Letteratura scientifica selezionata sul tema "Booth Hansen (Firm)"
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Articoli di riviste sul tema "Booth Hansen (Firm)"
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Littrup, Signe Lykke, e Poul Grinder-Hansen. "Fakta og fantasi, historiebrug og museernes troværdighed". Nordisk Museologi 35, n. 1-2 (2 gennaio 2024): 20–36. http://dx.doi.org/10.5617/nm.10817.
Testo completoAbstract (sommario):
This article discusses a somewhat controversial exhibition at the UNESCO World Heritage Site Kronborg Castle in Elsinore, The Royal Series at Kronborg Castle – Facts and Imagination with Jim Lyngvild and Poul Grinder- Hansen, which opened at Kronborg Castle in April 2021. The authors contributed to the exhibition’s content and form, Signe Lykke Littrup as curator and project manager, senior researcher Poul Grinder-Hansen as historical co-creator of the exhibition’s content in text, speech, and film. The article is built around experiences from the exhibition, methodological and theoretical considerations about its communication skills and quotes from interviews with guests who visited the exhibition in the summer and autumn of 2021. The article concludes that a cultural-historical exhibition can, through the conscious use of both contemporary and ancient works of art in a dialogue-based form, involve guests and create considerations about the conditions for the uses of the past in storytelling.
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Bak, Árpád. "From a Tactile Epistemology to the Ontology of Affect: Two Readings of Deleuze’s Time-Image in Film and New Media Theory". Acta Universitatis Sapientiae, Film and Media Studies 6, n. 1 (1 agosto 2013): 19–33. http://dx.doi.org/10.2478/ausfm-2014-0002.
Testo completoAbstract (sommario):
Abstract The paper compares how two theorists of media arts, Mark B. N. Hansen and Laura U. Marks, interpret the relation of Deleuze’s time-image to corporeality. Both argue that some novel types of images - in film and media art - engage the body in new and also more intensive ways than traditional cinema did. While they remain committed to Bergson’s theory of perception, their works offer different readings of how the Bergsonian concepts of Deleuze’s film philosophy can be applied to new media: on the one hand, to the non-signifying, affective properties of Hansen’s digital image in contemporary media arts, and on the other, to Marks’s - in the last instance, memory-signifying - haptic image, which she discussed initially in connection with video art and experimental film. In New Philosophy for New Media (2004), Hansen asserts that “Deleuze’s neo-Bergsonist account of the cinema carries out the progressive disembodying of the [body]”, which “reaches its culmination in […] what he calls the ‘time-image,’” and calls for “a rehabilitation of Bergson’s embodied concept of affection.” While Marks also offers some criticism on Deleuze, she suggests that his “theory of timeimage cinema permits a discussion of the multisensory quality of cinema,” and undertakes to examine “how the body may be involved in the inauguration of time-image cinema.” Besides arguing that both tendencies are present in Deleuze to varying degrees, I attempt to contextualize the divergences in their lines of thought by looking at the types of media and selection of works they examine, as well as the possible theoretical commitments that might guide these selective strategies
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Jones, Gavin, Ralph Gutierrez, Douglas Tempel, William Berigan, Sheila Whitmore e Zachariah Peery. "Megafire effects on spotted owls: elucidation of a growing threat and a response to Hanson et al. (2018)". Nature Conservation 33 (4 aprile 2019): 21–41. http://dx.doi.org/10.3897/natureconservation.33.32741.
Testo completoAbstract (sommario):
The extent to which wildfire adversely affects spotted owls (Strixoccidentalis) is a key consideration for ecosystem restoration efforts in seasonally dry forests of the western United States. Recently, Jones et al. (2016) demonstrated that the 2014 King Fire (a “megafire”) adversely affected a population of individually-marked California spotted owls (S.o.occidentalis) monitored as part of a long-term demographic study in the Sierra Nevada, California, USA because territory occupancy declined substantially at territories burned at high-severity and GPS-tagged spotted owls avoided large patches of high-severity fire. Hanson et al. (2018) attempted to reassess changes in territory occupancy of the Jones et al. (2016) study population and claimed that occupancy declined as a result of post-fire salvage logging not fire per se and suggested that the avoidance of GPS-marked owls from areas that burned at high-severity was due to post-fire logging rather than a response to high-severity fire. Here, we demonstrate that Hanson et al. (2018) used erroneous data, inadequate statistical analyses and faulty inferences to reach their conclusion that the King Fire did not affect spotted owls and, more broadly, that large, high-severity fires do not pose risks to spotted owls in western North American dry forest ecosystems. We also provide further evidence indicating that the King Fire exerted a clear and significant negative effect on our marked study population of spotted owls. Collectively, the additional evidence presented here and in Jones et al. (2016) suggests that large, high-severity fires can pose a threat to spotted owls and that restoration of natural low- to mixed-severity frequent fire regimes would likely benefit both old-forest species and dry forest ecosystems in this era of climate change. Meeting these dual objectives of species conservation and forest restoration will be complex but it is made more challenging by faulty science that does not acknowledge the full range of wildfire effects on spotted owls.
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Jones, Gavin M., R. J. Gutiérrez, H. Anu Kramer, Douglas J. Tempel, William J. Berigan, Sheila A. Whitmore e M. Zachariah Peery. "Megafire effects on spotted owls: elucidation of a growing threat and a response to Hanson et al. (2018)". Nature Conservation 37 (1 ottobre 2019): 31–51. http://dx.doi.org/10.3897/natureconservation.37.32741.
Testo completoAbstract (sommario):
The extent to which wildfire adversely affects spotted owls (Strix occidentalis) is a key consideration for ecosystem restoration efforts in seasonally dry forests of the western United States. Recently, Jones et al. (2016) demonstrated that the 2014 King Fire (a “megafire”) adversely affected a population of individually-marked California spotted owls (S. o. occidentalis) monitored as part of a long-term demographic study in the Sierra Nevada, California, USA because territory occupancy declined substantially at territories burned at high-severity and GPS-tagged spotted owls avoided large patches of high-severity fire. Hanson et al. (2018) attempted to reassess changes in territory occupancy of the Jones et al. (2016) study population and claimed that occupancy declined as a result of post-fire salvage logging not fire per se and suggested that the avoidance of GPS-marked owls from areas that burned at high-severity was due to post-fire logging rather than a response to high-severity fire. Here, we demonstrate that Hanson et al. (2018) used erroneous data, inadequate statistical analyses and faulty inferences to reach their conclusion that the King Fire did not affect spotted owls and, more broadly, that large, high-severity fires do not pose risks to spotted owls in western North American dry forest ecosystems. We also provide further evidence indicating that the King Fire exerted a clear and significant negative effect on our marked study population of spotted owls. Collectively, the additional evidence presented here and in Jones et al. (2016) suggests that large, high-severity fires can pose a threat to spotted owls and that restoration of natural low- to mixed-severity frequent fire regimes would likely benefit both old-forest species and dry forest ecosystems in this era of climate change. Meeting these dual objectives of species conservation and forest restoration will be complex but it is made more challenging by faulty science that does not acknowledge the full range of wildfire effects on spotted owls.
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Skare, Roswitha. "Nanook of the North (USA, 1922/1947/1976/1998) and film exhibition in the classical silent era". Journal of Documentation 72, n. 5 (12 settembre 2016): 916–29. http://dx.doi.org/10.1108/jd-06-2015-0078.
Testo completoAbstract (sommario):
Purpose The purpose of this paper is to provide a discussion on whether more traditional documents like a film of the classical silent era can be discussed as an unbounded document. Design/methodology/approach By taking Gérard Genette’s concept of the paratext as point of departure and focussing on the exhibition of Nanook of the North during the silent era, the paper discusses elements neglected in most of the academic writings about the film, thereby illustrating the highly problematic notion of film as one original or authentic document that comes as a repeatable unit with clear borders. Findings More a “one-time performance” (Hansen, 1991, p. 93) than identical repetition of the film is one argument for talking about a document unbounded. Genette’s concept of the paratext provides a tool to handle the fluid character of these performances and makes us conscious about the complexity of elements both outside and inside the document and on the border between the inside and the outside. In documentation studies the concept of the paratext provides us with a terminology that allows us to place and name elements of a document belonging to its materiality. Originality/value In providing a case study based on archival material that has not been used before and is not available to a wider public, this paper shows the relevance of investigating films not as a repeatable unit with clear borders, but rather as an unbounded document.
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Kupfer, Peter. "Volga-Volga". Journal of Musicology 30, n. 4 (2013): 530–76. http://dx.doi.org/10.1525/jm.2013.30.4.530.
Testo completoAbstract (sommario):
Volga-Volga (1938), the third musical comedy made by the Soviet director-composer team of Grigory Aleksandrov and Isaak Dunayevsky, is one of the most emblematic films of the Soviet 1930s. Indeed, it won its makers a Stalin Prize in 1941 and was supposedly Stalin’s favorite film. But Volga-Volga was also a success with Soviet viewers: they flocked by the millions to see the film, which was still playing in theaters at the outbreak of war in June 1941. As a combination of slapstick comedy and memorable musical numbers that addressed an appropriately Soviet theme, the film clearly spoke to both the masses and officials. But what does Volga-Volga have to say? The film tells the story of a musical “civil war” between a folk ensemble and a classical orchestra, both of which head to Moscow to participate in the national musical Olympiad. Due to “accidental” circumstances, the two ensembles eventually join forces and win the competition with a performance of the “Song about the Volga.” Though this merger of musical forces and styles seems to serve predominantly comedic purposes, the “story of a song” can also be read as a commentary on the development of music in the Soviet Union in the 1930s. In a period marked by debates and uncertainties in all realms of musical production about what exactly Socialist Realist music was to be, Aleksandrov and Dunayevsky offer as their solution a musical practice that advocates inclusivity by seeking to combine features from many types of music into a distinctly Soviet blend. This thematization of music is enhanced by the nature of the film musical, whose stylistic reliance on music as a bridge between real and ideal worlds embodies the aesthetic demands of Socialist Realism. Furthermore, the film can be understood as an instance of what film scholar Miriam Hansen calls “vernacular modernism,” namely, the adaptation of an American cinematic model into a foreign context as a tool for reflecting and refracting experiences of modernity.
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Epstein, Richard A. "A Modern Defense of Simple Rules for a Complex World". Texas A&M Law Review 10, n. 3 (marzo 2023): 581–618. http://dx.doi.org/10.37419/lr.v10.i3.6.
Testo completoAbstract (sommario):
My 1995 book Simple Rules for a Complex World articulated a general proposition that, in most situations, simple legal rules perform better in two key dimensions: (1) they are simpler to interpret and enforce, and (2) they generate efficient incentives on the parties to whom they apply. I then applied that view to matters of general legal theory, to matters of environmental law, and to disputes over labor. These principles apply to all forms of legal regulation, but in this Article, I shall limit my analysis to the five articles in this Collection. These are by Richard Revesz on global warming, Cynthia Estlund on the contract at will, Lior Strahilevitz and Rebecca Hansen on labor organization efforts on company property, Lee Anne Fennell on price discrimination, and Franita Tolson on the independent state legislature theory. The Revesz Article takes an extreme position on responses to global warming that misses the inherent cyclical nature of the underlying determinants of global warming, and thus calls for prompt intervention in energy markets that is likely to prove far more costly and socially destructive than the current energy markets dominated by fossil fuels. The Estlund Article imposes unworkable restrictions on the ability to hire and fire that cannot work especially in two key contexts: both start-ups with high turnover rates as well as mass layoffs. Hansen and Strahilevitz defend an unduly aggressive application of statutes of limitations that would, if adopted, make it vastly more difficult to mount any challenge against virtually any regulation. I then offer a brief and sympathetic comment on Lee Ann Fennell’s price discrimination analysis, which demonstrates the ability of standard contractual forms to facilitate beneficial cooperation in a wide variety of market situations. Finally, the Tolson Article on the independent state legislature theory does not present challenges to the Simple Rules issue, but it does illustrate the perils often inherent in overly clever approaches to constitutional interpretation. A close examination of these articles shows how the dangers of complex legal rules, and the corresponding benefits of simple legal rules, are as relevant today as they were some 28 years ago.
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Prabowo, Rony. "Pengendalian Persediaan Bahan Baku Oli Untuk Mesin Diesel Tipe G4J-801, G5J-801 dan G7J-801 di PT. Hansan Asembling – Malang". PROZIMA (Productivity, Optimization and Manufacturing System Engineering) 1, n. 1 (6 aprile 2017): 33. http://dx.doi.org/10.21070/prozima.v1i1.704.
Testo completoAbstract (sommario):
Inventories of raw materials is one of the most important elements in the company's operations are continuously must be obtained, processed and resold. The raw material is meant for the smooth running of production operations set. So, we need an optimum inventory levels to meet the needs of both the quantity, quality and time at a low cost. For that we need a system of planning and inventory control are best - well, that inventories of raw materials should be defined and calculated correctly and accurately in order to obtain a low total cost of inventory that can minimize the cost of production. Forecasting approach is expected to represent the number of actual demand in the coming period. Based on the number of requests of forecasting results can be determined raw material inventory control. By using EOQ then firms will be able to minimize the cost of raw material supplies of oil. Companies should pay attention to the order of recording historical data of oil, classification of costs - the cost of orders and storage costs, because such data is necessary to obtain optimal results inventory control. Keywords: inventory control planning, forecasting, EOQ
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Talbot, Steve. "Creating a smart rural economy through smart specialisation: The microsphere model". Local Economy: The Journal of the Local Economy Policy Unit 31, n. 8 (18 novembre 2016): 892–919. http://dx.doi.org/10.1177/0269094216678601.
Testo completoAbstract (sommario):
The failure of most developed western economies to return to the rates of economic growth enjoyed in earlier times has raised the spectre of secular stagnation first identified by Hansen in the 1930s. Central to secular stagnation is the complex link between capital investment and innovation, prompting fears that the recent collapse in investment is both a cause and an effect of the so-called end of innovation. The emergence of so-called zombie companies suggests a curtailment of creative destruction. The paper looks to the smart specialisation agenda and demand-led strategies for innovation as a means of removing innovation activity from reliance on large-scale top-down capital investment, instead shifting the focus to the role of the entrepreneur in the innovation and growth process. Key features of smart specialisation are used to underpin the construction of a conceptual model (the microsphere) that presents policymakers with a framework to reconnect with the entrepreneur to boost innovation and growth at the level of the region. The model frames the microsphere within which smart specialisation takes place, and how this can encourage innovation among small non-growth rural firms. Influenced by New Industrial Policy and the social geographies underpinning reflexive capitalism, the model builds on the entrepreneurial discovery process inherent in smart specialisation. The model provides policymakers with a guide to operationalise a smart specialisation strategy. Finally, the model is tested in a case study based on the priorities of an economic strategy of a rural region of Scotland.
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Mamo, Jermen, Paulos Getachew, Mbugua Samuel Kuria e Fassil Assefa. "Application of Milk-Clotting Protease from Aspergillus oryzae DRDFS13 MN726447 and Bacillus subtilis SMDFS 2B MN715837 for Danbo Cheese Production". Journal of Food Quality 2020 (10 giugno 2020): 1–12. http://dx.doi.org/10.1155/2020/8869010.
Testo completoAbstract (sommario):
This study aimed to investigate the efficiency, biochemical composition, and sensory quality of Danbo cheese produced using proteases derived from the fungus and bacterium compared to the commercial product. A fungal enzyme from Aspergillus oryzae DRDFS13MN726447 and a bacterial enzyme from Bacillus subtilis SMDFS 2B MN715837 were produced by solid-state and submerged fermentation, respectively. The crude enzyme from A. oryzae DRDFS13 and B. subtilis SMDFS 2B was partially purified by dialysis and used for Danbo cheese production using commercial rennet (CHY-MAX® Powder Extract NB, Christian Hansen, 2235 IMCU/g) as a control. The Danbo cheese produced using dialyzed fungal enzyme (E1) (267 U/mL), dialyzed bacterial enzyme (E2) (522 U/mL), and commercial rennet (C) were analyzed for body property, organoleptic characteristics, and proximate and mineral composition when fresh and after 2 months of ripening. There was no significant difference in the cheese yield (C = 9 kg, E1 = 8.6 kg, and E2 = 8.9 kg) among the three treatments. The body properties of Danbo cheese produced with the fungal enzyme (E1) were firm and acceptable as the control (C), whereas the Danbo cheese produced by bacterial enzymes has shown a watery body. The overall organoleptic characteristics of Danbo cheese produced by the fungal enzyme (5.3) were similar to control cheese produced by commercial rennet (5.5). Both cheese types were significantly different in organoleptic properties from Danbo cheese produced by the bacterial enzyme (4.9). There was no significant difference (p>0.05) in the proximate composition between the ripened Danbo cheese produced by fungal enzyme and the control cheese except for crude protein content. However, the ripened cheese products showed a significant difference in their mineral composition except for sodium. In conclusion, this study demonstrated that the fungal enzyme from Aspergillus oryzae DRDFS 13 is more appropriate for Danbo cheese production than the bacterial enzyme from Bacillus subtilis SMDFS 2B. However, it requires further application of the enzymes for the production of other cheese varieties.
Libri sul tema "Booth Hansen (Firm)"
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Associates, Booth Hansen, a cura di. Total performance architecture: The work of Booth Hansen. San Raphael: ORO editions, 2015.
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Westover, Daniel, e Thomas Alan Holmes, a cura di. The Fire That Breaks. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781942954361.001.0001.
Testo completoAbstract (sommario):
The Fire that Breaks traces Gerard Manley Hopkins’s continuing and pervasive influence among writers of the twentieth and twenty-first centuries. Not only do the essays explore responses to Hopkins by individual writers—including, among others, Virginia Woolf, Ivor Gurney, T. S. Eliot, Elizabeth Bishop, Seamus Heaney, Geoffrey Hill, Derek Walcott, Denise Levertov, John Berryman, Charles Wright, Maurice Manning, and Ron Hansen—but they also examine Hopkins’s substantial influence among Caribbean poets, Appalachian writers, modern novelists, and contemporary poets whose work lies at the intersection of ecopoetry and theology. Combining essays by the world’s leading Hopkins scholars with essays by scholars from diverse fields, the collection examines both known and unexpected affinities. The Fire that Breaks is a persistent testimony to the lasting, continuing impact of Hopkins on poetry in English.
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Hansen, Christine, e Tom Griffiths. Living with Fire. CSIRO Publishing, 2012. http://dx.doi.org/10.1071/9780643104808.
Testo completoAbstract (sommario):
Within the Yarra River catchment area nestles the valley of Steels Creek, a small shallow basin in the lee of Kinglake plateau and the Great Dividing Range. The escarpment walls of the range drop in a series of ridges to the valley and form the south-eastern boundary of the Kinglake National Park. The gentle undulations that flow out from the valley stretch into the productive and picturesque landscape of Victoria’s famous wine growing district, the Yarra Valley.
Late on the afternoon of 7 February 2009, the day that came to be known as Black Saturday, the Kinglake plateau carried a massive conflagration down the fringing ranges into the Steels Creek community. Ten people perished and 67 dwellings were razed in the firestorm. In the wake of the fires, the devastated residents of the valley began the long task of grieving, repairing, rebuilding or moving on while redefining themselves and their community.
In Living with Fire, historians Tom Griffiths and Christine Hansen trace both the history of fire in the region and the human history of the Steels Creek valley in a series of essays which examine the relationship between people and place. These essays are interspersed with four interludes compiled from material produced by the community. In the immediate aftermath of the fire many people sought to express their grief, shock, sadness and relief in artwork. Some painted or wrote poetry, while others collected the burnt remains of past treasures from which they made new objects. These expressions, supplemented by historical archives and the essays they stand beside, offer a sensory and holistic window into the community’s contemporary and historical experiences.
A deeply moving book, Living with Fire brings to life the stories of one community’s experience with fire, offering a way to understand the past, and in doing so, prepare for the future.
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Suárez, Juan A. The Sound of Queer Experimental Film. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0013.
Testo completoAbstract (sommario):
This chapter characterises the music and sound of queer experimental film. It starts out with a historical revision of some social, cinematographic and musical developments that impinged on the evolution of queer experimental film. It then theorises about the possibility of a queer sound and music. And it subsequently characterises three modalities of aural queerness: camp, noisiness and dissonance. These modes share an epistemic uncertainty about the location and the very matter of what counts as queer, so that queerness has to be explored as an open question or a potential frame of reference; as a possibility that is communicated by sound just as much as by the image. The chapter takes as examples of these modes both historical filmmakers, such as Jack Smith, Kenneth Anger, Andy Warhol and Barbara Hammer, and more recent ones, such as Hans Scheirl, David Domingo, Jennifer Reeves, Luther Price and William E. Jones.
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Solomon, William. Theoretical Interlude. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040245.003.0007.
Testo completoAbstract (sommario):
Lookout honey, ’cause I’m using technology Ain’t got no time to make no apology—The Stooges, “Search and Destroy”Walter Benjamin’s Depression-era reflections on the collective functions of modernist poetry and slapstick film, on the ways they both struggled to negotiate the psychosomatic impact of capitalist modernity, provide a strong model for grasping the utopian impulses structuring the phenomenon I have termed “slapstick modernism.” The strain of his thought that is most valuable in this regard is the one tending in the direction of an anthropological materialism. Particularly promising is the constellation of concepts that he was still in the process of elaborating at the end of his life: innervation, (corporeal) mimesis, second technology, and play. Holding these concepts together is the idea that affectively charged cultural practices may play a crucial role in fashioning an antifascist social body, one capable of adjusting to its technologically mediated environment. For Benjamin, literary modernism and silent comedy participated in the same general project: the historical mission or task they assigned themselves was to contribute to the construction of a collective agent that would be capable of determining its own future. If, as Miriam Hansen argues, Benjamin’s investment in film was not the result of a “futurist or constructivist enthusiasm for the machine-age,” but arose from his hope that the medium “might yet counter the devastating effects of humanity’s ‘bungled reception of technology,’ which had come to a head with World War I” (...
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Miklitsch, Robert. I Died a Million Times. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043611.001.0001.
Testo completoAbstract (sommario):
The Age of Affluence. Ike and Mamie. The Man in the Gray Flannel Suit. In the United States, the 1950s have been memorialized as the Pax Americana. A similar stereotypical view has characterized the 1950s crime film. While the big-shot gangster dominated the headlines in the 1930s and the private eye graced the 1940s, both the gangster picture and film noir were declared DOA in the 1950s. There is, of course, another, less than perfect picture of the ’50s in which the tropes associated with the decade are rather darker. Commies. Aliens from outer space. The bomb. I Died a Million Times argues that the crime film is alive and well in the 1950s in the generic guise of gangster noir. The corpus delicti is a trio of subgenres that crystallized in the period and that correlates with the above symptomatic events: the syndicate picture, the rogue cop film, and the heist movie. These subgenres and the issues associated with them--the “combo” as capitalism incarnate, the letter of the law versus the lure of vigilantism, and the heist as a “left-handed form of human endeavor”--may appear black and white in the rearview mirror of history, but from another perspective, one that’s attentive to issues such as race (The Phenix City Story), class (The Prowler), gender (The Big Heat), sexuality (The Big Combo), the nation (The Asphalt Jungle), and the border (Touch of Evil), these signal, not-so-generic films are as vibrant and colorful as the decade itself.
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Bick, Sally. Unsettled Scores. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042812.001.0001.
Testo completoAbstract (sommario):
Unsettled Scores treats the Hollywood activities of Aaron Copland and Hanns Eisler, who were among the earliest modernist composers to negotiate the collision of the high/low dichotomy within these two cultural realms. The social and political crises provoked by capitalism and war profoundly affected these ideals and, in turn, the men’s cultural and aesthetic thinking. Confronting and living through social crisis (Eisler during the instability of Weimar Germany and Copland through America’s Depression years), both composers experimented with new artistic forms and values, shaping their musical perspectives. Eventually, they turned to Hollywood, where they found possibilities to negotiate their distinct modernist aesthetics and political beliefs. The book approaches Copland’s and Eisler’s Hollywood activities through a dual study, pairing interpretations of their writings on the subject with close examination of their first film scores: Copland’s music for Lewis Milestone’s 1939 film Of Mice and Men and Eisler’s 1943 score for Hangmen Also Die!, directed by Fritz Lang. This study examines how the highly politicized and topical nature of these films appealed to each composer’s political ideologies concerning society and the human condition. Their scores became agents for political expression as they transformed their individual styles into the commercial sphere.
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Lennartz, Norbert, e Jonas Nesselhauf, a cura di. Ästhetik(en) der Pornographie. Nomos Verlagsgesellschaft mbH & Co. KG, 2021. http://dx.doi.org/10.5771/9783748927198.
Testo completoAbstract (sommario):
Pornography has long been an omnipresent phenomenon in both everyday and popular culture: representations of sexualities and the sexual body (the suffix ‘-graphy’ refers to this depictive and staging character) through language, signs and images can be found at any time and in any culture, but since the 20th century, of course, especially in photography and film. Over the centuries, specific writing strategies have emerged in order to escape censorship, and representations characterised by a ‘male gaze’ have been established—aesthetics of pornography that tread a narrow line between being ‘artfully’ erotic and ‘wickedly’ obscene. With contributions by Tatiana Ageeva, Hans Richard Brittnacher, Philip Jacobi, Katharina Kohm, Norbert Lennartz, Christian Lenz, Swantje van Mark, Jonas Nesselhauf, Wieland Schwanebeck and Sabine Sielke.
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Towlson, Jon. Candyman. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325543.001.0001.
Testo completoAbstract (sommario):
When Candyman was released in 1992, Roger Ebert gave it his thumbs up, remarking that the film was “scaring him with ideas and gore, rather than just gore.” Indeed, Candyman is almost unique in 1990s horror cinema in that it tackles its sociopolitical themes head on. As critic Kirsten Moana Thompson has remarked, Candyman is “the return of the repressed as national allegory”: the film's hook-handed killer of urban legend embodies a history of racism, miscegenation, lynching, and slavery, “the taboo secrets of America's past and present.” This book considers how Candyman might be read both as a “return of the repressed” during the George H. W. Bush era, and as an example of 1990s neoconservative horror. It traces the project's development from its origins as a Clive Barker short story (The Forbidden); discusses the importance of its gritty real-life Cabrini-Green setting; and analyzes the film's appropriation (and interrogation) of urban myth. The two official sequels (Candyman: Farewell to the Flesh [1995] and Candyman: Day of the Dead [1999]) are also considered, plus a number of other urban myth-inspired horror movies such as Bloody Mary (2006) and films in the Urban Legend franchise. The book features an in-depth interview with Candyman's writer-director Bernard Rose.
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Alewell, Dorothea, e Wenzel Matiaske, a cura di. Standards guter Arbeit. Nomos Verlagsgesellschaft mbH & Co. KG, 2019. http://dx.doi.org/10.5771/9783845299310.
Testo completoAbstract (sommario):
The changes in the labour market as a result of an increase in non-standard employment raises the question of how to ensure decent labour standards today. This question cannot be answered by one discipline alone. Instead, finding an answer demands collaboration in an interdisciplinary endeavour to determine labour standards for improved well-being. In this collection of studies, contributions from psychology look at labour and health; contributions from human resource management (HRM) investigate the effects of both HRM strategies and diversity management and of religion at work, and look at the impact of legal regulations on working hours and co-determination; a contribution from protestant theology analyses the interaction between work and meaning; and finally contributions from the field of law take a look at the legal status of employees when firms are organised as networks and at the social security regulations for self-employed individuals. With contributions by Katharina Klug and Jörg Felfe; Christine Busch and Tim Vahle-Hinz; Sven Hauff; Daniela Rastetter; Dorothea Alewell and Tobias Moll; Barbara Müller, Christoph Seibert and Oliver Vornfeld; Florian Schramm and Ines Kanngießer; Margarete Schuler-Harms and Katharina Goldberg; Hans Hanau and Wenzel Matiaske
Capitoli di libri sul tema "Booth Hansen (Firm)"
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Mojsak, Łukasz. "From the Workshop of the Film Form to Martial Law : On the Intersecting and Bifurcating Paths of Paweł Kwiek’s and Józef Robakowski’s Cinematographic Work in the 1970s and the 1980s". In Experimental Cinemas in State-Socialist Eastern Europe. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789462982994_ch03.
Testo completoAbstract (sommario):
Józef Robakowski and Paweł Kwiek both played significant roles in expanding experimental film paradigms within the Workshop of the Film Form (WFF)—the most important Polish experimental film group of the 1970s. While neither opposed the Socialist regime, both resisted institutional, social, and political structures driving its film culture. The chapter highlights the subtle political engagement of Robakowski’s work alongside his attempted reforms at the Łódź Film School, activities that the martial law of 1981 dramatically halted. It also addresses Kwiek’s collaborations with the Academy of Fine Arts in Warsaw and how, informed by architect Oskar Hansen, he challenged authorities to open up channels of genuine communication with society, highlighting a social purpose for experimental filmmaking in the process.
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Coke, Gerald. "Collecting Handel". In Handel Collections and their History, 1–9. Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198162995.003.0001.
Testo completoAbstract (sommario):
Abstract I STARTED my Handel Collection in the mid-193os. Its genesis was an interest both in fine books and music, and the idea that the two interests should be channelled into the formation of a collection of fine and first editions of music. After a false start collecting Mozart first editions, which turned out to be too expensive (and over-collected), the idea of a Handel collection was born. This dream could not have been translated into reality without the help of Percy Muir of Elkin Mathews whom I met through a mutual friend. Not only did he take immense trouble to learn about the subject—his firm had not previously done any business in this particular field—but he secured for me several indispensable guides, including a detailed list of the printed music in Newman Flower’s collection and a copy of Schoelcher’s catalogue of librettos.
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Wheatley, Catherine. "Isabelle’s espadrilles, or, les chaussures d’Huppert". In Shoe Reels, 279–92. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474451406.003.0021.
Testo completoAbstract (sommario):
This chapter examines the role of shoes in Mia Hansen-Love’s 2016 film L’Avenir/Things to Come, particularly as worn by Isabelle Huppert, who plays the character Nathalie Chazeaux. The chapter analyses both the film and Huppert’s career more broadly through the lens of philosopher Stanley Cavell’s work on cinema. The shoes that Huppert sports as Nathalie in this film deepen and expand our understanding of the character, offering a more nuanced view of Huppert as a star and a performer, and allowing us to understand that her repertoire expands beyond stillness, passivity and micro-gesture. Finally, while Huppert’s shoes are revelatory of her, they are also revelatory of the medium of cinema itself.
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Reuer, Jeffrey J., e Michael J. Leiblein. "Downside Risk Implications of Multinationality and International Joint Ventures". In Strategic Alliances, 213–32. Oxford University PressOxford, 2004. http://dx.doi.org/10.1093/oso/9780199256549.003.0011.
Testo completoAbstract (sommario):
Abstract Corporate flexibility has recently been emphasized as a key concern for management research (e.g., Buckley and Casson, 1998; Hitt, 1998). This observation presents a challenge to both positive and normative theory given the divergent views on issues surrounding both the flexibility of firms and the specific benefits that firms might derive from flexibility. For instance, studies in population ecology (e.g., Hannan and Freeman, 1984), competitive strategy (e.g., Dierickx and Cool, 1989; Ghemawat, 1991), and behavioral theory (Cyert and March, 1963) point to internal complexity, path dependencies, and uncertainty avoidance, respectively, as factors limiting flexibility or its potential advantages.
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McMurdo, Shellie. "‘They’re going to let us die’: trust in found footage horror". In Blood on the Lens, 111–28. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474482080.003.0006.
Testo completoAbstract (sommario):
This chapter focuses on the theme of trust in in a post-9/11 world within found footage horror cinema. Quarantine (John Erick Dowdle, 2008) features as the case study film for this chapter, and attention is drawn to the visual and narrative connections that can be made between this film and the historically significant documentary artefact that is 9/11 (Naudet, Naudet, and Hanlon, 2002). This chapter approaches Quarantine as a remake that reculturalises the Spanish specificity of the original film Rec (Balaguero and Plaza, 2007) and how emphasis on various elements, such as the image of the heroic firefighter, may have resonated in a post-9/11 American context. This chapter introduces the concept of ‘inadvertent witnessing’ within the subgenre, where the camera operator captures extraordinary events by accident or chance rather than by design and discusses the role of editing and crisis censorship within Quarantine and 9/11, before moving to situate the camera as a tool both metaphorical and literal within found footage horror cinema.
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Barnett, Lois J. E. "Introduction: Defining, theorising and approaching Japanese film, fashion and modernity". In Film and Fashion in Japan, 1923-39, 1–14. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474497701.003.0001.
Testo completoAbstract (sommario):
This chapter introduces the subject of Western-style garments in the Japanese context. It explains reasoning for selecting the timescale of 1923-1939 due to its situation between two specific events which triggered significant changes in the Japanese cinema: the 1923 Great Kantō Earthquake and the 1939 Film Law. The chapter introduces the theoretical framework and interdisciplinary approach, discussing debates on the relationship between fashion, modernity and identity. It introduces Toby Slade and Elizabeth Wilson’s understanding of the relationship between fashion and modernity in both European and Japanese contexts. It discusses this in conflation with Iwamoto Kenji and Mitsuyo Wada-Marciano’s approaches to the Japanese cinema of the 1920s and 1930s and Leo Charney and Vanessa R. Schwarz and Miriam Bratu Hansen’s discussions of the effects of the cinematic space and mechanism on spectators. It describes how fashion items onscreen can be interpreted as signifiers in accordance with Saussurean semiotics and relates this to discussion of the interaction between the modern cinematic space, the spectator and the fashion items themselves. It references gender- and consumption- focused work by Mary Ann Doane and Laura Mulvey in order to provide an introduction to the theoretical framework which informs the rest of the book.
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Doraiswamy, L. K. "Liquid-Liquid and Solid-Liquid Reactions". In Organic Synthesis Engineering. Oxford University Press, 2001. http://dx.doi.org/10.1093/oso/9780195096897.003.0023.
Testo completoAbstract (sommario):
Chapter 14 was concerned with gas-liquid reactions, although it was mentioned at the beginning of the chapter that the same principles would apply equally if phase 1 were a liquid or a solid. The premise for such a statement was that phase 1 comes into the picture only to the extent that it supplies the solute A that diffuses into phase 2 and reacts with B in the film, bulk, or both, in that phase only. Because the state of phase 1 is immaterial in such a situation, the theories are equally applicable when the phase is a liquid or a solid. However, an additional factor comes into play when phase 1 is also a liquid. Component B from phase 2 can have a finite solubility in phase 1, diffuse into that phase and react there with A. Thus reaction can occur in both phases. This is equally true when phase 1 is a solid, but the mechanism of diffusion and reaction in a solid is different. It is also possible for a gas and a solid to simultaneously dissolve and react in a liquid, but as three phases are involved here, it is considered in Chapter 17. In this chapter we consider the following two classes of reactions: liquid-liquid and solid-liquid. One encounters reactions belonging to these classes quite frequently in organic chemical technology. We shall give instances of these while dealing with the individual systems. Hydrolysis and saponification of esters and fats (Jeffreys et al., 1961; Donders et al., 1968; Sharma and Nanda, 1968), sulfonation and nitration of aromatic compounds (Albright and Hanson, 1969, 1975; Hanson and Ismail, 1976; Barona and Prengle, 1973), alkylation of isobutane, toluene, and phenols with isobutylene (Jernigan et al., 1965; Mosby and Albright, 1966; Sprow, 1969; Tiwari and Sharma, 1977; Zaldivar et al., 1996), and oximation of cycloyhexanone (Rod, 1974, 1976) are some of the liquid-liquid reactions in which reaction occurs in both phases. The reaction last mentioned between cyclohexanone (which constitutes the organic phase) and aqueous hydroxylamine sulfate (containing ammonium sulfate) to give cyclohexanone oxime comprises the first step in the manufacture of caprolactam, an important reactant in the synthesis of Nylon.
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Orlik, Thomas. "China’s Debt Mountain: The Borrowers". In China, 9–28. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197598610.003.0002.
Testo completoAbstract (sommario):
Abstract This chapter mentions Liaoning, a province of 44 million in the rustbelt Northeast, that is one of the few places where China’s inefficiencies and dysfunctions are quite evident. It recounts Liaoning’s struggling state-owned enterprises and creditors, such as the Dongbei Special Steel Group, whose chairman, Yang Hua, was found hanged in his home. It also details how the Liaoning government tried to strong arm Dongbei’s creditors to agree to a deal, swapping their loans for an equity stake. The chapter explores China’s corporate debt that rings alarm bells, noting that it’s a very high number in international comparison and off the scale relative to both major developed and emerging economies. It describes other provinces in China and certain pockets of industry that have high stress levels, particularly the iron and steel sector whose debt for listed firms averaged 17 times annual earnings.
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Skogan, Wesley G., e Susan M. Hartnett. "The Program in Action". In Community Policing Chicago Style, 161–93. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195105605.003.0006.
Testo completoAbstract (sommario):
Abstract This chapter examines the program in action. First, it looks at how the service-delivery component of CAPS actually worked. By the 1990s, local officials had absorbed the idea that crime—and especially fear of crime—was intimately linked to both casual social disorder and the physical decay of the city’s neighborhoods. They were therefore not surprised when our first survey found that building abandonment was among the most bothersome problems in high-crime Englewood; the district commander already had a list of more than 600 abandoned buildings in his desk drawer. Like researchers (Spelman, 1993), he knew that they were a haven for drug dealers, purse snatchers, prostitutes, and squatters; that they presented a constant threat of fire; and that they were a nagging eyesore that undermined the commitment of property owners who were struggling to maintain their own buildings. Policymakers also knew that the public, when given the opportunity to speak out, would queue up to demand that something be done about neighborhood disorder as well as about crime. They created a vehicle for responding—the CAPS service request—and handed it over to the police department to make it work.
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Wolf, Stacy. "Introduction". In Beyond Broadway, 1–34. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190639525.003.0001.
Testo completoAbstract (sommario):
Local musical theatre from high schools to community theatres, from summer camps to dinner theatres, is a thriving art form in the United States. Musical theatre provides a creative outlet, a way to make friends and build community, and a route to identity formation. Local musical theatre is a folk practice that is handed down from one generation to the next. The context of this book is the 2010s, a decade when musical theatre came into new visibility in the United States, building on the success of the television series Glee, reality performance competition shows, live televised musicals, and successful film musicals. Though Broadway is a global brand, musical theatre is a local phenomenon, embedded in its community and in conversation with local issues. Technology enables musical theatre through the proliferation of YouTube clips and online sites but is also anathema to it, as musical theatre is a face-to-face, live practice for both creators and audiences. Local musical theatre production both depends on and feeds the global licensing industry. Local musical theatre blurs the line between amateur and professional, as many people do musicals solely for fun and yet take their activity as seriously as work. The book relies on a feminist, empathetic ethnographic method, which incorporates participant-observation and interviews as well as an open exchange about how subjects are represented. The structure of the book is a journey across America to visit many sites and types of musical theatre production.