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1
Okeke-Agulu, Chika. "Studio Call". Nka Journal of Contemporary African Art 2020, n. 47 (1 novembre 2020): 114–25. http://dx.doi.org/10.1215/10757163-8719692.
Testo completoAbstract (sommario):
In February 2020, the author spent a day with Penny Siopis in her studio at the Michaelis School of Fine Art, University of Cape Town, to discuss the artist’s new ink and wood-glue paintings, which she adopted in 2008 as her primary painting medium. This new direction is quite significant for an artist who, in the 1980s at the height of the antiapartheid movement, made ardently realistic figurative oil and mixed-media paintings that signified the psychic detritus of apartheid’s pathologies. The weighty sparseness of Siopis’s Cake paintings (1981–81) and the airless excess of the History paintings (late 1980s) might have been the artist’s way of both dealing with and reflecting on the psychology of apartheid as the institution lurched to its inevitable end in 1990. In the early 2000s, before settling on ink and wood glue, Siopis spent a few years producing oil and ink paintings that contributed to the making of postapartheid trauma art—investigations into the psychic, moral, and ethical abjections of apartheid in the wake of testimonies from the Truth and Reconciliation Commission. Her ink and glue works represent the conjunction of material, process, and subject matter: Siopis relies on and is challenged by the unpredictable mixing and flow of ink, glue, and water—material acts, as she calls them—that evolve as the sum and interplay of autonomous agencies of medium and artist. Siopis’s most recent work in this medium and her film She Breathes Water (2019) allegorize global warming and the devastating impact of human exploitation of nature—elegies to present and coming catastrophes.
2
Roussev, Ivan, e Pencho Penchev. "On the Early History of the Firms in the Ottoman Balkans: A Coasean Approach". Hiperboreea 9, n. 2 (1 dicembre 2022): 203–21. http://dx.doi.org/10.5325/hiperboreea.9.2.0203.
Testo completoAbstract (sommario):
Abstract This article puts the well-known Coasean concept of the firm into the concrete historical environment of the nineteenth-century Ottoman Balkans. The goal is to test whether it can explain the establishment of the first modern firms in conditions predominated by a self-sufficient semimarket economy. On the basis of Bulgarian-owned firms, the authors find that the Coasean concept is useful in explaining the establishment of and the benefits from the firms during the proto-industrial period. The authors contribute to the available literature by adding some clarifications to the main question of Coase concerning the existence of the firms. The firm provides the necessary financial and human capital in sectors such as silk, wool, and textile production and leather goods, where the proto-industrial organization of production is first and foremost applied. The organization of the Bulgarian firms clearly shows the success formula for the presence of a company with small (sometimes even decreasing) capital not only on the relatively huge Ottoman market but even outside it (Wallachia, Georgia) for a long period of time—from approximately the 1820s to the third quarter of the nineteenth century.
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Purba, Parlindungan, Samerdanta Sinulingga, Riko Andika Rahmat Pohan Pohan e Achmad Husein Siregar. "Making instagram film to improve sales of wooden and bamboo basic products products sanggar arts nggara simbelin in village Lingga Karo district". ABDIMAS TALENTA: Jurnal Pengabdian Kepada Masyarakat 4, n. 2 (12 dicembre 2019): 723–34. http://dx.doi.org/10.32734/abdimastalenta.v4i2.4220.
Testo completoAbstract (sommario):
In the context of tourism, supporting facilities such as shops / souvenir businesses has a strategic position in its existence, because it is ‘secondary travel needs’. This secondary travel needs are produced and marketed by a an art studio called Nggara Simbelin art studio located in Lingga village. This art studio is the supporting for tourism existence in the Karo District to date, which has been providing souvenirs based on wood, however this souvenir business has various problems. One of which is marketing,it is weak so that it sometimes results in a build-up of goods of those souvenir in the warehouse. During the 4.0 industrial revolution, information is not only as needs however it has become a primary need for millennials today, and nature and local creativity are highly valued interests for tourists. Therein lies the opportunity, where in this research will be packed as an advertisment in the form of a film teaser to support business marketing souvenir so that it can become a commodity information for millennial tourists who visited tourist sites in the Karo District. The movie teaser is expected to increase sales of souvenir products made from wood from Nggara Simbelin art studio in Lingga Village. This study uses the science of phenomenology, participant observation techniques, with data analysis: (1) data reduction; (2) presentation data; and (3) drawing conclusions / verification. The making of tourism films in this study uses 2 theories, a secondary theory, namely: the theory of film making with 3 working indicators: pre-production, production and postproduction of films, while the primary theory is: film theory as a tourism promotion media with 4 working indicators: color, features, properties and ratios. The results of the application of the seven working indicators of the theory produces a true tourism film as a tourism promotion media. From this research, the next study we will examine how is the impact of this advertisment on the sale of wooden souvenirs for the Nggara Simbelin art gallery.
4
ALI, MONA F., HALA A. M. AFIFI e AML M. LOTFY. "ANALYTICAL INVESTIGATIONS ON A FIRED STUCCO WINDOW IN THE ISLAMIC ART MUSEUM STORE OF CAIRO, EGYPT". Journal of Science and Arts 21, n. 3 (30 settembre 2021): 789–806. http://dx.doi.org/10.46939/j.sci.arts-21.3-b01.
Testo completoAbstract (sommario):
The stucco window in this study is kept in the stores of the Museum of Islamic Art in Cairo, Egypt, and bears the number 454/7. This window has been exposed to many damage factors, the most important of which is the fire that broke out in the museum in 2006 AD, in addition to the effect of the water that was used to extinguish the fire. This research aims to study the components of the window (stucco - glass - wood) and identify the transformations resulting from the effect of fire using optical microscopy, scanning electron microscopy coupled with EDX, X-ray diffraction, and infrared spectroscopy. In addition, the microbiological damage resulting from the moisture that saturates the plaster and wood was investigated.
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Akbar, Moh Rifaldi. "Redefining Orientalism Through “Squid Game”: Sentiment Analysis And Word Cloud R Studio". Metacommunication; Journal of Communication Studies 9, n. 1 (1 aprile 2024): 32. http://dx.doi.org/10.20527/mc.v1i1.18794.
Testo completoAbstract (sommario):
This article aims to redefine Edward Said's definition of orientalism in the era of contemporary communication and information technology through the comments column for the film Squid Game on the IMDB (internet movie database) website. This paper argues that the Orientalist attitude of a dominant English-speaking country such as the United States emerged as a consequence of its white superior hegemony. In the midst of this orientalist attitude, today's communication and information technology has become a discursive channel for the world community to conduct ongoing discussions on films by Asians. By using the text in the comment column for the film Squid Game on IMDB.com as a case example, this article provides a discussion regarding the need to rethink the conceptual definition of orientalism today. This paper uses a digital research methodology with analysis tools using R Studio with two types of analysis, namely word cloud and sentiment analysis. By utilizing the programming language functions available in R Studio, this paper mines text from the IMDB.com comments column for the film Squid Game. This article contains results obtained from digital research methods, namely the Squid Game comments column focuses on characters, plot, acting and story. Meanwhile, sentiment analysis shows the dominance of positive sentiment and some negative sentiment. Therefore, this article argues that the battle between negative and positive sentiments in the Squid Game comments column is a means of resetting the negative stigma towards Asian films and eroding the orientalist attitudes that the West oppresses towards "the East."
6
Esch, Kevin. "““What is your favorite word?”” Myth and Method Inside the Actors Studio". Film Quarterly 60, n. 4 (2007): 44–52. http://dx.doi.org/10.1525/fq.2007.60.4.44.
Testo completoAbstract (sommario):
ABSTRACT The cable television show Inside the Actors Studio struggles to preserve a mythology of film acting as it negotiates the consumerism of the Hollywood industry. This negotiation happens both through the show's orientation to the talk-show genre and the function and impact of its polarizing host James Lipton.
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Newland, Paul. "‘I didn't think I'd be working on this type of film’: Berberian Sound Studio and British Art Film as Alternative Film History". Journal of British Cinema and Television 13, n. 2 (aprile 2016): 262–77. http://dx.doi.org/10.3366/jbctv.2016.0312.
Testo completoAbstract (sommario):
It could be said that the films of the director Peter Strickland are in many ways exemplars of a rich strain of twenty-first-century British art cinema. Like work by Andrea Arnold, Steve McQueen, Jonathan Glazer, Lynne Ramsay, Ben Wheatley and Sam Taylor-Wood, among others, Strickland's three feature-length films to date are thought-provoking, well-crafted, prestigious, quality productions. But in this article I show that while Strickland's second feature-length film, Berberian Sound Studio, conforms to some of the commonly held understandings of the key traits of British art cinema – especially through its specific history of production and exhibition, its characterisation, its narrative structure, and its evidencing of the vision of an auteur – ultimately it does not sit comfortably within most extant histories of British national cinema or film genre, including art cinema. More than this, though, I argue that in its challenge to such extant critical traditions, Berberian Sound Studio effectively operates as ‘art film as alternative film history’. I demonstrate that it does this through the foregrounding of Strickland's cine-literacy, which notices and in turn foregrounds the historically transnational nature of cinema, and, at the same time, playfully and knowingly disrupts well-established cultural categories and coherent, homogenous histories of cinema.
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Bošeľa, M., R. Petráš e Š. Šmelko. "Site classification vs. wood production: a case study based on Silver fir growth dynamics in the Western Carpathians". Journal of Forest Science 57, No. 10 (17 ottobre 2011): 409–21. http://dx.doi.org/10.17221/34/2011-jfs.
Testo completoAbstract (sommario):
We analysed wood production on an example of Silver fir growth ability within site units defined in the site classification that is currently used in the Western Carpathians. It has arisen as a very important issue, since the site units have been widely used in forestry practice and, moreover, it represents one of the input variables of growth model. Research plots established for development of a yield model for Silver fir in the sixties were used. The Korf growth equation was used to model the Silver fir growth, since it showed the best fit to the data compared to other equations. The test of residual variance of the growth models and the test of regression coefficients of the growth models were employed to investigate the differences in top-height growth of Silver fir occurring on different sites. Results showed a very high variability of the top height development within the site units. Nevertheless, two main groups of sites being different from each other were recognized. But, significant differences in the height growth of fir between site units were found mainly in mature stands starting at the age of 60, which could be due to different soil depth and nutrient regime. Lastly, discussions about the approaches to site classifications all over the world showed many alternatives used to develop a classification scheme with different and in many cases unknown precision, and thus there is a need for the objectivity of classification.
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Lee, Michael, e Sarah Reichardt Ellis. "Fractured Reasons and Fractured Reason in I Walked with a Zombie". Journal of Film Music 10, n. 2 (16 dicembre 2022): 69–80. http://dx.doi.org/10.1558/jfm.24720.
Testo completoAbstract (sommario):
I Walked with a Zombie, a poetic horror film from 1943, enjoys widespread and intense admiration of a sort rarely bestowed on a “B” horror film from the studio era. Robin Wood (2003) sees the film as the genre’s finest and has observed that its treatment of the genre’s signal dichotomy of Superstition vs. Reason results in a series of expressive doublings within the film. This article amplifies Wood’s admiration by examining the film’s approach to music. Its soundtrack features the work of two composers. RKO’s Roy Webb offers the Western perspective of Reason while Haitian musician LeRoy Antoine provides the Caribbean perspective associated with Voodooism. By looking at the musical doublings in the film, this article argues that music functions in the film to further dismantle the posture of Reason. This film, more than any the author can think of from the era, criticizes the colonial project and dismantles the Western notion that any single perspective or explanatory model can lead to a sufficient understanding of human affairs.
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Houssni, Joseph. "Image and Word". Religion and the Arts 27, n. 3 (12 giugno 2023): 367–83. http://dx.doi.org/10.1163/15685292-02703003.
Testo completoAbstract (sommario):
Abstract The rapport between religion and film is not only historical but also ontological. The Abrahamic faiths specifically (Islam, Christianity, and Judaism) and the audio-visual medium of cinema share a complex affiliation with reference to two of their foundational elements: image and word. Building on the constitutive kernels of the Abrahamic religion of Islam (image and word), this paper will locate and define its formal manifestations in cinema; in other words, the way in which the conception of image and word at Islam marks film form. This endeavor will be sustained by calling upon some distinctive film cases of the so-called New Iranian Cinema. In particular, Offside (2006) and This Is Not a Film (2011) by Jafar Panahi, and Close-up (1990) by Abbas Kiarostami, as well as other films, will be utilized for analysis in order to delineate the qualities of the claimed religious film form in question. These films are selected as they foreground and thus play out the dialectic of image and word, their absence and their presence.
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., Kiswanto. "Good Corporate Governance dan Market Capitalization Dengan Variabel Moderating Corporate Social Responsibility Disclousure (Studi Kasus Pada Perusahaan Manufaktur Yang Terdaftar Di BEI)". Jurnal Reviu Akuntansi dan Keuangan 1, n. 2 (11 ottobre 2011): 97. http://dx.doi.org/10.22219/jrak.v1i2.514.
Testo completoAbstract (sommario):
The purpose of this study is to test the effect of Good Corporate Governance (GCG) to the market Capitalization that is moderated by Corporate Social Responsibility (CSR). Using ordinary least squares approach (OLS) then the hypothesis would be tested in this study. The results show that good corporate governance affect market capitalization. This means that the enterprise value will increase if the company increases the management company as well. CSR as a moderating variable also showed the influence of corporate governance on firm value through CSR. Although the results showed a significant effect between GCG to market capitalization through CSR as a moderation variable, but this study also has limitations. Among them are companies that are just a sample of manufacturing firms listed on the Indonesia Stock Exchange, and then only companies that submit annual reports over the web IDX (www.idx.co.id). Finally, future research is suggested not only using annual report companies that submit reports via the web. Since the company’s annual report is very much related to the disclosure of information social responsibility (CSR). Key Word : good corporate governance, social corporate responsibility disclousure, market capitalization
12
Darensbourg, Jeffery U. "We Are Together Now: Notes on the Film Hoktiwe: Two Poems in Ishakkoy". Genealogy 5, n. 2 (25 marzo 2021): 28. http://dx.doi.org/10.3390/genealogy5020028.
Testo completoAbstract (sommario):
Artist and historian of the Atakapa-Ishak Nation, Jeffery Darensbourg’s 2020 film with Fernando López features poetry in Ishakkoy, an indigenous language from what is now southwest Louisiana and southeast Texas, composed during an artist residency at A Studio in the Woods. The companion essay shares some of the process of composing creative works in this language, and especially of writing centos, also known as patchwork or collage poems, during COVID-19 sequestration.
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Roosa, John. "The State of Knowledge about an Open Secret: Indonesia's Mass Disappearances of 1965–66". Journal of Asian Studies 75, n. 2 (25 aprile 2016): 281–97. http://dx.doi.org/10.1017/s0021911816000474.
Testo completoAbstract (sommario):
In a scene in the genre-bending documentary filmThe Act of Killing(2012), a journalist, Soaduon Siregar, claims to have a sudden insight while standing in a film studio. Having just watched two executioners reenact their deeds of 1965–66 before a camera, he realizes why he had never known that they had garroted hundreds of detainees when he was working with them in the same building. His old friends had been so “smooth” (he used the English word) that he had not noticed them running a human abattoir upstairs. One of the executioners standing in the studio with crude makeup plastered on his face, Adi Zulkardy, is incredulous and insists Siregar must have known since even the neighbors heard the screams of the victims: “It was an open secret (rahasia umum).” When the director of the film, Joshua Oppenheimer, interjects, noting that Siregar's longtime boss at the local newspaper had already admitted to being an interrogator who decided which detainees were to die, Siregar becomes only more adamant in denying any knowledge of the killing.
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Putri Wahyu Pramudita e Umi Marfiatin. "Alih Kode Dan Campur Kode Dalam Film Komedi Fantas “Penguasa Dunia”". Jurnal Nakula : Pusat Ilmu Pendidikan, Bahasa dan Ilmu Sosial 2, n. 5 (4 luglio 2024): 306–18. http://dx.doi.org/10.61132/nakula.v2i5.1072.
Testo completoAbstract (sommario):
Code-switching and code mixing can not only be found in direct speech but also in social media such as videos on the YouTube platform, one of which can be found on the Lula Studio YouTube video channel entitled "Ruler of the World". The purpose of this research is to discuss the form of code switching and the form of code mixing. The method used in this research is descriptive qualitative method with data collection techniques using listening and note-taking techniques. There are 36 pieces of code-switching and code-mixing data in this study, which are in the form of internal and external code-switching. While in the form of code mix, data was found in the form of word insertion iner code mix, phrase insertion iner code mix, and clause insertion iner code mix. For outer code mix, namely outer code mix of word inserts and phrase inserts.
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Berke, Annie. "Whatever Happened to Janet Wood? Women Story Editors in 1950s Television". Camera Obscura: Feminism, Culture, and Media Studies 34, n. 3 (1 dicembre 2019): 127–55. http://dx.doi.org/10.1215/02705346-7772411.
Testo completoAbstract (sommario):
This article places 1950s women story editors in television in the context of the studio system and explains the particular labor of the story and script editors in film and TV. It examines the extant records and archival sources (including newspapers, industry trade publications, and internal memos) of women story editors such as Dorothy Hechtlinger, Alice Young, Jacqueline Babbin, and Janet Wood in conjunction with the historical work of David Waterman and Erin Hill, as well as the theoretical model Michel Foucault posits in his essay on the criminal notices of obscure “infamous men.” These “infamous” (or, more appropriately, un-famous) women story editors become visible as they are being penalized, disciplined, or fired—which is to say, they only appear in the historical record when they are being pushed out or when they push back. As Hechtlinger writes in an angry memo to a supervisor at The United States Steel Hour (ABC, 1953–55; CBS, 1955–63), “I think it was a shameful omission that I was not permitted to attend today’s meeting.” For decades, women like Hechtlinger and Wood have suffered such “omissions” within television history. This essay seeks to integrate their stories, work, and subjectivities into the field of postwar media industry studies while revealing how this hidden history invites a rereading of media texts from the period.
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Hennefeld, Maggie, Laura Horak e Rachel Loewen. "Feminist World-Making with Cinema’s First Nasty Women". Feminist Media Histories 10, n. 2-3 (2024): 114–25. http://dx.doi.org/10.1525/fmh.2024.10.2-3.114.
Testo completoAbstract (sommario):
Cinema’s First Nasty Women is a ninety-nine-film DVD/Blu-ray set that highlights silent-era comediennes and cross-dressed women. Cocurators Maggie Hennefeld and Laura Horak organized two live Zoom roundtables with members of the team who had created, taught, or contributed to the project, moderated by FMH editor Jennifer Bean. One included cocurator and film historian Laura Horak, Kino producer Bret Wood, cocurator and silent film archivist Elif Rongen-Kaynakçi, composers Renée C. Baker and Gonca Feride Varol, Indigenous film historian and booklet contributor Liza Black, and film scholar Kaveh Askari. The other included cocurator and film historian Maggie Hennefeld, silent film festival organizer Enrique Moreno Ceballos, film scholars and commentary contributors Yiman Wang, Aurore Spiers, and Kate Saccone, and film scholar Neta Alexander. Rachel Loewen transcribed the roundtables and Hennefeld and Horak condensed and cut together the conversations to highlight the key themes that emerged.
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Natalinov, Eloi Ebenhazer, e Perminas Pangeran. "KONSENTRASI INDUSTRI DAN RETURN SAHAM: STUDI EMPIRIS DI BURSA EFEK INDONESIA". Jurnal Riset Manajemen dan Bisnis 8, n. 1 (1 giugno 2013): 35. http://dx.doi.org/10.21460/jrmb.2013.81.89.
Testo completoAbstract (sommario):
The purpose of this study is to examine the effect of industry concentration to future stock return. We analyze all industries listed in Indonesia Stock Exchange over 2007 - 2009 period. By using regression analysis, the result shows that companies operating in less concentrated or more competitive industries generate higher future stock return. In another word, firms in more concentrated or less competitive earn lower future stock return. In addition, this study reveals that size has negative effect on future stock return, while leverage show not such effect. This result indicates that there is difference in the size of companies. Indonesian concentrated industries are dominated by the large compenies. Keywords: industries concentration, industries stock return, competitive industries
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Cahya Kamilla, Adinda, Natasya Priyani, Ressa Priskila e Viktor Handrianus Pranatawijaya. "ANALISIS SENTIMEN FILM AGAK LAEN DENGAN KECERDASAN BUATAN: TEXT MINING METODE NAÏVE BAYES CLASSIFIER". JATI (Jurnal Mahasiswa Teknik Informatika) 8, n. 3 (2 maggio 2024): 2923–28. http://dx.doi.org/10.36040/jati.v8i3.9587.
Testo completoAbstract (sommario):
Analisis sentimen terhadap ulasan film di media sosial Twitter selalu muncul sebagai subjek yang menarik untuk diselidiki dalam penelitian. Studi ini bertujuan untuk melakukan analisis sentimen terhadap ulasan film "Agak Laen" di media sosial Twitter menggunakan metode klasifikasi Naïve Bayes Classifier. Data diambil melalui web scraping dan diproses melalui tahap preprocessing, termasuk pembersihan, case folding, normalisasi, penghapusan stopword, tokenisasi dan stemming. Setelah dilatih dan dievaluasi menggunakan KFold cross-validator dengan k=5, model menunjukkan akurasi sebesar 78%. Evaluasi menunjukkan bahwa model memiliki precision sebesar 85.51%, recall sebesar 85.57%, dan f1-score sebesar 82.71%. Visualisasi grafik distribusi sentimen dan word cloud juga dilakukan untuk memberikan gambaran yang lebih jelas tentang data. Hasil penelitian ini menunjukkan bahwa metode klasifikasi Naïve Bayes Classifier memiliki potensi yang baik dalam menganalisis sentimen ulasan film di Twitter
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Chereji, Carina Iulia. "„Nu se poate privi” sau „vino și vezi”? Exitus și Idzi i Hliadzi. un studiu de caz". Revista de Istorie și Teorie Literară 17 (30 dicembre 2023): 339–50. http://dx.doi.org/10.59277/ritl.2023.17.27.
Testo completoAbstract (sommario):
What could possibly bring together Adrian Georgescu’s novel Exitus (2017) and Elem Klimov’s film Idzi i Hliadzi (Come and See, U.S.S.R., 1985)? Both texts explore war trauma experienced by underage subjects (Georgescu’s protagonist Milo is an orphan barely surviving in a devastated unnamed land, while Klimov’s hero, Flyora, is a Belarusian adolescent eager to join the Word War II partisans). We rely on Gilles Deleuze’s concept of time-image to investigate the narrative strategies with which the authors aim to represent what, essentially, ”one can’t look at”: children or teenagers as actors-victims of war.
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Shapoval, D. A., K. S. Moiseeva e E. V. Artamonova. "Reliability of an automatic fire sprinkler installation in a woodworking shop". ТЕНДЕНЦИИ РАЗВИТИЯ НАУКИ И ОБРАЗОВАНИЯ 105, n. 12 (2024): 200–202. http://dx.doi.org/10.18411/trnio-01-2024-624.
Testo completoAbstract (sommario):
The article examines and evaluates in detail the problem of reliability of an automatic fire protection system. Several solutions are proposed to enhance the fire safety of technological processes and the continuous production of combustible materials (wood).
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Ayatulloh, Dimyati, e Ratna Wardani. "Analisis Hubungan Perceived Ease of Use dan Kualitas Layanan Terhadap Rasa Percaya Pada Alat Digital Radiografi Dalam Meningkatkan Word of Mouth Studi Pada Rumah Sakit Rujukan Covid-19". Jurnal Imejing Diagnostik (JImeD) 8, n. 2 (26 dicembre 2022): 129–34. http://dx.doi.org/10.31983/jimed.v8i2.8324.
Testo completoAbstract (sommario):
Background: With the times, Convention Radiography (RK) was replaced by Digital Radiography (RD) because film printing is more efficient, archiving can be done digitally, reducing the risk of losing film due to file backups, and is more environmentally friendly because it does not require chemicals. The purpose of the study was to analyze the perceived ease of use influence on the radiographer's confidence from the digital radiography tool so that word of mouth was achieved to other radiographers at the Covid-19 Referral Hospital.Methods: Design observational research with a cross-sectional approach. The population of all radiographers from 180 Covid 19 referral hospitals has used Digital Radiography. A sample of 170 respondents with cluster random sampling technique. The variables in the study were perceived ease of use, quality of service, user confidence and word of mounth. Research instruments use questionnaire sheets. The analysis used is bivariate analysis and path analysis with SPSS 23 and STATA 13.Results: Design observational research with a cross-sectional approach. The population of all radiographers from 180 Covid 19 referral hospitals has used Digital Radiography. A sample of 170 respondents with cluster random sampling technique. The variables in the study were perceived ease of use, quality of service, user confidence and word of mounth. Research instruments use questionnaire sheets. The analysis used is bivariate analysis and path analysis with SPSS 23 and STATA 13.Conclusions: The development of this technology is used as an excuse that facilitates the subscription of transportation services in fulfilling the quality of their services and makes it easier for consumers or the public to access health services. Healthcare providers mostly achieve success because they are influenced by word of mouth communication or word of mouth marketing.
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Tkachenko, Anatoliі. "DRAWERS AND STRINGS (chimeric-heretical essay)". Literary Studies, n. 64 (2023): 102–14. http://dx.doi.org/10.17721/2520-6346.1(64).102-114.
Testo completoAbstract (sommario):
With this essay, I continue the long-standing heretical polemic with the practice of literary generalizations, which drive the artistic achievements of unique creative people into the drawers of "-isms", uniting them with one or another precedent name, such as "fancy prose" or "fancy novel". Vasyl Zemliak's diverse work does not fit only in these drawers, because he wrote not only epic or lyrical prose, but also prose poetry (it is denoted by as many as four incorrect terms: "prose poems", "prose poems", "prose poetry", " prose poetry"), and also worked in the field of related arts, participating in the creation of film scripts, and some of them (such as "Conscience") do not at all fit into the "quaint" commune. For example, the work "Dialogue with the city" is traditionally classified as "small stories", while in fact it is a prose-lyrical monologue-message in the form of a dialogue, with elements of an ode, meditation, memory, urban landscape and with a rhythmic melody, tropes, rhetorical figures, etc. corresponding to this genre. The essay also includes a comic strip by V. Zemliak's, which was preserved in the archive of the film director and writer M. Mashchenko and was published in his memoirs, posthumously. Written in 1960, this comic belongs to the period of the socalled Khrushchev thaw, but even then it was dangerous for the author, who worked as the chief editor of the film studio named after O. Dovzhenko (1963−1968). However, after the events of the "Prague Spring" in 1968, Vaclav Vacek, a Czech by origin, who took the pseudonym Vasyl Zemlіak, no longer worked at a film studio. I also support my long-standing statement about the need to finally introduce film dramaturgy, just as dramaturgy was introduced, to artistic literature, and its analysis to literary studies as a branch of art studies. And therefore − about the need to explore the creativity of artists in view of their diverse interests, in particular in the genre of film scripts. The world has long been moving towards a new syncretism of the arts, in which the art of the word and its visualization should occupy a prominent place. Not seeing all this is, at best, narrow-minded myopia.
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Nutu, Liliana. "THE SEDUCTION OF WORDS AND FLESH AND THE DESIRE OF GOD: A POSTSTRUCTURALIST READING OF JOHN 1:1, 14 AND THE PILLOW BOOK". Biblical Interpretation 11, n. 1 (2003): 79–97. http://dx.doi.org/10.1163/15685150360495589.
Testo completoAbstract (sommario):
This paper looks at John 1:1, 14 and Peter Greenaway's film The Pillow Book with the intention of reading afresh the Incarnation of the Word in the former and the Inscription of the Flesh in the latter, while focusing on the seduction of word(s) and flesh, the dynamics of speech and writing, and the desire of God, through poststructuralist theory. It investigates the relationship between text and image, and text, image, and reader, and it exposes the ocular-erotic character of reading. Connected to one of the most valuable collections of writings in Japanese literature, namely The Pillow Book of Sei Shonagon , Greenaway's film treats the 'delights of the flesh and the delights of literature' as indistinguishable from each other. This paper defends the idea that the Incarnation exposes the reciprocity of desire of God: God desires our flesh as much as we desire his Word; and it identifies the Incarnation as the hymen which both unites and separates the human and the divine, the immanent and the transcendent, the flesh and the word, the audience and the book, this world and the other, foreplay and orgasm.
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Sari, Dessy Riana, M. Suyanto e Amir Fatah Sofyan. "Implementasi Kansei Engineering Dalam Perancangan Desain Karakter Dengan Prinsip Appeal (Studi Kasus : Karakter dalam Film Battle of Surabaya)". Creative Information Technology Journal 7, n. 2 (31 marzo 2021): 95. http://dx.doi.org/10.24076/citec.2020v7i2.254.
Testo completoAbstract (sommario):
Dalam penciptaan desain karakter animasi erat kaitanya dengan prinsip Appeal, namun prinsip animasi ini sangat bergantung terhadap penilaian pribadi. Sehingga diperlukan cara yang sistematis untuk memahami penilaian prinsip appeal dalam penciptaan degain karakter animasi. Penelitian ini menggunakan Metode Kansei Engeneering untuk mendapatkan penilaian mengenai prinsip appeal dengan menggunakan studi kasus karakter dari animasi Battle of Surabaya. Metode Kansei Engeneering digunakan berdasarkan perasaan psikologis yang tercermin melalui kata kansei. Analisis yang digunakan dalam penelitian ini menggunakan analisis statistik multivariant. Hasil dari penelitian ini memberikan rekomendasi elemen desain karakter yang dihasilkan dengan prinsip appeal melalui pendekatan Kansei Engenering. Elemen desain pada penelitian ini diperoleh dari studi kasus karakter animasi di film Battle of Surabaya yang berpedoman dengan Kansei Word. Hasil analisis menunjukan bahwa pengaruh appeal pada design karakter dapat dicapai dengan elemen desain seperti Teritary Color, Near Realis, Hooded Eyes, dan Square Face Shape. Penelitian ini diharapkan dapat memberikan kontribusi ilmiah mengenai penciptaan desain karakter yang mengacu pada prinsip appeal. Kata Kunci—Kansei Engeneering, Appeal, Desain KarakterAbstractWhen created animated character designs closely related to the principle of Appeal, but the principle of animation is very dependent on personal judgment. A systematic way to understand the appraisal principle is required in the creation of animated characters. This research uses Kansei Engeneering Method to get consideration of comparative principles by using case studies of characters from the Battle of Surabaya animation. The Kansei Engeneering method is used based on psychological feelings that are reflected through the word kansei. The analysis in this research uses multivariate statistical analysis. This researchy provides recommendations for the character design elements produced with the principle of appeal through the Kansei Engenering approach. The design elements in this study were obtained from a case study of animated characters in the film Battle of Surabaya, which is guided by Kansei Word. The analysis shows that the effect of appeal on character design can be achieved with design elements such as Teritary Color, Near Realist, Hooded Eyes, and Square Face Shape. This research is expected to make a scientific contribution regarding the creation of character designs that refer to the principle of appeal.Keywords— Kansei Engeneering, Appeal, Character design
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Asrialdhuha, Insun, e Rita Gani. "Pengaruh Electronic Word of Mouth (E-WOM) Review Film terhadap Minat Penonton". Bandung Conference Series: Public Relations 3, n. 2 (6 agosto 2023): 1057–64. http://dx.doi.org/10.29313/bcspr.v3i2.9476.
Testo completoAbstract (sommario):
Abstract. Nowadays the era of interactive communication through the development of the internet makes it easy to access information for each individual with the emergence of the concept of Electronic Word of Mouth (E-WOM). E-WOM is a form of conventional communication development, WOM (Word of Mouth). Accessibility is much more effective in making users more active in sharing information such as product/service reviews on social media. TikTok is a social media platform for content production and information providers, one of which is film reviews. E-WOM sources are more trusted by users because they are based on personal experience, are not bound by partners (honest and independent). E-WOM regarding famous film reviews by the TikTok account @kepinhelmy. This study aims to determine whether there is an influence of E-WOM on KKN film reviews in Dancer Village, the @kepinhelmy TikTok account on viewing interest, with three E-WOM dimensions, namely intensity, valence of opinion, and content. This research is classified as a quantitative approach with a positivism paradigm. The data analysis technique uses simple linear regression. Primary data collection was carried out by distributing questionnaires online, and supporting data from literature studies. The results of this study indicate that there is an influence between E-WOM (variable X) on viewing interest (variable Y) with a significant value of 0.699 <0.05 and an R Square gain of 69.9% so that the influence between the two variables is included in the strong category.
Abstrak. Dewasa ini era komunikasi interaktif melalui perkembangan internet, memberi kemudahan mengakses informasi bagi tiap individu dengan munculnya konsep Electronic Word of Mouth (E-WOM). E-WOM merupakan bentuk perkembangan komunikasi secara konvensional, WOM (Word of Mouth). Sisi aksebilitas yang jauh lebih efektif menjadikan pengguna lebih aktif dalam membagikan informasi seperti review suatu produk/jasa di media sosial. TikTok salah satu media sosial sebagai wadah produksi sebuah konten dan penyedia informasi, salah satunya ialah mengulas film. Sumber E-WOM lebih dipercayai pengguna karena berdasarkan pengalaman pribadi, tidak terikat mitra (jujur dan independen). E-WOM mengenai review film terkenal oleh akun TikTok @kepinhelmy. Penelitian ini bertujuan untuk mengetahui adakah pengaruh E-WOM review Film KKN di Desa Penari akun TikTok @kepinhelmy terhadap minat menonton, dengan tiga dimensi E-WOM yaitu intensity, valence of opinion, dan content. Penelitian ini diklasifikasikan pendekatan kuantitatif dengan paradigma positivisme. Teknik analisis data menggunakan regresi linier sederhana. Pengumpulan data primer dilakukan dengan menyebarkan kuesioner secara online, dan data pendukung dari studi kepustakaan. Hasil penelitian ini menujukkan bahwa terdapat pengaruh antara E-WOM (variabel X) terhadap minat menonton (variabel Y) dengan nilai signifikan 0.699 < 0,05 dan perolehan R Square 69,9% sehingga pengaruh antara kedua variabel tersebut termasuk dalam kategori kuat.
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Trajković, Jelena. "METATEXTUALITY AND NARRATIVE TECHNIQUES IN STEPHEN SONDHEIM’S INTO THE WOODS ON STAGE AND SCREEN". PHILOLOGIA MEDIANA 14, n. 1 (13 giugno 2022): 456–76. http://dx.doi.org/10.46630/phm.14.2022.32.
Testo completoAbstract (sommario):
This paper focuses on the transmedial relationship between Stephen Sondheim’s 1987 Broadway musical Into the Woods and its 2014 film adaptation directed by Rob Marshall and produced by Disney Studios. It places emphasis on the various medium-specific narrative devices the two texts employ in order to bring forth the story’s central motif of storytelling. The metatextual motif of storytelling is deconstructed against Stephen Sondheim’s postmodernist ideology as he challenges the closed system within which fairy-tales traditionally figure, drawing attention to the artificiality of the inherited notions of good and evil, and by extension, the fallibility of prescribed narratives. Finally, this paper offers a detailed analysis of narrative layers and narratorial figures in Into the Woods on stage and screen, ultimately concluding that, due to its lack of an omniscient narrative voice to be questioned, the story’s transposition onto the screen fails to reiterate the significance of metatextuality of the central motif that has proven fundamental to Sondheim’s play.
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GARRIOCH, DAVID. "Towards a fire history of European cities (late Middle Ages to late nineteenth century)". Urban History 46, n. 2 (19 giugno 2018): 202–24. http://dx.doi.org/10.1017/s0963926818000275.
Testo completoAbstract (sommario):
ABSTRACT:Fires are often seen as a constant in early modern European towns, changing only in the modern era when inflammable building materials replaced wood. This article argues that the incidence, nature and risk of fire shifted repeatedly over time. Fire danger was determined not only by building materials but also by forms of construction, by the everyday uses people made of flame and by wider factors such as climatic variation and shifts in world trade and consumer demand. It was influenced by urban social and political change, including the way governments and populations responded to the risk. Responses to new fire dangers in turn helped change the way urban government functioned.
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Cassiday, Julie A. "Kirov and Death in The Great Citizen: The Fatal Consequences of Linguistic Mediation". Slavic Review 64, n. 4 (2005): 799–822. http://dx.doi.org/10.2307/3649915.
Testo completoAbstract (sommario):
A fictional account of the life and death of Sergei Kirov, Fridrikh Ermler’s two-part film The Great Citizen (1937 and 1939) appears unusual due to its lack of action and its fetishization of the spoken word. As an instance of what Ermler called “conversational cinema,” the film defines the outer limit of verbosity and immobility in socialist realist film. The movie’s hero Shakhov mediates between Stalin and the Soviet masses; as a result, the conflict between Shakhov and the Trotskyist opposition represents a struggle between authentic and corrupt linguistic mediation in the film. By appropriating the myth of the Russian writer's martyrdom, The Great Citizen depicts Shakhov’s demise, not merely as the result of a Trotskyist conspiracy, but more importantly as the necessary guarantor of the truth of Shakhov’s words. Ermler's film reconfigures the writer’s role in Russian society by inverting the hierarchy of the written and the spoken word, thus subjugating the myth of the martyred writer to the aesthetic and ideological goals of socialist realism. The Great Citizen demonstrates the importance of Kirov's martyrdom within Stalinist mythology and figures as a paradigmatic work of socialist realist film.
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Tubagus, Norah Bt Entus Nasrudin, Siti Suharsih e Rahman Hakim. "A Morphological Analysis of Slang Words Used by Characters in “Ralph Breaks the Internet” Movie". E-Structural 4, n. 01 (14 giugno 2021): 55–67. http://dx.doi.org/10.33633/es.v4i01.4462.
Testo completoAbstract (sommario):
Abstract: The current study entitled “A Morphological Analysis of Slang Words Used by Characters In Ralph Breaks the Internet Movie” aimed to investigate the morphological processes of constructing slang words and its meaning of the found slang words used by the movie characters. This research used a descriptive qualitative method with content analysis design. The findings revealed that there are 42 slang words categorized into different morphological processes included compound (14,28%), clipping (11,90%), blending (14,28%), affixations (16,66%), reduplicative (7,14%), backformation (2,4%), abbreviation (2,4%), conversion (4,76%), alternation (14,28%), extension (4,76%) and word manufacture (7,14%). This study demonstrated the meaning changes of the slang words that have been affected through certain morphological processes by modifying their word category. Consequently, some slang terms have preserved the original meaning despite the changes in their spelling. In the meantime, certain slang words get abbreviated or shortened and retained their original meaning. Meanwhile, some slang words change their meaning by deriving their word category. Besides, there were certain slang words that change their meaning depending on word usage.Key words: morphology, Ralph Breaks the Internet, slangAbstrak. Penelitian yang berjudul “Analisis Morfologi Kata-kata Slang yang Digunakan oleh karakter dalam Film ‘Ralph Breaks the Internet’” bertujuan untuk menelaah proses morfologi dalam membangun kata-kata slang dan maknanya yang digunakan dalam film tersebut. Penelitian ini menggunakan metode kualitatif deskriptif dengan desain analisis isi. Data temuan menunjukkan 42 kata slang yang dikategorikan ke dalam proses morfologi yang berbeda, yaitu ‘compound’ (14,28%), ‘clipping’ (11,90%), ‘blending’ (14,28%). , ‘affixations’ (16,66%), ‘reduplicative’ (7,14%), ‘backformation’ (2,4%), ‘abbreviation’ (2,4%), ‘conversion’ (4,76%), ‘alternation’ (14,28%), ‘extension’ (4,76%) dan ‘word manufacture’ (7,14%). Studi ini mendemonstrasikan perubahan makna dari kata-kata slang yang telah dipengaruhi proses morfologi tertentu dengan memodifikasi kategori kata asal. Hasilnya beberapa istilah dalam kata slang tetap mempertahankan makna aslinya meskipun ejaannya berubah. Sementara itu, kata-kata slang tertentu disingkat dan tetap mempertahankan arti aslinya. Beberapa kata slang lainnya berubah makna dengan mengubah kategori katanya. Selain itu, beberapa kata-kata slang tertentu berubah maknanya tergantung dari penggunaan kata.Kata kunci: morfologi, Ralph Breaks the Internet, slang
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de Szegheo Lang, Tamara, Dan Vena e Prerna Subramanian. "Dreamers of the Day and the Living Archive of 1990s Lesbian Cinema in Canada". Feminist Media Histories 10, n. 2-3 (2024): 283–94. http://dx.doi.org/10.1525/fmh.2024.10.2-3.283.
Testo completoAbstract (sommario):
In this article we reflect on our experiences researching and curating a Canadian lesbian feature film, Dreamers of the Day (1990, dirs. Patricia Rivera Spencer and Philip Wood). We explore how a community-driven approach to archival research is necessary for investigating low-budget lesbian films such as this, and in turn, should inform accompanying curatorial practices. When screening lesser-known queer films, the community networks necessary to their creation and then later for their preservation tend to be overlooked in favor of celebrating the accomplishments of an individual director. If curators of queer film focus exclusively on the finished product and exhibit only remarkable films, they risk missing works that speak to queer filmmaking practices and the importance of these histories to queer community-building. To counteract these investments, we instead consider how strategies of collaboration can inform filmmaking, research methods, and curatorial practices, illuminating the relational networks that make queer art possible.
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Sigal, Pete. "Making Maya Men". GLQ: A Journal of Lesbian and Gay Studies 26, n. 1 (1 gennaio 2020): 1–34. http://dx.doi.org/10.1215/10642684-7929083.
Testo completoAbstract (sommario):
The Franciscan friar Diego de Landa, in the mid-sixteenth century, and the Holly-wood film producer and director Mel Gibson, in the early twenty-first century, created Maya men as beings with perverted and penetrated bodies. In 1566 Landa wrote his Relación de las cosas de Yucatán, an extensive text about the Maya people. In 2006 Gibson released Apocalypto, a Hollywood film in which all dialogue was in Yucatec Maya. Landa and Gibson both argued that they showed the true Maya world, but each expressed a visceral reaction to Maya sacrifice and, in so doing, infested their own fantasies with nightmares of savage Maya men. This essay argues that by analyzing the voyeurism and fantasies of Landa and Gibson, we can come to terms with the position of Maya masculinity in modern Western imaginations. Moreover, by working to understand Landa’s and Gibson’s investments in perverse Maya men, we can think about why Western people formulate fantasies of colonized subjects. Finally, these fantasies of non-Western subjectivities can speak to the stakes involved in queer theory’s understanding of the social sphere, the heterosexual family, and the child as a sign of the future.
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Fahlevy, Erlangga Putra, e Muhammad Adi Pribadi. "Pengaruh Electronic Word of Mouth (E-WoM) terhadap Keputusan Pembelian Tiket Film Oppenheimer". Prologia 8, n. 1 (18 marzo 2024): 143–51. http://dx.doi.org/10.24912/pr.v8i1.27568.
Testo completoAbstract (sommario):
Creating films is a risky business that requires a profound understanding of audience motivation and strategies to bring them to the cinemas. In the digital era, electronic word of mouth (e-WoM) as a means to exchanging information on social media, particularly through platforms like X, plays a key role in influencing film ticket purchase decisions. e-WoM activities on X, such as tweets and retweets, serve as crucial indicators of a film's popularity. However, it is essential to note that popularity on social media is not always positive. This motivates the aim of this research, which focuses on examining the influence of e-WoM on X on the decision to purchase tickets of film "Oppenheimer." The study was conducted among the followers of @moviemenfes as the research population, with a sample size of 100 followers chosen through nonprobability sampling (specifically, purposive sampling) methods. Data were gathered through the questionnaires distribution to the sample, and data analysis was assisted by using SPSS 27th version, employing techniques such as validity testing, normality testing, reliability testing, T-test, F-test, simple linear regression analysis, Pearson's correlation test, and linearity test. The research findings indicate that e-WoM significantly influences the decision to purchase tickets for the film "Oppenheimer". Membuat film merupakan bisnis berisiko yang membutuhkan pemahaman mendalam terhadap motivasi penonton dan strategi untuk membawa mereka ke bioskop. Dalam era digital, electronic word of mouth (e-WoM) sebagai metode pertukaran informasi di media sosial, terutama melalui platform seperti X memainkan peran kunci dalam memengaruhi keputusan pembelian tiket film. Aktivitas e-WoM di X, seperti tweet, retweet, dan lainnya, menjadi penanda penting popularitas suatu film, namun perlu dicermati bahwa popularitas di media sosial tidak selalu bersifat positif, sehingga mendorong penelitian ini untuk melihat pengaruh e-WoM pada platform X terhadap keputusan pembelian tiket film "Oppenheimer". Penelitian dilakukan pada para pengikut @moviemenfes sebagai populasi penelitian, dengan jumlah sampel sebanyak 100 pengikut yang dipilih melalui metode pengambilan sampe non-probabilitas (khususnya purposive sampling). Data dikumpulkan melalui penyebaran kuesioner terhadap sampel dan proses analisis data dikerjakan menggunakan aplikasi SPSS versi 27 dengan menggunakan teknik uji validitas, uji normalitas, uji reliabilitas, uji T, uji F, uji regresi linear sederhana, uji korelasi Pearson's, dan uji linearitas. Temuan dari penelitian menunjukkan bahwa e-WoM memiliki pengaruh yang signifikan pada keputusan pembelian tiket film "Oppenheimer".
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Pērkone, Inga. "DOCUMENTARY FILMMAKERS’ ANTI-COMMUNIST MANIFESTO. THE FILM “KULDĪGA FRESCOES” (AIVARS FREIMANIS, 1966)". Culture Crossroads 10 (10 novembre 2022): 19–30. http://dx.doi.org/10.55877/cc.vol10.139.
Testo completoAbstract (sommario):
In his book The Communist Post Scriptum, philosopher Boris Groys defines communism as a revolutionary project, the aim of which was to subordinate the economy to politics and to transform society from a financial medium into a lin- guistic medium. In order to achieve communism, it was first necessary to verbalise society. At the beginning of the 1960s, efforts by Riga poetic documentary film- makers to work in the cinéma vérité style failed because the Soviet people, having experienced a linguistic turn, clearly knew what to say and how to speak when approached by film cameras. It was one of the reasons why part of Soviet film- makers started avoiding the spoken word in cinema in the hope of approaching truth solely through image. In the middle of the 1960s, there were two monumental documentaries created at Riga Film Studios that were entirely based on the dramatic expressivity of image: 235,000,000 (1967) by Uldis Brauns and “Kuldīga Frescoes” (Kuldīgas freskas, 1966) by Aivars Freimanis. However, I believe that the films went in opposite directions. The epic documentary 235,000,000, which was dedicated to the 50th anniversary of the USSR, actually offered an equivalent visual expression to the leading Soviet linguistic discourse, whereas “Kuldīga Frescoes” liberated visual aesthetics from the shackles of political language, “taking it to another horizon where it becomes free, a new creature in nation humanity” (Rainis). The topic of my paper will be “Kuldīga Frescoes”.
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Bhavani, K. N. L. Durga. "A STUDY ON DETERMINING THE EMPLOYEE PERFORMANCE IN SERVANT LEADERSHIP STYLE IN BANKING SECTOR". BSSS Journal of Management 14, n. 1 (30 giugno 2023): 96–109. http://dx.doi.org/10.51767/jm1409.
Testo completoAbstract (sommario):
Servant leadership is a well-established idea; the word was first used in 1970 by Robert K. Greenleaf in his article "The Servant as Leader," which was published in Harvard Business Review. "The servant leader is first and foremost a servant," Greenleaf said. Greenleaf felt that institutions, rather than merely people, could be servant leaders as well as servants. Servant leadership culture is becoming more popular among top-ranking corporations throughout the globe, as they recognize the pragmatic effect it has on both leaders and followers. The rise of servant leaders has flipped the power hierarchy in the banking sector on its head. Serving their followers, the servant leader has evolved into a leader who is accountable for guiding the firm. The impact of servant leadership and its impact on organisational effectiveness, there has been little research into the relationship between servant leadership and employee performance. There has also been little research into how to determine employee performance through moderating. Employee performance is influenced by factors such as the workplace environment, leadership, career development programs, and incentive systems, as well as training skills and new talents to meet the current and future needs of the firm. Employee engagement, as well as employee performance, is a significant component in determining employee performance. It is possible to evaluate employee performance in terms of the organization's current and future needs and requirements.
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Holt, Else K. "Book Review: Like Fire in the Bones: Listening to the Prophetic Word in Jeremiah". Biblical Theology Bulletin: Journal of Bible and Culture 38, n. 4 (novembre 2008): 188–89. http://dx.doi.org/10.1177/014610790803800410.
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Collins, Brian. "The Cabin in the Woods. Film. Directed by Drew Goddard. Lionsgate, 2012. DVD, $19.98." Religious Studies Review 39, n. 2 (giugno 2013): 96–97. http://dx.doi.org/10.1111/rsr.12032_8.
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Charette, Blaine. "‘Tongues as of Fire’: Judgment as a Function of Glossolalia in Luke’s Thought". Journal of Pentecostal Theology 13, n. 2 (2005): 173–86. http://dx.doi.org/10.1177/0966736905053245.
Testo completoAbstract (sommario):
AbstractThe argument advanced in this paper is that the Pentecost language event signals judgment as well as blessing. The reference to ‘tongues as of fire’ in Luke’s description of Pentecost portends judgment. This is consistent both with Luke’s use of the image of fire elsewhere and with the very character of Pentecost as an eschatological event. The judgment in view is directed against those who fail to respond appropriately to the word of God present in the redemptive revelation centered in Jesus. The positive response of obedient disciples results in their experience of the baptism with the Holy Spirit. At the same time, the language of ‘another tongue’ that characterizes this experience serves to demonstrate the divine judgment that has come upon the disobedient.
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Harris, Michael W., Jeff Lyon, Heather Fisher, Joshua Henry e Sienna M. Wood. "Past, Present, and Future of the Collections of Cinema and Media Music Database". Journal of Film Music 10, n. 2 (16 dicembre 2022): 142–52. http://dx.doi.org/10.1558/jfm.20817.
Testo completoAbstract (sommario):
For many scholars, critical analysis of film and media music is stymied by a lack of published or manuscript materials, and discoverability of such materials is many times hampered by how archival materials are cataloged. While numerous composers have deposited their papers at libraries and archives across the globe, discovery of these collections has occurred via citations in books and articles, or word-of-mouth between scholars. This is because archival collections are cataloged with a focus on the creator of the collection and not the individual object (such as a book or manuscript score). Therefore, if the score or other materials for a film are in a collection of a studio, or someone other than the composer themselves, they might be hard, if not impossible, to find without a lot of searching or a stroke of luck. Adding to the difficulty is that some of these collections are not fully indexed or searchable, so many materials remain hidden under a century of backlogged archival processing. In order to address this problem, the Collections of Cinema and Media Music (C2M2) has been designed, built, and populated by a small team spread across the United States. This paper will discuss the design and implantation of C2M2, with a focus on the task of creating a custom metadata schema that addresses the unique issues of film and media music, and the myriad of ways a researcher might try to access a particular score. It will also show the reader how the metadata functions and displays within the database, with discussions of the challenges inherent in a project of this scope. As research into film and media music continues to expand, scholars are clamoring for access to materials to expand their research beyond the realm of music–film relationships and into areas reliant on archival materials. In such a world, tools such as C2M2 will be critical in creating the ease of access that will eliminate the barriers that hamper such work.
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Dwiyanti, Revi, e Agus Suherman. "Unsur Budaya Dalam Cerita Film Cakra Buana Karya Sutradara Massimo Burhanuddin". LOKABASA 10, n. 2 (20 novembre 2019): 204–13. http://dx.doi.org/10.17509/jlb.v10i2.21361.
Testo completoAbstract (sommario):
This research is motivated by the lack of research on film that uses Sundanese language and cultural settings. This study aims to describe the cultural elements that exist in the Cakra Buana film story. The method used in this research is descriptive analysis with document study techniques in the form of artwork. The data source in this study is the story of the film Cakra Buana by director Massimo Burhanuddin. The results of the study include 7 cultural elements, including: language, this film uses Sundanese language and undak usuk basa, knowledge systems are divided based on knowledge about nature and social, social organizations include government systems, how to replace leaders and designations of kinship, technological systems including tools, food, clothing, houses and means of transportation, the livelihood system that is farming, the religious system is still influenced by Hinduism and Buddhism because it uses the word "Sang Hyang" in mentioning the name of God, and there are 2 arts in this film namely music and art motion (traditional dance).AbstrakPenelitian ini dilatarbelakangi oleh kurangnya penelitian tentang perfilman yang menggunakan bahasa dan latar budaya Sunda. Penelitian ini bertujuan untuk mendeskripsikan unsur budaya yang ada dalam cerita film Cakra Buana. Metode yang digunakan dalam penelitian ini adalah deskriptif analisis dengan teknik studi dokumen yang berupa karya seni. Sumber data dalam penelitian ini yaitu cerita film Cakra Buana karya sutradara Massimo Burhanuddin. Hasil penelitian meliputi 7 unsur budaya, diantaranya: bahasa, film ini menggunakan bahasa Sunda serta menggunakan undak usuk basa, sistem pengetahuan dibagi berdasarkan pengetahuan tentang alam dan sosial, organisasi sosial meliputi sistem pemerintahan, cara mengganti pemimpin dan sebutan kekerabatan, sistem teknologi diantaranya perkakas, makanan, pakaian, rumah dan alat transportasi, sistem mata pencahariannya yaitu bercocok tanam, sistem religinya masih ada pengaruh dari ajaran Hindu dan Buddha karena menggunakan kata “Sang Hyang” dalam menyebutkan nama Tuhan, dan kesenian dalam film ini ada 2 yaitu seni musik dan seni gerak.
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Lukancic, Khara. "Robin Wood on the Horror Film: Collected Essays and Reviews ed. by Barry Keith Grant (review)". Film & History: An Interdisciplinary Journal 49, n. 1 (giugno 2019): 99–100. http://dx.doi.org/10.1353/flm.2019.0009.
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Popp-Baier, Ulrike. "Introduction: Religion, Experience, and Narrative". Religions 12, n. 8 (13 agosto 2021): 639. http://dx.doi.org/10.3390/rel12080639.
Testo completoAbstract (sommario):
At the end of his famous book Major Trends in Jewish Mysticism, Gershom Scholem points to the important role stories have played in Hasidism, the latest phase in Jewish Mysticism, and he closes his lectures with the following story: When the Baal Shem had a difficult task before him, he would go to a certain place in the woods, light a fire and meditate in prayer—and what he had set out to perform was done [...]
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Ville, Simon, e Claire Wright. "Buzz and Pipelines: Knowledge and Decision-Making in a Global Business Services Precinct". Journal of Urban History 45, n. 2 (2 aprile 2018): 191–210. http://dx.doi.org/10.1177/0096144218765456.
Testo completoAbstract (sommario):
This paper provides a historical analysis of an urban services district through its examination of the Melbourne wool trade precinct in the 1920s. It is a study of both a local and global community whose social and spatial interaction facilitated large-scale trade of a complex commodity that has rarely been examined. Geographic mapping of the local and global connections of the precinct has been combined with archival evidence. It reveals the “buzz” of the Melbourne precinct, created by local social and professional connections among wool brokers and buyers. “Pipelines” to wool growing and textile regions were developed through overseas branches of firms, with global knowledge exchanged through correspondence, telegraph, and migration. These features shaped the progress of the trade, facilitating improvements in its infrastructure and in the ability of Melbourne’s wool brokers and buyers to fulfill their role as intermediaries in the global supply chain for this complex commodity.
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Litke, Andrew W. "The Semantics of Fire in the Targumim". Aramaic Studies 11, n. 2 (2013): 149–66. http://dx.doi.org/10.1163/17455227-13110204.
Testo completoAbstract (sommario):
Aramaic has two words for fire: nūr and ʾiššā. Utilizing the targumim as a corpus and qualia roles for classification, this paper presents a clearer understanding of the lexical meaning for the two words. In the earliest targumim, ʾiššā is a natural kind governed by a sacred agent. The word nūr, however, is an artifactual kind with a profane agent and an explicit purpose. Since the two words share the same Formal Role (same physical substance), there is a degree of overlap which led at first to their interchangeability and later to the predominance of nūr.
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Buinov, Alexei, e Konstantin Lidin. "The architect’s material palette". проект байкал, n. 78 (17 dicembre 2023): 56–59. http://dx.doi.org/10.51461/issn.2309-3072/78.2234.
Testo completoAbstract (sommario):
During the twentieth century, reinforced concrete acquired a status of a leading building material. Its wide application influenced the construction technologies and the layout of cities and largely shaped the aesthetics of modernism. At the beginning of this century, the cost of cement and concrete production is showing rapid growth, and the environmental burden from cement production is becoming increasingly unacceptable. Economic and environmental factors force us to look for a replacement for reinforced concrete. In particular, there is renewed interest in wood-based building materials. The problem is that the dominance of concrete has formed a stable orientation of architects to a specific set of properties – isotropy, high density, fire safety, and so on, which are absent from wood. A compromise option is cross-laminated timber (CLT), which at the same time has its own disadvantages and limitations. The article concludes that it is necessary to diversify the palette of building materials and develop special training programs for architects to work with a wide range of building materials.
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Anikin, Alexander E. "A lexicological commentary on the fabulous sights of Russia and especially Siberia". Sibirskiy filologicheskiy zhurnal, n. 4 (2021): 199–213. http://dx.doi.org/10.17223/18137083/77/15.
Testo completoAbstract (sommario):
The paper deals with the peculiarities of the “Siberian” text of Russian and world literature in the aspect of diachrony. The author provides lexicological comments to some of the data on the natural history of Russia attached to the “Grammatica Russica” by G. V. Ludolph (1696), including many of the sights of Muscovy from the flora or fauna, minerals, ores, trade items, and so on. Among others, the Chinese medicine Temzui is mentioned, the etymology discussed in the first part of the paper. However, the focus of the first part is on the two fossil objects described by Ludolph, namely, Adamovoi kost ‘Adam’s bone’ (essentially, fossil wood) and Mammontovoi kost ‘mammoth bone’, that is, the bones or “horns” of a mammoth. In this context, the author considers the origin of Even adām ‘coal’, Yakut Adām uota ‘fire wiped out of wood’ (cf. Russian dial. derev’annyi ogon’, literally ‘wooden fire’), Russian mamont, indrik, inder, endar’ ‘fabulous beast’ and others. It is especially noted that the biblical etymology of the mammoth (from the name of the behemoth), appeared in the 18th century, finally was rejected only in the 20th century. Information is given about the typology of the mammoth designations against the background of mythological ideas about mammoth among the peoples of Siberia. The second part of the paper deals with the origin of some facts absent in Ludolph’s work: three Russian (in Siberian dialects), Yakut, and other names of people of a fantastic type (headless, etc.): miravda, chuchuna, myulen.
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Flanery, Patrick. "Lock Them Up: The Cold Conservatism of Ang Lee's The Ice Storm". Camera Obscura 38, n. 1 (1 maggio 2023): 1–29. http://dx.doi.org/10.1215/02705346-10278558.
Testo completoAbstract (sommario):
Abstract This article considers how The Ice Storm (dir. Ang Lee, US, 1997) reframes the politics of Rick Moody's novel of the same name and works via a network of symbols to align character Elena Hood (Joan Allen) with Hillary Clinton, suggesting an analogy between the scandals of the Richard Nixon and Bill Clinton presidencies. Simultaneously, the film mounts a sustained campaign to constrain female sexuality, chiefly through its sanitizing of male characters’ own sexuality and recasting of Wendy Hood (Christina Ricci) as a sexually predatory Riding Hood/witch figure. Through its constraining of social transgression more generally, punishing Mikey Carver (Elijah Wood) for the sins of his parents and wider community in a way that can be read fruitfully through Jacques Derrida's “Plato's Pharmacy,” the film produces a narrative of profound conservatism even as it courts progressive audiences. Notwithstanding its “independent” status, its distribution through Fox (then owned by Rupert Murdoch's News Corp), situates the film institutionally in ways that challenge our understanding of the category of “independent” as necessarily politically progressive. The film's double-dealing, this article argues, demands that we attend to the phenomenon of a film that invites identification with progressive or transgressive characters only to punish them with reintegration into regimes of the normal or, failing such a maneuver, death. The lingering question this article identifies is how we hold to account films that are misunderstood as belonging to canons of progressive aesthetics while functioning as stealth engines of retrograde normativity.
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Sharpe, Mani. "Visibility, speech and disembodiment in Jacques Panijel’s Octobre à Paris". French Cultural Studies 28, n. 4 (6 ottobre 2017): 360–70. http://dx.doi.org/10.1177/0957155817724958.
Testo completoAbstract (sommario):
Octobre à Paris (1961) was a clandestine documentary executed after one of the most notorious yet occulted state massacres in French history, conducted after approximately 20–30,000 Algerians had flooded the streets of Paris in order to protest against police persecution. In existing scholarship on the film, critics have generally tended to historicise Octobre à Paris in largely politically progressive terms, as a rare example of anti-colonial cinema produced during a particularly stringent period in the history of French film. As the first part of this article will argue, this interpretation is not without justification, especially in relation to Panijel’s arguably pioneering use of the ‘masked interview’ (an interview technique predicated on a conception of the auteur-as-absence). Yet, as we will see in the second part of this article, such a politically progressive reading of Octobre à Paris is also undermined by the non-diegetic authorial commentary that appears in the final act of the film. Controversially, it is Panijel rather than his Algerian subjects who has the last word on the massacre.
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Manullang, Elisa Betty, e Yosephin Angelica. "SEMIOTIC INTERPRETATION OF “IMPERFECT : KARIR,CINTA DAN TIMBANGAN” FILM BY USING ROLAND BARTHES THEORY". Journal of Language, Literature, and Teaching 4, n. 2 (20 novembre 2022): 124–44. http://dx.doi.org/10.35529/jllte.v4i2.124-144.
Testo completoAbstract (sommario):
This study about the semiotic interpretation of Imperfect: Karir, Cinta dan Timbangan” film with Roland Barthes Theory. This study aims to (a) find out the signs that found in “Imperfect: Karir, Cinta dan Timbangan” film and (b) describe how the signs interpreted in “Imperfect: Karir, Cinta dan Timbangan” film. This reasearch uses descriptive qualitative method. The data were taken from words and phrases which are collected from ‘Imperfect: Karir, Cinta dan Timbangan’ film script. The results shows that there were 15 signs found in Imperfect: Karir, Cinta dan Timbangan film. Timbangan (balance) as the most frequent signs was about 8 data such as: stranded whale; stairs vibration; power head waste; eating tissue; broccoli hair; remember your thigh; you are so fat ya, but it’s OK it’s fresh; and both of you are so different, even you are sisterhood, followed by Cinta (love) with 4 data namely: moles; stretch mark, reduce the rice; and use sunblock, and 3 data for Karir (career) such as pregnant; round face; and she is so old school. The signs includes in Karir (career) when it relates to the development, growth, and progress of someone’s job/profession. The signs that associate to Cinta (love) connects to the deepest someone’s emotional and interpersonal affection. The signs Timbangan (balance) that have a correlation with someone’s weight and physical condition or appearance. Timbangan (balance) were realized by the utterance that refers to physical condition and closely to mock. Cinta (love) associate to the word, gesture, or utterances that express a love or deepest personal affection. Karir (career) was described by a simple word to mock that closely sounds sarcastic and exaggerating. Keywords: Semiotic, Film, Imperfect: Karir, Cinta dan Timbangan
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Woodworth-Hou, Jason. "Reanimating the Master Narrative: How They Shall Not Grow Old Curates the Perception of Common Truth through CGI Animation". Animation 17, n. 3 (novembre 2022): 271–85. http://dx.doi.org/10.1177/17468477221131874.
Testo completoAbstract (sommario):
In 2014, the British Imperial War Museum (IWM) contracted New Zealand-based filmmaker, Peter Jackson, to use their audio and video archives to create a media-based memorial to the men who served in World War 1. The documentary film, They Shall Not Grow Old ( TSNGO), released in 2018, was the product of this collaboration. Jackson took on the project to better understand his own grandfather’s experience as a soldier at the Battle of the Somme. Weta Digital Studios, founded by Jackson, converted the standard WWI newsreel footage into a product that aligned to a modern audience’s perceptual sense of truth. Weta Digital redrew and colored each frame, a process that is strikingly similar to CGI animation. Curiously, Jackson, a filmmaker whose career has hinged on his ability to collaborate with CGI animators, does not describe his new historical film treatment as animation. This article first argues that TSNGO is following in the footsteps of previous CGI animated films, in particular those that have re-edited historical footage, but more importantly asks: why would Jackson prefer to keep the word ‘animation’ out of the discussion about his new historical documentary? The answer to this question leads us to a critical discussion about how animation has become both the preserver and ‘re-imaginer’ of existing historical archives.
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Chukwuma, Anyanwu. "Eco-Nolly: The depiction of the gods as forest dwellers and tree nymphs in the discourse of preserving Africa’s ecological richness". IKENGA International Journal of Institute of African Studies 24, n. 2 (30 giugno 2023): 1–27. http://dx.doi.org/10.53836/ijia/2023/24/2/007.
Testo completoAbstract (sommario):
While Nollywood, Nigeria’s movie/film industry, may have had a chequered history, it has no doubt carved a niche for itself in the global space of the film industry. It currently stands as the most authoritative and authentic voice of Africa and the Black race in film discourse. Employing historical-analytic and direct observation methods, this paper examines how Nigerian moviemakers preserve the Nigerian/African ecosystem through their film locales. By building homes for the gods in the forests and on tree trunks, they preserve such trees, which would have fallen victim to modernisation by being used as planks and woods for various purposes. Unfortunately, this supposedly noteworthy effort is distorting reality and misrepresenting the way Africans relate with and treat their gods. Drawing from Gerbner’s Cultivation Theory, the paper submits that Nollywood’s concept of forests and tree trunks as the dwelling place of the gods might, over time, be assumed to be the norm rather than a fictitious creation of filmmakers by the viewers in contrast to reality unless it is addressed forthwith. It is, therefore, recommended that Nollywood filmmakers should not sacrifice the reality of the dwelling place of the gods in Africa for the purpose of achieving film richness and aesthetics.