University College London (University of London), 2002. http://discovery.ucl.ac.uk/1382592/.

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This thesis is a study of the oeuvre of Krzysztof Kielowski. In particular, I examine claims made by Kielowski and many critics that in the 1980s the director moved away from filming the public world, which had been crucial to his work since he began filming in the late 1960s and became instead primarily concerned with the inner world. Although I agree that Kieslowski increasingly shifted his emphasis to the inner life, I argue that any attempt to abandon the public world in his later films was in fact of more limited scope than his claims suggest and his focus on the inner sphere neither absolute nor lacking in ambivalence. I distinguish between three realms of existence in Kielowski's narratives: the public sphere, namely, public life be it socio-political, economical, or work-related; the personal sphere, consisting of the individual's family and close friends; and the inner sphere, comprising the intimate emotional and mental life of the individual. By extensively examining Kielowski's treatment of these spheres and how they interact with and inform both one another and the films, I aim to demonstrate that the public and personal realms continued play a significant part in the productions of the 1980s and 1990s, regardless of Kielowski's claims otherwise, and result in more complex, multi-layered, and ambiguous narratives than is usually recognised. In distinguishing between the spheres that make up the individual's existence, I discuss the concomitant differences between public and inner realities. I examine the complications and ambiguities that arose from the combined presence of these quite distinct realities in the final works and end by looking at how they influenced Kielowski's decision to abandon fihnmaking in the mid-1990s. My thesis is also a career-survey of Kielowski's oeuvre and; in addition to substantiating my arguments, I simultaneously discuss what I believe to be other interesting and important aspects of Kielowski and his work, including the financing and censorship of his films, his political tendencies, his representation of his male and female characters as well as his distinction between youth and adulthood, his collaborative method; his relationship with his audience, and his critical reception. In doing so I aim to provide a detailed overview of Kielowski's entire career which can stand alone as a self-contained and comprehensive reference work and thus fill the current gap in English-language studies of Kielowski.
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Gartside, William Stanley. "Young Love can be Torture: An Autoethnography Exploring the Making of "High School Sweethearts"." [Milwaukee, Wis.] : e-Publications@Marquette, 2009. http://epublications.marquette.edu/theses_open/3.

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Vitols, Maruta Zane. "From the Personal to the Public: Juris Podnieks and Latvian Documentary Cinema." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1210796660.

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Kapler, Desiree Dawn. "below the neck, above the knees." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4831.

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My thesis explores the act of violation in the context of trauma and healing through the use of personal narratives and experimental film. My research allows personal storytelling to transform into a larger and more universal theme of generational trauma and dysfunction. Through a feminist lens, I challenge social norms of body autonomy for the sick and abused, capitalism’s social effects on the poor, and passed down maternal lessons from the women who are doing the best that they can with the lives and opportunities that they have been given. This work is created in spite of the labels my mother, the women before her, and I may hold. It is an act of resistance to who and what is allowed to be seen or heard. It is my confession, but it is not my confession alone.
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Suguiyama, Natália Keiko de Carvalho. "O testemunho no cinema documental: procedimentos criativos no campo da experiência traumática com ênfase em Shoah de Claude Lanzmann e Histoire(s) du Cinéma de Godard." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21434.

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-09-26T10:03:55Z No. of bitstreams: 1 Natália Keiko de Carvalho Suguiyama.pdf: 1784993 bytes, checksum: a35d3dad535c11f72868d64d8280222a (MD5)
Made available in DSpace on 2018-09-26T10:03:55Z (GMT). No. of bitstreams: 1 Natália Keiko de Carvalho Suguiyama.pdf: 1784993 bytes, checksum: a35d3dad535c11f72868d64d8280222a (MD5) Previous issue date: 2018-08-24
Focusing in the documentary cinema as a way of representing the testimony of traumatic experiences in cinema, this project emphasizes the creative procedures found in the film Shoah (1985), by Claude Lanzmann, and in the series Histoire(s) du Cinéma (1988/1998), by Jean-Luc Godard. More specifically, it reflects on how documentary films has put us in contact with painful historical events, understanding the creative procedures used in its conception. Our corpus is based notably on the works above mentioned. The most important theoretical frameworks are the studies who deal with documentary theory, as presented by Bill Nichols theory and, in Brazil, Fernão Ramos. Our research also counterpoints the issue of representation of the catastrophe, using the studies of both Georges Didi-Huberman and, in Brazil, Márcio Seligmann-Silva. The relevance of the research is related to the intense debates that surround today the testimony, assigning to the images a role in the representability of the extreme, previously interdicted
Este projeto enfoca o cinema documental voltado à temática do testemunho no campo da experiência traumática, com ênfase no documentário Shoah (1985), de Claude Lanzmann, e na série em vídeo Histoire (s) du cinéma (1988-98) de Jean-Luc Godard. Mais especificamente, trata-se de perguntar como o cinema documental nos tem colocado em contato com eventos históricos dolorosos, assinalando os procedimentos criativos de que se tem valido. O corpus da pesquisa compõe-se principalmente das obras acima referidas. Os principais referenciais teóricos envolvem estudos abalizados sobre o gênero documentário, como os de Bill Nichols e, no Brasil, Fernão Ramos, e trabalhos em contraponto sobre a questão da representação da catástrofe, como os de Georges Didi-Huberman e, no Brasil, Márcio Seligmann-Silva. A relevância da pesquisa liga-se aos intensos debates que voltam a cercar hoje o testemunho, atribuindo às imagens um papel na representabilidade do extremo, antes interditado
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Lathrop, Benjamin A. "Cult films and film cults : the evil dead to Titanic /." Ohio : Ohio University, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1090934488.

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Steil, Diana Dorothea. "Personal Choice." Digital Commons at Loyola Marymount University and Loyola Law School, 1986. https://digitalcommons.lmu.edu/etd/663.

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Rutherford, Andrew. "Introducing hippocratic log files for personal privacy control." Thesis, Nelson Mandela Metropolitan University, 2005. http://hdl.handle.net/10948/171.

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The rapid growth of the Internet has served to intensify existing privacy concerns of the individual, to the point that privacy is the number one concern amongst Internet users today. Tools exist that can provide users with a choice of anonymity or pseudonymity. However, many Web transactions require the release of personally identifying information, thus rendering such tools infeasible in many instances. Since it is then a given that users are often required to release personal information, which could be recorded, it follows that they require a greater degree of control over the information they release. Hippocratic databases, designed by Agrawal, Kiernan, Srikant, and Xu (2002), aim to give users greater control over information stored in a data- base. Their design was inspired by the medical Hippocratic oath, and makes data privacy protection a fundamental responsibility of the database itself. To achieve the privacy of data, Hippocratic databases are governed by 10 key privacy principles. This dissertation argues, that asides from a few challenges, the 10 prin- ciples of Hippocratic databases can be applied to log ¯les. This argument is supported by presenting a high-level functional view of a Hippocratic log file architecture. This architecture focuses on issues that highlight the con- trol users gain over their personal information that is collected in log files. By presenting a layered view of the aforementioned architecture, it was, fur- thermore, possible to provide greater insight into the major processes that would be at work in a Hippocratic log file implementation. An exploratory prototype served to understand and demonstrate certain of the architectural components of Hippocratic log files. This dissertation, thus, makes a contribution to the ideal of providing users with greater control over their personal information, by proposing the use of Hippocratic logfiles.
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Books on the topic "Personal films"

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Feder, Michael. Star Wars: Your personal fashion consultant. New York: Abrams Image, 2009.

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Malcolm, Derek. A century of films: Derek Malcolm's personal best. London: Tauris Parke Paperbacks, 2000.

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Have you seen?: A personal introduction to 1,000 films. New York: Knopf, 2008.

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French cinema since 1950: Personal histories. London: Duckworth, 1999.

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French cinema since 1950: Personal histories. Lanham, Md: Rowman and Littlefield, 1999.

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Collins, Max Allan. The mystery scene movie guide: A personal filmography of modern crime pictures. San Bernardino, Calif: Brownstone Books, 1998.

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1951-, Mitchell Deborah C., ed. The makeover in movies: Before and after in Hollywood films, 1941-2002. Jefferson, N.C: McFarland, 2004.

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Rothel, David. An ambush of ghosts: A personal guide to favorite western film locations. Madison, NC: Empire Pub., 1990.

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Brill, Steven, Roger Birnbaum, Judd Apatow, Tom McGowan, and Joe Roth. Heavyweights. United States]: Walt Disney Home Video, 1995.

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Galens, Judy. Experiencing the Holocaust: Novels, nonfiction books, short stories, poems, plays, films & music. Edited by Hermsen Sarah. Detroit: UXL, 2003.

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Book chapters on the topic "Personal films"

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Bennett, Jamie, and Victoria Knight. "Starred Up: Prison Cultures and Personal Change." In Prisoners on Prison Films, 39–56. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-60949-8_3.

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Fielke, Giles. "Personal Films and Transcultural Visions: An Interview with the Artist Filmmaker Paul Winkler." In German-Australian Encounters and Cultural Transfers, 83–94. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-6599-6_6.

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Moehrle, Matthias, and Claus Garbe. "UV-Exposure of Mountain Guides and Ski Instructors- Personal Uv-Dosimetry by Bacillus Subtilis- Pore Films." In Biologic Effects of Light 1998, 263–65. Boston, MA: Springer US, 1999. http://dx.doi.org/10.1007/978-1-4615-5051-8_44.

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Trencsényi, Klára, and Vlad Naumescu. "Migrant Cine-Eye: Storytelling in Documentary and Participatory Filmmaking." In IMISCOE Research Series, 117–40. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67608-7_7.

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AbstractThe so-called European ‘refugee crisis’ has bred a profusion of audiovisual accounts throughout the region, many of which aimed to give voice to hitherto voiceless, uprooted people. But as many of these ‘untold stories’ gain material expression as storylines, we are urged to consider the implications of yet another form of displacement: from the historical person to the film character, from personal stories to media representations. The growing interest into the migrant issue and visual representations of refugees have played an important role in the public construction of the ‘crisis’ but have also, paradoxically, obscured or silenced migrant voices. The authors of this paper, a documentary filmmaker (Trencsényi) and a social anthropologist (Naumescu) seek to explore narrative strategies and ethics of representation in European documentaries made after 2010 as well as their participatory filmmaking project developed in the wake of the 2015 refugee crisis in Hungary. Having collaborated on several documentary films and filmmaking workshops, they approach this issue from the perspective of practitioners, offering a critical reflection as well as possible strategies for those aiming to produce audiovisual works in this field. The inclusion of refugees’ insight and their ways of constructing their own stories as well as their own observations on the receiving societies can open new possibilities for collaboration and creative engagement for social scientists and filmmakers preparing visual fieldnotes, ethnographic and documentary films as well as participatory projects.
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(née Greuling), Kathrin Natterer. "Research Note: Nostalgia as the Future for Branding Entertainment Media? The Consumption of Personal and Historical Nostalgic Films and Its Effects." In Handbook of Media Branding, 199–214. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-18236-0_14.

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Hubner, Laura. "Persona: Cinema as Mask." In The Films of Ingmar Bergman, 70–91. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230801387_5.

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JACKSON, PAT. "“ALL MY FILMS ARE PERSONAL”:." In Cinema at the Margins, 147–56. Anthem Press, 2013. http://dx.doi.org/10.2307/j.ctt1gxp9v0.16.

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"Appendix: Sources for Films." In American Ethnographic Film and Personal Documentary, 345–46. University of California Press, 2019. http://dx.doi.org/10.1525/9780520954939-012.

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"Personal Freezing and Stylistic Melting: Hard Labour." In The Films of Mike Leigh, 51–64. Cambridge University Press, 2000. http://dx.doi.org/10.1017/cbo9780511613111.005.

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Jaeckle, Jeff. "Barbara Kopple: A Career of Personal Crises and Creative Tensions." In ReFocus: The Films of Barbara Kopple, 1–14. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474439947.003.0001.

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This chapter underscores the longstanding tensions in Kopple’s career. It focuses her complex and often ambivalent relationships with collaboration, including her fluctuating status as an auteur, mentor, and crew member. It examines the tensions in her career between embracing her identity as an independent filmmaker and choosing to join with studios, television networks, and other media outlets in a complex system of commercial patronage. The chapter also considers Kopple’s shifting political stances as both activist and apolitical humanist. Finally, it provides overviews of each section and chapter.
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Conference papers on the topic "Personal films"

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Tanaka, Saburo, Makoto Takiishi, Koji Miyazaki, and Hiroshi Tsukamoto. "Measurements of Thermal Conductivity of Thin Films by 3-Omega Method." In ASME 2008 First International Conference on Micro/Nanoscale Heat Transfer. ASMEDC, 2008. http://dx.doi.org/10.1115/mnht2008-52260.

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In this study, the thermal conductivity of a bismuth-telluride (Bi2Te3) thin film is measured at room temperature by using the 3ω method [1, 2]. The 3ω method for thin films uses a single metal-line as both the heater and thermometer. An alternating-current driving current at angular frequency ω heats the surface of the sample at a frequency of 2ω. Since the resistance of a metal increases with temperature, temperature oscillations produce an oscillation of the electrical resistance at a frequency of 2ω. Consequently, the voltage drop across the metal line has a small component at 3ω that can be used to measure the temperature oscillations and the thermal response of the sample with a Bismuth-telluride thin film. Differential amplifiers are used to subtract the ω component of the voltage for the measurement of the small 3ω signal as shown in Fig.1. The amplified 3ω component and the attenuated reference voltage are acquired to a personal computer through a 16bit DAC card. The bismuth-telluride thin films are manufactured by flash evaporation and coating. The narrow Aluminum lines for the 3ω method are made by vacuum deposition through metal masks. The measured temperature oscillation ΔT versus ln(ω) yields the thermal conductivity of the substrates. The thermal conductivity of the glass is measured as 0.97 W/(m·K), and that of alumina is 15.4 W/(m·K). These results agree well with the reference data. The thermal conductivities of Bismuth-telluride thin films are calculated from the measured thermal resistances of the films. The measured value for a flash evaporated Bismuth-telluride is 1.20 W/(m·K), and the coated film is 0.51 W/(m·K).
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Eunju Lee, Ruirui Zhang, and Giwan Yoon. "Development of FBAR devices based on thermal annealing treatments of nitrogen [N]-incorporated ZnO films." In 2011 IEEE MTT-S International Microwave Workshop Series on Intelligent Radio for Future Personal Terminals (IMWS-IRFPT). IEEE, 2011. http://dx.doi.org/10.1109/imws2.2011.6027208.

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Miasnikova, Marina, and Alexandra Trukhina. "Character, Author, Viewer of Documentaries in the Public Space of New Media." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-54.

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Any screen message usually comprises three components: life drama in the form of a story about a real person as the character; the author’s intention to create an artistic world containing footprints of the creative personality and the author’s concept; and the viewer’s mindset regarding this world. Thus, a screen document is created by three participants of communication: character, author, viewer, though each of them differently manifests itself in turbulent conditions of ongoing media-transformations. Under the new direction named ‘real’, ‘actual’, ‘horizontal’ cinema, the documentary screen is increasingly featuring a new hero: a private, ‘simple’ person who is easy to watch with a lightweight digital camera, and who himself, blurring the line between the personal and the public, does not mind picking up the camera for the purpose of self-presentation. The author has an opportunity to demonstrate his films on new media platforms. And the viewer participates in the creation of interactive documentaries. Thus, the article covers the essential and functional changes taking place with characters, authors, and viewers of modern documentaries as an open system at their transition (alongside this movie type itself) from the existence within the framework of old, conventional media (big-screen cinema and television) to relevant media platforms (social media, new media, mobile devices, etc.).
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Schneppenheim, R., H. Plendl, and U. Budde. "LUMINOGRAPHIC VISUALIZATION OF VON WILLEBRAND FACTOR MULTIMERS." In XIth International Congress on Thrombosis and Haemostasis. Schattauer GmbH, 1987. http://dx.doi.org/10.1055/s-0038-1644082.

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Current methods for visualization of vWF multimers use either autoradiography or enzymatic color development. Radioactive methods bear some risks for laboratory personal and the radioactive antibodies have a relatively short shelf life. Enzyme labelled antibodies used with their usual substrates are less sensitive even with relatively large amounts of antibody.These drawbacks can be overcome by using peroxidase labelled antibodies and luminol for visualization of vWF multimers. Electrophoresis in LGT agarose and immunoblot on nitrocellulose were performed as described in the literature. The nitrocellulose sheets were immersed in polyclonal anti-vWF antibody (1:500) followed by a peroxidase labelled anti-rabbit antibody (1:500). The subsequent procedures were performed in a dark room. The gels were overlaid by 40 mg luminol suspended in 100 ml TRIS buffer (pH 7.5) and covered with a thin transparent foil. The luminiscence could be detected visually for about 40 minutes. There was enough time to expose up to 10 x-ray films by simply placing the films for some seconds onto the transparent foil.The method is sensitive enough to allow 1:200 dilutions of normal plasma. Thus plasmas containing substantially less than 10% vWF protein can be evaluated with this method.
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Naser, Aws, Mazlina Abdul Majid, Mohamad Fadli Zolkipli, and Shahid Anwar. "Trusting cloud computing for personal files." In 2014 International Conference on Information and Communication Technology Convergence (ICTC). IEEE, 2014. http://dx.doi.org/10.1109/ictc.2014.6983188.

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Bergman, Ofer, Steve Whittaker, Mark Sanderson, Rafi Nachmias, and Anand Ramamoorthy. "How do we find personal files?" In the 2012 ACM annual conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2207676.2208707.

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Kárpáti, Zoltán. "Professionalization of Family Firms: Striking a Balance Between Personal and Non-Personal Factors." In New Horizons in Business and Management Studies. Conference Proceedings. Corvinus University of Budapest, 2021. http://dx.doi.org/10.14267/978-963-503-867-1_12.

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The amount of research on family businesses’ analysis has increased significantly in recent years, thus showing the high importance of the topic. In most countries, family businesses occupy a prominent place in contributing to the economy with the added value they produce. However, less attention has been paid to the professionalization of family businesses and the exploration and presentation of the related literature. The professionalization of family business is a significant research concern in the entrepreneurship and governance literature. In the context of family businesses, professionalization initially meant nothing more than hiring an outside, non-family manager. For today, the content of professionalization has expanded, and a multidimensional model has evolved: a broader, deeper understanding has evolved, which involves other vital aspects such as developing formal control and human resource systems, decentralization of authority, formal strategic planning, or top-level activeness. This study aims to present the essential international literature on professionalization and provide a comprehensive overview of the studies published. The literature review mainly summarizes the results of the last twenty years and closely related articles. The paper follows the next logic; in the first part, the definition of professionalization is introduced along with its benefits and challenges. Then, based on the research methodology presented, the related empirical and theoretical studies are examined. In the end, the review summarizes the key findings in a table.
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Wenyin, Liu, Zheng Chen, Fan Lin, Rui Yang, Mingjing Li, and Hongjiang Zhang. "Ubiquitous media agents for managing personal multimedia files." In the ninth ACM international conference. New York, New York, USA: ACM Press, 2001. http://dx.doi.org/10.1145/500141.500229.

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Ruíz Suaña, Jose Antonio, and Jesús López Díaz. "El epígono de El Modulor: La serie amarilla en las investigaciones de Rafael Leoz." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.793.

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Resumen: El arquitecto español Rafael Leoz de la Fuente (1921-1976) antes de terminar sus estudios en 1955, comenzó a colaborar con otros compañeros en la realización de proyectos de vivienda social. Su experiencia en la obra del Poblado Dirigido de Orcasitas, le llevó a iniciar un proceso investigador al que dedicó gran parte de su trabajo. Los trabajos teóricos del arquitecto tuvieron una importante difusión y repercusión internacional, en gran parte, fruto de su amistad con Jean Prouvé y Le Corbusier. La sintonía personal y coincidencia de intereses entre ellos llevaron a éste último a proponer a Rafael Leoz como miembro del Cercle d'Études Architecturales de París en 1962. Dentro de su ambicioso proyecto de investigación teórica Rafael Leoz estableció dos objetivos consecutivos, por una parte la ordenación abstracta del espacio, para posteriormente organizar y construir el espacio concreto en que habitan las personas. A partir de las publicaciones de Rafael Leoz y documentación original de su archivo, se intentará precisar las relaciones personales y profesionales entre Le Corbusier y Rafael Leoz. Así mismo se mostrarán los vínculos entre El Modulor de Le Corbusier y las investigaciones de Rafael Leoz, sus propuestas modulares y dimensionales a partir de la Serie Amarilla como complemento y consecuencia de las series Roja y Azul del Modulor, llegando hasta el desarrollo de organizaciones de vivienda social. Abstract: The Spanish architect Rafael Leoz de la Fuente (1921-1976) before finishing his studies in 1955, began to collaborate with other partners in the realization of social housing projects. His experience in the work of the Poblado Dirigido de Orcasitas, led him to initiate a research process to which he dedicated much of his work. The theoretical works of the architect had an important dissemination and international impact, to a large extent, due to his friendship with Le Corbusier and Jean Prouvé. Personal tuning and coincidence of interests between them, led Le Corbusier to propose to Rafael Leoz as a member of the Cercle d'Études Architecturales in Paris in 1962. Within this ambitious project of theoretical research Rafael Leoz established two consecutive goals, on one hand, the abstract spatial planning, to later organize and build a specific space in which people dwell. From publications of Rafael Leoz and original documentation of his files, this paper tries to clarify personal and professional relationships between Le Corbusier and Rafael Leoz. Also pretends to establish some links between the Modulor of Le Corbusier and Rafael Leoz investigations. Moreover it will show Leoz’s modular and dimensional proposals from the Yellow Series both as a complement and a result of the Red and Blue series of the Modulor, reaching the development of organizations of social housing. Palabras clave: Rafael Leoz; Le Corbusier; Modulor; construcción modular; prefabricación; vivienda social. Keywords: Rafael Leoz; Le Corbusier; Modulor; modular construction; prefabrication; social housing. DOI: http://dx.doi.org/10.4995/LC2015.2015.793
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Gent, Ian O., Annela M. Seddon, Nicholas W. Roberts, and Richard S. Trask. "Polychromatic Composite Films for Adaptive Camouflage." In ASME 2014 Conference on Smart Materials, Adaptive Structures and Intelligent Systems. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/smasis2014-7508.

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Having the correct camouflage for the current surroundings increases the safety of personnel and can provide a tactical advantage. However, theatres of war are rarely homogeneous and this leads to a compromise in order for the pattern to work in different subsets. In this work we take inspiration from the photonic structures found in insects to produce elastomeric composite materials with embedded photonic crystals that suggest a material solution for an adaptive camouflage system. Colour change for these materials is effected through mechanical straining of the produced composite. The procedure used to make these materials is detailed and preliminary results from testing of the mechanical and optical properties that these materials exhibit is presented.
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Reports on the topic "Personal films"

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Carroll, Robert, Douglas Holtz-Eakin, Mark Rider, and Harvey Rosen. Personal Income Taxes and the Growth of Small Firms. Cambridge, MA: National Bureau of Economic Research, October 2000. http://dx.doi.org/10.3386/w7980.

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

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The Polish film system is characterized by a variety of forms. Michał Zabłocki, the author of the comprehensive study of the «Organization of the production of feature film in Poland», isolates two models of world cinema: a producer and a producer – director. The first one features the dominant role of the producer, which means the person who is responsible for the work of all the film departments – direction, cinematography, production management, scenography and costume design. The second one, the model which is still the most popular in Poland, assumes close cooperation between the producer and the director.
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Wright, Laverne C., Kristin Williams, and Elizabeth J. Willis. 1999 Survey of Active Duty Personnel: Administration, Datasets, and Codebook. Appendix G: Frequency and Percentage Distributions for Variables in the Survey Analysis Files. Fort Belvoir, VA: Defense Technical Information Center, December 2000. http://dx.doi.org/10.21236/ada399482.

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Kramer, Robert. LED Street Lighting Implementation Research, Support, and Testing. Purdue University, 2020. http://dx.doi.org/10.5703/1288284317274.

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This report describes the results of technical analysis, field tests, and laboratory tests that were performed for LED highway lighting options by the Energy Efficiency and Reliability Center (EERC) at Purdue University Northwest for the Indiana Department of Transportation (INDOT). This effort was conducted over the past 3 years to evaluate and test the technology and viability of using modern highway lighting technology to enhance energy efficiency, safety, security, and economic development of communities and roadways. During the testing period there was a continuous discussion between INDOT and EERC regarding the laboratory and field testing of INDOT approved luminaires submitted by vendors. There were multiple discussions with INDOT and vendors regarding the individual details and issues for the 29 luminaires that were tested. A comparison study was conducted by EERC of the various alternatives and comparison to currently installed luminaires. Data was collected for field tests of the luminaires by EERC and INDOT personnel for the luminaires. Field data was evaluated and compared to lighting models using vendor supplied ies data files. Multiple presentations were made at 3 separate Purdue Road Schools regarding the results and procedures of the testing program by EERC in conjunction with INDOT. A total of 22 final reports, considered confidential by INDOT, for individual vendor luminaires have been prepared as part of this effort. These reports were submitted sequentially to INDOT as testing was completed during the course of this effort. A total of 29 luminaires were tested. Some luminaire testing was terminated during testing due to design issues or vendor requests. All testing was summarized in the INDOT specification sheet attached to each report. Observations regarding the consistency of the supplied test luminaire with the requirements of Section 7.2 of the INDOT test procedure “Procedure for evaluation and approval list requirements for solid state ballasted luminaires ITM 957-17P” is provided in the Appendix to the report for each luminaire. Details regarding how these tests were performed and the respective associated evaluation of performance and reliability are provided in the report. This effort included: consideration of published and vendor information; appraisal of products consistent with national industry standards; review of physical design, thermal performance; laboratory testing of photopic performance, reliability, life cycle data and characteristics, and power characteristics; technical and probabilistic risk studies; and field testing and analysis of LED light sources including comparison to currently installed conventional light sources. Assistance in preparing INDOT standards for highway lighting was provided on multiple occasions.
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