Relevant bibliographies by topics / They live by night – film

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

Academic literature on the topic 'They live by night – film'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "They live by night – film"

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Hernandez, H. David Urquiza. "Children of the Night in The Others." Biochemist 37, no. 6 (December 1, 2015): 14–17. http://dx.doi.org/10.1042/bio03706014.

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Children of the Night, Children of the Moon or Children of the Dark are names used for referring to children suffering from xeroderma pigmentosum, a rare genetic disease in which the affected children cannot be exposed to sunlight, which can be fatal for them. This disease have been explored in a few films: Children of the Dark (a made-for-TV film), Dark Side of the Sun, a direct-to-DVD film and, finally, a mainstream film depicting children with this disease, The Others, an acclaimed and award-winning film directed by Alejandro Amenábar, starring Nicole Kidman as Grace, Fionnula Flanagan as Bertha and Alakina Mann and James Bentley as the children1. In The Others, Grace, the mother, and her two children Anna and Nicholas live in a big, dark, almost empty house. Later, we find out that the children cannot be exposed to the sun, so they only play inside the house, which has been emptied of superfluous furniture for the children to have more space in which to run around. The mother employs a new maid (Bertha) and two other new servants, and a series of events occur in such a way that the family, and the audience, begins to believe that the house is haunted. This article focuses on the depiction of children with xeroderma pigmentosum as represented in this film and how the film's approach and description of the disease match with the reality that families with affected children find every day.
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Panuju, Redi. "Hidden Moral Messages in Indonesian Horror Film (Analysis of Palasik Film)." International Journal of Social Sciences and Humanities Invention 6, no. 2 (February 28, 2019): 5273–81. http://dx.doi.org/10.18535/ijsshi/v6i2.03.

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This article discusses implicit moral messages in the Palasik film. This film is based on a myth from West Sumatra society as a creature invented by someone who is a Black magician looking to live long in the world. At night, while looking for food, Palasik let’s go of his head and floated in the air. Palasik food is a fetus that is in the womb of his mother. Stories like this make film creators unable to avoid the element of violence in visualization. As a result, many criticisms of this film consider it to be extreme, especially at the moment when Palasik is preying on a fetus in the womb and blood is splattered everywhere. Also, the visualization of explosions for women who have just given birth by first pouring gasoline on them is considered excessive. In general, horror films get criticized because of the content of pornography and violence in them. The crucial question is whether or not the Palasik film does not contain a moral message? This study uses a narrative analysis approach. Data was obtained through in-depth observations of the story of the film arranged from scene to scene. The author interprets the film scene after scene and concludes the moral message hidden in the story. The results showed that the Palasik film conveyed many moral messages, although not explicit. For example, it conveys that collective unity can defeat evil, excessive love can make a person less alert to something bad around them, aggressiveness is formed based on habits step by step, revenge has made humans lose their humanity (especially for invented creatures like Palasik which are certainly more destructive), and power-hungry humans are willing to serve Satan in order to achieve that power.
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Axelson, Tomas. "The Dark Night of the Soul: Art Film, Bereavement and Unsatisfied Audience Responses." Journal of Religion, Media and Digital Culture 7, no. 2 (August 14, 2018): 137–57. http://dx.doi.org/10.1163/21659214-00702001.

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Moving images are more and more in the centre of culture, providing individuals with stories by which reality is maintained and by which humans construct ordered micro-universes for themselves. There is a growing field of research evolving around the idea that culture and art could act as a catalyst for experiences of deeper meaning. In this article, a case study is described and analysed. A contemplative short art film was presented to a group of women as a possible asset for processing fundamental existential life issues. The women did not respond in line with expectations and their impressions of the short film were essentially negative, with expressions of impatience, irritation and even hostility towards the film’s appeal. Two problematic aspects of the film Night are outlined: (1) the meaning of the imagery used was too open and (2) as a piece of art, the film was not in tune with participants’ grieving processes.
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Prabowo, Bernadus Yoseph Setyo. "Producing For A Short Film: Short Film Abroad as A Study Case." ULTIMART Jurnal Komunikasi Visual 10, no. 2 (March 26, 2018): 53–58. http://dx.doi.org/10.31937/ultimart.v10i2.773.

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ABROAD is a short film, which tells a story of an Indonesian student, Priyo (23) who lived in Brisbane. He had to live in his yellow car, after finding out that his scholarship had been corrupted. Priyo began his new journey when he met Pamela (17), a runaway musician who was stuck in Brisbane for a night during her trip to Sydney. Their friendship grows stronger when they played music and performed together at Brisbane streets. Unfortunately, Priyo’s car was vandalized due to his religion. Later on, their friendship was tested as they explore the city for the first time. The film explores the journey to find the meanings of passion, dream, and faith. Depicted by the main character who is an Indonesian student, the film attempts to share the experience of students who chose to travel outside their home country, in search of better education for better life. Although most part of the story is fiction, the main character (Priyo) is inspired by the real life experience of an Indonesia student in Canberra. He lived in his car for two year while trying to complete his master degree. Dramas that were presented in the storyline were based on the writer’s observation toward his surroundings, friends, and communities. Living and studying in another country could bring great experiences to international students, but at the same time, living through differences in values and beliefs could be a challenging task. The meaning of ‘abroad’ is not just about people who live outside their home country. But, it could also depict people’s experience when they try to get out of their comfort zone in order to achieve a higher goal in their life. Based on these reasons, the main targeted audiences of the film are people from the age of 25 and above. Additionally, the film also attempts to target local audiences, especially parents, as a bridge between parents and children. Hopefully it could prevent the rising number of runaway’s children. The outline of the production begins with the script development, which will be completed by the end of November. As soon as the final script is done, the production will proceed with the pre-production from December until early January. This process includes assembling the crew, finding cast, art design, and composing music. The crew will consist of GFS students for the production crew and some Indonesian students who voluntarily want to help in funding and marketing. The production will start around late January or early February, Bernadus Yoseph Setyo Prabowo adalah staf pengajar pada Program Studi Televisi dan Film, Universitas Multimedia Nusantara. e-mail: bernadus.yoseph@umn.ac.id 54 Vol. X, No. 2 Desember 2017 and the post-production will begin in March. There are some challenges in this project. Firstly, the project has to combine two different cultures between Indonesia and Australia through out the process. However, having an Australian as the director and an Indonesian as the producer can solve these. The other problem is related to the sensitive issue around religion, especially Islam. Recently, the religion feels being judged in Australia because of the action of ISIS (Islamic State in Iraq and Syria) and ISIL (Islamic State in Iraq and Levant). There will be three problems that are going to be discussed in order to resolve the challenges of the project. Keywords: short film, film production, Abroad
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Jones, Janna. "‘When the Movie Started, We All Got Along’: Generation Y Remembers Movie Night." Media International Australia 139, no. 1 (May 2011): 96–102. http://dx.doi.org/10.1177/1329878x1113900113.

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Most scholars interested in movie-going have focused their attention on the early twentieth century, when going to the cinema was a common part of public life. More recently, however, sites of film consumption have become increasingly dispersed, encompassing both communal and private spaces. Examining ‘movie night’ – an informal, ritualised event in which contemporary families watch a film together at home or at the theatre – this article aims to broaden our understanding of the phenomenon of movie-going by recovering its present day practices. This analysis draws on the experiences of university students who recall movie nights as a set of comforting and enriching performances that had particular meanings within the complex network of their families. This essay argues that while contemporary movie-going practices are far less public than they once were, many of the fundamental elements of cinema's sociability that existed in cinema's classic era persist into the present.
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Zvereva, T. V. "Day Stars and Pervorossiisk by Olga Berggolts in the Light of Poetic Cinematograph." Critique and Semiotics 39, no. 1 (2021): 403–22. http://dx.doi.org/10.25205/2307-1737-2021-1-403-422.

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The paper considers the book Day Stars and the narrative poem Pervorossiisk by Olga Berggolts from an interdisciplinary perspective. The works were screened by Igor Talankin and Evgenii Shiffers. According to the author of the research, it is these films that define meaning-making mechanisms of Berggolts’s creative activity. A night dream mode of film narration is determinant for I. Talankin’s Day Stars; the search for the form, which is able to communicate the book structure as well as a whimsical game of human memory, comes to the fore. The film making became a testing site for Evgenii Shiffers where his religious and philosophical ideas were performed. The film Pervorossiyane is not just setting an event line in terms of visual patterns but the narrative poem reproduced via a film and thought solely in a religious and drama mystery light.
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Wheatley, Catherine. "The Third City: The Post Secular Space of the Dardenne Brothers' Seraing." Film-Philosophy 23, no. 3 (October 2019): 264–81. http://dx.doi.org/10.3366/film.2019.0116.

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Set principally in or around Seraing, an industrial region in decline just outside of Liège, in Belgium, the films of Jean-Luc and Pierre Dardenne marry geographical and historical-social realism with a series of ethical inquiries into such topics as immigration, unemployment, black market trading and petty crime. To date, critical commentary on the films has tended mainly to read the work of the Dardennes along two lines. The dominant approach uses the work of Emmanuel Levinas as a philosophical touchpoint in order to illuminate the ethical dimension of the Dardenne brothers' films. The second considers the political dimensions of their films. However a third, related body of writing has emerged in later years, one which understands in terms of their relation to what Jürgen Habermas (2006) , amongst others, has dubbed the postsecular age. This article locates the Dardennes' films at the intersection between the ethical, the political, and the postsecular, looking to the theologically-inflected philosophy of Gillian Rose to make the case that Seraing serves as the model of what Rose refers to as “the third city” – a postsecular site which challenges easy divisions between politics and ethics. As such Seraing is not, I shall argue, a mere staging post for the moral, political and spiritual problems posed by the films, but its cradle. Paying particular attention to the Dardennes' film Two Days, One Night (Deux Jours, Une Nuit, 2014) I demonstrate what an engagement that turns on existence with and within the city – an engagement that is both political and ethical – might look like.
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Park, Shelley M. "Unsettling Feminist Philosophy: An Encounter with Tracey Moffatt's Night Cries." Hypatia 35, no. 1 (2020): 97–122. http://dx.doi.org/10.1017/hyp.2019.11.

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AbstractThis essay seeks to unsettle feminist philosophy through an encounter with Aboriginal artist Tracey Moffatt, whose perspectives on intergenerational relationships between (older) white women and (younger) Indigenous women are shaped by her experiences as the Aboriginal child of a white foster mother growing up in Brisbane, Australia during the 1960s. Moffatt's short experimental film Night Cries provides an important glimpse into the violent intersections of gender, race, and power in intimate life and, in so doing, invites us to see how colonial and neocolonial policies are carried out through women's domestic labor. Seeing cross-generational and cross-racial intimacy through Moffatt's lens, I suggest, helps us to unsettle both feminist theories of motherhood and feminist practices of mentoring.
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Nowakowski, Jacek. "„Nie myślę, lecz jestem”: mózg, umysł i serce filmowej postaci zombie w kontekście paradygmatu posthumanistycznego." Poznańskie Studia Polonistyczne. Seria Literacka, no. 34 (January 11, 2019): 145–61. http://dx.doi.org/10.14746/pspsl.2018.34.7.

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The article presents the character of the zombie popular in the contemporary audio-visual culture by placing it in the context of post humanist paradigm. He concentrates on the brain symbolism representative for the character, which, in the classical understanding of the living dead, due to dissimilar functioning, makes it different from humans and their brain-like traits: the mind and heart. Analysing the recent films such as Warm Bodies and The Girl with All the Gifts, he demonstrates the present inadequacy of such a division. Unlike the classical Night of the Living Dead, they are in line with post anthropocentric and new materialism philosophy, by differently symbolically depicting the role and place of the human in the world. It is presently tantamount to the place of non-humans: animals, objects, artefacts and monsters including the living dead. The change of the cultural and film paradigm observed in zombie horrors indicates a deeper strategy of authors of those popular films.
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Paszkiewicz, Katarzyna. "Touch as Proximate Distance: Post-Phenomenological Ethics in the Cinema of Isabel Coixet." Film-Philosophy 24, no. 1 (February 2020): 22–45. http://dx.doi.org/10.3366/film.2020.0127.

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In the wake of paradigm-shifting works on cinematic affect over the last few decades that have challenged psychoanalytically based gaze theory, embodied perception and sensory-affective experience have become fundamental concepts in much of contemporary screen studies. Even though the proponents of the affective turn in film studies present diverse theoretical approaches to affect – from Deleuzian “haptic visuality” to phenomenologically informed film theory – it seems evident that they all draw, to a greater or lesser degree, on the sense of touch as the affective axis of perception. Conceptualized this way, the sense of touch facilitates a mode of mutual embodiment between the viewer and the film image, a relationship based on immediacy and exchange, which, according to some of the approaches to cinematic affect, might also translate into a particular ethical position of embracing and opening up to the world and to the Other. The cinema of Isabel Coixet seems to exemplify these claims. Her oeuvre, as I shall illustrate, is often discussed in terms of intimacy, encounter and reciprocity, as well as the sensuous visual and sonorous textures which compose her films. Nevertheless, in this article I will suggest that Coixet evinces a much more ambiguous attitude towards touch, which often goes beyond the prevalent models of haptic visuality or embodied perception as conceptualized in phenomenological film theory. Drawing on Laura McMahon, I seek to interrogate the concept of touch by engaging with Jean-Luc Nancy's anti-ocularcentric, post-phenomenological reflections on community, offering an analysis of three films produced at different moments in Coixet's career – The Secret Life of Words (2005), Yesterday Never Ends (2013) and Endless Night (2015). The choice of works is dictated by their particular tactile aesthetics, as well as their explicit concern to go beyond the models of autonomous being towards an ethics of relationality between self and world, while being mindful of the limit as the very condition for its emergence.
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Dissertations / Theses on the topic "They live by night – film"

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Kosmicki, Anne-Marie. "A la recherche d'une identité culturelle à travers le film policier français des années cinquante." Paris 3, 1996. http://www.theses.fr/1997PA030022.

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Une serie de films policiers, a la francite offensive, aux effets de genre americain, constituent le preambule a la question des emprunts au cinema. Entre les relais de genres, les titres fetiches, la legende des accords blumbyrnes resurgit ; le questionnement prend sa place au centre du deuxieme conflit mondial. La demarche devient double, conduite par l'histoire evenementielle et celle du cinema. Un corpus francais et americain est constitue en fonction de ce detour qui va des annees trente aux annees cinquante pour repondre a une etude comparative gouvernee par un seul genre en gestation : le film noir. Une reflexion sur la notion de genre s'impose. Le terrain d'etude est deja balise ; la coherence du groupe etabli. Des lors, le processus de constitution devient prioritaire, incluant les differences aussi bien que les similitudes. Une grille d'observation est adoptee : la notion de motif, fondee sur des apports theoriques interdisciplinaires, permet le reperage et le classement de recurrences visuelles ; des reseaux d'ententes se degagent sur un film et entre les films. Une synthese menee sur l'ensemble du corpus fait eclater les frontieres d'etancheite generique ou de nationalite, laissant emerger des zones d'equivalences stylistiques tandis qu'au niveau des sous-themes distinctifs, sur des formes similaires, les lectures se differencient. Ces derniers ecarts manifestent l'expression d'une tradition culturelle abordee par l'etude specifique de chaque cinema dans ses reperes institutionnels et economiques, rendus plus visibles en periode de conflits et d'urgences. Ainsi, dans un contexte de repli national, les films, nes de la guerre, affirment, par des formes symboliques dominantes, les elements d'une tradition francaise ou americaine et certains artistes, exiles, contribuent, paradoxalement, au renforcement de cette identite, laissant, au passage, les marques d'une signature interdite. Au terme de cette etude, les emprunts, rendus intelligibles, revelent l'histoire d'un genre lie a celle du cinema
A series of gangster films, overtly french but with an american touch, is used to study the question of the real degree of cultural and artistic transfer in cinema. Due to genre transfer and fetishistic titles, the legend of the blum-byrnes agreement reappears and the question takes on its full meaning in the context of wwii, the study becomes double, driven by the history of the world and the history of cinema. Taking this into account, a corpus of french and american films from the 30's, 40's and 50's is created for a comparative study of a unique genre : the film noir. The genre has been studied and its cohesion has been established, so the analysis of its genesis and evolution, with its similarities and its differences, is of primary importance. An observational grid is developed. The notion of motif, defined by interdisciplinary theories, allows the identification and classification of visual recurrences ; thematic networks become apparent within films and between films. A synthetic study of the whole corpus breaks down the barriers of genre and nationality and stylistic equivalents emerge, even though there are differences for similar forms at the subthematic level. These distinctive elements reveal the existence of separate cultural traditions which can be studied taking into account institutional and economic markers, particularly salient in times of national urgency. Thus, the films produced during the war in a context of isolationism confirm a specific french or american tradition through their dominant symbolic forms ; with certain exiled artists paradoxically reinforcing national identity by leaving a "forbidden" signature somewhere in their film. In the end, the cultural transfers which have been established reveal the history of a genre which is part of the history of cinema
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Whalley, James. "Saturday Night at the Movies : Saturday Night Live, Star Comedians and Contemporary Hollywood." Thesis, University of East Anglia, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.514263.

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The subject of this thesis is the role of television programme Saturday Night Live (or SNL) in launching the careers of a significant number of Hollywood film stars over the last three decades. Started in 1975, SNL is a 90-minute comedy variety show broadcast live by the American television network NBC. Since its inception, it has employed regular casts of performers to present comic sketches. Several cast members, including John Belushi, Bill Murray, Eddie Murphy, Billy Crystal and Adam Sandler, have converted their exposure on the show into film stardom. In exploring the nature of SNL stars' appeal to Hollywood's filmmakers and audiences, the thesis primarily engages in two areas of debate. Firstly, it seeks to continue historicising what has been termed the "comedian comedy tradition" in Hollywood film. It has been noted that the Hollywood film industry has repeatedly turned to comic performers from other media with already well-defined, popular extra-fictional personas for use as star attractions. Certain consistencies have been found in the industry's approach to converting comedians' appeals for presentation within narrative fiction. However, approaches are also affected by historically specific industrial and social factors. I argue that the stars of SNL were instrumental to the development of a new variant of the comedian comedy tradition. Secondly, I suggest that the most important factor in explaining the nature of SNL's influence is shifts in social and cultural values in America since the 1960s. The personas of SNL stars I examine reflect trends in American public opinion connected to generational change. SNL has now employed cast members from across the baby boom generation (those born between 1943 and 1964) and Generation X (1965 to 1982). To consider the impact of generational factors, my analysis is centred around two case studies, the careers of Bill Murray and Adam Sandler.
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Henderson, Tasha Joi. "Blood Night." Digital Commons at Loyola Marymount University and Loyola Law School, 2015. https://digitalcommons.lmu.edu/etd/158.

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Johnson, Jessica D. "GRAD NIGHT." Digital Commons at Loyola Marymount University and Loyola Law School, 2020. https://digitalcommons.lmu.edu/etd/923.

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A coming of age dramedy in the vein of "American Graffiti" taking place in a modern, urban setting. Grad Night is about three graduating seniors trying to pull off the most epic senior prank of all time but it backfires into lessons that go far beyond high school.
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Jordan, Kelly. "The morning after (the night before) : emancipating spectators in participatory live art." Thesis, De Montfort University, 2017. http://hdl.handle.net/2086/17609.

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This thesis develops a theoretical framework for the analysis of spectator-participation in live art by examining the performance practices of Guillermo Gómez-Peña's La Pocha Nostra, Marina Abramović, and Gob Squad. It explores the potentialities and limitations of participation from all sides of the performance border, drawing on my experiences as a performing-spectator, watching-spectator, and as an artist-collaborator with La Pocha Nostra. Unravelling the relationship between these roles, it reveals how participation can create a new hierarchy amongst spectators. The thesis offers a new way of looking at the phenomenology of participatory live art by determining these encounters as a complex network of contradictory and interdependent relations, underlined by the "paradox of participation": the duality of holding the position of both performer and spectator at the same time. Accordingly, it argues that these performances constitute a "symmathesy" of participation, to use Nora Bateson's term, which should be viewed as a whole experience rather than as a series of parts. Advancing on from "the emancipated spectator", as outlined by Jacques Rancière, the study reconsiders its meaning within live art. In doing so, it demonstrates how ritual, presence and ethics converge to underpin the transformative and emergent processes that foster and manage participation, while acknowledging the way that imposed sanctions serve to uphold the performance. Moreover, it maintains that spectator-participation has developed into a practice in its own right, and charts the birth of a new breed of spectator who anticipates the possibility of co-creation. It recognises several emerging types of participant, namely the "expert participant-spectator" and the more transgressive "dis-spectator". The thesis establishes that participation can offer spectators a licence to act in ways outside of their everyday political and social reality, at the same time; it calls attention to the lack of consideration and after-care given to spectators post-participation.
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Lang, Ruth E. "Sleepless night in the middle of nowhere (short film project)." Connect to resource, 2009. http://hdl.handle.net/1811/38886.

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Price, T. "The politics of culture : 'Saturday night and Sunday morning'." Thesis, University of Nottingham, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.380137.

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Buffa, Gabriele. "A Night´s Portrait." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-371122.

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Miller, Paige Thomason. "Live From New York and Straight to Washington: an Explorative Study of Internet Audience Perceptions of the Portrayals and Appearances of Presidential Candidates on Saturday Night Live." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115121/.

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This thesis examines if and how the Internet viewers of Saturday Night Live skits were influenced by the video skits. the viewers’ online comments were read, categorized and analyzed for content to explore and discuss how the viewers “read” the text of the online video skits. Each video in which candidates John McCain, Sarah Palin, Hillary Clinton and Barack Obama appeared is summarized and analyzed through viewers’ comments. a sample of skits including actors’ portrayals of McCain, Palin, Clinton, Obama and Joe Biden is also summarized and analyzed to find and discuss how the viewers’ perceptions were influenced by the portrayals.
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Shapiro, Amanda J. "You Only Live Twice: The Representation of the Afterlife in Film." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_theses/280.

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The objective of this thesis is to examine and analyze the presentation of spaces, figures, and the processes of judgment in afterlife films. American and foreign titles as well as television series are assessed as afterlife films by two criteria: (1) A character has clinically died yet continues to exist and (2) a living character finds his or her self in an afterlife space. Films with characters that have near-death experiences (NDEs) are included in relation to the above three qualities. After screening nearly one hundred and thirty titles, I have found there is a basic formula structure that has been expanded and transformed into seven other structures, plus those that are combined for a unique narrative. The afterlife corpus is divided into five distinct eras by the quantity of releases that fluctuate in accordance with 20th and early 21st century cultural anxieties and technological advances. A secondary argument proposes why the afterlife story is perfectly suited to the film medium plus why the industry and audiences are incessantly drawn to the afterlife film premise. The afterlife film perpetuates universal and age-old questions on the significance of life and death in the guise of enticing sights and stories. Each afterlife film may have its own identifiable design and theme but they are connected to higher concerns of mortality and second chances.
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Books on the topic "They live by night – film"

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Lehane, Dennis. Live by night. New York: William Morrow, 2012.

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Lehane, Dennis. Live by night. Leicester: Thorpe, 2013.

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Lehane, Dennis. Live by Night. London: Little, Brown, 2012.

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Jack, Rummel, ed. Under a hoodoo moon: The life of Dr. John the night tripper. New York: St. Martin's Press, 1994.

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John. Under a hoodoo moon: The life of Dr. John the Night Tripper. New York: St. Martin's Griffin, 1995.

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Hill, Doug. Saturday night: A backstage history of Saturday night live. New York: Beech Tree Books, 1986.

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Jeff, Weingrad, ed. Saturday night: A backstage history of Saturday night live. New York: Beech Tree Books, 1986.

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Jeff, Weingrad, ed. Saturday night: A backstage history of Saturday night live. New York: Vintage Books, 1987.

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Singh, Rani. The Harry Smith project live: Concert film. Los Angeles: Shout Factory LLC, 2006.

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1957-, Miller James A., ed. Live from New York: An uncensored history of Saturday night live. Boston: Back Bay Books, 2003.

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Book chapters on the topic "They live by night – film"

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Hungerford, Kristen A. "Hegemonic constructions and corporeal deviance in portrayals of physically disabled women characters on Saturday Night Live." In Disability Representation in Film, TV, and Print Media, 88–107. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003035114-5.

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Costa, Mattia, Chiara Ligi, and Francesca Piredda. "Film-Live." In Interactive Storytelling, 399–402. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-71027-3_52.

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Strommer, Jean Theresa, and Joan Elizabeth Strommer. "The Experience of Oneness: Silence and Night as Components of the Void in J.M.G. Le Clézio and Michel Rio, with Correspondences in Music and Film." In Life, 375–81. Dordrecht: Springer Netherlands, 1998. http://dx.doi.org/10.1007/978-94-011-5240-2_23.

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Badham, John. "Saturday Night Fever." In 100 Film Musicals, 196–97. London: British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-84457-568-8_78.

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Lester, Richard. "A Hard Day’s Night." In 100 Film Musicals, 98–100. London: British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-84457-568-8_38.

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Donnelly, K. J. "The Musical Revolution: The Beatles in A Hard Day’s Night." In British Film Music and Film Musicals, 151–65. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230597747_10.

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Gunning, Tom. "Shadow Play and Dripping Teat: The Night of the Hunter (1955)." In Film Moments, 5–7. London: British Film Institute, 2010. http://dx.doi.org/10.1007/978-1-349-92455-4_1.

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Boswell, Matthew. "Night and Fog (Alain Resnais)." In Holocaust Impiety in Literature, Popular Music and Film, 137–46. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230358690_8.

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Hogg, Anthony. "The Disco Phase: Saturday Night Fever." In The Development of Popular Music Function in Film, 123–50. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-21458-6_5.

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Hughes, Ed. "Silent Film, Live Music and Contemporary Composition." In Today’s Sounds for Yesterday’s Films, 175–91. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137466365_12.

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Conference papers on the topic "They live by night – film"

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Malyarov, V. G., Igor A. Khrebtov, Yu V. Kulikov, Igor I. Shaganov, V. Y. Zerov, and Nikolai A. Feoktistov. "Comparative investigations of the bolometric properties of thin film structures based on vanadium dioxide and amorphous hydrated silicon." In International Conference on Photoelectronics and Night Vision Devices, edited by Anatoly M. Filachev. SPIE, 1999. http://dx.doi.org/10.1117/12.350896.

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Nemiroff, Robert J. "Crude Limits on Prior and Prompt Optical Emission from GRBs from CONCAMs of the Night Sky Live Global Network." In GAMMA-RAY BURSTS: 30 YEARS OF DISCOVERY: Gamma-Ray Burst Symposium. AIP, 2004. http://dx.doi.org/10.1063/1.1810835.

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Yan, Lei, Feng Shi, Yaojin Cheng, Zhipeng Hou, Hongli Shi, Wanping Zhu, Beibei Liu, and Ni Zhang. "Performance of low-light-level night vision device affected by backscattered electron from ion barrier film." In 6th International Symposium on Advanced Optical Manufacturing and Testing Technologies (AOMATT 2012), edited by Yadong Jiang, Junsheng Yu, and Zhifeng Wang. SPIE, 2012. http://dx.doi.org/10.1117/12.975954.

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Bondi, Elizabeth, Ashish Kapoor, Debadeepta Dey, James Piavis, Shital Shah, Robert Hannaford, Arvind Iyer, Lucas Joppa, and Milind Tambe. "Near Real-Time Detection of Poachers from Drones in AirSim." In Twenty-Seventh International Joint Conference on Artificial Intelligence {IJCAI-18}. California: International Joint Conferences on Artificial Intelligence Organization, 2018. http://dx.doi.org/10.24963/ijcai.2018/847.

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The unrelenting threat of poaching has led to increased development of new technologies to combat it. One such example is the use of thermal infrared cameras mounted on unmanned aerial vehicles (UAVs or drones) to spot poachers at night and report them to park rangers before they are able to harm any animals. However, monitoring the live video stream from these conservation UAVs all night is an arduous task. Therefore, we discuss SPOT (Systematic Poacher deTector), a novel application that augments conservation drones with the ability to automatically detect poachers and animals in near real time. SPOT illustrates the feasibility of building upon state-of-the-art AI techniques, such as Faster RCNN, to address the challenges of automatically detecting animals and poachers in infrared images. This paper reports (i) the design of SPOT, (ii) efficient processing techniques to ensure usability in the field, (iii) evaluation of SPOT based on historical videos and a real-world test run by the end-users, Air Shepherd, in the field, and (iv) the use of AirSim for live demonstration of SPOT. The promising results from a field test have led to a plan for larger-scale deployment in a national park in southern Africa. While SPOT is developed for conservation drones, its design and novel techniques have wider application for automated detection from UAV videos.
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López-González, Mónica. "Cognitive psychology meets art: exploring creativity, language, and emotion through live musical improvisation in film and theatre." In IS&T/SPIE Electronic Imaging, edited by Bernice E. Rogowitz, Thrasyvoulos N. Pappas, and Huib de Ridder. SPIE, 2015. http://dx.doi.org/10.1117/12.2083880.

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Martins, SAM, J. Mateus, V. Chu, DMF Prazeres, and JP Conde. "Thin-film amorphous silicon photodiodes with integrated fluorescent filters for monitoring live-cell G-protein coupled receptors (GPCR)." In 2014 IEEE Sensors. IEEE, 2014. http://dx.doi.org/10.1109/icsens.2014.6985298.

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Agustina, Ina, Fauziah, and Maulina Dwi Utami. "A short film making with 3D CGI and live action footage usage using compositing technique and key frames method." In 2017 Second International Conference on Informatics and Computing (ICIC). IEEE, 2017. http://dx.doi.org/10.1109/iac.2017.8280609.

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Choi, Chang K., Chuck Margraves, Anthony E. English, and Kenneth D. Kihm. "Opto-Electric Biosensor to Examine In Vitro Toxicity Stimuli to Endothelial Cell Motility and Morphology." In ASME 2007 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2007. http://dx.doi.org/10.1115/sbc2007-176715.

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An integrated opto-electric biosensor is developed that uses an optically transparent and electrically conductive indium tin oxide (ITO) thin film coated on a slide glass substrate. This biosensor can simultaneously acquire the micro-impedance response and microscopic images of live cells in vitro under various toxic agent stimuli. The dynamic response of live porcine pulmonary artery endothelial cells (PPAECs) exposed to various doses of cytochalasin D are comprehensively examined by monitoring the micro-impedance characteristics at a specified frequency and DICM images using the opto-electric biosensor. The change in PPAEC morphology and motility caused by cytochalasin D clearly illustrates the dose-dependent actin filament disruption where optical images are correlated with the changes in the micro-electric impedance.
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Palevičius, Vytautas, Tomas Karpavičius, and Mantas Kaušylas. "The Evaluation of Opportunities for the Development of Access for Charging Electric Vehicles in the Territory of Apartment Buildings." In Environmental Engineering. VGTU Technika, 2017. http://dx.doi.org/10.3846/enviro.2017.113.

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The beginning of 21th century is extremely important for developed countries because of the reduction of their dependence on fossil fuels. The biggest vehicle manufacturing companies are planning to start selling at least one model of electric vehicle and it is expected that by 2025 approximately 10% of the new cars sold worldwide will be electric. In order to reach this goal, some countries are successfully executing an effective electric transport development policy: to create a publicly accessible network for charging electric vehicles, pay incentives for purchasing an electric car, create free of charge parking places and implement other encouraging measures. While analysing world trends it has been noted that the majority of electric cars owners live in private houses. This is due to the fact that people who are living in apartment buildings and planning on purchasing an electric car come across multiple issues when it comes to charging the car at their living area at night. Therefore, the aim of this article is to evaluate the opportunities of developing access points for charging electric cars around the territory of apartment buildings. To achieve this we have raised these main objectives: have the EU member states already foreseen the necessary measures ensuring comfortable charging of electric cars in the territory of apartment buildings?; have the plans for the development of charging facilities in the territory of apartment buildings already been prepared?; which new technologies will be used for the safe charging of electric cars?
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Silva, Viviane De Souza, Farayde Matta Fakhouri, Luna Valentina Angulo Arias, Rosa Helena Aguiar, and Rafael Augustus Oliveira. "Bread preservation with use of edible packaging." In 21st International Drying Symposium. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/ids2018.2018.7799.

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We live in a world that usually use plastic bags either to go shopping or to pack the snack for a short trip. However, packaging makes life easier and serves as protection for products such as food. Bread is a common food product that needs packaging in order to be protected at storage and transportation. Therefore, with aim of reducing petroleum derived packagin g consumption it was developed an edible film from potato starch to packeg bread and some quality characteristics like water content, firmness and weight loss were evaluated, showing that edible film can be used as a packaging.Keywords: biopolymers; edible coatings; packaging materials; starch; storage.
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Reports on the topic "They live by night – film"

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Rosato-Scott, Claire, Dani J. Barrington, Amita Bhakta, Sarah J. House, Islay Mactaggart, and Jane Wilbur. How to Talk About Incontinence: A Checklist. Institute of Development Studies (IDS), October 2020. http://dx.doi.org/10.19088/slh.2020.006.

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Incontinence is the medical term used to describe the involuntary loss of urine or faeces. Women, men, girls, boys and people of all genders, at any age, can experience incontinence. A person with incontinence can experience leakage occasionally, regularly or constantly; and leakage can happen at any time, day or night. A person may also experience leakage of urinary or faecal matter due to not being able to get to the toilet in time or not wanting to use the toilet facilities available. This is known as social, or functional, incontinence. In many low- and middle-income countries (LMICs) understanding of incontinence is still in its early stages: the term ‘incontinence’ may not be known, knowledge of the condition is rare, and the provision of support is lacking. Those who experience incontinence may face stigma due to having the condition, and this may affect their willingness or confidence to talk about it. There is a need to better understand incontinence in LMICs, and how best to support people living with the condition to improve their quality of life. This requires having conversations with individuals that experience the condition, and with individuals who care for those who do: they will have the lived experiences of what it means to live with incontinence practically, emotionally and socially for them and their families. Living with incontinence can have a range of impacts on the people living with it and their carers. These include increased stress and distress; additional needs for water and soap; and restricted ability to join in community activities, school or work. Living with incontinence can also lead to a range of protection issues. The potential challenges that people face may be quite diverse and may vary between people and households. The checklist below, and corresponding page references to ‘Incontinence: We Need to Talk About Leaks’ can be used to increase your understanding of incontinence and the options available to support people living with the condition; and provide guidance on how to have conversations to understand how best to support people living with incontinence in your area.
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Rosato-Scott, Claire, Dani J. Barrington, Amita Bhakta, Sarah J. House, Islay Mactaggart, and Wilbur Jane. How to Talk About Incontinence: A Checklist. Institute of Development Studies (IDS), October 2020. http://dx.doi.org/10.19088/slh.2020.012.

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Incontinence is the medical term used to describe the involuntary loss of urine or faeces. Women, men, girls, boys and people of all genders, at any age, can experience incontinence. A person with incontinence can experience leakage occasionally, regularly or constantly; and leakage can happen at any time, day or night. A person may also experience leakage of urinary or faecal matter due to not being able to get to the toilet in time or not wanting to use the toilet facilities available. This is known as social, or functional, incontinence. In many low- and middle-income countries (LMICs) understanding of incontinence is still in its early stages: the term ‘incontinence’ may not be known, knowledge of the condition is rare, and the provision of support is lacking. Those who experience incontinence may face stigma due to having the condition, and this may affect their willingness or confidence to talk about it. There is a need to better understand incontinence in LMICs, and how best to support people living with the condition to improve their quality of life. This requires having conversations with individuals that experience the condition, and with individuals who care for those who do: they will have the lived experiences of what it means to live with incontinence practically, emotionally and socially for them and their families. Living with incontinence can have a range of impacts on the people living with it and their carers. These include increased stress and distress; additional needs for water and soap; and restricted ability to join in community activities, school or work. Living with incontinence can also lead to a range of protection issues. The potential challenges that people face may be quite diverse and may vary between people and households. The checklist below, and corresponding page references to ‘Incontinence: We Need to Talk About Leaks’ can be used to increase your understanding of incontinence and the options available to support people living with the condition; and provide guidance on how to have conversations to understand how best to support people living with incontinence in your area.
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