Academic literature on the topic 'Untouchables (Motion picture : 1987)'

Attenuation patterns of the recorded peak accelerations during two moderate earthquakes (ML = 5.9 and 5.3) in Los Angeles, California are described. It is shown that the recording of earthquake motions by dense arrays of accelerographs can yield a detailed and deterministic picture of the physical processes which are involved in shaping the observed variations of strong ground motion. For the two earthquakes the observed changes of peak amplitudes with respect to the azimuth and distance are slowly and continuously changing functions showing strong dependence of amplitudes on the radiation patterns of the two earthquakes and on the effects of wave propagation through irregular three-dimensional geology of the Los Angeles basin.

The purpose of this study was to determine mechanical factors, through development of the deterministic model, that govern successful performance of the handspring vault. The subjects were 40 elite male gymnasts participating in the 1987 Pan American Games. A motion-picture camera placed with its optical axis at right angles to the runway was used to record the subjects’ performances. Significant correlations indicated that the following were important determinants for success: (a) large horizontal velocity and angular momentum at takeoff from board, (b) shorter time of preflight and smaller relative height of takeoff in preflight, (c) large horizontal breaking force and large vertical force exerted as well as a large loss of angular momentum during horse contact, and (d) large vertical velocity of takeoff from horse. Significant correlation of “on-horse” factors with the judges’ scores indicated that the more the gymnast focused on horse contact and the more vertical the direction of his effort at takeoff, the better the final result. A significant negative correlation revealed that the less the height of CG at touchdown on mat, the more points awarded by judges. This relationship was almost entirely a consequence of the landing angle.

This study was undertaken to determine the types and frequency of improper shoulder belt use–with particular emphasis on belt slack—in a state where belt use is mandatory. Motion picture films of drivers approaching stop signs in Maryland were analyzed by a trained panel to ascertain belt use and misuse. Over half the drivers of 1974–1987 model vehicles were observed to be belted. Slack in shoulder belts was the most common type of misuse and was much more prevalent among drivers of domestic cars than of imported cars. For belted drivers of domestic cars, 27% had 25–50 mm of slack in their belts, and 8% had 75 mm or more. By contrast, only 5% of belted drivers of imported cars had 25–50 mm of slack, and none had 75 mm or more. The window shade slack mechanism, found only in domestic vehicles, was most often associated with the slack.

The results of stability analyses for the onset of convective motion are reported for the following three horizontally superposed systems of porous and fluid layers: (a) a porous layer sandwiched between two fluid layers with rigid top and bottom boundaries, (b) a fluid layer overlying a layer of porous medium, and (c) a fluid layer sandwiched between two porous layers. By changing the depth ratio dˆ from zero to infinity, a set of stability criteria (i.e., the critical Rayleigh number Rac and the critical wave number ac) is obtained, ranging from the case of a fluid layer between two rigid boundaries to the case of a porous layer between two impermeable boundaries. The effects of k/km (the thermal conductivity ratio), δ (the square root of the Darcy number), and α (the nondimensional proportionality constant in the slip condition) on Rac and ac are also examined in detail. The results in this paper, combined with those reported previously for Case (a) (Pillatsis et al., 1987), will provide a comprehensive picture of the interaction between a porous and a fluid layer.

Indira Gandhi National Centre for the Arts is an autonomous centre under Ministry of Culture, Govt. of India established in 1987 with a vision to preserve the rich arts and cultural heritage of the country. The centre has a variety of heritage resources available in different formats. Preservation of these resources in traditional as well as digital form is a major challenge. The purpose of this paper is to explore the collection of IGNCA and methods adopted for preservation especially digital preservation of cultural heritage resources by the centre. Case study is used as research method to examine the collection, digitization and preservation of heritage resources in IGNCA. A well structured questionnaire, interview and observation methods were used as research tools to get the exact data for the study. Findings of the study reveal that IGNCA has a huge number of cultural heritage resources which includes photographs, photo-negatives, photographic slides, digital images, motion picture films, LP records, audio spools, audio and video tapes, microfilms, microfiches, manuscripts, digital images, digital audio and video files. The centre has digitized a major part of its collection for preservation and access. A digital library named as KALASAMPADA is also developed containing heritage resources accessible through internet. This study is only one of its kind as it explores the digitization and digital preservation practices of a pioneering institute working in the area of arts and cultural heritage in India.

Background. The “melos” and “colourfulness” terms are used in various meanings both, in music and fine arts. The ambiguity of these concepts in our time of unlimited possibilities for creative experiment and bold search for new semantic levels, interest in establishing versatile inter-scientific relations allows us to apply innovative analytic methods to the works of art. Among these methods, intermedial inter-disciplinary researches seem to be extremely promising, especially when applied to such traditional, well-established forms of art as academic painting and music. The article uses the innovative method of intermedial research, which consists in attempts to trans-code the elements of the musical semiotic system into a pictorial one and vice versa. B. Asafyev (1987, р. 83) determined the “melos” in music as an abstract notion that unites all the forms of melody and the properties of melodiousness: the qualitative, expressive sides of all kinds of sound correlations as sequences in time. The consistent movement of sounds in a piece of music is called “a line” (for example, a “melodic line”) that gives the reason to see a certain parallel between music and painting. Accordingly, the concept of “melos” in music correlates with the concept of “linearity” (graphics) of a picture. The notion of “colourfulness” was first introduced in the fine arts. The colourfulness is a total of correlations of colour tones, hues, which create a certain unity and are an esthetic reflection of the colour diversity of reality (based on Bilodid, I., 1973, p. 232 and others). In musical science there is no well-established definition of this concept, however, we find such attempts: “Colourfulness [in original –’kolorit’ – translator’s note] (from the Latin ’color’) in music – is the predominant emotional colouring of one or another episode, which is achieved by using various registers, tones, harmonic and other expressive means” (FDSTAR. Electronic music. The site of composers, CJs and DJs). The adjoint concept “colouristics” is used, which is described as follows: “… colouristics – music of subtle and colorful sounds, in which all tones are distinguished (the beginning of the Etude in G sharp minor by Chopin, the scene of the transformation of fishes in the 4th Picture of “Sadko”, bell harmonies by M. P. Mussorgsky, S. V. Rachmaninoff)”(Maklygin, A., 1990, in Musical Encyclopedic Dictionary). The purpose of this article is an attempt to determine the correlation of melos and colourfulness in the musical and fine arts on the example of musical portraits and landscapes from the M. Mussorgsky’s “Pictures at an Exhibition” cycle. Research results. The “Pictures at an Exhibition” piano cycle is created under impression of works by Viktor Hartmann, the artist, architect, and designer. The content of the cycle is a vivid example of music and painting interrelation, therefore it gives an occasion to detailed intermedial analysis to understand the melos and colourfulness correlation in the musical pictures. So, the peculiarities of the melos in “The Gnome” are the quick broken zigzag lines, contains brief chromatic motifs, separated by pauses, grace notes and trills. A special role is given to syncopation, which imitate the Gnome’s limping gait. The texture of M. Mussorgsky’s piece – the octave movement in the party of the right and the left hands without a clearly defined accompaniment can be seen as a musical analogy to colourfulness of V. Hartmann’s sketch with its transparent background. Thus, in Mussorgsky’s play “The Gnome”, melos prevails over colourfulness that coincides with the ratio of melos / color in V. Hartmann’s sketch, since the artist gave preference to drawing creating this picture as monochrome one. “The Old Castle” is extremely colourful, as the composer deals great importance to modal, harmonic and textural factors. In general, it can be argued that the composer inherits the ratio of drawing and colouring in the painting by V. Hartmann, embodying the overall emotional and colourful palette of the picture with the help of tonality (“mysterious” G sharp minor) and texture (basso ostinato as an expression of the statics of the massive old building). Melos prevails over colourfulness and expresses the individuality of images in the “Samuel” Goldenberg and “Schmuÿle”, the musical portrait based on two paintings by V. Hartmann (“Poor Jew”, “Rich Jew in the Fur Hat”). The melodic (linear) component of the work is represented by two musical themes. The first is a characterization of a rich man, in which ascending intonations are used as a symbol of his high social status, by analogy with the proudly raised head and upward glance in the painting by V. Hartmann. The melodic theme of a poor Jew with a downward motion corresponds with the image of the poor man’s stooped figure. “Colour” of the musical portrait, as in the V. Hartmann’s painting, serves only as a background. In the piece “Catacombs. Roman Tomb”, the colorfulness prevails over the melos, The “gloomy” tonality (B minor) and the figurative textural techniques used by the composer (the sound of the melody against the background of tremolo octaves in high register, which can be compared with flickering lantern light in the darkness of the tomb, also juxtaposition of the fragments of the theme in different registers, creating contrasts of light and darkness), clearly reflect the overall colouring of the painting by V. Hartmann. In the musical portrait “The Hut on Hen’s Legs (Baba Yaga)” melos prevails over colorfulness, because it is with the help of melodic means that the portrait of a fairy-tale character is depicted, while the coloristic component of the music in this composition corresponds to the sketch of V. Hartman (where the clock in the house’s form depicted) only partially and plays the role of a landscape background (tremolo and triplets in accompaniment performing a coloristic function). “The Bogatyr (Great) Gates (In the Capital in Kiev)” is based on V. Hartmann’s the architectural and painting project of the city gate. Melos of the composition is presented by three contrasting themes. The graphic drawing of some fragments of these themes associatively correlates with the individual elements of the graphics of V. Hartmann’s picture (the peaked line of the passage in the right hand’s party, the tremolo-like figures). The colourfulness of the piece expresses in part by its texture and tone (E Flat Major, according to N. Rimsky Korsakov, the tone of “walls and cities”). In V. Hartmann’s painting, the drawing prevails over colour; however, M. Mussorgsky rethought the melody / colourful ratio in the piece. Melos conveys only some of the features of the drawing, its most important lines, while textural and coloristic musical means reproduce both, the linear side of the image and colouristics as such, that is, the colouristic component dominates. Conclusions. 1. The melos/colourfulness correlation in M. Mussorgsky’s cycle is regulated as follows: melos prevails over colouring in the pieces “The Gnome”, “Samuel” Goldenberg and “Schmuÿle, “The Hut on Hen’s Legs (Baba Yaga)”; colourfulness prevails over melos in “The Old Castle”, “Catacombs. Roman Tomb”, “The Bogatyr Gate in Kyiv”. 2. The melos / colourfulness correlation in the analyzed pieces from M. Mussorgsky’s cycle corresponds with the melos / colourfulness correlation in the respective V. Hartmann’s paintings. The musical portrait of Baba Yaga in “The Hut on Hen”s legs” is an exception: V. Hartman painted the stylized clock as an example of decorative and applied art, but M. Mussorgsky emphasized the reflection of the fairy-tale image; as well as “The Bogatyr Gate”, where colouristics and volume prevail over grafics and planeness of the architectural sketch. 3. The main expressive means of creating a portrait, as a rule, is the melody (melos), and the landscape – tonality, texture, timbre (colourfulness). The intermedial analysis of the above portraits and landscapes from M. Mussorgsky’s piano cycle confirms this concept.

The paper analyses the tensions in the text, production and reception of the children’s horror film The Gate (Tibor Takács, 1987) relating to the sustained ambiguity around the Motion Picture Association of America's PG-13 classification. I suggest that the late 1980s was a moment of transition toward new attitudes about the horror genre and children. To develop this argument, the paper explores the main issues raised in critical opinion about the film at the time of its release: notions on what the horror genre is or should be; the changing assumptions about its audiences (namely the shift away from an adults-only perspective); and moral panics triggered by transitioning social values. These struggles are suggested also in the creative clashes between the writer and director of The Gate: where one wanted to make a traditional R-rated horror, the other was adamant about it being a positive fairy-tale for pre-teens. The paper analyses the way this conflict is reflected in the film’s representations of children and suggests that its resolution in a vision of child empowerment (narratively and critically) indicates a move away from traditional assumptions about the horror genre, as well as childhood. Through this analysis, the paper also seeks to understand how PG-13 was perceived in the late 1980s, particularly in terms of its implied audience and its relationship with the genre of horror. Through this focus on the relationship between ratings, creative choices and conflicting attitudes, the paper proposes the idea of two intertwined cultural shifts: toward a more segmented view of childhood, in the emergence of the pre-teen as a demographic, and a more open definition of horror and its audiences.

In this dissertation, I argue that Douglas Sirk was attempting to dissolve the boundaries of the cinematic medium by assimilating elements of avant-garde art, architecture and design into the colour, composition and settings of many of his most popular studio produced films. While the exaggerated artifice of this director�s formal style has often been remarked upon, it has yet to be interpreted in the light of his detailed cognisance of the major art and architectural movements of the period, which include German Expressionist painting and Machine Age Modernist design. This is a lacuna that my thesis should at least partially fill, since I have shown that Sirk�s highly self conscious visual approach was deeply influenced by the artistic debates that were taking place in Europe during the 1920s and �30s and in America after World War II. To my mind, there is no doubt that this director�s syncretic mise-en-scène was the result of an interdisciplinary, transnational dialogue, and I have sought to illuminate some of the social, philosophical and political meanings that it seems to convey.

In the context of motion picture and television applications, the term color appearance refers to how the picture looks, as opposed to it's measured or predicted physical characteristics. Most published studies of color reproduction problems concentrate on these physical factors. Indeed, many engineers seem to feel that color reproduction is a trivial problem-- just read a standard text on colorimetry and one has it all. Television is often cited as an example of one of the more successful applications of colorimetry. The author feels, that while application of colorimetric methods certainly played an important role in the development of television, the system works despite rather than because of "colorimetric theory".