Artykuły w czasopismach: „Observational film”

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Graef, Roger. "Privacy and Observational Film". Anthropology Today 5, nr 2 (kwiecień 1989): 1. http://dx.doi.org/10.2307/3033136.

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Gronlund, Melissa. "Observational film: Administration of social reality". Moving Image Review & Art Journal (MIRAJ) 1, nr 2 (20.09.2012): 169–79. http://dx.doi.org/10.1386/miraj.1.2.169_1.

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Wirawan, I. Komang Arba, i I. Gede Arya Sugiartha. "The Nyama (kinship) Documentary as an Intolerant Comparative Discourse in Pegayaman Village, Buleleng, Bali". Lekesan: Interdisciplinary Journal of Asia Pacific Arts 3, nr 2 (4.11.2020): 71–75. http://dx.doi.org/10.31091/lekesan.v3i2.1172.

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The Nyama documentary is as a counter-discourse on intolerant attitudes in Indonesia. Nyama film was the result of research and creation of written and audio-visual data documentation of the acculturation of art and culture in the Muslim village of Pegayaman Buleleng, Bali. It was an observational/direct cinema-style documentary film acculturation of Hindu and Islamic arts and culture in Pegayaman Village, Buleleng, Bali. The Nyama film identified the perceptions and acculturation of art and culture in Pegayaman Village, Buleleng, Bali. It was a qualitative descriptive research method. Sources of data obtained through a purposive sampling method were done by accidental sampling technique. The location of the sampling was carried out in Pegayaman Village, Buleleng, Bali. The method used in achieving these goals was Representing reality. The documentary tells an event or reality (facts and data). Principally, documentary films are based on facts and are demanded to be loyal to those facts. Discussion of research and creation of this movie is the observational/direct cinema documentaries. This film tells the story of several people in Pegayaman Village. The subjects in this film are not in the same condition but are equally struggling to preserve the acculturation of Hindu and Islamic arts and culture in the Bali region. The information building in this film was a combination of interviews with selected subjects. The results of the research and creation were in the form of Nyama documentary films. The Nyama documentary is an acculturation campaign for arts and culture and a counter-discourse on the intolerant attitude of Indonesian society that is multicultural and has the character of Indonesian nationality.

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Odagiri, Takushi. "Mental (2008): Sōda Kazuhiro’s Observational Cinema". positions: asia critique 28, nr 2 (1.05.2020): 277–309. http://dx.doi.org/10.1215/10679847-8112461.

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This article examines Sōda Kazuhiro’s observational documentary, especially his second observational film, Seishin (Mental), and specifically considers its participatory methods, sociohistorical circumstances, and philosophical anthropology. Influenced by North American direct cinema of the 1960s (especially Frederick Wiseman) as well as Bronisław Malinowski’s participant observation, Sōda’s observational style not only emphasizes the self-affective nature of documentary eyes but also rejects the preconceived reality of its object. Documentary is not conceived “in the head”: unexpected discoveries, which inevitably accompany his participatory methods, define his object from an ex ante facto (before the fact) perspective. Examples of this are the contingency of the mental-bodily complex (Seishin) and self-contradictory social situations (Senkyo and Senkyo 2). Because it’s an observationalparticipatory film, Seishin responds to the sociopolitical climates of the late 2000s, especially the Japanese government’s reforms of health and medical services. Specifically, two laws were enacted while the film was in production: the 2005 Support for Independence of Persons with Disability (SIPD) Act and the 2006 Suicide Prevention Act. Furthermore, Seishin represents an anthropological (techno-ontological) standpoint similar to that of Gilbert Simondon, Miki Kiyoshi, and Ludwig Wittgenstein. This article investigates the film’s ontology, externalism, and political critique of neoliberalism in the late 2000s.

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Curtis, Scott. "“Tangible as Tissue”: Arnold Gesell, Infant Behavior, and Film Analysis". Science in Context 24, nr 3 (26.07.2011): 417–42. http://dx.doi.org/10.1017/s0269889711000172.

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ArgumentFrom 1924 to 1948, developmental psychologist Arnold Gesell regularly used photographic and motion picture technologies to collect data on infant behavior. The film camera, he said, records behavior “in such coherent, authentic and measurable detail that . . . the reaction patterns of infant and child become almost as tangible as tissue.” This essay places his faith in the fidelity and tangibility of film, as well as his use of film as evidence, in the context of developmental psychology's professed need for legitimately scientific observational techniques. It also examines his use of these same films as educational material to promote his brand of scientific child rearing. But his analytic techniques – his methods of extracting data from the film frames – are the key to understanding the complex relationship between his theories of development and his chosen research technology.

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O‘Rawe, Des. "Ten Minutes For John Lennon". Film Studies 9, nr 1 (2006): 64–67. http://dx.doi.org/10.7227/fs.9.9.

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This essay interweaves an analysis of Raymond Depardons short documentary film, 10 minutes de silence pour John Lennon (1980), with some broader reflections on time, cultural history, and silence. Shot in a single take, the film records the expressions, movements, and reactions of some of 200,000 mourners who gathered in Central Park to commemorate Lennons life six days after his death in December, 1980. Despite its observational form and aesthetic reticence, 10 minutes de silence renders unexpected coincidences of colour, perspective, gesture, and noise, spontaneous formations and patterns that resonate beyond the films actual moment and journalistic raison dêtre.

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Carta, Silvio. "Documentary Film, Observational Style and Postmodern Anthropology in Sardinia". Visual Anthropology 28, nr 3 (31.03.2015): 227–47. http://dx.doi.org/10.1080/08949468.2015.1014260.

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Reigada, Carla, Salvador Martín-Utrilla, Pilar Pérez-Ros, Carlos Centeno, Anna Sandgren i Beatriz Gómez-Baceiredo. "Understanding illnesses through a film festival: An observational study". Heliyon 5, nr 8 (sierpień 2019): e02196. http://dx.doi.org/10.1016/j.heliyon.2019.e02196.

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REWOLIŃSKA, Aleksandra, Karolina PERZ i Grzegorz KINAL. "GRAPHITE EXPANDED AS A FILM-FORMING MATERIAL ON A STEEL SURFACE". Tribologia, nr 5 (31.10.2017): 81–85. http://dx.doi.org/10.5604/01.3001.0010.5909.

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The results of observational studies of the emerging graphite film on the steel surface are presented. The association – steel pin and graphite element – reciprocating motion was employed. The results show the possible mechanism of graphite film formation for the various stages of association work under various operating conditions. For a water-impregnated graphite element, the film forming process takes place faster than for a dry element.

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Lofton, Kathryn. "Observational Secular: Religion and Documentary Film in the United States". JCMS: Journal of Cinema and Media Studies 60, nr 5 (2021): 99–120. http://dx.doi.org/10.1353/cj.2021.0021.

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Glick, Josh. "Observational Cinema: anthropology, film, and the exploration of social life". Historical Journal of Film, Radio and Television 31, nr 3 (wrzesień 2011): 448–50. http://dx.doi.org/10.1080/01439685.2011.598014.

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Bayer, Gerd. "Observational Cinema: Anthropology, Film, and the Exploration of Social Life". Journal of Popular Culture 44, nr 1 (luty 2011): 178–80. http://dx.doi.org/10.1111/j.1540-5931.2010.00826.x.

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Zhang, Jiafeng, Guangzhong Lin, Shuguang Zeng, Sheng Zheng, Xiao Yang, Ganghua Lin, Xiangyun Zeng i Haimin Wang. "Intelligent Recognition of Time Stamp Characters in Solar Scanned Images from Film". Advances in Astronomy 2019 (28.08.2019): 1–9. http://dx.doi.org/10.1155/2019/6565379.

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Prior to the availability of digital cameras, the solar observational images are typically recorded on films, and the information such as date and time were stamped in the same frames on film. It is significant to extract the time stamp information on the film so that the researchers can efficiently use the image data. This paper introduces an intelligent method for extracting time stamp information, namely, the convolutional neural network (CNN), which is an algorithm in deep learning of multilayer neural network structures and can identify time stamp character in the scanned solar images. We carry out the time stamp decoding for the digitized data from the National Solar Observatory from 1963 to 2003. The experimental results show that the method is accurate and quick for this application. We finish the time stamp information extraction for more than 7 million images with the accuracy of 98%.

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Swenberg, Thorbjörn. "A Film Editor’s Visual Intentions and Use of Perceptual Phenomena in Designing Film Edits: An Observational Study". International Journal of Visual Design 11, nr 3 (2017): 1–17. http://dx.doi.org/10.18848/2325-1581/cgp/v11i03/1-17.

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Raharjo, Catur Panggih. "PROSES KREATIF FILM DOKUMENTER BERSAMA LANSIA". IKONIK : Jurnal Seni dan Desain 3, nr 1 (1.02.2021): 6. http://dx.doi.org/10.51804/ijsd.v3i1.861.

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Penciptaan ini bermula dari ketidakpuasan subjek dalam film dokumenter sebelumnya, sehingga memantik pencipta untuk membuat film dokumenter selanjutnya. Setelah proses yang cukup panjang akhirnya pencipta mengajak subjek untuk membuat film selanjutnya dengan konsep kolaboratif, artinya kami berdua bekerjasama untuk menghasilkan film selanjutnya. Film dokumenter kolaboratif ini menggunakan gaya observasional yang menekankan pada dialog antar subjek dan kenaturalan disetiap adegan dalam film. Secara garis besar proses kolaborasi antara kami berdua berhasil dengan baik, hanya ada beberapa kendala karena adanya pandemi covid 19 yang menyebabkan berkurangnya interaksi antara kami.This creation stems from the dissatisfaction of the subject in the previous documentary film, thus igniting the creator to make the next documentary. After a fairly long process the creator finally invited the subject to make the next film with a collaborative concept, meaning we both worked together to produce the next film. This collaborative documentary film uses an observational style that emphasizes dialogue between subjects and natural in every scene in the film. Broadly speaking, the collaboration process between the two of us succeeded well, there were only a few obstacles due to the covid pandemic 19 which led to reduced interaction between us.

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Navarro, Vinicius. "On Uncertain Ground: Place and Migration in El Mar La Mar". Film Quarterly 73, nr 4 (2020): 34–40. http://dx.doi.org/10.1525/fq.2020.73.4.34.

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This essay discusses the experimental nonfiction film El Mar La Mar (Joshua Bonnetta and J.P. Sniadecki, 2017), focusing on the migrant crisis at the U.S.-Mexico border. El Mar La Mar is one of several recent films that use unconventional textual strategies to approach the subject of migration. Eschewing exposition altogether, it draws attention to the Sonoran Desert, a vast territory that in the last twenty-five years has become a deadly route for migrants trying to cross the border. Unlike what has often been argued about the film, though, El Mar La Mar does not produce an immersive viewing experience. Nor does it simply rely on observational strategies. Instead, it creates an uneasy sense of place out of unexpected juxtapositions of sound and image. Drawing on human geography and sound studies in documentary, this essay looks at how the film's textual strategies align place and politics in order to evoke the migrant crisis.

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Hutchinson, Claire, Michelle Brereton, Julie Adams, Barbara De La Salle, Jon Sims, Keith Hyde, Richard Chasty, Rachel Brown, Karen Rees-Unwin i John Burthem. "The Use and Effectiveness of an Online Diagnostic Support System for Blood Film Interpretation: Comparative Observational Study". Journal of Medical Internet Research 23, nr 8 (9.08.2021): e20815. http://dx.doi.org/10.2196/20815.

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Background The recognition and interpretation of abnormal blood cell morphology is often the first step in diagnosing underlying serious systemic illness or leukemia. Supporting the staff who interpret blood film morphology is therefore essential for a safe laboratory service. This paper describes an open-access, web-based decision support tool, developed by the authors to support morphological diagnosis, arising from earlier studies identifying mechanisms of error in blood film reporting. The effectiveness of this intervention was assessed using the unique resource offered by the online digital morphology Continuing Professional Development scheme (DM scheme) offered by the UK National External Quality Assessment Service for Haematology, with more than 3000 registered users. This allowed the effectiveness of decision support to be tested within a defined user group, each of whom viewed and interpreted the morphology of identical digital blood films. Objective The primary objective of the study was to test the effectiveness of the decision support system in supporting users to identify and interpret abnormal morphological features. The secondary objective was to determine the pattern and frequency of use of the system for different case types, and to determine how users perceived the support in terms of their confidence in decision-making. Methods This was a comparative study of identical blood films evaluated either with or without decision support. Selected earlier cases from the DM scheme were rereleased as new cases but with decision support made available; this allowed a comparison of data sets for identical cases with or without decision support. To address the primary objectives, the study used quantitative evaluation and statistical comparisons of the identification and interpretation of morphological features between the two different case releases. To address the secondary objective, the use of decision support was assessed using web analytical tools, while a questionnaire was used to assess user perceptions of the system. Results Cases evaluated with the aid of decision support had significantly improved accuracy of identification for relevant morphological features (mean improvement 9.8%) and the interpretation of those features (mean improvement 11%). The improvement was particularly significant for cases with higher complexity or for rarer diagnoses. Analysis of website usage demonstrated a high frequency of access for web pages relevant to each case (mean 9298 for each case, range 2661-24,276). Users reported that the decision support website increased their confidence for feature identification (4.8/5) and interpretation (4.3/5), both within the context of training (4.6/5) and also in their wider laboratory practice (4.4/5). Conclusions The findings of this study demonstrate that directed online decision support for blood morphology evaluation improves accuracy and confidence in the context of educational evaluation of digital films, with effectiveness potentially extending to wider laboratory use.

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Kitamura, Misato, i Yasuhiko H. Mori. "Clathrate-hydrate film growth along water/methane phase boundaries-an observational study". Crystal Research and Technology 48, nr 8 (11.07.2013): 511–19. http://dx.doi.org/10.1002/crat.201300095.

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Peter, Csilla. "The Liminal Space Between Life and Death in Documentaries. Case Study: “You, Margaret” (2021)". Symbolon 23, nr 2 (2022): 75–82. http://dx.doi.org/10.46522/s.2022.02.6.

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The concept of liminality is explained and developed by anthropologists and aims to give the reader a closer look on how rituals are conducted in small societies combining everything with something that is based on experience. This paper aims on addressing the issue of old age, the connection between the passage of time and the gradual degradation of man, but it also focuses on other problems that arise with aging and the transition from life to death. Theoretical approaches are used to explain the use of the observational style in documentary filming when real people’s experiences are followed and then transposed in an observational style into a documentary film. It uses as a case study on my personal observational documentary entitled “You, Margaret” (2021).

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Keys, Wendy, i Barbara Pini. "Troubling representations of Black masculinity in the documentary film Raising Bertie". Cultural Studies Review 24, nr 2 (2.05.2018): 97–112. http://dx.doi.org/10.5130/csr.v24i2.6010.

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In this paper we undertake a critical reading of the documentary Raising Bertie (2016). Directed by Margaret Byrne, the film tells the story of three poor, young Black American males living in Bertie County. In the paratextual material associated with the film, Byrne demonstrates reflexivity about stereotyping, revealing she engaged authentically with participants over a period of six years. Further, she begins the film by signalling the critical importance of situating the boys’ lives in a long history of discrimination and disadvantage. However, this focus on context soon disappears, and an observational mode of filmmaking is engaged. As a result, the type of negative images of Black masculinity that have had considerable currency in popular culture are reproduced and overstated in the film. Raising Bertie’s images of Black males as violent and criminal, and as absent and passive, are not effectively embedded in any broader narratives of disadvantage. Despite the director’s intentions, the film risks positioning rural Black males as responsible for their own plight. Poverty is racialised and individualised. The problem the film presents becomes one of troublesome Black masculinity, rather than one of a racialised, economically and geographically unjust world.

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Gorcevic, Admir R., Samina N. Dazdarevic i Amela Lukač Zoranić. "DYSPHEMISMS IN ANIMATED FILMS". Folia linguistica et litteraria XII, nr 35 (2021): 175–94. http://dx.doi.org/10.31902/fll.35.2021.9.

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Current research focuses on an observational investigation of dysphemistic words and phrases in contemporary animated films. The language of animated films varies from other genres and styles, and this divergence from conventional language presents an important sociolinguistic problem. The main reason for the study is an assumption that authors and script writers of animated films use dysphemisms in this specific language style, despite the fact that they should be avoided. The study's methodological foundation is a corpus analysis which deals with three different corpora: the primary corpus – selected contemporary animated films (dating from 2017 to 2020) and the secondary – a) the native language corpus (Corpus of Contemporary American English - COCA), and b) Google search engine. The following goals were pursued in this dysphemism investigation: (1) the selection of animated films for the primary corpus, (2) identification of dysphemisms in the primary corpus, (3) sociolinguistic analysis and explanation of some of the most appealing expressions from the primary corpus, and (4) to cross-check some of the dysphemisms identified in the primary corpus against the secondary corpus. The authors believe that certain number of them are exclusive to animated films and cannot be found in the native discourse. The analysis has confirmed that the language of animated films contains dysphemisms, and that their number and nature vary from film to film. The most common dysphemisms can be found in all animated films, but those containing the most profane language are characteristic only for South Park. Further investigation revealed that certain number of dysphemistic expressions identified in the primary corpus can only be found in animated films and not in the natural discourse.

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Anggraini, Dwi, i Trie Utari Dewi. "Ekranisasi Sastra terhadap Alih Wahana Novel Soe Hok Gie: Catatan Seorang Demonstran ke dalam Film “Gie”". Jurnal Bahasa dan Sastra 10, nr 2 (3.07.2022): 143. http://dx.doi.org/10.24036/jbs.v10i2.116627.

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The emergence of Ecranization in the development of Indonesian literature is increasingly rapid with the help of technological advances. Therefore, the phenomenon that occurs in the transfer of the novel medium into the film can indirectly be studied because it is part of the various changes that occur in the world of literature. This study discusses the literary ecranization of the novel Soe Hok Gie: Notes of a Demonstrator into the film Gie by finding various changes from the novel into the form of a film, such as reductions, additions, and changes in variations. The method used in this research is descriptive qualitative method. The theory used in this study refers to the views of Damono (2012) and Eneste (1991). Data collection techniques used observational techniques and note-taking techniques. The results of this study indicate that there are reductions (2 data), additions (2 data), and changes in variation (6 data) in the ecranization of Soe Hok Gie's novel: Notes of a Demonstrator. Overall, the literary ecranization from the novel to the film greatly influences the storyline about the character of a Gie depicted through the film Gie.

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Ayatulloh, Dimyati, i 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, nr 2 (26.12.2022): 129–34. http://dx.doi.org/10.31983/jimed.v8i2.8324.

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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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Adrian, Tari, Rodiah Rahmawaty Lubis i T. Siti Harilza Zubaidah. "Association between Frequency of Prosthesis Cleaning and the Discharge Characteristics and the Tear Film in Subjects with Anophthalmic Socket after Eviceration with Dermis Fat Graft". Open Access Macedonian Journal of Medical Sciences 6, nr 11 (23.11.2018): 2012–16. http://dx.doi.org/10.3889/oamjms.2018.468.

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AIM: To analyze the associations between frequency of prosthesis cleaning with the discharge characteristics and the tear film in subjects with anophthalmic socket post evisceration with dermis fat graft. SUBJECTS AND METHODS: This study is an analytic observational with cross sectional design study with control. The subjects of the study were unilateral acquired anophthalmic socket after evisceration with dermis fat graft at University of Sumatera Utara General Hospital which amounts to 30 subjects or 60 eyes (30 unilateral anophthalmic sockets, 30 contralateral eyes). Data was obtained from April 2018 to May 2018. RESULT: There is significant association between frequency of prosthesis cleaning and the frequency of discharge (P = 0.001) and tear film quantity (P = 0.024). There is also significant association between the tear film quantity and the frequency of discharge (P = 0.024). CONCLUSION: There was a significant association between frequency of prosthesis cleaning with the frequency of discharge and the tear film in subjects with Acquired Unilateral anophthalmic socket post-evisceration with dermis fat graft.

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Matos, Fátima Regina Ney, Michelle Do Carmo Sobreira, Rafael Fernandes de Mesquita i Laelson Rochelle Milanês Sousa. "Observational study on weberian ethics in the film Sophie’s Choice". Acta Scientiarum. Human and Social Sciences 40, nr 2 (19.09.2018): 34110. http://dx.doi.org/10.4025/actascihumansoc.v40i2.34110.

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Lavaju, Poonam, i Sangeeta Shah. "Changes in tear film parameters after manual small incision cataract surgery". Indian Journal of Clinical and Experimental Ophthalmology 8, nr 1 (15.03.2022): 98–102. http://dx.doi.org/10.18231/j.ijceo.2022.018.

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Dry eye disease is an ocular surface disorder leading to tear film instability. Causes are multifactorial, cataract surgery being one of its causes. To evaluate changes in the tear film parameters (Schirmer’s I, Schirmer’s II and tear film breakup time) and to find out the factors influencing it following manual small incision cataract surgery.: A prospective observational study was carried out in 185 eyes of 185 patients aged ≥50 years with age related cataract without preoperative dry eye. All the patients were evaluated for the changes in the tear film parameters at prior to the study and post operative day 7, one month and at 3 months. Dry eye was predominantly seen in males (96, 51.89%). Majority of the patients were in the age groups 50-60 years (84, 45.4%). Dry eye was seen in 7% of patients. Majority had mild grade dry eyes (50, 79%). There was decline in the all tear film parameters peaked at seventh day followed by gradual increasing trend over one month till the last follow up. Statistically significant changes was seen in all the tear film parameters between preoperative and post operative visits (p<0.001). Development of dry eye was correlated with older age, diabetes mellitus and duration of microscope light exposure time. Manual small incision cataract surgery can induce decline in tear film values in early post operative period with gradually increasing trend over time. Majority of patients had mild grade dry eyes.

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Giapoutzis, Tasos, i Marios Kleftakis. "Quiet Life". Journal of Anthropological Films 3, nr 02 (21.10.2019): e2792. http://dx.doi.org/10.15845/jaf.v3i02.2792.

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The film follows two fishermen from the Greek village Skala Sikamineas, on the island of Lesvos, who were nominated for the Nobel Peace Prize for their efforts in saving people crossing the waters from Turkey to Greece. Filmed during the period of relative calm in May 2016, following months where thousands of people passed through the village. Structured around everyday practices of these two fishermen, the film explores their experiences of frequently rescuing those attempting to cross the same waters they navigate daily for their work. These memories are intertwined with an observational approach to contemporary fishing practices, exploring how previous experiences of rupture in daily life continue to inflect and give meaning to these fisherman ́s relationship to the sea.

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Jones, Jack, i Ann-Kathrine Kvaernoe. "When You Are In The Sea". Journal of Anthropological Films 3, nr 02 (21.10.2019): e2825. http://dx.doi.org/10.15845/jaf.v3i02.2825.

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The film follows two fishermen from the Greek village Skala Sikamineas, on the island of Lesvos, who were nominated for the Nobel Peace Prize for their efforts in saving people crossing the waters from Turkey to Greece. Filmed during the period of relative calm in May 2016, following months where thousands of people passed through the village. Structured around everyday practices of these two fishermen, the film explores their experiences of frequently rescuing those attempting to cross the same waters they navigate daily for their work. These memories are intertwined with an observational approach to contemporary fishing practices, exploring how previous experiences of rupture in daily life continue to inflect and give meaning to these fisherman ́s relationship to the sea.

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Kostina, Anastasia. "Hunting for Reality: An Interview with Marina Razbezhkina". Film Quarterly 73, nr 3 (2020): 21–27. http://dx.doi.org/10.1525/fq.2020.73.3.21.

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Marina Razbezhkina is a well-known Russian documentary filmmaker, educator, and founder of the largest independent documentary school in the country. Her very original approach to documentary, which combines intimate proximity to the protagonist with raw observational aesthetics, revolutionized the Russian film landscape and became the trademark of her school. Her students most often work as a one-person crew with a lightweight hand-held camera shadowing their protagonists up close. This “hunt for reality,” as Razbezhkina terms the practice, usually results in deeply engaging observational documentaries that completely absorb the viewer into an unfamiliar reality. In this interview Razbezhkina talks about the beginnings of her career, explains the origins and the core of her filmmaking method, and discusses the changing role of documentary in the modern world.

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Rhodes, John David. "Intimate disclosure: Below Sea Level and documentary humanism". Journal of Italian Cinema & Media Studies 10, nr 3 (1.06.2022): 421–33. http://dx.doi.org/10.1386/jicms_00137_1.

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Gianfranco Rosi’s mode of filmmaking apprehends the human ‘subject’ of documentary cinema in its uncertainty and unpredictability. Rosi’s cinema can be situated in the context of observational cinema, and like other filmmakers working in this vein, he focuses his camera on human subjects who we come to know across his films’ duration. In Below Sea Level (2009), Rosi focuses on the lives of people living marginal existences, on the edges of society, in a desert in southern California. These people disclose themselves (and are disclosed by Rosi’s shooting and editing) in an elliptical fashion that frustrates the desire for complete knowledge about their lives. In this method of intimate disclosure, in which there is a refusal to coax reassuring certainties from the people encountered in making this film, Rosi demonstrates the possibility of a humanist documentary cinema, insofar as ‘human’ in ‘humanist’ refers to an unpredictable becoming.

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Gahan, James. "Observational study of the capacity and demand of plain-film workflow in a radiology department". Radiography 16, nr 3 (sierpień 2010): 182–88. http://dx.doi.org/10.1016/j.radi.2010.01.004.

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Shrivastava, Ravi. "Instant Antibacterial and Anti-Inflammatory Osmotic Polymeric Film to Treat Sore Throat in Children". Journal of Clinical Research and Reports 7, nr 04 (26.04.2021): 01–08. http://dx.doi.org/10.31579/2690-1919/161.

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Background: Pharyngitis, a common viral throat infection in children, involving inflammation, widespread local bacterial contamination and tissue destruction. When clinical signs appear, the disease already became multifactorial. In the absence of any multitarget treatment, we conceived a new generation of topical, osmotic, anti-inflammatory, throat surface cleaning polymeric film, capable of detaching and draining throat surface contaminants nearly instantly. Material and methods: A glycerol and polymer containing osmotic film was prepared. Osmotic film attracts hypotonic liquid from the throat tissue, which detach and drain throat surface contaminants and create a favorable environment for cell growth and healing. Specific pro-inflammatory cytokine and virus glycoprotein binding polymers were incorporated in the film to suppress the inflammation. An observational, randomized, placebo-controlled study was performed after the approval of ethical committee on 30 children aged between (3-15), presenting symptoms of acute pharyngitis. After randomization, test product (n=20) and saline control (n=10) solutions were applied as 3-4 throat sprays 4-5 times / day for 15-days. Change in all the key pharyngitis symptom (difficulty swallowing, throat inflammation, irritation, redness, and bacterial deposit) were evaluated employing two-tailed Student’s test for followed by the post hoc Bonferroni’s test for comparisons of multiple groups Results: Only a few specific polymers were able to bind with viral proteins and/or cytokines in adequate filmogen concentrations. Throat surface cleaning and cytokine neutralization strongly decrease all the pharyngitis symptoms and need for antibiotic therapy compared to controls (p<0.05 from day 3 onwards). No adverse effects were noted in any of the groups. Conclusion: Clinical results showed excellent efficacy and safety of osmotically active polymeric film. Polymeric drugs may represent an excellent multitarget treatment approach to minimize the use of antibiotics and chemical drugs in the future.

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Zeppegno, P., R. Rolla, V. Dalo, F. Ressico, A. Parafioriti, P. Prosperini, G. Bellomo i E. Torre. "Venlafaxine and CYP2D6 in clinical practice: An observational study". European Psychiatry 26, S2 (marzec 2011): 1051. http://dx.doi.org/10.1016/s0924-9338(11)72756-0.

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IntroductionVenlafaxine is a serotonin-norepinephrine inhibitor, mainly metabolized by CYP2D6 to its active metabolite ODV. Depending on CYP2D6 activity, patients may be identified as Poor, Intermediate, Extensive or Ultrarapid Metabolizers. There is some evidence that a PM phenotype is associated with poor tolerance more often than an EM; while a UM patient would only respond to a greater dose of Venlafaxine1.ObjectivesTo evaluate the impact of CYP2D6 phenotype on the efficacy of Venlafaxine XR in depressed patients.MethodsThis observational study evaluated 27 Caucasian adult patients (F = 18, M = 9), satisfying DSM-IV criteria for Major Depressive, Bipolar Disorder or Personality Disorder receiving treatment with Venlafaxine 75–300 mg/die.CYP2D6 alleles were evaluated with INFINITI CYP2D6 assay, which employs AutoGenomics proprietary film-based microarray technology.ResultsMost patients were identified as EMs, 4 as PMs, while only one was identified as UM. The only statistically significant difference between Extensive and Poor Metabolizers was, in contrast with current literature, the need of a greater mean dose of Venlafaxine in the second group (225 mg/die vs 159.38 mg/die, t student: p = 0.01).Likewise, in contrast with literature, the UM patient was responsive to average doses of Venlafaxine.On the contrary, we found no statistically significant differences as far as efficacy, adverse events or duration of treatment are concerned.ConclusionsIn our sample, CYP2D6 metabolizer status does not seem to affect treatment response nor adverse events related to Venlafaxine.

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Dart, Jon, i Philip McDonald. "A Perfect Script? Manchester United’s Class of ’92". Journal of Sport and Social Issues 41, nr 2 (23.12.2016): 118–32. http://dx.doi.org/10.1177/0193723516685272.

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The Class of ’92 is a documentary film featuring six Manchester United F.C. players who recount their time during a pivotal period for the club, English football and English society. The documentary claims to offer a commentary on Britain in the 1990s, but appears, without acknowledging the fact, to be a promotional vehicle to establish the six men as a brand labeled the Class of ’92 (CO92). Creating this brand necessarily involved presenting a selective account of their time and places with the film being little more than an advertisement, masquerading as an observational documentary. The film draws freely upon the symbolic capital held by the club and the city of Manchester and uses the Busby Babes/Munich chapter and the more recent “Madchester scene” to forge the Class of ’92 brand by editing out those elements that did not accord with this project. The article argues that a more complete representation of ’90s Britain, while disrupting the intended narrative, would acknowledge the significant structural and commercial changes experienced by the club, the sport, and the city in the last decade of the 20th century. We suggest that the Class of ’92 invites the viewer to consider how the documentary film genre can contribute to brand development and promotion.

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Abbott, Mathew. "Grey Gardens and the Problem of Objectivity". Projections 13, nr 2 (1.06.2019): 108–22. http://dx.doi.org/10.3167/proj.2019.130206.

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This article turns to the Maysles brothers’ 1975 film Grey Gardens to problematize the philosophical assumptions at work in debates about objectivity and direct cinema. With a suitable picture of documentary objectivity we can avoid endorsing the claim that no film can be objective or the corollary that only documentaries that reflexively acknowledge the biases of their makers can succeed aesthetically or ethically. Against critics who have attacked Grey Gardens for its problematic claims to objectivity as well as theorists defending it for how it undermines objectivity, I argue that the film’s objective treatment of its subjects is part of its aesthetic and ethical achievement. In the context of observational documentary, being objective does not mean taking a purely dispassionate stance toward one’s subjects, but treating them without prejudice or moralism and letting them reveal themselves.

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Corner, John. "Sounds real: music and documentary". Popular Music 21, nr 3 (październik 2002): 357–66. http://dx.doi.org/10.1017/s0261143002002234.

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This article examines the way in which music has featured in documentary films and programmes. The conventions of restrained use to cue mood and theme are explored, using examples and the recommendations of manuals. Across the varieties of documentary output, the article notes how the dominance of journalistic and observational formats has, for different reasons, tended to place music in the margins. Drawing on an example from the classic period of documentary film-making in Britain, it points towards a more expansive use of music in a complementary relationship with images. A number of general theoretical points about the specific properties of the documentary image and its relationship with music are raised and recent examples of successful innovation discussed. The article ends by suggesting that there is more scope for aesthetic development in music-image relations than has often been recognised and that some of the established inhibitions about mixing ‘fact’ with ‘emotion’ need to be reviewed.

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Trisnawati, Trisnawati, i Chelsy Yesicha. "REPRESENTASI BUDAYA MATRILINEAL MINANGKABAU DALAM FILM TENGGELAMNYA KAPAL VAN DER WIJCK". Jurnal Riset Komunikasi 1, nr 2 (31.08.2018): 276–84. http://dx.doi.org/10.24329/jurkom.v1i2.40.

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Film is a media of mass communication that still have audiences until now. Film also become a media of life representation. Researcher lift a film entitled Tenggelamnya Kapal Van Der Wijck. Tenggelamnya Kapal Van Der Wijck is a film that tell about the orphan man, Zainuddin. He has a Minangnese father and a mother from Makassar. Then he decided to move to his father hometown, Batipuh West Sumatra. As a person of mix descent, he faces much discrimination from Minang conservatives. Although he loves Hayati, a Minangnese woman, the niece of local nobleman, he’s not allowed to be with her because his background.The researcher method is cualitative that referring to semiotics analysis of Roland Barthes. The subject of the research is Minangkabau Matrilineal culture with research object is a Tenggelamnya Kapal Van Der Wijck Film. Data collection techniques using semiotic data analysis techniques by Barthes. On data validity techniques by extending participation and observational persistence.The result of this research show that scenes researched related with the meaning of denotation, connotation, and myth by Roland Barthes. And the result also shows that have the representation of Minangkabau Matrilineal Culture in Tenggelamnya Kapal Van Der Wijck that Minangkabau’s culture is too strict, also people claimed as a Minangnese only if their mother is a Minangnese even though their father is a Minangnese. And Mamak (mother’s brothers) has an authorization in their clan and to the nieces and nephews. And his authority is stronger than their own father.

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Mathurkar, Swapneel, Sachin Daigavane, Madhumita Prasad i Kervi Mehta. "Correlation of Chronic Smoking with Meibomian Gland Dysfunction – A Study at Wardha, Maharashtra, India". Journal of Evolution of Medical and Dental Sciences 10, nr 19 (10.05.2021): 1382–86. http://dx.doi.org/10.14260/jemds/2021/292.

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BACKGROUND Meibomian gland dysfunction (MGD) is one of the causes of evaporative dry eye disease. It is the terminal duct obstruction of the Meibomian gland and is associated with glandular secretion changes. These changes lead to decreased amount of lipids secretion which accounts for instability of tear film leading to evaporative dry eye disease. Chronic smoking also causes irritative, burning eyes along with unstable tear film. We wanted to study the corelation of chronic smoking with Meibomian gland dysfunction. METHODS This is a hospital based observational cross-sectional study that enrolled a total of 100 subjects having Meibomian gland disease (MGD), out of whom 61 were smokers and 39 were non-smokers. All enrolled subjects underwent tear film breakup time (TBUT), Schirmer I test (SIT) and slit-lamp microscope examination of lid margin abnormalities, Meibomian gland expression as well as meibum. RESULTS Our study found that the patients with Meibomian gland dysfunction with the history of chronic smoking had a remarkably decreased value of tear film break up time (TBUT), Schirmer’s 1 Test which explains the dry eye symptoms as compared to MGD patients without smoking. No significant differences were seen in lid margin irregularity and meibum secretion. Meibomitis is found in 29 smokers with MGD and 5 non-smokers with MGD which is not significant. CONCLUSIONS Chronic smoking is associated with MGD. KEY WORDS Cigarette Smoking, Meibomian Gland Dysfunction, Tear Film Tests

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Summerhayes, Catherine. "Translative Performance in Documentary Film: Bob Connolly and Robin Anderson's Facing the Music". Media International Australia 104, nr 1 (sierpień 2002): 19–29. http://dx.doi.org/10.1177/1329878x0210400105.

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Facing the Music (2001) is a film that performs at many levels. While its primary narrative is about the effects of government funding cuts to universities, and specifically the effect on the University of Sydney's Music Department, the film also weaves other more generic stories about people and how they interact with each other. Connolly's and Anderson's complex and confronting style of observational film-making is examined in the context of this film for the ways in which it ‘assumes' that film can ‘translate’ the details of people's everyday lives into a broad discussion of particular social issues and conflicts. As with all translations, however, some meanings inadvertently are lost and others added. Drawing on Walter Benjamin's idea of ‘translatability’ and Brecht's concept of gest, this paper describes how particular cultural meanings which are embedded within the documentary film, Facing the Music, can be accessed through the ways in which the audiovisual text ‘melodramatically’ presents people and profilmic events. Thomas Elsaesser's definition of classic fictional melodrama, as a ‘closed’ world of ‘inner’ violence where ‘characters are acted upon’, becomes a guide to understanding the film's secondary narratives about the operation of particular stereotypical, binary representations: men and women; artists and ‘the rest of the world’; academics (‘gown’) and other people (‘town’). Using Laura Mulvey's further distinction of ‘matriarchal’ and ‘patriarchal’ melodramas. Facing the Music is described as a ‘matriarchal’ documentary melodrama. The film's selective translation of how people live their lives in a particular social situation is thereby discussed as a further translation into the broader discourses of gender and power relations in a society.

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Roa Pilar, Cristian Felipe. "Grabbing Dignity". Journal of Anthropological Films 1, nr 1 (29.11.2017): 1313. http://dx.doi.org/10.15845/jaf.v1i1.1313.

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‘Grabbing Dignity’ explores how marginalised women perceive their dignity during a relocation process from an illegal settlement to subsidised housing in Santiago, Chile, in 2016.Through an ethnographic-based approach, the film experiments with different audiovisual language techniques, where observational cinema, semi-structured interviews and voice over are combined to build a reflective storytelling about a year-long fight for housing rights.This film points out that the fight for dignity is not driven by seeking material goods for improving their quality of life, but rather as finding a legitimate and embodied sense of place where the locals are accepted by the wider Chilean society, and by that acceptance also recognised as human beings. I portray that this fight is contrasted by how the relocation is carry out by the Chilean government where house and home are inaccurately taken as equals. With this in mind, the film enlarges the discussion about human dignity as not only an individual perception, but also as a community-based phenomenon. From this perspective, I suggest that a collective sense of place is paramount in achieving a better understanding of what human dignity might encompass.

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Espert, Yasmine. "Blood, Fire, and Interiority in Horace Ové’s Pressure". Nka Journal of Contemporary African Art 2020, nr 47 (1.11.2020): 44–55. http://dx.doi.org/10.1215/10757163-8719629.

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Pressure, the first feature film by a black British director, was the center of praise and critique at the time of its release. Completed in 1974, it narrates a coming-of-age story about a young man who discovers the complexity of Black Power activism in London. This article investigates how the Trinidad-born director Horace Ové pictures activists and Caribbean migrants of the Windrush generation throughout the film. Close analyses reveal that Ové relied on his training as a documentarian to capture what he perceived to be an authentic, rather than celebratory, version of London’s black community. His deliberate choice to steer from an “uplift” aesthetic ignited a debate that continues to the present day. I argue that Ové’s observational style in the film attempts to picture the public and the inner lives of black Britain. Ultimately, it shows that the call for equity and liberation is more than a matter of public protest dressed in the aesthetic of blaxploitation. My argument draws on scholarship by Kevin Quashie and Elizabeth Alexander to reveal the potential of the interior and the imagination in representations of Black Power.

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Divate, Akshay, Waman Chavan i Vasant Suvarnkar. "STUDY OF DRY EYE IN PATIENTS WITH TYPE 2 DIABETES MELLITUS AT RURAL TERTIARY CARE HOSPITAL". International Journal of Advanced Research 10, nr 10 (31.10.2022): 1158–62. http://dx.doi.org/10.21474/ijar01/15593.

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Purpose: Not much attention is given to evaluation of ocular surface abnormalities in diabetics. This study has been carried out to evaluate factors like age, sex, duration of diabetes in causing dry eye in type 2 diabetics along with evaluation of tear film stability using various tests like Schirmers test and Tear film break up time. Materials and Methods: In this observational cross-sectional study, 50 patients were examined, who were a diagnosed case of type 2 diabetes mellitus. Detailed history, anterior segment evaluation was done. Ocular surface evaluation was done using tear film break up time and Schirmers test. Ocular surface disease index Questionnaire was taken. Results:Among 50 patients with diabetes 46% of patients had dry eye. All patients who had diabetes for more than 20 years had dry eye and just 31.57% had dry eye who had diabetes for less than 5 years. It was found that Diabetics showed reduced Schirmer, TBUT measurements. Conclusion:Patients with type II diabetes have higher prevalence of dry eye.Evaluation of diabetic patients using the OSDI questionnaire canbe helpful in identifying dry eye in early stages.Significant reduction in TBUT and Schirmer test was found indiabetic patients.

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Balčus, Zane. "FILMMAKERS AS ONSCREEN CHARACTERS IN RECENT LATVIAN DOCUMENTARY CINEMA". Culture Crossroads 18 (31.10.2022): 55–65. http://dx.doi.org/10.55877/cc.vol18.85.

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Since the beginning of the 21st century an increase of films with filmmakers present onscreen can be observed in Latvian documentary cinema. Their stories open up personal issues and family histories, their presence diversifies stylistic approaches to documentary apart from most often used observational form. Issues of formal elements of narrating a story, representation of filmmaker’s self within the film’s narrative, power relations between the filmmaker and the character are at the core of study in documentary film theory, where participatory and performative modes (Bill Nichols), analysis of performative nature of documentary (Stella Bruzzi), and character representation (Carl Plantinga, Thomas Waugh) are explored. The three recent Latvian documentaries discussed in this article present variations of interaction of filmmaker and character/-s in telling the story of the director’s father in “My Father the Banker” (Mans tēvs baņķieris, Ieva Ozoliņa, 2015), disclosing the personality of a friend and an artist in “Forging Condors” (Kondoru kalve, Mārtiņš Grauds, 2018), or questioning the ethical implications of a documentary filmmaker in “Documentarian” (Dokumentālists, Ivars Zviedris, Inese Kļava, 2012). They present various approaches to the issues of representation, choice of formal elements, and interaction between the filmmakers and the films’ characters.

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NUCHO, JOANNE RANDA. "Observational Cinema: Anthropology, Film, and the Exploration of Social Life by Anna Grimshaw and Amanda Ravetz". American Ethnologist 38, nr 2 (maj 2011): 394–95. http://dx.doi.org/10.1111/j.1548-1425.2011.01312_15.x.

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DUCHESNE, VÉRONIQUE. "Observational cinema. Anthropology, film, and the exploration of social life by Grimshaw, Anna and Amanda Ravetz". Social Anthropology 19, nr 1 (25.01.2011): 115–16. http://dx.doi.org/10.1111/j.1469-8676.2010.00142_6.x.

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RUSSELL, CATHERINE. "Observational Cinema: Anthropology, Film, and the Exploration of Social Life by Anna Grimshaw and Amanda Ravetz". Cultural Anthropology 26, nr 1 (luty 2011): 143–49. http://dx.doi.org/10.1111/j.1548-1360.2010.01084.x.

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Bayer, Gerd. "Observational Cinema: Anthropology, Film, and the Exploration of Social Life by Anna Grimshaw and Amanda Ravetz". Journal of Popular Culture 43, nr 6 (grudzień 2010): 1304–5. http://dx.doi.org/10.1111/j.1540-5931.2010.00801_1.x.

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Ingham, Mike. "Too much reality? Reflections on the educational-observational film world of Tammy Cheung and Augustine Lam". Asian Cinema 33, nr 2 (1.10.2022): 147–60. http://dx.doi.org/10.1386/ac_00052_1.

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My article reassesses the direct cinema documentaries of respected and influential documentarians, festival organizers and documentary teachers Tammy Cheung and Augustine Lam in the light of the profound changes Hong Kong has experienced since their work was produced and distributed in the first decade of the new millennium. The present commentary on their body of work is conceived primarily as a critical retrospective, although it seems highly like they will continue to make films in self-imposed exile related to the new Hong Kong diaspora. In this article I am interested in tracing a through-line in their work and connecting the subject-matter of their sociological documentaries with the profound changes that have taken place in Hong Kong society and culture over the past few years.

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Joice, Katie. "René Spitz’s Empty Frames: ‘Hospitalism’, Screen Analysis and the Birth of Infant Psychiatry". Psychoanalysis and History 24, nr 1 (kwiecień 2022): 69–99. http://dx.doi.org/10.3366/pah.2022.0411.

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This article casts light on the origins of infant psychiatry by taking a new, interdisciplinary approach to the work of psychoanalyst and film-maker René Spitz. Focusing on his observations of babies living in orphanages, it argues that by undertaking the difficult, and sometimes paradoxical, task of capturing emotional absence and psychological fragmentation on film, Spitz created a new and influential theory of the infant psyche. It considers how this vision of an indeterminate and potentially ‘empty’ infant subject was generated by the institutional care which he sought to undermine. The particular ways in which the institution emerges as a problem and opportunity for child analysts after World War II propelled Spitz into a surprising range of post-war debates on cultural politics. He is revealed as embedded in a complex, interdisciplinary web of discourse, practices and observational strategies, and at the centre of post-war visual research into the environmental origins of mental illness.

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Florentina, Safrida, i Ambalegin Ambalegin. "FLOUTING MAXIMS IN “BEAUTY AND THE BEAST” MOVIE". eScience Humanity Journal 2, nr 1 (12.01.2022): 35–46. http://dx.doi.org/10.37296/esci.v2i1.23.

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Communication is one of important part in human life. This research related to the phenomenon of pragmatics. This research focused on analyzing the flouting of maxims in the Disney film entitled “Beauty and the Beast”. The purpose of this study is to determine the kinds of maxim flouting produced by the actor. For this research, the researchers used Grice's theory of flouting maxim. This research used descriptive qualitative as the research design which shapes how the report of the analysis would be descriptively. This research collected the data by applying observational and non-participatory technique by Sudaryanto (1993). As for analyzing data, the researchers used pragmatic identity method and pragmatic competence- in equalizing technique. From the analysis of the collected data, the researchers found that several conversations of the main characters in this film contained flouting of the maxims. Those were 4 data of maxim quantity, 4 data of maxim quality, 3 data of maxim of relevance, and 2 data of maxims manner.

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