Bibliografías temáticas / Central Americans in motion pictures

Literatura académica sobre el tema "Central Americans in motion pictures"

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Publicado: 25 de julio de 2024

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Artículos de revistas sobre el tema "Central Americans in motion pictures"

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Sarat, Austin, Madeline Chan, Maia Cole, Melissa Lang, Nicholas Schcolnik, Jasjaap Sidhu y Nica Siegel. "Scenes of Execution: Spectatorship, Political Responsibility, and State Killing in American Film". Law & Social Inquiry 39, n.º 03 (2014): 690–719. http://dx.doi.org/10.1111/lsi.12084.

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For as long as there have been motion pictures, scenes of execution have appeared in American film. This article examines those scenes over the course of the twentieth century and suggests that spectatorship, and what it means to watch, is central to scenes of execution in film. We are interested less in the intentions and politics of a filmmaker and more in what those scenes offer viewers. We argue that three central motifs of spectatorship characterized death penalty films during the more than 100‐year period that we studied. First, viewers are often positioned as members of an audience and many scenes of execution are presented in a highly theatrical fashion and, as a result, the line between spectatorship and witnessing is blurred. Second, in many scenes of execution viewers are brought “backstage” and provided chilling, intimate views of the machinery of death, privileged views unavailable outside of film. The third motif shifts the positioning of the viewer such that we stand in the shoes of those who are to be executed. We conclude by asking whether and how scenes of execution in American film provoke in viewers an awareness of the political responsibility inherent in their identities as democratic citizens in a killing state.
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Betancourt, Michael. "‘Cinema’ as a Modernist Conception of Motion Pictures". AM Journal of Art and Media Studies, n.º 16 (5 de septiembre de 2018): 55. http://dx.doi.org/10.25038/am.v0i16.254.

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In the 1960s and 1970s the Clement Greenberg’s Modernist ideology of ‘purity’ played a central role in the definition of ‘avant-garde cinema’ as a serious, major genre of film. This transfer between ‘fine art’ and ‘avant-garde film’ was articulated as ‘structural film’ by P. Adams Sitney. This heritage shapes contemporary debates over ‘postcinema’ as digital technology undermines the ontology and dispositive of historical cinema. Its discussion here is not meant to reanimate old debates, but to move past them. Article received: March 12, 2018; Article accepted: April 10, 2018; Published online: September 15, 2018; Original scholarly paperHow to cite this article: Betancourt, Michael. "‘Cinema’ as a Modernist Conception of Motion Pictures." AM Journal of Art and Media Studies 16 (2018): 55−67. doi: 10.25038/am.v0i16.254
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Toka, Karolina. "Progression or Stagnancy? Portraying Native Americans in Michael Apted’s Thunderheart (1992)". Ad Americam 22 (28 de marzo de 2021): 87–100. http://dx.doi.org/10.12797/adamericam.22.2021.22.06.

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Progression or Stagnancy? Portraying Native Americans in Michael Apted’s Thunderheart (1992) As argued by Wilcomb Washburn, no other ethnic group has been misrepresented in media and popular culture to such extent as the Native Americans (2010). Movies that shaped their image did so by crystallizing stereotypes and misconceptions, through which indigenous peoples have been perceived until the present day. Thomas Edison’s vignettes, early westerns, as well as subsequent motion pictures of the 1960s and 1970s strengthened the stereotypes of the vanishing Indians, bloodthirsty savages, and their noble alter ego. The 1990s brought about a revival of the western in its new, revisionist form, mainly due to the achievements of the American Indian Movement. This paper argues that the movie Thunderheart (1992) by Michael Apted — albeit belonging to that ostensibly revolutionary current — continues to reproduce various well established stereotypes in the portrayal of the Native Americans . It examines significantachievements of this partly liberal motion picture, as well as its failures and faults. Thisarticle argues that Thunderheart departs from traditional, dualistic portrayals of Native Americans as bloodthirsty and noble savages and manages to present a revisionist version of historical events; at the same time, it fails to omit numerous Hollywood clichés, such as stereotypical representation of native spirituality, formation of an “Indian identity”, and “othering” of the Native Americans, which contributes to their further alienation and cultural appropriation. This paper provides an insightful analysis of the movie, drawing on scholarship in the field of cultural and indigenous studies in order to lay bare the ambivalence towards indigenous people in the United States, that is reflected in the movie industry. Moreover, it indicates towards the commodification of native culture, as well as the perception of Native Americans as primitive and inferior, allowing to classify Thunderheartas an unfortunate product of colonialism.
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Angelone, Bonnie L., Daniel T. Levin y Daniel J. Simons. "The Relationship between Change Detection and Recognition of Centrally Attended Objects in Motion Pictures". Perception 32, n.º 8 (agosto de 2003): 947–62. http://dx.doi.org/10.1068/p5079.

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Observers typically detect changes to central objects more readily than changes to marginal objects, but they sometimes miss changes to central, attended objects as well. However, even if observers do not report such changes, they may be able to recognize the changed object. In three experiments we explored change detection and recognition memory for several types of changes to central objects in motion pictures. Observers who failed to detect a change still performed at above chance levels on a recognition task in almost all conditions. In addition, observers who detected the change were no more accurate in their recognition than those who did not detect the change. Despite large differences in the detectability of changes across conditions, those observers who missed the change did not vary in their ability to recognize the changing object.
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Porter, Pete. "Engaging the Animal in the Moving Image". Society & Animals 14, n.º 4 (2006): 399–416. http://dx.doi.org/10.1163/156853006778882411.

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AbstractHuman engagement with nonhuman animals in motion pictures is a complex process that anthropomorphism and identification misconstrue. A superior model comes from cognitive theories of how spectators engage characters, particularly Smith (1995), who suggests modifications to account for the nuances of spectator engagement with nonhuman animal characters. The central components of this amended model include the person schema, the three types of cues that films use to activate the person schema, and what Smith calls the "Structure of Sympathy." Such a model enables us to understand better the role that moving image representations of nonhuman animals play in human-animal relationships.
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Driscoll, Catherine y Liam Grealy. "In the name of the nation: Media classification, globalisation, and exceptionalism". International Journal of Cultural Studies 22, n.º 3 (5 de julio de 2018): 383–99. http://dx.doi.org/10.1177/1367877918784606.

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This article examines the relationship between exceptionalism and nationhood in media classification. The history of age-ratings is an international one, and the present challenges associated with digital media circulation are similarly international. We argue that the nation nevertheless provides an appropriate frame for understanding age-rating by attending to the ways national agencies have struggled to articulate the specificity of their work based on the specificity of domestic constituencies. Drawing on archival and ethnographic research, our central examples include the resistance of the Motion Picture Association of America to age-based film classification, the British Board of Film Classification’s examination of American films in the 1980s, contemporary Japanese videogame regulation, and the emergence of the International Age Rating Coalition. We argue that national exceptionalism is itself generalised and that media content regulation is less about producing national culture than about laying claim to a nation by differentiation.
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Zubko, Olha. "Movie in the life of ukrainian emigration in the interwar CHSR (1921–1939)". Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 9, n.º 18 (2019): 37–43. http://dx.doi.org/10.34079/2226-2849-2019-9-18-37-43.

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In the 1920 s, the politically heterogeneous Ukrainian emigration community in inter-war Czechoslovakia, with its back in World War I and losing national liberation competitions, desperately needed both physical and spiritual rest. However, the status of «emigrants» transformed the imagination of the natives about leisure and leisure. The recreational regulator was, on the one hand, the scientific and technical implications of the 'stormy twenties' and, on the other, the urgent need to keep 'one's band', that is, a collective form of rest and leisure. Ukrainian exiles visited various theatrical performances, book exhibitions, music concerts, sections and circles, and enjoyed excursions. Slowly, with some nuances, cinema was also part of the Ukrainian emigration leisure. It should be noted that the Ukrainian emigration in the inter-war Czechoslovakia, because of the 1920 s «quick return concept» and the priority, first of all, of its own political projects, did not leave any jobs or references to film vacations. The Great Depression of the 1930 s and the Losses dismissed the issue of leisure in general and film recreation in particular, making it difficult to physically work to survive. Contemporary scientific intelligence on the impact and role of cinema in the life of the Ukrainian emigration community in the interwar CSR is absent because of the fact that despite the status of Prague as a powerful political, cultural and scientific emigration center, it has not become a leading European cinema center, yielding here Berlin. Only those edited by Doctor of Historical Sciences, Professor IB Matyash, the book «Diplomatic History of Ukraine by Yevgeny Slabchenko (Eugene Deslav)», relevant to the subject of our intelligence, and the article by Roman Roslyak «Ukrainfilm».Based on the above, the purpose of the publication is to argue that, despite some efforts by the Ukrainian emigration community in the interwar CSR, a powerful European film center in Prague, unlike Paris, Vienna, Berlin and New York, never. The Ukrainian emigration community in the Czechoslovak Republic numbered about 20-22 thousand people. In its social composition, it was mainly peasant workers, the layer of her intelligentsia was small. Thus, most Ukrainian immigrants either used the moment to seek education in order to further have a higher social status or to work hard without being able to study. First of all, the Ukrainians, as a national community in exile with a lack of sufficient financial base, even in the «scientifically technical twenties» and «economically unstable thirties», were forced to stand in conservative positions on leisure issues. The first «moving pictures» appeared on the territory of the Czech Republic in 1896 in Prague and Karlovy Vary, thanks to the director and cameraman Jan Krzyzyniecki, who, since the second half of the 1890s, made several short documentary films. And a year later, one of the private American film companies came to the Czech Republic to start filming a black and white silent film in Bohemia. Whereas the first permanent cinema on Czech lands was started by the illusionist Victor Ponrepo (1858–1926) in 1907 in Prague. The Czechoslovakian film industry gained considerable momentum during the interwar period. Since 1921 professional film studios have started. And by 1932, the championship was kept by black and white silent films. The soundtrack of films in the Czechoslovakia began in 1930. In addition, in 1930 Czechoslovak authorities imposed a ban on the import of any German-language films. Prohibition of German-language film production leads to the fact that in 1933, the Czech studio «Barrandov Studio», established by the brothers Vaclav and Milos Havel in 1921, is firmly on its feet, and the number of cinemas is counted in 1938. 1824. However, there were attempts to create a quality Ukrainian emigration film product and, accordingly, Ukrainian (emigration) film studios in the Czechoslovak Republic. These attempts were linked to the names of Boris Khoslovsky and Roman Mishkevich. Khoslovsky since 1926 the head of production of advertising departments of the firm «Vira Film». Since 1928 organizer and owner of the «Mercury Film» Studio, specializing in the production of promotional films. Another Ukrainian film studio, «Terra Film», originated in Brno in the early 1930s on the initiative of Roman Mishkevich. This film studio tried to shoot science and plot (situational-natural) films. Until 1939, Myshkevich's firm remained the largest importer of motion pictures from the Czech Republic to Japan, China, India and Central America. Yet, to develop a powerful Ukrainian film industry in the Czechoslovakia proved impossible. There were several reasons for this. First, political (emigrant status) and economic (lack of sustainable financial flows from the Czechoslovakia) were hampered. Secondly, the Ukrainian film industry did not have the support of both Ukrainian and Czech (private) businesses. Thirdly, the low potential of Ukrainian film enthusiasts and the lack of professional education and experience were evident. Fourth, the Ukrainian Prague film production consisted mainly of documentaries, short films, plot films, reports and chronicles.
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Mitroiu, Simona. "Challenging the Roma Structural Discrimination: Deterritorialization Practices in Romanian Cinema". Metacritic Journal for Comparative Studies and Theory 7, n.º 2 (17 de diciembre de 2021): 46–68. http://dx.doi.org/10.24193/mjcst.2021.12.03.

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This paper examines the cinematographic reworking of memory spaces associated with power relations and structural injustice. The way in which space is represented and used as a medium that reflects power relations allows to question the space itself in cultural productions from Central-Eastern Europe when associated with Romani people (space and power relations, memory of slavery and discrimination, space and freedom, territoriality, space and its inhabitants, non-belonging, segregation, etc.). The paper focuses on motion pictures produced in the last decade in Romania, a prolific period due to the increasing interest for memory activism and to the multiplication of the cultural exploration of challenging topics. It aims to identify narrative, visual, and aesthetic expressions used as deterritorialization practices to stimulate relational remembrance and engagement with ongoing social inequality and structural injustice. Two short films – Alina Șerban’ s Bilet de iertare (Letter of forgiveness) and Adrian Silișteanu’s Scris/Nescris (Written/Unwritten) – and a western type film – Radu Jude’s Aferim!, winner of the Silver Bear for Best director at Berlinale in 2015, are analysed here.
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Basilowski, M., B. Schönfeld, S. Esser, A. Jatho, M. Kownatka, J. Signerski-Krieger, H. Esselmann et al. "From Bones to Brain: 50 Years of Star Trek and Changes in the Stigmatization of Psychological Disorders". Current Psychology 39, n.º 5 (19 de mayo de 2018): 1705–14. http://dx.doi.org/10.1007/s12144-018-9868-9.

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Abstract The Star Trek franchise currently includes five spin-off series and 13 motion pictures. Star Trek’s central theme is the utopian future of mankind, but the series does not disregard issues that were socially relevant for its time of production. Therefore, Star Trek has functioned as a representation of history throughout its 50-year lifespan. This paper conducts a comparative analysis of fictional representations of psychological disorders and corresponding treatments to retrace the cultural changes in the portrayal and treatment of psychological disorders from the 1960s to the turn of the millennium. Video material produced between 1966 and 1999 was analysed with a focus on psychological disorders and coded according to the ICD-10. The results of the quantitative analysis indicate that the different Star Trek series demonstrate similar patterns of percentage distributions for psychological disorders. The qualitative analysis shows that psychological disorders were portrayed and treated in an increasingly realistic fashion. Changes in society’s attitude towards psychological disorders can be comprehensively illustrated through Star Trek episodes produced through 1999. Psychological phenomena are increasingly destigmatized, and the necessity of treatment has not been disregarded.
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Saville, Julie. "TRIBUTES TO JOHN HOPE FRANKLIN". Du Bois Review: Social Science Research on Race 7, n.º 1 (2010): 12–15. http://dx.doi.org/10.1017/s1742058x1000010x.

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Long before I had the pleasure of making his acquaintance in person, John Hope Franklin's writings were a vital presence in my academic life. His books were some of the earliest sign posts that I encountered when I first ventured into the new and unfamiliar territory of the historian. The Free Negro in North Carolina was critical to the framework of my first research paper in graduate school. The Militant South was required reading in C. Vann Woodward's reading and discussion seminar in Southern history. I turned to Reconstruction: After the Civil War hoping that it would help me put limits to the deepening puzzles of Reconstruction. But perhaps none of these works—important as they are—has influenced the historical imagination as profoundly as what is undoubtedly his most widely read work, From Slavery to Freedom: A History of Negro Americans, first published in 1947. It kept me company over an anxious winter when I prepared for oral exams. I adopted its fifth edition as required reading in the first course that I taught as a graduate student. Known to general and academic readers alike, From Slavery to Freedom does not recount the progressive unfolding of an emancipatory project, even though its title early named what has become a theme central to analysis of the historical experiences of African Americans in the United States. Instead, it locates the emergence of a distinctively brittle racial regime in the United States within the complex contradictions of modern freedom that were set in motion by Atlantic slavery and the slave trade. “It was forces let loose by the Renaissance and the Commercial Revolution,” he writes, “that created the modern institution of slavery and the slave trade” (Franklin 1947, p. 43; 1980, p. 31). There are thus no postwar echoes of NATO triumphalism in Franklin's conception of Atlantic modernity:
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Tesis sobre el tema "Central Americans in motion pictures"

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Mann, Erika Noelle. "Cinema's green is gold the commodification of Irishness in film /". CONNECT TO THIS TITLE ONLINE, 2008. http://etd.lib.umt.edu/theses/available/etd-05082008-102020/.

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Willis, Corin Charles. "The signifier returns to haunt the referent : blackface and the stereotyping of African-Americans in Hollywood early sound film". Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/55891/.

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This thesis investigates the persistence of blackface in Hollywood's early sound era 1927-1953. It establishes the extensive and complex nature of this persistence against previous historical accounts of its decline after the introduction of sound. Specifically this thesis considers the overlooked phenomenon of co-presence where blackface was juxtaposed with the increased visibility of African-Americans in Hollywood film. It argues that the primary historical significance of the persistence of blackface lies in its involvement in, and exposure of, the formal stereotyping of African Americans in film. The thesis is founded on research which identified 124 blackface films and on viewings of 75 of these films. Primarily the argument is advanced on the basis of close textual analysis. In addition to its theoretical engagement with key positions on blackface and related areas the thesis also makes use of secondary sources in order to establish the historical context behind its persistence in film. Principle areas discussed include the formal practices used to racially mark African Americans in film, co-presence in the films of Al Jolson and Eddie Cantor, and blackface and the racial containment of African-American vernacular dance and music. This thesis contributes to an understanding of the place of blackface in Hollywood history by setting down what is, to the best of its author's knowledge, the most extensive account to date of its persistence in the early sound era. In doing so it brings new material to the debates on the 'nature' of blackface and argues that current attempts to revise understandings of its racial bias may be misguided. In conclusion this thesis finds that the case study of co-presence indicates that one explanation for the longevity of Hollywood's African-American stereotypes lies in the sheer density of their textual construction.
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Huang, Ying. "Multiple interplays : Americans' perceptions of two Chinese Wuxia movies /". Available to subscribers only, 2006. http://proquest.umi.com/pqdweb?did=1203584091&sid=4&Fmt=2&clientId=1509&RQT=309&VName=PQD.

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Gunckel, Colin. ""A theater worthy of our race" the exhibition and reception of Spanish language film in Los Angeles, 1911-1942 /". Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1997008061&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Albertson, Mark C. "Cultivating Chicana/o images negotiating the cinematic mainstream for cultural survival /". To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2007. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.

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Urquijo-Ruiz, Rita E. "Las figuras de la peladita/el peladito y la pachuca/el pachuco en la producción cultural chicana y mexicana de 1920 a 1990 /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3138840.

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Thesis (Ph. D.)--University of California, San Diego, 2004.
Accompanied by compact disc sound recording of 11 Pachuco trio songs by Lalo Guerrero with Trio Imperial. Vita. Includes bibliographical references (leaves 200-209).
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Khor, Denise. "Asian Americans at the movies race, labor, and migration in the Transpacific West, 1900-1945 /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3291752.

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Thesis (Ph. D.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed March 17, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 297-213).
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Lamberti, Justin V. Winn J. Emmett. "Fagidaboudit the American dream and Italian-American gangster movies /". Auburn, Ala., 2005. http://repo.lib.auburn.edu/2005%20Summer/master's/LAMBERTI_JUSTIN_26.pdf.

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Willmets, Simon. "Falling out with history : Hollywood and the Central Intelligence Agency, 1945 - 1975". Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/47074/.

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This thesis examines the representation of the Central Intelligence Agency and its predecessor the Office of Strategic Services in Hollywood cinema from 1945-1975. It argues that the development of these cinematic representations over time has articulated a growing scepticism towards "official" narratives of the past that regard the state as the arbiter of historical authenticity. This scepticism towards state-sourced history is a consequence of increasing US government secrecy. In other words, secrecy fundamentally problematizes state-sourced approaches to historical representation, which rely on the state as an authoritative, trustworthy and relatively transparent producer of the documentary record. The epistemological problem of representing secret institutions is referred to here as the "paradox of secrecy" for historical representation. It is argued that Hollywood’s shift away from state-sourced representations of the CIA is a consequence of this paradox. This thesis is influenced by Hayden White's notion that a given form of historical representation is inherently ideological and even specifically political in its ramifications. In this sense, it is argued that the political content of the films examined here are very much a product of their approach to historical representation itself. This thesis identifies four dominant forms of the American spy film during this period. The first, which was dominant from roughly 1945 up until 1959, was the "semi-documentary". This form of spy thriller celebrated the centrality of the state as the arbiter of historical authenticity and relied upon extensive liaison between filmmakers and government. In chapter 1-3, this thesis traces the rise and fall of the semi-documentary and its ultimately frustrated attempts to represent the CIA. Chapter 4 examines the second dominant form of the spy thriller: the romantic fable. This form, epitomized by James Bond, represents an ironic "camp" reaction to state-sourced approaches to historical representation. Chapter 5 provides a detailed analysis of Alfred Hitchcock’s trilogy of Cold War spy films. It argues that Hitchcock moved away from the camp fable towards the third dominant form: realism. This form, epitomized by the novels of John Le Carré, began a move away from the playful irony of the camp spy fables and offered a far more skeptical and politicized critique of the state and Cold War espionage as Machiavellian in nature. This scepticism towards the state paved the way for the fourth dominant form of the spy film: the conspiracy thriller, which is examined in chapter 6. The 1970s conspiracy thriller represents the precise opposite of the semi-documentary in that it regards the state and state secrecy as the primary obstacle to historical veracity and authenticity. By asserting the possibility of recovering "historical truth" from the miasma of state secrecy, however, the conspiracy narrative moves away from the irony of 1960s spy cinema and articulates the possibility of the redemption of the past. This diachronic transformation of the American spy thriller from the semi-documentary to the conspiracy thriller traces the broader cultural process of growing distrust in government narratives.
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Cork, Kevin James. "Twenty-four miles around Nelungaloo : the history and importance of cinema exhibition in pre-television times to a country area of central-western New South Wales /". View thesis, 1994. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030916.125146/index.html.

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Libros sobre el tema "Central Americans in motion pictures"

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Carballo, Willian. Centroamérica, una película de Hollywood: Representación de los países del Área y sus migrantes en series y filmes estadounidenses de 1990 a 2015. La Libertad, El Salvador: Escuela de Comunicación Mónica Herrera, 2016.

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Hames, Peter y Catherine Portuges. Cinemas in transition in Central and Eastern Europe after 1989. Philadelphia: Temple University Press, 2013.

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Tötösy de Zepetnek, Steven, 1950-, ed. Comparative Central European culture. West Lafayette, Ind: Purdue University Press, 2002.

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Iordanova, Dina. Cinema of the other Europe: The industry and artistry of East Central European film. London: Wallflower, 2003.

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Amir, Labaki, ed. O cinema brasileiro: De O pagador de promessas a Central do Brasil = The films from Brazil : from The given word to Central Station. 2a ed. São Paulo, SP: Publifolha, 1998.

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Keim, Norman O. Our movie houses: A history of film and cinematic innovation in Central New York. Syracuse: Syracuse University Press, 2008.

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Abikeyeva, Gulnara. The heart of the world: Films from Central Asia. Almaty: Complex, 2003.

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Camaiti, Hostert Anna y Tamburri Anthony Julian, eds. Screening ethnicity: Cinematographic representations of Italian Americans in the United States. Boca Raton, FL: Bordighera Press, 2002.

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University of Illinois (Urbana-Champaign campus). Press., ed. African Americans in cinema: The first half century. Urbana: University of Illinois Press, 2003.

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Richard, Alfred Charles. Contemporary Hollywood's negative Hispanic image: An interpretive filmography, 1956-1993. Westport, Conn: Greenwood Press, 1994.

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Capítulos de libros sobre el tema "Central Americans in motion pictures"

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Molenda, Michael H. "History and Development of Instructional Design and Technology". En Handbook of Open, Distance and Digital Education, 1–18. Singapore: Springer Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-0351-9_4-1.

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AbstractThe origins and evolution of instructional technology and instructional design are treated in this chapter as separate concepts, although having intertwined histories. As with other technologies, their origins can be traced to the scientific discoveries on which they are based. Early in the twentieth century, new discoveries in optics and electricity stimulated educators to the adoption of technological innovations such as projected still pictures, motion pictures, and audio recording. Individuals and, later, groups of affiliated professionals promoted enriching learning by adding visual and, later, audiovisual resources where verbal presentations previously dominated. As radio broadcasting grew in the 1930s and then television in the 1950s, these mass media were perceived as ways to reach audiences, in and out of school, with educative audiovisual programs. In the 1960s, the wave of interest in teaching machines incorporating behaviorist psychological technology engendered a shift in identity from audiovisual technologies to all technologies, including psychological ones. As computers became ubiquitous in the 1990s, they became the dominant delivery system, due to their interactive capabilities. With the global spread of the World Wide Web after 1995, networked computers took on communication functions as well as storage and processing functions, giving new momentum to distance education. Meanwhile, research during and after World War II prompted a technology of planning – systems analysis. In the 1960s, educators adapted the systems approach to instructional planning, starting the development of instructional systems design (ISD). Since the 1980s, ISD has been the reigning paradigm for instructional design, while instructional design has become the central activity of instructional technology professionals.
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Molenda, Michael H. "History and Development of Instructional Design and Technology". En Handbook of Open, Distance and Digital Education, 57–74. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-2080-6_4.

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AbstractThe origins and evolution of instructional technology and instructional design are treated in this chapter as separate concepts, although having intertwined histories. As with other technologies, their origins can be traced to the scientific discoveries on which they are based. Early in the twentieth century, new discoveries in optics and electricity stimulated educators to the adoption of technological innovations such as projected still pictures, motion pictures, and audio recording. Individuals and, later, groups of affiliated professionals promoted enriching learning by adding visual and, later, audiovisual resources where verbal presentations previously dominated. As radio broadcasting grew in the 1930s and then television in the 1950s, these mass media were perceived as ways to reach audiences, in and out of school, with educative audiovisual programs. In the 1960s, the wave of interest in teaching machines incorporating behaviorist psychological technology engendered a shift in identity from audiovisual technologies to all technologies, including psychological ones. As computers became ubiquitous in the 1990s, they became the dominant delivery system, due to their interactive capabilities. With the global spread of the World Wide Web after 1995, networked computers took on communication functions as well as storage and processing functions, giving new momentum to distance education. Meanwhile, research during and after World War II prompted a technology of planning – systems analysis. In the 1960s, educators adapted the systems approach to instructional planning, starting the development of instructional systems design (ISD). Since the 1980s, ISD has been the reigning paradigm for instructional design, while instructional design has become the central activity of instructional technology professionals.
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Noam, Eli. "Electronic Media and Their Impact". En Television in Europe, 58–69. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195069426.003.0005.

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Abstract Joseph Schumpeter’s metaphor of the creative destruction of capitalism is a useful backdrop in looking at the perceived dangers to culture caused by “new” media. There has always been a tendency by any group of creative people and institutions to identify their own role, and the technology on which it is based as central to culture. When sound was introduced into motion pictures, the German musicians’ associations agitated publicly, holding that “sound movies are tasteless” and “sound movies are economic and spiritual murder.” When radio was introduced, American researchers noted that the ‘‘popularity of this new pastime (radio) among children has increased rapidly ... (and) has brought many a disturbing influence into its wake. Parents have become aware of a puzzling change in the behavior of their children ... “ (Eisenberg, 1936).
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Brennan, Nathaniel. "The Cinema Intelligence Apparatus". En Cinema's Military Industrial Complex. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520291508.003.0008.

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This chapter, by Nathaniel Brennan, discusses the efforts of the Museum of Modern Art Film Library to make use of captured enemy motion pictures on behalf of the federal government’s wartime intelligence programs during World War II. While the chapter presents an overview of the film library’s governmental intelligence work, ranging from matters of storage to the challenges of training analysts, the central case study examines the work of British anthropologist Gregory Bateson, whose work at the film library consisted of trying to define an objective approach to the study of culture through cinema and the preparation of a test film that would instruct American soldiers about the peculiarities of the German character. Although Bateson’s plans did not materialize, the efforts of Margaret Mead to adapt Bateson’s anthropological film methodology for the Cold War nonetheless influenced the development of postwar film studies and the analysis of national cinemas.
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Kalinak, Kathryn. "A history of film music I". En Film Music: A Very Short Introduction, 30—C4P35. 2a ed. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/actrade/9780197628034.003.0004.

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Abstract Music has been central to the history of film. This chapter charts that history through a global perspective, looking at the origins and development of musical accompaniment to motion pictures from the United States to South America, from Europe, Russia, and the Soviet Union to India, Japan, China, and numerous other countries in between. That history includes attention to the variety of forms that musical accompaniment to early film took from phonographic accompaniment to live performance, from improvisation to cue sheets to original film scores, and from a single musician to a symphony orchestra. This chapter incorporates new research since the first edition of this book in 2010 on film music in Ireland, Austria, Turkey, the Dutch East Indies, and the Netherlands; the role of women in the early film music industry; and the role of film music in the continued resurgence of silent film screenings.
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Tsika, Noah. "Veto Power". En Screening the Police, 131–94. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197577721.003.0004.

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Throughout the first half of the twentieth century, police censorship of motion pictures was a significant and always controversial index of the expansion of law enforcement agencies to include activities that many Americans deemed unbecoming of cops. As such, it offers considerable insight into contemporary debates over the scope of police power in the United States. Today’s arguments have deep roots, including in a practice that was far more prevalent—and far more contentious—than conventional histories allow. When it came to vetting motion pictures, the methods of municipal police departments varied widely. But they often illuminated broader problems: Detroit police officers who voted to ban anti-Nazi films were themselves outspoken white supremacists; Chicago cops who balked at cinema’s suggestions of eroticism were also, outside of departmental screening rooms, aggressively targeting sex workers; and Southern lawmen who sought to eliminate intimations of racial equality were known for their brutal treatment of Black residents. Police censorship of motion pictures took place not in a vacuum but within the ever-widening ambit of law enforcement, and it merits scrutiny as a measure of the authority, influence, and cultural identities of municipal cops.
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Gleeson-White, Sarah. "Black Authorship at the Movies: Oscar Micheaux, Paul Laurence Dunbar, Wallace Thurman". En Silent Film and the Formations of U.S. Literary Culture, 67–104. Oxford University Press, 2024. http://dx.doi.org/10.1093/oso/9780197558058.003.0003.

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Abstract Chapter 2 considers the encounters of race film—all-Black-cast films largely produced and consumed by African Americans—and early twentieth-century Black literature, two fields only very rarely brought into conversation, although, as this chapter finds, there were significant exchanges between the two media and industries. It discovers it was motion pictures that provided Black authors as diverse as Oscar Micheaux, Paul Laurence Dunbar, and Wallace Thurman a means to navigate the gnarly terrain of Black authorship across the early decades of the twentieth century, caught as it seemed to be between the demands and expectations of literary and vernacular forms.
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Aron, Stephen. "Chimney Rock". En Peace and Friendship, 136—C5.F5. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197622780.003.0005.

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Abstract This chapter takes as its vantage point Chimney Rock, one of the signature landmarks along what became the principal overland trail across the Great Plains and to the Pacific Slope during the 1840s and 1850s. Although circled covered wagons, surrounded by marauding Indians on horseback, became a staple scene in nineteenth-century paintings and twentieth-century motion pictures, those images mislead about relations between American emigrants and Plains Indians. Through the 1840s, peace generally prevailed on the trail, and trade, if not friendship, linked Americans heading west and the Indians through whose countries they traveled. The onset of the California Gold Rush multiplied the number of Americans on the trail and brought an increased presence of the United States military to the Great Plains, which put pressure on that peace. Still, it was the conflicts between “Mormons” and those they called “Gentiles” that most threatened to erupt into a full-scale war.
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Clark, Walter Aaron. "Doing the Samba on Sunset Boulevard". En Tide Was Always High. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520294394.003.0004.

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This chapter focuses on Latin American singer and actress Carmen Miranda, who helped create an all-purpose, homogeneous image of Latin Americans, their culture, and especially their music. Hollywood used Miranda as a do-all prop in dramatic settings as diverse as New York, Rio de Janeiro, Buenos Aires, Havana, and Mexico. The resulting conflation of costumes, instruments, musical genres, and languages is highly entertaining on one level but pernicious and (at the time) politically counterproductive on another. The partial coverage by US news media of events in South America left a gap that is “often filled by fictional representations in motion pictures and television shows. Film, in particular, has played a major role in shaping modern America's consciousness of Latin America.”
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Charbonneau, Oliver. "Moros in America". En Civilizational Imperatives, 143–67. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501750724.003.0007.

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This chapter talks about Moros and Americans negotiating an increasingly globalized world beyond colony and metropole. It mentions a vernacular dime novel about the St. Louis World's Fair published in 1904 titled Uncle Bob and Aunt Becky's Strange Adventures at the World's Great Exposition. It also describes how overseas colonies appeared to a skeptical metropolitan public and how cultural producers appropriately portrayed the America's foreign subjects. The chapter mentions the U.S. newspapers that followed the Moros closely as they met with presidents, performed for midwestern crowds, took in the Manhattan skyline, and embraced collegiate life. It cites the Moros' appearance in assorted fictions, such as comic operas, children's adventure stories, radio serials, and motion pictures that manufactured Muslim colonial subjects and presented them in varied ways to a curious public.
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Actas de conferencias sobre el tema "Central Americans in motion pictures"

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Kobus, C. J. y Y. P. Chang. "Teaching Kinematics and Kinetics From a Project-Based Experience Analyzing Sci-Fi Motion Pictures: A Star Trek Example". En ASME 2012 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/imece2012-88215.

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In engineering subjects both simple and complex, retention is an issue. Interested students appear to excel in such subjects, but the retention rates for everyone else suffer somewhat. In this paper an example is laid out of how to utilize motion pictures, and specifically the scientific errors therein, to create interesting problems that this author has found helps in student retention of complex engineering material. Why linking elements of entertainment aids in retention is due to creating emotionally arousing stimuli that enhances memory for central details, as has been shown in neurological studies. The example here focuses on dynamics in general, and calculating kinematic and kinetic elements in particular. The problem from motion pictures is both interesting and complex enough to engage students in a meaningful experience where engineering tools are utilized.
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