Littérature scientifique sur le sujet « Generale (Motion picture) »
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Articles de revues sur le sujet "Generale (Motion picture)"
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Echizen, I., H. Yoshiura, T. Arai, H. Kimura et T. Takeuchi. « General quality maintenance module for motion picture watermarking ». IEEE Transactions on Consumer Electronics 45, no 4 (1999) : 1150–58. http://dx.doi.org/10.1109/30.809196.
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Fovet, Frederic. « 120 BPM [Motion Picture] ». Journal of Homosexuality 66, no 11 (18 octobre 2018) : 1626–28. http://dx.doi.org/10.1080/00918369.2018.1517498.
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Ju, Yang. « Study of Human Motion Recognition Algorithm Based on Multichannel 3D Convolutional Neural Network ». Complexity 2021 (26 mai 2021) : 1–12. http://dx.doi.org/10.1155/2021/7646813.
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Aiming at the problem that it is difficult to balance the speed and accuracy of human behaviour recognition, this paper proposes a method of motion recognition based on random projection. Firstly, the optical flow picture and Red, Green, Blue (RGB) picture obtained by the Lucas-Kanade algorithm are used. Secondly, the data of optical flow pictures and RGB pictures are compressed based on a random projection matrix of compressed sensing, which effectively reduces power consumption. At the same time, based on random projection compression data, it can effectively find the optimal linear representation to reconstruct training samples and test samples. Thirdly, a multichannel 3D convolutional neural network is proposed, and the multiple information extracted by the network is fused to form an output recognizer. Experimental results show that the algorithm in this paper significantly improves the recognition rate of multicategory actions and effectively reduces the computational complexity and running time of the recognition algorithm.
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Cleveland, David. « Preservation of motion picture films ». Journal of Audiovisual Media in Medicine 8, no 4 (janvier 1985) : 133–36. http://dx.doi.org/10.3109/17453058509155997.
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Fastiuk, Yevhen, Ruslan Bachynskyy et Nataliia Huzynets. « Methods of Vehicle Recognition and Detecting Traffic Rules Violations on Motion Picture Based on OpenCV Framework ». Advances in Cyber-Physical Systems 6, no 2 (17 décembre 2021) : 105–11. http://dx.doi.org/10.23939/acps2021.02.105.
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In this era, people using vehicles is getting increased day by day. As pedestrians leading a dog for a walk, or hurrying to their workplace in the morning, we’ve all experienced unsafe, fast-moving vehicles operated by inattentive drivers that nearly mow us down. Many of us live in apartment complexes or housing neighborhoods where ignorant drivers disregard safety and zoom by, going way too fast. To plan, monitor and also control these vehicles is becoming a big challenge. In the article, we have come up with a solution to the above problem using the video surveillance considering the video data from the traffic cameras. Using computer vision and deep learning technology we will be able to recognize violations of rules. This article will describe modern CV and DL methods to recognize vehicle on the road and traffic violations of rules by them. Implementation of methods can be done using OpenCV Python as a tool. Our proposed solution can recognize vehicles, track their speed and help in counting the objects precisely.
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Stauder, Jürgen, Corinne Porée, Patrick Morvan et Laurent Blondé. « Motion Picture Versioning by Gamut Mapping ». Color and Imaging Conference 18, no 1 (1 janvier 2010) : 178–83. http://dx.doi.org/10.2352/cic.2010.18.1.art00031.
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Donelan, P. S., C. G. Gibson et W. Hawes. « Trajectory singularities of general planar motions ». Proceedings of the Royal Society of Edinburgh : Section A Mathematics 129, no 1 (1999) : 37–55. http://dx.doi.org/10.1017/s0308210500027451.
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Local models are given for the singularities that can appear on the trajectories ofgeneral motions of the plane with more than two degrees of freedom. Versal unfoldings of these model singularities give rise to computer-generated pictures describing the family of trajectories arising from small deformations of the tracing point, and determine the local structure of the bifurcation curves.
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Siregar, Epi Supriyani, Imanuddin Siregar, Dicky Edwar Daulay et Lady Rodearni Jawak. « Pengembangan Model Pembelajaran Picture and Picture Terhadap Materi Gerak Lokomotor Siswa Kelas V SD ». Journal on Education 5, no 2 (29 janvier 2023) : 5304–12. http://dx.doi.org/10.31004/joe.v5i2.1273.
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This study aims to determine the development of a picture and picture learning model for locomotor motion material for fifth grade students at SD Negeri 060890. The research method used by researchers is the Research and Development method. Research and development (R&D) is a basic research activity to obtain information on user needs (needs assessment), then proceed with development activities to produce products and examine the effectiveness of these products (Sugiyono, 2014). Based on the table presented on the previous page, it can be seen that the total score achieved by the teacher in learning through locomotor motion using the picture and picture model with media images at meetings is 35 with Enough criteria. It can be seen in the table, at the meeting that the teacher's skills have not achieved success according to the indicators set. Therefore, at the next meeting the researcher must be able to carry out improvements in learning using poetry writing strategies using picture and picture models with picture media. An effective way for students to avoid pressure is by playing rock-paper-scissors or throwing the ball while singing the rabbit and when the ball stops, it comes forward to show pictures and imitate its movements. After that, the exploration stage. At this stage the teacher forms a discussion group to discuss locomotor movements based on the images shown. The teacher forms this group to make it interesting. In his creations, groups can be made with animal names. And the group imitated the movement based on the animal's name. Next, the teacher provides a learning evaluation. The teacher calls students one by one to imitate what the teacher shows in the picture. Finally, teachers and students reflect on learning. This activity is to get students' responses to the material that has been implemented.
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Wakabayashi, Akio, et Asami Katsumata. « The Motion Picture Mind-Reading Test ». Journal of Individual Differences 32, no 2 (janvier 2011) : 55–64. http://dx.doi.org/10.1027/1614-0001/a000034.
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The Motion Picture Mind Reading (MPMR) Test is a novel naturalistic mind-reading task, designed to measure individual differences in a young adult population in Japan. Short scenes from TV films showing characters in social situations were presented to 128 university students; participants judged the mental state of a character in these films. The distribution of task performance (MPMR Test) of participants was approximately normal and its psychometric properties were found to be satisfactory. The MPMR Test scores correlated positively with those of the Eyes Test and also with scores on the empathy quotient (EQ); they correlated negatively with scores on the systemizing quotient (SQ). The MPMR Test provides a further method for assessing subtle individual differences in mind-reading ability in the general population.
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Ye, Qiu Sun. « AI-VCR Computational Research on Visibility of 3D Materials Solids Reality Pictures ». Advanced Materials Research 143-144 (octobre 2010) : 592–97. http://dx.doi.org/10.4028/www.scientific.net/amr.143-144.592.
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An optional spatial 3D material solid reality picture may be showed on a 2D showing plane, its surface is commonly consisted of too many sub-surfaces of the 3D solid reality picture in both dispersal and continuation. It was a difficult problem to express all exact visibilities of solids sub-surfaces; because of some numerals computational error properties of visibilities are always unknown. So far, we cannot choose but select a proper dispersal degree of materials sub-surfaces, an approaching function of an optional material sub-surfaces B-Rep (Bound Representation), and numerals computation without any perturbation motion, etc. A novel numeral computational method of expressing exact visibilities of 3D spatial materials solids reality pictures with intelligent properties of VCR is given in this paper.
Thèses sur le sujet "Generale (Motion picture)"
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Callaghan, Joanna. « Ontological narratives ». Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/75134/.
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Birks, Chelsea. « Limit cinema : Bataille and the nonhuman in contemporary global film ». Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/9086/.
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This thesis explores how contemporary global cinema represents the relationship between humans and nature. Drawing from the philosophy of Georges Bataille, especially his notion of transgression, I argue that certain contemporary films attempt to transgress the limit between human and nonhuman realities. I call these films limit cinema because they operate at the boundary between thought and world: they interrogate the lines between nature and culture and reframe our relationship to aspects of existence in excess of human thought. In taking a film-philosophical approach, I explore not only what philosophy might be able to say about ecological aspects of contemporary film, but also what films can contribute to philosophical discussions of humanity’s relationship with the natural world. To that end, I bring Bataille into conversation with more recent discussions in the humanities that seek less anthropocentric modes of thought, especially film ecocriticism, speculative realism, and other theories associated with the nonhuman turn. I approach the limit between human and nonhuman realities in a number of ways. The films of Apichatpong Weerasethakul and Ben Wheatley are interpreted in relation to a Bataillean understanding of the sacred, in which nonhuman reality is posited as immanent to this world but beyond human understanding. Two films, Jauja (Lisandro Alonso 2014) and Tectonics (Peter Bo Rappmund 2012), are analysed through the unlikely pairing of speculative realism and apparatus theory; these films demonstrate that the same representational structure can simultaneously implicate us more and less in anthropocentrism. Human subjectivity therefore cannot be cast aside so easily, and I argue that film ecocriticism cannot do without a theory of cinematic subjectivity. I begin to lay out such a theory in relation to Lars von Trier’s Nymphomaniac (2013) and Jonathan Glazer’s Under the Skin (2013), arguing that these films evoke subjectivity as an unstable process of turning inside out. I conclude by considering love as a way of relating to the nonhuman, using Grizzly Man (Werner Herzog 2005) and Konelīne: Our Land Beautiful (Nettie Wild 2016) as examples of cinematic expressions of love for nature. Though I argue that it is finally impossible to see beyond our finite human perspectives, limit cinema pushes against the boundaries of thought and encourages an ethical engagement with perspectives beyond the human.
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Todd, Laura J. « Youth film in Russia and Serbia since the 1990s ». Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/33632/.
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This thesis explores the youth film genre in Russia and Serbia since the 1990s. Youth film is not only an essential means of tracing changes in cultural perceptions about young people and their lives in the post-communist period, but I argue that the genre serves as a means of representing society as a whole. The youth film genre, as an overarching framework dictated by the age of a film’s protagonists, encompasses and adopts a wide variety of sub-genres. This flexibility in youth film allows for an innovative study of the position of one genre as part of a wider sphere of genre film-making in the post-communist period. In particular, I demonstrate that global genre theory can be used as a means to examine the different genre types that have appeared in the cinema of Russia and Serbia in the post-communist period. The film industries of both nations were required to undergo vast changes in the transition from communism to capitalism, making film genres and audience preferences more significant than before. The films I analyse in this thesis borrow extensively from Hollywood genre types, using deviations and national-cultural references to appeal to their domestic audiences. However, I also contend that genres were an important part of the film industries of the Soviet Union and the Socialist Federal Republic of Yugoslavia, and that these genre histories must be considered. My close analyses of six youth films provide the communist and post-communist context for their genre usages, placing them within a wider canon of films from particular genres. This thesis contributes not only to the understanding of the youth film genre and the different ways in which these films are made, but also to knowledge of the use of genres in recent Russian and Serbian cinema as a whole. The chapters of this thesis examine how youth films and youth audiences have become increasingly important to post-communist film industries. I demonstrate that youth film allows directors not only to depict the trials and tribulations of growing up during the transition from communism, but how these youth films often reference the suffering of adults in this period. Young people are situated in a historical limbo, between the communist past and the capitalist future, and as such become a poignant metaphor for the wider experience of transition in these two nations.
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Shaw, Spencer. « Showtime : the phenomenology of film consciousness ». Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/3045/.
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The thesis argues that the notion of film consciousness deepens a wide-range of philosophical issues in ways which are only accessible through film experience. These issues, directly related to the continental tradition, deal with consciousness, experience, intentionally and meaning. We look to the implications of the initial acts of film reproduction as it creates 'images' of the world which reconceptualise vision in terms of space, time and dimension. We move from ontology to experience and examine an aesthetic form with radical implications for spectator consciousness. These issues are explored from two philosophical positions. Firstly, phenomenology, especially Edmund Husserl and Maurice Merleau-Ponty. Secondly, the work of Gilles Deleuze who presents the most penetrating insights to date into film consciousness and its repercussions for thought and affectivity. The focus of this study is to draw together these two philosophical positions, showing their fundamental differences but also similarities where they exist. This approach is rarely attempted but the belief running through this thesis is that film is one arena which is invaluable for making such comparisons. It is argued philosophically that film writes large key phenomenological concepts on intentionality, time-consciousness and the relation of the lifeworld to the predicative. In terms of Deleuze, film is shown as a unique artform which in allowing us to link otherwise casts light on Deleuze's own complex system of thought. Chapters 1-3 are concerned with phenomenology and detail the role of film in terms of the lifeworld, intentionally, reduction and the transcendental in a way which has not been attempted elsewhere. The linking chapter on time (4) is used to introduce the work of Henri Bergson and its influence both on phenomenology's inner time-consciousness and Deleuze's fundamental categories of film movement and time imagery. The final two chapters look at the way film is reconfigured through montage and the implications of this for film's unique expression of movement and time.
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McBlane, Angus. « Corporeal ontology : Merleau-Ponty, flesh, and posthumanism ». Thesis, Cardiff University, 2013. http://orca.cf.ac.uk/56960/.
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As posthumanism has developed in the last twenty-five years there has been hesitation in elucidating a robust posthumanist engagement with the body. My thesis redresses this gap in the literature in three intertwined ways. First, it is a critical assessment of posthumanism broadly, focusing on how the body is read in its discourse and how there is a continuation of a humanist telos in terms which revolve around the body. Second, it is a philosophical interrogation, adaptation, and transformation of aspects of the work of Maurice Merleau-Ponty, focusing its reading on Phenomenology of Perception and The Visible and the Invisible, with additional material drawn from his works on language, aesthetics, and ontology. Third, it is a critical analysis of four films drawn from that seemingly most posthumanist of genres, science fiction: Cronenberg's eXistenZ, Spielberg's A.I.: Artificial Intelligence, Rusnak's The Thirteenth Floor, and Oshii's Ghost in the Shell. Science fiction is the meeting place of popular and critical posthumanist imaginaries as the vast majority of texts on posthumanism (in whatever form) ground their analyses in a science fiction of some kind. By reading posthumanism through the work of Merleau-Ponty I outline a posthumanist ontology of corporeality which both demonstrates the limitations of how posthumanism has done its analyses of the body and elucidates an opening and levelling not adequately considered in posthumanist analyses of the body. Following Merleau-Ponty I argue that there is a ‘belongingness of the body to being and the corporeal relevance of every being’, yet, the body is not the singular purview of the human. There are alternative embodiments and bodies which have been previously overlooked and that all bodies (be they embodied organically, technologically, virtually or otherwise) are corporeal.
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Fotiou, Mikela. « The cinematic work of Nikos Nikolaidis and female representation ». Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6729/.
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This thesis examines the work of Greek postmodern filmmaker Nikos Nikolaidis with a specific focus on female representation. I examine Nikolaidis as an auteur and I trace elements throughout his oeuvre that contribute to the formation of his authorial signature. Nikolaidis’s work is autobiographical and highly political. Nikolaidis’s cinema does not abide by the traditional theories of ‘Greekness’, and his main influences are American cinema, and specifically for film noir, rock ‘n’ roll culture and his antiauthoritarian ideology. All these elements are combined together within his work through the use of pastiche. I examine Nikolaidis’s work according to Richard Dyer’s notion of pastiche. Through pastiche he expresses nostalgia for rock ‘n’ roll culture and film noir, but also he expresses his concern for the future. Nikolaidis pastiches a selection of film genres and specific films in order to appropriate the elements that interest him. His pastiche work shows that the filmmaker addresses cineliterate audiences that would ideally understand his dialogue with the different genres and films he pastiches. With regards to female representation in Nikolaidis’s films, women are given leading roles, exhibit varying degrees of agency, and are presented as stronger and more powerful than men. However, their representations remain paradoxical, complex and misogynistic. While on the one hand, women are portrayed as powerful, independent, and able to subvert patriarchy, on the other hand, they are often used as props, rendering their representation inconsistent and problematic. Nikolaidis differentiates and juxtaposes two types of women throughout his work: the powerful women versus the unimportant women. Those who do not conform to the powerful female characteristics are characterised within the second category. Since Nikolaidis was highly influenced by film noir, his female protagonists pastiche the classic film noir figure of the femme fatale.
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Spurr, Graeme R. « Amateur video : technology, behaviour and practice, 1965-2015 ». Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7473/.
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In considering the once highly visible and vibrant amateur film club culture of the United Kingdom the 1980s is arguably a pivotal, but controversial, historical decade in accounts of marginal film history. These years witnessed the end of the Scottish International Amateur Film Festival, a perceived sense and feeling of decline in club membership and vitality, and even a displacement of the film medium itself, with the arrival of domestic-level, narrow-video technology in the form of Betamax, VHS and other multifarious magnetic formats. Distinct feelings of loss are evident in amateur film journals of the time, while memories of the era among surviving practitioners are often characterised by senses of watershed and narratives of betrayal and distrust with manufacturers and consumer technology. This thesis through the discovery, analysis, and criticism of original visual and written empirical material will counter such understanding of the 1980s amateur cinema period, by exploring changing nomenclatures, technologies and leisure trends in this era. It will begin to define an increasingly diffuse, ambivalent and problematic narrative of this period, where many assumptions about traditional cinematographic, celluloid technology, the arrival of magnetic recording, and digital editing can be challenged. ‘Common-sense’, popular and individual accounts of this transitory era tend to argue that video was a predominant factor in the overall cultural amnesia that the amateur social world experienced. The critical endeavour of this thesis will be to construct a sophisticated and nuanced narrative of this time that counters and challenges elements of these accounts. Rather than asking what magnetic recording, or video, limited, I will discuss what it inspired and what it promoted in a scene that contrary to popular belief actually flourished, and was invigorated, by the new narrow technology on offer. That there is such discordance between different methodological processes also poses a series of larger meta-historiographical concerns around the primacy of oral history and assumptions of reliability. Questions around the diffusion and dissemination of novel technology into existent specific cultural practices will also be at the forefront of analysis. This project collates amateur film texts (archival and internet-based) and amateur journal material (Movie Maker, Making Better Movies, Videomaker and Amateur Film Maker) in providing an alternative narrative of these developments. Emphasis will be placed on both a specific canon of amateur videos identified within the holdings of the IAC Film and Video Institute Library, and by a collection of interviews with prominent amateur film-makers, whose practice has been permanently shaped by their experience of the transitions in the 1980s. Conjunctural readings of film form, technology, genre, aesthetics, production behaviour, and practice will be developed and illustrated through reference to this canon, with a view to extending the existing historiography of amateur cinema in the UK. Focus will be placed on periodising the amateur’s transitory practice, behaviour and language from the film, to the video, to the digital era, and challenging assumptions of decline, contraction and anachronism. Questions centre on three distinct phases of amateur cinematography and new practice indexed by technological innovation: the obsolescence of film technology in the late-1970s; the impact of early three-way video systems in the 1980s and; the use of computer editing software in the mid-1990s. Considering the prior status and vitality of UK amateur film-making, the thesis will expose a hidden history of amateur film-making post-celluloid, and place considerable emphasis and value on this under-researched and burgeoning area of interdisciplinary scholarship. In conclusion, the thesis will provide an important examination of the transitory stage between film and new digital technologies, and promote further public and academic engagement with this lost leisure community. With a recent focus on digital humanities, the bridge that early narrow-track video technology creates, between amateur cinema's celluloid-past and digital future, remains a significant area for exploration. Three narrative arcs follow, each containing an illustrative micro-historical case study, alongside critical writings on language, behaviour and practice specific to video technology and the magnetic image. These arcs will explore and extrapolate the larger attitudes and values of a social world that underwent technological shifts, not necessarily perceived as positive, or progressive.
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Mulliken, Douglas. « Objectively violent : the cinema of Pablo Trapero ». Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/9066/.
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This thesis identifies and analyses the function of violence in the films of screenwriter-director Pablo Trapero. It does this by examining different understandings of the concept of violence itself — with a particular emphasis placed on Slavoj Žižek’s concept of objective violence — and how it is represented on-screen in Trapero’s films. The work is divided into two parts, each consisting of two chapters. Each of the four chapters focuses on a pair of the director’s films; in each case the first film analysed introduces motifs and themes which the later film then expands upon and intensifies. Part I locates violence within the context of what Althusser defines as the State Apparatus, focusing on the diverse manifestations of the State’s power generally. Further, this section analyses the way in which Trapero’s films demonstrate the State’s manipulation of its subjects through repressive and ideological means for its own benefit. Part II tightens the thesis’s focus, examining Trapero’s representation of one specific ideological apparatus: the family unit. This section approaches different manifestations of the family and, using Deleuze and Guattari’s theories of Oedipal and rhizomatic families, considers the ways in which the family structure itself can be used as both a means of repression and, in certain cases, a means of resistance. This thesis contends that, through his representation of objective violence, Pablo Trapero has emerged as a distinctly political filmmaker. By focusing on several previously under-studied elements of Trapero’s films this thesis highlights the ways in which the director’s work represents present-day concerns about social inequalities and injustice in neoliberal Argentina on-screen. Finally, this work examines how Trapero combines aspects of Argentina’s long tradition of political film with elements of Nuevo Cine Argentino to create a unique political voice.
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Carthy, Nikki. « Deconstructing offenders' narratives ». Thesis, University of Huddersfield, 2013. http://eprints.hud.ac.uk/id/eprint/20354/.
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The view of making sense of a person’s reality through the stories they tell about their lives, developed by Bruner (1991) and McAdams (1993) is the theoretical perspective used to reveal what offenders’ life-stories uncover about their offending action. Interviews with 63 incarcerated offenders and 90 non-incarcerated males’ explored three life-episodes: a Significant Event (SE), crime or deviant act, and life as a film. Narrative Roles Questionnaire (NRQ) and demographic information was also collected. The LAAF framework for eliciting and interpreting life-story narratives was implemented. The LAAF is developed from psychological literature from different aspects of narrative focusing on three primary areas: McAdams (e.g. 1993) life-stories, Bamberg’s (2009) identity in narrative, and Sykes and Matza’s (1957) neutralisation theory. The first section of analysis focuses on SE and film narratives. Firstly, incarcerated and non-incarcerated descriptions of SE and film, for each of the LAAF content variables, were compared employing Chi Square analysis. Findings show the incarcerated group having more negative items identified in their life-episodes. This difference was consistent in SE and film narratives. Secondly, SSA-I explored the thematic structure of the LAAF variables for the incarcerated and non-incarcerated individuals. A thematic region within the incarcerated SSA-I plot termed ‘contamination script’ was found in all of the incarcerated offenders narratives, for SE and film, but in only a small proportion of the non-incarcerated narratives. Thirdly, archetypal themes were identified in the SSA-I configuration showing distinct regions of themes relating to Youngs and Canter’s (2011; 2012) classifications of hero, victim, revenger and professional for the SE and film narrative. Findings demonstrated psychological consistency with dominant narrative roles across the two life-episodes. The second section focuses on crime and deviant life-episodes. Youngs and Canter (2012) identified narrative themes in offenders’ NRQ responses. First, SSA-I configuration confirmed narrative themes in the incarcerated and non-incarcerated responses to NRQ items. Principal Component Analysis revealed psychological components of emotion, identity, and cognitive interpretations in NRQ items. Secondly, crimes and deviant acts were differentiated using: property, person, and sensory categories; a psychological classification system, based on Bandura’s (1986, 1999) theory of incentives. Multivariate analyses of the NRQ responses provided loose support for different narrative themes underpinning different crime types. Qualitative thematic analysis revealed a number of psychological themes of emotion, preparedness, and blame present in both incarcerated and non-incarcerated narratives; differences were exhibited by Feshbach’s (1964) instrumental and expressive dichotomy. Similar dominant narrative roles were exhibited by the incarcerated and non-incarcerated crime and deviant episodes; differences resided in the contamination script and level of instrumentality. Psychological consistency, in different life-episodes, demonstrates theoretical contributions. Methodological contributions are recognised by the success of the LAAF framework for exploring criminals’ narratives. The application of a narrative perspective provides a tool for researching criminal action in a way that makes sense to those closest to the action – the criminal.
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Mukhida, Leila. « Politics and the moving image : contemporary German and Austrian cinema through the lens of Benjamin, Kracauer and Kluge ». Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/5669/.
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This thesis charts the trajectory of a strand of film-theoretical optimism in texts by Walter Benjamin (1882-1940), Siegfried Kracauer (1889-1966) and Alexander Kluge (1932–) from different moments in the twentieth century; the empirical corpus looks to post-reunification German and Austrian cinema to find evidence of this theoretical optimism in contemporary filmmaking practices. The thinkers advocate the leftist-political potential of film to stimulate a critical mode of spectatorship, and are to varying degrees influenced by Brecht and the neo- Marxist politics of the \({Frankfurter Institut für Sozialforschung}\). The objective of this thesis is thus twofold. First, it illustrates the continuing relevance of the following principal strands in the film-theoretical texts of Benjamin, Kracauer and Kluge: the representation of the figure of the worker in the \(Arbeiterfilm\) genre; the possibilities and limits of capturing reality using different modes of realism; the imperative of challenging viewers in order to transform them from ‘consumers’ into collaborators; and, following on from this, notions of shock and distraction, focusing on Benjamin’s concept of the ‘Schockwirkung’. Second, it shows how this diachronic, neo-Marxist approach can continue to illuminate facets of the political in contemporary cinema by German-speaking directors in an age of advanced capitalism and digital reproducibility.
Livres sur le sujet "Generale (Motion picture)"
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1951-, Beltrame Giancarlo, Leoni Ezio et Romano Paolo, dir. Luci sulla citta : Padova e il cinema : [catalogo generale]. Venezia : Marsilio, 2003.
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Scheumann, Gerhard. Die Generale. Berlin : Verlag der Nation, 1986.
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McCarthy, Cori. Now a major motion picture. New York : Sourcebooks, Incorporated, 2018.
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Andy, Warhol. Andy Warhol : Motion pictures. Berlin : KW Institute for Contemporary Art, 2004.
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North Carolina. Motion Picture Industry Commission. Report of the Motion Picture Industry Commission : Report to the 1989 General Assembly of North Carolina. [Raleigh, N.C.] : The Commission, 1989.
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North Carolina. Motion Picture Industry Commission. Report of the Motion Picture Industry Commission : Report to the 1989 General Assembly of North Carolina. Raleigh, N.C : The Commission, 1989.
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Jippes, Daan. Who framed Roger Rabbit ? : Based on the motion picture from Touchstone Pictures and Steven Spielberg. New York, NY : Marvel Comics, 1988.
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McEwan, Ian. Soursweet. London : Faber, 1988.
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McEwan, Ian. Soursweet : Screenplay. London : Faber, 1988.
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Johnson, David. Inception and philosophy : Because it's never just a dream. Hoboken, N.J : Wiley, 2012.
Trouver le texte intégralChapitres de livres sur le sujet "Generale (Motion picture)"
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Gibson, C. G., W. Hawes et C. A. Hobbs. « Local Pictures for General Two-parameter Planar Motions ». Dans Advances in Robot Kinematics and Computational Geometry, 49–58. Dordrecht : Springer Netherlands, 1994. http://dx.doi.org/10.1007/978-94-015-8348-0_5.
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Yabuki, Nobuyoshi, Tomohiro Fukuda et Ryu Izutsu. « As-Built Detection of Structures by the Segmentation of Three-Dimensional Models and Point Cloud Data ». Dans CONVR 2023 - Proceedings of the 23rd International Conference on Construction Applications of Virtual Reality, 1117–24. Florence : Firenze University Press, 2023. http://dx.doi.org/10.36253/10.36253/979-12-215-0289-3.111.
Texte intégralRésumé :
At construction sites, as-built management is generally conducted by taking pictures or surveying with total stations and comparing the images or survey data with design drawings or Building Information Modeling (BIM) models. Since this work is time-consuming and error-prone, more efficient and accurate methods using advanced Information and Communication Technology (ICT) are desired. Therefore, this research proposes a method that can efficiently capture the progress of construction by detecting each constructed structural member, such as beams, columns, connections, etc. In this proposed method, construction engineers first take many pictures of the construction site and conduct automatic image segmentation using a pre-trained Convolutional Neural Network (CNN) model. Next, point cloud data is generated from taken pictures by using Structure from Motion (SfM). Then, the point cloud data is semantically segmented by overlapping the segmented images and point cloud data using the pin-hole camera technique. Finally, the design BIM model and segmented point cloud data are overlapped, and constructed parts of the BIM model can be detected, which can be reported as as-built parts. A prototype system was developed and applied to an actual railway construction project in Osaka, Japan for testing the accuracy and performance of the system
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Yabuki, Nobuyoshi, Tomohiro Fukuda et Ryu Izutsu. « As-Built Detection of Structures by the Segmentation of Three-Dimensional Models and Point Cloud Data ». Dans CONVR 2023 - Proceedings of the 23rd International Conference on Construction Applications of Virtual Reality, 1117–24. Florence : Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0289-3.111.
Texte intégralRésumé :
At construction sites, as-built management is generally conducted by taking pictures or surveying with total stations and comparing the images or survey data with design drawings or Building Information Modeling (BIM) models. Since this work is time-consuming and error-prone, more efficient and accurate methods using advanced Information and Communication Technology (ICT) are desired. Therefore, this research proposes a method that can efficiently capture the progress of construction by detecting each constructed structural member, such as beams, columns, connections, etc. In this proposed method, construction engineers first take many pictures of the construction site and conduct automatic image segmentation using a pre-trained Convolutional Neural Network (CNN) model. Next, point cloud data is generated from taken pictures by using Structure from Motion (SfM). Then, the point cloud data is semantically segmented by overlapping the segmented images and point cloud data using the pin-hole camera technique. Finally, the design BIM model and segmented point cloud data are overlapped, and constructed parts of the BIM model can be detected, which can be reported as as-built parts. A prototype system was developed and applied to an actual railway construction project in Osaka, Japan for testing the accuracy and performance of the system
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Imposti, Gabriella Elina. « Guerra e nazionalismo nel futurismo italiano e nel futurismo russo ». Dans Biblioteca di Studi Slavistici, 157–68. Florence : Firenze University Press, 2019. http://dx.doi.org/10.36253/978-88-6453-672-9.18.
Texte intégralRésumé :
This article argues that the traditional picture of Russian Futurists as fiercely opposed to this war does not correspond to reality. We begin by examining the general historical background for Marinetti’s notorious motto “War as the World’s only Hygiene” and identify echoes of this conception in articles that Vladimir Majakovskij published in the autumn of 1914. Nationalistic and panslavic ideas, coupled with anti-German sentiments, characterized the early years of Velimir Chlebnikov’s literary activity; we explore these ideas and Chlebnikov’s gradual passage from this belligerent vision to his utopian project for a world without wars.
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Imposti, Gabriella Elina. « Guerra e nazionalismo nel futurismo italiano e nel futurismo russo ». Dans Biblioteca di Studi Slavistici, 157–68. Florence : Firenze University Press, 2019. http://dx.doi.org/10.36253/978-88-6453-910-2.18.
Texte intégralRésumé :
This article argues that the traditional picture of Russian Futurists as fiercely opposed to this war does not correspond to reality. We begin by examining the general historical background for Marinetti’s notorious motto “War as the World’s only Hygiene” and identify echoes of this conception in articles that Vladimir Majakovskij published in the autumn of 1914. Nationalistic and panslavic ideas, coupled with anti-German sentiments, characterized the early years of Velimir Chlebnikov’s literary activity; we explore these ideas and Chlebnikov’s gradual passage from this belligerent vision to his utopian project for a world without wars.
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Gleeson-White, Sarah. « Readerly Pleasures : Screen Reading, and The Motion Picture Story Magazine ». Dans Silent Film and the Formations of U.S. Literary Culture, 150–91. Oxford University Press, 2024. http://dx.doi.org/10.1093/oso/9780197558058.003.0005.
Texte intégralRésumé :
Abstract This chapter picks up on Chapter 3’s conclusion about motion pictures’ ability to expand literature’s readership in order to discover the ways readers responded to and navigated new literary forms and materials generated out of literature’s encounters with motion pictures. To do so, it considers motion pictures’ invitations to read—both on screen and in motion-picture fan magazines—a strategy of motion-picture address recasting literary features. It also considers with the new experiences of and encounters with literature in venues beyond its more conventional sites and print objects. In sum, Chapter 4 aims to discover how motion pictures may have generated, contributed to or altered habits of literary reading and, just as importantly, what pleasures motion-picture reading promised it readers.
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Salzberg, Ana. « Love Stories and General Principles : The Development of the Production Code ». Dans Produced by Irving Thalberg, 94–117. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474451048.003.0005.
Texte intégralRésumé :
This chapter examines Thalberg’s role in crafting the Motion Picture Production Code and its influence on cinematic sensuality in a post-talkie context. In 1929, Thalberg would write “General Principles to Cover the Preparation of a Revised Code of Ethics for Talking Pictures” on behalf of a three-person subcommittee, thus informing the industry’s adoption of a formal Production Code in 1930. These Principles outline Thalberg’s theorization of how studios could engage with the issue of regulation while still maintaining their commitment to “entertainment value.” The chapter takes these General Principles – and Thalberg’s extemporaneous defence of them at a 1930 meeting of the Association of Motion Picture Producers – as a lens through which to consider early-Code films such as Norma Shearer vehicle The Divorcée (Leonard, 1930) and Anita Loos-penned Red-Headed Woman (Conway, 1932), starring Jean Harlow.
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Gillespie, Michael Patrick. « Gothic Forms in Irish Cinema ». Dans Irish Gothic, 83–97. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781399500555.003.0005.
Texte intégralRésumé :
Though many Irish films have aspects of the Gothic, their structures generally adhered in a programmatic fashion to the guidelines of Classic Hollywood Cinema, and in this way they are similar to generic motion picture structures that could come from international studios in any part of the world. A select few films have produced uniquely Irish Gothic narratives, that is to say motion pictures that echoed the post-Modern tendencies of German Expressionists with unapologetically fragmented cultural contexts. To underscore these contrasts, this essay offers a sampling of the more conventional approaches and then take a closer look at these truly innovative forms. The construction of the Gothic films touched on underscores the oscillating perspectives of homegrown filmmakers presenting motion pictures contextualized in an environment of evolving characteristics of Irishness. In the twenty-first century, Irish cinema, like all of Irish society, struggles to discern a cultural identity. The Celtic Tiger did much to make Ireland more European, and even after the economic bubble burst those sentiments remain strong. It seems most likely that future Irish Gothic films will increasingly put their national character in brackets and move towards a more post-Modern sensibility.
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Reddy, M. Karthikeyan, K. Jai RamaKrishna et Dr V. Joshi Manohar. « IOT BASED LINE CONTROLLED ROBOT ». Dans Futuristic Trends in IOT Volume 2 Book 15, 52–61. Iterative International Publishers, Selfypage Developers Pvt Ltd, 2023. http://dx.doi.org/10.58532/v2bs15p1ch5.
Texte intégralRésumé :
This document will provide an idea on Line Following robot using a microcontroller and motor driver to control the motion of robot in specified marking. The line following robot is type of Automated Guide Vehicle (AGV) made using Arduino which follows a particular path (generally a black/white strip) and makes its way to the destination. In modern days the usage of intelligent electronic devices has drastically incremented in this context for the ease of applications based on path dependent criteria line follower robot will come into picture mostly. This path following mechanism is carried out by Infrared sensors. Line follower robot has a lot of daily-life applications such as home cleaning, entertainment areas etc
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Marzola, Luci. « The Academy Technical Bureau, Cooperative Research, and the Building of the Studio System ». Dans Engineering Hollywood, 164–94. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190885588.003.0007.
Texte intégralRésumé :
At the end of the 1920s, the Academy of Motion Picture Arts and Sciences (AMPAS) harnessed its role in the transition to sound to shift leadership of technical research to Hollywood. At the same time that it began the Sound School, the Academy established a Producers-Technicians Committee designed to pool knowledge of universal production practices. This chapter argues that AMPAS was able to establish itself as the authority over everyday technology in Hollywood through this committee and by absorbing the AMPP’s Technical Bureau. Through their collective scientific activities, the studios were able to take advantage of the knowledge and skills of their workers to solidify Hollywood’s dominance over the motion picture industry. At the same time, several new journals and publications for the dissemination of technical knowledge were established, including the International Photographer, Journal of the Society of Motion Picture Engineers, and the Academy Technical Digest, determining who disseminated knowledge, generated definitions, and created standards. The institutional structure established by the start of 1930 would remain stable throughout the golden age of Hollywood, making AMPAS both the clearinghouse and the gatekeeper that determined what the basic standards for technology would be and who would have access to this knowledge.
Actes de conférences sur le sujet "Generale (Motion picture)"
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Inui, Masatomo, et Makoto Takano. « Fast and Smooth NC Milling Animation Using Partial Redrawing Technique ». Dans ASME 2001 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2001. http://dx.doi.org/10.1115/detc2001/cie-21260.
Texte intégralRésumé :
Abstract Animation display of the NC milling process is helpful for detecting potential problems of a cutter path prior to actual machining. In the milling animation, machined shape of the workpiece is repeatedly computed and displayed after every short motion of the cutter. A single cutter motion usually removes very small portion of the workpiece, therefore most part of two successive pictures in the animation becomes the same. Based on this characteristic of the pictures, the authors develop “partial redrawing technique” for fast and smooth animation of the NC milling process. This method efficiently generates a new picture of the workpiece by properly modifying a limited part of the latest picture in the screen. The picture area to modify is determined based on the removed shape of the workpiece. An experimental system is implemented and some animations of complex milling processes are demonstrated.
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Sillyman, Sheldon S. « Forming a clear picture of holograms ». Dans OSA Annual Meeting. Washington, D.C. : Optica Publishing Group, 1991. http://dx.doi.org/10.1364/oam.1991.wo4.
Texte intégralRésumé :
In recent years, there has been a glorification of the capabilities of holography on television and in motion pictures. An exhibit dealing with holography would therefore be popular with the general public. Demonstration of the making of a hologram would provide the public with the realistic yet still fascinating uses for holograms that presently exist. A display could be built that demonstrates the fabrication of a simple transmission hologram using a laser, beam splitter, lenses, mirrors, and a film plate arranged either on an optical alignment bench or possibly in a sandbox for stability. The display would reside in a totally dark environment.
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Andreeva, Ekaterina. « ANCIENT RUSSIAN MOTIFS AND IMAGES IN THE POEMS OF ARSENY TARKOVSKY 1941-1945 ». Dans FIRST KULAKOV READINGS : ON THE FIELDS OF RUSSIA'S MILITARY. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3637.khmelita-19/149-159.
Texte intégralRésumé :
The article examines the functioning of ancient Russian artistic images and motifs in the poetry of Arseny Tarkovsky during the Great Patriotic War. The appeal to this motives and images fits modern events into the historical context, helps to create a general picture linking the past and present of the country. The author is particularly in demand for the images of Igor and Yaroslavna from “The Word about Igor's Regiment”, he reinterprets and re-creates images taking into account the new situation. Yaroslavna turns into a symbol of love, sadness, longing, memory, in her image everything opposes war and cruelty. In the poems of 1941-1946 there are references to the Horde invasion. Images of invaders appear in the lines of the poems associatively, intuitively: these are mongols, “tatarva”, Mamai. Poems about the war are devoid of pictures of battle, descriptions of cruel and destructive consequences, their main theme is the theme of love (not only between a man and a woman, but also love for the motherland) and memory, the connection of the past, present and future. Overestimating the cultural and historical material Arseny Tarkovsky fills the famous images with a new, universal sound.
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Ghosal, Ashitava, et Bahram Ravani. « Differential Geometric Analysis of Singularities of Point Trajectories of Serial and Parallel Manipulators ». Dans ASME 1998 Design Engineering Technical Conferences. American Society of Mechanical Engineers, 1998. http://dx.doi.org/10.1115/detc98/mech-5967.
Texte intégralRésumé :
Abstract In this paper, we present a differential-geometric analysis of singularities of point trajectories of two and three-degree-of-freedom serial and parallel manipulators. At non-singular configurations, the first order local properties are characterized by the metric coefficients, and, geometrically, by the shape and size of a velocity ellipse and ellipsoid for two and three-degree-of-freedom motions respectively. At singular configurations, the definition of a metric is no longer valid and the velocity ellipsoid degenerates to an ellipse, a line or a point, and the area or the volume of the velocity ellipse or ellipsoid becomes zero. The second and higher order properties, such as curvature, are also not defined at a singularity. In this paper, we use the rate of change of the area or volume to characterize the singularities of the point trajectory. For parallel manipulators, singularities may lead to either loss or gain of one or more degrees-of-freedom. For loss of degree of freedom, the ellipsoid degenerates to an ellipse, a line, or a point as in serial manipulators. For a gain of degree-of-freedom the singularities can be pictured as growth to lines, ellipses, and ellipsoids. The method presented gives a clear geometric picture as to the possible directions and magnitude of motion at a singularity and the local geometry near a singularity. The theoretical results are illustrated with the help of a general spatial 2R manipulator and a three-degree-of-freedom RPSSPR-SPR parallel manipulator.
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Edwards, R. « Multi-Directional Seas - A practical Tool for Evaluating the Feasibility of Marine Operations ». Dans SNAME 22nd American Towing Tank Conference. SNAME, 1989. http://dx.doi.org/10.5957/attc-1989-033.
Texte intégralRésumé :
The timing and feasibility of installing skyscraper sized structures in the ocean depends strongly upon limitations dictated by motion response of complex combinations of heavy 11ft vessels, barges and the structures to be installed, all Joined by elastic tethers. Exposure of these systems to long crested and Irregular seas in a model test does not produce a complete picture of the response to a realistic environment. In several recent model test programs to support the assessment of the feasibility of Installing large structures, short crested seas have been generated and imposed on combinations of semi-submerged vessels and jacket structures in partial contact with the bottom. In some cases, the expectation that short crested seas would result in less severe system loads and motions was not realized. This paper will discuss the methodology employed to set up the complex physical simulation of lowering a 10,000 + ton offshore tower and mating It to a predrilled template in a North Sea environment. The techniques used to generate the multi-directional seas will be presented and the resulting functions characterizing the measured model sea will be presented and compared to the desired. The responses of a complex moored system of structure and semi-submersible lift ship to irregular and short crested seas will be presented and compared.
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Pumas, Roland A. « Total quality management … the big picture ». Dans OSA Annual Meeting. Washington, D.C. : Optica Publishing Group, 1991. http://dx.doi.org/10.1364/oam.1991.tub1.
Texte intégralRésumé :
There are a few critical issues is developing a stable, controlled, and effective quality improvement effort. Here we present these in a linear sequence, following the order of implementation. There are three cognitive areas and four practice areas. The former are: (1) the operational definition of quality is predictive of efforts, measures, success, and competitive blind spots. We present categories of definitions, and show how critical it is to get beyond the packaged mottos that come with training programs. (2) A total quality culture has distinctive attributes that are generally not found in traditional companies. Nine key differentiators are presented and discussed. After the culture gap is described, we offer an expedited approach to addressing the need for culture change. (3) Information can be processed using a variety of logics. Deming has long preached the need for greater statistical thinking. We present the three basic thinking approaches that management uses: rational, scientific, and pattern recognition, and explain the benefits, rewards, and costs of each.
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Kobus, C. J., et Y. P. Chang. « Teaching Kinematics and Kinetics From a Project-Based Experience Analyzing Sci-Fi Motion Pictures : A Star Trek Example ». Dans ASME 2012 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/imece2012-88215.
Texte intégralRésumé :
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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Jordaan, Ian, et Philippa Gosine. « The Titanic Disaster and Ice Mechanics : Completing the Picture ». Dans SNAME 10th International Conference and Exhibition on Performance of Ships and Structures in Ice. SNAME, 2012. http://dx.doi.org/10.5957/icetech-2012-149.
Texte intégralRésumé :
Although the Titanic disaster occurred 100 years ago, explanations of the failure rely heavily on studies of the structural failure (failure of the rivets, brittle fracture of the side plate, ... for example). Very little attention has been paid to how the ice delivered the required force. Background to the disaster is reviewed and in particular the records of experiences of passengers showing that the impact involved a “slight jar” or a “little vibration”. These indicate small global loading but not excluding the possibility of high local loading. The construction of the Titanic is described, and in particular the overlapping plates connected by rivets. Evidence based on ultrasonic scans and calculations of the flow of water into the vessel suggests that the failure was associated with a series of slits in the hull, with a total area of about 12 square feet. Recent explorations into the strength of the rivets are described. The main focus of the paper is then introduced: the formation of high pressure zones in ice compressive failure. The total load in these tests may be of the order of several MN. The high-pressure zones are characterized by a localization of damage in the ice resulting in the formation of a distinct layer of microstructurally modified material. Pressures from the ramming of ice features in ship rams are analyzed, and it is again shown that forces associated with quite small areas may be of the order of several MN. When compared to the strength of the rivets, it is clear that enough force can be generated to cause slits of the kind deduced from the evidence. The results are also consistent with the observed small motions of the ship during impact. The Titanic was not designed for interaction with ice and avoidance would have been a wise course of action. It seems inappropriate to suggest that poor rivet construction was the cause of the sinking. The main cause was the high local loads involved in ice-structure interaction.
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Soni, Prashant K., et Carl M. Larsen. « Vortex Pattern Comparison for Periodic and Harmonic Combined Cross-Flow and In-Line Forced Oscillations ». Dans ASME 2009 28th International Conference on Ocean, Offshore and Arctic Engineering. ASMEDC, 2009. http://dx.doi.org/10.1115/omae2009-80089.
Texte intégralRésumé :
For prediction of vortex-induced vibrations (VIV) the empirical models apply hydrodynamic coefficients to represent the fluid forces on the slender structures. The coefficients are in most cases found by measuring forces on a rigid cylinder under harmonic pure in-line (IL) or pure cross-flow (CF) forced motions, and are generally presented as functions of non-dimensional motion amplitude and frequency. The objective of the present work has been to find hydrodynamic coefficients for realistic combinations of CF and IL motions. Such trajectories were found from measured VIV of a flexible beam, and then used as forced motions of a rigid cylinder in uniform flow. Hydrodynamic forces were measured and used for calculation of hydrodynamic coefficients. The diameter of the rigid cylinder was larger than for the flexible beam in order to obtain optimum conditions for both experiments. However, both Reynolds number and non-dimensional frequency were identical for the two test types. The flexible beam oscillations were not perfectly periodic, but close to. More than one periodic trajectory could hence be identified as representative for the observed response, and these were used as forced motions in order to study the variability of the hydrodynamic coefficients. Alternative harmonic loops were also constructed in order to investigate the potential for using coefficients from harmonic tests as basis for empirical models. The vortex shedding process behind the cylinder has been mapped using Particle Image Velocimetry (PIV). PIV planes can picture the difference in cylinder wake for these trajectories and thus help to understand the process. The vorticity patterns at instantaneous positions for both periodic and harmonic trajectories are obtained. The vortices were mapped and the forces were measured simultaneously. Higher order harmonic components of the force are seen for all types of trajectories, and a correlation between these components and the vortex shedding pattern is observed.
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Soltani, Mohammad Reza, et Mohammad Farahani. « Experimental Investigation of Flow Instability in a Supersonic Inlet ». Dans ASME 2010 10th Biennial Conference on Engineering Systems Design and Analysis. ASMEDC, 2010. http://dx.doi.org/10.1115/esda2010-24858.
Texte intégralRésumé :
An extensive wind tunnel test series were conducted on an axisymmetric supersonic inlet. The model was tested at Mach numbers from 1.8 to 2.2 and at different values of mass flow rate. Shadowgraph flow visualization was used to capture the external shock structure in front of the inlet. The goal of this study is to find out the general characteristics of the inlet buzz. Frequencies of the buzz have been achieved from the analysis of the pressure data as well as the shadowgraph pictures. The amplitude of the shock waves motion has been measured from the visualization pictures too. In the some large value of mass flow rate, the frequency of shock oscillation increased versus Mach number. Also in each Mach number due to the mass flow rate decrement, the buzz frequency decreases and its amplitude increases conversely. Also buzz instability affects the external flow by the same frequency of the internal one.