To see the other types of publications on this topic, follow the link: They live by night – film.
Journal articles on the topic 'They live by night – film'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'They live by night – film.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
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.
Full textAbstract:
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.
3
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.
Full textAbstract:
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.
4
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.
Full textAbstract:
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
5
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.
Full textAbstract:
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.
6
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.
Full textAbstract:
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.
7
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.
Full textAbstract:
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.
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full textAbstract:
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.
11
Wardhani, Ayuni Widya Kusuma, and Elda Franzia. "PENGGAMBARAN KEPERCAYAAN SEKALA DAN NISKALA DI MASYARAKAT BALI PADA FILM “THE SEEN AND UNSEEN”." Jurnal Dimensi DKV Seni Rupa dan Desain 5, no. 1 (April 1, 2020): 19. http://dx.doi.org/10.25105/jdd.v5i1.6851.
Full textAbstract:
<p><strong>Abstract</strong></p><p> </p><p>The Visualization of Balinese Society’s Sekala and Niskala Beliefs in “The Seen and Unseen” Movie. Art and culture are the inspiration for filmmakers in their work. The diversity of traditions and culture in Indonesia has become something people take interest in to be in a film work. This research discusses the visualization of sectarian beliefs in Balinese society in the “The Seen and Unseen” movie. Through the semiotic method, analysis of scenes that depicts beliefs of the sekala and niskala are done. This analysis is translated into Roland Barthes’s semiotic theory through the meaning of denotation, connotation, and myth. Sekala and niskala are Balinese beliefs that are very inherent in everyday life that have visible and invisible meanings. This belief guides Balinese people to live a balanced life. In the film “The Seen and Unseen” this belief is depicted with an egg symbol, banging twins, moon, day and night. The result of this research is the understanding of those symbols and meanings in “The Seen and Unseen” movie.</p><p> </p><p><br /><strong>Abstrak</strong></p><p> </p><p>Penggambaran Kepercayaan Sekala dan Niskala di Masyarakat Bali pada Film “The Seen and Unseen”. Seni dan budaya merupakan inspirasi bagi sineas dalam berkarya. Keberagaman tradisi dan budaya di Indonesia menjadi sesuatu yang menarik untuk diangkat menjadi sebuah karya film. Penelitian ini membahas tentang penggambaran kepercayaan sekala dan niskala di masyarakat Bali pada film “The Seen and Unseen”. Melalui metode semiotika dilakukan analisis terhadap adegan-adegan yang menggambarkan kepercayaan sekala dan niskala. Analisis dijabarkan dengan teori semiotika Roland Barthes melalui makna denotasi, konotasi, dan mitos. Sekala dan niskala merupakan kepercayaan masyarakat Bali yang sangat melekat dalam kehidupan sehari-hari yang memiliki makna terlihat dan tidak terlihat. Kepercayaan tersebut mengarahkan masyarakat Bali agar menjalani kehidupan yang seimbang. Dalam film “The Seen and Unseen” ini kepercayaan sekala dan niskala digambarkan dengan simbol telur, kembar buncing, bulan, siang dan malam. Hasil dari penelitian ini adalah pemahaman terhadap tanda-tanda tersebut yang dihadirkan pada film “The Seen and Unseen”. Kata kunci: film, budaya, tradisi, sekala dan niskala, Bali</p>
12
Utami, Desy Budi. "Mengenal Indonesia Melalui Netflix Original Movie." Jurnal Komunikasi 11, no. 1 (July 17, 2019): 70. http://dx.doi.org/10.24912/jk.v11i1.4051.
Full textAbstract:
Culture is one of the approached on shaping up the nation image. Movies, for example, successfully create an image of “super power” country; exotic land; not to mention the most enchanting holiday destination in the world. Convergence era bring forth the “on demand” culture, it is a situation where the citizen freely consumed any kind of cultural “menu”. As like Netflix, most Indonesian favorable online streaming media nowadays, from California. Compared to other online streaming media, Netflix made a good collaboration with global film maker to served original movie and series as one of their eminence. By doing so, Netflix also encourage its audiences to get to know more the “global culture” through the eye of its original movies. In Indonesia, Netflix officially release its premier original movies collaborating with Indonesian cinemas, titled “The Night Comes for Us”. This research is aim to point out how the trailer of “The Night Comes for us” displaying and reflecting Indonesian image with Jean Baudrillard concept of simulation. Roland Barthes semiotic analysis’s concept is also being use in this research as a bridge to understand first and second phase of Baudrillard’s concept. The research concluded that the film trailer did not representing any kind of reality, but only a certain designed of Indonesian image. The displayed image that seen on the trailer is a commodity to persuade audience to watch the movie. Image simulation displayed on the trailer is created with the motives to “win” a certain target segmentation of audience. Citra sebuah bangsa dapat dibentuk dengan berbagai cara, salah satunya dengan pendekatan kebudayaan. Lewat film misalnya, sebuah negara dapat dicitrakan sebagai bangsa “adi kuasa”, negeri yang eksotis, hingga destinasi liburan paling menyenangkan di dunia. Era konvergensi media lahirkan budaya “on demand”, dimana masyarakat bisa bebas menentukan sajian budaya apa saja yang ingin mereka konsumsi. Seperti misalnya, Netflix, layanan media streaming dari California yang mulai populer dinikmati publik Indonesia. Netflix menyajikan Netflix original movie and series, yang diproduksi oleh Netflix dan bekerjasama dengan sineas global sebagai keunggulan dibandingkan layanan streaming lainnya. Netflix mengajak penontonnya untuk mengenal kebudayaan global dengan film-film orginalnya. Di Indonesia, Netflix secara resmi dan perdana ini merilis Netflix original movie dengan judul “The Night Comes for Us”. Penelitian ini bertujuan untuk menunjukkan bagaimana cuplikan film “The Night Comes for Us” menampilan dan merefleksikan citra Indonesia dengan berpijak pada model pencitraan Jean Baudrillard yang dimulai dari tahapan representasi, ideologi, simulasi dan simulakra. Analisa semiotika Roland Barthes digunakan dalam penelitian ini sebagai jembatan untuk memahami fase pertama dan kedua pencitraan Baudrillard. Temuan yang didapatkan menjelaskan bahwa citra Indonesia yang di tampilan dalam cuplikan objek penelitian tidak mewakili realitas apapun, melainkan sebuah bentukan belaka. Citra yang ditampilkan tak lain adalah sebuah komoditas yang digunakan untuk merayu penonton. Simulasi pencitraan didasari dengan motivasi untuk “memenangkan” segmentasi pasar tertentu.
13
Ryan, Marie-Laure. "Digital Narrative: Negotiating a Path between Experimental Writing and Popular Culture." Comparative Critical Studies 13, no. 3 (October 2016): 331–52. http://dx.doi.org/10.3366/ccs.2016.0209.
Full textAbstract:
Is there room, between the aggressively avant-gardistic, conceptual, often not-to-be-repeated experiments of electronic literature, and the stereotyped or utilitarian narratives of computer games and social media, for new forms of narrative that take advantage of the affordances of digital technology without sacrificing what makes narrative so important for the life of the mind, namely its ability to capture actual or imaginary life experience ? In this presentation I will discuss three digital or semi-digital texts that could fill the gap between the ‘North Pole’ of novelty for novelty's sake and the Tropics of popular culture: the reworking of the tale of ‘Little Red Riding Hood’ in the independent game The Path, the linear, multimodal story Inanimate Alice by Kate Pullinger, and the augmented book Night Film by Marisha Pessl.
14
Prell, Riv-Ellen. "A Serious Man in Situ: “Fear and Loathing in St. Louis Park”." AJS Review 35, no. 2 (November 2011): 365–76. http://dx.doi.org/10.1017/s0364009411000456.
Full textAbstract:
“Who ever heard of the Coen brothers anyway?” asked a Minneapolis woman with whom I was seated at a small party shortly after the opening of A Serious Man, in 2009. An accomplished and striking woman in her early seventies, Ms. S had lived in St. Louis Park, a first-ring suburb of Minneapolis, and the hometown of Joel and Ethan Coen. In fact, all of the women at the table where I was seated were likewise: affluent, politically and culturally active, philanthropic, and residents of St. Louis Park in the 1960s. On that December night, what they also shared was contempt for the film, and the filmmakers, whom they resented as inaccurate narrators of their shared place and time. Nothing could dissuade them from their conviction that the film was awful, not even the arguments of the Minneapolis Star Tribune film critic, Colin Colvert, who was also seated at our table.
15
Hallett, Mark. "The newspaper man: Michael Andrews and the art of painted collage." Journal of the British Academy 8 (2020): 105–40. http://dx.doi.org/10.5871/jba/008.105.
Full textAbstract:
This article focuses on an ambitious and complex pair of pictures painted by the prominent English artist Michael Andrews in the early 1960s, in which he juxtaposes a mass of visual elements taken from various photographic sources. Deer Park (1962) and All Night Long (1963�4) offer fascinating examples of what we might call painted collage. They also see Andrews testing out the possibilities of a new kind of painting of modern life, in which the forms of pictorial fragmentation and overlap associated with collage are brought to bear on the narratives and imagery of hedonistic party-going, as expressed in contemporary literature, journalism, photography and film.
16
Das, R. K., A. Tamman, V. Nikolova, T. P. Freeman, J. A. Bisby, A. I. Lazzarino, and S. K. Kamboj. "Nitrous oxide speeds the reduction of distressing intrusive memories in an experimental model of psychological trauma." Psychological Medicine 46, no. 8 (March 4, 2016): 1749–59. http://dx.doi.org/10.1017/s003329171600026x.
Full textAbstract:
BackgroundPost-traumatic stress disorder (PTSD) involves maladaptive long-term memory formation which underlies involuntary intrusive thoughts about the trauma. Preventing the development of such maladaptive memory is a key aim in preventing the development of PTSD. We examined whether the N-methyl d-aspartate receptor (NMDAR) antagonist gas nitrous oxide (N2O) could reduce the frequency of intrusive memories by inhibiting NMDAR-dependent memory consolidation in a laboratory analogue of psychological trauma.MethodParticipants were randomized to inhale N2O (N = 25) or medical air (N = 25) after viewing a negatively valenced emotional film clip (‘trauma film’). Participants subsequently completed a daily diary assessing frequency of intrusive thoughts relating to the film clip. A week later, participants completed an explicit memory recall task related to the film.ResultsPost-encoding N2O sped the reduction in intrusive memory frequency, with a significant reduction by the next day in the N2O group compared to 4 days later in the air group. N2O also interacted with post-film dissociation, producing increased intrusion frequency in those who were highly dissociated at baseline. Sleep length and quality the night after viewing the film did not differ between the groups.ConclusionN2O speeds the reduction of intrusive analogue trauma memory in a time-dependent manner, consistent with sleep-dependent long-term consolidation disruption. Further research with this drug is warranted to determine its potential to inoculate against enduring effects of psychological trauma; however, caution is also urged in dissociated individuals where N2O may aggravate PTSD-like symptomatology.
17
Steward, Tom, and James Zborowski. "(G)hosting Television:Ghostwatchand its Medium." Journal of British Cinema and Television 11, no. 2-3 (July 2014): 189–212. http://dx.doi.org/10.3366/jbctv.2014.0203.
Full textAbstract:
This article's subject is Ghostwatch (BBC, 1992), a drama broadcast on Halloween night of 1992 which adopted the rhetoric of live non-fiction programming, and attracted controversy and ultimately censure from the Broadcasting Standards Council. In what follows, we argue that Ghostwatch must be understood as a televisually specific artwork and artefact. We discuss the programme's ludic relationship with some key features of television during what Ellis (2000) has termed its era of ‘availability’: principally liveness, mass simultaneous viewing, and the flow of the television super-text. We trace the programme's television-specific historicity while acknowledging its allusions and debts to other media (most notably film and radio). We explore the sophisticated ways in which Ghostwatch's visual grammar and vocabulary and deployment of ‘broadcast talk’ ( Scannell 1991 ) variously ape, comment upon and subvert the rhetoric of factual programming, and the ends to which these strategies are put. We hope that these arguments collectively demonstrate the aesthetic and historical significance of Ghostwatch and identify its relationship to its medium and that medium's history. We offer the programme as a historically reflexive artefact and as an exemplary instance of the work of art in television's age of broadcasting, liveness and co-presence.
18
Marievskaya, Natalia Yevgenyevna. "Time and Essence. Study of Cinema Product Temporal Analysis." Journal of Flm Arts and Film Studies 6, no. 4 (December 15, 2014): 33–46. http://dx.doi.org/10.17816/vgik6433-46.
Full textAbstract:
Is the ingenuous inquiry What is the film about? so simple, for the response to that thing which sometimes causes confusion not only for a common audience, but for an experienced critic. The issue for unveiling film essence through its artistic time analysis has been declared. Lars von Triers Nymphomaniac has been considered as an example for temporal analysis, algorithm of motion towards cinema products essence core being given. Through analysis of time forms constituting film parts, genuine essence has been brought to light what the author has really had in mind - probably even contrary to his aims and against his statements. The conclusion reads that causal relationship has been found as temporal relationship. Hence, film story and artistic time within cinema product is declared to be substantially valid. Looking into horizontal time of Nymphomaniac made the author's idea of logics deployment and its general outline clear. For this purpose temporal forms that include plot-making essence, first of all cyclic and non-linear time, have been taken into consideration. Film temporal construction reveals itself at once through the heroines realized procedure of remembrance of her own life circumstances that led to a catastrophe occured at that very evening when Seligman found her covered with sewage and in an extremely bad state. The above mentioned procedure supposes convergence towards the truth that a hero confirms in relation to himself. So that does happen in Lars von Triers film. The inner film cycle ends with that. The question still remains why Joe for whom a persons life is the highest value that nobody can make an attempt on, pulls the trigger and kills the man who provides her with a lodge and became her speaker during that long tormented night. What does these two heroes conflict content consist of? For the purpose of answering the question it has been studied how time for both heroes is constructed. It has been shown that characters conflict is an unsolvable conflict of two different value systems connected with different types of culture.
19
He, Xuefeng, Wu Depei, Xiao Ma, Yanan Zhou, Chengcheng Fu, and Weiyang Li. "Atypical T Cell Prolymphocytic Leukemia – One Case Report." Blood 116, no. 21 (November 19, 2010): 4332. http://dx.doi.org/10.1182/blood.v116.21.4332.4332.
Full textAbstract:
Abstract Abstract 4332 Here we reported one case of atypical T cell prolymphocytic leukemia. The 38-year female was admitted to our hospital for fatigue and night sweat. She complained of fatigue and night sweat for one month and accompanied by gum bleeding. Physical examination showed anemia and massive spleen extending to umbilical level. Blood routine test indicated pancytopenia (detailed info: Wbc 0.66×109/L,Hb 82g/L,Plt 60×109/L)and elevated proportion of lymphocytes. Blood biochemistry and routine serum tumor marker were normal. Mutation of JAK2V617F was negative. Marrow film showed many atypical mature lymphocytes which expressed mature T cell markers. Marrow biopsy showed a SLL-like scene and accompanied by local fibrosis, immunochemical stains strong CD3, CD45-R0, CD43 and weak CD5, MPO. Repeated TCR β rearrangement indicated positive. PET/CT scan could not find specific elevated SUV lesions. This patient may be diagnosed as atypical T cell prolymphocytic leukemia despite her lymphocytopenia and unpalpable peripheral lymph nodes. She received one cycle of CVP (cyclophosphamide, Vincristine and prednisone) and another cycle of CHOP(cyclophosphamide, Adriamycin, Vincristine and prednisone). Her blood cell count partly recovered and she was preparing for following high dose chemotherapy. Disclosures: No relevant conflicts of interest to declare.
20
Heckart, Beverly. "The Cities of Avignon and Worms as Expressions of the European Community." Comparative Studies in Society and History 31, no. 3 (July 1989): 462–90. http://dx.doi.org/10.1017/s0010417500016005.
Full textAbstract:
At the end of 1978, the German art critic Walter Frentz, introducing a film and public lecture in the city of Worms, postulated that Europeans could breathe new life into the idea of European unity by devoting greater care and attention to the shape and form of European cities. The theme of his remarks that night specifically encouraged the preservation of historic urban cores, but more striking was his general concept linking the development of the European Community with the treatment of the European city. As a growing literature on architectural symbolism and urban imagery suggests, cities take the shapes that are expressions of a total society, reflecting the spectrum of their political, economic and cultural life. As Europeans rebuilt and developed their cities in the period after World War II, they also charted the course of their unification.
21
Byrne, Peter. "Of course it is (the delusion that's really true)." British Journal of Psychiatry 197, no. 2 (August 2010): 140. http://dx.doi.org/10.1192/bjp.197.2.140.
Full textAbstract:
William Burroughs described the paranoid man as one ‘who knows a little of what's going on’. In that rare beast, a mainstream Hollywood film that portrays schizophrenia with humanity and without a murder, A Beautiful Mind (2001), John Nash (Russell Crowe) irritates his wife when he says he heard the garbage truck outside at night. He has been hospitalised with psychosis and in that movie convention much imitated in life, anything he says must be taken as fantasy, unless proven otherwise. But the garbage guys are outside and thus begins a process where she (and the audience) begin to trust and identify with Nash again. This is the exception that proves the rule. When a filmic character with mental illness reports the ‘unfortunate event’ on which the film turns, nobody believes him/her: The Couch Trip (1988), Twelve Monkeys (1995), Independence Day (1996), Conspiracy Theory (1997) and K-Pax (2001) all milk this conceit for its full comic potential. Director Alan J. Pakula's paranoid trilogy Klute (1971), The Parallax View (1974) and All the President's Men (1975) project the angst of the unbelieved onto a battered American audience, reeling from Vietnam and Nixon. A flavour of paranoia excites modern science fiction (Total Recall, 1990 and the Matrix trilogy, 1999–2003), and infuses the contemporary celebrity film, The Truman Show (1998).
22
Bird, Lawrence, and Nik Luka. "Arts of (dis)placement: City Space and Urban Design in the London of Breaking and Entering." Cinémas 21, no. 1 (August 15, 2011): 79–103. http://dx.doi.org/10.7202/1005631ar.
Full textAbstract:
Anthony Minghella’s 2006 filmBreaking and Enteringframes two views of London focusing on King’s Cross station, one of the city’s key transportation hubs and, like many such centres, a complex site of marginality. To its main protagonist, the architect/urban designer Will Francis (Jude Law), it is a site to be transformed into a model (in several senses) of what London—and the practice of urban design—have to offer the “new” Europe. The viewpoint of the young Kosovan refugee Miro Simiç (Rafi Gavron) is quite different. He sees King’s Cross from the rooftops, which he clambers as a petty burglar by night to break into local offices. His acts ofparkour(defined by its practitioners as “the art of displacement”) are central to the film. Miro, the teenaged character, exists in a space of displacement: displaced from his native Sarajevo, and from the streets of London by his status as refugee and thief. The film contrasts these two viewpoints—one which forms space, and one displaced—by citing real and imagined city-building projects in London, and placing them in relationship to the bodies of Will and Miro.
23
Duncan, Christopher M. "Community and the American Village on Paradise Drive." Public Voices 9, no. 2 (January 5, 2017): 83. http://dx.doi.org/10.22140/pv.218.
Full textAbstract:
The author argues that at the root of American culture is an apparent, though illusory, paradox of a people who are at one and the same time thoroughly individualistic and voraciously communal. This paradox is not only part of the American cultural fabric, it is built directly and purposefully into the U.S. constitutional system itself. By using their individual choice to choose various forms of community, Americans were able to sustain and reproduce the social capital necessary to remain the functional community of communities the constitutional scheme depended upon and prevent the slide into egoism and narcissism that would result in their own personal alienation. In this way, what was once thought to require virtue, discipline and obedience could seemingly beproduced by self-interested individualism, the pursuit of happiness and the willingness to respect the rules (read rights of others) of the larger political game.The author explores this idea on two recent “texts” that capture in very general ways a dominant trend in the relationship between community and culture in the contemporary United States. The first text is the recent film by the current master of suspense in American movies M. Night Shymalan The Village (2004). The second is the recent work of non-fiction by the conservative political journalist and regular news commentator David Brooks titled On Paradise Drive: How We Live Now (And Always Have) in the Future Tense (2004).
24
Kučeriková, Veronika, Denisa Donová, Lucie Kučerová, Jiří Winkler, and Darja Kubečková. "The Presence of Microscopic Algae and Funguses on the Facades of Buildings Equipped with Thermal Insulation Composite System (ETICS)." Advanced Materials Research 1041 (October 2014): 261–64. http://dx.doi.org/10.4028/www.scientific.net/amr.1041.261.
Full textAbstract:
In the last decade we have been confronted with problems with biotic infestation of facades in engineering practice. The presence of microscopic algae and funguses on the facades of thermal insulation buildings distorts the appearance of buildings with green, brown or black coating. The reason for biotic pests beginning to appear on the facades of buildings very often is mainly the enlargement of thickness of thermal insulator ETICS. Thanks to the thermal insulation of facades with large thickness less thermal energy penetrates into the surface or plaster surface. The outer side is warmed up less and therefore it has lower outer surface temperature. Lower outer surface temperatures enable hypothermia of the surface of facades. The hypothermia of facades appears especially at night. The resulting aqueous film is the basic source of the necessary damp needed for the life of algae and funguses on facades of buildings. The presence of damp on the outer surfaces rises significantly depending on the better thermal insulation of walls.
25
Jankovic, Slavko, Dragoslav Sokic, Nikola Vojvodic, and Aleksandar Ristic. "The first film presentation of REM sleep behavior disorder precedes its scientific debut by 35 years." Srpski arhiv za celokupno lekarstvo 134, no. 9-10 (2006): 466–69. http://dx.doi.org/10.2298/sarh0610466j.
Full textAbstract:
The perplexing and tantalizing disease of rapid eye movement (REM) sleep behavior disorder (RBD) is characterized by peculiar, potentially dangerous behavior during REM sleep. It was described both in animals and humans. RBD in mammals was first described by Jouvet and Delorme in 1965, based on an experimental model induced by lesion in pontine region of cats [1]. In 1972, Passouant et al. described sleep with eye movements and persistent tonic muscle activity induced by tricyclic antidepressant medication [2], and Tachibana et al., in 1975, the preservation of muscle tone during REM sleep in the acute psychosis induced by alcohol and meprobamate abuse [3]. However, the first formal description of RBD in humans as new parasomnia was made by Schenck et al in 1986 [4-7]. Subsequently, in 1990, the International Classification of Sleep Disorders definitely recognized RBD as new parasomnia [8]. To our knowledge, arts and literature do not mention RBD. Except for the quotation, made by Schenck et al [6] in 2002, of Don Quixote de la Mancha whose behavior in sleep strongly suggested that Miguel de Servantes actually described RBD, no other artistic work has portrayed this disorder. Only recently we become aware of the cinematic presentation of RBD which by decades precedes the first scientific description. The first presentation of RBD on film was made prior to the era of advanced electroencephalography and polysomnography, and even before the discovery of REM sleep by Aserinsky and Kleitman in 1953. [9]. The artistic and intuitive presentation of RBD was produced in Technicolor in a famous film "Cinderella" created by Walt Disney in 1950, some 35 years prior to its original publication in the journal "Sleep" [2]. Since there is an earlier version of the film initially produced in 1920, presumably containing this similar scene, we can only speculate that the first cinematic presentation of RBD might precede its scientific debut by 65 years. In a scene in a barn, clumsy and goofy dog Bruno is, as dogs usually do, lying on a mat deeply asleep and obviously dreaming of his enemy cat Lucifer. This is clearly implied by a preceding scene showing Lucifer being extremely frightened while observing the dreaming dog in action. The cat Lucifer is instantly aware that the dog is chasing him in a dream and is horrified (Pictures 1-3). In a film sequence lasting only 16 seconds, we see Cinderella being aware that Bruno is firmly asleep, apparently having a terrible dream. While lying on the ground with total absence of any muscle atonia, the dog Bruno chases the cat Lucifer in his dream. He is running and barking, and when in his dream he catches Lucifer, he tries to devour the cat. Cinderella tries to wake him up by calling his name twice, first gently and then more vigorously, as she becomes aware of the content of Lucifer?s dream and his intention. The dog is deeply asleep and does not awake in spite of being exposed to sunlight through the opening door of the barn, and called by name by Cinderella (Pictures 4-14). For such a behavior he is reprimanded by Cinderella who definitely recognized the content of his dream (Pictures 15-36). Immediately upon awakening, Bruno shows his good natured temper and amiable character (Pictures 37-40). The film shows that the producer (Walt Disney) and film directors (Wilfred Jackson, Clyde Geronimi and Hamilton Luske) were obviously aware that a dog might enact the content of a dream. It also implies that their observation from day-to-day (better to say night-to-night) life of the dream enactment is not a rare phenomenon, and that it deserves to be shown in the film. These authors were also aware that dogs having RBD were good-natured during wakefulness and that only in dreams they showed unrestrained aggression; while awake, dog Bruno was only an opponent or enemy to the cat Lucifer, but in dreams the animosity grew to aggression. Disney noticed this peculiar kind of sleep behavior and most probably was aware of its frequency and importance, and certainly not knowing it is a disease, he used it to color his cartoon character making it more likable to the observer. Since the film was nominated for Best Score, Best Song and Best Sound, it not only reflected the artistic and observational abilities of the producer, but also his sense of the importance of the phenomenon, awareness of its frequency and presence in animals. The onlooker is tempted to speculate that Disney, while obviously having been aware of such a behavior in animals, might also have knowledge of its presence in humans. Even more, since Disney?s films frequently present different sleep disturbances (e.g., obstructive sleep apnea (OSA) in dwarfs, hypersomnolence in the dwarf Sleepy, or jactatio capitis nocturna in the dwarf Dopey in film "The Snow White"), it seems plausible that he first observed RBD in man, and then artistically transferred it to his cartoon animal characters. Since the whole incident took place during the day, we assume that Bruno, apart from suffering from RBD, had another sleep disorder causing daytime REM intrusions (possibly narcolepsy and probably not OSA, as is frequent in Disney?s films, since there is no excessive daytime sleepiness). The odd thing about RBD is that it may easily, as it probably did for centuries, go as peculiar behavior in sleep ? rather than disease. While Lucifer was presented as sober and prudent cat, Bruno was clumsy and forgetful dog. We will refrain from speculating that dog?s clumsy nature could be the consequence of the CNS involvement by neuro-degenerative disease (i.e., synucleinopathy). Although we are aware that, in interpreting this episode we assumed to be at least as imaginative as the cartoon films of Walt Disney are, the fact remains that the artistic film presentation of RBD precedes its scientific description by at least 35 years.
26
Aryandari, Citra. "'Ora Minggir Tabrak' Electronic Dance Music (EDM), a Montage of The Time-Image." Journal of Urban Society's Arts 5, no. 2 (March 6, 2019): 87–93. http://dx.doi.org/10.24821/jousa.v5i2.2185.
Full textAbstract:
Electronic Dance Music (EDM) is a music genre which has been perceived in negative way because closely related to night life in which alcoholic drinks and illegal drugs. The beatings of the rhythm presented can arouse a desire to shake the body, giving instant pleasure to escape from the weariness of life. Although it could be said that this music genre is able to help the listeners to forget “the problems” of life, however, it is very rarely that the academic circle looked into this music genre and make it as a subject of interesting studies. This article is written out of subjective observations in social sphere on subjects containing a lot of secrecies and initially considered as a taboo to be discussed. The existence of EDM in line with the technological developments as montage of the time-image related with complexity of social relations, attempting to embark on a new identity in power, politics, and ideological trappings. The phenomenon comes into sight specifically in the song of “Ora Minggir Tabrak”,literally means if you get on my way I will hit you, a soundtrack of Ada Apa Dengan Cinta 2feature film. And it obviously could be seen in talent hunting for EDM musicians program broadcast by Net TV (the ReMix), and several other big events with internationally standard organized annually, such as DWP (Djakarta Warehouse Project); and Dreamfield at GWK Bali, which are worth-discussing amidst the hustle and bustle of music market in Indonesia.
27
Czerniakow, Maria A. "A Review of the Effects of Psychological Interventions on the Quality of Life for Children with Atopic Dermatitis." Revue interdisciplinaire des sciences de la santé - Interdisciplinary Journal of Health Sciences 1, no. 1 (February 10, 2010): 23. http://dx.doi.org/10.18192/riss-ijhs.v1i1.1531.
Full textAbstract:
Atopic Dermatitis (AD) is a psychologically debilitating disease due to its embarrassing skin lesions and pruritic nature which disturb the quality of life (QOL) of the patients. Even though children are primarily affected, caregivers can also be affected due to being the first line of care for others who are inflicted. This review focuses on randomized control trials which investigated the use of non-chemical forms of treatment to improve QOL and disease severity in children. A search of the PubMed database identified six studies that met the inclusion criteria. The studies were ranked from most rigorous trial to least. Various forms of education as an intervention were used. Conversely, the viewing of a humorous film was tested to examine if it had an impact on QOL. Education intervention versus no education at all showed that the intervention group had a larger decrease in disease severity than the control group. The form of education as a single consult with an AD educated nurse showed no difference between the control and the intervention group. Comparison of nurse-led clinics with the dermatologist-led clinics indicated that the nurse-led clinics were more successful. Viewing humorous films before bedtime was demonstrated as a successful means of reducing night-time awakenings. Also specific AD education versus routine education and consultations showed improvement in both groups. Finally, AD video education versus direct parental teaching concluded that the video-education was more effective. Although the studies show that any form of education intervention is better than none, the methodological assessment of the studies showed that four of the studies were not rigorous enough or were not described at all. Further studies must be conducted in a more methodologically sound manner for the results to be considered replicable and valid.
28
Hutcheon, Linda, and Michael Hutcheon. "A Convenience of Marriage: Collaboration and Interdisciplinarity." Publications of the Modern Language Association of America 116, no. 5 (October 2001): 1364–76. http://dx.doi.org/10.1632/s0030812900113380.
Full textAbstract:
At the risk of sounding like a parody of a conversation about opera and illness in the 1987 movie Moonstruck, we would like to relate a postperformance dialogue about Richard Wagner's last opera. Parsifal (not Giacomo Puccini's La Bohème, as in the film). While descending the same staircase at the Metropolitan Opera in New York as Loretta and Ronny, the film characters played by Cher and Nicholas Cage, a man turned to his wife and said, not “You know, I didn't think she was going to die! I knew she was sick,” but “Do you think audiences today understand that Amfortas had syphilis?” Since this man is a physician, his wife was used to his medical observations, though this time he took her by surprise: “Syphilis? He was wounded by a spear when caught in the arms of the seductress Kundry!” “Yes,” he replied, “but that might just be Wagner's indirect or allegorical way of invoking nineteenth-century obsessive worries about venereal disease. Did you notice that this is a wound (one inflicted in a moment of amatory indiscretion) that won't heal, whose pain is worse at night and is eased only slightly by baths and balsams? To any nineteenth-century audience these symptoms and signals would have meant only one thing: syphilis.” “If that's the case.” his wife suggested, “then people must have written about this and we can find out.” “Not necessarily. People didn't talk openly about this kind of disease; it was secret and shameful, remember. And today, thanks to the discovery of penicillin, we luckily don't have to know about such things anymore,” said he.
29
Hutcheon, Linda, and Michael Hutcheon. "A Convenience of Marriage: Collaboration and Interdisciplinarity." PMLA/Publications of the Modern Language Association of America 116, no. 5 (October 2001): 1364–76. http://dx.doi.org/10.1632/pmla.2001.116.5.1364.
Full textAbstract:
At the risk of sounding like a parody of a conversation about opera and illness in the 1987 movie Moonstruck, we would like to relate a postperformance dialogue about Richard Wagner's last opera. Parsifal (not Giacomo Puccini's La Bohème, as in the film). While descending the same staircase at the Metropolitan Opera in New York as Loretta and Ronny, the film characters played by Cher and Nicholas Cage, a man turned to his wife and said, not “You know, I didn't think she was going to die! I knew she was sick,” but “Do you think audiences today understand that Amfortas had syphilis?” Since this man is a physician, his wife was used to his medical observations, though this time he took her by surprise: “Syphilis? He was wounded by a spear when caught in the arms of the seductress Kundry!” “Yes,” he replied, “but that might just be Wagner's indirect or allegorical way of invoking nineteenth-century obsessive worries about venereal disease. Did you notice that this is a wound (one inflicted in a moment of amatory indiscretion) that won't heal, whose pain is worse at night and is eased only slightly by baths and balsams? To any nineteenth-century audience these symptoms and signals would have meant only one thing: syphilis.” “If that's the case.” his wife suggested, “then people must have written about this and we can find out.” “Not necessarily. People didn't talk openly about this kind of disease; it was secret and shameful, remember. And today, thanks to the discovery of penicillin, we luckily don't have to know about such things anymore,” said he.
30
Thakur, Sourav, Bhupendra Singh, Vijay Mishra, Nishika Yadav, Namita Giri, Pardeep Sharma, Ankit Saini, and Lavi K. Garg. "Bilayer Tablet Based Chronotherapeutics in the Management of Nocturnal Asthma: An Overview." Recent Patents on Drug Delivery & Formulation 13, no. 2 (August 29, 2019): 74–82. http://dx.doi.org/10.2174/1872211313666190227204127.
Full textAbstract:
Background: Asthma is a common ailment with a larger circadian difference. Nocturnal Asthma (NA) is an inconstant exacerbation of asthmatic condition related to the rise in warning sign during the night time and there is a need for its treatment addressing air route alertness and decline in lung functions. These symptoms are linked to sleep or known as circadian events. Chronotherapeutics is a management system based on an in-vivo drug accessibility programmed to check the rhythms of ailment in a direction to improve the therapeutic outcomes by suppressing the side effects. This review aims to provide an overview of NA, chronotherapeutics for the treatment of NA, bilayer tablets, and advanced techniques involved in the fabrication of bilayer tablets. The review also discusses some of the related patents. Methods: Relevant literature about the latest developments and updated information related to NA, chronotherapeutics and bilayer tablets has been very widely searched on different biomedical literature programs such as Google, Web of Science, PubMed portals, etc. Bilayer tablet mediated chronotherapy has gained significant attention and consideration as it is developed and fabricated based on the body’s circadian rhythm. Bilayer tablets can deliver the bioactive compounds at an appropriate time, place as well as amount and site. Results: Available literature advocated that the bilayer matrix tablet containing a single drug in the sustained release film and fast releasing film, may be beneficial for the chronic diseases like asthma, migraine, diabetes, hypertension and inflammation which usually require immediate as well as maintained therapeutic effect. Conclusion: The application of nanotechnology in the arena of medicine will transform the diagnosis and treatment strategies of a wide range of diseases in the upcoming years. The findings of this review confirm the importance of bilayer tablet based chronotherapy in nocturnal asthma.
31
Reincheld, Aaron. "“Saturday Night Live” and Weekend Update." Journalism History 31, no. 4 (January 2006): 190–97. http://dx.doi.org/10.1080/00947679.2006.12062688.
Full text
32
Pérez-Ramírez, D., R. J. Nemiroff, and J. B. Rafert. "nightskylive.net: The Night Sky Live project." Astronomische Nachrichten 325, no. 6-8 (October 2004): 568–70. http://dx.doi.org/10.1002/asna.200410292.
Full text
33
Alvim, Luíza Beatriz. "Between genres and styles in the films of Robert Bresson." CINEJ Cinema Journal 5, no. 1 (February 17, 2016): 113–36. http://dx.doi.org/10.5195/cinej.2015.127.
Full textAbstract:
The films of French director Robert Bresson are considered sober and transcendental. However, in A gentle woman (1969) and in Four nights of a dreamer (1972), he included extracts of quite different genres, like a libertine comedy (the extract of film Benjamim by Michel Deville, 1968), a Shakespearean tragedy (a performance of Shakespeare´s Hamlet) and a gangster film (When love possesses us, produced by Bresson himself). In a way, those excerpts represent exactly the opposite of Bresson´s cinema. On the other hand, they still have some familiarity with it. We analyze the approach of those genres in the sequences in Bresson´s films, as well of the styles present in them by the use of music and images of paintings.
34
Stansly, P. A., and J. M. Conner. "Control of Tomato Pinworm (Tpw) with Abamectin in Staked Tomato, 1996." Arthropod Management Tests 22, no. 1 (January 1, 1997): 189. http://dx.doi.org/10.1093/amt/22.1.189.
Full textAbstract:
Abstract Tomato seedings “Agriset” from a commercial plant house were transplanted on 7 Mar 96, 18 in. between plants, into raised beds 32 in. wide on 6-ft centers covered with black polyethylene film mulch. A dry bottom mix of 50 lbs N, 160 lbs P and 80 lbs K per acre had been placed at the bottom of the beds and an additional 3.25 lbs per acre N and K were fertigated 3 times a week by drip irrigation. The plants were sprayed weekly with an alternating combination of Maneb 80 WP at 1.5 lb/acre plus Kocide 101 at 2 lb/acre and Bravo 720 at 2 pt/acre for disease control. Dipel was added to the disease control sprays when needed at a rate of 1 lb product/acre. Two wing-type traps from AgriSense containing TPW pheromones were set out on 23 Apr. 15 feet to the east and west of the trial area to monitor moth activity. Mean number of moths captured rose from 1.4 per night on 26 Apr to a peak of 33.6 on 10 May, later declining to 8.0 on 20 May. Plots, 30 ft long and 2 rows, wide were assigned one of 3 treatments in a CRB design with 4 replications. All treatments were sprayed weekly from 1 May to 15 May for three applications at 69 gpa using a high clearance sprayer with 2 booms of 3 Yellow Albuz hollow cone nozzles each for a total of 6 per row and operating pressure of 200 psi. Plants (10 per row or 20 total) were evaluated before treatment on 30 Apr and again on 6 and 13 May by counting live and dead miners. Damage for the entire plant was assessed on a rating scale of 1-6: “1” = no apparent damage; “2” = 0-1% of leaflets damaged; “3” = 2-5% damaged; “4” = 6-10% damaged; “5” = 11-30% damaged; and “6” = >30% damaged. Fruit was harvested 21 May from 20 plants per plot and the marketable fruit graded on a commercial table with weights and numbers recorded. Unmarketable fruit was separated into categories of TPW damage, other insect damage and damage due to disease.
35
Le, Michael. "Tomorrow’s Headline Makers, Today." Californian Journal of Health Promotion 1, no. 1 (March 1, 2003): 43–45. http://dx.doi.org/10.32398/cjhp.v1i1.1659.
Full textAbstract:
The Orange County Friday Night Live Programs comprise three, youth-led programs designed to foster youth leadership skills while learning to engage in healthy lifestyles free of drugs, tobacco, and alcohol. The three programs discussed are Friday Night Live, Club Live, and Friday Night Live Kids.
36
Le, Michael. "Tomorrow’s Headline Makers, Today: Friday Night Live Programs in Orange County." Californian Journal of Health Promotion 1, no. 1 (March 18, 2003): 43–45. http://dx.doi.org/10.32398/cjhp.v1i1.216.
Full textAbstract:
The Orange County Friday Night Live Programs comprise three, youth-led programs designed to foster youth leadership skills while learning to engage in healthy lifestyles free of drugs, tobacco, and alcohol. The three programs discussed are Friday Night Live, Club Live, and Friday Night Live Kids.
37
Le, Michael. "Tomorrow’s Headline Makers, Today." Californian Journal of Health Promotion 1, no. 1 (March 1, 2003): 43–45. http://dx.doi.org/10.32398/cjhp.v1i1.378.
Full textAbstract:
The Orange County Friday Night Live Programs comprise three, youth-led programs designed to foster youth leadership skills while learning to engage in healthy lifestyles free of drugs, tobacco, and alcohol. The three programs discussed are Friday Night Live, Club Live, and Friday Night Live Kids.
38
Chow, Rey. "A Phantom Discipline." Publications of the Modern Language Association of America 116, no. 5 (October 2001): 1386–95. http://dx.doi.org/10.1632/s0030812900113409.
Full textAbstract:
In the academic study of cinema, as in other kinds of academic discourses, one of the most commonly encountered questions these days tends to be some version of the following: Where in this discipline am I? How come I am not represented? What does it mean for me and my group to be represented in this manner? What does it mean for me and my group to have been made invisible? These questions pertain, of course, to the urgency and prevalence of the politics of identification, to the relation between representational forms and their articulation of subjective histories and locations. This is one reason the study of cinema, like the study of literature and history, has become increasingly caught up in the study of group cultures: every group (be it defined by nation, class, race, ethnicity, or sexual orientation), it seems, produces a local variant of the universal that is cinema, requiring critics thus to engage with the specificities of particular collectivities even as they talk about the generalities of the filmic apparatus. According to one report, for instance, at the Society of Cinema Studies Annual Conference of 1998, “nearly half the over four hundred papers (read from morning to night in nine rooms) treated the politics of representing ethnicity, gender, and sexuality” (Andrew 348).' Western film studies, as Christine Gledhill and Linda Williams write, currently faces its own “impending dissolution […] in […] transnational theorization” (Introduction 1). How did this state of affairs arise?
39
Holderness, Graham. "Introduction." Critical Survey 33, no. 1 (March 1, 2021): 1–7. http://dx.doi.org/10.3167/cs.2021.330101.
Full textAbstract:
In Britain, from the nineteenth century onwards, the default ‘setting’ for Shakespeare’s plays (by which I mean costume, mise-en-scène, and assumed historical and cultural context) has been medieval and early modern: the time of the plays’ composition (late sixteenth and early seventeenth centuries) or the time of their historical location (medieval Britain or Europe, ancient Greece or Rome, etc.). In this visual and physical context, Twelfth Night would normally be performed or imagined in Elizabethan or Jacobean, Macbeth and Hamlet in medieval, Julius Caesar in ancient Roman dress and settings. In the historical context of their original production, the plays were performed in contemporary dress with minimal mise-en-scène; through the Restoration and eighteenth century in fashionable modern dress and increasingly naturalistic settings. Today in Britain, Shakespeare can be performed in any style of costume, setting and cultural context, from the time of the plays’ reference to the immediate contemporary present, and often in an eclectic blend of some or all. But strong forces of tradition and cultural memory tie the plays, in their visual and physical realisation as well as their language, to the medieval and early modern past. We see this attachment in film versions of the plays and of Shakespeare’s life. We dress Shakespeare in the costumes of all the ages, but we know that he truly belongs, as in the various portraits, in doublet and ruff.
40
Chow, Rey. "A Phantom Discipline." PMLA/Publications of the Modern Language Association of America 116, no. 5 (October 2001): 1386–95. http://dx.doi.org/10.1632/pmla.2001.116.5.1386.
Full textAbstract:
In the academic study of cinema, as in other kinds of academic discourses, one of the most commonly encountered questions these days tends to be some version of the following: Where in this discipline am I? How come I am not represented? What does it mean for me and my group to be represented in this manner? What does it mean for me and my group to have been made invisible? These questions pertain, of course, to the urgency and prevalence of the politics of identification, to the relation between representational forms and their articulation of subjective histories and locations. This is one reason the study of cinema, like the study of literature and history, has become increasingly caught up in the study of group cultures: every group (be it defined by nation, class, race, ethnicity, or sexual orientation), it seems, produces a local variant of the universal that is cinema, requiring critics thus to engage with the specificities of particular collectivities even as they talk about the generalities of the filmic apparatus. According to one report, for instance, at the Society of Cinema Studies Annual Conference of 1998, “nearly half the over four hundred papers (read from morning to night in nine rooms) treated the politics of representing ethnicity, gender, and sexuality” (Andrew 348).' Western film studies, as Christine Gledhill and Linda Williams write, currently faces its own “impending dissolution […] in […] transnational theorization” (Introduction 1). How did this state of affairs arise?
41
Modleski, Tania. "Omissão histórica e repressão psíquica em Boogie Nights de Paul Thomas Anderson." Matrizes 10, no. 2 (August 31, 2016): 25. http://dx.doi.org/10.11606/issn.1982-8160.v10i2p25-44.
Full textAbstract:
Exquisitely filmed in Altmanesque style and drawing on scenes from the films of Martin Scorsese and Quentin Tarantino, Boogie Nights continues to this day to be proclaimed an ultra hip and daring look at the so-called Golden Age of pornography set of the 1970s. In this essay I attempt to document what this film leaves out of the historical record, and to show how historical suppression dovetails with psychic repression. Instead of history we are presented with melodrama. Instead of a historical document, Boogie Nights gives us, again, Oedipus. Like most elegies, the negative or undesirable aspects of the subject are minimized or omitted, although they come back to haunt the text.
42
Kurniawan, Angga Prasetyo, Khaira Nova, Dian Septinova, and Rr Riyanti. "PENGARUH METODE PEMBERIAN RANSUM PADA SIANG DAN MALAM HARI TERHADAP BOBOT HIDUP, BOBOT KARKAS, DAN GIBLET AYAM JANTAN TIPE MEDIUM DIKANDANG POSTAL." Jurnal Riset dan Inovasi Peternakan (Journal of Research and Innovation of Animals) 4, no. 3 (December 1, 2020): 157–64. http://dx.doi.org/10.23960/jrip.2020.4.3.157-164.
Full textAbstract:
This study aimed to investigate the effect of the percentage of day and night rations on live weight, carcass weight, and giblet weight of medium type roosters in postal cages. This study used a completely randomized design (CRD), consisting of three treatments with six replications, namely P1: giving rations of 30% day and 70% night, P2: giving rations of 50% day and 50% night, P3: giving rations 70 % day and 30% night. The data were analyzed using analysis of variance at the 5% level. The results showed that the percentage of different day and night rations had no significant effect (P> 0.05) on live weight (694.33 to 699.67 g / head), carcass weight (405.67 to 407.50 g / head), and giblet weight (35.67 to 36.83 g / head). However, the percentage of 30% day and 70% night rations tended to have the best effect on the lowest giblet weight, namely 35.67 g / head for the 7 week old medium type rooster.
Keywords: Day and night percentage, Giblet, Rooster, Carcass weight, Live weight
43
Straw, Will. "Chrono-Urbanism and Single-Night Narratives in Film." Film Studies 12, no. 1 (2015): 46–56. http://dx.doi.org/10.7227/fs.12.0006.
Full textAbstract:
This article examines fictional film narratives from the perspectives of a chrono-urbanism, concerned with the ways in which cinema maps the unfolding of time in cities. It examines how films treat the urban night – as territory, as one side of a boundary, as a substance which falls upon the city. These treatments are explored by examining a limited corpus of single-night narratives, films whose narratives unfold over a single night. Drawing on a variety of recent texts that trace the history of the night in cities, this article distinguishes between different narrative patterns within which the urban night unfolds and becomes meaningful.
44
Walden, Victoria. "Night and Fog: a film in history." Holocaust Studies 22, no. 4 (June 13, 2016): 482–84. http://dx.doi.org/10.1080/17504902.2016.1187841.
Full text
45
Carrier-Lafleur, Thomas. "Opening Night et la remédiation théâtrale. « Film-balade » ou film « tragique » ?" Études littéraires 45, no. 3 (July 22, 2015): 43–63. http://dx.doi.org/10.7202/1032444ar.
Full textAbstract:
S’inspirant à la fois de la critique deleuzienne du « nouvel Hollywood » et de la dialectique métaphysique de l’apollinien et du dionysiaque telle que pensée par Nietzsche dans La Naissance de la tragédie, nous souhaitons interroger ici quelques-uns des modes sur lesquels le théâtre habite le cinéma. Par suite, afin de déplacer légèrement l’angle sous lequel on envisage habituellement l’adaptation et pour profiter ainsi d’un changement de point de vue, nous préfèrerons à la problématique du théâtre filmé le concept de « filmer le théâtre ». Nous explorerons celui-ci à partir d’une analyse du film Opening Night de John Cassavetes (1977), où la crise d’une actrice qui se trouve entre deux âges constitue, pour le réalisateur, et donc pour le septième art, une occasion de produire de la nouveauté théâtrale.
46
Southwell, CJ, CJ Southwell, MS Fletcher, and MS Fletcher. "Diurnal and Nocturnal Habitat Utilisation by the Whiptail Wallaby, Macropus Parryi." Wildlife Research 15, no. 6 (1988): 595. http://dx.doi.org/10.1071/wr9880595.
Full textAbstract:
Diurnal and nocturnal habitat use was determined from walk transect counts in a 40 000 ha study area in SE Queensland containing 3 land systems: (a) alluvial flats mainly clear of natural vegetation; (b) hills extending from the alluvial flats with open forest; and (c) plateaux with grassy and shrubby open forest. Habitat utilization was examined in relation to 3 vegetation variables (shrub density, live tree density and dead tree density) and 3 topographic variables (altitude, aspect and slope). Utilization was most consistent between day and night for live tree density and slope, being biased toward areas of moderate live tree density and against flat areas at both times. A preference for areas with moderate shrub density was more pronounced during the day than at night. Areas with moderate dead tree density were strongly preferred over areas with low dead tree density during the day, but at night there was no strong bias for or against areas with dead trees. M. parryi avoided very low altitudes at all times. Utilization of higher areas varied day and night, a diurnal preference for higher altitudes being ameliorated by some apparent downhill movement to lower slopes at night. A preference during the day for north and west aspects was not evident at night.
47
Tobey, Cheryl. "Paul Taylor, Live and on Film." PAJ: A Journal of Performance and Art 22, no. 1 (January 2000): 60. http://dx.doi.org/10.2307/3245911.
Full text
48
Diawara, M. "More Than Night: Film Noir in Its Context." American Literature 74, no. 3 (September 1, 2002): 658–60. http://dx.doi.org/10.1215/00029831-74-3-658.
Full text
49
West, Nancy, and James Naremore. "More Than Night: Film Noir in Its Contexts." Journal of American History 86, no. 3 (December 1999): 1380. http://dx.doi.org/10.2307/2568690.
Full text
50
Shim, Jihyun. "Production Report on the Short Film Dark Night." TECHART: Journal of Arts and Imaging Science 4, no. 2 (May 31, 2017): 39–42. http://dx.doi.org/10.15323/techart.2017.05.4.2.39.
Full text