Relevant bibliographies by topics / Rain man (Motion picture)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Rain man (Motion picture)'

Author: Grafiati
Published: 29 July 2024
Last updated: 31 July 2024

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Journal articles on the topic "Rain man (Motion picture)"

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علي, زينب عبد الرضا. "صورة الرجل في مجموعة (العربة والمطر) للقاصة (بديعة أمين)." Journal of the College of Islamic Sciences 69 (March 30, 2022): 497–536. http://dx.doi.org/10.51930/jcois.21.69.0497.

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The research aims to monitor the image of the man in the group (The Cart and the Rain) by the storyteller (Badiaa Amin); With the aim of highlighting an aspect of feminist writing, especially with regard to the relationship of women to men, and determining the form adopted by the storyteller in drawing the features of men. The research used the descriptive-analytical method in the space of its textual formation, which aims to stand on the text and deconstruct its narrative significance. To provide a comprehensive picture of it. Three images of the man appeared in the group's stories, represented by (the authoritarian, the negative, and the positive), and the image of the authoritarian man topped the story's texts in a remarkable way. Those images, and the presence of the hostile place clearly in many of the group’s stories, as well as the story’s attention to spatial transformations and its impact on the souls of its characters, and its reliance on the technique of retrieval more than anticipation, especially the painful retrieval in drawing these images.
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Falola, Toyin. "Tunde Kelani: The Man Exceeds the Frame." Yoruba Studies Review 4, no. 1 (December 21, 2021): 1–7. http://dx.doi.org/10.32473/ysr.v4i1.130037.

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The extraordinary announcement, coming from the Federal University of Agriculture, Abeokuta, that ace filmmaker Kelani will now be based there as a Fellow is heartwarming. The news reveals the warmth and uniqueness of the University’s boundless imaginations and the humanistic vision of its Vice-Chancellor, Professor Kolawole Salako. The news of this deserving appointment follows on the heels of Kelani receiving the prestigious Leopold ́ Sédar Senghor Prize for African Cultural Creativity and Impact in July, 2019 at the annual TOFAC event at Babcock University. In that same month, he was also inducted into the American Oscars—the Academy of Motion Picture, Arts and Sciences. All of these accolades are well-deserved. Kelani has spent his career putting things—people, ideas, cultures, traditions, and ideologies—inside the cinematographic frame. It is a most exciting thing to see him too bursting out of every frame with all these multiple achievements that celebrate him Ìrókò!
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Segercrantz, Mikael, and Tapio Rantala. "Helsinki Court of Appeals prohibits the screening and distribution of the motion picture ‘Man Exposed’ (Riisuttu mies)." Journal of Intellectual Property Law & Practice 2, no. 7 (May 25, 2007): 435–36. http://dx.doi.org/10.1093/jiplp/jpm085.

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Kalichová, Miriam, Sylva Hřebíčková, and Romana Labounková. "3D kinematická analýza bikrosového startu." Studia sportiva 6, no. 1 (July 9, 2012): 35–44. http://dx.doi.org/10.5817/sts2012-1-4.

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Th e paper deals with techniques bicross start. Th e aim of this study is to analyse particular phases of BMX start through cinematographic metod and to evaluate basic cinematic parameters of fi rst movements. For scanning the picture we used two high-frequency synchronized digital cameras SIMI MOTION Version 7. Th e bicross start was performed by two representatives of the Czech Republic, one man and one woman. Th e result of our study is a distribution of start movement to fi ve basic phases. According to kinematic parameters of initial movements we compared diff erences between start techniques of each tested person.
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Herbert, Stephen. "The man who stopped time: The illuminating story of Eadweard Muybridge – Pioneer photographer, father of the motion picture, murderer." Early Popular Visual Culture 7, no. 1 (April 2009): 106–8. http://dx.doi.org/10.1080/17460650902775450.

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Susik, Abigail. ""The Man of these Infinite Possibilities": Max Ernst’s Cinematic Collages." Contemporaneity: Historical Presence in Visual Culture 1 (June 1, 2011): 61–87. http://dx.doi.org/10.5195/contemp.2011.27.

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On more than one occasion in his critical writings of the 1920’s, surrealist leader André Breton compared Max Ernst’s collages to cinema. In his first essay on the artist in 1921, Breton aligned Ernst’s collages with cinematic special effects such as slow and accelerated motion, and spoke of the illusionistic ‘transformation from within’ that characterized Ernst’s constructed scenes. For Breton, Ernst’s collages employing found commercial, scientific and journalistic images approximated the naturalistic movement of film, and thereby contributed to the radical obsolescence of traditional two-dimensional media such as painting and drawing, which remained frozen in stillness. Thus, Ernst’s images were provocative witnesses to the way in which modern technology fundamentally altered the perspectivally-ordered picture plane. But at the same time that Ernst’s collages rendered painting obsolete, they likewise depended upon fragments of outmoded popular culture themselves. For Breton, Ernst was a magician, “the man of these infinite possibilities,” comparable to cinematic prestidigators like turn-of-the-century filmmaker Georges Méliès. By drawing on the influence of recently outmoded popular culture such as early trick films, Ernst provides a crucial early example of the post-war fixation on counter-temporalities and anti-production. At once technologically advanced and culturally archeological, Ernst’s collages cannily defy strict categorization as “Modernist.”
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Conti, Luca, Kelly Gatt, Christopher Zammit, and Karen Cassar. "Kounis syndrome uncovers severe coronary disease: an unusual case of acute coronary syndrome secondary to allergic coronary vasospasm." BMJ Case Reports 12, no. 12 (December 2019): e232472. http://dx.doi.org/10.1136/bcr-2019-232472.

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Acute coronary syndrome occurring during the course of a type I hypersensitivity reaction constitutes Kounis syndrome. We report a case of a 64-year-old man who presented with a non-ST elevation myocardial infarction and peripheral blood eosinophilia. He had rhinitis and constitutional symptoms for several days prior to presentation. Blood investigations revealed moderate eosinophilia and elevated IgE levels. A cardiac MRI showed generalised oedema with a subtle wall motion abnormality in basal inferior/inferolateral wall, and subendocardial high signal on late gadolinium enhancement suggesting a localised myocardial infarction. A coronary angiogram then revealed triple vessel disease. A diagnosis of Kounis syndrome was made. Within days of starting appropriate treatment, the patient’s eosinophil count returned to normal with improvement of clinical picture.
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Paul, Andrew. "“Sometimes a Bee Can Move an Ox”: Biblical Epics and One Man's Quest to Promote Jewish Values in Blacklist-Era Hollywood." Modern American History 1, no. 2 (May 15, 2018): 173–94. http://dx.doi.org/10.1017/mah.2018.11.

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In the 1950s, the top American Jewish organizations chose a single man, John Stone, to represent their collective interests in Hollywood. Over the course of the decade, Stone's Motion Picture Project sought to prevent antisemitism on film and to inspire the creation of positive Jewish characters. Negotiating the cultural politics of the era, however, resulted in an increasing tendency to favor depictions of biblical Jews over contemporary American ones. In a strange twist, Stone endorsed no film with as much zeal asBen-Hur, a New Testament celebration of Jesus. By following Stone's tortuous attempts to navigate Cold War controversies, and by casting new light on the phenomenal success of biblical epics in the 1950s, this essay suggests that at the heart of postwar popular culture was a shift toward a particular discourse of liberal humanism.
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ELLIS, PATRICK. "A cinema for the unborn: moving pictures, mental pictures and Electra Sparks's New Thought film theory." British Journal for the History of Science 50, no. 3 (September 2017): 411–28. http://dx.doi.org/10.1017/s0007087417000644.

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AbstractIn the 1910s, New York suffragette Electra Sparks wrote a series of essays in theMoving Picture Newsthat advocated for cine-therapy treatments for pregnant women. Film was, in her view, the great democratizer of beautiful images, providing high-cultural access to the city's poor. These positive ‘mental pictures’ were important for her because, she claimed, in order to produce an attractive, healthy child, the mother must be exposed to quality cultural material. Sparks's championing of cinema during its ‘second birth’ was founded upon the premise of New Thought. This metaphysical Christian doctrine existed alongside the self-help and esoteric publishing domains and testified, above all, to the possibility of the ‘mind-cure’ of the body through the positive application of ‘mental pictures’. Physiologically, their method began best in the womb, where the thoughts of the mother were of utmost importance: the eventual difference between birthing an Elephant Man or an Adonis. This positive maternal impression was commonplace in New Thought literature; it was Sparks's innovation to apply it to cinema. Investigating Sparks's film theory, practice and programming reveals her to be a harbinger of the abiding analogy between mind and motion picture that occupies film theorists to this day.
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Herman, David. "A Renaissance Robot." Mechanical Engineering 120, no. 02 (February 1, 1998): 80–82. http://dx.doi.org/10.1115/1.1998-feb-4.

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This article focuses on a computer in downtown Manhattan that is displaying a robotics designer’s latest creation in action. Fashioned to look like an armored knight, the mechanical man in this three-dimensional simulation sits up, waves its arms, moves its head on a flexible neck, and opens and closes its hands and its jaw, all in smooth, precise motions. The robot could be used in a new motion picture, museum, or amusement park. Its original designer, however, never heard of movies, computers, or Wait Disney: The robot sprang from the mind of Leonardo da Vinci. Most Renaissance-era designers took a practical approach to mechanics, viewing each machine as a universal entity to be applied as a whole. Leonardo, however, used a revolutionary method of analysis that involved dissecting machines into individual components or “organs” and establishing how many essential parts exist; pulleys, chains, pinions, shock absorbers, springs, and friction bearings were just some of the elements he discovered to be common in many different machines. Leonardo’s studies have influenced and inspired Rossheim greatly in his current robotics designs. Leonardo followed the Renaissance ideal of “man as the measure,” the standard for which the world was designed.
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Dissertations / Theses on the topic "Rain man (Motion picture)"

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Williams, Karen L. "Life After Man." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2003. https://ro.ecu.edu.au/theses/1658.

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This thesis comprises two parts: a creative component consisting of a first-draft script for a feature film, -followed by an exegesis. The intention with the creative component was to work within parameters that would hopefully be appealing to the local film-making industry. Thus, the script is for a low-budget feature that is set in Perth and makes use of a character-driven narrative, The exegesis comprises a theoretical analysis of the 'Life After Man' screenplay, placing it within the context of an examination of multiple protagonist film structure, with particular reference to the development of character.
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Erixon-Ågren, Malin. "Att skapa en användbar webbplats med ett kreativt utseende : En studie om hur man utformar en personlig webbplats som har både användbarhet och ett kreativt utseende." Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-27709.

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It becomes increasingly more difficult to stand out among the personal sites on the internet today and to become the one who actually gets remembered in the crowd. To be remembered, you need to have a useful website but also a creative appearance added to it. In this practical thesis I have focused on how a website should look like according to users and then added a creative look to the user-friendly website. The purpose of the study is to find out how to connect a useful website with a creative appearance. In order to do that, I first had to find out what users actually want. I used a survey in which I have asked questions about how a website should look like. Using the results of the survey I created prototypes and appearance sketches that I used in user tests. I used the results from the user test and created the final website that represents what users in this study believe is a useful website. To connect the useful website with a creative appearance, I created a short video clip of six seconds to loop on the website's front page. The welcome note describing the site's purpose is reached by means of an arrow, and therefore not directly visible when you enter the site. I have with this created a depth and a creative design solution to the website and thanks to the movement it got more interesting.
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Smolenski, Kristina Lyn. "High fidelity: Adapting narcissism to film." CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2101.

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Chapman, Sharon Jeanette. "Classical Hollywood film directors' female-as-object obsession and female directors' cinematic response: A deconstructionist study of six films." CSUSB ScholarWorks, 1996. https://scholarworks.lib.csusb.edu/etd-project/1258.

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Jovanovic, Nenad. "The part played by labour in transition from ape to man." 2003. http://wwwlib.umi.com/cr/yorku/fullcit?pMQ82935.

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Thesis (M.F.A.)--York University, 2003. Graduate Programme in Film and Video.
Typescript. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ82935.
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Thorn, Michael. "Rocket Man : a feature length screenplay /." 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR29622.

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Thesis (M.F.A.)--York University, 2007. Graduate Programme in Film (Screenwriting).
Typescript. Includes bibliographical references (leaves 147-149). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR29622
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Books on the topic "Rain man (Motion picture)"

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Randye, Kaye, National Professional Resources Inc, and Program Development Associates, eds. Celebrating diversity: A universal message from the real Rain Man. Port Chester, NY: National Professional Resources, 2007.

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Muir, John Kenneth. Purple rain. Milwaukee, WI: Limelight Editions, 2012.

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Milcho, Manchevski, Kostova Marina, and Kunovski Blagoja, eds. Rain: The world about Milcho Manchevski's film "Before the Rain" = Dožd : svetot za filmot "Pred Doždot" na Milčo Mančevski. Skopje: Museum of Contemporary Art, 2004.

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Cox, Alex. Repo man. Boston: Faber and Faber, 1987.

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Rosenbaum, Jonathan. Dead man. London: BFI Pub., 2000.

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Rosenbaum, Jonathan. Dead man. London: British Film Institute, 2000.

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Potter, Sally. The man who cried. New York: Faber and Faber, 2001.

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A, Dabholkar Pratibha, ed. Singin' in the rain: The making of an American masterpiece. Lawrence, Kan: University Press of Kansas, 2009.

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Institute, British Film, ed. Odd man out. London: BFI Pub., 1995.

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Kelly, Gene, and Stanley Donen. Singin' in the rain. Culver City, CA: MGM/UA Home Video, 1993.

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Book chapters on the topic "Rain man (Motion picture)"

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"1. The Birth of a Motion Picture Company." In Col. William N. Selig, the Man Who Invented Hollywood, 5–30. University of Texas Press, 2012. http://dx.doi.org/10.7560/728707-004.

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Barnsley, M., and L. Barnsley. "Fractal Image Compression." In Image Processing: Mathematical Methods and Applications, 183–210. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198511977.003.0008.

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Abstract What is multimedia? It is a special publication or “title”; it can be “read” inter actively on a computer screen and it is made up of text, pictures and probably sound and motion video as well. Early multimedia titles ran on microcomputers such as the Apple Mac or IBM PCs and popular sources of material for such early titles were the text and pictures in old-fashioned, paper-based encyclopaedias. These days however, multimedia titles do not need to be tied to one computer; they can be stored on company-wide networks or even on the information super-highway.
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Jackson, Robert H. "That Man As Economist." In That Man, 119–34. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195168266.003.0007.

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Abstract Many of The Litigations and other matters that presented legal aspects were also economic matters. It always seemed to me that the President was at his weakest in dealing with economic or business problems. He had not engaged in business as my law practice had compelled me to do, and he had no personal knowledge of its methods or its problems. He tended to think of economic matters as personal rather than impersonal forces. He was much inclined to think about economic matters in terms of rights and wrongs. He was inclined to think that we were prosecuting a group of businessmen because they had done some moral wrong, and that if he talked to them and made them see that their course was morally wrong, they would do something about it. When we were considering the commencement of Department of Justice actions in 1937 to dissolve the motion picture combines, I went to the President and told him that I wanted to start an action against them. The President said, “Well now, of course, they’ve been doing wrong, but do you really need to sue these men? If you would bring them in here and let me talk with those fellows, don’t you think they would change their practices? I think they can be straightened out.” My answer, of course, was that these men were in a sense victims of their practices as well as perpetrators of them. It was a system that had grown up to where no one man or group could break it up without the intervention of government. Even if they all decided they ought to break it up, they could not do it. It was not a moral problem. It was not a right and wrong problem. It was a social and antisocial problem that did not reach moral concepts. What the President found difficult to envision was that they were caught up in a course of business practices that they were as powerless to escape from individually as if they were prisoners.
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Lomax, Cathy. "Dorothy Dandridge the Invisible Star: Racial Segregation in Hollywood Fan Magazines in the 1950s." In Stars, Fan Magazines and Audiences, edited by Tamar Jeffers McDonald, Lies Lanckman, and Sarah Polley, 75–94. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781399505901.003.0005.

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In 1954, Dorothy Dandridge’s career and stardom were approaching their peak: after many years playing small roles on screen and performing on the nightclub circuit she was cast as the lead in Otto Preminger’s all-black musical Carmen Jones, a role that won her an Academy Award nomination. Despite this, Dandridge was ignored by the American fan magazines. Though major mainstream publications like Life, Cosmopolitan, Esquire and Look ran features on her, the top movie magazines such as Photoplay, Modern Screen and Motion Picture downplayed her significance, denying her stardom. This chapter examines one issue of Photoplay from February 1955, which amongst the usual content has a one-page sponsored feature in black and white about Carmen Jones. Using a detailed analysis of the content of this issue, the chapter outlines the way that the American fan magazines of the mid-1950s, in an effort to maintain the status quo, screened their mostly female audience from any political issues, which by the very nature of her race Dandridge epitomised. The result of this invisibility for Dandridge was that the progress of her career was impeded and short-lived.
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Stokes, Melvyn. "Thomas Dixon Jr." In D. W. Griffith’s The Birth of a Nation, 27–54. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195336788.003.0003.

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Abstract The essential narrative and the principal fictional characters of The Birth of a Nation were originally created by Thomas Dixon Jr. Any attempt to understand the genesis of the film, therefore, must start with Dixon. Successively lawyer, politician, minister, lecturer, novelist, dramatist, actor, theatrical and motion picture producer, and real estate entrepreneur, he was a man of tremendous energy, considerable versatility, and enormous ambition. Almost forgotten nowadays, he was a significant figure in early twentieth-century American culture. He was a highly successful minister and popular lecturer. His novels, frequently addressing racial issues, enjoyed huge sales. He also wrote a number of plays that attracted large, enthusiastic audiences. The popularity of Dixon’s novels and plays, indeed, suggests that the issues he addressed struck a responsive chord among many Americans of his time.
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Bauer, Mark S. "Anonymous (published 1751)." In A Mind Apart, 119. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195336405.003.0038.

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Abstract Strip Me Naked, or Royal Gin for Ever. A Picture I must, I will have gin!–that skillet take, Pawn it.—No more I’ll roast, or boil or bake. This juice immortal will each want supply; Starve on, ye brats! So I but bung my eye. Starve? No! This gin ev’n mother’s milk excels, Paints the pale cheeks, and hunger’s darts repels. The skillet’s pawned already? Take this cap; Round my bare head I’ll yon brown paper wrap. Ha! Half my petticoat was torn away By dogs (I fancy) as I maudlin lay. How the wind whistles through each broken pane! Through the wide-yawning roof how pours the rain! My bedstead’s cracked; the table goes hip-hop.— But see! The gin! Come, come, thou cordial drop! Thou sovereign balsam to my longing heart! Thou husband, children, all! We must not part! Drinks Delicious! O! Down the red lane it goes; Now I’m a queen, and trample on my woes. Inspired by gin, I’m ready for the road; Could shoot my man, or fire the King’s abode. Ha! My brain’s cracked.—The room turns round and round; Down drop the platters, pans: I’m on the ground. My tattered gown slips from me.—What care I? I was born naked, and I’ll naked die.
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Erish, Andrew A. "1909–1913." In Vitagraph, 58–110. University Press of Kentucky, 2021. http://dx.doi.org/10.5810/kentucky/9780813181196.003.0004.

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Chapter Three charts Vitagraph's ascendency in becoming the world's leader in motion picture production, during which time the company earned one million dollars in annual net profit. This was derived exclusively from foreign earnings due to the mismanagement of the Patents Company's domestic distribution arm. Part of Vitagraph's popularity is attributed to the crediting and promotion of its actors via the creation of the first trade and fan magazines devoted exclusively to the movies. There are in-depth profiles of such leading players "Vitagraph Girl" Florence Turner, matinee idol Maurice Costello, and comedian John Bunny, who was widely regarded as the most recognizable man in the world. The significance of Vitagraph's Los Angeles studio in the production of popular Westerns is considered. The chapter also includes an analysis of the company's development of a sophisticated cinematography aesthetic to complement particular narratives, an approach that later came to be labeled "film noir".
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Tidwell, John Edgar, and Mark A. Sanders. "“Insurance Executive”." In Sterling A. Brown’s, A Negro Looks At The South, 171–81. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195313994.003.0027.

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Abstract Though quite busy, E. M. Martin, secretary of the Atlanta Life Insurance Company, affably gave me much time, and proved to be a good talker. He is a sturdily built, sharp-featured man with shrewd eyes; his color is that of sunburned white Southerners; his thin, graying hair is straight. He is energetic and forceful, and from all quarters I heard that he was a resourceful business man. One of his immediate concerns was an eight millimeter technicolor motion picture called “The Parade of Negro Progress” that the Atlanta Life Company had been exhibiting throughout the South. The picture took two years and a lot of money to make, he told me. The machinery belonged to the company and a photographer was employed for the filming and showing. Martin candidly admitted that the primary object of the film was to make money, but in a clean honest way, he said, “to build friendships, and to show others what we’re doing. Many Negro schoolboys in their history classes learned only one thing pertaining to the Negro and that is that Lincoln freed the slaves.” The picture stresses the “highlights of Negro life,” with such items as the Negro hospital in St. Louis, a commencement at Atlanta University, the new plant at the Tennessee A & I State College at Nashville, the celebration at Daytona Cookman Institute when Mrs. Roosevelt went down there on Mrs. Bethune’s anniversary; Negro farmers in southwest Georgia with large mechanized farms, warehouses, fine mule and horse teams, well-fed cattle, and tractors at work in the fields; hair-dressing establishments; the bank in Atlanta; girls at the intricate statistical machines in the Atlanta Life offices; gas stations owned and manned by Negroes; Paul Laurence Dunbar’s home in Dayton, Ohio; green troops marching in the camps; Negro pilots taking off at Tuskegee; Dean William Pickens selling bonds. And so the list went. “It would be an all-day proposition if we showed all the stuff,” Martin said. So it was edited to meet local interest, with the school and church stuff varying according to the section. When shown in Texas, for instance, a few Texas churches and schools would be spliced in.
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Conference papers on the topic "Rain man (Motion picture)"

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Toyoda, Takashi, Yasunari Miyake, Hiroshi Tanno, Yoshikazu Nitta, Eiichi Funatsu, W. T. Freeman, Jun Ohta, and Kazuo Kyuma. "Man-machine interfaces using image information obtained by a 32x32-pixel artificial retina chip." In Optics in Computing. Washington, D.C.: Optica Publishing Group, 1997. http://dx.doi.org/10.1364/oc.1997.othc.4.

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The image is one of the most suitable information input representations for future multimedia systems. However, it is difficult for conventional charge coupled device (CCD) systems to handle such image information, especially in high speed image processing such as motion picture processing. This is caused by the limitation of the frame rate of the CCD (1/60-1/30sec) and by the bus capacity between the CCD and the computer. To solve the problem of this transmission bottle neck, we have proposed a novel type of image sensor, an artificial retina (AR) chip, and we have demonstrated flexible and high-speed on-chip processing capabilities of the chip [1].
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