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1
Skowera, Maciej. "Lewis Barnavelt and the Rainbow over New Zebedee: Queering The House with a Clock in Its Walls". Dzieciństwo. Literatura i Kultura 1, n. 1 (24 luglio 2019): 85–108. http://dx.doi.org/10.32798/dlk.29.
Testo completoAbstract (sommario):
The paper discusses The House with a Clock in Its Walls (1973) by John Bellairs and its film adaptation, directed by Eli Roth (2018), from queer theory and gender studies perspectives. The author of the article aims to overview and develop existing queer in‑terpretations of the first novel in the Lewis Barnavelt series, with contextual references to the cycle’s subsequent volumes, and to conduct a queer theory ‑inspired analysis of Roth’s motion picture. The genre represented by the novel and the film is also consid‑ered by taking the scholarly reflections on the queer aspects of the Gothic and the hor‑ror into account. The author concludes that although both versions of the story fail at portraying femininity in an unconventional way, they succeed in showing that queer‑ness and, more generally, the Otherness should be highly appreciated and valued.
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Edenheim, Sara. "Jakten på det "queera ögonblicket". Om det subversivas (o)möjligheter". Tidskrift för genusvetenskap 24, n. 1 (15 giugno 2022): 29–46. http://dx.doi.org/10.55870/tgv.v24i1.4180.
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The main question in this article is how and where subversion is possible. As a point of departure the author uses the work of Tiina Rosenberg, a researcher of theatre and gender at Stockholm university, who presents a theory on subversion, or "queer moment", produced by women in male clothing on stage. The article argues against the idea that this genre disturbs the heterosexual normativity and order of gender; instead it seems to reproduce that same order, partially through the relations between the characters and partially through the reason for female cross-dressing presented both within and outside these particular dramaturgies. Three examples are analysed: the stage play Twelfth Night (Shakespeare) and the motion pictures Yentl (Singer/Streisand) and Victor,Victoria! (Edwards, Hoemburg/Edwards). By focusing on both the male character who finds himself attached to the disguised woman, and on the female character who is attracted to the same, the author concludes that while the male character does not question his sexuality but rather the gender of his 'male' friend, the female character is easily led astray by superficial words and clothing and hence reproducing the stereotypical female behaviour. The male character, on the other hand, reproduces male (hetero)- sexuality as potent and capable of 'seeing' through any disguise. Hence, heteronormativity is found to play an important part in the entire dramaturgy-not only in the ending scene where everything is set right through falling disguises and weddings. However, the subversive part of the cross-dressing woman on stage or in film is not completely disregarded and the author presents, by using the theories of Teresa de Lauretis and Judith Butler, a possible identification with a woman in male clothing as a way of expressing a (lesbian) desire based on a fetishist use of male clothing as a symbol of disavowing both female and male fallocentric desire.
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Çakirlar, Cüneyt. "Masculinity, Scatology, Mooning and the Queer/able Art of Gilbert & George: On the Visual Discourse of Male Ejaculation and Anal Penetration". Paragraph 34, n. 1 (marzo 2011): 86–104. http://dx.doi.org/10.3366/para.2011.0007.
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The aim of this essay is to investigate the intersections between masculinity, shame, art, anality, the abject and embodiment by focusing on a particular period of the British art duo Gilbert & George's work in the 1990s. In their series The Naked Shit Pictures (1994), The Fundamental Pictures (1996) and The Rudimentary Pictures (1999), the duo's artistic self-performance opens a scatological narrative territory where the male body encounters its own abject fluids strategically magnified. Situating itself within the boundary between queer theory and Lacanian psychoanalysis with a particular focus on the phallus and the abject, this essay argues that Gilbert & George's art-works mentioned above could be regarded as visual commentaries on and queer interventions into bodily anxieties of normative masculinities. It thus reads the artists’ visual discourse of performative hypervisibility as a queer/ing one where the conventional male masculinity confronts simultaneously its ejaculatory bliss and its fear of anal penetration.
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Porée, Marc. "Poets' lives in motion (pictures)". Études anglaises 66, n. 4 (2013): 511. http://dx.doi.org/10.3917/etan.664.0511.
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Yeazell, Ruth Bernard. "Sex, Lies, and Motion Pictures". Henry James Review 25, n. 1 (2004): 87–96. http://dx.doi.org/10.1353/hjr.2004.0012.
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Baecker, Dirk. "The Reality of Motion Pictures". MLN 111, n. 3 (1996): 560–77. http://dx.doi.org/10.1353/mln.1996.0032.
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Anglin, Sallie. "Generative Motion: Queer Ecology and Avatar". Journal of Popular Culture 48, n. 2 (aprile 2015): 341–54. http://dx.doi.org/10.1111/jpcu.12261.
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Swartz, Mark E. "Motion Pictures on the Move". Journal of American Culture 9, n. 4 (dicembre 1986): 1–7. http://dx.doi.org/10.1111/j.1542-734x.1986.0904_1.x.
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Wilder, Thornton. "Joan of Arc: Treatment for Motion Pictures". Yale Review 91, n. 4 (ottobre 2003): 1–34. http://dx.doi.org/10.1111/0044-0124.00749.
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Hennig-Thurau, Thorsten, Victor Henning e Henrik Sattler. "Consumer File Sharing of Motion Pictures". Journal of Marketing 71, n. 4 (ottobre 2007): 1–18. http://dx.doi.org/10.1509/jmkg.71.4.001.
Testo completoAbstract (sommario):
Illegal consumer file sharing of motion pictures is considered a major threat to the movie industry. Whereas industry advocates and some scholars postulate a cannibalistic effect on commercial forms of movie consumption, other researchers deny this effect, though sound evidence is lacking on both sides. Drawing on extant research and utility theory, the authors present hypotheses on the consequences and determinants of consumer file sharing and test them with data from a controlled longitudinal panel study of German consumers. The data contain information on the consumers' intentions toward and actual behavior in relation to the consumption of 25 new motion pictures, allowing the authors to study more than 10,000 individual file-sharing opportunities. The authors test the effect of file sharing on commercial movie consumption using a series of ReLogit regression analyses and apply partial least squares structural equation modeling to identify the determinants of consumer file sharing. They find evidence of substantial cannibalization of theater visits, DVD rentals, and DVD purchases responsible for annual revenue losses of $300 million in Germany. Five categories of file-sharing behavior drive file sharing and have a significant impact on how consumers obtain and watch illegal movie copies.
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Aggarwal, Ashish. "Critiquing the Motion (Cinema) through Queer Lens". International Journal of English Literature and Social Sciences 7, n. 5 (2022): 058–61. http://dx.doi.org/10.22161/ijels.75.9.
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Films are one of the most powerful tools and medium in the present times to convey certain set of ideology by keeping people intact and hooked to the screens. People can easily empathize and sympathize seeing movies as, one can relate well by understanding the inherent grammar or language of the film by connecting it to the reality. The paper here will try to form a bridge between the Queer Studies and Film Theory. The term Queer in itself stands for something weird and abhorred. It stands for the people of the alternative sexualities who do not fall into the bracket of binaries. Thus, queer in this way becomes an umbrella term to unite all these identities and is a creation of a new form or a new language to bring the wind of change in the lives of people who are marginalized since ages. In this way queer here also becomes a symbol of hope and stands for multiplicity of desires and identities. The movies taken here for research purpose Chandigarh Kare Aashiqui (2021) and Badhai Do (2022) both are recent films which talk about the queering of cinema and toppling down the accepted normal gender roles in the films. Both the movies try to create an alternative structure and vision for the public, broadening the horizon of expectations.
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Furlich, Emily G. "Bringing queerness to the surface: Truman Capote’s November 1971 screenplay adaptation of F. Scott Fitzgerald’s The Great Gatsby". Journal of Screenwriting 14, n. 1 (13 aprile 2023): 7–21. http://dx.doi.org/10.1386/josc_00112_1.
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Truman Capote occupied a queer position as an openly gay man adapting F. Scott Fitzgerald’s The Great Gatsby for the screen in the homophobic Hollywood system of the early 1970s. In January 1972, Paramount Pictures rejected Capote’s Gatsby screenplay and dismissed him from the film entirely. In this study, I investigate a tenuous claim that has circulated for decades: that Capote was fired from the project because he wrote Nick Carraway and Jordan Baker as queer characters. I argue that Capote deployed what Alexander Doty calls ‘working-within-the-system tactics’ to suggest queerness that would be apparent to viewers accustomed to interpreting media outside of dominant codes dictated by heteronormative conventions, while also using what licence he had to incorporate more explicitly queer moments. This article contributes to research on Capote’s manuscript with a close reading of queerness in the text, and an account of the personal and professional struggles related to queer identity that Capote faced while developing the script.
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Forsgren, La Donna L. "Violence, Ritual, and Vogue: Black Queer Feminist Praxis in Motion". MELUS 46, n. 4 (1 dicembre 2021): 37–53. http://dx.doi.org/10.1093/melus/mlac004.
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Abstract As an unapologetically Black feminist artist, Ntozake Shange furthered the cause of black girl representation on Broadway stages with the 1976 debut of for colored girls who have considered suicide / when the rainbow is enuf. Shange’s award-winning choreopoem eschews the masculinist liberation discourse of the Black Power era and instead centers the concerns of Black girls within the freedom struggle. Using twenty poems interlaced with dance and music, Shange illuminates the subjectivity of seven “colored girls” who experience sexual, emotional, and physical violence in their communities. Committed to the health and safety of the entire Black community, Shange concludes the performance with a ritual dance to foster unity and community healing from violence. Her early Black feminist intervention serves as a foundation for the artistic work of Black Lives Matter activists today, many of whom continue to use ritual performances to promote community healing in the wake of white-authored violence. Black Lives Matter movement artists and activists Gorgeous Mother Karma Gucci, Adonte Prodigy, and Amya Miyake-Mugler, for example, performed ritual Voguing at a Chicago demonstration on 3 June 2020 to bring greater visibility to the intracultural violence reaped upon Black queer and transgender girls. Their ritual Voguing, which I situate as Black queer feminist praxis in motion, reimagines the Black radical tradition as collective liberation. Collectively, the work of Shange, Gucci, Prodigy, and Mugler affirms the vital truth that none of us are free until all of us are free.
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Betancourt, Michael. "The “material function” in cinema: Resolving the paradox of the glitch". Semiotica 2020, n. 236-237 (16 dicembre 2020): 251–73. http://dx.doi.org/10.1515/sem-2019-0006.
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AbstractGlitches pose expressive challenges for digital motion pictures. These problematics reveal a “material function” that determines their identification and prescribes their semantics on-screen. These issues of materiality are familiar from the ideological critiques of avant-garde film in the 1970s, but have not been explored in relation to the semiotics of digital cinema. Developing an understanding of these problematics shows the complex problematics of using glitches for critical and expressive purposes in motion pictures.
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Brody, Jennifer DeVere. "Theory in Motion: A Review of Black Queer Studies in the Millennium Conference". Callaloo 23, n. 4 (2000): 1274–77. http://dx.doi.org/10.1353/cal.2000.0182.
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Hirschman, Elizabeth C. "Consumer Preferences in Literature, Motion Pictures, and Television Programs". Empirical Studies of the Arts 5, n. 1 (gennaio 1987): 31–46. http://dx.doi.org/10.2190/3c9d-4vf6-v7nt-hbpw.
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This study examined the relationship between five motives—sensory arousal, cognitive arousal, escapism, mastery-control, and emotional involvement—and preferences for different types of content in three cultural media—television programs, motion pictures, and books. The findings both confirmed and extended prior theorization and found some intriguing differences in content preferences between women and men.
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Helmita, Helmita, e Ayunanda Putri. "The Failure of Ambition To Be a Queen as Seen in Phillipa Gregory’s The Other Boleyn Girl". Jurnal Ilmiah Langue and Parole 1, n. 2 (20 settembre 2018): 65–71. http://dx.doi.org/10.36057/jilp.v1i2.162.
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The Other Boleyn Girl is a historical novel written by British author Philippa Gregory loosely based on the life of 16th century aristocrat Mary Boleyn (the sister of Anne Boleyn) of whom little is known. Inspired by Mary’s life story, Gregory depicts the annulment of one of the most significant royal marriages in English history and conveys the urgency of the need for a male heir to the throne.
The writer took Anne Boleyn’s ambition to become a queen as a center of the thesis. Technique of collecting data of this analysis is by library research. It means that the writer applies the data which the writer takes from library and other written material from book store, internet or even motion picture.
In analyzing this data, the writer uses psychological theories by Sigmund Freud. Sigmund Freud’s psychoanalytic theory of personality argues that human behavior is the result of the interactions among three component parts of the mind: the id, ego, and superego. This theory, known as Freud’s structural theory of personality, places great emphasis on the role of unconscious psychological conflicts in shaping behavior and personality.
The result show that although it’s good to have ambition to drive someone to reach their goal to succeed but ambition without limit could destroy everything and everyone around you. And it even could destroy yourself too.
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ELLIS, PATRICK. "A cinema for the unborn: moving pictures, mental pictures and Electra Sparks's New Thought film theory". British Journal for the History of Science 50, n. 3 (settembre 2017): 411–28. http://dx.doi.org/10.1017/s0007087417000644.
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AbstractIn the 1910s, New York suffragette Electra Sparks wrote a series of essays in theMoving Picture Newsthat advocated for cine-therapy treatments for pregnant women. Film was, in her view, the great democratizer of beautiful images, providing high-cultural access to the city's poor. These positive ‘mental pictures’ were important for her because, she claimed, in order to produce an attractive, healthy child, the mother must be exposed to quality cultural material. Sparks's championing of cinema during its ‘second birth’ was founded upon the premise of New Thought. This metaphysical Christian doctrine existed alongside the self-help and esoteric publishing domains and testified, above all, to the possibility of the ‘mind-cure’ of the body through the positive application of ‘mental pictures’. Physiologically, their method began best in the womb, where the thoughts of the mother were of utmost importance: the eventual difference between birthing an Elephant Man or an Adonis. This positive maternal impression was commonplace in New Thought literature; it was Sparks's innovation to apply it to cinema. Investigating Sparks's film theory, practice and programming reveals her to be a harbinger of the abiding analogy between mind and motion picture that occupies film theorists to this day.
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Sundén, Jenny. "Inte en babe - Affekt, känsla och sexualitet i World of Warcaft". Tidskrift för genusvetenskap 31, n. 4 (13 giugno 2022): 23–43. http://dx.doi.org/10.55870/tgv.v31i4.3595.
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Feminist game studies scholars are still few and far between, and little has been done in the intersection of queer theory and games. Informed by feminist discussions of affect, and of emotion, this article uses an ethnographic study of queer potentials in the MMOG (Massively Multiplayer Online Game) World of Warcraft as its core example. The article develops an understanding of online gaming by investigating embodied experiences, affective investments and circulations within game spaces. Ultimately, it asks what an online game like World of Warcraft puts in motion, and what consequences such stirring may have for ways of thinking – and feeling – games, critically, yet sensitively. How do emotions circulate in and through games? How do corporeal desires and belongings map onto games? Could certain game spaces or moments of play be termed ‘queer’?
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DEFRANTZ, THOMAS F. "Intermediality and Queer African American Improvisation: Dianne McIntyre, Sounds in Motion". Theatre Research International 46, n. 2 (luglio 2021): 115–27. http://dx.doi.org/10.1017/s0307883321000055.
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This article explores the work of choreographer Dianne McIntyre as an improvisational artist entangled in questions of intermedial relations among sounds and motions. It discusses the terms of performance in relation to emergent paradigms of Afro-pessimism, and argues for a black regard as a method of engaging with experimental performances by artists of African descent. The article explores theoretical terms of witness and encounter with black performance in relation to queer alterities, and non-normative modes of physical expression. The article suggests further need for research into the work of an outstanding black American female artist of theatre and dance.
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Otto, Elizabeth. "ringl + pit and the Queer Art of Failure". October 173 (settembre 2020): 37–64. http://dx.doi.org/10.1162/octo_a_00403.
Testo completoAbstract (sommario):
In 1929, in the midst of the artistic and political ferment that was Weimar Berlin, the young photographers Ellen Auerbach and Grete Stern formalized their personal and creative affinities to create Studio ringl + pit. Their collaboration, which would continue for the next four years, produced groundbreaking portraits, still lifes, and a handful of print advertisements that were celebrated for their inventively formal daring. In line with their training with Bauhaus photography master Walter Peterhans, ringl + pit's pictures were meticulously constructed and technically perfect, but they were also uniquely imprinted with the artists' characteristic blend of the playful, the strange, and, in multiple senses of the word, the queer. In this essay, Auerbach and Stern's adventurous approach to photographic experimentation is explored within the context of their correspondingly adventurous inclination to defy bourgeois conventions in their personal lives. In concert with the aesthetic synchrony that inspired their creative collaboration (such that, for its duration, they disavowed individual authorship in favor of the collective moniker “ringl + pit”) they were also lovers, a fact which, until now, has not been integrated into scholarly engagement with their work. Passionate photographic explorations, their work consistently privileged play, discovery, and intimacy over such conventional markers of success as money or fame. In this light, ringl + pit's audaciously anticipatory collective body of work might be said to adhere to the delineations of what Jack Halberstam has described as a “queer art of failure.”
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Li, Xiangkun, Guoqing Sun e Yifei Li. "Human Motion Representation and Motion Pattern Recognition Based on Complex Fuzzy Theory". Complexity 2021 (14 ottobre 2021): 1–12. http://dx.doi.org/10.1155/2021/9923748.
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With the development of science and technology, the introduction of virtual reality technology has pushed the development of human-computer interaction technology to a new height. The combination of virtual reality and human-computer interaction technology has been applied more and more in military simulation, medical rehabilitation, game creation, and other fields. Action is the basis of human behavior. Among them, human behavior and action analysis is an important research direction. In human behavior and action, recognition research based on behavior and action has the characteristics of convenience, intuition, strong interaction, rich expression information, and so on. It has become the first choice of many researchers for human behavior analysis. However, human motion and motion pictures are complex objects with many ambiguous factors, which are difficult to express and process. Traditional motion recognition is usually based on two-dimensional color images, while two-dimensional RGB images are vulnerable to background disturbance, light, environment, and other factors that interfere with human target detection. In recent years, more and more researchers have begun to use fuzzy mathematics theory to identify human behaviors. The plantar pressure data under different motion modes were collected through experiments, and the current gait information was analyzed. The key gait events including toe-off and heel touch were identified by dynamic baseline monitoring. For the error monitoring of key gait events, the screen window is used to filter the repeated recognition events in a certain period of time, which greatly improves the recognition accuracy and provides important gait information for motion pattern recognition. The similarity matching is performed on each template, the correct rate of motion feature extraction is 90.2%, and the correct rate of motion pattern recognition is 96.3%, which verifies the feasibility and effectiveness of human motion recognition based on fuzzy theory. It is hoped to provide processing techniques and application examples for artificial intelligence recognition applications.
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Kumb, Florian, e Reinhard E. Kunz. "Winner-Takes-All”: Influencing Factors of the Post-Theatrical Supply and Demand in Motion Picture Exhibition". Journal of Creative Industries and Cultural Studies 8 (2017): 77–117. http://dx.doi.org/10.56140/jocis-v8-4.
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The post-theatrical exhibition has become essential for motion pictures to break even. Nevertheless, besides the first attempts to study TV broadcasters and streaming providers as release windows, academic research in marketing has concentrated primarily on the initial theat-rical release. This article examines factors influencing supply and demand during the sequential release process of the motion picture industry. The authors build a modelling framework to ana-lyze the drivers resulting in comprehensive supply and strong demand in major exhibition win-dows (i.e., during the home video, video-on-demand, and free-to-air TV exhibition). They esti-mate the conceptual model of regressions using market data from Germany, including all 5 200 theater-released motion pictures between 2005 and 2014. The authors expand the existing suc-cess-breeds-success theory and use a winner-takesall theory to explain market supply and de-mand in sequential distribution. The results reveal a limited set of influencing factors (e.g., word-of-mouth communication or certain genres) that increase the probability of comprehensive exhibition and strong demand. Other influencing factors depend on the exhibition window (e.g., age ratings). The results add to existing theories of sequential distribution and can help research-ers and managers improve movie-specific exhibition strategies.
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Brégent-Heald, Dominique. "Leaky Borders: Smuggling Opium and Chinese Labor in Progressive-Era Motion Pictures". Journal of American Culture 37, n. 4 (dicembre 2014): 393–403. http://dx.doi.org/10.1111/jacc.12270.
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LaVigne, Michelle, e Megan V. Nicely. "Curating Dialogue: The Bridge Project’s Radical Movements". TDR/The Drama Review 62, n. 4 (dicembre 2018): 145–53. http://dx.doi.org/10.1162/dram_a_00799.
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A renowned gender theorist and a female drag performer move language and gestures as they trade stories and share bodywork. A gender-ambiguous performer and a trans and queer scholar volley moments of physical intensity and textual analysis in a lecture-demonstration format. These were just some of the ways that the fall 2017 Bridge Project’s Radical Movements festival challenged performance models for dialogic exchange and what constitutes a radical body in motion.
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Murroni, Maurizio, Cristian Perra e Daniele D. Giusto. "Slow Motion and Zoom in HD Digital Videos Using Fractals". International Journal of Digital Multimedia Broadcasting 2009 (2009): 1–12. http://dx.doi.org/10.1155/2009/496934.
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Slow motion replay and spatial zooming are special effects used in digital video rendering. At present, most techniques to perform digital spatial zoom and slow motion are based on interpolation for both enlarging the size of the original pictures and generating additional intermediate frames. Mainly, interpolation is done either by linear or cubic spline functions or by motion estimation/compensation which both can be applied pixel by pixel, or by partitioning frames into blocks. Purpose of this paper is to present an alternative technique combining fractals theory and wavelet decomposition to achieve spatial zoom and slow motion replay of HD digital color video sequences. Fast scene change detection, active scene detection, wavelet subband analysis, and color fractal coding based on Earth Mover's Distance (EMD) measure are used to reduce computational load and to improve visual quality. Experiments show that the proposed scheme achieves better results in terms of overall visual quality compared to the state-of-the-art techniques.
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Scheibler, Sue. "Book ReviewsunInvited: Classical Hollywood Cinema and Lesbian Representability. By Patricia White. Bloomington: Indiana University Press, 1999.Movie‐Struck Girls: Women and Motion Picture Culture after the Nickelodeon. By Shelley Stamp. Princeton, N.J.: Princeton University Press, 2000.Feminism and Documentary. Edited by Diane Waldman and Janet Walker. Minneapolis: University of Minnesota Press, 1999.OutTakes: Essays on Queer Theory and Film. Edited by Ellis Hanson. Durham, N.C.: Duke University Press, 1999." Signs: Journal of Women in Culture and Society 29, n. 1 (settembre 2003): 269–74. http://dx.doi.org/10.1086/375672.
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Gorchakov, S. Yu. "Mathematical modeling of velocity and accelerations fields of image motion in the optical equipment of the Earth remote sensing satellite". Russian Technological Journal 11, n. 6 (14 dicembre 2023): 47–56. http://dx.doi.org/10.32362/2500-316x-2023-11-6-47-56.
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Objectives. The paper considers a satellite with an optoelectronic payload designed to take pictures of the Earth’s surface. The work sets out to develop a mathematical model for determining the dependencies between the state vector of the satellite, the state vector of the point being imaged on the Earth’s surface, and the distribution fields of the velocity vectors and accelerations of the motion of the image along the focal plane of the optoelectronic payload.Methods. The method is based on double differentiation of the photogrammetry equation when applied to a survey of the Earth’s surface from space. For modeling the orbital and angular motion of the satellite, differential equations with numerical integration were used. The motion parameters of the Earth’s surface were calculated based on the Standards of Fundamental Astronomy software library.Results. Differential equations of motion of the image were obtained. Verification of the developed mathematical model was carried out. The motion of the considered satellite was simulated in orbital orientation mode using an image velocity compensation model. The distribution fields of velocity vectors and accelerations of motion of the image of the Earth’s surface were constructed. The residual motion of the field of image following compensation was investigated.Conclusions. The proposed mathematical model can be used both with an optoelectronic payload when modeling shooting modes and estimating image displacements at the design stage of a satellite, as well as at the satellite operation stage when incorporating the presented model in the onboard satellite software. The presented dependencies can also be used to construct an image transformation matrix, both when restoring an image and when obtaining a super-resolution.
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Rudy, Rudy, e Galant Nanta Adhitya. "Fashioning The Gays: A Representation Study on the Gay Protagonists in the 2000s Gay-themed American TV Series". Journal of Language and Literature 22, n. 2 (26 settembre 2022): 335–48. http://dx.doi.org/10.24071/joll.v22i2.4667.
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This study focuses on the relationship between fashion and the gay community by observing the 2000s American TV series with gay characters as the protagonists. It intends to explain the way fashion is portrayed and its significance for gay culture. It can contribute to theory enrichment in cultural, literary and media studies. It would also increase people’s knowledge about fashion in and for the gay culture. This research incorporated the main data in the form of dialogues as well as pictures of scenes showing fashion worn by the gay characters obtained from Will Grace (1998-2006), Queer as Folk (2000-2005), Six Feet Under (2001-2005), and Some of My Best Friends (2001). By applying Hall’s representation theory to analyze the data, this study discovers that the gay protagonists in the 2000s gay-themed American TV series are portrayed as fashionable people, who think of fashion as their pride. However, the fashion used in portraying gay characters has shifted from the effeminate looks that are mostly composed of women’s clothes. Instead, they are still seen concerning with their appearance, but their exploration of fashion is sticking to men’s clothes. This portrayal has two essential significances for the gay community. It affirms the modish of their identity, while at the same time refusing the feminine stereotype.
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Saltzman, Lisa. "Back to the (Winter) Garden: On Still Video, Motion Pictures and the Time of Early Photography". Arts 12, n. 4 (21 luglio 2023): 163. http://dx.doi.org/10.3390/arts12040163.
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This essay, which reframes elements of my 2015 book, Daguerreotypes: Fugitive Subjects, Contemporary Objects, returns to the lacuna at the heart of Roland Barthes’s reflections on photo-graphy: the so-called “Winter Garden” photograph of his mother as a little girl. An image that is lovingly conjured but forever withheld, this photograph is the fulcrum of a theory of photography that emerged from the conjunction of mourning and desire. For Barthes, and all those working in his wake, the absent photograph is something of photography’s primal scene. With attention to the work of Eve Sussman and Simon Lee, their 2011 three-channel HD video Wintergarden and her 2018 NFT 89 Seconds Atomized in particular, this essay takes readers “back to the garden” to think about the time of early photography. To do so, this essay considers a range of contemporary videos that mine and mime the conventions of photography to produce static, durational encounters with stillness in a medium that is anything but, ultimately, revealing the truths and fictions of photography’s founding moment and fundamental logic.
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Geranfar, Babak. "The Malick Viewed". Conversations: The Journal of Cavellian Studies, n. 5 (27 febbraio 2018): 70–73. http://dx.doi.org/10.18192/cjcs.v0i5.2408.
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The question of the relation between Film and philosophy has been at the center of many intellectual debates since the foundation of cinema. It has been paraphrased and articulated in many disciplines such as Philosophy of Film, Film-Philosophy, Philosophy of Motion Pictures, Philosophy of Moving Images, even Film Theory. Nevertheless, as much as the technical aspects of the movies developed rapidly, the philosophical questions around it became more and more specific and the answers became more fallible by the end of the day. If you could agree before with some of the ontological conclusions of Bazin, Deleuze, Badiou or Cavell about celluloid-based Film, you certainly cannot share that agreement to generalize that to the kind of digital imagery that we call ‘Film’ today, nor can you justify the Hologram or 3D IMAX footage as constituents of a motion picture. The irony is that the old question, ‘what is Film?’, is as often and as rapidly revised as the question, “what is philosophy?”.
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Fuchs, Michael, e Martin Butler. "Introduction Science and Popular Audio-Visual Media". Arbeiten aus Anglistik und Amerikanistik 47, n. 2 (31 marzo 2023): 171–87. http://dx.doi.org/10.24053/aaa-2022-0010.
Testo completoAbstract (sommario):
Our introduction to this special issue on science and popular audio-visual media sheds light on the intricate interconnections between science (and discourses about science) and different popular audio-visual media. Focusing on the topics of global warming and the ongoing pandemic, on the one hand, and the genres of horror, science fiction, and fantasy, on the other, we illustrate some functions of science and scientists in audio-visual media and also turn to the history of photography and motion pictures and their significance as both scientific tools and entertainment media, before briefly introducing the individual essays included in this issue.
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McGrath, Jason. "Suppositionality, Virtuality, and Chinese Cinema". boundary 2 49, n. 1 (1 febbraio 2022): 263–92. http://dx.doi.org/10.1215/01903659-9615487.
Testo completoAbstract (sommario):
In Chinese performance arts, one thing that was largely abandoned in the shift from traditional drama to motion pictures was the suppositionality of Chinese operatic performance, and the transition to digital cinema, particularly in the case of big-budget blockbusters that compete for mass audiences in greater China as well as abroad, raises the question of if and how an aesthetic of suppositionality is related to the emerging virtual realism enabled by computer-generated imagery (CGI). The concept of suppositionality not only helps us to evaluate how contemporary Chinese animation and CGI blockbusters remediate premodern cultural narratives but also provides an analytical measure for approaching the growing phenomenon of motion capture and composited performances. The “virtual realism” of CGI frees Chinese filmmakers to reject the ontological realism of photography and instead favor an aggressively animated style of visual effects while returning actors to a reprise of the suppositional performance style of traditional opera.
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Chamier-Waite, Clea von. "Somatic Montage for Immersive Cinema". Cultural Science Journal 13, n. 1 (1 dicembre 2021): 113–28. http://dx.doi.org/10.2478/csj-2021-0009.
Testo completoAbstract (sommario):
Abstract The formal, cinematic language specific to immersive motion pictures is an area of cinema theory that has been neglected up until now. This paper investigates a new language of cinematic montage specific to immersive cinema, somatic montage, while it examines historical precedents in the sciences, arts, and cinema of the twentieth century. We propose somatic montage as a model for developing new poetic structures in time-based works that inhabit a three-dimensional, architectonic space – a space of embodiment, motion, perception, and participation in the reception of a work of art. In this paper, we consider cinema as a four-dimensional artwork conceptually engendered by the principles of hyper-dimensions, the outgrowth of scientific discoveries made at the turn of the twentieth century. The expanded cinema mediums of fulldome cinema, immersive video and film installation, virtual reality, and extended reality, when approached as four-dimensional cinema space, allow for a spatialized, non-linear juxtaposition of the cinematic elements. Somatic montage is presented here as an extended, supra-dimensional notion of what Sergei Eisenstein called the ‘disjunctive method of narration’.
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Mole, Paulina Nelce, Rambu Ririnsia Harra Hau e Agustina Elizabeth. "Multi Representation Ability of Students in Solving Physics Problems on Straight Motion". Variabel 5, n. 1 (30 aprile 2022): 43. http://dx.doi.org/10.26737/var.v5i1.2592.
Testo completoAbstract (sommario):
<em>This study aims to describe the students' multi representation abilities in solving descriptive questions on straight motion material. This was qualitative research with an analytic descriptive approach. The subjects of this study were three physics teachers and twenty-five students of class X MIA SMA Negeri 1 Maumere. The data used in this study were evaluation questions, physical evaluation scores, student worksheets on evaluation questions and interview results. The data collection techniques used in this study were as follows: Documentation and in-depth interviews. For qualitative research data to be accounted for as scientific research, In this study, using triangulation techniques, checking data to the same source with different techniques, namely the results of observations, students' answers, and in-depth interviews. Data analysis techniques used in this study were grounded theory. The steps of grounded theory were: creating categories for the information obtained (open coding), selecting one of the categories and placing it in a theoretical model (axial coding), and then compiling a story of the relationship between these categories (selective coding). The results showed that students tend to use the same representation, such as verbal 12.5%, mathematical 87.5%, while graphics and pictures were 0%. For each category, students: (a) in the low category received a mathematical representation score of 73.81% and verbal representation was 83.3%, (b) in the moderate category received a verbal representation score of 85% and mathematically 83.06% (c) in the high category obtained a verbal representation score of 83.3% and mathematics 90.47%.</em>
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Mole, Paulina Nelce, Rambu Ririnsia Harra Hau e Agustina Elizabeth. "Multi Representation Ability of Students in Solving Physics Problems on Straight Motion". Variabel 5, n. 1 (30 aprile 2022): 43. http://dx.doi.org/10.26737/var.v5i1.2592.
Testo completoAbstract (sommario):
<em>This study aims to describe the students' multi representation abilities in solving descriptive questions on straight motion material. This was qualitative research with an analytic descriptive approach. The subjects of this study were three physics teachers and twenty-five students of class X MIA SMA Negeri 1 Maumere. The data used in this study were evaluation questions, physical evaluation scores, student worksheets on evaluation questions and interview results. The data collection techniques used in this study were as follows: Documentation and in-depth interviews. For qualitative research data to be accounted for as scientific research, In this study, using triangulation techniques, checking data to the same source with different techniques, namely the results of observations, students' answers, and in-depth interviews. Data analysis techniques used in this study were grounded theory. The steps of grounded theory were: creating categories for the information obtained (open coding), selecting one of the categories and placing it in a theoretical model (axial coding), and then compiling a story of the relationship between these categories (selective coding). The results showed that students tend to use the same representation, such as verbal 12.5%, mathematical 87.5%, while graphics and pictures were 0%. For each category, students: (a) in the low category received a mathematical representation score of 73.81% and verbal representation was 83.3%, (b) in the moderate category received a verbal representation score of 85% and mathematically 83.06% (c) in the high category obtained a verbal representation score of 83.3% and mathematics 90.47%.</em>
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Žvirblytė, Milda. "JUDĖJIMO IDĖJA MODERNISTINĖJE TAPYBOJE". Religija ir kultūra 9 (1 gennaio 2011): 77–88. http://dx.doi.org/10.15388/relig.2011.0.2747.
Testo completoAbstract (sommario):
Straipsnyje susitelkiama į fenomenologijos diskurso taikymo Lietuvos XX a. antrosios pusės modernistinėje tapyboje problematiką siekiant paaiškinti judėjimo idėjos perteikimą tapybos kūrinyje. Tam analizuojami Kazimieros Zimblytės ir Eugenijaus Antano Cukermano abstraktūs paveikslai, sukurti aštuntajame–dešimtajame dešimtmečiuose. Abu menininkus domina abstrakčios plastinės idėjos – kaip sukurti paveikslo paviršiuje dėmės, plokštumos, fono judėjimo įspūdį. Straipsnyje keliamas klausimas: kaip vyksta judėjimas, slinktis paveiksluose, kas slenka, kaip tai atsiskleidžia pačiuose kūriniuose? Judėjimo fenomeną tapyboje siekiama paaiškinti analizuojant tapybos medžiagą, remiantis Maurice’o Merleau-Ponty fenomenologijoje apmąstyta juslinio suvokimo samprata, grindžiančia figūros ir fono struktūra, vizualaus lauko samprata, chiazmo principu.Pagrindiniai žodžiai: Cukermanas, Zimblytė, modernistinė tapyba, fenomenologija, judėjimo idėja.THE IDEA OF MOTION IN MODERNIST PAINTINGMilda Žvirblytė SummaryThis article deals with the problem of the phenomenological discourse as an methodological issue raised in the modernist Lithuanian painting of the second half of the twentieth century aiming to reveal the idea of motion in painting. In this case the abstract pictures by Kazimiera Zimblytė and Eugenijus Antanas Cukermanas, created in the eighth−tenth decades, have been chosen to discuss. Both artists are interested in abstract plastic idea – how to create the impression of a motion of a spot, plane, background on the canvas surface. The question is: how to explain the idea of motion in a painting, who does constitutes movement, what makes count as an object in motion, what produces a perception of movement in painting? Article approaches the idea of motion on the basis of painting with the reference to the theory of perception by phenomenologist Maurice Merleau-Ponty according to the following concepts: the relationship between figure and background, the visual field, the Chiasm.Keywords: Cukermanas, Zimblytė, modernist painting, phenomenology, idea of motion.
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Koschel, Alan, Christoph Müller e Alexander Reiterer. "Selection of Key Frames for 3D Reconstruction in Real Time". Algorithms 14, n. 11 (21 ottobre 2021): 303. http://dx.doi.org/10.3390/a14110303.
Testo completoAbstract (sommario):
Cameras play a prominent role in the context of 3D data, as they can be designed to be very cheap and small and can therefore be used in many 3D reconstruction systems. Typical cameras capture video at 20 to 60 frames per second, resulting in a high number of frames to select from for 3D reconstruction. Many frames are unsuited for reconstruction as they suffer from motion blur or show too little variation compared to other frames. The camera used within this work has built-in inertial sensors. What if one could use the built-in inertial sensors to select a set of key frames well-suited for 3D reconstruction, free from motion blur and redundancy, in real time? A random forest classifier (RF) is trained by inertial data to determine frames without motion blur and to reduce redundancy. Frames are analyzed by the fast Fourier transformation and Lucas–Kanade method to detect motion blur and moving features in frames to label those correctly to train the RF. We achieve a classifier that omits successfully redundant frames and preserves frames with the required quality but exhibits an unsatisfied performance with respect to ideal frames. A 3D reconstruction by Meshroom shows a better result with selected key frames by the classifier. By extracting frames from video, one can comfortably scan objects and scenes without taking single pictures. Our proposed method automatically extracts the best frames in real time without using complex image-processing algorithms.
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Tanner, Jakob. "Populäre Wissenschaft: Metamorphosen des Wissens im Medium des Films". Gesnerus 66, n. 1 (11 novembre 2009): 15–39. http://dx.doi.org/10.1163/22977953-06601003.
Testo completoAbstract (sommario):
Far from being merely a medium of simplification and conveyance of scientific facts, motion pictures exhibit an important epistemic function. On the one hand, the medium film is itself a product of research in various fields, on the other hand, it retroacts on perception and problem-solving in science, thereby influencing and changing research practices. The paper aims at describing these reciprocal effects and synergies by discussing two examples: first by the film “The principles of Einstein’s theory of relativity”, first released in Germany in 1922, second by the film “Mathematical image of the struggle for life”, produced in 1937 for the inauguration of the “Palace of discoveries” in Paris, demonstrating the latest developments in evolutionary theory. It becomes evident that picture media have the capacity to transform the symbolic dimension of things and bodies, thereby offering new access to reality, which not only fascinated the spectators, but also inspired scientific research.
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Roy, Mouparna. "Male Gaze in Indian Cinema: The Presentation of Women in Mainstream Cinema". Journal of Humanities and Education Development 3, n. 5 (2021): 94–101. http://dx.doi.org/10.22161/jhed.3.5.14.
Testo completoAbstract (sommario):
Since the advent of motion pictures, movies have had a great impact on the masses. It has been used as a medium of communication with society as it has been said that movies are the reflection of society. In the Indian context, we can see the depiction of different identities in the cinemas, like gender, queer, ethnic groups and so on (multiculturalism). But the question is how far it is to address the problems of these marginalized sections. Even as a common person, we can notice the less or misrepresentation or misrecognition of the subaltern groups in Indian cinema. One of the most misrepresented among these and the most discussed topic is gender as patriarchy is dominant in almost every society which makes the subjugation of women a global grievance. In the cinematic world, too women have been exploited or oppressed and misrepresented by different means. One of the problems which have been talked about over and over is the concept of ‘male gaze’ (Mulvey, 1975). Women have always been objectified or commodified in the cinemas across the globe. Therefore, the concept of the ‘male gaze’ given by Mulvey addresses the problems of cinemas often being made from the male point of view and the content is specifically made for a heterosexual male. The ‘female-centric’ movies which are claimed by the filmmakers as a way of women's empowerment have also been criticized by the feminists as merely a male standpoint. In this paper, I will try to analyze a few Indian movies and see how much the ‘male gaze’ is persistent in these movies
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Roy, Mouparna. "Male Gaze in Indian Cinema: The Presentation of Women in Mainstream Cinema". Journal of Humanities and Education Development 3, n. 5 (2021): 94–101. http://dx.doi.org/10.22161/jhed.3.5.13.
Testo completoAbstract (sommario):
Since the advent of motion pictures, movies have had a great impact on the masses. It has been used as a medium of communication with society as it has been said that movies are the reflection of society. In the Indian context, we can see the depiction of different identities in the cinemas, like gender, queer, ethnic groups and so on (multiculturalism). But the question is how far it is to address the problems of these marginalized sections. Even as a common person, we can notice the less or misrepresentation or misrecognition of the subaltern groups in Indian cinema. One of the most misrepresented among these and the most discussed topic is gender as patriarchy is dominant in almost every society which makes the subjugation of women a global grievance. In the cinematic world, too women have been exploited or oppressed and misrepresented by different means. One of the problems which have been talked about over and over is the concept of ‘male gaze’ (Mulvey, 1975). Women have always been objectified or commodified in the cinemas across the globe. Therefore, the concept of the ‘male gaze’ given by Mulvey addresses the problems of cinemas often being made from the male point of view and the content is specifically made for a heterosexual male. The ‘female-centric’ movies which are claimed by the filmmakers as a way of women's empowerment have also been criticized by the feminists as merely a male standpoint. In this paper, I will try to analyze a few Indian movies and see how much the ‘male gaze’ is persistent in these movies.
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Vimal, Vrince. "Mixture of Gaussian Blur Kernel Representation for Blind Image Restoration". Turkish Journal of Computer and Mathematics Education (TURCOMAT) 10, n. 1 (10 aprile 2019): 589–95. http://dx.doi.org/10.17762/turcomat.v10i1.13553.
Testo completoAbstract (sommario):
The use of blind image restoration, sharpness of edges may frequently be restored using previous information from a picture. De-blurring is the technique of taking out blurring flaws of the steady photographs, including motion or defocus aberration-related blur. the appearance of fast-moving the appearance of fast-moving entities flashing in still images flashing in a still photograph is known as motion blur. When an image is blurred using a Gaussian function, the result is a Gaussian blur. The employment of different sparse priors, either for the implicit photos or the motion blur kernels, contributes to the success of contemporary single-image approaches. De-blurring is the technique of taking out blurring flaws of the steady photographs, including motion or defocus aberration-related blur. The apparent flashing of quickly moving item in a static photograph is known as motion blur. When a picture is blurred utilizing a Gaussian function, the result is a Gaussian blur. The employment of different sparse priors, either for the latent photos or the motion blur kernels, contributes to the success of contemporary single-image approaches. On digital datasets, KSR also discovers effective kernel matrix approximation to hasten blurring and provide effective de-blur performances. The licence plate, which serves as the vehicle's distinctive identifier, is an important indicator of speeding or hit-and-run cars. However, the image of a fast-moving car taken by a security camera is usually blurred and not even humanly discernible.These observed plate pictures are frequently poor resolution and have significant edge information lost, which presents a significant challenge to the current blind deblurring techniques. The blur kernel may be thought of as a linear uniform convolution and parametrically modelled with angle and length for licence plate picture blurring brought on by rapid movement. This research suggests unique technique for locating the blur kernel based on sparse representation. We determine the angle of the kernel by looking at the sparse representation coefficients of the restored picture because the retrieved photo has the highest sparse representation when the kernel angle coincides with the real motion angle. Afterwards, using Radon transform in Fourier domain, we estimate the size of the motion kernel. Even when the licence plate is impossible for a person to read, our system handles big motion blur rather effectively. We assess our method using actual photographs and contrast it with a number of well-known cutting-edge blind image deblurring techniques. Experimental findings show that our suggested technique is superior in terms of efficiency and resilience.
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Wu, M., M. P. Tulin e E. Fontaine. "On the Simulation of Amplified Bow Waves Induced by Motion in Head Seas". Journal of Ship Research 44, n. 04 (1 dicembre 2000): 290–99. http://dx.doi.org/10.5957/jsr.2000.44.4.290.
Testo completoAbstract (sommario):
The prediction of bow wave amplification for a ship navigating in head seas is achieved by means of the 2D +t nonlinear slender-body theory. High-resolution numerical simulations show the development of spray sheets along the hull. For conditions of navigation severe enough, the thick jets rise and top the deck level, leading to the possibility of deck wetness. The overall capabilities of the method of calculation are demonstrated through a systematic study for a frigate. Continuous time domain pictures of the flow as the bow enters the incoming waves are presented. The relationship between the incoming wave parameters and the sequence of probable events (deck wetness, slamming, …) that occurs in the bow region is studied, leading to predictions of both the onset and strength of probable deck wetness, as well as forefoot emergence and possible slamming events. The probability of deck wetness in the numerical simulation is confirmed by model experiments. Results are summarized in charts that allow critical evaluation of a given design (see Figs. 8 and 9), including the nonlinear dynamic rise of the water elevation, experienced as a spray sheet along the hull of critical importance for predicting the probable onset of deck wetness. These charts would seem extremely useful in the design phase, and it is our major purpose here to bring the possibility of computing them with the 2D+t method to the attention of naval architects.
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Lei, Hanlun, Jian Li, Xiumin Huang e Muzi Li. "The Von Zeipel–Lidov–Kozai Effect inside Mean Motion Resonances with Applications to Trans-Neptunian Objects". Astronomical Journal 164, n. 3 (2 agosto 2022): 74. http://dx.doi.org/10.3847/1538-3881/ac7c6a.
Testo completoAbstract (sommario):
Abstract Secular dynamics inside mean motion resonances (MMRs) plays an essential role in governing the dynamical structure of the trans-Neptunian region and sculpting the orbital distribution of trans-Neptunian objects (TNOs). In this study, semianalytical developments are made to explore the von Zeipel–Lidov–Kozai resonance inside MMRs. To this end, a semi-secular model is formulated from averaging theory and then a single-degree-of-freedom integrable model is achieved based on the adiabatic invariance approximation. In particular, we introduce a modified adiabatic invariant, which is continuous around the separatrices of MMRs. During long-term evolution, both the resonant Hamiltonian and the adiabatic invariant remain unchanged, thus phase portraits can be produced by plotting level curves of the adiabatic invariant with a given Hamiltonian. The phase portraits provide global pictures to predict long-term behaviors of the eccentricity, inclination, and argument of pericenter. Applications to some representative TNOs inside MMRs (2018 VO137, 2005 SD278, 2015 PD312, Pluto, 2004 HA79, 1996 TR66, and 2014 SR373) show good agreements between the numerically propagated trajectories under the full N-body model and the level curves arising in phase portraits. Interestingly, 2018 VO137 and 2005 SD278 exhibit switching behaviors during their long-term evolution and currently they are inside 2:5 MMR with Neptune.
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강성현. "The U.S. Army Photography and the “Seen Side” and “Blind Side” of the Japanese Military Comfort Women: The Still Pictures and Motion Pictures of the Korean Comfort Girls in Myitkyina, Sungshan, and Tengchung". Korea Journal 59, n. 2 (giugno 2019): 144–76. http://dx.doi.org/10.25024/kj.2019.59.2.144.
Testo completo
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ILIEV, BOZHIDAR Z. "FIBRE BUNDLE FORMULATION OF NONRELATIVISTIC QUANTUM MECHANICS IV: MIXED STATES AND EVOLUTION TRANSPORT'S CURVATURE". International Journal of Modern Physics A 17, n. 02 (20 gennaio 2002): 229–43. http://dx.doi.org/10.1142/s0217751x02005669.
Testo completoAbstract (sommario):
We propose a new systematic fibre bundle formulation of nonrelativistic quantum mechanics. The new form of the theory is equivalent to the usual one and is in harmony with the modern trends in theoretical physics and potentially admits new generalizations in different directions. In it the Hilbert space of a quantum system (from conventional quantum mechanics) is replaced with an appropriate Hilbert bundle of states and a pure state of the system is described by a lifting of paths or section along paths in this bundle. The evolution of a pure state is determined through the bundle (analog of the) Schrödinger equation. Now the dynamical variables and density operators are described via liftings of paths or morphisms along paths in suitable bundles. The mentioned quantities are connected by a number of relations derived in this work. The present fourth part of this series is devoted mainly to the fibre bundle description of mixed quantum states. We show that to the conventional density operator there corresponds a unique density lifting of paths for which the corresponding equations of motion are derived. It is also investigated the bundle description of mixed quantum states in the different pictures of motion. We calculate the curvature of the evolution transport and prove that it is curvature free iff the values of the Hamiltonian operator at different moments commute.
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Xu, Tao. "Performance of VR Technology in Environmental Art Design Based on Multisensor Information Fusion under Computer Vision". Mobile Information Systems 2022 (23 aprile 2022): 1–10. http://dx.doi.org/10.1155/2022/3494535.
Testo completoAbstract (sommario):
Multisensor information fusion technology is a symbol of scientific and technological progress. This paper is aimed at discussing the performance of virtual reality (VR) technology in the environmental art design of multisensor information fusion technology. This paper prepares some related work in the early stage and then lists the algorithms and models, such as the multisensor information fusion model based on VR instrument technology, and shows the principle of information fusion and GPID bus structure. This paper describes the multisensor information fusion algorithm to analyze DS evidence theory. In the evidence-based decision theory, the multisensor information fusion process is the calculation of the qualitative level and/or confidence level function, generally calculating the posterior distribution information. In addition to showing its algorithm, this paper also shows the data flow of the multisensor information fusion system through pictures. Then, this paper explains the design and construction of garden art environment based on active panoramic stereo vision sensor, shows the relationship of the four coordinates in an all-round way, and shows the interactive experience of indoor and outdoor environmental art design. Then, this paper conducts estimation simulation experiments based on EKF and shows the results, and it is concluded that the fusion data using the extended Kalman filter algorithm is closer to the actual target motion data and the accuracy rate is better than 92%.
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Donal, Andri, Andi Rizky Fauzi e Himry Saleh. "THE ANALYSIS OF ENGLISH SLANGS FOUND IN THE ANTMAN MOVIE". JEE (Journal of English Education) 5, n. 1 (1 giugno 2019): 1–14. http://dx.doi.org/10.30606/jee.v5i1.548.
Testo completoAbstract (sommario):
This article discusses the meaning and types of English slangs found in the Ant Man Movie directed by Peyton Reed, produced by Wald Disney Studios Motion Pictures, 2015. The main object of the research was to find out themeaning of English slangs found in the Ant Man Movie and classify themdepending on its characteristics of English Slangs types. This research used a qualitative method. In Classifying the English Slangs, researchers used theory from Coleman that classifying English slangs into seven; English Slang changes in meaning, English Slang changes in function, English Slang change in form, English Slang created by abbreviation, English Slangchanges in spelling, Slangs loans and Slangs from imitating sound. Through this research, researchers found forty English Slangs in the Ant Man Movie; fourteen English Slangs created by changes in meaning, two English Slangs created by changes in, twelve English Slangs created by changes, five English Slangs created by abbreviation, seven English Slangs created bychanges in spelling, four English Slangs loans, and two English Slangs are from sound. English slangs are non-register language. It is more acceptable in daily life because it is fresher and simple in use.
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Hasan, Haris. "The Depiction Of Rape Scenes In Popular Hindi Cinema : A Critical Examination Of Representation Of Gender In Media". Journal of Women Empowerment and Studies, n. 12 (27 ottobre 2021): 42–46. http://dx.doi.org/10.55529/jwes.12.42.46.
Testo completoAbstract (sommario):
The portrayal of female gender in performing arts has been a product of constant societal change. From the days when Female parts were acted upon by male counterparts to the advent of motion pictures and the role of women in making the medium their own , the journey has been long. This can be also studied under the context of anthropology, gender issues, and women emancipation. The female characters have been always fixed into the narrative by the virtue of a certain appeal they exhibit. From Laura Mulvey’s male gaze theory in cinema to the aesthetics of violence in cinema , both have been depicted in experimental ways in films. The portrayal of rape scenes dishonoring the basic existential being of any women have been shot in a number of ways to make a case in point in the film narrative. The shooting of such sequences and the psychological impact of this on the female casts is a critical study within cinema studies. Much to the women empowerment and vocal voices there has been a critical debate on how to film the female body and more so traumatic sequences such as the depiction of rape in the narrative.
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Paksiutov, G. "“Soft Power” and “Cultural Capital” of Nations: the Case of Film Industry". World Economy and International Relations 64, n. 11 (2020): 106–13. http://dx.doi.org/10.20542/0131-2227-2020-64-11-106-113.
Testo completoAbstract (sommario):
The article showcases the similarities between Joseph Nye’s concept of soft power and Pierre Bourdieu’s theory of capital, and attempts to draw upon the latter to deepen the understanding of the role of culture as a source of soft power. This approach is applied to study the role of a national film industry as a soft power tool. First, based on the existing academic literature, some key concepts relevant to the film industry are conceptualized in terms of Bourdieu’s theory of capital. After that, Bourdieu’s research frameworks – particularly, the concept of cultural capital – are used to describe how national film industry contributes to a nation’s cultural influence on the global stage. The author specifically highlights the importance of consideration of “institutionalized cultural capital” (or institutional recognition) and presents some evidence on film awards, namely, the awards from three large European film festivals (Berlin, Venice and Cannes) and Academy Award for Best Foreign Language film. It is emphasized that European countries (such as Italy and France) and the U.S. are in advantageous position in regard to this component of cultural influence: motion pictures produced by these countries receive awards very frequently, while, for instance, African and South American films are awarded scarcely. Such tendencies demonstrate unequal possibilities of countries for the use of national cinema as a tool of cultural influence. The author asserts that a national “soft power strategy” can be seen, in terms of Bourdieu’s theory of capital, as a capital conversion strategy, and discusses the implications of such approach. Furthermore, the applicability of Bourdieu’s theory of capital for the analysis of Russian cinema as a soft power tool is discussed. In conclusion, the author summarizes theoretical and practical implications of the proposed approach, draws attention to some of possible directions for further research.