Gotowe bibliografie tematyczne / Intellectual property in motion pictures

Gotowa bibliografia na temat „Intellectual property in motion pictures”

Autor: Grafiati

Data publikacji: 25 lipca 2024

Data aktualizacji: 26 lipca 2024

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Artykuły w czasopismach na temat "Intellectual property in motion pictures"

Yang, Yubin, Seungyoup Choo i Seong-Joon Limb. "Vertical Integration Strategies and Environmental Uncertainty: China’s Film Industry". SAGE Open 13, nr 1 (styczeń 2023): 215824402311563. http://dx.doi.org/10.1177/21582440231156351.

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This study analyses the effectiveness of vertical integration for motion pictures’ box office revenues and the moderating effects of environmental uncertainty on China’s film industry, where a market economy was introduced in 2002. We analyzed a sample of 1,824 films released between 2005 and 2016 using a PROCESS model. We found strong evidence that vertical integration positively influenced box office revenues, which were higher under greater environmental uncertainty post reforms than under relative stability. We also found films that (1) had major producers or distributors, (2) were based on intellectual property, (3) belonged to the action or fantasy genre, or (4) featured superstars performed better. This study demonstrates the current operating level of the market economy in China’s film industry and offers a unique, fresh dataset comprising almost all films released in Mainland China and produced by enterprises in Greater China.

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Naseby, L. "Government motion on plain packaging for cigarettes undermines intellectual property rights". BMJ 351, nr 19 6 (19.11.2015): h6128. http://dx.doi.org/10.1136/bmj.h6128.

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Yoon, Sang-Young, i Myung-Chul Jung. "Trends of Intellectual Property on Musculoskeletal Disorder, Motion Capture Technology and Ergonomics". Journal of the Ergonomics Society of Korea 34, nr 5 (31.10.2015): 437–45. http://dx.doi.org/10.5143/jesk.2015.34.5.437.

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Moutu, Andrew. "The Dialectic of Creativity and Ownership in Intellectual Property Discourse". International Journal of Cultural Property 16, nr 3 (sierpień 2009): 309–24. http://dx.doi.org/10.1017/s094073910999021x.

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AbstractOwnership is often understood merely as a function of social relations, that is, it emerges merely because of the relations between people with respect to the things that they own. Concomitantly ownership is also seen as being dependent upon creativity to bring its force into motion. Far from dismissing such a view of ownership, it is acknowledged that such a view possibly comes from a world that is preoccupied with creativity. This discussion aims to show a particular kind of dialectic between creativity and ownership that underlies discourses about intellectual property especially in countries like Papua New Guinea. Through an ethnographic concern with personal names and their attendant claims to ownership and creativity, this paper aims to show how two trajectories of ownership co-exist in a Papua New Guinea society.

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Kumar, Nishant, Reetu Gour i Navneet Sharma. "Intellectual Property Rights and Economical Development: A Brief Overview". Journal of Scientific Research and Reports 30, nr 5 (15.03.2024): 145–62. http://dx.doi.org/10.9734/jsrr/2024/v30i51930.

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A "strong" IPRs regime, in the sense of providing robust protection of private intellectual property rights, was not a necessary prerequisite for their economic growth, according to the historical experiences of the now-developed nations while they were growing themselves, which we reviewed. Most of them did not provide PIPRs with any real protection until quite late in their development related to life science and especially biotechnology. Even the most developed nations, like the UK and the US, didn't create robust PIPRs regimes until the middle of the 19th century (with the exception of copyright protection in the US's instance), while the less developed nations didn't establish such regimes until much later. The legal framework governing the ownership and protection of intangible works of human intelligence, such as inventions, literary and creative creations, designs, symbols, names, and pictures used in commerce, is known as the Intellectual Property Rights (IPRs) regime. This system consists of international agreements, rules, and laws that provide owners or inventors of intellectual property the exclusive right to profit from their creations or investments in them. For the purposes of this paper, it is more important to note that all of these nations were quite willing to v30isolate the intellectual property rights (IPRs) of other nations, even when they had put in place laws protecting the IPRs. Examples include hiring illegal foreign labor, smuggling machinery, industrial espionage, violating trademark laws, allowing the patenting of imported inventions, and outright refusing to adopt the patent system (in the case of the Netherlands and Switzerland) related to life science and especially biotechnology. Some nations approached this issue in ways that can only be described. The best examples include the routine infringement of British trademarks by German producers in the late 19th century, when the nation was pressuring Switzerland to enact a patent law, and the US pressing other nations for the "improvement" of their patent laws in the lead-up to the adoption of the Paris Convention while flatly refusing to protect foreign copyrights related to life science and especially biotechnology. We talked about the issues with the dominant IPR regime that is now in place, which is centered on the patent system, and the TRIPS agreement that represents its apex. Contrary to popular belief, a "good" IPRs regime need not provide the strongest protection for private IPRs. Next, we looked at whether developing nations would likely gain from a stronger PIPRs system, particularly the one required under the TRIPS. Given that most developing nations do minimal R&D and that much of the new information they produce is not patentable, the "domestic" advantages of a stronger IPRs system—that is, an increase in knowledge production by the citizens—are probably relatively minor related to life science.

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Safiranita, Tasya, Sherly Ayuna Putri i Hazar Kusmayanti. "Penyelesaian Sengketa Merek Terkenal “SEPHORA” atas Dasar Persamaan Pada Pokoknya Berdasarkan Herzien Inlandsch Reglement (HIR) dan Undang-Undang Merek". Dialogia Iuridica: Jurnal Hukum Bisnis dan Investasi 9, nr 1 (30.11.2017): 112. http://dx.doi.org/10.28932/di.v9i1.734.

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Brand is a sign in the form of pictures, names, words of letters, numbers, arrangement of colors, or combinations of those elements which have distinguishthing power and are used in goods or service trade activities. The terms in the brand, especially regarding the protection of famous brands, can actually be applied in the case of domain names. "There is a provision in the TRIPs that governs the issue of protection of this famous brand, and the public becomes bound by the provision because it has been ratified". The meaning is Article 16 (3) TRIPs (Trade Related Aspect of Intellectual Property Rights). Article 16 (3) states that Article 6 bis of the Paris Convention on Protection of Industrial Property Rights shall apply, mutatis mutandis to goods and services which are not similar to goods and services to which a trademark has been registered.

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Al-Farouqi, Akhmad, Nandang Sutrisno i Budi Agus Riswandi. "The Law of Anime: Otaku, Copyright, Fair Use, and It’s Infringements in Indonesia". JIPRO : Journal of Intellectual Property 3, nr 1 (1.07.2020): 42–60. http://dx.doi.org/10.20885/jipro.vol3.iss1.art3.

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The massively growing popularity of Japanese animation or Anime creates a certain movement and has exported cultural form in another reflection from their fans in many countries. It can be in a form of data such as films, pictures, videos, or made by fans such as fan-subs, fan arts, fan-fictions or it can be in a real form such as clothes, merchandises or costumes for cosplayers. In Indonesia copyright is regulated in the Law no. 28 of 2014 on Copyright while internationally copyright are regulated by some of international convention and agreements such as Trade-Related Aspects of Intellectual Property Rights Plus concluded by WTO; Paris Convention for the Protection of Industrial Property, the Berne Convention for the Protection of Literary and Artistic Works, and the Rome Convention concerning protection of neighboring rights to literary works which are concluded by WIPO. Even though the infringement of intellectual property rights violated copyright and it is nationally and internationally protected by law, but the phenomenon of violation of this anime is can be easily found in daily life and massively growing, and due to unclear limitations and parameters of the balance in enjoying the economic benefits of reasonable interest which also regulated in Article 44 and is called as fair use however, questions arise, what kinds of movement which infringing the law and which one is not.

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Qiu, Xuesong, Zhao Yang, Shuyang Shi, Huiqin Li i Yulin Zhou. "Type synthesis of 90°/180° dual-function upenders for large shell units of nuclear reactor". Proceedings of the Institution of Mechanical Engineers, Part C: Journal of Mechanical Engineering Science 234, nr 13 (20.02.2020): 2610–23. http://dx.doi.org/10.1177/0954406220907635.

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In this paper, unit vectors collinear with the axes of large shell units of nuclear reactors were used to represent the poses of the workpieces. Based on the motion operator interpretation of the rotation matrix, 60 kinds of rotation matrix permutations with 90° turns as the step length to achieve 180° flipping of the workpiece were obtained. After eliminating invalid permutations and merging homogenous permutations, class I, II, and III flipping motion models were obtained. By calculating the Lie algebra of each step of rigid body motion in the flipping motion model, the twist and the motion pair property for each step were obtained. By means of the permutation and combination theory, the sequence of the motion pairs for different configurations was determined, and the rules between sequential transformations and axis changes of the motion pairs under the initial configuration were stipulated. Three classes of 19 initial configurations of 90°/180° dual-function upenders were constructed. For three of them, taking into account the characteristics of the axial dimension variation of workpieces, prismatic pairs were added along the workpiece’s axis (vector), and 15 overall configurations of 90°/180° dual-function upenders were synthesized. This provides the basic theoretical support for the innovative design of upenders with independent intellectual property rights.

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Fister, Barbara. "Playing for Keeps: Lifelong Learning in the Ludic Library". Pennsylvania Libraries: Research & Practice 1, nr 1 (14.04.2013): 5–9. http://dx.doi.org/10.5195/palrap.2013.10.

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We take information literacy seriously, yet in a sense, the best researchers are playful. How might concepts of play inform our practice in libraries made for learning? What if we reconceptualized research from the systematic acquisition and use of intellectual property to a more creative and open approach to engaging with ideas in motion? What does it mean to be information literate in a world in which "publish" is a button?

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Geranfar, Babak. "The Malick Viewed". Conversations: The Journal of Cavellian Studies, nr 5 (27.02.2018): 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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Rozprawy doktorskie na temat "Intellectual property in motion pictures"

Candela, Buddy Anthony James. "Unlucky: A Student Film". Kent State University Liberal Studies Essays / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ksuls1460646282.

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Stone, Reuben. "Intellectual property rights in the underlying literary elements of motion picture films". Thesis, Aberystwyth University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.429730.

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Shipman, Lori-Lin. "The movie piracy industry in China and its relationship with intellectual property rights". online access from Digital Dissertation Consortium, 2007. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?1446018.

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Bennett, Austin N. "Cognitive Constituents of Character". Case Western Reserve University School of Graduate Studies / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=case1378503177.

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Britt, Tara Danielle. "Phenomenology, film and curriculum theory an inquiry into the intellectual persona of teachers /". Click here to access dissertation, 2007. http://www.georgiasouthern.edu/etd/archive/summer2007/tara_d_britt/britt_tara_d_200708_edd.pdf.

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Thesis (Ed.D.)--Georgia Southern University, 2007.
"A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Doctor of Education." In Education Administration, under the direction of Linda M. Arthur. ETD. Electronic version approved: December 2007. Includes bibliographical references (p. 140-144) and appendices.

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Zha, Yu 1970. "The mythology of Hero : a study of Chinese national cinema". Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79987.

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As the twentieth century ended with globalization and commercialization, popular culture begins to challenge the dominance of national culture. The Chinese intellectual community tries to defend national culture against the incoming global culture and local cultures. The conflicts between localism and nationalism, and also between globalism and nationalism, are clearly demonstrated in the Hero phenomenon, which basically concerns the unanimous disparagement on director Zhang Yimou's debut martial arts film Hero within the Chinese critics' circle. Through a discursive analysis of the phenomenon, we can see how the conflicts between modernism and postmodernism, between elitism and commercialism shape the landscape of contemporary Chinese culture. In this article, I first seek to understand how modernism evolved into nationalism in China during the last century and what role the intelligentsia played in the process of such evolvement. I further seek to understand why the intellectual community has distaste for popular culture and commercialism. Other research on this topic has linked nationalism to national culture, and localism and globalism to popular culture.

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Hwang, Yun Mi. "South Korean historical drama : gender, nation and the heritage industry". Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1924.

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From the dynamic landscape of contemporary South Korean cinema, one trend that stands out is the palpable revival of the historical drama (known as the ‘sageuk’ in Korean). Since the early 2000s, expensive, visually striking, and successful costumed pieces have been showcased to the audience. Now rivalling the other mainstream genres such as gangster action, romantic comedy, and the Korean blockbuster, the sageuk has made an indelible impact on the national film industry. Even so, the cycle has yet to receive much critical attention. This thesis addresses the gap, driven by the question, what is the impetus behind the surge of the ‘historical’ witnessed in recent sageuk films? For this, I first take a diachronic view of the historical context of the genre, which later serves as the reference point for the genre memory. Adopting a synchronic approach, I then examine the industrial, political, and social contexts in Korea at the turn of the new century that facilitated the history boom. While national memory and transnational politics fuelled Koreans’ interest in their past, the popular media – cinema, television, publishing industry, and performance theatre – all capitalised on this drive. The government also took part by supporting the ‘culture content industry’ as a way to fashion an attractive national image and accelerate the cultural export system. Collectively, these efforts translated to the emergence of history as a commodity, carving a unique space for historical narratives in the national heritage industry. As such, different agents – the consumers, the industry, and the state – had their stakes in the national mobilisation of history and memory with competing ideological and commercial interests. Ultimately, the sageuk is the primary site in which these diverging aspirations and desires are played out. In chapters that follow, I engage with four main sub-types of the recent historical drama, offering textual and contextual readings. The main discussion includes the ‘fusion’ sageuk (Untold Scandal), the biopic (King and the Clown and Portrait of a Beauty), the heritage horror (Blood Rain and Shadows in the Palace), and the colonial period drama (Rikidozan, Blue Swallow and Modern Boy). While analysing the generic tropes and narrative themes of each film, I also pay attention to contemporary discourses of gender, and the cultural treatment of masculinity and femininity within the period setting. Such investigation, in turn, locates the place of the historical genre in New Korean Cinema, and thus, offers a much-needed intervention into one of the neglected topics in the study of cinematic trends in South Korea.

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Książki na temat "Intellectual property in motion pictures"

Sterling, J. A. L. Intellectual property rights in sound recordings, film and video. London: Sweet & Maxwell, 1992.

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Ḥasanayn, Nāṣir Jalāl. al-Sīnimā wa-ḥuqūq al-milkīyah al-fikrīyah. [Cairo]: al-Hayʼah al-ʻĀmmah li-Quṣūr al-Thaqāfah, 2003.

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Goetzmann, William N. Soft information, hard sell: The role of soft information in the pricing of intellectual property. Cambridge, MA: National Bureau of Economic Research, 2004.

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United States. Congress. House. Committee on the Judiciary. Subcommittee on Courts, Intellectual Property, and the Administration of Justice. Moral rights and the motion picture industry: Hearing before the Subcommittee on Courts, Intellectual Property, and the Administration of Justice of the Committee on the Judiciary, House of Representatives, One Hundred First Congress, second session, January 9, 1990. Washington: U.S. G.P.O., 1991.

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Sterling, J. A. L. Intellectual property rights in sound recordings, film and video: Protection of phonographic and cinematographic recordings and works in national and international law. London: Sweet and Maxwell, 1994.

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Family Entertainment and Copyright Act of 2005: Report together with minority views (to accompany S. 167) (including cost estimate of the Congressional Budget Office). [Washington, D.C: U.S. G.P.O., 2005.

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Sammataro, James. How to avoid reel legal problems: A film making & multimedia legal guide. [St. Paul, Minn.]: Thomson/West, 2004.

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Alesina, Juan C. Derecho del entretenimiento: Empresas culturales; propiedad intelectual; cine; radio y televisión; música; libros, diarios y revistas; teatro; deportes. Buenos Aires, República Argentina: Ad-Hoc, 2006.

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United States. Congress. Senate. Committee on the Judiciary. Competition, innovation, and public policy in the digital age: Is the marketplace working to protect digital creative works? : hearing before the Committee on the Judiciary, United States Senate, One Hundred Seventh Congress, second session, March 14, 2002. Washington: U.S. G.P.O., 2003.

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United States. Congress. House. Committee on International Relations. Subcommittee on International Economic Policy and Trade. Intellectual property rights: The music and film industry : hearing before the Subcommittee on International Economic Policy and Trade of the Committee on International Relations, House of Representatives, One Hundred Fifth Congress, second session, May 21, 1998. Washington: U.S. G.P.O., 1998.

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Części książek na temat "Intellectual property in motion pictures"

Baecker, Ronald M. "Digital media and intellectual property". W Computers and Society. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198827085.003.0007.

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Vannevar Bush envisioned a machine that would assist humanity in the creative work of writing. Doug Engelbart imagined the collaborative sharing and enhancement of knowledge. Digital media today—text, drawings, photos, audio, and video—surpass the visions of their pioneers. These media may be copied, shared, and modified in ways that challenge the legal system, because unrestricted content sharing without suitable payment to creators runs counter to intellectual property (IP) traditions and laws. Writers, musicians, artists, and inventors have long relied upon IP protection to enable them to control the use of their creations and inventions. Copyright infringement, that is, copying in violation of copyright, threatens the income that they could receive from their creations. The concept of fair use is a critical issue in such discussions, as it allows certain exceptions to copyright. One area that has received a great deal of attention is the digital copying and sharing of music; we shall examine the interplay between conventional behaviour, ethics, technical interventions to limit or block copying, laws and legal battles, and product and pricing innovation. Next, we shall look at similar issues in the domain of motion pictures. There are effective and legal streaming services, yet there are still concerns about copyright infringement. Copyright holders now automatically produce takedown notices to insist that websites remove illegally or improperly sourced material. Such notices include many errors, causing additional complications for video creators. One interesting challenge to the concept and laws of copyright occurs in the creation of mash-ups. Artists use fragments from existing musical or visual performances as well as their own material to create audio-visual works that combine multiple content sources. Artists, lawyers, and businesspeople debate the extent to which such mash-ups violate reasonable copyright protection. Copyright is also significant for academic articles and textbooks. There are two especially interesting cases to discuss. One is the widespread copying of textbooks by students due to the high price of texts. The other is the fair pricing of the publication of research results that have been funded by government grants. This issue has provided one of several stimuli to the creation of open access publications.

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Jay Dougherty, F. "Individual and collectively bargained contractual substitutes for moral rights in the US motion picture industry". W Research Handbook on Intellectual Property and Moral Rights, 167–84. Edward Elgar Publishing, 2023. http://dx.doi.org/10.4337/9781789904871.00020.

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Gong, James Jianxin, i S. Mark Young. "Financial and Nonfinancial Performance Measures for Managing Revenue Streams of Intellectual Property Products: The Case of Motion Pictures". W Advances in Management Accounting, 1–37. Emerald Group Publishing Limited, 2016. http://dx.doi.org/10.1108/s1474-787120160000027001.

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Gaines, Jane M. "Copying Technologies". W The Oxford Handbook of Silent Cinema, 72–92. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780190496692.013.15.

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Abstract This chapter compares two technologies a century apart and two entrepreneurs who figured out how to circulate copies of popular moving-image entertainment before US copyright law caught up with technological change. Early cinema’s “Pirate King,” Siegmund Lubin, founder of the Philadelphia Lubin Company, is contrasted with Kim Dotcom, whose Megauploads company pioneered the cyberlocker storage as a means of distributing popular television and motion pictures on the internet. Intellectual property doctrine is tested as another way of approaching technological change over the cinema century. The time frame ranges from the heyday of film piracy (1897–1907) through the 1984 Betamax television case to the corporate media legal cases against Megauploads beginning in 2012. The approach illustrates Thomas Elsaesser’s media archaeology method, in which early cinema is used to study new media while new media serves as a way into early cinema, supplemented by the philosophy of history.

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Gaines, Jane M. "What Next? The Historical Time Theory of Film History". W How Film Histories Were Made. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463724067_ch02.

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Our particular problem of technological change, from the photochemical to the so-called “digital,” requires engagement with theories of history. Given that comparing emerging technologies a century apart raises the question of “differences of times,” I turn to Reinhart Koselleck’s theory of historical time, or the relativity of past, present, and future, with particular attention to the problem of historical prognostication or prediction. The case at hand compares motion picture film duplication 1897–1907 and contemporary cyberlocker storage technology as charged in their moments with “piracy” or illegal “taking.” Thus intellectual property doctrine draws parallels between historically different “piratical practices” as evidencing responses to the problem of technological “newness.” But Koselleck is canny as he challenges us to consider that paradoxically every new time is both new and “not so new.”

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Meli, Domenico Bertoloni. "General Introduction". W Equivalence and Priority: Newton versus Leibniz, 1–16. Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198539452.003.0001.

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Abstract Over the last few decades Newton’s itinerary to the Principia has been meticulously reconstructed through the study of his private manuscripts and correspondence; the new picture which has emerged has enriched enormously our understanding of his work in many aspects, ranging from the interaction between mathematics and mechanics to the role of alchemy and theology. The formation of Leibniz’s techniques and ideas about planetary motion is extremely well documented in an exciting series of previously unknown manuscripts which are published and analysed here for the first time. Leibniz’s manuscripts, dating from the late 1680s, include his first annotations to the Principia and his first attempts to construct an alternative theory; they are among the most extensive documents we possess on the early reception of Newton’s masterpiece, and while providing us with deeper insights into Leibniz’s thought and strategy, allow us to gain a better understanding of Newton’s theory as well. They constitute stimulating material for reconsidering the issues of equivalence between rival theories, mathematical formulations and physical interpretations, private research versus publication, intellectual property, and priority in the late seventeenth century. These issues are inextricably interwoven with the dispute about the world system between the Cambridge Lucasian Professor and the Court Librarian and Councillor in Hanover.

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Pagani, Margherita. "The Critical Role of Digital Rights Management Processes in the Context of the Digital Media Management Value Chain". W Information Security and Ethics, 3499–509. IGI Global, 2008. http://dx.doi.org/10.4018/978-1-59904-937-3.ch235.

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This paper set out to analyze the impact generated by the adoption of Digital Rights Management (DRM) processes on the typical Digital Media Management Value Chain activities and try to analyze the processes in the context of the business model. Given the early stage of the theory development in the field of DRM the study follows the logic of grounded theory (Glaser and Strauss, 1967) by building the research on a multiple-case study methodology (Eisenhardt, 1989). The companies selected are successful players which have adopted DRM processes. These companies are Endemol, Digital Island, Adobe Systems, Intertrust, and the Motion Picture Association. In this paper we provide in-depth longitudinal data on these five players to show how companies implement DRM processes. Twelve DRM solution vendors are also analyzed in order to compare the strategies adopted. After giving a definition of Intellectual Property and Digital Rights Management (section 1) the paper provides a description of the typical Digital Media Management Value Chain Activities and players involved along the different phases examined (section 2). An in-depth description of Digital Rights Management processes is discussed in section 3. Digital Rights Management processes are considered in the context of business model and they are distinguished into content processes, finance processes and Rights Management processes. We conclude with a discussion of the model and main benefits generated by the integration of digital rights management and propose the most interesting directions for future research (section 4).

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Gurko, Anton. "PROBLEM OF LEGAL PROTECTION OF THREE-DIMENSIONAL ANIMATIONS". W LAW IN FUTURE: INTELLECTUAL PROPERTY, INNOVATION, INTERNET, 164–69. INION RAN, 2019. http://dx.doi.org/10.31249/pravbud/2019.00.17.

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The article deals with a very non-obvious problem of using digital three-dimensional objects such as 3D-animation. The author considers, among other things, intellectual property issues in connection with the use of Motion capture technologies, which combine the performing work of the actor-performer and the creative work of the animator; as well as technologies for recreating the images of actors.

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Harris, James C. "Understanding and Evaluating Emotional and Behavioral Impairment". W Intellectual Disability. Oxford University Press, 2005. http://dx.doi.org/10.1093/oso/9780195178852.003.0009.

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In English property law, intellectual disability and mental illness were differentiated in the thirteenth century. By 1690, John Locke’s An Essay Concerning Human Understanding had clarified differences between intellectual disability and mental illness. Locke wrote: . . . The defect in [intellectual disability] seems to proceed from want of quickness, activity, and motion in the intellectual faculties, whereby they are deprived of reason; whereas mad men seem to suffer by the other extreme. For they do not appear to me to have lost the faculty of reasoning: but having joined together some ideas very wrongly . . . they argue right from wrong principles. . . . But there are degrees of madness as folly; the disorderly jumbling of ideas together is in some more, and some less. In short, herein seems to lie the difference between [intellectually disabled] and mad men, that mad men put wrong ideas together, and so make wrong propositions, but argue and reason right from them: but [those with intellectual disability] make very few or no propositions, but argue and reason scarce at all. (Scheerenberger, 1983, p. 41) . . . Thus, Locke is often credited with establishing the dichotomy between mental illness and intellectual disability that influenced social policy for people with intellectual disability. But he did not appreciate the capacity persons with intellectual disability do have to reason with adequate supports, nor did he consider that persons with intellectual disability are also at risk for mental illness and behavior disorders. Historically, intellectual disability and mental illness were regarded to be mutually exclusive conditions. Affective and behavioral disturbances in individuals with intellectual disability generally were regarded as manifestations of maladaptive learning and adverse psychosocial experiences rather than as indications of a psychiatric disorder. This view has been shared by both intellectual disability and mental health professionals. Health professionals typically fail to consider the diagnosis of a psychiatric disorder among persons with intellectual disability despite the presence of signs and symptoms that would be readily ascribed as psychiatric disturbance among typically developing persons within the general population. This diagnostic bias may be an outgrowth of several factors.

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Bruno, Giuliana. "Sites of Screening". W The Moving Eye, 121–40. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190218430.003.0009.

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This chapter investigates the recent trend toward installation of moving images in museums and art galleries. It considers the movement of the spectator through art venues and theorizes the nature of the screen and the haptic quality of the moving image in the work of such contemporary artists as Pierre Huyghe, Chantal Akerman, Janet Cardiff, and Trinh T. Minh-ha. The chapter develops an account of how the traditional theatrical projection of motion pictures has evolved into a new form of experiencing moving images with new affective and intellectual qualities.

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Streszczenia konferencji na temat "Intellectual property in motion pictures"

Jung, Choonghyun, Kwangmu Shin i Kidong Chung. "Motion skip mode using dynamic property of anchor pictures in multi-view video coding". W 2010 IEEE Southwest Symposium on Image Analysis & Interpretation (SSIAI). IEEE, 2010. http://dx.doi.org/10.1109/ssiai.2010.5483888.

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Liu, Qianfeng, Yuzheng Li, Huang Zhang i Bo Hanliang. "Experimental Study of Motion-Resistance Force of Hydraulic Cylinder of CRHDM". W 2018 26th International Conference on Nuclear Engineering. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/icone26-81214.

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Hydraulic control rod drive technology (HCRDT) is a newly invented patent owned by Institute of Nuclear and New Energy Technology of Tsinghua University with independent intellectual property rights. Hydraulic cylinder is the core part of this technology, so the seal of hydraulic cylinder directly affects the performance of the hydraulic cylinder and HCRDT. A new experiment table was designed and used to study the leakage and internal cylinder friction at various types of friction coupling between internal cylinder and seal ring. The result shows that Motion-Resistance Force is the smallest when the internal cylinder film is TiN. Furthermore, when seal ring film is DLC (Diamond-like carbon) the leakage is the smallest. At last, the best friction coupling scheme was obtained. The experimental results provide the basis for the establishment of the motion model of hydraulic cylinder, which provides a foundation for further design and optimization of hydraulic drive technology of control rod.

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Liu, Qianfeng, Yuzheng Li, Benke Qin i Bo Hanliang. "Theoretical Analysis of Step-Down of Hydraulic Cylinder Motion for Control Rod Hydraulic Drive System Based on Model II". W 2017 25th International Conference on Nuclear Engineering. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/icone25-66364.

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Hydraulic Control Rod Drive Technology (HCRDT) is a newly invented patent and Institute of Nuclear and New Energy Technology Tsinghua University own HCRDT’s independent intellectual property rights. The hydraulic cylinder is the key part of this technology, so the performance of the hydraulic cylinder directly affects the HCRDT. Firstly, the theoretical model of the cylinder hydraulic has been obtained and verified by the experiment. Second, the step-down process of the cylinder hydraulic is analyzed. The results are shown that the model can analyze the performance of the cylinder, including the motion time of the cylinder, the transient pressure of the cylinder arrival, the transient impact energy of the cylinder arrival. At last, the cylinder and the drive mechanism can be optimized based on the result.

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