Gotowa bibliografia na temat „Space ships in motion pictures”
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Spis treści
Zobacz listy aktualnych artykułów, książek, rozpraw, streszczeń i innych źródeł naukowych na temat „Space ships in motion pictures”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Artykuły w czasopismach na temat "Space ships in motion pictures"
1
Lee, Dae Yeol, Hyunsuk Ko, Jongho Kim i Alan C. Bovik. "On the space-time statistics of motion pictures". Journal of the Optical Society of America A 38, nr 7 (7.06.2021): 908. http://dx.doi.org/10.1364/josaa.413772.
Pełny tekst źródła
2
Жук, А. С. "Iterative method for ship motion planning in unpredictable navigational environment". MORSKIE INTELLEKTUAL`NYE TEHNOLOGII)</msg> 1, nr 3(61) (27.08.2023): 179–87. http://dx.doi.org/10.37220/mit.2023.61.3.018.
Pełny tekst źródłaStreszczenie:
Рассматривается задача гарантированного предотвращения столкновений судов на неограниченном горизонте планирования в условиях непредсказуемого движения судов-целей. Множества достижимости судов-целей с учетом зоны навигационной безопасности определяют области возможных столкновений. Безопасные управления определяются в пространстве скоростей в виде совокупности векторов скорости управляемого судна. Гарантированное предотвращение всех возможных столкновений достигается выбором управления, ведущего за пределы областей возможных столкновений каждого судна-цели. Информация о движении судов-целей ограничена координатами и курсом в текущий момент времени. Суда-цели движутся непредсказуемым образом, но имеют динамические ограничения. Обеспечение безопасности плавания на неограниченном горизонте планирования в условиях непредсказуемости движения судов-целей является приоритетной задачей управления судном. Предварительный маршрут перехода требует коррекции в зависимости от текущей навигационной обстановки. Предлагаемый итеративный метод планирования движения судна в реальном времени обеспечивает гарантированное предотвращение столкновений и минимизирует отклонения от предварительного маршрута перехода. Ожидаемое движение судна-цели определяется на основе текущих параметров. Множества достижимости судов-целей остаются ограниченными в пространстве скоростей даже при увеличении горизонта планирования до бесконечности. Множества достижимости судов-целей дополняются зоной навигационной безопасности и образуют области возможных столкновений. Управления, приводящие вектор скорости управляемого судна за пределы области возможных столкновений в пространстве скоростей, гарантированно предотвращают столкновения даже в условиях непредсказуемости движения судов-целей. Гарантированно безопасные состояния управляемого судна зависят от множеств достижимости судов-целей. Выполненные исследования способствуют совершенствованию перспективных для практического применения в современных навигационных комплексах методов управления судном. The problem of guaranteed prevention of ship collisions on an unlimited planning horizon under conditions of unpredictable motion of target ships is considered. The reachable sets of target ships, taking into account the navigational safety zone, determine the areas of possible collisions. Safe controls are defined in the speed space as a set of speed vectors of the controlled vessel. Guaranteed avoidance of all possible collisions is achieved by choosing a control that leads outside the areas of possible collisions of each target ship. Information about the movement of target ships is limited to the coordinates and course at the current time. Target ships move in unpredictable ways, but have dynamic limitations. Ensuring the safety of navigation on an unlimited planning horizon in the conditions of unpredictable movement of target ships is a priority task of ship handling. The preliminary passage route requires correction depending on the current navigation situation. The proposed iterative real-time ship motion planning method provides guaranteed collision avoidance and minimizes deviations from the preliminary passage route. The expected motion of the target vessel is determined based on the current parameters. The reachable sets of target ships remain bounded in speed space even as the planning horizon increases to infinity. The reachable sets of target ships are supplemented by a navigational safety zone and form areas of possible collisions. Controls that bring the speed vector of the controlled vessel beyond the limits of the area of possible collisions in the speed space are guaranteed to prevent collisions even in conditions of unpredictable motion of target ships. The guaranteed safe states of the controlled ship depend on the reachable sets of the target ships. The performed research contributes to the improvement of ship control methods that are promising for practical use in modern navigation systems.
3
Hatzakis, Iason, i Paul D. Sclavounos. "Active Motion Control of High-Speed Hydrofoil Vessels by State-Space Methods". Journal of Ship Research 50, nr 01 (1.03.2006): 49–62. http://dx.doi.org/10.5957/jsr.2006.50.1.49.
Pełny tekst źródłaStreszczenie:
Hydrofoil ships cruising at high speeds often operate in rough weather conditions and hence experience uncomfortable or even unsafe motions without the use of some form of motion control. The research described here concerns an active motion control mechanism for high-speed hydrofoil vessels, aiming at the significant reduction of the vessel motions in regular and random waves. The seakeeping equations of motion are cast into a linear state-space form leading to a linear-quadratic optimal controller shown to attenuate the vessel motion responses significantly. The deterministic control laws designed in the present study are found to perform satisfactorily both in monochromatic and random waves for high-speed vessels supported by hydrofoils and buoyancy.
4
Jiang, Changben, Armin W. Troesch i Steven W. Shaw. "Highly Nonlinear Rolling Motion of Biased Ships in Random Beam Seas". Journal of Ship Research 40, nr 02 (1.06.1996): 125–35. http://dx.doi.org/10.5957/jsr.1996.40.2.125.
Pełny tekst źródłaStreszczenie:
Recent developments in dynamical systems analysis are applied and extended to the study of highly nonlinear ship rolling motion and capsizing in random beam seas. Damping and wave excitation moments are dealt with as perturbations since they are relatively small compared with inertial effects and hydrostatic righting moments. There is no restriction on the restoring moment due to hydrostatic loads, and bias effects are included. Safe and unsafe areas are defined in the phase plane of the unperturbed system model to distinguish the qualitatively different ship motions of capsize and noncapsize. Capsize events are represented by solutions passing out of the safe region. The probability of such an occurrence is studied using the Melnikov function and the concept of phaseflux rates. Expressions for the phase space flux rate are derived and evaluated by numerical integration. The correlation of phase space flux and capsize is investigated through extensive simulation. It is shown that these analytical tools provide reliable, predictive information regarding the likelihood of a vessel capsize in a given sea state.
5
Scharf, David, Jacob Wilbrink i John A. Hunt. "SEM Stop-Frame, Color, 3D Animation for Motion Pictures". Microscopy and Microanalysis 4, S2 (lipiec 1998): 16–17. http://dx.doi.org/10.1017/s1431927600020201.
Pełny tekst źródłaStreszczenie:
A stop-frame animation system has been developed for producing high-resolution, color and stereo motion picture animation sequences. The first of these sequences can be seen in the recently released IMAX 3D movies, “Four Million House Guests” a.k.a. “The Hidden Dimension”. IMAX movies have long been known for their breathtaking special effects that seem incredibly realistic because of the large projection screen (about 7 stories high) which is close to the entire audience, high resolution, and powerful audio effects. IMAX 3D is an extention to the traditional format that allows the audience to see three dimensional special effects with the aid of electronically shuttered viewing glasses. IMAX movies are an ideal medium to demonstrate the high resolution digital images that are possible with the SEM.The goal of the SEM movie project was to produce movie sequences where viewers feels like they are flying smoothly through micro-space past microscopic creatures and objects in three dimensions and in color.
6
Filippo, Biondi. "COSMO-SkyMed Staring Spotlight SAR Data for Micro-Motion and Inclination Angle Estimation of Ships by Pixel Tracking and Convex Optimization". Remote Sensing 11, nr 7 (29.03.2019): 766. http://dx.doi.org/10.3390/rs11070766.
Pełny tekst źródłaStreszczenie:
In past research, the problem of maritime targets detection and motion parameter estimation has been tackled. This new research aims to contribute by estimating the micro-motion of ships while they are anchored in port or stationed at the roadstead for logistic operations. The problem of motion detection of targets is solved using along-track interferometry (ATI) which is observed using two radars spatially distanced by a baseline extended in the azimuth direction. In the case of spaceborne missions, the performing of ATI requests using at least two real-time SAR observations spatially distanced by an along-track baseline. For spotlight spaceborne SAR re-synthesizing two ATI observations from one raw data is a problem because the received electromagnetic bursts are not oversampled for onboard memory space saving and data appears like a white random process. This problem makes appearing interlaced Doppler bands completely disjointed. This phenomenon, after the range-Doppler focusing process, causes decorrelation when considering the ATI interferometric phase information retransmitted by distributed targets. Only small and very coherent targets located within the same radar resolution cell are considered. This paper is proposing a new approach where the micro-motion estimation of ships, occupying thousands of pixels, is measured processing the information given by sub-pixel tracking generated during the coregistration process of two re-synthesized time-domain and partially overlapped sub-apertures generated splitting the raw data observed by a single wide Doppler band staring spotlight (ST) SAR map. The inclination of ships is calculated by low-rank plus sparse decomposition and Radon transform of some region of interest. Experiments are performed processing one set of COSMO-SkyMed ST SAR data.
7
Kaczmarek, Jerzy. "Visual sociological research using film and video, on the example of urban studies". Acta Universitatis Lodziensis. Folia Sociologica, nr 73 (30.06.2020): 5–19. http://dx.doi.org/10.18778/0208-600x.73.01.
Pełny tekst źródłaStreszczenie:
The use of film and video in sociological research, or social sciences in general, has a long and well-established tradition. Motion pictures have, on the one hand, been the object of analysis, as in the case of sociology of film, and, on the other, they have been used as a research tool. Moreover, films can be scientific statements in their own right, as is the case with sociological film.
The use of visual methods based on both still and moving pictures works very well for exploring the physical and social space of the city. The article looks at ways of using films and the actual process of obtaining film data in sociological research. Works featuring urban themes will be considered as special cases to illustrate the author’s reflections. It is noteworthy that early cinema already showed urban space, as exemplified in the films by the Lumière brothers who, incidentally, treated their motion pictures primarily as a scientific tool.
City-related topics appear in research by film sociologists who analysed films featuring urban themes, among other things. Later, sociologists themselves began to use cameras in their studies and teaching. One way of using a camera for these purposes is simply to record observations of certain places and people’s behaviour. These video recordings are subsequently analysed, applying various methods developed in the field of sociology and other sciences. Another technique, well-suited for exploring urban space, is a mobile camera, used for example for video tours, as introduced by Sarah Pink. And, finally, sociological film focusing on the city plays a vital role in social research.
8
Herowati, Herowati, Agung Pambudi i Nurbayti Nurbayti. "Metode Pembelajaran Sistem Pakar Diagnosa Penyakit Ikan Hias Air Tawar Pada SMK Negeri 2 Tangerang". CICES 3, nr 1 (28.02.2017): 48–60. http://dx.doi.org/10.33050/cices.v3i1.422.
Pełny tekst źródłaStreszczenie:
The year 1830, munculah called zoetrope, cylindrical object with empty spaces with pictures drawn by hand on the surface of it. While playing, the same motion effect. The year 1870, an inventor from France, Emile Reynaud added a mirror in the middle of the cylinder space. A few years later, he discovered the version of Windows will arise. By adding light reflector and lenses to magnify images on the screen. The year 1892, he did a demonstration in Paris's Theatre Optique, with hundreds of images using the hands to cause the effect of motion pictures for 15 minutes. Rouben Mamoulian, an American film director born in 1929 demonstrated various types of sound in a movie. This is then pushed the filmmaker makes the soft-spoken. The first film camera that uses a color separation. Technicolor Camera that was discovered in 1932 using the principle of "Three-strip" that divides the image into the three primary colors red, yellow, blue (cyan, magenta, yellow). This camera into movie production tool fullcolor using the principle of the "three-strip"
9
Dong, Xiang, Zhigang Yuan, Fang Sun, Qinglin Zhu, Mingchen Sun i Pengfei Zhu. "Comparison of Simulated and Measured Power of the Earth-Space Link for Satellite-Based AIS Signals". Sensors 23, nr 15 (27.07.2023): 6740. http://dx.doi.org/10.3390/s23156740.
Pełny tekst źródłaStreszczenie:
This research aims to analyze the impact of the Earth-Space link on the Automatic Identification System (AIS) signals of ships. To achieve this, we established a simulation system that measures the receiving power of AIS signals via satellite platforms. We validated the system by utilizing observation data from Tiantuo-5. Through this simulation, we quantitatively analyzed the effects of ionospheric TEC (Total Electron Content) and space loss on the received power. During the processing of observation data, we construct a geometric propagation model utilizing the measured positions of both the satellite and the ship. We then calculate the antenna gain and remove any system errors. Additionally, we eliminate the deviation of elevation and azimuth angles caused by satellite motion. This allows us to determine the actual power of different ships reaching the receiving platform. Upon comparing the measured power data with the simulated power, it was noted that both exhibited an increasing trend as the elevation angle increased. This led to an RMSE (Root Mean Square Error) result of approximately one, indicating the accuracy of the simulation system. These findings hold significant implications for analyzing interference factors in satellite-ground links.
10
Chamier-Waite, Clea von. "Somatic Montage for Immersive Cinema". Cultural Science Journal 13, nr 1 (1.12.2021): 113–28. http://dx.doi.org/10.2478/csj-2021-0009.
Pełny tekst źródłaStreszczenie:
Abstract The formal, cinematic language specific to immersive motion pictures is an area of cinema theory that has been neglected up until now. This paper investigates a new language of cinematic montage specific to immersive cinema, somatic montage, while it examines historical precedents in the sciences, arts, and cinema of the twentieth century. We propose somatic montage as a model for developing new poetic structures in time-based works that inhabit a three-dimensional, architectonic space – a space of embodiment, motion, perception, and participation in the reception of a work of art. In this paper, we consider cinema as a four-dimensional artwork conceptually engendered by the principles of hyper-dimensions, the outgrowth of scientific discoveries made at the turn of the twentieth century. The expanded cinema mediums of fulldome cinema, immersive video and film installation, virtual reality, and extended reality, when approached as four-dimensional cinema space, allow for a spatialized, non-linear juxtaposition of the cinematic elements. Somatic montage is presented here as an extended, supra-dimensional notion of what Sergei Eisenstein called the ‘disjunctive method of narration’.
Rozprawy doktorskie na temat "Space ships in motion pictures"
1
Galt, Rosalind. "Redrawing the map of Europe space, history and spectacle in new European cinema /". [S.l. : s.n.], 2002. http://books.google.com/books?id=kV9ZAAAAMAAJ.
Pełny tekst źródła
2
Toth, Benjamin. "Dream space". Diss., Connect to the thesis, 2001. http://thesis.haverford.edu/2/01/2001TothB.pdf.
Pełny tekst źródła
3
Yung, Yuk-yu. "Teaching film as a space of interpretative interaction". Click to view the E-thesis via HKUTO, 1998. http://sunzi.lib.hku.hk/HKUTO/record/B38628557.
Pełny tekst źródła
4
Carroll, Elizabeth. "The representation of space in musical numbers". Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/374396/.
Pełny tekst źródłaStreszczenie:
My area of research is best described as the promotion of a new methodological approach to the study of film. It is an approach that is founded upon a spatial reading, based on an exploration into abstract aesthetics and pays particular attention to the interactions between sound and image. Whilst this methodological approach can be utilised to read any film, this thesis looks particularly at the musical genre and, more specifically, the musical number and its representation of space. The need to delimit my study notwithstanding, the musical has been taken as a case study in order to demonstrate how this spatial methodology should pay attention to, and be aware of, the peculiarities and idiosyncrasies that genres encapsulate. My thesis challenges the dominance of cognitive theory by providing an approach based upon gestalt theory, making use of ‘forensic’ analysis to remove aesthetics from their narrative context. Theorists such as Rick Altman (1989, 1999) and Jane Feuer (1993) have long discussed the structural qualities of the musical genre in an attempt to delimit the musical number from that which surrounds it. A different representation of space emerges in the musical number, one that permits a deeper exploration into the negotiated relationship between sound and image. In this thesis I examine this space closely utilising a range of innovative analytical techniques including virtual reconstruction and diagrammatic notation. This ‘forensic’ analysis is considered within the overarching framework of gestalt theory: that the whole is more than the sum of its parts. This thesis studies film as an audio-visual medium and considers a range of different spatial realms in order to best understand the complex negotiations between sound and image. Previous scholars of the musical genre have largely focused upon narrative readings of either new or canonical filmic texts. I argue that these narrative readings, whilst 4 providing significant contributions to the field, are ultimately deficient as they fail to adequately explore the finer qualities of film language.
5
Yung, Yuk-yu, i 容若愚. "Teaching film as a space of interpretative interaction". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B38628557.
Pełny tekst źródła
6
Ramlochand, John. "Japanese cinema : time space nation". Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102159.
Pełny tekst źródłaStreszczenie:
This work utilizes a spatial theory approach to meditate on postwar Japanese society and cinema. It is not a history of Japanese postwar cinema, or a survey of notable directors and genres. Rather, the focus is specifically on film and its relation to the deeper tropes of Japanese society; in particular, on how the sense of nation is affirmed and/or challenged within a postwar period of remarkable change. Understanding such a structure greatly aids in analyzing the forms and meanings within the films. The question of National Cinema, then, is approached by exploring how the interaction of spatial-temporal elements affect both the social construction and filmic practices of the nation.The first part of the dissertation features an extended analysis of Japanese society using a variety of historical, philosophical and theoretical sources, both Japanese and foreign. They provide a theoretical base and a social history that ground the critical readings of the selected films; all of which are well-known and widely available. Part two is a close textual analysis of five 1950s productions---from a range of films and genres---that are contrasted with three films from the late 1980s/early 1990s. The final chapter examines notions about National Cinema in light of the preceding film analysis.
7
Chen, Lusi, i 陳露絲. "Mapping the production of space in Pang Ho-cheung's Love in a puff and Love in the buff". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/206560.
Pełny tekst źródłaStreszczenie:
Drawing from Michel de Certeau’s notion of the production of space as a practice, this dissertation examines the production of space in Pang Ho-Cheung’s Love in a Puff (2010) and Love in the Buff (2012) in three aspects: 1) smoking in daily life, 2) Hong Kong-mainland co-productions in the film industry, and 3) the affective space produced in “non-place.”
First, in Love in a Puff, the spatial practice of smokers smoking in back alleys produces a space for them to deflect the power of Hong Kong’s Smoking Ordinance, which can be interpreted as a form of victory of ordinary people over an oppressive system. This mode of resistance can be read allegorically as a tactic of Hong Kong filmmakers working in the space of co-production between Hong Kong and Mainland China, as illustrated by an analysis of the film Love in the Buff. Third, both films are set in globalized urban cities that are full of “non-places” of consumption and transportation. This “non-place”ful space of ambivalence and detachment is in juxtaposition with the protagonists’ practice to develop relationships, generate emotions and resolve their interpersonal problems. Space production opens up alternative ways to understand the world and our daily life. This dissertation attempts to offer an interpretation of the two films in light of de Certeau’s spatial theories.published_or_final_version
Literary and Cultural Studies
Master
Master of Arts
8
Walsh, John. "A space and time machine : actuality cinema in New York City, 1890s to c. 1905". Thesis, University of Nottingham, 2005. http://eprints.nottingham.ac.uk/10142/.
Pełny tekst źródłaStreszczenie:
Urban actuality films are short, single shot views of street scenes, skyscrapers or construction sites, or views from moving vehicles. They are, typically, regarded as simple filmic snap-shots. Conversely, early cinema is conventionally thought to be a complex hybrid medium, a crucible for the idea and representation of the modern. Through close, contextualised analysis of a series of New York films, this study addresses the discrepancy between the putative insubstantiality of actuality films and the evident complexity of early cinema. A hitherto overlooked historical coincidence of actuality cinema, the modernisation of New York and its intermedial culture is shown to provide both a subject and setting for filmmakers. Actuality cinema is a technology of the present; accordingly, temporality is pivotal for this study. Tom Gunning's 'cinema of attractions' thesis and a neurological conception of modernity posit a familiar shocks-and-jolts axis of the relations between cinema and modernity. In contrast, I argue for an alternative axis, founded in periods, rather than moments, of time and seek to demonstrate cinema's role as a technology of an expanded present time. Fifteen films of transport systems, skyscraper building sites and ways of seeing New York's streets, make up the primary source material. In these films, time provides a space for the representation and negotiation of the modern. An expanded present fosters a thickened visuality. Within New York's intermedial culture, the adoption of stereoscopic visual practices was key to constructing a coherent filmic present, and a place for the spectator within a cinematic world. As a functioning space and time machine, a cinema of simultaneity, the complexity of actuality filmmaking practices increasingly moved actualities towards, and enabled their interrelation with, an emerging narrative cinema. Rather than a failed experiment, New York actuality cinema is here demonstrated to be an example of cinema working.
9
Simpson, Catherine. "Imagined geographies: women's negotiation of space in contemporary Australian cinema, 1988-98". Thesis, Simpson, Catherine (2000) Imagined geographies: women's negotiation of space in contemporary Australian cinema, 1988-98. PhD thesis, Murdoch University, 2000. https://researchrepository.murdoch.edu.au/id/eprint/312/.
Pełny tekst źródłaStreszczenie:
Imagined Geographies: Women's Negotiation of Space in Contemporary Australian Cinema is an exploration of the nexus between gender and locale in films from the last decade, 1988-98. This thesis examines the way meaning is made through the negotiation of diverse geographies by central female protagonists in a selection of recent Australian feature films. The films I analyse were predominantly produced by female writers and/or directors.
In the context of Australian Cinema, locale is an area much talked about but little theorised. It is an issue which remains in the background of much scholarship and is often tangential to many arguments but rarely constructed as a central concern. Where it is foregrounded, as in Ross Gibson's work, it is reduced to the significance of landscape or 'natural locations' rather than examining the diversity of its manifestations.
Two notable but related spatial shifts have occurred in Australian cinema of the 1990s. The first is a change in industrial practice. Female artists are now creating spaces for themselves in mainstream feature filmmaking - spaces traditionally occupied by men. This trend is away from constructions of a distinctly feminist cinema or counter-cinema which was identifiable in the 1970s. Second, there is a shift in the character of on-screen space. The presence of growing numbers of women writers, directors and producers in the Australian film industry is shifting the cinema's focus away from traditional 'masculine' topographies - the pub, the prison and the outback - thus allowing explorations of other spaces and visions to develop. I am arguing therefore that there is a feminization ofspace occurring in Australian cinema.
In this thesis I investigate representations of so-called traditional 'feminine' or domestic domains. The place of the gendered body and embodiment in films is a central concern and is theorised in the first chapter. As we move through the thesis chapters, sexed bodies enacting gender in a variety of ways and in different zones - the car, the house, the suburb and the country town - will be explored. Through these analyses I examine the methods some film directors employ to problematize space in such a way that their work overcomes the limitations of its previously dominant representations. This thesis is primarily an attempt to open up the field of criticism to acknowledge the diversity of locales which exist within the rich tapestry of Australian Cinema.
10
Simpson, Catherine. "Imagined geographies : women's negotiation of space in contemporary Australian cinema, 1988-98 /". Simpson, Catherine (2000) Imagined geographies: women's negotiation of space in contemporary Australian cinema, 1988-98. PhD thesis, Murdoch University, 2000. http://researchrepository.murdoch.edu.au/312/.
Pełny tekst źródłaStreszczenie:
Imagined Geographies: Women's Negotiation of Space in Contemporary Australian Cinema is an exploration of the nexus between gender and locale in films from the last decade, 1988-98. This thesis examines the way meaning is made through the negotiation of diverse geographies by central female protagonists in a selection of recent Australian feature films. The films I analyse were predominantly produced by female writers and/or directors.
In the context of Australian Cinema, locale is an area much talked about but little theorised. It is an issue which remains in the background of much scholarship and is often tangential to many arguments but rarely constructed as a central concern. Where it is foregrounded, as in Ross Gibson's work, it is reduced to the significance of landscape or 'natural locations' rather than examining the diversity of its manifestations.
Two notable but related spatial shifts have occurred in Australian cinema of the 1990s. The first is a change in industrial practice. Female artists are now creating spaces for themselves in mainstream feature filmmaking - spaces traditionally occupied by men. This trend is away from constructions of a distinctly feminist cinema or counter-cinema which was identifiable in the 1970s. Second, there is a shift in the character of on-screen space. The presence of growing numbers of women writers, directors and producers in the Australian film industry is shifting the cinema's focus away from traditional 'masculine' topographies - the pub, the prison and the outback - thus allowing explorations of other spaces and visions to develop. I am arguing therefore that there is a feminization ofspace occurring in Australian cinema.
In this thesis I investigate representations of so-called traditional 'feminine' or domestic domains. The place of the gendered body and embodiment in films is a central concern and is theorised in the first chapter. As we move through the thesis chapters, sexed bodies enacting gender in a variety of ways and in different zones - the car, the house, the suburb and the country town - will be explored. Through these analyses I examine the methods some film directors employ to problematize space in such a way that their work overcomes the limitations of its previously dominant representations. This thesis is primarily an attempt to open up the field of criticism to acknowledge the diversity of locales which exist within the rich tapestry of Australian Cinema.
Książki na temat "Space ships in motion pictures"
1
Dougherty, Kerrie. Star Wars: Complete vehicles. London: Dorling Kindersley, 2013.
Znajdź pełny tekst źródła
2
Azzara, Roberto. Astronavi: Le storie dei vascelli spaziali nella narrativa e nel cinema di fantascienza. Città di Castello (PG): Odoya, 2022.
Znajdź pełny tekst źródła
3
Farber, Manny. Negative space: Manny Farber on the movies. New York: Da Capo Press, 1998.
Znajdź pełny tekst źródła
4
Reynolds, David West. Star Wars: Vistas en sección de vehículos y naves. Barcelona: Ediciones B, 1999.
Znajdź pełny tekst źródła
5
Reynolds, David West. Star wars: Incredible Cross-Sections. New York: DK Pub., 1998.
Znajdź pełny tekst źródła
6
Jameson, Fredric. The geopolitical aesthetic: Cinema and space in the world system. Bloomington, Ind: Indiana University Press, 1992.
Znajdź pełny tekst źródła
7
Pallasmaa, Juhani. The Architecture of image: Existential space in cinema. Helsinki: Rakennustieto, 2001.
Znajdź pełny tekst źródła
8
Pallasmaa, Juhani. The architecture of image: Existential space in cinema. Wyd. 2. Helsinki: Rakennustieto, 2007.
Znajdź pełny tekst źródła
9
Skakov, Nariman. The cinema of Tarkovsky: Labyrinths of space and time. London: I.B. Tauris, 2012.
Znajdź pełny tekst źródła
10
Yŏn'guso, Hyŏndae Yŏnghwa, red. Kŭllok'ŏl sidae ŭi Han'guk yŏnghwa wa tosi konggan. Sŏul-si: Pagijŏng, 2018.
Znajdź pełny tekst źródłaCzęści książek na temat "Space ships in motion pictures"
1
Hao, Xiaofei. "Au Revoir Taipei: Tourist view on the space of empathy". W Motion Pictures and the Image of the City, 133–203. Wiesbaden: Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-14340-4_4.
Pełny tekst źródła
2
Aguayo, Angela J. "Subjugated Histories and Affective Resistance". W Documentary Resistance, 149–82. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190676216.003.0005.
Pełny tekst źródłaStreszczenie:
Starting in the early 1970s, many documentaries began addressing the shifting cultural climate surrounding the issue of abortion in the United States. While some consideration has been given to how abortion has been represented on television and in motion pictures, scant attention has been paid to how the documentary genre has forged the public space for this controversial issue. This chapter briefly maps and assesses how feminists have documented and utilized the documentary genre to recover women’s history and reclaim public space for reproductive justice and the failures to accomplish these aims as access to reproductive care continues to erode. The chapter tracks how women, engaged in feminist struggle, create documentary commons specific to the collision between lived experience and social expectations. The chapter focuses particularly on a moment in 2005 when Third Wave feminist and activist filmmakers attempted to engage abortion politics through the documentary confessional mode. Tracking the move from public confession to representations of an escalating and violent antichoice movement brings the struggle into sharper focus. Analysis of these documentaries and their parallel activist interventions includes interviews with three directors, archival material, and ethnographic research.
3
Conrath, Ryan. "Andy Warhol in Stitches". W Between Images, 3–26. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197612293.003.0001.
Pełny tekst źródłaStreszczenie:
Abstract In the summer of 1968, amid the white walls of an otherwise unremarkable sixth-floor office space in Manhattan, Valerie Solanas aims a gun at Andy Warhol and shoots him. This was at once an event of relation and of montage, one that inextricably intertwined the fates of two lives through the violent “editing” of the body of the most famous artist in the world, setting into motion an entirely new sequence of images and works. In subsequent years, Warhol’s cut-and-sutured body entered into a complex constellation of images and practices, first in portraits by Richard Avedon and Alice Neel, and later in Warhol’s rarely discussed “bonus photographs,” knitting drawings, and sewn photographs. This chapter traces the circulation of Warhol’s stricken body (and its attendant wounds) across this unlikely constellation of works, before turning to a close engagement with what was arguably the artist’s longest-running project, the “stitched photographs,” made up of multiple identical photographs stitched together with thread. This chapter argues that the true content of these objects lies not in the pictures themselves but in the visible threads holding them together. Against a conception of the cut as a threatening or even traumatic space, Chapter 1 places Warhol’s unorthodox objects (and his photographic practice in general) in conversation with the film-theoretical discourse of suture.
4
Cook, Matthew, i John P. T. Mo. "Enterprise Approach to Modelling of Risks in the Project Lifecycle of Naval Aviation Asset Ship Integration". W Advances in Transdisciplinary Engineering. IOS Press, 2019. http://dx.doi.org/10.3233/atde190148.
Pełny tekst źródłaStreszczenie:
A strategic capability of contemporary naval ships is the ability to launch and recover embarked aircraft such as helicopters in a maritime environment. Such operations are enormously challenging due to deck motion, limited landing space, visibility, ship’s superstructure, etc. This places extreme pressure on the pilot, ship’s crew and the platforms alike, making such shipboard operations the most dangerous of all helicopter flight missions. Therefore, the design and integration of equipment, systems and aids to ensure such operations are done as safely as is practicably possible, presents ship builders, aircraft manufacturers, engineers and pilots with some extremely demanding and complex problems. Major naval ship design/build programmes that include an aviation capability, will inevitably need to engage resources across multiple disciplines that include, but not limited to; engineering, design, logistics, administration, procurement, legal, alliance partners and the customer to manage project risks from the outset. This research highlights the need for a holistic/Systems Engineering approach that recognises risks across the wider ship programme, that can only be managed/resolved by cross-discipline collaboration. This paper presents a novel methodology to elicit risks qualitatively and models the relative risk profile of an aviation project throughout the ship programme lifecycle. The use of an enterprise model based on the three ‘P’ element methodology (3PE): Product, Process, People within an environment has been developed. Furthermore, the research outlines a continuous management and visualisation approach that enables a process of dynamic analysis to both reduce and/or mitigate residual risks progressively throughout the project lifecycle to acceptable levels.
5
Torrisi-Steele, Geraldine. "Theoretical Foundations for Educational Multimedia". W Encyclopedia of Multimedia Technology and Networking, Second Edition, 1391–98. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-60566-014-1.ch188.
Pełny tekst źródłaStreszczenie:
The notion of using technology for educational purposes is not new. In fact, it can be traced back to the early 1900s during which time school museums were used to distribute portable exhibits. This was the beginning of the visual education movement that persisted through the 1930s as advances in technology such as radio and sound motion pictures continued. The training needs of World War II stimulated serious growth in the audiovisual instruction movement. Instructional television arrived in the 1950s, but had little impact, mainly due to the expense of installing and maintaining systems. The advent of computers in the 1950s laid the foundation for CAI (computer assisted instruction) through the 1960s and 1970s. However, it was not until the 1980s that computers began to make a major impact in education (Reiser, 2001). Early applications of computer resources included the use of primitive simulation. These early simulations had little graphic capabilities and did little to enhance the learning experience (Munro, 2000). Since the 1990s, there have been rapid advances in computer technologies in the area of multimedia production tools, delivery, and storage devices. Throughout the 1990s, numerous CD-ROM educational multimedia software was produced and was used in educational settings. More recently, the advent of the World Wide Web (WWW), together with the emergence of mobile devices and wireless networking, has opened a vast array of possibilities for the use of multimedia technologies and associated information and communications technologies (ICT) to enrich the learning environment. Today, educational institutions are investing considerable effort and money into the use of multimedia. The use of multimedia technologies in educational institutions is seen as necessary for keeping education relevant to the twenty-first century (Selwyn & Gordard, 2003). The term “multimedia” as used in this article refers any technologies which make possible “the entirely digital delivery of content presented by using an integrated combination of audio, video, images (twodimensional, three-dimensional) and text” along with the capacity to support user interaction (Torrisi-Steele, 2004, p. 24). Multimedia may be delivered on computer via CD-ROM, DVD, the Internet, or on other devices such as mobile phones and personal digital assistants, or any digital device capable of supporting interactive and integrated delivery of digital audio, video, image, and text data. The notion of interaction in educational multimedia may be viewed from two perspectives. First, interaction may be conceptualised in terms of “the capacity of the system to allow individual to control the pace of presentation and to make choices about which pathways are followed to move through the content; and the ability of the system to accept input from the user and provide appropriate feedback to that input” (Torrisi- Steele, 2004, p. 24). Second, given the integration of multimedia with communication technologies, interaction may be conceptualized as communication among individuals (teacher-learner and learner(s)-learner(s)) in the learning space that is made possible by technology (e-mail, chat, video-conferencing, threaded discussion groups, and so on).
Streszczenia konferencji na temat "Space ships in motion pictures"
1
Yu, Xiaochuan, i Jeffrey M. Falzarano. "Time-Domain Simulation of Multibody Floating Systems Based on State-Space Modeling Technology". W ASME 2011 30th International Conference on Ocean, Offshore and Arctic Engineering. ASMEDC, 2011. http://dx.doi.org/10.1115/omae2011-50343.
Pełny tekst źródłaStreszczenie:
It is important to study MULTIBODY dynamics when analyzing the transfer of cargo between ships and platforms at sea. The hydrodynamic interactions between multiple bodies in close proximity are expected to be significant and complex. In this paper, two levels of approximation of hydrodynamic coefficients are considered, i.e., the constant coefficient method (CCM) and the impulse response function (IRF). The equations of motion are written in standard state-space format, in which the convolution terms are computed using the trapezoidal rule. Initially, this newly proposed numerical scheme is successfully applied to calculate motion responses of a two-body floating system. The time-domain responses of this multibody floating system in both regular waves and random sea are further verified numerically. In addition, an ideal case of the motion mitigation of this system using Dynamic Positioning (DP) system is also given and discussed. The mean drift force is considered using Newman’s approximation. Numerical study shows that the optimal Linear Quadratic Regulator (LQR) method can help to mitigate the motion responses of this two-body floating system at sea. Finally, this scheme is extended to a three-body floating system, with the relative motions in random seas determined.
2
Dao-Xun, Liao, Lu Yong-Zhong i Huang Xiao-Cheng. "Theory and Method of Dynamic Modeling for Multilayer Vibration Isolation System". W ASME 2000 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2000. http://dx.doi.org/10.1115/detc2000/mech-14078.
Pełny tekst źródłaStreszczenie:
Abstract The multilayer vibration isolation system has been widely applied to isolate vibration in dynamic devices of ships, high-speed vehicles forging hammer and precise instruments. The paper is based on the coordinate transformation of space general motion for mass blocks (rigid bodies) and Lagrangian equation of multilayer vibration isolation system. It gives a strict mathematical derivation on the differential equation of the motion for the system with six degrees of freedom of relative motion between mass blocks (including base). The equations are different from the same kind of equations in the reference literatures. It can be used in the floating raft of ships in order to isolates vibration and decrease noise, also used in design calculation of the multilayer vibration isolation for dynamic machines and precise instruments on the dry land.
3
Sambasivan, R. "Polychromatic Holographic Correlation Techniques for Enhancing Resolution in Remote Sensing Applications". W Laser and Optical Remote Sensing: Instrumentation and Techniques. Washington, D.C.: Optica Publishing Group, 1987. http://dx.doi.org/10.1364/lors.1987.tuc24.
Pełny tekst źródłaStreszczenie:
In optical remote sensing by photo-reconnaissance satellites or in ground-observation by orbiting space telescopes, the diffraction-limited theoretical resolution possible, is degraded by accidental & vibratory motion of the imaging camera, defocussing, atmospheric turbulence effects on satellite-pictures transmitted, etc. For instance, an orbiting space telescope (height, h ′ = 275 km above earth) with an effective focal length, f = 57.6m and equipped with a CCD camera with pixel, d = 15 microns, has a theoretical resolution: R = ( h ′ d / f ) → = 7.16 cm ( ! ) on ground; however, in practice due to image-degradation, the feasible resolution is of 10-15m only(which can be improved with rigid satellite attitude-control, to 1-2m).
4
Nam, Jong-Ho, Inha Park, Ho-Jin Lee, Young Gyo Seo i Kyungsik Choi. "An Algorithm to Estimate the Thickness of Broken Arctic Ice Using an Image". W SNAME 10th International Conference and Exhibition on Performance of Ships and Structures in Ice. SNAME, 2012. http://dx.doi.org/10.5957/icetech-2012-110.
Pełny tekst źródłaStreszczenie:
The thickness of ice is the major factor affecting the rapid and safe cruise of icebreaking vessels. Unfortunately, measuring the ice thickness has been known to be a difficult task. An approach to measure the ice thickness by analyzing the video clips of ice breaking is introduced. From a series of still shots, the broken section of the ice is identified using image processing techniques such as conversion of color space, edge detection, boundary motion, and various digital smoothing filters. The algorithm developed is verified by comparing the results with measured data.
5
Thanyamanta, Worakanok, i David Molyneux. "Prediction of Stabilizing Moments and Effects of U-Tube Anti-Roll Tank Geometry Using CFD". W ASME 2012 31st International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/omae2012-83104.
Pełny tekst źródłaStreszczenie:
U-tube type stabilizers have been used in ships and offshore vessels to reduce roll motion. The motion of the fluid in the tank creates moments that counteracts the roll moment of the ship. With space and weight constraints, a well designed U-tube tank is crucial for providing effective stabilization. Geometric parameters play important roles in defining the stabilizing performance of such tanks. The effects of these parameters are sometimes interrelated. Computational Fluid Dynamics (CFD) is a useful tool that can be used to predict stabilizing moments and phase lags of U-tube tanks in a short period of time. In order to use the CFD code reliably, validation is required. In this paper, a CFD code’s ability to predict stabilizing moments created by fluid in various U-tube tank geometries was validated. The effects of tank parameters on the stabilizing moments were investigated and compared with published experiment data. The results were found to be in good agreement with the model test data. The code can be used to give a preliminary evaluation of tank performance for design purposes.
6
Eto, Hiroaki, Osamu Saijo i Koichi Maruyoshi. "A Study on Wave Response and Evaluation of Habitability of Floating Restaurant". W ASME 2008 27th International Conference on Offshore Mechanics and Arctic Engineering. ASMEDC, 2008. http://dx.doi.org/10.1115/omae2008-57364.
Pełny tekst źródłaStreszczenie:
Since Japan is limited in area, the effective ocean space development is very important and urgent subject. Concerning a research and development of effective ocean space utilization, the MEGA-FLOAT was one of the most famous projects in Japan that had the purpose of a floating airport construction, and the numerous R & D were conducted aiming at actual construction and those results were reported in respect of conceptual design, construction method, fluid analysis, structural dynamic analysis, environment issue etc. However, the end was faced without achieving it, it can be said that the effect is large. After the end of that project, the realistic, small or medium size structure began to be paid to attention. As the good example of such a kind floating structure, floating pier and disaster prevention base having an advantage against an earthquake, floating restaurant etc. were constructed shown in Figure 1. In this paper, assuming the small size floating restaurant, the wave response analysis was studied, and the habitability of that structure was evaluated from the response calculation results. Concretely, the floating base part; barge type of the restaurant building was designed by the Class NK (Rules and Guidance for the survey and construction of steel ships, Part Q Steel barges). The calculation model consists of a three-story building and the base, that floating artificial base supporting the building was assumed by the elastic plate structural system, and also that building was of the frame structure system. In order to structural analysis, the restaurant model of two different structural systems was united into one body system. In this paper, it is called the hybrid structural system. Fluid effect was analyzed as the fluid-structural interaction problem. Concretely, the Boundary Integral Equation Method (BIEM) was used here, and the wave response calculation was demonstrated by that forces. The evaluation of habitability of the restaurant in vertical and horizontal motion was examined by the diagram proposed from our research results.
7
Aubault, Alexia, Wendy Sitler-Roddier, Dominique Roddier, Patri Friedman i Wayne Gramlich. "Feasibility and Design of the ClubStead: A Cable-Stayed Floating Structure for Offshore Dwellings". W ASME 2010 29th International Conference on Ocean, Offshore and Arctic Engineering. ASMEDC, 2010. http://dx.doi.org/10.1115/omae2010-20268.
Pełny tekst źródłaStreszczenie:
The ClubStead is a novel type of offshore floating platform, which provides comfortable and safe ocean-going dwellings for communities of a few hundred people. The prospect of large, unclaimed ocean spaces has encouraged people to consider developing sea-going settlements. A number of attempts have been made on former oil platforms or cruise ships. But these structures are not designed for permanent living at sea and fall short of meeting dwellers’ expectations. Efforts to build large, spacious floating living facilities have struggled to balance cost-effectiveness and structural integrity. This paper describes an innovative, cost-efficient solution to maximize space on offshore structures. To control the cost, the submerged volume of the floater is minimized. To maximize comfort, the available living surface area is also maximized, while the motions of the platform are limited. The proposed solution is based on the principles of tensegrity, which are commonly used on bridges. Cable stays are tensioned at the top of towers to support the weight of both light and cantilevered top-sides. The floater is column-stabilized with four submerged columns. A feasibility study was performed for the design of a Clubstead based off the coast of California. The platform is dynamically positioned and can house up to 270 people. Due to its primary function, as a floating living facility, the architectural design and the engineering studies are intertwined. Iterations are necessary to determine the global characteristics of the ClubStead. The buildings and living spaces are arranged by an architect, within specific offshore-related constraints. The resulting payload is calculated and thus used in the design basis to perform the engineering analysis. The feasibility study focuses on survivability and passenger comfort to assess the novel design. The survivability analysis is based on structural strength and motion predictions in a 100-year storm. Passenger comfort is evaluated in operational conditions.