Literatura académica sobre el tema "Motiv i filmen"
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Artículos de revistas sobre el tema "Motiv i filmen"
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Roser, Traugott. "Konversion als wiederkehrendes Motiv in den Filmen von Steven Spielberg". Praktische Theologie 54, n.º 4 (1 de noviembre de 2019): 217–21. http://dx.doi.org/10.14315/prth-2019-540407.
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ÖNCÜ, Mehmet Tahir. "Editörün Önsözü / Vorwort der EditorInnen". Diyalog Interkulturelle Zeitschrift Für Germanistik 11, n.º 1 (15 de junio de 2023): 1–2. http://dx.doi.org/10.37583/diyalog.1313548.
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Liebe Kolleginnen und Liebe Kollegen,
die Ausgabe „2023/ 1“ liegt Ihnen vor und wir freuen uns sehr, dass auch diese Ausgabe aus Beiträgen zustande gekommen ist, die aktuelle und bedeutende Themen diskutieren. Wir möchten sie Ihnen unter den folgenden Rubriken präsentieren:
Der Fachbereich Literaturwissenschaft beinhaltet drei Beiträge: Der erste Beitrag „Yaşar Kemal’in İnce Memed Romanı ile Heinrich von Kleist’ın Michael Kohlhaas Novelinde Ağalık Sistemi“ beschäftigt sich mit der Frage, wie das Ağa [dt. Großgrundbesitzertum] Motiv in den genannten Werken sich widerspiegelt. Der zweite Beitrag „Hermann Hesse’nin Unterm Rad Adlı Eserinde Otorite Tipleri“ wird sich der Kritik am Bildungssystem in Hermann Hesses Unterm Rad widmen. Der dritte Aufsatz „Alman-Türk Sinemasında Bir Entegrasyon Yönetmeni: Buket Alakuş“ beabsichtigt, die geschlechtsspezifischen, kulturellen und religiösen Motive in den ausgewählten Filmen von Buket Alakuş zu thematisieren. Der letzte Aufsatz dieser Kategorie „Stefan Zweigs charakteristische Legenden im Überblick” bezweckt, eine zusammenfassende Darstellung der fünf Legenden von Stefan Zweig zu bieten und anschließend Legendenmerkmale in diesen Werken herauszuarbeiten.
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Brzezińska-Pająk, Marta. "Mur berliński jako symbol zimnowojennego militaryzmu w filmie niemieckim po 1989 roku". Niemcoznawstwo 26 (26 de noviembre de 2018): 29–41. http://dx.doi.org/10.19195/2084-252x.26.3.
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DIE BERLINER MAUER ALS EIN ZEICHEN DES MILITARISMUS DES KALTEN KRIEGES IM DEUTSCHEN FILM NACH 1989Der deutsche Film nach 1989 brachte zahlreiche interessante Interpretationen der jüngsten Geschichte. Sie knüpften erneut an die Berliner Mauer an und stellten dieses besondere Bauwerk im Zusammenhang mit der DDR-Problematik und den Fragestellungen betreff end die deutsche Wiedervereinigung dar. Die Berliner Mauer wurde in den Filmen nicht nur zum Symbol der bewältigten Vergangenheit und der Traumbewältigung, sondern sie nutzte auch die Tradition des Teilungsimages. Berücksichtigt wurden dabei diverse Gesichtspunkte, wie z.B. ihre militärische Eigenschaft, die sich in einigen, in diesem Artikel erwähnten und besprochenen Elementen, widerspiegelte. Vor allem in den Filmen lebt die deutsch-deutsche Teilung visuell zweierlei — als Schilderung der Berliner Mauer und der innerdeutschen Grenze außerhalb von Berlin. Das zieht nach sich eine unterschiedliche Wahrnehmung der Grenze und eine etwas andere Nutzung der Grenzeästhetik. Die Ikonographie der Teilung ist off ensichtlich mit Berlin verbunden und sie unterstützt sein visuelles Bild.Die Berliner Mauer, ihre Gesichter und ihr Abbild in den Filmen nach 1989 dient einigen Zielen: der Veranschaulichung des historischen Prozesses der Wiedervereinigung und der Ausschreibung der deutsch-deutschen Verhältnisse, merklich wird sie auch ein Teil der Ikonographie, die mit der DDR-Problematik verbunden ist. Da sie eine besondere Art der Grenze darstellte, ist sie an zahlreiche Hintergründe gebunden, unterliegt dem Mythologisieren und ist vor allem in den Medien parat.Der Kaltkriegkontext, der die Filmikonographie ordnet und sie beeinfl usst, ergibt sich aus der Verwendung und Anknüpfung an diverse Archivalien, die mit dem Bau der Mauer und der politischen Spannung bei der Errichtung und dem Dasein der Grenze verbunden waren. Der sogenannte Fall der Berliner Mauer und ihr Abriss lieferte eine Fülle von visuellem Material, das laufend gedreht war und in den Dokumentarfi lmen seinen Platz fand. In den Filmen dagegen kommen die ganze Geschichte der Teilung und ihre militärische Herkunft zum Ausdruck.Die Präsenz der Mauer — medial vermerkt, z.B. mittels berühmter Fotographien — wird an den Bedarf des Films angepasst, z.B. der sog. — Sprung in die Freiheit von Conrad Schumann im Film Der Tunnel, 2001 von Roland Suso Richter. Die Zeit der Errichtung der Mauer wird in den Filmen nach dem Muster eines Kriegskonfl iktes geschildert, der das Filmleben der Helden stark ändert. Selbst die Setzung der Grenze zieht Opfer nach sich, was in den Filmen mittels dramatischer Szenen gestaltet wird wie z.B. in dem Film Die Mauer — Berlin ’61, 2006 von Hartmut Schoen.Die Berliner Mauer und die deutsch-deutsche Grenze werden in den Filmen mittels ihrer militärischen Elemente — Panzerabwehrbarrieren, sämtlicher Zaunarten und Drähte, Betonschutz, Wachtürme u. dgl. geschildert. Sie rufen ästhetische Anknüpfungen an Kriegsfi lme hervor, wie das im Film von Urs Egger An die Grenze, 2006/2007 der Fall ist, und erlauben, Spannung zu bilden und die Dramatik der Geschichte durch die Hyperbolisierung der Gefahrsituation zu steigern. Die militärische Ikonographie Stacheldrahtverhau, Armee, Fahrzeuge, die mit der ersten Etappe der Mauererrichtung verbunden ist, wird auch in den Filmen genutzt, die mit dieser Periode der deutschen Geschichte nicht direkt verbunden sind, sondern in den Realien des gegenwärtigen Deutschland spielen, wie im Film Die Grenze, 2010 von Roland Suso Richter.Die Filme knüpfen nicht nur an das Aufbauen der Grenze, sondern auch an die spätere Präsenz der Mauer. Das ermöglicht, die Problematik der sog. Opfer der Mauer und das Motiv der Flucht über die Grenze einzuführen, die in dem Werk von Thomas Berger Wir sind das Volk — Liebe kennt keine Grenzen, 2007, zu fi nden sind. Und wieder ermöglicht das, die Befestigungen und Fortifi kationen der Grenze insbesondere außerhalb von Berlin darzustellen, die die Gewalt und zugleich die Sinnlosigkeit der Teilung symbolisieren sowie die alten Helden neu zu erfahren, als Wächter an der Mauer oder als Grenzschutzsoldaten.In dem Artikel wurde die Publikation der Verfasserin Spektakel-Grenze-Leinwand. Die Berliner Mauer im deutschen Film Spektakl-granica-ekran. Mur berliński w fi lmie niemieckim genutzt, die einer der weltberühmtesten Grenzen und ihrer Popularität im deutschen Film hauptsächlich nach 1989 gewidmet wurde.
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Schober, Anna. "Das Boot mit Flüchtenden. Ikonologie einer Figur des Zwischenraums". Migration und Soziale Arbeit, n.º 3 (21 de septiembre de 2022): 204–12. http://dx.doi.org/10.3262/mig2203204.
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In jüngerer Zeit taucht folgendes Motiv häufig in der Presse auf: Ein im Meer schwankendes Boot, randvoll mit Menschen. Die Bildunterschrift identifiziert letztere meist als Migrant*innen und verortet das Gefährt in den Meeresgegenden zwischen der Südgrenze Europas und dem afrikanischen Kontinent. Auch in Filmen wurde das Boot oder Schiff mit überbordender Menschenfracht vielfach Ausgangspunkt von Narrationen und politische Slogans wie „Das Boot ist voll“ spielen ebenfalls auf dieses Sujet an. Der Aufsatz verfolgt zwei Ziele: Das erste besteht darin, eine Ikonologie dieses Bildmotivs zu präsentieren. Dabei wird eine Überlieferungsgeschichte vom Narrenschiff des Spätmittelalters über fotografische Dokumentationen der Auswanderung nach Übersee (etwa 1875–1920), bis zu politisch-aktivistischen und künstlerischen Adaptionen des Boots mit Flüchtlingen in der Gegenwart nachgezeichnet. Das zweite Ziel besteht in der qualitativen Untersuchung von mit solchen Bildern verbundenen Diskursen in den letzten beiden Jahrzehnten in Europa und von außerhalb Europas, etwa den USA. Dabei wird gezeigt, dass das Motiv des Bootes mit Flüchtenden sowohl als Sinnbild der Menschheit als Ganzes wie auch als Darstellung des vor den Grenzen zu haltenden „ganz Anderen“ benutzt, d.h. zur Zirkulation von sowohl Pro- als auch Anti-Migrationsdiskurse eingesetzt wird. Schließlich wird thematisiert, in welcher Weise die Mimesis, die mit diesen Bildgestaltungen einhergeht, in künstlerischer Weise durch Gegen-Bilder herausgefordert wird.
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Schaub, Mirjam. "Der Horror des Alltäglichen". Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 54, n.º 2 (2009): 97–112. http://dx.doi.org/10.28937/1000106144.
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Horror – das ist der Einbruch von etwas Unerträglichem. In vielen Filmen nimmt er Ausgang in gewöhnlichen, oft idyllisch gezeichneten Alltagszenen: Bei David Lynch etwa taucht in Blue Velvet ein abgeschnittenes Ohr auf einer frisch gemähten Wiese in einer adretten Vorstadtsiedlung auf. Im Folgenden möchte ich der Frage nachgehen, ob das Alltägliche – statt als Kontrastfolie gegenüber dem Einbruch des Entsetzlichen zu dienen – nicht selbst Brutstätte von Unerträglichkeit sein könnte. Was , wenn der als däuende Wiederholung empfundene Alltag selbst auf verschwiegene Weise die Leinwandmonster und deren Exzesse gebiert, als Gegengift und Weckmittel gegen die Lethargie und Leblosigkeit, die ganz gewöhnliche Menschen in ihrem ganz alltäglichen Leben befällt? Erweist sich dieses Motiv als stimmig, treten über die Genre-Grenzen hinweg überraschende strukturelle Gemeinsamkeiten zwischen Horrorfilm und seinem scheinbaren Antipoden, der romantischen Komödie, zu Tage. Horror – that is the invasion of something unbearable. In many films its starting point is a common, even idyllic every-day-scene: in David Lynch’s Blue Velvet, we see an ear lying on a freshly mowed lawn which is surrounded by an immaculate white fence. In the following I raise the question if the common place could be seen as the breeding ground for the unbearable rather than serving as a contrast to the invasion of it. What if the endless repetition of every- day-life itself quietly generates the monsters and their excesses as a kind of antidote and wake- up-call for the lethargy and lifelessness which creeps upon ordinary people in their ordinary lives? Should this motif work, then one finds rather surprising structural common features across the genre boundaries such as from a horror film to its apparent antipode, the romantic comedy (Pretty Woman meets Norman Bates).
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AB, Molina, Bueno CS, Aida CA, Castanheira GM, Hada RA, Ishikiriyama YT, Ono E y Brassaroto G. "A Radiologia Odontológica e o Meio Ambiente". Revista de Odontologia da Universidade Cidade de São Paulo 26, n.º 1 (28 de noviembre de 2017): 61. http://dx.doi.org/10.26843/ro_unicid.v26i1.287.
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O descarte irregular de resíduos de saúde, especialmente o odontológico, está se tornando um um grande motivo de preocupação. O lixo proveniente de rejeitos no processo radiográfico não é diferente, uma vez que, além de resíduo contaminado, há rejeitos químicos, metais pesados e plásticos. Sendo eles: invólucro do filme radiográfico, soluções processadoras, lâminas de chumbo, películas dos filmes radiográficos – todos eles capazes de causar grande impacto no meio ambiente, se descartados de forma incorreta. Por esse motivo, é imprescindível conscientizar os cirurgiões-dentistas do impacto prejudicial no meio ambiente e, consequentemente, na saúde da população, atentando para a correta forma de descarte de cada rejeito do processo radiográfico.
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Grobner, Cornelia. "Der afrikanisierte Heimatfilm. Wie sich Afrika als Kulisse für neu aufgelegte Heimatsehnsüchte im deutschsprachigen Unterhaltungsfernsehen etabliert hat". MedienJournal 41, n.º 4 (31 de enero de 2018): 33–44. http://dx.doi.org/10.24989/medienjournal.v41i4.1515.
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Das Anknüpfen an Bildsprache, Handlungsmuster sowie an Themen und Motive der deutsch-österreichischen Heimatfilme der Nachkriegszeit ist nicht neu: Schon im Fernsehen der 1980er- und 1990er-Jahre geschah dies in Vorabendserien wie „Die Schwarzwaldklinik“ oder „Ein Schloß am Wörthersee“, in denen es um die Darstellung einer heilen und überschaubaren Welt ging. Ziel dieses Beitrages ist es zu zeigen, inwiefern populäre deutsche bzw. österreichische Fernsehfilme mit afrikanischem Setting seit den späten 1990er Jahren und bis heute (so genannte „Afrika-Filme“) als Variation des modernen Heimatfilms und als direkte Nachfolger des Nachkriegsheimatfilms interpretiert werden können. Dazu werden die Ergebnisse einer qualitativen Inhaltsanalyse von vier typischen „Afrika-Filmen“, die das Ausmaß der strukturellen und thematischen Parallelen deutlich machen und die vorgeschlagene Genre-Klassifikation als „afrikanisierter Heimatfilm“ untermauern, präsentiert und diskutiert.Gleichzeitig zeigt der Beitrag, welche Rolle dem genrekonstituierenden Antagonismus von Heimat und Fremde dabei zukommt: Aufbauend auf postkolonialen Theorieansätzen und unter Einbezug der Erkenntnisse einer qualitativ angelegten Rezeptionsstudie zu den „Afrika-Filmen“ wird in Analogie zum Spannungsfeld von Männlichkeit und Deutschsein – im Rahmen dessen die klassischen Heimatfilme vielfach interpretiert werden –, erörtert, welche möglichen Funktionen und Sinnangebote das Nachfolge- Genre für gegenwärtige Publika – auch mit Blick auf aktuelle Diskurse zu Migration und (rassistischer) Diskriminierung – bereitstellt.
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Jović, Monja. "Taylorization motifs in Fritz Lang's film Metropolis". Kultura, n.º 163 (2019): 151–65. http://dx.doi.org/10.5937/kultura1963151j.
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Tatalović, Vladan. "Biblical motifs in the film Gran Torino (2008)". Kultura, n.º 178-179 (2023): 191–207. http://dx.doi.org/10.5937/kultura2379191t.
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The paper explores the ways in which the American film Gran Torino (2008) has used and actualised biblical motifs to address important challenges of contemporary American society. After a brief presentation of the plot of the film and basic data on its production and screening, the paper identifies the biblical motifs used. Then, the social dimensions of their cinematic interpretation are observed, contained in the criticism of social formalism, the reconstruction of violent heroism and the promotion of religious universalism.
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Rocha, Leonel Severo, Pedro Ernesto Neubarth Fernandes y Rosele Joaquim Centeno. "A PRESENÇA DA FRAGMENTAÇÃO CONSTITUCIONAL NO SENADO GALÁCTICO DA FRANQUIA STAR WARS". Revista de Direito Brasileira 30, n.º 11 (16 de septiembre de 2022): 119. http://dx.doi.org/10.26668/indexlawjournals/2358-1352/2021.v30i11.5627.
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Na história de Star Wars, em que pese a República Galáctica tenha instituído um ordenamento jurídico universal, há planetas com leis próprias, direitos não-oficiais, em um exemplo claro de pluralismo jurídico. Na contemporaneidade, é possível constatar que, assim como no filme, os atuais modelos de direito não conseguem mais abranger a todos os problemas presentes na sociedade, motivo pelo qual se faz necessária uma matriz teórica capaz de analisar esse fenômeno. Diante disso, tem-se que a problemática do presente estudo está relacionada ao fato das Constituições não darem mais conta dos acontecimentos sociais, motivo que tornariam necessárias as suas Fragmentações, a fim de abarcar os diversos acontecimentos do mundo globalizado. Busca-se, portanto analisar de que forma o referencial teórico de Gunter Tubner e o Senado Galáctico, sistema esse presente na série de filmes Star Wars, em especial na segunda trilogia de George Lucas, podem ser associados. Nessa toada, tem-se que o cenário de Star Wars pode ser analisado como o exemplo perfeito de uma sociedade global, bem como analogamente o contexto dessa obra cinematográfica pode estar presente na realidade social atual. Por fim, tem-se que para a concretização deste estudo optou-se, pela realização de uma pesquisa com abordagem qualitativa, utilizando-se, ainda, como método de pesquisa o observativo-sistêmica.
Tesis sobre el tema "Motiv i filmen"
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Dehn, Jens. "Zinnemann re-watched : Fred Zinnemanns Filme über das Leben mit und nach dem Krieg". Tönning [u.a.] Der Andere Verl, 2009. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=018943520&linen̲umber=0001&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.
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Dehn, Jens. "Zinnemann re-watched Fred Zinnemanns Filme über das Leben mit und nach dem Krieg". Tönning Lübeck Marburg Der Andere Verl, 2006. http://d-nb.info/995846189/04.
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Grob, Christian. "Unternehmerische Restrukturierungsprojekte Motive und finanzielle Implikationen /". St. Gallen, 2007. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/99626111001/$FILE/99626111001.pdf.
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Nordholm, Miranda. "Instagrams filter - Jakten efter den perfekta bilden : En studie om hur redigering av en bild kan påverka attityd till ett motiv". Thesis, Tekniska Högskolan, Högskolan i Jönköping, JTH, Datateknik och informatik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-41054.
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Purpose – The purpose of the thesis is to investigate whether there is any editing combination in the form of different filters published in the Instagram app, which is noticeably different from each other in the form of negative or positive response. Method – In order to obtain answers to the question, the study has sought to anchor as many theories as possible in scientific, published material. The method of ”small-N-study” in this study will be applied when collecting information about the different filters that the Instagram app allows the user to choose from. A quantitative survey is conducted in an attempt to obtain statistics on how the filters can be ranked from most popular to least popular. To further validate the answers to the questionnaire and to answer the questions 1.1 and 1.2 in the thesis, three interviews are conducted. The aim is to achieve more qualitative answers to the questions and then to compare and analyze the results of the survey. Findings – This study has found that a combination of: moderately colorful, normal contrast, medium opacity, neutral color tone, blue color and medium brightness are good variables to create good a filter. Highly matte and colorless colors, very low contrast, black and white (neutral colors), cool color tones, high brightness and high opacity of the filter are qualities for a filter that gets a lot of negative response. The most popular filter of all 23 in the Instagram app is Clarendon, while the filter with the most negative response is Hefe. Implications – A risk of working deductively may be that theories that already exist on the subject and from which the researcher assumes will target the results of the study. When conducting a ”small-N-study” there is a risk that the variables being analyzed are too few to answer the question at issue. When conducting a survey, there is always the risk that the questions are too leading, that the test person does not understand, misinterprets or fails to engage in the subject to answer the questionnaire truthfully. When conducting an interview, there is a risk that the interviewees are insufficiently aware of the issues that they can not answer in detail or honestly on the questions. Limitations – The study is limited to the resources available in time. The subjects who participated in interviews and questionnaires are limited to those the writer could reach out to. Just like the theory found on the subject is limited by the ability of the author to search and review information, as well as language skills and the data published in library and database. The results of the study are limited to the funds used for the objects examined. Keywords – Color theory, Social Media, Instagram, Filter, Image EditingSyfte – Syftet med examensarbetet är att undersöka om det finns någon redigeringskombination i form av olika filter som är utgivna i Instagramappen som märkbart står ut jämfört med de andra i form av någon typ av positiv eller negativ respons. Metod – För att uppnå svar på frågeställningen har studien eftersträvat att kunna förankra så många teorier som möjligt i vetenskapligt material. Metoden ”små-N-studie” kommer i denna studie att tillämpas vid insamlandet av information kring de olika filter som Instagram-appen tillåter användaren att välja mellan. En kvantitativ enkätundersökning genomförs i ett försök att få fram en statistik på hur filterna kan rangordnas från mest populär till minst populär. För att ytterligare validera svaren på enkätundersökningen och få fram svar på delfrågorna 1.1 och 1.2 genomförs tre intervjuer. Intervjuerna genomförs för att kunna ge en djupare insikt och mer svarsutrymme för intervjupersonerna. Resultat – Denna studie har kommit fram till att en kombination av: måttligt färgstark, normal kontrast, medel opacitet, neutral färgton, blå färg och medel ljusstyrka är bra variabler för att skapa ett bra filter. Mycket matta och svaga färger, mycket låg kontrast, svart-vitt (neutrala färger), kalla färgtoner, ljust ljushetsstyrka och hög opacitet på filtret är kvalitéer för ett filter som får mycket negativ respons. Det populäraste filtret av alla 23 i Instagramappen är Clarendon, medan det filter med mest negativ respons är Hefe. Implikationer – En risk med att arbeta deduktivt kan vara att de befintliga teorier som redan finns kring ämnet och som forskaren utgår ifrån kommer att rikta studiens resultat. Vid tillämpandet av metoden ”små-N-studie” finns risken att det är svårt att vara tillräckligt nyanserad i insamlandet av variabler och att studien därmed inte blir tillräckligt omfattande för att besvara frågeställningarna. Vid genomförandet av enkätundersökning finns alltid risken att frågorna är för ledande, inte tillräckligt ingående, att testpersonen inte förstår, tolkar på fel sätt eller inte orkar sätta sig in i ämnet för att svara tillräckligt sanningsenligt på enkäten. Vid genomförande av intervju finns risken att intervjupersonerna inte är tillräckligt insatta i ämnet, att de inte kan svara utförligt eller ärligt på frågorna. Begränsningar – Studien är begränsad till de resurser som finns tillgängliga i mån av tid. De försökspersoner som deltagit i intervjuer och enkätundersökning är begränsade till de dem författaren kunnat nå ut till precis som den teori som finns hittad om ämnet är begränsad efter den förmåga författaren har att söka och sålla igenom information, samt språkkunnighet och den data som finns publicerad på bibliotek och databaser. Studiens resultat är begränsad till de medel som använts för de objekt som undersökts. Nyckelord – Färglära, Sociala medier, Instagram, Filter, Bildredigering
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Jais, AlexanderMaria. "Qualitative Studie Der Dankbarkeitsbrief : Analyse einer Interventionsmethodik zur Steigerung von positiven Emotionen /". St. Gallen, 2006. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/03606126001/$FILE/03606126001.pdf.
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Sonderegger, Michael. "Strategie der Industrialisierung in der Informationstechnologie-Dienstleistungsbranche". St. Gallen, 2006. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/03601291001/$FILE/03601291001.pdf.
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Noti, Patrick. "Evaluation der Leistungen einer Tourismusorganisation offene und verdeckte Motive /". St. Gallen, 2008. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/05604137001/$FILE/05604137001.pdf.
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Thielen, Stefan. "Die Währungsunion in den Staaten des Golf-Kooperationsrates Motive und Erfolgsbedingungen /". St. Gallen, 2007. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/01666262005/$FILE/01666262005.pdf.
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Sieber, Daniela. "Wirtschaftspolitische Motive in den Stadtrechten der Alten Eidgenossenschaft unter besonderer Berücksichtigung von St. Gallen und Bern /". St. Gallen, 2008. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/03601366004/$FILE/03601366004.pdf.
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Danieletto, Matteo. "Design and Evaluation of Compression, Classification and Localization Schemes for Various IoT Applications". Doctoral thesis, Università degli studi di Padova, 2014. http://hdl.handle.net/11577/3423731.
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Nowadays we are surrounded by a huge number of objects able to communicate, read information such as temperature, light or humidity, and infer new information through ex- changing data. These kinds of objects are not limited to high-tech devices, such as desktop PC, laptop, new generation mobile phone, i.e. smart phone, and others with high capabilities, but also include commonly used object, such as ID cards, driver license, clocks, etc. that can made smart by allowing them to communicate.
Thus, the analog world of just a few years ago is becoming the a digital world of the Inter- net of Things (IoT), where the information from a single object can be retrieved from the Internet. The IoT paradigm opens several architectural challenges, including self-organization, self-managing, self-deployment of the smart objects, as well as the problem of how to minimize the usage of the limited resources of each device. The concept of IoT covers a lot of communication paradigms such as WiFi, Radio Frequency Identification (RFID), and Wireless Sensor Network (WSN). Each paradigm can be thought of as an IoT island where each device can communicate directly with other devices.
The thesis is divided in sections in order to cover each problem mentioned above. The first step is to understand the possibility to infer new knowledge from the deployed device in a scenario. For this reason, the research is focused on the web semantic, web 3.0, to assign a semantic meaning to each thing inside the architecture. The sole semantic concept is unusable to infer new information from the data gathered; in fact, it is necessary to organize the data through a hierarchical form defined by an Ontology. Through the exploitation of the Ontology, it is possible to apply semantic engine reasoners to infer new knowledge about the network.
The second step of the dissertation deals with the minimization of the usage of every node in a WSN. The main purpose of each node is to collect environmental data and to exchange hem with other nodes. To minimize battery consumption, it is necessary to limit the radio usage. Therefore, we implemented Razor, a new lightweight algorithm which is expected to improve data compression and classification by leveraging on the advantages offered by data mining methods for optimizing communications and by enhancing information transmission to simplify data classification. Data compression is performed studying the well-know Vector Quantization (VQ) theory in order to create the codebooks necessary for signal compression. At the same time, it is requested to give a semantic meaning to un- known signals. In this way, the codebook feature is able not only to compress the signals, but also to classify unknown signals. Razor is compared with both state-of-the-art compression and signal classification techniques for WSN .
The third part of the thesis covers the concept of smart object applied to Robotic research. A critical issue is how a robot can localize and retrieve smart objects in a real scenario without any prior knowledge. In order to achieve the objectives, it is possible to exploit the smart object concept and localize them through RSSI measurements. After the localization phase, the robot can exploit its own camera to retrieve the objects. Several filtering algorithms are developed in order to mitigate the multi–path issue due to the wireless communication channel and to achieve a better distance estimation through the RSSI measurement.
The last part of the dissertation deals with the design and the development of a Cognitive Network (CN) testbed using off the shelf devices. The device type is chosen considering the cost, usability, configurability, mobility and possibility to modify the Operating System (OS) source code. Thus, the best choice is to select some devices based on Linux kernel as Android OS. The feature to modify the Operating System is required to extract the TCP/IP protocol stack parameters for the CN paradigm. It is necessary to monitor the network status in real-time and to modify the critical parameters in order to improve some performance, such as bandwidth consumption, number of hops to exchange the data, and throughput.In questi ultimi anni siamo circondati da una grande quantita` di oggetti che sono capaci di comunicare tra di loro e leggere in tempo reale grandezze fisiche come temperatura, luce e umidita`. Un passo successivo consistera` nel combinare il contenuto informativo di queste grandezze fisiche per estrarre ulteriore informazione non osservabile analizzando il singolo dato. Questi oggetti non sono solamente hi-tech, come PC da tavolo, PC portatili, tablet, tele- foni mobili di ultima generazione, i.e., smartphone, e altri con elevate capacita`, ma soprat- tutto quegli oggetti di uso comune, come carte d’identita`, patenti di guida, orologi, che possono essere connessi ad Internet semplicemente applicando micro dispositivi di comuni- cazione. Cos`ı, del mondo analogico di qualche anno fa, ci si sta sempre piu` spostando verso il mondo digitale dell’Internet of Things (IoT), dove le informazioni di ogni singolo oggetto possono essere cercate in Internet. Il paradigma IoT pone a diverse sfide architetturali, come auto organizzazione, auto controllo e auto disposizione degli smart object. Inoltre esiste il problema di come minimizzare l’utilizzo delle risorse limitate di ogni dispositivo. Il concetto di IoT ricopre molti paradigmi di comunicazione, che possono essere elencati come reti WiFi, Radio Frequency Identificator (RFID), e reti di sensori senza fili (WSN). Ogni paradigma so- pra elencato puo` essere pensato come un’isola dell’architettura IoT dove ogni dispositivo all’interno di essa e` capace di comunicare con gli altri dispositivi. La tesi e` divisa in diverse sezioni per ricoprire alcune problematiche menzionate poc’anzi. Il primo argomento trattato dalla tesi riguarda la possibilita` di inferire nuova conoscenza dai nodi disposti all’interno di uno scenario. Per questa ragione, la ricerca si e` focalizzata sul web semantico, web 3.0, dove si assegna un significato semantico ad ogni “thing” che si trova all’interno dell’architettura. Il solo concetto di semanticita` e` inutilizzabile ai fini di estrarre nuove informazioni, ma deve essere organizzato secondo una struttura chiamata Ontologia. Con l’ausilio del concetto di ontologia, e` possibile applicare ragionatori onto- logici per l’inferenza di nuova informazione da quella gia` esistente. Il secondo passo della tesi e` stato minimizzare l’utilizzo complessivo di ogni nodo pre- sente all’interno di una WSN. Partendo dall’idea che ogni nodo e` capace di collezionare dati ambientali e scambiare questo tipo d’informazione con altri, questo comporta un con- sumo energetico non “ammissibile” per dispositivi che devono avere un tempo di vita quasi “illimitato”. Un punto chiave per aumentare il tempo di vita e` minimizzare il consumo energetico di ogni dispositivo. Per questo motivo e` stato concepito RAZOR, un algoritmo leggero capace di migliorare la compressione e la classificazione dei dati basandosi sui van- taggi offerti dai metodi di data mining per comunicazioni, ottimizzando e potenziando la trasmissione dell’informazione per la classificazione dei dati. La parte di teoria riguardante la compressione dei dati e` basata sulla quantizzazione vettoriale (VQ) per la creazione di dizionari di codifica necessari a RAZOR nella fase di compressione dei segnali. Allo stesso tempo e` richiesto di dare un significato semantico ai segnali per poi poter classificare segnali sconosciuti. RAZOR e` stato comparato con lo stato dell’arte della compressione e classificazione di segnali. Un terzo passo della tesi riguarda il concetto di smart object applicato al campo della robotica. Un punto cruciale sta nella possibilita` di utilizzare gli smart object per creare un’architettura hardware/software dove non e` necessaria la presenza di un operatore umano per il suo funzionamento. Un esempio puo` essere il riconoscimento e recupero di smart object tramite l’utilizzo di un robot completamente autonomo. Durante l’inizializzazione del sistema, robot e smart objects non avranno nessuna conoscenza dello scenario che li circonda. Un’idea consiste nell’utilizzare dispositivi poco costosi, come i nodi sensore, da applicare ad ogni oggetto e al robot, per poi strutturare la loro capacita` di comunicazione wireless per essere localizzati dal robot. Dopo che gli oggetti sono stati localizzati, il robot utilizza la propria videocamera per riconoscere e recuperare l’oggetto. Per ottenere una localizzazione attendibile tramite misure di RSSI sono stati realizzati e comparati diversi algoritmi di stima e filtraggio per ovviare a problemi di multi–path che si verificano durante la comunicazioni wireless. L’ultima parte della tesi riguarda la progettazione e lo sviluppo di un Cognite Network (CN) testbed realizzato con dispositivi commerciali. La scelta dei dispositivi e` stata fatta considerando determinati punti chiave come: costo, usabilita`, configurabilita`, mobilita` e possibilita` di modificare il Sistema Operativo (OS). Percio ́ la migliore scelta e` stata quella di utilizzare dispositivi basati su kernel Linux come Android OS. Un sistema operativo modificabile e` la chiave per realizzare il CN testbed perche ́ da` la possibilita` di estrarre i parametri dello stack protocollare TCP/IP per migliorarne le prestazioni come consumo della banda, numero di passaggi che un segmento deve fare per arrivare al nodo desti- nazione e il throughtput di una connessione punto a punto.
Libros sobre el tema "Motiv i filmen"
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K, Heumann Joseph, ed. Ecology and popular film: Cinema on the edge. Albany: State University of New York Press, 2009.
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Benshoff, Harry M. America on film: Representing race, class, gender, and sexuality at the movies. 2a ed. Malden, MA, USA: Wiley-Blackwell, 2009.
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Benshoff, Harry M. America on film: Representing race, class, gender, and sexuality at the movies. Malden, MA: Blackwell Pub., 2004.
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Billy Wilder: Filme - Motive - Kontroverses. Bochum: Paragon-Verlag, 2006.
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Cowan, Douglas E. Sacred space: The quest for transcendence in science fiction film and television. Waco, TX: Baylor University Press, 2010.
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Seesslen, Georg. Filmwissen: Detektive: Grundlagen des populären Films. Marburg: Schüren, 2011.
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Schneider, Christian, Karsten Visarius y Margrit Frölich. Projektionen des Fundamentalismus: Reflexionen und Gegenbilder im Film. Marburg: Schüren, 2008.
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Lazăr, Ioan. Teme și stiluri cinematografice: Motive fundamentale, genuri, curente, autori și filme de referință. București: Editura Meridiane, 1987.
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Lazăr, Ioan. Teme și stiluri cinematografice: Motive fundamentale, genuri, curente, autori și filme de referință. București: Editura Meridiane, 1987.
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Ferguson, Paula M. Motif reference manual: For motif 2.1. 2a ed. Beijing: O'Reilly, 2000.
Buscar texto completoCapítulos de libros sobre el tema "Motiv i filmen"
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Heberling, Oliver. "Das Motiv des Whistleblowings und seine Funktionalisierung in Vaxxed: From Cover-Up to Catastrophe". En Verschwörungsideologien in Filmen und Serien, 65–80. Wiesbaden: Springer Fachmedien Wiesbaden, 2022. http://dx.doi.org/10.1007/978-3-658-37436-5_4.
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Florschütz, Gottlieb. "Stoffkreise und Motive des Sportfilms". En Sport in Film und Fernsehen, 47–56. Wiesbaden: Deutscher Universitätsverlag, 2005. http://dx.doi.org/10.1007/978-3-322-82201-7_3.
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Heberling, Oliver. "The Motif of Whistleblowing and its Functionalization in Vaxxed: From Cover-Up to Catastrophe". En Conspiracy Ideologies in Films and Series, 45–59. Wiesbaden: Springer Fachmedien Wiesbaden, 2024. http://dx.doi.org/10.1007/978-3-658-43694-0_3.
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Powrie, Phil. "The Acoustic Wound: Reflections on the Crystal-Song in Five American Films". En When Music Takes Over in Film, 35–54. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89155-8_3.
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AbstractThis chapter develops the concept of the ‘crystal-song’ which crystallises turning points in a film. It does not illustrate or echo what we see; rather, it articulates a privileged musical moment of intense affect, ‘wounding’ the image/music nexus as does Barthes’s punctum for the photograph. The crystal-song is the piece that stands out from the others by a combination of intensity and critical insistence. The chapter explores such moments in five recent US films. The first is the diegetically performed song that gives its title to the film in American Honey (2016) and Beautiful Boy (2018). The second explores references in the dialogue to the music we hear: a diegetic song that is referred to by the characters but not performed by them (Lady Bird, 2017); the third, a non-diegetic song in a film where performed music is constantly present and talked about (Call Me by Your Name, 2017). The final and more sustained case is a diegetically performed piano piece from La La Land (2016) which demonstrates that the musical moment does not have to be a single song with lyrics, nor the spectacular performance that is usually found in film musicals, La La Land included, but can also be a much-repeated musical motif. All of these musical moments have a critical and focal function, shaping audience affects and our perception of the narrative.
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"Diesseits/Jenseits in Sartres Das Spiel ist aus und aktuellen Filmen – Ein variables Motiv". En Sartre und die Medien, 119–40. transcript-Verlag, 2008. http://dx.doi.org/10.14361/9783839408162-008.
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Mock, Laura. "Diesseits/Jenseits in Sartres Das Spiel ist aus und aktuellen Filmen – Ein variables Motiv". En Sartre und die Medien, 119–40. transcript Verlag, 2008. http://dx.doi.org/10.1515/9783839408162-008.
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Höltgen, Stefan. "3 Motiv- und Diskursgeschichte des authentischen Serienmörderfilms". En Schnittstellen – Serienmord im Film, 53–364. Schüren Verlag, 2010. http://dx.doi.org/10.5771/9783741000218-53.
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"MISTAKEN IDENTITIES: THE PYGMALION MOTIF". En British Popular Films 1929-1939, 63–89. Routledge, 2003. http://dx.doi.org/10.4324/9780203358801-10.
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Straus, Joseph N. "Ruth Crawford Seeger, Diaphonic Suite No. 1, first movement (1930)". En The Art of Post-Tonal Analysis, 39–43. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197543979.003.0009.
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This passage is composed in what the composer calls “verse form,” with a musical rhyme at the end of each line. The first three notes, D–E–E♭, function as a unifying motive, with the possibility of presentation in a variety of guises and over a variety of musical spans. Over the course of the passage, musical spaces are opened up and filled in.
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"A.1. Motiv und Ideologiekritik. Filmwissenschaft I: Populärkultur und Cultural Studies". En Die Prostituierte im Film, 21–34. transcript-Verlag, 2007. http://dx.doi.org/10.14361/9783839405635-002.
Texto completoActas de conferencias sobre el tema "Motiv i filmen"
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Andrade, Murilo Ferreira, Isabela Cristina da Silva, Mariana Andrade Nunes, Victória Silva y Apolliane Xavier Moreira dos Santos. "OS FILMES E SEU PAPEL NA EDUCAÇÃO AMBIENTAL NO ÂMBITO DA EDUCAÇÃO INFANTIL: UMA FERRAMENTA LÚDICA PARA O APRENDIZADO". En I Congresso Brasileiro On-line de Estudos Ecológicos. Revista Multidisciplinar de Educação e Meio Ambiente, 2022. http://dx.doi.org/10.51189/rema/3234.
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Introdução: O Projeto de extensão “Educação Ambiental no Núcleo de Educação da Infância (Nedi): brincando com coisa séria”, visa o desenvolvimento de novas eco práticas vivenciais na instituição de educação infantil da Universidade Federal de Lavras (UFLA/MG), propostas de maneira remota pelos estudantes de graduação participantes do projeto. Isso posto, em meio ao período pandêmico foi criado o perfil @econediufla na rede social Instagram, onde foi elaborado o momento de indicação de filmes. Objetivos: O objetivo da feitura desse momento foi produzir reflexões sobre a educação ambiental a partir de animações que tratam de temáticas ambientalistas, tais como: exploração de animais e insetos, poluição, desmatamento, dentre outras. Material e métodos: O momento de indicação de filmes foi disposto em 3 etapas, sendo elas: o bolsista voluntário assistiu ao filme e fez um levantamento geral sobre a questão ambiental abordada; elaborou textos breves para a postagem e com linguagem compreensível para as famílias explicando o motivo pelo qual o filme é interessante para a popularização de uma educação com foco na questão ambiental e, por fim, produziu a arte que foi postada no Instagram junto com os storys interativos que continham enquetes com perguntas sobre o filme. Resultados: Os resultados obtidos até agora foram 3 indicações de filmes, sendo eles: “Os Sem Florestas”, “Bee Movie” e “O Espanta Tubarões”. O número total de engajamentos que as três indicações tiveram foram de 852 contas alcançadas e mais de 100 curtidas. Ademais, já foram postados 11 storys com enquetes perguntando sobre o entendimento do filme abordado, que contam com mais de 56 participações. Conclusão: a indicação de filme, traz, de forma geral, a sensibilização por parte das famílias em relação as questões que tratam das problemáticas sobre a degradação do meio ambiente, junto com sua fauna e flora. Somado a isso, ao indicar filmes, estimulamos uma vivência que pode ser prazerosa para a família.
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Zhang, Yubo y Yu Sun. "A Data-Driven Real-Time Analytical Framework with Improved Granularity using Machine Learning and Big Data Analysis". En 3rd International Conference on Data Mining and Machine Learning (DMML 2022). Academy and Industry Research Collaboration Center (AIRCC), 2022. http://dx.doi.org/10.5121/csit.2022.120705.
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During daily studying and working, people have to research massive amounts of information on the internet and download numerous files. Some of these files can be easily categorized to relevant files. However, there are always some files left unorganized due to their difficulty in categorization [1]. Such files pile up in the download folder as time passes, making the folder extremely messy. Many people do not have the motive to clean up the folder as it requires a lot of energy and time. Based on this common problem, my group developed an app that can clean the messy folder up. After applying our program which is based on machine learning, the files will firstly be divided into five general parts – document, video, music, photos and package. Then the files will be further categorized based on the contents they present. For example, photos are divided into animals, families and so on. In order to achieve the content-categorizing function, several powerful apis were introduced in our program, and they helped us to achieve the optimal results.
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Kui, Yang, Huang Liang, Liu Zhong y Zhang Guodong. "A Passive Locating Algorithm for Motive Target Based on Modified Particle Filter Method". En 2011 International Conference on Business Computing and Global Informatization (BCGIn). IEEE, 2011. http://dx.doi.org/10.1109/bcgin.2011.99.
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Tian, Yu y Xin Ye. "Motif: A social reading platform that helps people filter, memorize, and organize online contents". En 2017 IEEE 36th International Performance Computing and Communications Conference (IPCCC). IEEE, 2017. http://dx.doi.org/10.1109/pccc.2017.8280485.
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Tipa, Violeta. "The forest as a space of filmic challenges". En Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.18.
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Th e image of the forest or of the woods is deeply implanted in the spiritual life, becoming for centuries a maternal symbol of our people. In most folk tales, the main characters, on their way to becoming, wander through a thick and dark forest, or the forest itself is the destination point, where the dramatic denouement, an unpredictable meeting or a love idyll will take place. A possible classifi cation of the forest motif in cinematographic art is proposed from the perspective of various artistic functions.Th e works of the researcher-folklorist Vladimir Propp on the structure of folk tales point directly to the image of the forest as an inevitable space for the unfolding of the action. We fi nd this space of transformations especially in the screening or interpretation of cult stories/fairy tales. We will elucidate this space, represented in various interpretations through the cinematic language. Our interest extends to fi lms, which represent the interpretation of faity tales in European cinema. A separate chapter will be dedicated to fi lms-tales, where the image of the forest is one full of mysteries, populated by the most diverse, equally mysterious characters, whose contact with human characters oft en constitutes the dramaturgical axis of the fi lm.
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López-Villar, Rebeca. "La bruja que existe pero no se ve: la invisibilidad cinematográfica como estrategia generadora de terror, desde Rebeca hasta La bruja de Blair". En IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.8965.
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En un contexto audiovisual caracterizado por el exceso y el abuso figurativo, parece que funcionan mejor aquellas películas terroríficas en las que el elemento monstruoso no se muestra ante los ojos del espectador. La finalidad de este texto será entonces comprobar si, frente a las representaciones cinematográficas normativas, la no-presentación de la figura de la bruja favorece en la contemporaneidad audiovisual a los objetivos de las películas de terror. Consideraremos además los posibles motivos que propician la asiduidad del motivo brujesco femenino (invisible o no) en las producciones cinematográficas de terror, cuestión que parece deberse al hecho de que el horror subraya lo diferente, y la bruja puede ser entendida como ese otro monstruoso y terrible. La asociación de la mujer con la otredad parece ser lo que favorece que la bruja se convierta en el estereotipo terrorífico ideal según las normas del patriarcado. Partiremos del paradigma de la invisibilidad perversa asociada a lo brujesco, la señora de Winter (Rebeca, Alfred Hitchcock, 1940), para reflexionar sobre determinados filmes recientes, como La bruja de Blair (Adam Wingard, 2016). Realizaremos un estudio basado en la confrontación, estableciendo analogías entre estas películas sin brujas palpables y aquellas otras en las que lo brujeril se vuelve exagerado y cargado de estereotipos: Hansel y Gretel: Cazadores de brujas (Tommy Wirkola, 2013), Expediente Warren: The Conjuring (James Wan, 2013), La noche de la bruja (Alex Merkin, 2017), etc. Concluiremos observando si en los casos de estudio analizados encontramos diferencias notables deducidas del modo en que se presenta el monstruo; esto es, si se generan significados distintos en función del grado de visibilidad del elemento brujesco, y si los efectos producidos en el espectador varían.
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Hussain, Khaja Fayaz, Wesley J. Cantwell y Kamran A. Khan. "Origami-Inspired Cylindrical Structures for Energy Absorption in Aerospace Applications". En ASME 2023 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2023. http://dx.doi.org/10.1115/imece2023-113488.
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Abstract The current work emphasizes on hybridization of the cylindrical curved crease origami structure with high energy absorbing state-of-the-art cellular lattices mainly, the plate, truss, and hourglass lattices, with a motive to enhance the energy absorption capability of the structure. A novel non-hybridized curved crease cylindrical origami namely star curved and three of its hybridized counterparts, star curved plate (S.C.P), star curved truss (S.C.T) and star curved hourglass (S.C.HG) are proposed in the paper and the effect of hybridization on the energy absorption properties was investigated. Additionally, the deteriorating effect of moisture on the mechanical properties and energy absorption characteristics was emphasized and it was observed that the dried samples outperformed the as-fabricated samples. The structures were designed with the help of CAD software and fabricated via fused filament fabrication (FFF) due to its capability of providing geometrical flexibility and precise control of micro architecture and dimensions using Nylon polymer. The structures were later tested on an Instron compression testing machine to obtain the force-displacement data for further processing. The results substantiate the validity of the hybridization approach as the specific energy absorption of the non-hybridized structure was enhanced from 4 kJ/kg to 6.6 kJ/kg. Moreover, the mechanical properties like peak strength and elastic modulus were remarkably improved from 1.3MPa to 6.5 MPa and 41 MPa to 290MPa respectively. The proposed approach leads to an increase in possibilities for improving the origami-inspired structures in terms of specific energy absorption for situation-specific applications and when incorporated into sandwich panels, the performance of these structures can further be explored.
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Osborne, Dustin T., Joseph McDonald y Imad Khalek. "Crankcase Emission Contributions to PM for Two Tier 2 Line-Haul Locomotives". En ASME 2009 Internal Combustion Engine Division Fall Technical Conference. ASMEDC, 2009. http://dx.doi.org/10.1115/icef2009-14021.
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This paper documents the quantification and characterization of particulate matter (PM) emitted from two Tier 2 diesel locomotives, and the impact of crankcase ventilation (CCV) on PM emissions. Emission testing was performed on one General Electric (GE) model ES44DC locomotive, and one Electro-Motive Diesel (EMD) model SD70ACe. A semi-continuous organic carbon/elemental carbon (OC/EC) analytical procedure was used to collect and determine the OC and EC of PM. PM was also measured gravimetrically using Teflon membrane filters. Testing was performed for the locomotives in an unmodified configuration “with CCV”, and then again without the CCV included in the emissions measurements. Without CCV, the two-stroke SD70ACe brake specific filter-based PM and OC/EC PM, over the Line-haul Locomotive Duty Cycle (LHLDC), were reduced by approximately 15% to 16%, respectively, compared to testing with CCV. The 4-stroke ES44DC showed a reduction of 11% for the OC/EC PM which was mainly due to a reduction in OC PM. When crankcase emissions were not included, OC PM was reduced for nearly all throttle notches, and especially under high load conditions, although the differences were not always significant at a 95% confidence interval. With CCV, the relative OC portion of the Line-haul composite PM value for both locomotives was approximately 42–47%. Without CCV, the absolute brake-specific OC PM over the LHLDC was reduced by 30%, thereby reducing the relative OC portion to approximately 34–38%. This work showed that the OC PM fraction is significant for the locomotives tested, and controlling OC can lead to more than 40 percent reduction in PM. Furthermore, almost one-third of the OC PM was contributed by CCV, therefore better control of blow-by PM from both locomotive types can lead to a significant reduction in OC PM.
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Nashine, B. K., S. K. Dash, K. Gurumurthy, M. Rajan y G. Vaidyanathan. "Design and Testing of D.C. Conduction Pump for Sodium Cooled Fast Reactor". En 14th International Conference on Nuclear Engineering. ASMEDC, 2006. http://dx.doi.org/10.1115/icone14-89123.
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DC Conduction pump immersed in sodium forms a part of Failed Fuel Location Module (FFLM) of 500 MWe Fast Breeder Reactor (PFBR) currently under construction. FFLM housed in control plug of the reactor, is used to locate the failed fuel sub-assembly due to clad rupture in the fuel pin. The DC conduction pump sucks the sodium from the top of fuel sub-assemblies through the selector valve and pumps the sodium to hold up for detecting the presence of delayed neutrons. Presence of delayed neutron is the indication of failure in the sampled fuel sub-assembly. The DC Conduction Pump was chosen because of its low voltage operation (2 V) where argon/alumina ceramic can provide required electrical insulation even at operating temperature of 560°C without much complication on the manufacturing front. Sampling of sodium from top of different sub-assemblies is achieved by operation of selector valve in-conjunction with the drive motor. FFLM requires the pump to be immersed in sodium pool at ∼560°C located above the fuel sub-assemblies in the reactor. The Pump of 0.36 m3/h capacity and developing 1.45 Kg/ cm2 pressure was designed, manufactured and tested. The DC Conduction Pump has a stainless steel duct filled with liquid sodium, which is to be pumped. The stainless steel duct is kept in magnetic field obtained by means of electromagnet. The electromagnet is made of soft iron and the coil made of copper conductor surrounds the yoke portion of electromagnet. The external DC source of 2000 Amps, 2 Volt is used to send current through sodium placed in the stainless steel duct and the same current is sent through copper coil of electromagnet for producing required magneto motive force, which in turn produces required magnetic field. The interaction of current in sodium (placed in stainless steel duct) and magnetic field produced by the electromagnet in the duct region produces pumping force in the sodium. Electromagnet, copper coil, stainless steel duct, copper bus bar etc. are encapsulated in stainless steel shell. Hydraulic characteristics, efficiency, cavitation free operation at operating temperatures was ascertained by conducting tests in sodium loop called Large Component Test Rig (LCTR). The pump was also endurance tested for 750 hrs. The performance tests on DC Conduction Pump indicate that the pump meets the target specification at reactor operating condition. This paper deals with design, construction and performance testing of DC Conduction Pump.
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Martínez Millana, Elena. "Le Corbusier versus Sergei Eisenstein. La construcción de un sueño". En LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.824.
Texto completoResumen
Resumen: Este artículo plantea la revisión de la relación entre el arquitecto Le Corbusier y el cineasta Sergei Eisenstein. Se lanza como hipótesis la posible influencia del cineasta en Le Corbusier. Le Corbusier versus Eisenstein en el sentido más profundo de ‘avanzar en dirección a’: Le Corbusier hacia la cinematografía, no como contraposición. Se esboza el papel de cada figura y su encuentro en el período de 1928-1936, tiempo en que Le Corbusier se aproximó a la Unión Soviética, un contexto que configura un marco complejo a partir del cual es posible entrever aquello que los vincula y que refuerza la hipótesis planteada. Por otro lado, se realiza un análisis de Poème électronique - filme de 480” que Le Corbusier hace en 1958 con motivo de la Exposición Universal en Bruselas - con la intención de visibilizar que Le Corbusier recurre a la técnica del montaje dialéctico de la que Eisenstein era maestro y por tanto la consustancial influencia. Le Corbusier reconoce el potencial de esta técnica de montaje y se sirve de ella como la estrategia clave en su aproximación al ámbito de la cinematografía. El mecanismo del montaje dialéctico forma parte de su propio pensamiento y lo materializa en su arquitectura y también en el caso de estudio que nos ocupa, en la disciplina de la imagen en movimiento, tan próxima a ésta. Pero hay más, en el Pabellón Philips la técnica del montaje oculto - sobre la que Eisenstein había teorizado en aquél periodo - está presente, pues mediante éste mecanismo construye la puesta en escena del espectáculo total. Como veremos, Poème électronique representa la construcción de un sueño. Abstract: This article reviews the relationship between the architect Le Corbusier and the filmmaker Sergei Eisenstein. When launched, it was seen to hypothesise the possible influence of the filmmaker in the work of Le Corbusier. Le Corbusier versus Eisenstein, in the deepest sense of the expression, is portrayed as "towards to": Le Corbusier towards the film, not in opposition to it. It outlines the role of each figure and their interactions during the period between 1928 and 1936, the time when Le Corbusier got closer to the Soviet Union. This context forms a complex framework from which it is possible to glimpse what it is that links them, reinforcing the hypothesis-raised. On the other hand, this work presents an analysis of the Poème électronique - 480" film Le Corbusier made in 1958 for the Universal Exhibition in Brussels - in order to exemplify that Le Corbusier uses the technique of dialectical montage, in which Eisenstein was the undisputed master, thereby highlighting an inherent influence. Le Corbusier recognises the potential of this montage technique and uses it as a key strategy in his approach to the field of cinema. The mechanism of dialectical montage is a part of Le Corbusier's own thought and this materialises both in his architecture as well as in the subsequent case study regarding the discipline of the moving image, which is closely aligned to it. There is, however, more to it. In the Philips Pavilion, the hidden montage technique - theorised by Eisenstein in that period - is present, the use of which was the mechanism to construct the stage for the spectacle as a whole. As we will see, Poème électronique represents the construction of a dream. Palabras clave: Eisenstein; Le Corbusier; Le Poème électronique; montaje dialéctico; montaje oculto; cinematografía. Keywords: Eisenstein; Le Corbusier; Le Poème électronique; dialectical montage; hidden montage; cinematography. DOI: http://dx.doi.org/10.4995/LC2015.2015.824
Informes sobre el tema "Motiv i filmen"
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AKHADOVA, R. A. y M. L. SHTUKKERT. ‘THE DREAM OF A RIDICULOUS MAN’ F.M. DOSTOEVSKY AND A. PETROV: POETICS OF THE FEAR. Science and Innovation Center Publishing House, 2021. http://dx.doi.org/10.12731/978-0-615-67323-3-8-21.
Texto completoResumen
The purpose of the study is to determine the features of the structure and functioning of the fear motive in F.M. Dostoevsky’s “fantastic story” “The Dream of a Ridiculous Man” and in A. Petrov’s cartoon of the same name. The report first examines the images, details, etc., with which the fear motive is created in the story, and then analyzes the ways of embodying this motive and transmitting a certain frightening atmosphere in the cinema. There is revealed and determined the ontological significance and the main character of fear in the “The Dream of a Ridiculous Man”, which, in our opinion, manifests itself in the fundamental nature and primacy of this feeling in human nature. It can be observed in the transition from the dream world, not defiled by the fall, to the terrible reality of St. Petersburg, described in the story. The scientific novelty lies in the fact that a comprehensive analysis of the fear motive in the story of F. M. Dostoevsky and the peculiarities of the interpretation of this motive in the animated film by A. Petrov has not been carried out before. The study revealed, firstly, a number of repetitive means by which the fear motive is formed in both works (and their functions were determined), and secondly, there was noted the originality of the representation of the analyzed motive in the cinema.