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Artículos de revistas sobre el tema "In motion pictures"

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Publicado: 4 de junio de 2021
Última modificación: 3 de marzo de 2023

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1

Young, Linda. "Motion Pictures". SMPTE Journal 105, n.º 4 (abril de 1996): 177–78. http://dx.doi.org/10.5594/j15829.

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2

Masson, Alan J. "Motion Pictures". SMPTE Journal 108, n.º 2 (febrero de 1999): 75–78. http://dx.doi.org/10.5594/j17112.

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3

Masson, Alan J. "Motion Pictures". SMPTE Journal 107, n.º 1 (enero de 1998): 11–13. http://dx.doi.org/10.5594/j17616.

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4

Bonnaud, Irène, Suzanne Doppelt, Christophe Triau y Sacha Zilberfarb. "Motion pictures". Vacarme 15, n.º 2 (2001): 60. http://dx.doi.org/10.3917/vaca.015.0060.

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5

Burns, Edward J. "Motion Pictures". SMPTE Journal 97, n.º 4 (abril de 1988): 268–74. http://dx.doi.org/10.5594/j00667.

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6

Young, Linda. "Motion Pictures". SMPTE Journal 106, n.º 1 (enero de 1997): 9–11. http://dx.doi.org/10.5594/j09530.

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7

Ricotta, Frank J. "Motion Pictures". SMPTE Journal 104, n.º 4 (abril de 1995): 186–88. http://dx.doi.org/10.5594/j09609.

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8

Ricotta, Frank J. "Motion Pictures". SMPTE Journal 103, n.º 4 (abril de 1994): 211–15. http://dx.doi.org/10.5594/j09688.

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9

Antonoff, Michael. "Motion Pictures". Scientific American 296, n.º 5 (mayo de 2007): 24–25. http://dx.doi.org/10.1038/scientificamerican0507-24.

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10

Mitchison, Tim J. "Motion pictures". Nature 357, n.º 6373 (mayo de 1992): 32. http://dx.doi.org/10.1038/357032a0.

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11

Gomery, Douglas. "Motion Pictures". Communication Booknotes 16, n.º 5 (mayo de 1985): 49. http://dx.doi.org/10.1080/10948008509488306.

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12

Gomery, Douglas. "Motion Pictures". Communication Booknotes 17, n.º 1 (enero de 1986): 7–9. http://dx.doi.org/10.1080/10948008609488219.

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13

Gomery, Douglas. "Motion Pictures". Communication Booknotes 17, n.º 9-10 (septiembre de 1986): 98–107. http://dx.doi.org/10.1080/10948008609488269.

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14

Gomery, Douglas. "Motion Pictures". Communication Booknotes 18, n.º 7-8 (julio de 1987): 63–69. http://dx.doi.org/10.1080/10948008709488193.

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15

Gomery, Douglas. "Motion Pictures". Communication Booknotes 18, n.º 9-10 (septiembre de 1987): 93–99. http://dx.doi.org/10.1080/10948008709488203.

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16

Gomery, Douglas. "Motion Pictures". Communication Booknotes 19, n.º 5 (septiembre de 1988): 95–103. http://dx.doi.org/10.1080/10948008809488155.

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17

Block, Eleanor, James K. Bracken, Eleanor S. Block y Bruce A. Austin. "Motion Pictures". Communication Booknotes Quarterly 29, n.º 1 (enero de 1998): 52–60. http://dx.doi.org/10.1080/10948009809361557.

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18

Levine, Niall, John A. Lent y Bruce Austin. "Motion pictures". Communication Booknotes Quarterly 29, n.º 2 (marzo de 1998): 88–96. http://dx.doi.org/10.1080/10948009809361564.

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19

Austin, Bruce A., Eleanor Block, Chris Sterling, Robert Huesca y Gary R. Edgerton. "Motion pictures". Communication Booknotes Quarterly 29, n.º 4 (septiembre de 1998): 196–203. http://dx.doi.org/10.1080/10948009809361586.

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20

Austin, Bruce A., Niall Levine y Chris Sterling. "Motion pictures". Communication Booknotes Quarterly 30, n.º 4 (septiembre de 1999): 227–31. http://dx.doi.org/10.1080/10948009909361637.

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21

Blasko, Edward J. "Motion Pictures". SMPTE Journal 95, n.º 4 (abril de 1986): 413–19. http://dx.doi.org/10.5594/j17960.

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22

Iosifian, S. A. y V. A. Petrovskii. "Motion Pictures". Russian Education & Society 37, n.º 10 (octubre de 1995): 11–22. http://dx.doi.org/10.2753/res1060-9393371011.

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23

Baptista, John L. "Motion Pictures". SMPTE Journal 101, n.º 4 (abril de 1992): 231–34. http://dx.doi.org/10.5594/j02302.

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24

Baptista, John L. "Motion Pictures". SMPTE Journal 102, n.º 4 (abril de 1993): 289–94. http://dx.doi.org/10.5594/j03791.

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25

Baptista, John L. "Motion Pictures". SMPTE Journal 100, n.º 4 (abril de 1991): 225–31. http://dx.doi.org/10.5594/j04767.

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26

Trotto, Paul A. y Robert J. Tracy. "The Effect of Implied Motion on the Recall of Interactive Pictures". Imagination, Cognition and Personality 13, n.º 3 (marzo de 1994): 249–58. http://dx.doi.org/10.2190/xmb4-47dd-ceth-xuh9.

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The literature has customarily defined interaction between pictured objects in two ways. First, interaction has been defined as simply a conjoined union or physical touching of objects within a given picture scene. The second definition portrays interaction as predetermined action or implied motion between the pictured objects. Researchers typically assume these two modes of defining interaction as essentially equivalent. Generally stated, the purpose of this study was to uncover the effect that implied motion has on the processing of visual information. A factorial design was conducted with dependent variables being imageability, nameability, and recall of pictured objects. Independent variables were implied motion and viewing time. Results showed that implied motion pictures presented at a short viewing time were more nameable and better recalled than stationary pictures presented at a short viewing time. But when subjects were given more time to view visual information, implied motion and stationary pictures were equally nameable and recalled. The results indicate that when visual information is presented for a sufficiently short time, implied motion heightens the availability of a verbal code.
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27

Jennifer Tebbe-Grossman. "Medicine’s Motion Pictures". Film & History: An Interdisciplinary Journal of Film and Television Studies 39, n.º 1 (2009): 98–99. http://dx.doi.org/10.1353/flm.0.0076.

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28

Cho, Minhaeng. "Molecular motion pictures". Nature 444, n.º 7118 (noviembre de 2006): 431–32. http://dx.doi.org/10.1038/444431a.

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29

Jeffries, Judson L. "Jordan Peele (Dir.), Us (Motion Picture), Universal Pictures". Journal of African American Studies 24, n.º 2 (14 de abril de 2020): 288–96. http://dx.doi.org/10.1007/s12111-020-09470-x.

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30

Hunter, Jefferson. "Pictures and Motion Pictures in the 1940s". Hopkins Review 7, n.º 1 (2014): 93–111. http://dx.doi.org/10.1353/thr.2014.0001.

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31

Nimis, Erika. "“Motion pictures” in Nigeria". Visual Anthropology 14, n.º 3 (septiembre de 2001): 293–99. http://dx.doi.org/10.1080/08949468.2001.9966836.

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32

Bardell, Eunice Bonow. "Pharmacists in Motion Pictures". American Journal of Health-System Pharmacy 45, n.º 1 (1 de enero de 1988): 179–83. http://dx.doi.org/10.1093/ajhp/45.1.179.

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33

Leach-Murray, Susan. "SWANK Motion Pictures, Inc." Technical Services Quarterly 35, n.º 1 (27 de noviembre de 2017): 115–16. http://dx.doi.org/10.1080/07317131.2017.1385299.

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34

Copeland, V. Natasha E. "Pictures in Motion or Motion Pictures: Sembène’s Natural Products Steal the Show". Études littéraires africaines, n.º 30 (17 de noviembre de 2014): 58–76. http://dx.doi.org/10.7202/1027347ar.

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Dans ses films Xala (1974) et Ceddo (1977), Sembène redéfinit l’usage des sculptures traditionnelles en bois, tout en demeurant fidèle aux métaphysiques sahéliennes dans ses innovations esthétiques, littéraires ou cinématographiques. Des masques, un bâton ou une canne jouent à l’écran un rôle qui, en raison de leur propre vitalité et de leur étroite association avec divers personnages, capte l’attention du public autant que le font les héros des films. Sembène oppose, dans la trame de ses films, la force vitale de ces objets africains à celle d’artefacts, symboles de l’Occident. Sculptés par l’homme, les objets africains restent en relation avec l’environnement dont leur substance est tirée ; Sembene établit de surcroît, entre lieux et personnages, des liens profonds, notamment entre les arbres, le bois et les hommes.
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35

Christopherson, S. y M. Storper. "The City as Studio; The World as Back Lot: The Impact of Vertical Disintegration on the Location of the Motion Picture Industry". Environment and Planning D: Society and Space 4, n.º 3 (septiembre de 1986): 305–20. http://dx.doi.org/10.1068/d040305.

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Motion picture production is currently carried out by small firms under contract to an independent producer rather than in large integrated firms, the major studios. In this paper the emergence of this vertically disintegrated industry is traced and its impact on the location of the motion picture industry is analyzed. Vertical disintegration has led to a reagglomeration of motion picture employment and establishments in Los Angeles, despite the dispersal of film shooting throughout the world. The processes that are shaping the present-day organization of motion pictures can be observed across a range of industries. An examination of these processes in motion pictures suggests that their association with reagglomeration in urban centers could have an important impact on patterns of urbanization.
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36

Cemelelioğlu Altın, Nur y Hami Onur Bingöl. "Place of flip book animation technique in communication design education". Journal of Human Sciences 15, n.º 2 (22 de mayo de 2018): 943. http://dx.doi.org/10.14687/jhs.v15i2.5346.

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Due to the interdisciplinary nature of design education, it has a very broad spectrum ranging from motion picture to informative design methods. Animation techniques are also one of the important parts of this wide variety of work. Today, almost every institution is involved in animation techniques in design education. Animation with various application methods is the field where the most creative examples of motion pictures are revealed. The purpose of this research is to discuss the place of flip book animation in design education and to investigate its contributions to design education, which is one of the creative animation techniques.It is considerably significant that students experience how the form of motion pictures is created through one of the methods at a beginning level and understand the nature of motion picture in design education process. Flip book animation, is a method by which students will be able to grasp the logic of creating motion pictures using static drawing or photography. Flip book animation is one of the first animation techniques to be achieved by combining successive still images processed with different surfaces. It may be considered as an old and outdated motion pictures technique for that reason, yet there are still flip book festivals and it is used as an effective method in teaching animation process.
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37

Porée, Marc. "Poets' lives in motion (pictures)". Études anglaises 66, n.º 4 (2013): 511. http://dx.doi.org/10.3917/etan.664.0511.

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38

Ba Tu Truong, S. Venkatesh y C. Dorai. "Scene extraction in motion pictures". IEEE Transactions on Circuits and Systems for Video Technology 13, n.º 1 (enero de 2003): 5–15. http://dx.doi.org/10.1109/tcsvt.2002.808084.

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39

Baecker, Dirk. "The Reality of Motion Pictures". MLN 111, n.º 3 (1996): 560–77. http://dx.doi.org/10.1353/mln.1996.0032.

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40

Marta Zarzycka and Bettina Papenburg. "Motion Pictures: Politics of Perception". Discourse 35, n.º 2 (2013): 163. http://dx.doi.org/10.13110/discourse.35.2.0163.

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41

Yeazell, Ruth Bernard. "Sex, Lies, and Motion Pictures". Henry James Review 25, n.º 1 (2004): 87–96. http://dx.doi.org/10.1353/hjr.2004.0012.

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42

Blackstone, Erwin A. y Gary W. Bowman. "Vertical Integration in Motion Pictures". Journal of Communication 49, n.º 1 (1 de marzo de 1999): 123–39. http://dx.doi.org/10.1111/j.1460-2466.1999.tb02785.x.

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43

Nebeker, F. "Motion pictures [Scanning Our Past]". Proceedings of the IEEE 101, n.º 4 (abril de 2013): 1020–25. http://dx.doi.org/10.1109/jproc.2013.2244752.

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44

Wartenberg, T. E. "The Philosophy of Motion Pictures". British Journal of Aesthetics 49, n.º 1 (1 de enero de 2009): 83–85. http://dx.doi.org/10.1093/aesthj/ayn053.

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45

"Motion Pictures". SMPTE Journal 94, n.º 4 (abril de 1985): 369–81. http://dx.doi.org/10.5594/j14054.

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46

"MOTION PICTURES". Communication Booknotes Quarterly 31, n.º 1 (marzo de 2000): 43–54. http://dx.doi.org/10.1207/s15326896cbq3101_10.

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47

"MOTION PICTURES". Communication Booknotes Quarterly 31, n.º 2 (junio de 2000): 138–44. http://dx.doi.org/10.1207/s15326896cbq3102_11.

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48

"MOTION PICTURES". Communication Booknotes Quarterly 31, n.º 4 (diciembre de 2000): 258–65. http://dx.doi.org/10.1207/s15326896cbq3104_06.

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49

"MOTION PICTURES". Communication Booknotes Quarterly 32, n.º 1 (marzo de 2001): 27–31. http://dx.doi.org/10.1207/s15326896cbq3201_05.

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50

"MOTION PICTURES". Communication Booknotes Quarterly 32, n.º 2 (junio de 2001): 98–106. http://dx.doi.org/10.1207/s15326896cbq3202_05.

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