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Artykuły w czasopismach na temat "Spawn (Motion picture)"
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Villoria, Manuel. "Bureaucracy on the Silver Screen: Images of the Public Sector in the Spanish Movies". Public Voices 4, nr 2 (19.01.2017): 51. http://dx.doi.org/10.22140/pv.316.
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The purpose of this paper is to provide a general overview of images of public servants in Spain over a period of time (1932-1997). In order to achieve that goal, the author examines bureaucratic images in motion pictures from Spain beginning in the 1930s and finishing with the latest Spanish films shown in 1997.
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Micu, Elena Alexandra, Eugene John Obrien, Abdollah Malekjafarian i Michael Quilligan. "Estimation of Extreme Load Effects on Long-Span Bridges Using Traffic Image Data". Baltic Journal of Road and Bridge Engineering 13, nr 4 (21.12.2018): 429–46. http://dx.doi.org/10.7250/bjrbe.2018-13.427.
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This paper proposes an algorithm for the estimation of extreme intensity of traffic load on long-span bridges. Most Weigh-in-Motion technologies do not operate in congested conditions which are the governing cases for these bridges. In the absence of Weigh-in-Motion data on the bridge itself, a correlation between vehicle weights and their lengths is established here using a (free- flowing) Weigh-in-Motion database. Photographic images of congested traffic are modelled here for three bridges using weights estimated from lengths and one year of Weigh-in-Motion data. The actual weights are taken from the Weigh-in- Motion data, and the results are compared to test the method. The gaps between vehicles are firstly set to a constant value and later to Beta-distributed values according to vehicle type. The intensity of traffic load for all pictures is calculated and compared to the loads obtained from the recorded weights. A return period of 75-year is chosen to evaluate the extreme values of intensity. The probability that intensity of load is being exceeded is obtained using normal probability paper for both recorded and simulated weights. This study demonstrates the feasibility of the proposed concept of using lengths to estimate the extreme traffic load events with acceptable accuracy.
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Adji, Alberta Natasia. "REVEALING THE RE-TRANSFORMATION OF 9 SUMMERS 10 AUTUMNS". Paradigma, Jurnal Kajian Budaya 8, nr 1 (31.07.2018): 99. http://dx.doi.org/10.17510/paradigma.v8i1.185.
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<p><span style="font-size: medium;"><em>9 Summers 10 Autumns</em> (2011) is an inspirational autobiographical novel about a young man from a small city of Batu who later succeeded in pursuing his dream by working in the United States. The novel was written according to Iwan Setyawan’s life story and it has been made into a movie by the same name in 2013. Two years later, the movie was adapted into an augmented motion picture hinted illustrative book which is said to be the first kind to appear in Indonesia that combines novel, comic, app and film together. Somehow this phenomenon has also contributed to the rising trend of films adapted into books in Indonesia, such as <em>Assalamualaikum Beijing</em> (2015), <em>What’s Up with Love?</em> (2016), and others. This study caters for Iwan Setyawan’s strategy in achieving legitimacy in the arena of Indonesian Literature and his American Dream Ideals that are depicted within the book. The discussion is carried out within the perspectives of Pierre Bourdieu’s field of cultural production theory as well as sociology of literature approach in highlighting the phenomenon of transformation from novel into film and eventually into augmented motion picture hinted illustrative book. Later, the study discovers that it has changed the image of Indonesian art and literary world in which such prestigious legitimacy can now be achieved through commercial strategies, making it seem dynamic but at the same time questionable in its most authentic sense. </span></p>
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Ilieva, Zhivka. "FREE ONLINE VIDEO MATERIALS IN TEACHING ENGLISH TO YOUNG AND VERY YOUNG LEARNERS". Education and Technologies Journal 13, nr 1 (1.08.2022): 124–29. http://dx.doi.org/10.26883/2010.221.4154.
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Teaching English to young and very young learners is a challenge: they remember fast, but they also orget fast, they have short attention span, they need action and emotion. Therefore materials for them have to be attractive and colourful. Video materials unite sound and picture, motion and emotion, they activate a few types of memory and of intelligence and contribute to their development, they also develop multiple literacies and the 21st century skills. The article suggests a number of selected materials that can be used in teaching English to young and very young learners that contribute to the holistic development of the child (memory, intelligence, literacies and skills). The criteria for selecting materials are presented and ideas for using them in the foreign language classroom. Online video materials can successfully be used both in the classroom and in distance or online teaching.
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Massa, Marco, Davide Scafidi, Claudia Mascandola i Alessio Lorenzetti. "Introducing ISMDq—A Web Portal for Real-Time Quality Monitoring of Italian Strong-Motion Data". Seismological Research Letters 93, nr 1 (10.11.2021): 241–56. http://dx.doi.org/10.1785/0220210178.
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Abstract We present the Istituto Nazionale di Geofisica e Vulcanologia Strong-Motion Data-quality (ISMDq)—a new automatic system designed to check both continuous data stream and event strong-motion waveforms before online publication. The main purpose of ISMDq is to ensure accurate ground-motion data and derived products to be rapidly shared with monitoring authorities and the scientific community. ISMDq provides data-quality reports within minutes of the occurrence of Italian earthquakes with magnitude ≥3.0 and includes a detailed daily picture describing the performance of the target strong-motion networks. In this article, we describe and discuss the automatic procedures used by ISMDq to perform its data-quality check. Before an earthquake, ISMDq evaluates the selected waveforms through the estimation of quality indexes employed to reject bad data and/or to group approved data into classes of quality that are useful to quantify the level of reliability. The quality indexes are estimated based on comparisons with the background ambient noise level performed both in the time and frequency domains. As a consequence, new high- and low-noise reference levels are derived for the overall Italian strong-motion network, for each station, and for groups of stations in the same soil categories of the Eurocode 8 (Eurocode 8 [EC8], 2003). In absence of earthquakes, 24 hr streaming of ambient noise recordings are analyzed at each station to set an empirical threshold on selected data metrics and data availability, with the goal to build a station quality archive, which is daily updated in a time span of six months. The ISMDq is accessible online (see Data and Resources) from August 2020, providing rapid open access to ∼10,000 high-quality checked automatically processed strong-motion waveforms and metadata, relative to more than 160 Italian earthquakes with magnitude in the 3.0–5.2 range. Comparisons between selected strong-motion data automatically processed and then manually revised corroborate the reliability of the proposed procedures.
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Frey, Sándor, Zsolt Paragi, Judit O. Fogasy i Leonid I. Gurvits. "The first estimate of radio jet proper motion at z > 5". Monthly Notices of the Royal Astronomical Society 446, nr 3 (29.11.2014): 2921–28. http://dx.doi.org/10.1093/mnras/stu2294.
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Abstract The extremely high-redshift (z = 5.3) radio source SDSS J102623.61+254259.5 (J1026+2542) is among the most distant and most luminous radio-loud active galactic nuclei (AGN) known to date. Its one-sided radio jet structure on milliarcsecond (mas) and ∼10-mas scales typical for blazars was first imaged at 5 GHz with very long baseline interferometry (VLBI) in 2006. Here we report on our dual-frequency (1.7 and 5 GHz) imaging observations performed with the European VLBI Network (EVN) in 2013. The prominent jet structure allows us to identify individual components whose apparent displacement can be detected over the time span of 7.33 yr. This is the first time when jet proper motions are directly derived in a blazar at z > 5. The small values of up to ∼0.1 mas yr−1 are consistent with what is expected in a relativistic cosmological model if redshift is a measure of distance. The apparent superluminal jet speeds, considered tentative because derived from two epochs only, exceed 10 c for three different components along the jet. Based on modelling its spectral energy distribution, J1026+2542 is known to have its X-ray jet oriented close to the line of sight, with significant Doppler boosting and a large bulk Lorentz factor (Γ ≈ 13). The new VLBI observations, indicating ∼2.3 × 1012 K lower limit to the core brightness temperature, are consistent with this picture. The spectral index in the core region is −0.35.
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Galak, Eduardo. "Argentina y España: representaciones de la juventud y la cultura física argentinas en imágenes del NO-DO español". Historia y Memoria de la Educación, nr 13 (14.12.2020): 579. http://dx.doi.org/10.5944/hme.13.2021.27839.
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The aim of this article is to analyze the uses of documentary informative cinema as a cultural artifact which was employed as a pedagogical device. To do so, we studied motion pictures filmed in Argentina and shown in Spain in the second quarter of the 20th century, in an attempt to understand how a symmetrical aesthetic is shaped to narrate the bodily practices of youth. Informative documentary cinema, especially newsreels, constituted a resource for mass communications. A familiarity can be observed between the Argentinean images analyzed between 1938-1955 in Sucesos Argentinos, with others made in the second quarter of the 20th century in Spain, through No-Do. In addition to economic, political and cultural influences, Argentina imported into Spain ways of narrating state-organized physical culture. Sheltered in a nationalist rhetoric characteristic of the interwar period and the Second World War, it can be affirmed that there was a transnational aesthetic of how to narrate correct corporal and cultural comportment. Through images that were projected in theaters in these countries, newsreel broadcasts simultaneously and homogeneously transmitted the same discourse –everything, to everyone, at the same time–, resulting in a true transnational pedagogy. In short, a pedagogy outside the school walls is studied through informative documentary film images from the second quarter of the 20th century that aimed to form bodies and sensibilities.
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Kulikova, Darya. "Cinema as a “Soft Power” Instrument of the State: Examples of Spanish and U.S. Cinematography". Ideas and Ideals 15, nr 2-2 (28.06.2023): 459–75. http://dx.doi.org/10.17212/2075-0862-2023-15.2.2-459-475.
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The article considers cinema as an instrument of soft power of states, using the example of cinema in Spain and the USA. Different approaches are shown. On the one hand, the United States, which uses universal concepts, on the other hand, Spain, which uses stereotypical ideas and recognizable images about its country. In American films, most often, universal topics are used that are understandable to all people: the struggle between good and evil (moreover, evil is universal, threatening the whole world, and good is the United States), love, happiness, compassion. Even if purely national issues are raised in American films (for example, African-American racism), these problems are presented as universal, as a problem of human dignity, honor, etc. In Spanish cinema, well-established stereotypes about Spain and its culture are actively used: bullfighting, flamenco, Andalusian folklore, traditional cuisine and clothing (for example, the matador costume), as well as typical, recognizable images of the Spanish man and woman (Spanish macho - Antonio Banderas and swarthy, passionate, beautiful Carmen - Penelope Cruz). All this forms the concept of ‘españolada’. The United States does not officially support its film production, but coordinates and consults with the film productions and directors through unofficial resources, primarily the Motion Picture Association of America, whose leadership includes many former White House officials. Spain, on the contrary, actively supports its filmmakers, helps to promote Spanish films in the international arena, develops joint film production, stimulates the shooting of films at the state level, including foreign ones, using Spanish locations, etc. Thus, one can see two different approaches to cinema as an instrument of soft power, and although American cinema certainly dominates the world market, the obvious success of Spanish cinema, which is becoming increasingly popular, should be noted.
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Jee, Ah-Young, Tsvi Tlusty i Steve Granick. "Master curve of boosted diffusion for 10 catalytic enzymes". Proceedings of the National Academy of Sciences 117, nr 47 (9.11.2020): 29435–41. http://dx.doi.org/10.1073/pnas.2019810117.
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Molecular agitation more rapid than thermal Brownian motion is reported for cellular environments, motor proteins, synthetic molecular motors, enzymes, and common chemical reactions, yet that chemical activity coupled to molecular motion contrasts with generations of accumulated knowledge about diffusion at equilibrium. To test the limits of this idea, a critical testbed is the mobility of catalytically active enzymes. Sentiment is divided about the reality of enhanced enzyme diffusion, with evidence for and against. Here a master curve shows that the enzyme diffusion coefficient increases in proportion to the energy release rate—the product of Michaelis-Menten reaction rate and Gibbs free energy change (ΔG)—with a highly satisfactory correlation coefficient of 0.97. For 10 catalytic enzymes (urease, acetylcholinesterase, seven enzymes from the glucose cascade cycle, and one other), our measurements span from a roughly 40% enhanced diffusion coefficient at a high turnover rate and negativeΔGto no enhancement at a slow turnover rate and positiveΔG. Moreover, two independent measures of mobility show consistency, provided that one avoids undesirable fluorescence photophysics. The master curve presented here quantifies the limits of both ideas, that enzymes display enhanced diffusion and that they do not within instrumental resolution, and has possible implications for understanding enzyme mobility in cellular environments. The striking linear dependence of ΔGfor the exergonic enzymes (ΔG<0), together with the vanishing effect for endergonic enzyme (ΔG>0), are consistent with a physical picture in which the mechanism boosting the diffusion is an active one, utilizing the available work from the chemical reaction.
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Yaroslavsky, D. A. "Analytical models of movement of wires of air high-voltage power transmission lines". Power engineering: research, equipment, technology 24, nr 4 (17.08.2022): 154–64. http://dx.doi.org/10.30724/1998-9903-2022-24-4-154-164.
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The article PURPOSE with the problem of monitoring the state of high-voltage overhead power lines in order to ensure uninterrupted and reliable supply of consumers with electricity. METHODS. As parameters of the state, the sag, the tensile force and the mass per unit length of the wire hanging in the span are defined. IT IS STRESSED that a complete picture of the state of an overhead line can be established by determining the spectral composition of the wire vibrations using mounted automated multi-parameter sensors with accelerometers as sensors. It is shown that the currently used dynamic models for describing the motion of a wire as a pendulum and as a tightly stretched string are not complete enough to represent the vibrations of the wire in all three spatial coordinates, do not cover vibrations with odd harmonics and symmetrical vibrations. A system of equations has been OBTAINED that makes it possible to describe the spatial oscillations of the wire along all three axes, taking into account the difference in heights of the wire suspension points. IT IS SHOWN that the analysis of the higher harmonics of the spectrum of vibrations of the wire makes it possible to determine all the main mechanical parameters of the wires of overhead power lines.
Rozprawy doktorskie na temat "Spawn (Motion picture)"
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Van, Liew Maria. "Democratic women : gender, national discourse and the cinema of post-Franco Spain /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9820983.
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Kritzinger, Christiaan Cornelius. "The interrelationships between meaning(s), form, cinematic technology and surrealist ideology in Luis Buñuel's, Un Chien Andalou (1929)". Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1007847.
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This study sets out to determine the interrelationship between meaning(s), form (specifically framing and composition), cinematic technology and the surrealist ideology with specific reference to Luis Buñuel’s film, Un Chien Andalou (1929). The study utilises a semiotic framework to analyse the seminal film, as well as the researcher’s short film Facebrick (2012). The semiotic reading is conducted according to key surrealist tenets namely, spatio-‐temporal disruption, the use of free-‐association and the inclusion of cultural, religious and sexual symbols as a revolutionary tool. Gillian Rose’s (2007) semiotic framework underpinned by James Monaco’s (1977) schema for analysing the moving image, was utilised to read the selected film texts. A comparative analysis reveals that although the researcher employed different cinematic technology to construct the short film than that available to Buñuel in the 1920s; similar cinematic techniques could be recreated, as the analysis shows, through the use of key surrealist characteristics. Not only did this allow mere reproduction of these techniques, but rather a full appropriation of these techniques within a contemporary context. Thus the techniques, communicate the surreal, both aesthetically and intellectually. The theoretical study provides the foundation for the practical output, creating a conceptual framework that guides the creation of a short film. The practical research component relies on the parameters identified in the semiotic reading. This was facilitated by the characteristics of Surrealism: the disruption of time and space, the inclusion of archetypal symbols and the use of free association. The short film, Facebrick (2012), follows a voyeur obsessed with gazing at three characters. The film explores the human condition in an urban environment drawing from themes such as Jean-‐Paul Sartre’s gaze theory as well as Freudian themes of identity and sexuality.
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Archibald, David. "The Spanish Civil War in cinema". Thesis, University of Glasgow, 2004. http://theses.gla.ac.uk/1089/.
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In this thesis I present a case study of the Spanish civil war in cinema. I examine how this period has been represented in cinema through time, in different countries and in various cinematic forms. I reject the postmodern prognosis that the past is a chaotic mass, made sense of through the subjective narrativisation choices of historians working in the present. On the contrary, I argue that there are referential limits on what histories can be legitimately written about the past. I argue that there are different, often contradictory, representations of the Spanish civil war in cinema which indicates a diversity of uses for the past. But there are also referential limits on what can be legitimately represented cinematically. I argue that the civil war setting will continue to be one which filmmakers turn to as the battle for the future of Spain is partially played out in the cinematically recreated battles of the pas
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Cavielles-Llamas, Ivan. "De otros a nosotros el cine Español sobre inmigración y su camino hacia una visión pluricultural de España (1990-2007) /". Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/theses/246/.
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Reyes, Clara Irene. "Aesthetics: beauty and the sublime in the representation of violence an analysis of contemporary film and novel in Spain and Latin America /". Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1091660144.
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Kennedy, Tara L. "La ley de memoria histórica en el cine y la novela españoles". Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404541/.
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This thesis investigates the Spanish identity crisis through structural, political and representational intersectionality by means of the Law of Historic Memory, also known as LEY 52/2007 del 26 de diciembre. This work, written in Spanish, explores relational aspects of various contemporary themes within four post-Franco novels and four Spanish films: Réquiem por un campesino español by Ramón J. Sender and its corresponding film directed by Francesc Betriu; Soldados de Salamina by Javier Cercas and its corresponding film directed by David Trueba; La voz dormida by Dulce Chacón and its corresponding film directed by Benito Zambrano; and Los girasoles ciegos by Alberto Méndez and its corresponding film directed by José Luis Cuerda. Linked by a variety of human elements that affect the individual as much as the collective, the works explore sacrifice, betrayal, indifference and injustice. Each novel and movie pair offers a glimpse of individual memory that, at the same time, belongs to collective memory. Delving into the effects of LEY, this thesis considers the role of the Catholic Church, the general atrocities of war, the role of women in the Spanish Civil War, and the fractured family unit. Lastly, this thesis delineates how these effects apply to the healing of individual and collective memories so as to recover what it means to be Spanish.
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Saeger, J'Leen Manning. "The recuperation of historic memory recognizing suppressed female voices from the Spanish Civil War and Francoist repression /". Diss., [Riverside, Calif.] : University of California, Riverside, 2009. http://proquest.umi.com/pqdweb?index=1&did=1957395191&SrchMode=2&sid=12&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1270050392&clientId=48051.
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Thesis (Ph. D.)--University of California, Riverside, 2009.Includes abstract. Title from first page of PDF file (viewed March 31, 2010). Available via ProQuest Digital Dissertations. Includes bibliographical references (p. 267-283). Also issued in print.
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Romero-González, Tanya. "El enigma de Medem: Espacio, género y desdoblamiento en Vacas". Miami University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=miami1259193836.
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Ardanaz, Yunta Natalia. "El cine del destape: un análisis histórico desde la perspectiva de género". Doctoral thesis, Universitat de Barcelona, 2018. http://hdl.handle.net/10803/666221.
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La presente investigación tiene como objeto de estudio el cine del destape, un cine que se define por la irrupción en la pantalla de cuerpos desnudos, mayoritariamente femeninos; un fenómeno que adquirió gran trascendencia social y política en España y que no tiene parangón en cinematografías de otros países.
Para analizar el cine del destape desde una perspectiva histórica, hemos establecido el inicio de la investigación en las comedias sexy celtibéricas del tardofranquismo. Se trata de comedias de gran popularidad en las que encontramos las raíces de esa necesidad de liberación sexual que, una vez acabada la censura, se mostrará para dar forma al fenómeno del destape. Si consideramos que ahí se encuentra su origen, su final lo establecemos con la aprobación en 1984 de la exhibición del cine X, un factor que indica la normalización de la vida de los españoles respecto al sexo y que coincide con la consolidación democrática.
Durante los aproximadamente veinte años que abarca la presente investigación, veremos como a través del cine más consumido se fueron destapando discursos en torno al cuerpo femenino, muy vinculados al peso de la moral franquista y al orden de género establecido. De ahí que hayamos centrado, principalmente, nuestra investigación en analizar la construcción discursiva de los arquetipos masculinos y femeninos, poniendo el foco en observar las continuidades y fisuras del orden de género, utilizando como pretexto el destape femenino. Hemos analizado este cine como una fuente a través de la que hacer una relectura de un período histórico muy analizado pero sobre el que se pueden verter nuevas y complejas lecturas. De esta forma, hemos diferenciado las películas con desnudo de las películas que destapan comportamientos, emociones y deseos frustrados, sobre todo en el terreno sexual.
El cine popular de esos años tuvo una enorme capacidad de entretener y emocionar a millones de españoles y así fue utilizado como medio de trasmisión del discurso oficial franquista, tanto para perpetuar al régimen y su ideología como para adaptarse a los nuevos tiempos. Este cine de ficción con apariencia superflua e inofensiva representa los mecanismos de poder y sus vertebraciones en el campo de los comportamientos sociales. Pero, a su vez —y ese ha sido uno de los objetivos de esta investigación—, presenta desvíos en la forma de actuar de sus arquetipos que avanzan el cambio que se está produciendo, lo que hace de este cine agente y testigo de un relevante momento histórico.The present investigation centers on the cinema known as “the uncovering” (“el destape”), which is defined by the eruption of naked bodies, mainly female, on cinema screens; a phenomenon that acquired great social and political significance in Spain and which is unparalleled in the cinema history of other countries. To analyse the cinema of “the uncovering” from a historical perspective, we have established the beginning of our investigation in the “celtiberic sexy comedies” that appeared in the last stages of Franco's dictatorship (tardofranquismo). A collection of very popular comedies which started to appear once the regime´s censorship was over, and where we find the roots of the need for sexual liberation, something that started to shape the phenomenon of “the uncovering”. Therefore if we consider that as its origin, we also need to consider the legalisation of porno films in 1984 as the end of the process, a factor that indicates the normalisation of sex in the lives of the Spanish people precisely when the democratic consolidation took place. During the approximately twenty years that covers our present investigation, we will see how the most consumed films were unveiling discourses around the female body which were closely linked to the weight of Francoist morality and the established gender order. Hence, we have mainly focused our research on analysing the discursive construction of male and female archetypes, homing in on the continuities and fissures of the gender order, using the revelation of the female form as a pretext. We have studied this cinema as a new source for a rereading of an arguably over-analysed historical period, but one where new and complex readings can certainly be made. In this way, we have differentiated films with nudity from films that uncover frustrated behaviours, emotions and desires, especially in the area of sexuality. The popular cinema of those years had an enormous capacity to entertain and thrill millions of Spanish people and thus was used as a means of transmitting the official Franco discourse, both to perpetuate the regime and its ideology, and to adapt to the new times. This fictional cinema, with its superfluous and harmless appearance, represents a mechanism of power and its presence as a backbone in the field of social behaviour. But, in turn, it shows deviations in the way these archetypes act, and how these archetypes foretold the changes taking place and that has been one of the objectives of this investigation, something that indeed makes this cinema both agent and witness to a crucial historical moment.
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Medrano, Coll Francisco Javier. "El cine argumental español durante la dictadura de Primo de Rivera: 1923-1930". Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/398714.
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La época de la dictadura del general Primo de Rivera no ha sido aún suficientemente estudiada especialmente en el terreno cinematográfico. Sólo en estos últimos años se ha detectado un mayor interés por analizar más a fondo su naturaleza y características. Uno de los objetivos del trabajo es comprobar si el cine del momento es o no un reflejo de la sociedad española y por otra parte, si ese mismo cine tiene la capacidad de modelar esa sociedad. Por otro lado, también se intentará comprobar si se usaba como herramienta para transmitir contenidos ideológicos.
Para conseguir esos objetivos, se acomete el análisis de veintitrés películas. El sistema empleado supone diversas fases. Primero una ficha técnico artística completa de la película. A continuación una síntesis argumental. En tercer lugar una breve reseña biográfica del autor del filme. Más adelante se procede a analizar la película en el contexto del momento en que fue realizada. Por último una valoración crítica de la película sobre todo en relación a los aspectos que se han tratado en el presente trabajo. Las películas suponen una buena muestra de la filmografía de la época.
Para saber si el cine es capaz de modelar la sociedad conviene tener claro si se realiza mucho o poco cine español, dónde se hace, si va mucha gente a ver esas películas y si tratan de temas susceptibles de influir en los espectadores. Si hay poco cine, va poca gente, y los temas son superficiales, es lógico pensar que su influjo será nulo. En España se hicieron en esos años alrededor de 240 películas.
Sin embargo hay dos datos cruzados que pueden influir en las respuestas. Por una parte, que de las películas hechas en España se solían hacer pocas copias, y por otro lado, que siendo el cine de esa época un espectáculo de masas, el interés de los espectadores iba especialmente al cine de Hollywood. De ahí que la capacidad del cine español de modelar la sociedad es escasa, por más que en sus películas se lo proponga. En cuanto a si reflejan la sociedad del momento, algo más de la mitad de los filmes estudiados reflejan aspectos de esa sociedad, por lo que se pueden convertir en herramienta en manos del historiador.
Todo lo anterior se refiere a si eran o no un reflejo de la sociedad. Cuando nos preguntamos si pueden llegar a modelarla, la respuesta será diferente. Para poder modelar la sociedad hacen falta dos factores a la vez: que la película lo pretenda y que ese film tenga éxito y por tanto mucha gente lo vea y además quede impactada por lo que ha visto. Encontramos cinco películas que aúnan las dos condiciones. Las otras películas estudiadas, o no tuvieron buena recepción por parte del público, o no tenían posibilidad de modelar la sociedad por los temas que trataban o el modo como los trataban. Incluso algunos filmes no cumplían ninguna de las dos condiciones.
El otro objetivo que se pretende es ver el poder del cine como herramienta ideológica a favor o en contra del gobierno de la Dictadura. Casi la mitad de las películas estudiadas transmiten algunas ideas que podrían entrar dentro del campo ideológico. Hay un grupo de películas que comparte los ideales de la Dictadura. Otro grupo que en una gran parte también los comparte. Por último encontramos dos películas que se posicionan en contra.
Finalmente, se aporta en forma de apéndices un conjunto de fichas técnico-artísticas, puestas por orden cronológico de año de producción, de las películas realizadas durante los años de la dictadura de Primo de Rivera.The dictatorship of general Primo de Rivera has yet to be studied in detail. Recently, there is an increased interest in a deeper analysis of his nature and character. The aims of this research are to verify whether or not the cinema of that time was a reflection of Spanish society and whether it had the capacity to influence that society. Also, it will attempt to establish whether it was used as a tool to transmit ideological content. To ascertain whether cinema is capable of influencing society, it is useful to have an idea of the number of this films produced, where they were produced, whether screenings were well attended, and whether the content of the films was the type of material likely to influence audiences. In Spain, around 240 films were made. However, there are two things to bear in mind which can influence our findings: that of the films made in Spain, usually few copies were made, and in addition, the cinema of this era being a mass-medium, the interest of the audiences was primarily in the films of Hollywood. Consequently the capacity of Spanish cinema to influence society is limited. As regards whether the society of that time was reflected, this is the case for more than half of the films studied. When we ask whether they can go as far as to influence society, the answer will be different. To achieve this, it is necessary to meet three conditions: that the film attempts to have influence, that the film is a success –and, accordingly, many people see it- and that the film has an impact on audiences. We find only a few films which meet these conditions. The last objective is to examine the power of cinema as an ideological instrument in favour of or against the Dictatorship. Almost half of the films studied transmit some ideas which could be considered ideological. There is a significant body of material which shares some or all of the ideals of the Dictatorship. We only find two films which position themselves against it. Finally, the credits of all the films produced during the Primo de Rivera dictatorship are provided as an appendix.
Książki na temat "Spawn (Motion picture)"
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translator, Hashimoto Megumi, Ishikawa Junko 1951 translator i Suzuki Yoshiyuki 1959 translator, red. Spawn: Movie file : dengeki American comics special. Tōkyō: Kabushiki Kaisha Media Wākusu, 1998.
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George, Turner. Spawn of Skull Island. Baltimore, Md: Luminary Press, 2002.
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McFarlane, Todd. Spawn. Anaheim(California): Image comics, 1995.
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Greg, Capullo, red. Spawn. Fullerton: Image Comics, 1997.
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1957-, Miller Frank, red. Spawn. Berkeley, CA: Image Comics, 2005.
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McFarlane, Todd. Spawn: Damnation. London: Titan Books, 1999.
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McFarlane, Todd. Spawn: Termination. London: Titan in association with Image Comics, 2000.
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McFarlane, Todd. Spawn: Death & Rabirth. Fullerton: Image Comics, 1998.
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McFarlane, Todd. Spawn: Deadman's Touch. Fullerton: Image Comics, 1998.
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Alberto, Mira, red. The cinema of Spain and Portugal. London: Wallflower, 2005.
Znajdź pełny tekst źródłaStreszczenia konferencji na temat "Spawn (Motion picture)"
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Mikinac, Krešimir, Marina Laškarin Ažić i Dora Rašan. "Enogastronomic Experience: A State-of-the-Art-Review". W Eighth International Scientific-Business Conference LIMEN Leadership, Innovation, Management and Economics: Integrated Politics of Research. Association of Economists and Managers of the Balkans, Belgrade, Serbia, 2022. http://dx.doi.org/10.31410/limen.s.p.2022.103.
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The specificity of food and wine in a particular region can serve as a motive that connects consumers to a particular geographic area. Therefore, the enogastronomic experience is a perfect postulate combining gastronomy and enology for consumers. This research aimed to conduct an in-depth analysis of previous research and obtain a comprehensive picture of the enogastronomic experience of consumers. The result of the empirical research shows that most studies on the enogastronomic experience were published in 2020 (25.53%) and in Spain (17.02%), while the cluster analysis showed that “food” and “satisfaction” are the most frequently used keywords. It is also worth highlighting that almost half of the research in the field of restaurateurs is from the perspective of consumers (40.42%). The results of this research can help both researchers and practitioners engaged in the field of enogastronomy to better cope with the challenges of competition in the market.
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Kannan, K., M. Khoshlessan, M. Herrmann i Y. Peet. "Detailed Numerical Study of Flow and Vortex Dynamics in Staggered Pin-Fin Arrays Within a Channel". W ASME Turbo Expo 2016: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/gt2016-57968.
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Pin-fin arrays are known to enhance heat transfer from heated surfaces and provide important industrial applications such as increasing internal heat transfer to a turbine blade or solar receiver. Several studies on heat transfer characteristics of various pin-fin arrangements and effects of geometrical parameters on heat transfer have been performed in the past. The present paper aims to address main aspects of fluid flow and heat transfer interactions through a pin-fin array with the help of high-fidelity numerical simulations and focuses on three issues. The first one is to evaluate the effect of three dimensional flow physics such as horseshoe vortices and periodic unsteadiness from vortex shedding on the spatial variation of heat transfer. The second target is to analyze the effect of free end clearance in the case of finite height pin-fin arrays with added flow complexity relative to wall-bounded pin-fin arrays, to provide a comprehensive picture of the flow physics introduced by free ends. The third one is to provide a general guideline for the numerical simulation of flows through pin-fin arrays by comparing simulations on reduced span-wise domains with the full multi-row pin configuration, to elucidate the significance of wall effects. In addition, comparison of the flow characteristics in different stream-wise row locations, is performed to establish the domain length where self-similarity might occur with inflow/outflow conditions. All simulations are conducted for low Mach number incompressible flow with temperature as a passive scalar. The current formulation assumes that variations in temperature have no effect on the fluid motion by choosing appropriate thermal boundary conditions that are still within the realistic parameter range for turbine cooling. In this paper, we perform flow simulations using the Large Eddy Simulation methodology. Two numerical codes, one based on a Finite Volume method and the other based on a Spectral Element approach, are benchmarked with each other and validated versus experiments available in the literature (Ostanek and Thole, 2012).
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Molada Tebar, Adolfo, José Luis Lerma i Ángel Marqués-Mateu. "SOFTWARE DEVELOPMENT FOR COLOURIMETRIC AND SPECTRAL DATA PROCESSING: PYCOLOURIMETRY". W 1st Congress in Geomatics Engineering. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cigeo2017.2017.6568.
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Archaeological documentation is a complex process where the technical measurement and specification of colour is a key aspect. In the last years heritage documentation processes have largely benefited from the application of digital recording methods, imagery analysis software and technologies that offers great advantages over the traditional methods. The rigorous processing of colourimetric data requires software packages with specific colourimetric technical characteristics. In this paper we report on our in-house pyColourimetry software that was developed and tested taking into account the recommendations of the Commission Internationale de l'Éclairage (CIE). The objective is to apply a rigorous procedure for the characterisation of cameras based a priori on polynomial models. Most of the digital cameras capture colour information in the well-known RGB format, but the signals generated by the digital camera are device dependent. By means of the characterisation we establish the relationship between device dependent RGB values and the tristimulus coordinates defined by the CIE standard colourimetric observer. Once the camera is characterised, users have the potential to obtain output images in the sRGB space that is independent of the sensor of the camera. pyColourimetry software allows users to control the entire digital image processing and the colourimetric data workflow proposed. We applied the methodology on a set of pictures targeting Levantine rock art motifs in Cova dels Cavalls (Castellón, Spain) which is considered part of a UNESCO World Heritage Site. The outcomes obtained are satisfactory and very promising for proper colour documentation in cultural heritage estudies.http://dx.doi.org/10.4995/CIGeo2017.2017.6568