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Literatura académica sobre el tema "Adaptation (Motion picture)"

Autor: Grafiati

Publicado: 25 de julio de 2024

Última modificación: 31 de julio de 2024

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Artículos de revistas sobre el tema "Adaptation (Motion picture)"

1

Luiz, Tiago Marques. "Romeo and Juliet’s Rewriting in the Walt Disney Animated Movie Pocahontas: Adaptation Studies, Comparative Literature and Theory of Intertextuality". Cadernos de Tradução 43, n.º 1 (24 de enero de 2023): 1–23. http://dx.doi.org/10.5007/2175-7968.2023.e87714.

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Intertextuality has been a driving force for Adaptation Studies, but few scholars have highlighted its relevance, rather prioritizing issues such as audience reception, cinematographic technique or aesthetics and, occasionally, fidelity. However, the starting point for any audiovisual production (be it film, television or theater) is the written matter, the text. Inserted within the field of Adaptation Studies in dialogue with Comparative Literature and Theory of Intertextuality, the present papers assesses the extent to which there are points of contact between William Shakespeare’s tragedy Romeo And Juliet the Walt Disney animated motion picture Pocahontas. The paper initially discusses the adaptation of Shakespeare’s text as a starting point for film productions, proceeding to theoretical reflections between Comparative Literature, Adaptation Theory, intertextuality and rewriting, and to the comparative analysis between the tragedy and the motion picture, which leads to the conclusion of a retroversive movement between source and adapted texts, which invites to the question of intertextual rewriting in Adaptation Studies

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Cartmell, D. "Now A Major Motion Picture: Film Adaptations of Literature and Drama * Authorship in Film Adaptation". Screen 50, n.º 4 (1 de diciembre de 2009): 462–65. http://dx.doi.org/10.1093/screen/hjp034.

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Shulman, Gordon L. "Attentional Effects on Adaptation of Rotary Motion in the Plane". Perception 22, n.º 8 (agosto de 1993): 947–61. http://dx.doi.org/10.1068/p220947.

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The effect of attention on the adaptation effects produced by stimuli rotating in the picture plane was examined in five experiments. In experiment 1, subjects performed a task either on a rotating adapting stimulus or on an irrelevant distractor stimulus. Adaptation of a subsequent ambiguous test stimulus was greater when the adapting stimulus was attended than when the irrelevant stimulus was attended. In experiments 2, 3, and 5, two adapting stimuli were presented, rotating in opposite directions, and subjects attended to one or the other. The direction of rotation of the ambiguous test stimulus depended on which adapting stimulus was attended. In experiment 4, the influence of eye movements in producing adaptation in ambiguous motion displays was determined by contrasting the effects of adaptation produced by dual adaptation stimuli rotating in the same or opposite direction. Adaptation effects were not predicted by eye movement hypotheses.

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Ochonicky, Adam. "Memory patterns". Science Fiction Film & Television 17, n.º 1 (febrero de 2024): 1–27. http://dx.doi.org/10.3828/sfftv.2024.1.

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This article asserts that the original Star Trek films (1979–91) have importance for the study of memory and media in the digital era. I advance several interrelated arguments, with a special emphasis on Star Trek: The Motion Picture . First, I address how Star Trek: The Motion Picture ’s treatment of memory corresponds to scientific models of human recollection and theories of archives and databases. Notably, the first Star Trek film expresses anxiety about the mutability of memory and potential ramifications of digitalization. Such elements anticipate major strands of scholarship on memory, digitalization, and franchises from subsequent decades. Second, I introduce the concept of “franchise recall,” which highlights the memory-driven nature of media franchises. Franchise recall manifests through self-reflexive commentary on cross-medium adaptation and/or through the use of recycled footage within installments. By mapping franchise recall across the initial six Star Trek films, I expose an underlying interconnectedness comparable to the associative operations of memory. Throughout the article, I also show how Star Trek: The Motion Picture ’s narrative and aesthetics resemble slow cinema. Overall, I demonstrate the surprising prescience and continued relevance of the original Star Trek films for grappling with the parameters and intersections of human and technological recall.

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Neri, Peter y Dennis M. Levi. "Evidence for Joint Encoding of Motion and Disparity in Human Visual Perception". Journal of Neurophysiology 100, n.º 6 (diciembre de 2008): 3117–33. http://dx.doi.org/10.1152/jn.90271.2008.

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Electrophysiological recordings have established that motion and disparity signals are jointly encoded by subpopulations of neurons in visual cortex. However, the question of whether these neurons play a perceptual role has proven challenging and remains open. To answer this question we combined two powerful psychophysical techniques: perceptual adaptation and reverse correlation. Our results provide a detailed picture of how visual information about motion and disparity is processed by human observers, and how this processing is modified by prolonged sensory stimulation. We were able to isolate two perceptual components: a separable component, supported by separate motion and disparity signals, and an inseparable joint component, supported by motion and disparity signals that are concurrently represented at the level of the same neural mechanism. Both components are involved in the perception of stimuli containing motion and disparity information in line with the known existence of corresponding neuronal subpopulations in visual cortex.

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Musser, Charles. "The Hidden and the Unspeakable: On Theatrical Culture, Oscar Wilde and Ernst Lubitsch‘s Lady Windermeres Fan". Film Studies 4, n.º 1 (2004): 12–47. http://dx.doi.org/10.7227/fs.4.2.

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The cinema is as much a theatrical form of entertainment as performance on the stage, a fact that is crucial to a full appreciation of Ernst Lubitsch‘s Lady Windermere‘s Fan (Warner Brothers, 1925). Particularly in the cinemas silent era (1895-1925), when motion picture exhibition relied on numerous performance elements, theatrical performance and film exhibition interpenetrated. This underscores a basic conundrum: cinema has been integral to, and an extension of, theatrical culture, even though it has also been something quite different - a new art form. Indeed, the unity of stage and screen was so well established that critics, theorists, historians and artists expended large amounts of intellectual energy distinguishing the two forms while paying little attention to what they held in common. One fundamental feature of theatrical practice that carried over into many areas of filmmaking was adaptation. For Lubitsch, adaptation was a central fact of his artistic practice. This article looks at the history of adaptations of Lady Windermere‘s Fan on stage and screen making reference to textual comparisons, public reception, painting, symbolism and queer readings.

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Schreiber, Christoph, Behnam Amiri, Johannes C. J. Heyn, Joachim O. Rädler y Martin Falcke. "On the adhesion–velocity relation and length adaptation of motile cells on stepped fibronectin lanes". Proceedings of the National Academy of Sciences 118, n.º 4 (22 de enero de 2021): e2009959118. http://dx.doi.org/10.1073/pnas.2009959118.

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The biphasic adhesion–velocity relation is a universal observation in mesenchymal cell motility. It has been explained by adhesion-promoted forces pushing the front and resisting motion at the rear. Yet, there is little quantitative understanding of how these forces control cell velocity. We study motion of MDA-MB-231 cells on microlanes with fields of alternating Fibronectin densities to address this topic and derive a mathematical model from the leading-edge force balance and the force-dependent polymerization rate. It reproduces quantitatively our measured adhesion–velocity relation and results with keratocytes, PtK1 cells, and CHO cells. Our results confirm that the force pushing the leading-edge membrane drives lamellipodial retrograde flow. Forces resisting motion originate along the whole cell length. All motion-related forces are controlled by adhesion and velocity, which allows motion, even with higher Fibronectin density at the rear than at the front. We find the pathway from Fibronectin density to adhesion structures to involve strong positive feedbacks. Suppressing myosin activity reduces the positive feedback. At transitions between different Fibronectin densities, steady motion is perturbed and leads to changes of cell length and front and rear velocity. Cells exhibit an intrinsic length set by adhesion strength, which, together with the length dynamics, suggests a spring-like front–rear interaction force. We provide a quantitative mechanistic picture of the adhesion–velocity relation and cell response to adhesion changes integrating force-dependent polymerization, retrograde flow, positive feedback from integrin to adhesion structures, and spring-like front–rear interaction.

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Finke, Laurie A. "The Medieval Motion Picture: The Politics of Adaptation ed. by Andrew James Johnston, Margitta Rouse, and Philipp Hinz". Arthuriana 24, n.º 4 (2014): 143–45. http://dx.doi.org/10.1353/art.2014.0050.

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Fauser, Annegret. "Sounding the Tricolore: France and the United States during World War ii". Les musiques franco-européennes en Amérique du Nord (1900-1950) : études des transferts culturels 16, n.º 1-2 (25 de abril de 2017): 9–21. http://dx.doi.org/10.7202/1039609ar.

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During World War ii, French music found itself in a unique position in the United States. As the sonic embodiment of an Allied nation, it was nonetheless subjected to musical identity politics that drew on stereotypes of France as an elegant, cosmopolitan, and even effeminate culture whose products needed the transformation of US reception to toughen themselves up for the global war, fought both on the battlefield and through propaganda. I focus on three aspects of this complex story of cultural mediation: the reception and adaptation of Claude Debussy’s music, especially Pelléas et Mélisande; American cultural artifacts representing France, such as the 1943 motion picture Casablanca; and the role of French composers and performers in the United States during the war.

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Mik, Anna. "Disability, Race, and the Black Satyr of the United States of America: The Case of Grover Underwood from Rick Riordan’s The Lightning Thief and its Film Adaptation by Chris Columbus". Dzieciństwo. Literatura i Kultura 1, n.º 1 (24 de julio de 2019): 130–46. http://dx.doi.org/10.32798/dlk.20.

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This article aims to present the book-to-film metamorphosis of Grover Underwood from Rick Riordan’s novel The Lightning Thief (2005), adapted in 2010 by Chris Columbus for the screen. This character in both works is presented as an excluded member of the society: in the empirical world, as a disabled person, in the mythological one, as a satyr. What is more, in the motion picture, Grover, played by a Black actor, poses as an even more marginalised character, as a representative of a community discriminated in the USA. Therefore, the images of this character reflect the various levels of exclusion and show the ideological significance of a contemporary adaptation for the young audience. The comparative analysis is performed with the use of reception studies and critical race theory perspectives.

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Tesis sobre el tema "Adaptation (Motion picture)"

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Orfall, Blair. "Bollywood retakes : literary adaptation and appropriation in contemporary Hindi cinema /". Connect to title online (ProQuest), 2009. http://proquest.umi.com/pqdweb?did=1883677651&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Negrisolo, Letizia <1994&gt. "Tarzan of the Apes: the first motion picture adaptation (1918)". Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/13372.

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Smyth, Pamela Lou. "The marriage of two minds: The divine deliverance of Peter Shaffer's Amadeus from stage to film". CSUSB ScholarWorks, 1994. https://scholarworks.lib.csusb.edu/etd-project/903.

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Whitehurst, Katherine F. "Adapting Snow White : tracing female maturation and ageing across film, television and the comic book". Thesis, University of Stirling, 2016. http://hdl.handle.net/1893/24054.

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This thesis analyses 21st century filmic, televisual and comic “Snow White” adaptations. The research is interdisciplinary, bringing together scholarship on gender, childhood, ageing, adaptation, media and fairy tales. The first half of the thesis contextualises the broader historical and sociocultural conversation “Snow White” tellings are immersed in by nature of their shared culture and history. It also identifies the tale’s core and traces the tale’s formation as a tale type from the seventeenth to the twenty–first century. The second half of this thesis moves to an analysis of two films (Mirror Mirror, 2012; Snow White and the Huntsman, 2012), a television series (Once Upon a Time, 2011–present) and a comic book series (Fables, 2002–2015). It considers the kinds of stories about female growth and ageing different media adaptations of “Snow White” enable, and contemplates how issues of time and temporality and growth and ageing play out in these four versions. In analysing the relationship between form and content, this thesis illustrates how a study of different media adaptations of “Snow White” can enrich fairy–tale scholarship and the fairy–tale canon. It also details the imaginative space different media adaptations of “Snow White” provide when engaging with dominant discourses around female growth and ageing in the West. Using “Snow White” as a case study, this thesis centrally facilitates a dialogue between ageing, childhood, fairy–tale and adaptation studies.

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Wright, Barbara Irene. "La bête humaine : an examination of the problems inherent in the process of adaptation from novel to film". Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26943.

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In this thesis the process of adaptation from novel to film is examined. La Bête humaine by Emile Zola and the film version by Jean Renoir provide specific examples. The starting point is the assumption, often made by cinema audiences, that the film should be "faithful" to the novel upon which it is based. A statement made by Renoir regarding his efforts to be true to what he describes as the "spirit of the book" is quoted to illustrate the prevalence of this attitude. Novel and film are then compared in order to test Renoir's claim to fidelity. What is revealed are the differences between the two. Through an examination of character, action, and space some of the reasons for the director's departure from the novel begin to emerge and it becomes increasingly clear that Renoir was obliged to adopt a different approach. Theme and form are then examined and the organic nature of their relationship suggested. Finally, the departure of the film from the novel is traced to the very different ways in which the two media function — linearity in the written medium as opposed to simultaneity in the cinematic medium — and the indelible nature of the association of theme and form is confirmed. In conclusion, the view that the media should and do correspond is found to be mistaken, and Renoir's statement is re-evaluated and assessed as an attempt, by a director sensitive to the public's insistence on fidelity, to disarm criticism.
Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate

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6

Lee, Sin-man. "Adaptation of Hong Kong films in 1990's". Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22199172.

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Armanno, Venero. "Three screenplay adaptations and the ownership effect". Thesis, Queensland University of Technology, 2003.

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This PhD consists of three screenplays adapted from my novels and an exegesis which explores the involvement and influences producers have had on the eventual screenplay outcomes. In developing a first draft of original screenplays writers often work alone and without critical feedback, development assistance or encouragement from third parties. The writing process can continue in this way for some time, through many drafts, until the writer either abandons the project or finds some development assistance either from government film support agencies, producers, or both. At that stage, the writer enters a new creative process which involves collaboration, negotiation, and a series of artistic and institutional expectations which will no longer be theirs alone. In the situation where a producer options an existing creative work, such as a novel, and commences an adaptation project, this scriptwriting collaborative process will start much earlier. This is usually the case when a producer options a novel and employs a scriptwriter to create a film version of that story. The scriptwriter must attempt to meet the aesthetic requirements of the material at hand, yet also meet the film expectations that exist in the producer's mind - who, in his or her imagination, will already have cast, filmed and screened the film adaptation on a mental canvas. Where the screenplay adaptor is also the creator of the original material, a series of questions are raised which affect the rights of the original writer to maintain some control over their material balanced against the rights of the producer (the material's new "proprietor") to tell the story in whichever way he or she thinks is best. This exploration is balanced by studying practitioner accounts of the novel to film adaptation process, and by considering the critical literature on the subject. The exegesis argues that when a producer takes ownership of a novel's screen rights, he or she can have a marked affect on the screenplay adaptation process. The reinterpretation of that material for the screen can be more closely aligned to the producer-proprietor's expectations than those of the original creator or the screenwriter employed to write the novel to film adaptation.

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8

Lee, Sin-man y 李善雯. "Adaptation of Hong Kong films in 1990's". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952689.

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Faithfull, Denise. "Adaptations : Australian literature to film, 1989-1998". Thesis, Connect to full text, 2001. http://hdl.handle.net/2123/1771.

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Thesis (Ph. D.)--University of Sydney, 2001.
Title from title screen (viewed January 22, 2009) Submitted in fullfilment of the requirements for the degree of Doctor of Philososphy to the Dept. of English, University of Sydney. Includes bibliography. Also available in print form.

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Faithfull, Denise. "Adaptations Australian literature to film, 1989-1998 /". Connect to full text, 2001. http://hdl.handle.net/2123/1771.

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Thesis (Ph. D.)--University of Sydney, 2001.
Title from title screen (viewed January 22, 2009) Submitted in fullfilment of the requirements for the degree of Doctor of Philososphy to the Dept. of English, University of Sydney. Includes bibliography. Also available in print form.

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Libros sobre el tema "Adaptation (Motion picture)"

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Kaufman, Charlie. Adaptation. New York: Newmarket Press, 2002.

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Kaufman, Charlie. Adaptation: The shooting script. New York: Newmarket Press, 2002.

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1944-, Boozer Jack, ed. Authorship in film adaptation. Austin: University of Texas Press, 2008.

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Gumen, Murad. Wonderguy: The official adaptation of the minor major motion picture. New York, N.Y: Take Twelve Productions, 1992.

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O'Neil, Dennis. Batman: The official comic adaptation of the Warner Bros. motion picture. New York, NY: DC Comics, 1989.

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Simonson, Louise. Steel: The official comic adaptation of the Warner Bros. motion picture. New York, NY: DC Comics, 1997.

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O'Neil, Dennis. The official comic adaptation of the Warner Bros. motion picture Batman & Robin. New York, NY: DC Comics, 1997.

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1963-, Cutchins Dennis R., Raw Laurence y Welsh James Michael, eds. Redefining adaptation studies. Lanham: The Scarecrow Press, Inc., 2010.

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O'Neil, Dennis. Batman forever: The official comic adaptation of the Warner Bros. motion picture. New York, NY: DC Comics, 1995.

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O'Neil, Dennis. Batman forever: The official comic adaptation of the Warner Bros. motion picture. New York, NY: DC Comics, 1995.

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Capítulos de libros sobre el tema "Adaptation (Motion picture)"

1

Johnston, Andrew James y Margitta Rouse. "Introduction: Temporalities of Adaptation". En The Medieval Motion Picture, 1–18. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137074249_1.

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Hinz, Philipp y Margitta Rouse. "Adaptation as Hyperreality: The (A)Historicism of Trauma in Robert Zemeckis’s Beowulf". En The Medieval Motion Picture, 129–53. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137074249_7.

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Chi, Huynh Thi Kim, Kosuke Takano y Kin Fun Li. "A Color Adaptation Method in Picture Story with Emotional Expression of Body Motion". En Advanced Information Networking and Applications, 625–34. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-75078-7_62.

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Hagberg, Garry L. "Adaptation, Translation, and Philosophical Investigation in Adaptation". En The Palgrave Handbook of the Philosophy of Film and Motion Pictures, 823–41. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19601-1_35.

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Horne, Jennifer. "Babies and Brochures". En The Oxford Handbook of Silent Cinema, 354–74. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780190496692.013.24.

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Abstract This chapter investigates why the US Children’s Bureau, the first federal agency in the United States to be led by a woman, decided to enter the educational film market. It describes the career trajectory of Julia Lathrop, whose legacy as the Bureau’s initial chief includes her staunch advocacy of motion pictures in public service. The filmmaker Carlyle Ellis was hired to make four non-theatrical films for the agency to loan to health departments. Among the most widely viewed short motion pictures of the day, these films were loose adaptations of the Children’s Bureau’s popular health education pamphlets. An analysis of the use of Bureau brochures in the films suggests that the agency’s female staff understood their viewers’ primary interest to be in the printed materials.

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Mayer, David. "Quo vadis on the Stage". En The Novel of Neronian Rome and its Multimedial Transformations, 107–22. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198867531.003.0007.

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In contrast to the applause and attendance figures generated by the several film adaptations which followed from 1913, theatrical renderings of Quo vadis were ridiculed, and stage runs were conspicuously brief. Theatre was not able to realise the strongly physical episodes the novelist had imagined and that motion pictures could supply. Although posters advertising the play depicted Lygia’s ordeal in the arena and her rescue by the strong-man Ursus grappling with a maddened aurochs, this crucial ‘sensation scene’ was never brought before theatre audiences. At best, stage versions of Quo vadis were disappointing, at worst they were dismal failures. On the English-speaking stage, three separate iterations of Quo vadis, not adapted until 1900, followed Wilson Barrett’s 1895 play The Sign of the Cross by five years and followed William Young’s theatrical version of Ben-Hur by a year. It wasn’t merely that these earlier plays had consumed the oxygen that might have given life to Quo vadis, it was also that stage versions of Quo vadis relied on similar configurations of characters found in The Sign of the Cross, of Christian-Pagan conflict, and of plots of martyrdom at the whims of despotic Roman emperors and their lubricious wives. Even Wilson Barrett’s adaptation failed to generate much enthusiasm and was readily replaced by his money-spinning biblical dramas and toga-plays. This study will consider adaptations by Jeanette L. Gilder, by Stanislav Stange, and Wilson Barrett. It will account for more successful stage versions of the novel performed in the Roman Catholic countries Italy and France.

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Derex, Maxime y Thomas J. H. Morgan. "The Cultural Transmission of Technological Skills". En The Oxford Handbook of Cultural Evolution, C32S1—C32P99. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780198869252.013.32.

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Abstract Human adaptation relies on the multigenerational transmission and accumulation of both skills and knowledge. Nonetheless, there is currently no agreement on which factor, or combination of factors, explains our peculiar ability to do so. Theoretical and empirical work, however, has identified many candidates that operate at both the individual and population levels. This chapter starts by giving a brief overview of these factors that support cultural transmission before highlighting the relative lack of research on the cultural transmission of skills. The chapter characterizes skills as behaviours that rely on fine motor control and knowledge as mental states that guide behaviours. Many behaviours require both complex knowledge and skilled actions to be effective. Nonetheless, the chapter argues that the field of cultural evolution has largely studied the transmission and evolution of knowledge, as opposed to skill, raising the possibility that it presents an incomplete picture of human adaptation. Drawing on evidence from anthropology and economics, the chapter suggests that the cultural evolutionary dynamics of skill are likely to differ from those of knowledge. Specifically, it argues that (i) skills are less reliant on language for transmission than is knowledge; (ii) skills are more costly to transmit than knowledge; (iii) skills are transmitted along different pathways than is knowledge, and are more often limited to vertical transmission; and (iv) as a result, skills are likely to evolve more slowly than does knowledge. The chapter concludes that a full picture of human adaptation requires an increased focus on skill, alongside knowledge.

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Actas de conferencias sobre el tema "Adaptation (Motion picture)"

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Adam, Christopher S., Ian R. Berry, Kevin M. Short y Diana I. Saly. "A Dynamical Systems Approach to Stability Tracking of Treadmill Running". En ASME 2008 International Mechanical Engineering Congress and Exposition. ASMEDC, 2008. http://dx.doi.org/10.1115/imece2008-67331.

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Traditional analysis of running gait utilizes averaged biomechanical data from several strides to generate a mean curve. This curve is then used to define the average picture of a runners gait. However, such measures are frequently accompanied by time normalization, which results in a loss of temporal variations in the gait patterns. An examination of stability requires analysis of both time and position, therefore loss of such information makes stability analysis difficult. On the contrary, the use of a dynamical systems approach for gait analysis allows for a better understanding of how variations in gait pattern change over time. In the current study runners ran on a treadmill, with both a flat and uneven surface, at a self selected speed. Three-dimensional position data was captured for 11 different anatomical locations at a frequency of 120 Hz using a Qualysis motion capture system. The data was first shifted to a lumbar coordinate system to account for low frequency drift attributed to the subjects’ drift on the treadmill. Since all of the markers were rigidly connected, via the subject, the movements and variations of certain components of the 33-dimensional measurements were not independent. As a result, it was possible to reduce the dimensionality of the transformed data using singular value decomposition techniques. The primary components were then analyzed using the method of delay embeddings to extract geometric information, revealing the natural structure found in the data as a result of the periodicity of each running stride. A nearest neighbor mean stride orbit was then computed to create a reference orbit, so that deviations from the mean stride orbit can be measured. The expectation was that a more stable running configuration would lead to smaller deviations from the mean stride orbit. On-going work that will be reported includes: (i) analysis of running stability related to the reference stride comparator, (ii) compensation of lumbar centroid dynamics, (iii) reconstructions using one dimension from the lumbar centroid transformed data, and (iv) consideration of transients, fatigue, adaptation, etc.

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Spadafora, Giovanna, Gabriele Bellingeri, Marco Canciani, Elisabetta Pallottino, Simone Ferretti, Eleonora Antonucci y Roberto Dolfini. "Rilievo 3D e modellazione avanzata nello studio dei Forti di Roma: il Forte Monte Antenne". En FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11424.

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3D survey and advanced modeling in the study of the Forts of Rome: the Forte Monte AntenneIn the studies the authors are conducting on the entrenched camp of Rome, 3D surveys and digital models are used as means to understand constructions with the aim of developing restoration and re-utilization projects. For Forte Monte Antenne (1882-1891), the authors have carried out systematic studies of the formal and structural aspects. The data acquired from a direct survey and with laser scanner, drone and photogrammetry, integrated with data obtained from iconographic and bibliographic sources, were integrated in the creation of a digital model, which made the classification of the various elements in a structured database possible, including the verification of the relationship among the parts at varying levels, and the system of aeration ducts. Convective motions and the thermo-hygrometric and visual comfort within some of the environments, as well as thermographic surveys of the walls were conducted. The BIM model was integrated, therefore, with a MEP model. The hypothesis of restoration and possible adaptation to new functions cannot disregard the analysis of those parameters which complete the picture of environmental quality and thus of the effective potentials in repurposing of the structure.

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