Literatura científica selecionada sobre o tema "Film photographs"
Crie uma referência precisa em APA, MLA, Chicago, Harvard, e outros estilos
Consulte a lista de atuais artigos, livros, teses, anais de congressos e outras fontes científicas relevantes para o tema "Film photographs".
Ao lado de cada fonte na lista de referências, há um botão "Adicionar à bibliografia". Clique e geraremos automaticamente a citação bibliográfica do trabalho escolhido no estilo de citação de que você precisa: APA, MLA, Harvard, Chicago, Vancouver, etc.
Você também pode baixar o texto completo da publicação científica em formato .pdf e ler o resumo do trabalho online se estiver presente nos metadados.
Artigos de revistas sobre o assunto "Film photographs"
1
Schaefer, William. "Photographic Ecologies". October 161 (agosto de 2017): 42–68. http://dx.doi.org/10.1162/octo_a_00303.
Texto completo da fonteResumo:
In his body of photographs, Samalada (2008), the Chinese artist Adou uses extremely expired film; the resulting artifacts—marks of the animal, vegetable, and mineral matter composing film surfaces—are as visible a part of the photographs as their depictions of relations among humans, animals, plants, cultural artifacts, earth and sky in southwestern China. Adou and other photographers in China, Japan, and the West working in a time of environmental crisis understand film itself in ecological terms. The very materiality and forms of photographic images are emergent from and interact with larger ecosystems of matter, bodies, spaces, surfaces, markings, liquids, pollution, light, and the atmosphere, thereby allowing the human to be seen as one among many contingent agents within ecological processes. Photography thus becomes a crucial site for staging and rethinking fundamental questions of the relations between culture and nature—and for learning to picture the Anthropocene.
2
Zambenedetti, Alberto. "Emplacing Time: Photography, Location, and the Cinematic Pilgrimage". Space and Culture 23, n.º 4 (15 de outubro de 2018): 548–60. http://dx.doi.org/10.1177/1206331218805381.
Texto completo da fonteResumo:
Cinema, arguably the time-based medium most synonymous with modernity, is also an art form of place: cinema records place in time and, in the best circumstances, stores it through time. If, as Michel de Certeau remarked, “space is a practiced place,” then cinema is the memory of that practice; it is the archive of that transformation. Cinema, in other words, “emplaces time.” Moreover, because of its physical properties, film is also an archival object whose very existence is challenged by the passing of time. In recent years, the ways in which cinema emplaces time have become the subject of a dual contemplation on the part of a generation of photographers whose projects re-photograph cinema’s loci, from movie palaces to film locations. This article investigates the relationship between film the work of three “cinematic pilgrims”: British artist Michael Lightborne, whose 2012 installation Interval (After Intervals) included photographs of the locations for Peter Greenaway’s 1969 short film Intervals alongside the original film; Christopher Moloney’s ongoing project FILMography, in which the Canadian photographer travels the world bringing printed reproductions of film stills to the sites where they were originally shot and then re-photographs them in situ; and the travel blog Fangirl Quest by the Finnish Tiia Öhman and Satu Walden, a photographer and a travel expert, respectively, who re-photograph a location while displaying the related movie scene on a tablet practice (a practice they call “sceneframing”). These projects underscore cinema’s innate relationship with place, while they also highlight the changes that occurred in the time that intervened since production, revealing the instability of the filmic object as one of time as well as in time.
3
Balčus, Zane. "OF STILL AND MOVING IMAGES: STYLISTICS OF HERCS FRANKS’ EARLY DOCUMENTARIES". Culture Crossroads 23 (10 de janeiro de 2024): 216–25. http://dx.doi.org/10.55877/cc.vol23.377.
Texto completo da fonteResumo:
Latvian documentary filmmaker Hercs Franks (1926–2013) directed his first films in 1965, the two short documentaries were produced at the Latvian television’s production unit Telefilma-Rīga: “Salty Bread” (Sāļā maize) and “At Noon” (Pusdienā). Both films reflect an intricate practice and aesthetic element of the director – the use of still photography, which for him is both a research tool and a stylistic device present throughout his career. “Salty Bread” includes photographs as a stylistic element allowing the viewer to prolong observation of particular images, whereas in “At Noon” still photographs feature on the films’ credits, but more significant is photography’s use as a research tool for preparing the film. The intermedial studies have explored the interrelationship of different media and used intermediality as a tool for close reading of specific works, among other applications. The connection of cinema and photography represent the potential of intermedial approach through the technological, aesthetic, institutional practices. Specifically documentary cinema in its relation to photography shares additional issues of the meaning of documentality and representation of reality. Through close reading of Hercs Franks’ first films, I would argue that Franks transcends normative documentary function in the use of still photographs [Hallas 2023] and demonstrates the intermedial practice in combining photography and documentary filmmaking.
4
Opp, James. "Still Photographs, Publicity, and the Making of Cecil B. DeMille's Ten Commandments (1956)". Film History: An International Journal 34, n.º 4 (2022): 1–29. http://dx.doi.org/10.2979/fih.2022.a900040.
Texto completo da fonteResumo:
ABSTRACT: From 1954 to 1956, tens of thousands of still photographs were taken, reviewed, printed, and circulated to promote Cecil B. DeMille's The Ten Commandments (1956). By tracing the conflicts that emerged over their management, this study centers the photographs and their distribution within an ecosystem of public relations, print media, and film production. While studio photographers produced the bulk of the photographs, their role was overshadowed by celebrity photographers, including Yousuf Karsh and Yul Brynner. Changes in the visual media landscape and Hollywood's photographic infrastructure threatened both the still photographers and the ability of studio publicists to shape the narrative.
5
Ruzgienė, Birutė. "REQUIREMENTS FOR AERIAL PHOTOGRAPHY". Geodesy and cartography 30, n.º 3 (3 de agosto de 2012): 75–79. http://dx.doi.org/10.3846/13921541.2004.9636646.
Texto completo da fonteResumo:
The photogrammetric mapping process at the first stage requires planning of aerial photography. Aerial photographs quality depends on the successfull photographic mission specified by requirements that meet not only Lithuanian needs, but also the requirements of the European Union. For such a purpose the detailed specifications for aerial photographic mission for mapping urban territories at a large scale are investigated. The aerial photography parameters and requirements for flight planning, photographic strips, overlaps, aerial camera and film are outlined. The scale of photography, flying height and method for photogrammetric mapping is foreseen as well as tolerances of photographs tilt and swings round (yaw) are presented. Digital camera based on CCD sensors and on-board GPS is greatly appreciated in present-day technologies undertaking aerial mission.
6
Kaplan, Flora S. "Fragile Legacy: Photographs as Documents in Recovering Political and Cultural History at the Royal Court of Benin". History in Africa 18 (1991): 205–37. http://dx.doi.org/10.2307/3172063.
Texto completo da fonteResumo:
Photographs create a tantalizing sense of “being there” while history was being made. They offer a means of entry into cultures that are historically non-literate, stimulating informants' memories and linking their oral traditions to specific events and persons in the culture. Their research potential in West Africa and in Nigeria, in particular, is only now being recognized (Edwards 1990; Kaplan 1990: 317-319; Scherer 1990: 131, 135, 139, 141, 145; Sprague 1978; Viditz-Ward 1985; 1991). The focus here is on photographs connected with the royal court of Benin, and with ongoing ethnographic field work initiated in 1982.1 Special attention is given to photographs taken between 1926 and 1989 by S. O. Alonge, the first indigenous and Benin royal photographer. His work illuminates political and cultural history, and contributes to the beginnings of a history of photography in Nigeria.Evocative images have been used to illustrate books and articles about West Africa.since the early days of nineteenth-century photography. Studies of visuals, however, taken in Nigeria by indigenous photographers and reported systematic uses of photographs in research designs are still rare (Borgatti 1982; Kaplan 1980, 1991a, 1991b; Karpinski 1984; Sprague 1978). Most research extant on early uses of visuals has been on cinema (Rouch 1975a, 1975b). There has been serious interest in the condition and circumstances of Nigeria cinema and filmmakers, and a desire to create a history of African film (Mathias 1986). The impetus to codify and to create methods for the study of film and stills in anthropology points to a growing awareness of their potential as much more than entertainment and illustration. Photographs are best been as behavior and ideas captured and expressed in imagery, and studied much as we do material culture.
7
Aleksey, Glushaev. "Catch a Sight of "Church": Amateur Photographs as a Window into the Life of Evangelical Christians of the USSR". TECHNOLOGOS, n.º 1 (2021): 66–75. http://dx.doi.org/10.15593/perm.kipf/2021.1.06.
Texto completo da fonteResumo:
It is known that the documents from the State archives concerning the history of religious life in the USSR had the primary importance and they are remained the same. However, a significant part of historical documents are kept by believers. Film and photo documents are of particular interest. The “visual turn” in the historiography of the beginning of 2000s opened up new opportunities for studying film sources and photographic documents. The attention of historians has focused on the symbolic and linguistic systems of transmission of film and photographic messages, on the visualization of ethnic, confessional identities or cultural characteristics of various population groups. Thus, turn to the film and photo documents helps better understanding the collective self-perception of Soviet believers and finding the ways to present themselves to the surrounding world. The purpose of this study is to study the informational possibilities of photographic documents on the history of Evangelical Christian-Baptists in the USSR in the 1970s. The main historical sources in the study are two photographs from the mid-1970s. They are kept in the church of evangelistic Christians-Baptists in the city of Perm. Archival documents of the State Archives of Perm Krai and confessional literature helped to reconstruct the historical context of photography. Conversations with a presbyter of the Perm community of Evangelical Christians-Baptists helped in attribution of photographs. The author believes that these photographs formed the iconographic image of the ECB church in the space of the Soviet city. The active use of these photographs in the post-Soviet period testifies the high “symbolic efficiency” (P. Bourdieu) of photographic communication from the past.
8
Nichols, Maia. "Institutional Shutter: Depardon and the Basaglias". Italian Canadiana 38, n.º 2 (5 de setembro de 2024): 89–107. http://dx.doi.org/10.33137/ic.v38i2.43915.
Texto completo da fonteResumo:
This essay discusses Italy’s famous deinstitutionalization movement in the 1970s through the material culture of photography. I focus on film and photographs that provide stunning evidence of the aftermath of the closure of psychiatric hospitals in Italy. The “tearing down” of asylum walls that occurred within reform movements of the 1970s, famously led by Franco and Franca Basaglia, is analyzed by mobilizing photographs in and of Italian hospitals taken by the French photographer Raymond Depardon, whose photographs prove the failure of reform through clothes, games, and objects of restraint. Depardon’s practice offers an opportunity for understanding the habitus that drove the institutional shutter in Trieste, Collegno, and Venice.
9
Vasily Andreevich, Gusak, e Eremenko Evgenii Dmitrievich. "Features of the photographer’s work and a graphic designer in the creation of soviet cinema advertising". Vestnik of Saint Petersburg State University of Culture, n.º 2 (51) (2022): 35–42. http://dx.doi.org/10.30725/2619-0303-2022-2-35-42.
Texto completo da fonteResumo:
The article examines the historical and cultural context of propaganda, ideological, aesthetic qualities of posters and photographs in Soviet cinema advertising. An advertising image from a photograph or movie poster is considered as the main «supplier» and/or «intermediary» of the broadcast meanings. The phenomenon of two creative professions is analyzed – a graphic designer and a cinema photographer. We are talking about work that meets the advertising goals of film distribution and, at the same time, about a kind of manifestation of the content side of Soviet films through their artistic interpretation. The main part of the posters for cinemas and houses of culture was «handmade», created in one copy (along with posters replicated on copying equipment). For many decades of the twentieth century, designers and photographers functioned as intermediaries between the authors of screen content and recipients, creating a variety of interpretations of works of cinema.
10
Haran, Barnaby. "‘We Cover New York’: Protest, Neighborhood, and Street Photography in the (Workers Film and) Photo League". Arts 8, n.º 2 (10 de maio de 2019): 61. http://dx.doi.org/10.3390/arts8020061.
Texto completo da fonteResumo:
This article considers photographs of New York by two American radical groups, the revolutionary Workers Film and Photo League (WFPL) (1931–1936) and the ensuing Photo League (PL) (1936–1951), a less explicitly political concern, in relation to the adjacent historiographical contexts of street photography and documentary. I contest a historiographical tendency to invoke street photography as a recuperative model from the political basis of the groups, because such accounts tend to reduce WFPL’s work to ideologically motivated propaganda and obscure continuities between the two leagues. Using extensive primary sources, in particular the PL’s magazine Photo Notes, I propose that greater commonalities exist than the literature suggests. I argue that WFPL photographs are a specific form of street photography that engages with urban protest, and accordingly I examine the formal attributes of photographs by its principle photographer Leo Seltzer. Conversely, the PL’s ‘document’ projects, which examined areas such as Chelsea, the Lower East Side, and Harlem in depth, involved collaboration with community organizations that resulted in a form of neighborhood protest. I conclude that a museological framing of ‘street photography’ as the work of an individual artist does not satisfactorily encompass the radicalism of the PL’s complex documents about city neighborhoods.
Teses / dissertações sobre o assunto "Film photographs"
1
Brüllman, Claire Bonney. "Thérèse Bonney : the architectural photographs /". Online version, 1995. http://bibpurl.oclc.org/web/33468.
Texto completo da fonte
2
Pennell, Miranda. "Film as an archive for colonial photographs : activating the past in the present". Thesis, University of Westminster, 2016. https://westminsterresearch.westminster.ac.uk/item/9ww05/film-as-an-archive-for-colonial-photographs-activating-the-past-in-the-present.
Texto completo da fonteResumo:
This practice-led research looks at the ways in which the colonial archive, and the colonial photographic archive in particular, can be reconstructed to produce new critical histories. The research argues for the potential of the moving image as a tool for re-staging colonial archives, as a means of generating responsible ways of looking at, and of engaging with our troubled collective pasts. In my practice I mix the photographic archive of the Anglo-Iranian Oil Company(which became BP) with my family’s photographs from Iran, and with the documentation and narrativization of my encounter with both of these sets of materials, within the moving image. Through this process I address questions about the nature of the photographic archive and the search for historical meaning within it; the question of the researcher’s position within the archive and within the history she produces; and I investigate the affective power of colonial photographs within film and the experience of untimeliness which they produce. While addressing problems associated with the failure of photographic archives to offer access to any stable, transparent meaning, I show how engaging with slippages of meaning can produce other kinds of historical knowledge. But I also argue that attending to the impression of the ‘real’ produced by the colonial photograph as it appears within film, makes the past felt in the present tense, in ways that draw attention to the responsibility of being an onlooker in a situation of injustice. In addition I show how registering the place and time of the researcher within the new filmic archive in motion produces an effective means of imaginative time travel and a lively experience of history.
3
Bontemps, Laura. "Une histoire de conservation moderne : la chapelle Blanche de Sésostris Ier et le Kiosque de Taharqa à Karnak (Égypte). Nouvelle lecture des photographies d'archives comparées à la photogrammétrie de l'état actuel". Electronic Thesis or Diss., CY Cergy Paris Université, 2024. http://www.theses.fr/2024CYUN1350.
Texto completo da fonteResumo:
La conservation-restauration existe depuis l'Antiquité mais ne s'est vue attribué l'étiquette de discipline à part entière, dotée d'une déontologie et d'un cadre éthique, que depuis la seconde moitié du XXème siècle. Cette formalisation tardive a eu pour conséquence l'hétérogénéité flagrante des traitements de restauration effectués, mais aussi de la création de lacunes dans la documentation de l'histoire matérielle moderne du patrimoine concerné. Pourtant, si les archives écrites ne nous racontent parfois qu'une partie des travaux, les photographies d'archives peuvent, elles aussi, nous parler.Ce travail de thèse explore les utilisations possibles des photographies d'archives du complexe archéologique des temples de Karnak (Égypte) et plus spécifiquement celles de deux monuments : la Chapelle Blanche de Sésostris Ier et le Kiosque de Taharqa. La recherche se concentre autour de la réécriture de l'histoire des restaurations de ces deux édifices en s'appuyant sur l'utilisation des archives photographiques. Nous avons cherché à savoir si l'exploitation et la modification de ces photographies dans des outils numériques (photogrammétrie à partir d'archives, orthomosaïque, panorama) pouvaient apporter de nouvelles informations, afin d'offrir une vision plus précise de l'évolution des anciennes restaurations et de l'état d'altération des deux monuments. La méthodologie adoptée se fonde sur le corpus des archives photographiques comme point de départ de la recherche.L'évolution de la documentation numérique joue un rôle fondamental dans cette thèse. Les outils numériques employés permettent d'accéder à des informations plus précises sur l'histoire des deux monuments au cours du XXème siècle. À des fins de comparaison, une campagne de relevés en photogrammétrie du Kiosque de Taharqa et de la Chapelle Blanche de Sésostris Ier a été faite durant la thèse. La photogrammétrie des deux monuments constitue la base sur laquelle s'appuie les comparaisons aux états antérieurs à partir de relevés de constats d'état. Ainsi, les données et visuels obtenus à partir des photographies d'archives deviennent le support de constat d'état historicisé, des temps « -1 » , « -2 » (et « -3 ») dont la comparaison à l'état actuel permet d'analyser l'évolution des altérations et de recomposer une histoire des pratiques de la restauration à Karnak.La (re)lecture de cette histoire moderne ouvre des questionnements sur les modifications des pratiques de la conservation-restauration, des méthodes employées et sur les usages possibles des données produites dans un contexte de travail pluridisciplinaire. Cette thèse vise à proposer une méthodologie à la croisée de l'histoire, de l'archéologie et de la conservation et à amener une nouvelle grille de lecture des opérations de conservation-restauration sur la Chapelle Blanche de Sésostris Ier et le Kiosque de Taharqa à KarnakConservation-restoration practice has existed since the early Antiquity but has been recognized as a fully legitimate discipline, with its own code of ethics and deontology, in the second half of the 20th century. This quite late professional formalization has resulted in a blatant heterogeneity in restorations treatments on Cultural Heritage sites and objects, as well as the creation of gaps in the documentation of their modern material history. While written archives may only transmit chosen part of the story, archival photographs may also speak to us and provide new information.This PhD explores potential uses of archival photographs from the Karnak Temple complex in Egypt, focusing on two specific monuments: the White Chapel of Sesostris I and the Kiosk of Taharqa. The research evolves around rewriting the restoration history of these two monuments by the means of archives photographs used in digital tools. One of the aims was to determine whether the manipulation of these photographs in digital tools such as photogrammetry from archives, orthomosaic imagery and panorama editing could provide us with new data to offer a more precise view of the evolution of past restorations and the state of decay of the monuments. The challenges here are the heterogenous quality of archives photographs, the lack of information about calibration parameters and poor overlap.Developing digital documentation plays a fundamental role in this research. The digital tools employed aims to provide more accurate information on the history of the two monuments throughout the 20th century and offer a plausible chronology of interventions. For comparative purposes, a complete photogrammetry survey of the Kiosk of Taharqa and the White Chapel of Sesostris I has been carried out. The photogrammetry of both monuments is used to export orthomosaics which serve as the basis for comparisons with earlier states to generate conditions reports. The data and visuals derived from the archival photographs and photogrammetry serve as the foundation for historicized condition reports. These historicized surveys represent earlier moments “-1” (and “-2”, “-3”) whose comparison with the current state (the moment “0”) enables an analysis of the evolution of deterioration and the reconstruction of a history of restoration practices at Karnak.This (re)interpretation of modern conservation history raises questions about the changes in conservation-restoration practices, the methods used and the potential uses of digital data produced in a multidisciplinary context. The research aims to propose a methodology at the crossroads of history, archaeology and conservation, offering a new framework in a digital environment to fill the gaps of the modern history of the White Chapel of Sesostris I and the Kiosk of Taharqa at Karnak
4
Stalmach, Adele Carleton University Dissertation Art History. ""Native women and work; changing representations in photographs from the collections of the National Film Board and of the Department of Indian Affairs and Northern Development."". Ottawa, 1995.
Encontre o texto completo da fonte
5
Han, Jane. "Passing through time : the intersection of painting and cinema in the works of Julian Schnabel". Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:82ffb3f5-02da-4f37-8315-5ba74c33b139.
Texto completo da fonteResumo:
This study examines the intersection of painting and cinema through the oeuvre of American artist Julian Schnabel. A controversial painter who came to prominence in the contemporary art world of the eighties, the study begins by contextualizing Schnabel within the art critical debates of the period. Addressing and revising the perceived reputation of the artist, the first chapter re-positions Schnabel predominantly as an inheritor of various traits of post-war American painting, in particular the somatic, affective and existential treatment of the canvas characteristic of action painting. The body of the study proceeds to compare the ways in which Schnabel’s cinematic practice borrows, extends and thus affirms many of his painterly approaches. Examining his four major film works (Basquiat, Before Night Falls, The Diving Bell and the Butterfly and Miral) in tandem with his paintings, these chapters plot major confluences between the two media, in particular Schnabel’s overall use of a subjective, phenomenological method. Crucially, this aesthetic approach is shown to be in the service of an existential as opposed to epicurean aim, as it is most overtly expressed in his use of the objet trouvé and the dedication. The study ends by changing the vector of analysis to trace how Schnabel’s foray into the cinema may have influenced the aesthetic of his paintings, and subsequently how a reproductive medium such as film is able to push the boundaries of painting, not necessarily to announce its death. Ultimately, the goal of this study, beyond the monographic examination of a single artist, is to propose ways in which the medium of film has contributed to an evolving understanding of visual representation. For, unlike the modernist premise, the assumption is that it is precisely through the interaction and absorption of various formats that a medium can change, evolve and expand.
6
Valcke, Jennifer. "Static films and moving pictures : montage in avant-garde photography and film". Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/4061.
Texto completo da fonteResumo:
Photomontage has more to do with film than with any other art form - they have in common the technique of montage. (Sergei Tretyakov) By considering that photomontage and film use the technique of cutting and gluing as dominant artistic device, and that montage, a technique unifying art and technology for the first time, emerged as a dominant artistic feature of the avantgarde, this thesis will explore the ideological and perceptual implications of its advent in avant-garde art and film. The technological advances of the beginning of the twentieth century, and particularly the advent of photography, allowed avantgarde artists to break free from traditional concepts of artistic production – they dispensed with the old criteria of uniqueness, originality, handicraft and personal style. At a time when many avant-garde artists abruptly ceased to paint, photomontage emerged as the privileged locus for a caesura with traditional art forms. Photomontage envisioned film aesthetics insofar as it combines and juxtaposes images of various perspectival planes and angles (Raoul Hausmann described his early photomontages as “motionless moving pictures”). A corresponding observation can be made on the use of montage in cinema, a technique which crucially underpins the illusion of movement created through the succession of photographic stills. The present thesis will investigate photomontage and film in order to examine the effect technological reproduction played in revolutionising artistic production, perception and ideology – where the technique and philosophy of montage was key.
7
Sanders, Jennifer A. "An evaluation of photo CD's resolving power in scanning various-speed films for archival purposes /". Online version of thesis, 1996. http://hdl.handle.net/1850/11988.
Texto completo da fonte
8
Valcke, Jennifer [Verfasser]. "Static Films and Moving Pictures : Montage in Avant-Garde Photography and Film / Jennifer Valcke". München : GRIN Verlag, 2011. http://d-nb.info/1182328474/34.
Texto completo da fonte
9
McDonald, Mary Catherine. "National Museum of Film and Photography". Thesis, Virginia Tech, 1998. http://hdl.handle.net/10919/33106.
Texto completo da fonteResumo:
Between the National Gallery of Art and the National Museum of Natural History in Washington, D.C., the National Museum of Film and Photography design thesis explores issues of architecture at a scale of cultural significance. This thesis is the architectural manifestation of a museum as a research institution, separate from, yet contributing to an educational mission. It is inspired by the thin line between the two worlds, the public museum and the unseen, though often larger, private archive. In this thesis, a home for a treasury of artifacts was designed, so that they might be experienced, and for their intrinsic value.
This design thesis explores the role of context, scale, and geometry in a building for the National Mall, as well as the critical requirements and specialized program of a museum. The orthogonal and radial geometry of the city are echoed in the plan. The building program, as well as the physical opportunities of the site, led to the form of the building. The simultaneous cycles of the artifact, the visitor, and the worker, and how they related to the role and amount of natural light also contributed to the form. The thesis is also developed based on the relationship between an object or a film, and a viewer.Master of Architecture
10
Wallace, Miranda Jane. "Photography and film after minimalism, 1967-1976". Thesis, University College London (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404730.
Texto completo da fonteLivros sobre o assunto "Film photographs"
1
Galleries, inc Swann. Photographic literature & photographs: Important 19th & 20th century photographs. New York: Swann Galleries, 2003.
Encontre o texto completo da fonte
2
Modotti, Tina. Tina Modotti: Ihr fotografisches Werk, ihr Leben, ihr Film. Frankfurt am Main: Zweitausendeins, 2005.
Encontre o texto completo da fonte
3
Holland, Kai. Bildrecherche für Film und Fotografie. Konstanz: UVK Verlagsgesellschaft, 2007.
Encontre o texto completo da fonte
4
Jedlička, Jan. Maremma 1980-1994: Kresby, mezzotinty, obrazy, fotografie, film = drawings, mezzotints, paintings, photographs, films. V Praze: Národní galerie, 1995.
Encontre o texto completo da fonte
5
James, Jack. Digital intermediates for film and video. Amsterdam: Elsevier, 2006.
Encontre o texto completo da fonte
6
James, Jack. Digital intermediates for film and video. Amsterdam: Elsevier, 2006.
Encontre o texto completo da fonte
7
Finkle, Cyndi. Camera crafts: Creative projects to make with your camera and a good roll of film. Los Angeles: Lowell House Juvenile, 1997.
Encontre o texto completo da fonte
8
Crump, James. Variety: Photographs by Nan Goldin, from the film by Bette Gordon. New York: Skira Rizzoli, 2009.
Encontre o texto completo da fonte
9
1953-, Goldin Nan, ed. Variety: Photographs by Nan Goldin, from the film by Bette Gordon. New York: Skira Rizzoli, 2009.
Encontre o texto completo da fonte
10
National Association of Photographic Manufacturers, Inc, ed. American national standard for imaging materials: Processed silver-gelatin type black-and-white film specifications for stability. New York, NY: ANSI, 1996.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Film photographs"
1
Marcus, Laura. "Autofiction and Photography: “The Split of the Mirror”". In Palgrave Studies in Life Writing, 309–25. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78440-9_16.
Texto completo da fonteResumo:
AbstractThis chapter explores the relationships between life writing, memory, and photography and suggests that the incidence of photographs (actual or described) in life-writing texts is most prominent in autofictional works which possess generic hybridity and often represent identity itself in hybrid terms. The chapter explores images of seeing and mirroring in autobiographical texts, focusing first on transsexual life-writings (including works by Virginia Woolf, Jan Morris, Jay Prosser, and Susan Faludi), in which photographs play a complex role in negotiating continuity and change within the life-course, old and new identities. The second part of the essay turns to recent life-writing texts, including the work of Annie Ernaux (who, like many other French writers, makes substantial use of photographs) and the film and cultural theorist Annette Kuhn.
2
Roberts, Gordon. "Film". In Mastering Photography, 64–75. London: Macmillan Education UK, 1995. http://dx.doi.org/10.1007/978-1-349-13506-6_4.
Texto completo da fonte
3
Ethridge, Douglas. "Film Photography". In Silver Gelatin In the Digital Age, 47–57. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003343837-6.
Texto completo da fonte
4
Koivunen, Pia. "2. ‘I Wanted to See the Man with that Mark on his Forehead’". In (An)Archive, 51–76. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0383.02.
Texto completo da fonteResumo:
This chapter discusses the use of one’s own memory as a source in historical research. As a historian who has employed interviews, memoirs, travelogues, and diaries in my research, I now put my own memory to a test and examine how using my own memories differs from studying the memories of others. The chapter explores my memories of Mikhail Gorbachev’s visit to Finland in 1989 and compares them with other sources, such as interviews with classmates, contemporary print media, photographs, and film material of the event. In a dual role of researcher and the researched, I demonstrate how lived experiences are supported by narrative elements and, in the end, how powerful memory can be.
5
Langford, Michael, Andrew Bruce, Anna Fox, Richard Sawdon Smith e Corinne Whitehouse. "Film and Film Processing". In Langford's Basic Photography, 347–90. 11a ed. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003351245-10.
Texto completo da fonte
6
Roberts, Gordon. "Film processing". In Mastering Photography, 148–54. London: Macmillan Education UK, 1995. http://dx.doi.org/10.1007/978-1-349-13506-6_11.
Texto completo da fonte
7
Cuarterolo, Andrea. "Film and photography". In The Routledge Companion to Latin American Cinema, 281–96. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315720449-20.
Texto completo da fonte
8
Loubere, Philip A. "Photography and Film". In A History of Communication Technology, 153–85. New York, NY : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429265723-9.
Texto completo da fonte
9
Bokelman, Marina. "How to Look at the Photographs". In Going Up the Country, 15–23. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496841971.003.0003.
Texto completo da fonteResumo:
This chapter discusses in detail the photographic methodology of co-author Marina Bokelman—how she worked with the limitations of the black and white film available at the time, and the resulting qualities of the photographs. She discusses her decision not to use flash photography and its ramifications, the problems of photographing indoors in low light conditions, and the challenges of photographing subjects with dark skin. She emphasizes the importance of using framing and loose cropping in order to document and illustrate cultural context. She also touches on the importance of gaining permission to photograph, being sensitive to the reluctance of certain subjects to be photographed, and other issues. She illustrates her points with photographs.
10
Hallas, Roger. "Discoveries and Restitutions of the Photographic Archive". In A Medium Seen Otherwise, 136—C4F22. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190057763.003.0005.
Texto completo da fonteResumo:
Abstract Chapter four engages with photographic authorship, materiality, and archives. As the global art world embraced photography as a legitimate art commodity, curators and dealers were eager to discover new photographic artists in the dispersed, non-institutional archives of vernacular photography, particularly commercial studio photographers. Documentaries about such archival discoveries address legitimation in relation to not only the photographer but also the curator, dealer, or collector who claims to have discovered them. The photographers and collectors become parallel protagonists in narratives, affirmative and critical, about commodification, ownership, exploitation, and cultural recognition. The latter half of the chapter analyzes cultural and physical restitution, through documentaries that critically challenge and reverse the art world’s appropriation of amateur, studio, and press photography by returning the photographs to their original cultural contexts. Such films ultimately raise the question of how preservation might be rethought and what role documentary film may play in its reconceptualization.
Trabalhos de conferências sobre o assunto "Film photographs"
1
Svansson, Einar. "THE BEAUTY OF GARBAGE_ART OF PHOTOGRAPHY MEETS ENVIRONMENTALISM". In 11th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2024, 147–56. SGEM WORLD SCIENCE, 2024. https://doi.org/10.35603/sws.iscah.2024/vs10.21.
Texto completo da fonteResumo:
Artists and university professors face an increasingly complex environment. There is access to abundance of information and the AI revolution helps everyone to deliver more detailed and structured knowledge. This is an opportunity to try new methods and novel combinations in the artistic and learning processes and use more diverse ideas and methods. We want to highlight the development in recent years in our personal life in Iceland in the use of photography in this context. It all started in the Covid-19 pandemic crisis with lockout and exile at home. The parents of the university professor found old black & white film negatives from his youth. This ignited a lost hobby in the author who found his old passion again. He had never processed most of these photos so this was now promptly scanned into digital form. This opened a new world of memories and extreme nostalgia. These photos were around 50 years old, so the first idea was to duplicate some of the scenes and compositions in the same locations and even with the original people as possible. This idea is in progress and an exhibition is planned in the next 2-3 years when this project has produced enough material with good enough duplicates. Another idea is a work in progress. The common trend in photography is to either focus on the technical perfection or the artistic aesthetics of the composition. These two can of course be combined in great work of art. The title of this abstract is to play with these opposite themes of art and perfection. The garbage is a role model for imperfection and the circular economy is very methodical and scientific in the recycling processes. The author has been going around in circles around the island of Iceland to get beautiful photographs of garbage in all diverse forms and colours. The plan is to open an exhibition soon with this theme and collection of garbage photos. In the future it is on the plan case to utilize old and new photographs in the teaching with pre-recorded audio and/or YouTube -like lectures with both audio and visual appearance. The focus is to connect personal art to lectures in practice. The author likes this teaching method and adds passion and enthusiasm to the lecture recording sessions. Personal photographs are rare in higher education in lecture work but can add a powerful dimension the lectures and will probably increase interest from the students. But personally made photographs used in university lectures are interesting to explore. This is part of the author?s journey to identify himself as a photographer, an artist.
2
Wang, Ruiqi, Cong Jin, Yinan Yu e Yutong Zhai. "VDFSR Knowledge based Variable-Density Photographic Film to Sound Generation Method". In 2024 International Conference on Cyber-Physical Social Intelligence (ICCSI), 1–5. IEEE, 2024. https://doi.org/10.1109/iccsi62669.2024.10799417.
Texto completo da fonte
3
Li, Zinuo, Xuhang Chen, Shuqiang Wang e Chi-Man Pun. "A Large-Scale Film Style Dataset for Learning Multi-frequency Driven Film Enhancement". In Thirty-Second International Joint Conference on Artificial Intelligence {IJCAI-23}. California: International Joint Conferences on Artificial Intelligence Organization, 2023. http://dx.doi.org/10.24963/ijcai.2023/129.
Texto completo da fonteResumo:
Film, a classic image style, is culturally significant to the whole photographic industry since it marks the birth of photography. However, film photography is time-consuming and expensive, necessitating a more efficient method for collecting film-style photographs. Numerous datasets that have emerged in the field of image enhancement so far are not film-specific. In order to facilitate film-based image stylization research, we construct FilmSet, a large-scale and high-quality film style dataset. Our dataset includes three different film types and more than 5000 in-the-wild high resolution images. Inspired by the features of FilmSet images, we propose a novel framework called FilmNet based on Laplacian Pyramid for stylizing images across frequency bands and achieving film style outcomes. Experiments reveal that the performance of our model is superior than state-of-the-art techniques. The link of our dataset and code is https://github.com/CXH-Research/FilmNet.
4
Venable, Dennis L., e Nicholas George. "Orientation sorting by diffraction pattern sampling". In OSA Annual Meeting. Washington, D.C.: Optica Publishing Group, 1987. http://dx.doi.org/10.1364/oam.1987.ma2.
Texto completo da fonteResumo:
Diffraction pattern sampling has been successfully applied to various problems in automatic pattern recognition, e.g., sorting of photographs based on scene content. In the current research we address the problem of sorting pictorial imagery according to whether a photograph was exposed upright (0°) or rotated 90°. This problem is of interest in the field of photographic processing, where along a continuous film strip, it is desirable to know whether a photograph was exposed in landscape or portrait mode. We limit the photographs in our study to those containing (1) landscape and houses only, (2) people only, and finally (3) groupings of houses and people. The optical transform is known to be independent of image translation but relates in a one-to-one fashion with image rotation. The detector used for sampling the optical transform is the Ring-Wedge detector, consisting of 32 wedge-shaped detectors and 32 concentric half-ring detectors. Using a feature set extracted from data obtained from wedge (angle-dependent) values, we illustrate the method of software development. Algorithms based on physical optics expectations are found to give reliable sorting in some cases. Discriminant functions using multiple feature algorithms are described. Results are presented in truth-table form for the three groupings listed above.
5
Liu, Gaozhi, Yichao Si, Zhenxing Qian, Xinpeng Zhang, Sheng Li e Wanli Peng. "WRAP: Watermarking Approach Robust Against Film-coating upon Printed Photographs". In MM '23: The 31st ACM International Conference on Multimedia. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3581783.3612143.
Texto completo da fonte
6
Mehdizadeh, N. Z., S. Chandra e J. Mostaghimi. "Splashing of a Small Droplet Impinging on a Solid Surface at High Velocity". In ASME 2000 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2000. http://dx.doi.org/10.1115/imece2000-1498.
Texto completo da fonteResumo:
Abstract We photographed water droplets (550 μm diameter) as they impacted on a stainless steel surface. We varied droplet impact velocity (10–40 m/s) and the average surface roughness (0.03–0.23 μm) of the steel plates used as test surfaces in our experiments. A piezoelectric droplet generator was used to produce water droplets. The stainless steel substrate was mounted on the end of a rotating arm, giving linear velocities of up to 40 m/s. A CCD video camera was used to photograph droplets impinging on the substrate. By synchronizing the ejection of a single droplet with the position of the rotating arm and triggering of the camera, different stages of droplet impact were photographed. From these photographs we measured the size of droplets as they spread. It was observed that as the impact velocity increased, finger-shape perturbations around the spreading droplet became longer and narrower. At sufficiently high velocities the tips of these fingers detached, producing satellite droplets. Increasing surface roughness was found to promote splashing and reduce the velocity at which splashing was first observed. By increasing surface roughness, both the number of fingers and the maximum extent of spreading were decreased. At high impact velocities the spreading liquid film became so thin that it ruptured in several places.
7
Gao, Yang, Weiming Cheng, Pengfei Zhou e Songlin Zhuang. "Improving mechanical properties of optical thin films by ion assisted deposition". In OSA Annual Meeting. Washington, D.C.: Optica Publishing Group, 1989. http://dx.doi.org/10.1364/oam.1989.mnn8.
Texto completo da fonteResumo:
Several optical coatings were produced by ion assisted deposition (IAD) and their mechanical properties were investigated using four different methods. The experimental results are summarized here: (1) Eleven kinds of film were produced by IAD; they are a seventeen-layer dielectric interference filter of ZnS/MgF2; an antireflection coating of MgF2 on a plastic substrate, some oxide films such as ZrO2, TiO2, and SiO2; some metallic films such as Ag, Al, and Cu; some metal bandpass films for energy efficiency. (2) Compared with those deposited by PVD, all the films by IAD with proper parameters have better mechanical properties, with increased abrasion and corrosion resistance, as well as improved adhesion and security. (3) SEM photographs showed that IAD had effectively reduced the affected width of scratches on the film surface. This means that the mechanical properties and hardness of the films have been improved. (4) With the IAD technique, we can obtain firm and fine films on plastic substrate without heating and it is difficult to obtain them by the PVD technique. (5) The XRD, TEM, and TPDS analyses showed that the reason for improving mechanical properties by IAD is that bombardment particles can increase collecting density, improve microstructure, and facilitate crystallization of coating; and for some films, bombardment with different ions has different effects on the properties of films.
8
Dalili, A., S. Chandra, J. Mostaghimi, H. T. Charles Fan e J. C. Simmer. "Bubble Entrapment in Sprayed Films". In ASME 2014 4th Joint US-European Fluids Engineering Division Summer Meeting collocated with the ASME 2014 12th International Conference on Nanochannels, Microchannels, and Minichannels. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/fedsm2014-21763.
Texto completo da fonteResumo:
A compressed air sprayer was used to spray model paint onto two glass substrates at the same time. Afterwards, one glass substrate was placed on a LED light source and still photographs were taken from the top using a DSLR camera with a timer system. The other substrate was put on a balance to record weight. Pictures and weight measurements were taken at 5 second intervals for 15 minutes. The sprayed film thickness was varied. The pictures were analyzed using ImageJ software. Bubble Count vs. Time, Sauter Mean Diameter (SMD) of Bubbles vs. Time as well as Weight vs. Time was plotted. It was seen that the pace of weight loss was faster for thinner films. The rate of bubble escape also depended on film thickness. It took a longer time for thicker films to lose the bubbles entrapped in them. In the first 30 seconds, large bubbles escaped due to buoyancy forces and afterwards surface-tension driven flows became dominant. There was also a lot of bubble movement in thicker films. The effect of gravity was studied as well. Gravity did not affect the bubble escape rate since a downward facing film had the same bubble count as an upward facing film confirming that bubble motion was not due to buoyancy forces alone. However, the SMD of bubbles in a downward facing film was larger than an upward facing film. Buoyancy is not a factor in bubble escape from the downward facing film and only surface-tension driven flows play a role.
9
Trаtsiak, A. I. "THE 100-YEAR HISTORY OF THE NATIONAL LIBRARY OF BELARUS IN THE AUDIO-VISUAL DOCUMENTS OF THE BELARUSIAN STATE ARCHIVES OF FILMS, PHOTOGRAPHS AND SOUND". In LIBRARIES IN THE INFORMATION SOCIETY: PRESERVING TRADITIONS AND DEVELOPING NEW TECHNOLOGIES. УП «ИВЦ Минфина», 2022. http://dx.doi.org/10.47612/978-985-880-283-7-2022-310-324.
Texto completo da fonteResumo:
The National Library of Belarus (originally the State Library of the BSSR named after V.I. Lenin) is a research center in the field of library science, bibliography, and book science. Besides, it is the national coordinating, scientific and methodological center in the library field. The National Library of Belarus is the leading organization in the field of information resources, which forms the intellectual potential of the Belarusian nation. In the funds of the Belarusian State Archives of Films, Photographs and Sound Recordings the history of the development of the National Library is widely represented by audiovisual documents, such as photo chronicles of the Telegraph Agency of the Soviet Union and the Belarusian Telegraph Agency; photos by the republican newspapers; short films of the 1930s. Furthermore, the information about the library can be found in film magazines “Savetskaya Belarus” (Soviet Belarus), "Naviny dnya" (News of the Day) and TV programmes “Padzeі Kulturnogo Zhyccja” (News of Cultural Life), “Kontury” (Contours), “Nedelya” (Week), in a documentary video film “Skarbnitsa Slova” (Word Treasure) and sound recordings of Belarusian radio broadcasts and radio programs from the cycle “I Love My City”, Radio Minsk.
10
Zhou, Yuan, Meng Lin, Zhengming Zhang e Lei Lei. "Visual Experiments on the Subcooled Water Droplet Behavior in High Temperature Molten Metal". In 2012 20th International Conference on Nuclear Engineering and the ASME 2012 Power Conference. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/icone20-power2012-54930.
Texto completo da fonteResumo:
Water injection mode of molten fuel/coolant interaction is a key issue during the steam generator tube rupture in liquid metal reactors. The fragmentation behaviors of plunging water droplet into a high temperature molten tin liquid pool were studied by using a high speed video camera. Photographs of the water droplet configuration, the vaporization at the interface between the melt and water, and the vapor film disturbance were obtained. The results demonstrated that the water droplet in the molten tin pool was near spherical shape initially and the vapor was generated and accumulated in the bottom of the water droplet. The steam explosions happened when vapor film collapses finally.
Relatórios de organizações sobre o assunto "Film photographs"
1
Jordan, Thomas, Marguerite Madden, Thomas Jordan e Marguerite Madden. Digital vegetation database and map for Big South Fork National River and Recreation Area: Final report. National Park Service, 2024. http://dx.doi.org/10.36967/2305475.
Texto completo da fonteResumo:
This report describes the vegetation mapping procedures employed by the Center for Remote Sensing and Mapping Science (CRMS), Department of Geography, University of Georgia, for the Big South Fork National River and Recreation Area (BISO) in the Appalachian Highlands Inventory and Monitoring Network (APHN) of the National Park Service under Cooperative Agreement No. H5028 01 0651, entitled, ?Digital Vegetation Databases and Maps for National Park Service Units in the Appalachian Highlands and Cumberland/ Piedmont Networks?. Big South Fork National River and Recreation Area (BISO) is located in the Cumberland Plateau of north central Tennessee and southern Kentucky. Encompassing a total area of 113,661acres (45,997 hectares), BISO is a rugged area carved from sandstone and shale, and filled with river gorges, steep cliffs, and unique sandstone arches. Using the National Vegetation Classification System (NVCS) developed by NatureServe, with additional classes and modifiers developed by CRMS, the vegetation communities for BISO were manually interpreted from 1:16,000 scale stereo color infrared aerial photographs acquired by Air Photographics, Inc. (Martinsburg, WV) in October 2003. Although the legislated area of BISO is 113,661 acres, the total area mapped was 122,368 ac (49,520 ha) and corresponds to the boundary file provided by the park. In addition, a 22,660 ac (9,170 ha) buffer area, extending 400 m outside of the park was mapped using a more general classification system meaning the total area mapped for BISO was 145,028acres (58,793 ha). Using a minimum mapping unit of 0.5 hectares (MMU = 0.5 ha), polygons representing areas of relatively uniform vegetation were delineated and annotated on clear plastic overlays registered to the aerial photographs. Polygons were labeled according to the dominant vegetation community. Where the polygons were not uniform, second and third vegetation classes were added. A number of modifier codes were employed to indicate important aspects of the polygon that could be interpreted from the photograph. The polygons on the overlays were then corrected using photogrammetric procedures and converted to vector format for use in creating a geographic information system (GIS) database for the park. High resolution color orthophotographs were created from the original aerial photographs for use in the GIS. Upon completion of the GIS database (including vegetation, orthophotos and updated roads and hydrology layers), both hardcopy and softcopy maps were produced for delivery.
2
Light. L51572 Demonstration of Realtime Radiography on Pipeline Girth Welds. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), setembro de 1988. http://dx.doi.org/10.55274/r0011315.
Texto completo da fonteResumo:
Conventional radiography has been the accepted nondestructive testing (NDT) method used for many years to either accept or reject a field weld in the pipeline industry. However, conventional radiography requires the expense of film, developing chemicals, and manpower for film development. It also normally has a delay of 2 hours or more between when the weld was radiographed and when the radiographic film of the weld is available for interpretation. Over the last few years, a newer approach to performing radiographic testing, called real-time radiography, has been used in several different types of field inspection operations. The real-time radiography system forms the image with optical imaging in lieu of photographic film. The objectives of this project were to (1) Integrate various optimized real-time radiographic components (identified as a result of the previous project) into a field-usable, real-time-radiographic inspection (RTRI) system for single-wall inspection of pipeline girth welds and (2) Demonstrate the system in the field.
3
Baker, James, e Sofya Shahab. Preserving Communities' Heritage: A Workbook for Heritage Capturers. Institute of Development Studies (IDS), novembro de 2021. http://dx.doi.org/10.19088/creid.2021.006.
Texto completo da fonteResumo:
This is a practical workbook to guide local communities and heritage gatherers through the process of capturing and storing their heritage for future generations. Through initiatives with the British Academy and the Coalition for Religious Equality and Inclusive Development (CREID), the Institute of Development Studies (IDS) has been working with young people in Egypt, Iraq and Syria to capture their oral heritage, so that it may be preserved for future generations. Alongside life history interviews and topic interviews - which cover particular aspects of communities’ heritage - a key component of this heritage preservation is how these records will be stored. Thinking about the language and accessibility of digital archiving practices, this workbook is a practical guide to capturing and storing “heritage harvests”, including community interviews, photographs, and short films.
4
Lamontagne, M. Macroseismic information for the 1935 moment magnitude 6.1 earthquake, near Témiscamingue, Quebec. Natural Resources Canada/CMSS/Information Management, 2021. http://dx.doi.org/10.4095/329136.
Texto completo da fonteResumo:
The November 1st, 1935, Témiscaming earthquake occurred within 20 km of the town of Témiscaming, Quebec. This earthquake was felt west to Fort William (now part of Thunder Bay), Ontario, east to Saint John, New Brunswick, and south to Kentucky and Virginia. Damaged chimneys were reported in Témiscaming, Quebec, and North Bay and Mattawa, Ontario. In the epicentral region, rockfalls were observed as well as cracks in gravel and sand along the shores of islands and lakes. Some 350 km away from the epicentre, near Parent, Quebec, earthquake vibrations triggered a 30 metre slide of railroad embankment. Numerous aftershocks were felt in Témiscaming and Kipawa during the following months, the largest rated as magnitude ML 5.4 (or mN 4.9). For the main shock and its largest aftershock, this Open File Report provides the available macroseismic information interpreted on the Modified Mercalli Intensity Scale using newspaper accounts as the main source of information for Canada. Macroseismic information from total of 126 localities in Canada and nearly 900 communities in the US (from the NOAA database of intensities) are tabulated in a Microsoft Excel spreadsheet. When available, newspaper clippings are included, together with some original damage accounts, photographs and scientific reports. The Open File also includes a Google Earth kmz file that allows the felt information reports to be viewed in a spatial tool.