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Djagalov, Rossen, and Masha Salazkina. "Tashkent ‘68: A Cinematic Contact Zone." Slavic Review 75, no. 2 (2016): 279–98. http://dx.doi.org/10.5612/slavicreview.75.2.279.
Повний текст джерелаАнотація:
AbstractThis essay seeks to reconstruct the history of the first Tashkent Festival of Cinemas of Asia and Africa (1968). It offers an account of the festival as a highly heterogeneous and productive site for better understanding the complex relationship between the Soviet bloc and the Third World in the crucial moment between the victory of post-colonial independence movement and the end of the Cold War.
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Sengupta, Roshni. "Historical Continuities in South Asian Film Narratives:Contemporary Representations of Religious,Ethno-linguistic and Sexual Minorities." Society and Culture in South Asia 6, no. 2 (June 26, 2020): 238–72. http://dx.doi.org/10.1177/2393861720923811.
Повний текст джерелаАнотація:
The article attempts to examine the construction and representation of minority identities in the visual cultures of Pakistan, Bangladesh and Sri Lanka, thereby endeavouring to establish a cinematic historiography of South Asia. Since the cinematic medium can accomplish what written history cannot, this article makes an effort to understand the underlying causes of linearity and simultaneity which are fortes of the moving image, with regard to visual construction and representation of religious, ethno-linguistic and sexual identities. The major objectives of this article are to establish a comparative framework for the study of South Asian cinema with focus on films from Pakistan, Bangladesh and Sri Lanka, outline a possible theoretical structure for the future study of South Asian cinema, contextualize the intervening spaces between cinema and politics—particularly the realms of cinematic representation of religious or communal identities in South Asian cinema, categorise existing trends and observe transformations in the methodology of cinematic representation of identities.
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Dixon, Ian. "ALTERNATIVES TO LOVE: INDIAN CINEMA REINVENTED IN GREATER ASIA." Miguel Hernández Communication Journal 13 (July 28, 2022): 407–27. http://dx.doi.org/10.21134/mhjournal.v13i.1505.
Повний текст джерелаАнотація:
As conventional Bollywood continues to thrive, independent productions supported by Netflix and other streaming apps are embracing more insurgent themes and challenging storylines. While Netflix steers its Asian production arm toward South Korea, India remains a vital focus on the world cinema scene. Following the lead of maverick actor/producer Amir Khan in the wake of Dhobi Ghat (2010), films such as A Death in the Gunj (2016) and Sir (2018) not only feature women’s themes but aggregate the colour and movement of Indian cinema while enlisting serious subject matter. Netflix and other streaming apps may provide a vital platform, but the traditions of culture and cinema predate this distribution opportunity by centuries.
Drawing from film theorists such as Ashvin Devasundaram, Madhuja Mukherjee, Chidananda Das Gupta and Neelam Sidhar Wright, I examine the two exemplary films as textual analysis and story-based in a historical context. Along with the influence of Hindu mythology, this paper seeks a template for effective, globally relevant cinema which does not pander to Edward Said’s notion of Orientalism. While considering the storytelling traditions of Rabindranath Tagore and Satyajit Ray as literary and cinematic voices, this paper also consults Western screenwriting gurus Stephen Cleary and Robert McKee in its search to support the artistic aims of streaming-based art cinema from India. India, especially at this time of pandemic crisis, deserves to be championed for its centuries of unrivalled artistic achievement and unparalleled cinematic exuberance.
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Дружинин, Андрей Сергеевич. "CINEMATIC OBSERVATION IN LINGUISTICS AND BEYOND: TOWARDS AN EMPIRICAL SCIENCE." Pedagogical Review, no. 2(32) (March 25, 2022): 9–29. http://dx.doi.org/10.23951/2312-7899-2022-2-9-29.
Повний текст джерелаАнотація:
Обсуждается проблема методологии в науке о языке и предлагается возможный путь ее решения, который заключается в обращении к визуальной семиотике кинофильма как источнику эмпирических научных данных. Утверждается, что в основе методологического кризиса классического языкознания лежит принцип самодостаточности аналитической логики как единственного инструмента познания языковых данных, в роли которых выступают письменные тексты. Причины, по которым лингвистика оказалась в подобном кризисе, носят эпистемологический характер. Во-первых, наука изучает не столько то, что есть объект на самом деле, сколько то, как этот объект функционирует в процессе взаимодействия с точки зрения наблюдателя. Язык, напротив, рассматривается как абсолютизированная система знаков, существующая «в себе» и «для себя». Во-вторых, степень валидности научных знаний об объекте определяется логической связностью теоретического построения, упорядочивающего эмпирические данные о мире, что означает функциональную взаимосвязь теории и наблюдения, обеспечивающую науке опытную проверку и верификацию любых выдвигаемых гипотез и тезисов, доказательность которых не может исчерпываться другими гипотезами или другими тезисами. В лингвистике, однако, подобная верификация и проверка осуществляются методом логической интерпретации и анализа текстов, которые не являются источником эмпирических данных, а представляют собой продукты того же самого интерпретационного анализа. Такая методология создает порочный круг по той простой причине, что тексты не могут выступать в качестве эмпирической доказательной базы, поскольку лишены перцептуальной динамики, и поэтому их невозможно наблюдать ни в обыденном, ни в научном смысле этого слова. Чтобы отойти от устоявшейся логико-позитивистской традиции и изучать язык не только на материале текстов, лингвистике необходим поворот в сторону эмпирического подхода. Такой поворот возможен, если признать эмпирическую ценность кинофильмов в изучении того, как экспериенциальный мир человека конструируется и «разыгрывается» в пределах сюжетной линии. Исходя из того, что работа человеческого воображения становится доступной для непосредственного наблюдения посредством кино, лингвистика и смежные дисциплины, включая когнитивные науки, могут использовать на практике данный эмпирический материал в качестве доказательной базы для различных утверждений о том, как человек воображает мир, конструирует значения, общается с другими и использует язык в целом, чтобы осуществить все эти когнитивные процессы. В статье подробно описывается и объясняется эмпирическая методология исследования языка, уточняется, какие виды действий и взаимодействий с семантическими объектам можно наблюдать косвенно или напрямую в кинофильмах (в частности, направление внимания, динамику пережитого опыта, эмоциональные и сенсомоторные процессы). Концепция языка как экспериенциальной динамики, наблюдаемой в фильмах, продолжает философские идеи радикального конструктивизма и энактивизма, согласно которым человек подобно актеру «разыгрывает», или генерирует в своих перцептуальных действиях, мир как биологическую, социальную, культурную историю всех предыдущих подобных действий. The article raises the problem of methodology in the language science and discusses a possible way of solving this problem by recognizing films as a source of observational scientific data. The article claims that the reliance of classical linguistics upon logical analysis and interpretation as a sufficient method of research with texts as primary sources of data is a a fallacy. This fallacy is accounted for by a number of epistemological factors. Firstly, science generally concerns itself not with what things are, but how they appear to the standard observer in the process of interaction. Language, oppositely, is studied as a self-sufficient sign system in and of itself. Secondly, any science constructs its object and produces valid knowledge about this object on the basis of empirical data put together in a logical way, which means that theory and observation are two co-dependent technologies of science ensuring that any claim about the experiential world is verified and “life-tested”. In linguistics, conversely, such an empirical test and verification of claims is replaced by a logical procedure of interpretation and analysis on the basis of texts, which is far from empirical evidence, but rather appears as another set of claims. In other words, texts take on the role of empirical data in linguistics, which is wrong for one simple reason that texts are logical interpretations devoid of any perceptual dynamics and, therefore, unable to be observed. In order to break with such a product-oriented approach and the logico-positivist tradition, and study language beyond written texts only, especially given that illiterate people are language users too, linguistics needs to take an empirical turn. To make this turn possible, linguists need to reconsider the empirical role motion pictures play in the study of how a human’s experiential world is enacted and constructed into a coherent story. Recognizing that films make the work of somebody else’s imagination observable, linguists and cognitive scientists as well could make practical use of cinematic observations as a primary source of evidence for claims about how a human imagines things, constructs meanings, communicates with others, and uses language in general to make all of those things possible. The article elaborates on the cinema-mediated empirical methodology of language studies and specifies what types of observable actions (or their implications) upon linguistic objects we can find in films, including attentional processes, the dynamics of the lived experience, emotioning and sensorimotor activity. As opposed to apparatus theory, the conception of language as experiential dynamics observable in films fits in with the philosophy of radical constructivism and enactivism according to which a human, by analogy with an actor, enacts the world as a (biological, social and cultural) history of her previous actions, these enactments becoming the world itself.
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Kljueva, Ljudmila Borisovna. "Observing the Observer, or the Poetics of Deconstruction. Based on New York, I Love You by A. Zvyagintsev." Journal of Flm Arts and Film Studies 3, no. 3 (September 15, 2011): 6–22. http://dx.doi.org/10.17816/vgik336-22.
Повний текст джерелаАнотація:
The article analyses the director's strategy in A. Zvyagintsev's New-York, I Love You. This film is an observation, a cinematic deconstruction revealing the inner dramaturgy of the examined event. The film's semantic field is structured by the opposition the observer - the observed object. The scholar's task is to penetrate into the text's poetics based on double observation, i.e. the observation of the observer.
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Frisch, Simon. "The Aesthetics of Flow and Cut in the Way of Film: Towards Transnational Transfers of East Asian Concepts to Western Film Theory." Arts 8, no. 3 (September 16, 2019): 119. http://dx.doi.org/10.3390/arts8030119.
Повний текст джерелаАнотація:
The general concepts in theorising the aesthetics of film are still rooted in occidental traditions. Thus, thinking about film is dominated by Western terms and aesthetic paradigms—such as “pieces of work”, the representation of reality or regarding the arts as an act of communication. From such an angle, it is difficult to describe different characteristics of the cinematic image, for example, its ephemeral character. In contrast to occidental thinking, the cultural traditions of East Asia are based on the concept of the way (dō or dao), which allow for the description of aesthetics of transitions and transformations. Inspired by the concept of kire-tsuzuki, as developed by the Japanese–German philosopher Ryōsuke Ōhashi, I shall, in this paper, describe some alternative ways of understanding appearance and occurrence in relation to the cinematic picture.
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Wibisono, Sony. "Photography as Cinematic Ekphrasis: Intermedial Study in Garin Nugroho’s Opera Jawa." Harmonia: Journal of Arts Research and Education 23, no. 1 (June 29, 2023): 64–78. http://dx.doi.org/10.15294/harmonia.v23i1.39633.
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The Opera Jawa (2006), directed by Garin Nugroho is an Indonesian film with unique hybridity of art media (music, dance, visual art installation, acting, photography). This study aims to provide an overview of photographic ekphrasis’s form, process, and function. This research used a descriptive qualitative method. Data collection was through observation with the note-taking documentation technique. Through intermedial studies, data analysis was carried out using Agnes Petho’s cinematic ekphrasis and photo-filmic theory. The results of the study show that Opera Jawa displays the characteristics of intermedial reference media through cinematic ekphrasis of photography in film. This matter is manifested at the diegetic media level through family photos of the character Setyo-Siti, and the extra-diegetic media through photographic frames introducing film characters. Cinematic Ekphrasis works with exchange strategies and crossing the borders of basic media modalities (material, sensory, space-time, semiotic) from film to photography. Cinematic ekphrasis ultimately forms a metaphor that mediates the experience and knowledge of film audiences toward the target media and the source media. Thus, Opera Jawa, as the target media, can offer its ideology as a result of Sinta Obong’s source media interpretation.
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Hoek, Lotte. "Urban Wallpaper: Film Posters, City Walls and the Cinematic Public in South Asia." South Asia: Journal of South Asian Studies 39, no. 1 (January 2, 2016): 73–92. http://dx.doi.org/10.1080/00856401.2016.1139029.
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Sun, Luyue. "The Development of Queer Film Identity." International Journal of Education and Humanities 4, no. 2 (September 1, 2022): 56–58. http://dx.doi.org/10.54097/ijeh.v4i2.1484.
Повний текст джерелаАнотація:
As a medium of visualization, the film has provided a vivid visual record, using its unique strengths in restoring reality and historical reenactment as an important means of documenting how human society has explored, perceived, and understood gender identity and emotional desire over the centuries. Queer films, as a branch of cinematic development, have their unique artistic appeal and logic of thinking in terms of gender awareness exploration and erotic expression. In this article, I will focus on the development of queer in Asia, especially in China and Hong Kong. Comparing the different attitudes towards LGBT in western countries and Asia. The analysis is done through the perspective of some queer in the representative movie "Farewell My Concubine".
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Sheen, Dong-Hoon, and Jin Soo Shin. "Observation of continuous microseismicPwaves in Asia." Journal of Geophysical Research: Solid Earth 121, no. 1 (January 2016): 248–59. http://dx.doi.org/10.1002/2015jb012420.
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March-Russell, Paul. "Bullet sized." Short Film Studies 10, no. 2 (April 1, 2020): 211–14. http://dx.doi.org/10.1386/sfs_00017_1.
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Abstract Taking as a touchstone A. L. Kennedy's observation about the disproportionate impact of the short story compared to its size, this article explores the extent to which David Von Ancken's adaptation of Tobias Wolff's text finds, via montage and perspective, a cinematic analogue to the aesthetic form of the short story.
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Hansen, Kathryn. "Languages on Stage: Linguistic Pluralism and Community Formation in the Nineteenth-Century Parsi Theatre." Modern Asian Studies 37, no. 2 (May 2003): 381–405. http://dx.doi.org/10.1017/s0026749x03002051.
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The Parsi theatre was the dominant form of dramatic entertainment in urban India from the 1860s to the 1930s. Named for its Bombay-based pioneers, the Parsi theatre blended certain European practices of stagecraft and commercial organization with Indic, Persian, and English stories, music, and poetry. Through the impact of its touring companies, it had a catalytic effect on the development of modern drama and regional theatre throughout South and Southeast Asia. Moreover, Parsi theatre is widely credited with contributing to popular Indian cinema its genres, aesthetic, and economic base. With Hindi films now the major cultural signifier for the middle classes and the ‘masses’ in South Asia and its diaspora, documentation and evaluation of the Parsi theatre is much needed, especially to connect it convincingly to the cinematic medium that followed.
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Rico, Monica. "Envisioning Asia: On Location, Travel, and the Cinematic Geography of U.S. Orientalism (review)." Film & History: An Interdisciplinary Journal of Film and Television Studies 42, no. 1 (2012): 46–47. http://dx.doi.org/10.1353/flm.2012.0014.
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Isidae, Mizuho. "Earthquake Observation Networks in Japan and Asia." TRENDS IN THE SCIENCES 10, no. 6 (2005): 40–46. http://dx.doi.org/10.5363/tits.10.6_40.
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Zhao, You, Peng Qi Gao, Ming Shen, Xiao Zhong Guo, Da Tao Yang, and Huan Huan Yu. "Design of Computer Communication and Network in APOSOS Project." Advanced Materials Research 271-273 (July 2011): 700–705. http://dx.doi.org/10.4028/www.scientific.net/amr.271-273.700.
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Asia-Pacific Optical Satellite Observation System (APOSOS) is based on members of Asia-Pacific Space Cooperation Organization (APSCO). Its aim is to develop a regional or even global satellite tracking system basically composed of optical trackers. The system will be used to track objects of interest or space-debris for the safety of spacecraft launch mission or the intactness of operational satellites. APOSOS is composed of Asia-Pacific optical satellite observation center, APSCO member state node, sub-node and observation telescope. Asia-Pacific optical satellite observation center manage the whole observation network. Every member state node answers for the organization of observation with their country’s facility according to the observation plan released by observation center. The sub-node transmits observational data to corresponding member state node first. Then the member state node transmits the data summarized to the observation center. This paper will briefly introduce the APOSOS project first and present the design of computer communication and network in APOSOS project in detail.
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Pathak, Dev N. "Melodramatic South Asia: In Quest of Local Cinemas in the Region." Journal of Human Values 23, no. 3 (July 20, 2017): 167–77. http://dx.doi.org/10.1177/0971685816689742.
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What is remarkably unique of the popular cinema in the region of South Asia? How does it lead beyond the vexed notions of the contemporary milieu, namely, hybrid local? How does it transcend the idea of nationally restricted local too? Looking through eclectic motley of popular cinema in the region, this article seeks to unravel such questions with reflexive propositions. It paves the way to comprehend cinematic identity of the region with the adjective of ‘melodrama’, as perceived through the local sociocultural component. It is with the sweep of melodrama, arguably, that cinema of South Asia transcends the notions attached with the category of ‘local’. In this backdrop, this article moots a probing question: What is local in the regional cinemas? Does local mean merely a vexed category in contemporary context of transnational flow? Or there is more to the category of local, beyond the existing formulations? With these questions, this article seeks to participate in the available discourse showing the regional cinema underpinned by the essentially dynamic nature and scope of the local.
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김한상. "Cinematic Experience of ‘New Order in East Asia’ -Japanese Imperial Propaganda Films on Joseon-Manchuria Tourism-." Film Studies ll, no. 43 (March 2010): 81–113. http://dx.doi.org/10.17947/kfa..43.201003.003.
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Chu, Kiu-wai. "The imagination of eco-disaster: Post-disaster rebuilding in Asian cinema." Asian Cinema 30, no. 2 (October 1, 2019): 255–72. http://dx.doi.org/10.1386/ac_00007_1.
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Commercial films today often reduce representations of natural catastrophes to commodified spectacles that de-contextualize the subject matter. To contemporary film viewers, the ‘psychic numbing’ effect is apparent, and it does not apply merely to our perception of numbers, statistics, the big data. It can also be seen when we are bombarded with similar kinds of images over and over again; in this case, the large-scale tsunami, the hurricanes, the earthquake and all the exaggerated destruction scenes in recent disaster movies have become clichés no matter how realistic and intense the shots are made. By focusing on a range of eco-disaster films, this article highlights the importance of cultural sensitivity in the study of eco-disaster films, by exploring several questions: how are eco-disasters culturally shaped and defined, via cinematic means? How are human responses to disasters, as reflected in cinematic representations, shaped by specific sociopolitical, cultural or economic conditions? How does cinema as a media form represent ecological concepts that are shared globally or universally, while at the same time reflecting specific cultural characteristics? Juxtaposing examples from China, Thailand and the Phillippines, particularly with three films: Wonderful Town (Thailand, 2007), Aftershock (China, 2010) and Taklub (Phillippines, 2015), this article demonstrates how Asian eco-disaster films in the Anthropocene epoch reflect specific cultural imaginations of nation and identity rebuilding, which in turn provide a ground to reposition, redefine and reinvent the changing cultural identities in contemporary Asia. Eventually, it argues that eco-disaster narratives in Asia reflect the identity crisis of Asian nations in a global capitalist world, just as much as they are about ecological crises.
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Khutorna, Hanna. "PECULIARITIES OF ENGLISH CINEMATIC TEXT TRANSLATION USING LIP-SYNC TECHNIQUE." Scientific Journal of Polonia University 54, no. 5 (December 26, 2022): 43–48. http://dx.doi.org/10.23856/5405.
Повний текст джерелаАнотація:
This paper deals with the problem of the English-Ukrainian film translation. The work is interesting for its topicality as the problem of Lip Sync translation requirements is one of the main factors impacting the process, selection of the translation transformations, and result of the translation. Lip-sync translation is the main technique used in film translation when a film is to be dubbed. The result of the translation is also dependent on the use of translation strategies, that is defined by the lip-sync translation process as well. In terms of lip-sync translation technique the frame type strategy of selecting lip-sync units in target language is the most effective one. The grammatical aspect is also of a high influence on selecting lip-sync equivalents, therefore it defines the choice of particular translation transformations. Methods used in the study: a comparative method (contrast of lexical, grammatical and phonetic phenomena in English and Ukrainian), a descriptive method, and a method of observation.
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Wedaswara ; Yenny Gunawan, Rafii Putra. "CINEMATIC ARCHITECTURE APPROACH IN I&L HOUSE." Riset Arsitektur (RISA) 2, no. 04 (October 16, 2018): 423–40. http://dx.doi.org/10.26593/risa.v2i04.3051.423-440.
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Abstract- AMI is an architecture movement, lead by 10 young Indonesian architects, is not satisfy withIndonesian architecture scene at that time, which they called “less interesting”, “monotone” and “lack ofcharacter”. AMI is considered to be against of mainstream architecture at that time, identified by having theirown idealism, signature, and style. Andra Matin as one of the initiators of the movement, offering acharacteristic architecture and not monotonous as the spirit of design direction. Quoting from David Hutama, acurator from architecture media rooang.com, by having a review on Andra Matin design: His works giving animpression of connectedness from one level to another level, making it have an own unique cinematic stylecaused by an emotional way of aesthetical response through sequence of an user. And many of his works depictminimalist stripes with geometry structure. The goal of this research is to identify a perception of space on oneof Andra Matin works, I&L House.The methodological research used on this research is a descriptive-qualitative through cimematicarchitecture approach. Data types that used for an analysis is mental space element, material space, and livedspace. The data is obtained from three instrument of gathering data, such as observation, interview, andquestionnaire. Analitic technique is built from quantitative analysis and qualitative analysis, from comparingthe user analysis report and perceotion data which carried by respondent.The summary of this research is to define a mental space and material space on the object. The mostsignificant of mental space element and space material giving an influence on shaped space perception such asmasculine, directing and exposed, in a lived space element of I&L house user such as material, shape, light, andsound. In the end, the writer use film as tool for visualizing the summary of this research.Key Words: cinematic architecture, Andra Matin, i&l house
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Park, Jun, and Hyun Mee Kim. "Design and evaluation of CO<sub>2</sub> observation network to optimize surface CO<sub>2</sub> fluxes in Asia using observation system simulation experiments." Atmospheric Chemistry and Physics 20, no. 8 (April 30, 2020): 5175–95. http://dx.doi.org/10.5194/acp-20-5175-2020.
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Abstract. Continuous efforts have been made to monitor atmospheric CO2 mole fractions as it is one of the most influential greenhouse gases in Earth's atmosphere. The atmospheric CO2 mole fractions are mostly determined by CO2 exchanges at the Earth's surface (i.e., surface CO2 flux). Inverse modeling, which is a method to estimate the CO2 exchanges at the Earth's surface, derives surface CO2 fluxes using modeled and observed atmospheric CO2 mole fraction data. Although observation data are crucial for successful modeling, comparatively fewer in situ observation sites are located in Asia compared to Europe or North America. Based on the importance of the terrestrial ecosystem of Asia for global carbon exchanges, more observation stations and an effective observation network design are required. In this paper, several observation network experiments were conducted to optimize the surface CO2 flux of Asia using CarbonTracker and observation system simulation experiments (OSSEs). The impacts of the redistribution of and additions to the existing observation network of Asia were evaluated using hypothetical in situ observation sites. In the case of the addition experiments, 10 observation stations, which is a practical number for real implementation, were added through three strategies: random addition, the influence matrix (i.e., self-sensitivity), and ecoregion information within the model. The simulated surface CO2 flux in Asia in summer can be improved by redistributing the existing observation network. The addition experiments revealed that considering both the distribution of normalized self-sensitivity and ecoregion information can yield better simulated surface CO2 fluxes compared to random addition, regardless of the season. This study provides a diagnosis of the existing observation network and useful information for future observation network design in Asia to estimate the surface CO2 flux and also suggests the use of an influence matrix for designing CO2 observation networks. Unlike other previous observation network studies with many numerical experiments for optimization, comparatively fewer experiments were required in this study. Thus, the methodology used in this study may be used for designing observation networks for monitoring greenhouse gases at both continental and global scales.
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Nornes, Markus. "Subtitling Calligraphy." Journal of Chinese Film Studies 1, no. 1 (March 12, 2021): 115–33. http://dx.doi.org/10.1515/jcfs-2021-0004.
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Abstract This essay examines a regional, not global, dimension of Chinese cinema: the Chinese character in its brushed form. Calligraphy and cinema have an intimate relationship in East Asia. Indeed, the ubiquity of the brushed word in cinema is one element that actually ties works in Korean, Japanese and Sinophone Asia together as a regional cinema. At the same time, I will explore the very specific difference of Chinese filmmakers’ use of written language. On first glance, cinema and calligraphy would appear as radically different art forms. On second glance, they present themselves as sister arts. Both are art forms built from records of the human body moving in (an absent) time and space. The essay ends with a consideration of subtitling, upon which Chinese cinema’s global dimension is predicated. How does investigating this very problem lead us to rethinking the nature of the cinematic subtitle, which is very much alive―a truly movable type?
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Koh, Tieh-Yong, and Chee-Kiat Teo. "TOWARD A MESOSCALE OBSERVATION NETWORK IN SOUTHEAST ASIA." Bulletin of the American Meteorological Society 90, no. 4 (April 2009): 481–88. http://dx.doi.org/10.1175/2008bams2561.1.
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Wedaswara ; Yenny Gunawan, Rafii Putra. "CINEMATIC ARCHITECTURE APPROACH IN I&L HOUSE." Riset Arsitektur (RISA) 2, no. 04 (October 16, 2018): 423–51. http://dx.doi.org/10.26593/risa.v2i04.3051.423-451.
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Abstract- AMI is an architecture movement, lead by 10 young Indonesian architects, is not satisfy with Indonesian architecture scene at that time, which they called “less interesting”, “monotone” and “lack of character”. AMI is considered to be against of mainstream architecture at that time, identified by having their own idealism, signature, and style. Andra Matin as one of the initiators of the movement, offering a characteristic architecture and not monotonous as the spirit of design direction. Quoting from David Hutama, a curator from architecture media rooang.com, by having a review on Andra Matin design: His works giving an impression of connectedness from one level to another level, making it have an own unique cinematic style caused by an emotional way of aesthetical response through sequence of an user. And many of his works depict minimalist stripes with geometry structure. The goal of this research is to identify a perception of space on one of Andra Matin works, I&L House.The methodological research used on this research is a descriptive-qualitative through cimematic architecture approach. Data types that used for an analysis is mental space element, material space, and lived space. The data is obtained from three instrument of gathering data, such as observation, interview, and questionnaire. Analitic technique is built from quantitative analysis and qualitative analysis, from comparing the user analysis report and perceotion data which carried by respondent.The summary of this research is to define a mental space and material space on the object. The most significant of mental space element and space material giving an influence on shaped space perception such as masculine, directing and exposed, in a lived space element of I&L house user such as material, shape, light, and sound. In the end, the writer use film as tool for visualizing the summary of this research. Key Words: cinematic architecture, Andra Matin, i&l house
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Hussain, Hafiz Azhar, Muhammad Majid Hamid Nasir, and Muhammad Rawaha Saleem. "US Foreign Policy and Iconization of A Terrorist Through Hollywood Films: A Content Analysis of Afghan and Iraq War in Pre & Post 9/11 Movies (1995 To 2015)." Journal of Peace, Development & Communication me 05, issue 2 (June 30, 2021): 86–99. http://dx.doi.org/10.36968/jpdc-v05-i02-08.
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The study is about the cinematic representation of war on terror and explores the relationship between Hollywood productions and US foreign policy. It includes 14 Hollywood productions for cinema screen regarding Afghan and Iraq war during the era of 1995 to 2015. Content analysis of selected movies is done to find out how the ‘Other’ characters are presented on screen. The observation concludes that the Hollywood has hand in gloves with Washington to propagate the state agenda throughout the world. The image of enemy on cinematic screen is shaped and reshaped following the patterns which suit the US government as obvious in the case of Afghan and Iraq war. It is also found that the terrorist Middle Eastern and Afghan Muslim characters are mostly non-uniformed, covered head, armed, veiled, wearing upper/ jackets and wear in formal dresses. Moreover, they are iconized as animalistic, uncivilized, aggressor and have no family roles. On the contrary, the ‘Other’ characters which are supportive to American army are mostly presented as un-barbaric, civilized, defender and having family roles and they are mostly uniformed.
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Kharisma, Bethoven. "Analisis Komposisi Soundtrack dalam Video Game “Genshin Impact”." Indonesian Journal of Performing Arts Education 1, no. 2 (July 31, 2021): 12–15. http://dx.doi.org/10.24821/ijopaed.v1i2.5432.
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Role-playing games merupakan merupakan salah satu genre utama dari sebagian banyak game dan ada dalam bentuk dan format yang berbeda. Dalam sebuah game cenderung menggunakan musik cinematic yang mampu membawa suasana dan emosi kepada pemain game tersebut. Pemilihan soundtrack Genshin Impact pada “Main Theme: from The Wind and The Star Traveler” sebagai objek penelitian dikarenakan penataan musik cinematic yang megah. Penelitian kualitatif deskriptif ini memiliki tujuan untuk menganalisis teknik pengolahan komposisi dari soundtrack tersebut. Metode yang digunakan adalah studi diskografi, studi literatur, dan observasi. Hasil menunjukkan bahwa soundtrack “Main Theme” pada Genshin Impact dimainkan dakam tonalitas D Mayor dengan tempo 82 bpm. Dalam soundtrack Main Theme terdiri dari beberapa bagian yaitu, intro, verse, chorus, dan outro. Elemen musik pada soundtrack Main Theme juga diketahui berdasarkan ritme, dinamika, harmoni, tekstur, dan bentuk. Musik soundtrack tersebut mengandung suasana yang sederhana tapi megah dari penggunaan tonalitas mayor, poliritme, dan pengembangan motif utama yang memperkaya. Role-playing games are one of the main genres of many games and come in many different forms and formats. A game tends to use cinematic music that can bring atmosphere and emotions to the game's players. The selection of the Genshin Impact soundtrack on "Main Theme: from The Wind and The Star Traveler" as the object of research is due to the magnificent cinematic music arrangement. This descriptive qualitative study aims to analyze the compositional processing techniques of the soundtrack. The method used is discography study, literature study, and observation. The results show that the “Main Theme” soundtrack on Genshin Impact is played in a D Major tonality with a tempo of 82 bpm. The Main Theme soundtrack consists of several parts: intro, verse, chorus, and outro. The musical elements in the Main Theme soundtrack are also known based on rhythm, dynamics, harmony, texture, and form. The soundtrack's music contains a simple but majestic atmosphere of the enriching use of major tonality, polyrhythm, and development of central motifs.
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Iordanova, Dina. "Global film at global airlines." Alphaville: Journal of Film and Screen Media, no. 14 (January 24, 2018): 74–93. http://dx.doi.org/10.33178/alpha.14.04.
Повний текст джерелаАнотація:
In recent years, since the introduction of individually controlled multichannel entertainment systems on-board, it has become customary to see a growing range of international cinematic selections being made available to airline passengers. The film selection is no longer dominated by Hollywood fare; average long-haul flights now feature films sourced out of Bollywood, East Asia, and Europe, as well as from other cinematic traditions—and the selection grows in size and in variety, especially on flights that bridge together far-flung parts of the world. It is an unprecedented situation—to see global cinema “live”, as it were, on board of global airlines—that turns the airlines into territories of conviviality, as no similar levels of diversity are found in the actual geographical territories of the countries where the airlines are based. Some research questions that arise in this context include: is it possible to speculate that the programme that airlines make available to audiences on long-haul flights is reflective of a specific understanding of diversity and cosmopolitanism that underwrite their choices? What message does the multifaceted and multinational entertainment menu of global airlines convey in a political context that is defined by backlash against globalisation and cosmopolitanism? Can one claim that global airlines are now one of the few platforms where global cinema is recognised and represented in its largest assortment?
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Cheng, Yin Cheong, and Wing Ming Cheung. "Lessons from TIMSS in Europe: An Observation from Asia." Educational Research and Evaluation 5, no. 2 (April 1999): 227–36. http://dx.doi.org/10.1076/edre.5.2.227.6949.
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Mizoguchi, Yasuko, Akira Miyata, Yoshikazu Ohtani, Ryuichi Hirata, and Satoko Yuta. "A review of tower flux observation sites in Asia." Journal of Forest Research 14, no. 1 (February 2009): 1–9. http://dx.doi.org/10.1007/s10310-008-0101-9.
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Tamai, Koji, and Yue-Joe Hsia. "CO2 flux observation in various forests of Monsoon-Asia." Journal of Forest Research 17, no. 3 (June 2012): 225–26. http://dx.doi.org/10.1007/s10310-012-0336-3.
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Muliani, Metta. "Analisis Komposisi Soundtrack Epic “You See Big Girl” Karya Hiroyuki Sawano dalam Serial Animasi Attack on Titan." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 3, no. 2 (November 27, 2020): 73. http://dx.doi.org/10.26740/vt.v3n2.p73-83.
Повний текст джерелаАнотація:
Action-fantasy are some movie genres that has the most expansive franchises in film industry and tend to use cinematic music to correlate the atmosphere and emotions of the movie’s imaginary universe. The analysis of You See Big Girlis due to its majestic cinematic music arrangement, its suitability in accompanying the battle scene, and also can be enjoyed as an independent track despite of its role in accompanying the scene. This qualitative descriptive research aims to analyze the musical composition technique by describing the epic musical element. This research contains of literature study, discography, and observation as the research methods, along with the approach of Lehman and Derrick Werlé’sexamine on epic music to analyze the epic element. The result shows that the You See Big Girl is one of the various epic music with the use of battle and war instrument, as well as tension built gradually from a section to the following by the use of polyrhythm, marcato accent, big crescendo, sequence, sudden silence to ends the musical phrase, ostinato, and abstract theme, to portray a majestic, vibrant, war and battle scene, and the greatness through the music. Keywords: analysis, composition, animation, epic soundtrack, You See Big Girl
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Y. Chen-López, Francisco. "Plasticity as Globality and Authenticity: The Re-represented Chinese Brazilians in Cidade de Plástico/ 荡寇/蕩寇/Plastic City (2008)". Latin American Literary Review 49, № 97 (17 листопада 2021): 2–9. http://dx.doi.org/10.26824/lalr.279.
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The present article contends that the cinematic representation of the Chinese enclave in São Paulo, Brazil, along with the Chinese Brazilian characters in Plastic City (2008), are the product of a (self)-orientalization and exoticization process. While the plot takes place in Brazil, it is built on collective imaginations from Asia through plasticity, which has two dimensions. The definition of the first dimension draws on Bhaskar Sarkar’s theory of plasticity and globalization, which focuses on the mutability and flexibility of representations in a global context (452). As Plastic City is a cross-border collaboration from Asia for Asian spectators that engages these global representations, this research investigates how the transnational production process re-represents an exotic Orient in São Paulo. The other dimension of plasticity is based on Walter Benjamin’s theory of reproduced products and their auras (4) with a focus on how the re-representing process presents itself as an attempt to construct historical authenticity. This topic is symbolized through pirated goods and the film’s transnational production process, distribution, and reproducibility of plastic goods. This article also takes a cue from studies of the representation of Asia and Asian characters in Spanish and Latin American cinema, which is an area gaining increasing interest in recent years (Lu, Dávila Gonçalves, Vázquez Vázquez), by calling into question the often ignored or stigmatized population of the films.
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Changsong, Wang, and Lucyann Kerry. "Filmic Depiction of Malay Subjectivity in the Late Yasmin Ahmad’s Films." SAGE Open 12, no. 2 (April 2022): 215824402210964. http://dx.doi.org/10.1177/21582440221096444.
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Besides P. Ramlee, Yasmin Ahmad’s name is synonymous with Malaysian cinema. The award-winning Malaysian filmmaker’s death impacted not only the Malaysian film industry but also those who admired her work. The late legendary filmmaker was a liberal Islamic Malaysian who explored Islam and humanity through interracial love stories. These filmic stories resonated with the ordinary Malaysians as they were compelling and courageous, often challenging the norms and conventions of other Malaysian films by daringly dramatizing and visualizing societal taboos and hypocrisies on the cinematic screen. The employment and integration of cosmopolitan themes of love, humanism, and humor in her films sets her apart from other local filmmakers. Yasmin’s films had attracted international attention and garnered awards at film festivals in Europe, North America, and Asia. This paper attempts to analyze her cinematic approaches of the construction of Malay subjectivity in all of her six films. For example, interracial relationships in Muallaf and Talentime is the dominant leitmotif of each, which connects the films with parallel events occurring in real-life Malaysia. The author interviewed production crew members who worked closely with Yasmin for her six films and tried to have a better understanding of the narrative motifs and themes in her films. These interviewees provided a comprehensive picture which drives her films, even now, to move beyond being focused on multiculturalism and to more socially, culturally and politically issues related to Malaysians.
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Tanaka, Yoshiyuki, Makoto Arakawa, Yohei Yamaguchi, Chieko Hori, Masahiro Ueno, Takeyuki Tanaka, Tatsushi Imahori, and Yoshinori Kondo. "NMR Spectroscopic Observation of a Metal-Free Acetylide Anion." Chemistry – An Asian Journal 1, no. 4 (October 20, 2006): 581–85. http://dx.doi.org/10.1002/asia.200600099.
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Bolin, Zhao, Li Wanbiao, and Zhu Yuanjing. "Study on atmospheric ozone in East Asia with satellite observation." Advances in Atmospheric Sciences 11, no. 1 (February 1994): 27–35. http://dx.doi.org/10.1007/bf02656990.
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Muliani, Metta. "Analisis Komposisi Soundtrack Epic “You See Big Girl” Karya Hiroyuki Sawano dalam Serial Animasi Attack on Titan." PROMUSIKA 8, no. 2 (May 7, 2021): 58–68. http://dx.doi.org/10.24821/promusika.v1i2.4454.
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Action-fantasy merupakan genre yang diproduksi secara lebih meluas dalam industri perfilman dan cenderung menggunakan musik cinematic yang mampu menggambarkan suasana dan emosi pada dunia imajiner dalam film tersebut. Pemilihan You See Big Girl sebagai objek penelitian dikarenakan penataan musik cinematic yang megah, kesesuaiannya mengiringi suasana pertarungan pada narasi, juga sebagai musik mandiri yang dinikmati terlepas dari perannya mengiringi adegan. Penelitian kualitatif deskriptif ini bertujuan untuk menganalisis teknik pengolahan komposisi soundtrack You See Big Girl dengan mendeskripsikan elemen musik epic di dalamnya. Metode penelitian yang digunakan adalah studi literatur, studi diskografi, dan observasi, serta pendekatan dengan teori Lehman dan Derrick Werlé untuk menganalisis elemen-elemen musik epic. Hasil penelitian menunjukkan bahwa You See Big Girl merupakan salah satu karya musik epic dengan penggunaan instrumen yang berkaitan dengan pertarungan dan peperangan, serta membangun peningkatan ketegangan dari suatu bagian ke bagian berikutnya melalui poliritmik, aksen marcato, big crescendo, sekuen, sudden silence yang mengakhiri periode kalimat, ostinato, dan abstract theme, untuk menggambarkan suasana megah, semangat, aksi pertarungan dan peperangan, serta kesan hebat melalui musiknya.AbstractEpic Soundtrack Composition Analysis "You See Big Girl" Works by Hiroyuki Sawano in Animated Series Attack on Titan. Action-fantasy are some movie genres that has the most expansive franchises in film industry and tend to use cinematic music to correlate the atmosphere and emotions of the movie’s imaginary universe. The analysis of You See Big Girl is due to its majestic cinematic music arrangement, its suitability in accompanying the battle scene, and also can be enjoyed as an independent track despite of its role in accompanying the scene. This qualitative descriptive research aims to analyze the musical composition technique by describing the epic musical element. This research contains of literature study, discography, and observation as the research methods, along with the approach of Lehman and Derrick Werlé’s examine on epic music to analyze the epic element. The result shows that the You See Big Girl is one of the various epic music with the use of battle and war instrument, as well as tension built gradually from a section to the following by the use of polyrhythm, marcato accent, big crescendo, sequence, sudden silence to ends the musical phrase, ostinato, and abstract theme, to portray a majestic, vibrant, war and battle scene, and the greatness through the music.Keywords: analysis; composition; animation; epic soundtrack; You See Big Girl
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Juknevičiūtė, Laima. "The soft power implications of the new South Korean cinema: Approaching audiences in East Asia and Lithuania." Acta Orientalia Vilnensia 12, no. 1 (January 1, 2011): 121–37. http://dx.doi.org/10.15388/aov.2011.0.1100.
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Vytautas Magnus UniversitySouth Korea’s experience wielding soft power is usually associated with the Korean Wave, which swept the Asian region off its feet predominantly during the first decade of this century. In this article I will however argue that the phenomenon of the Korean Wave has never been intended as a calculated attempt on the part of the South Korean government to enhance the overall South Korean image worldwide and thus increase South Korean international might and prestige. To prove the validity of this hypothesis, I will provide a concise historical overview of the inception, development and spread of South Korean popular culture, while at the same time tracing its underlying soft power implications. I will likewise attempt to discuss the popular reception of the Korean Wave in three East Asian countries, i.e. Mainland China, Taiwan and Japan, and one European country, i.e. Lithuania. The scope of the endeavour has been largely restricted to the cinematic aspect of the Korean Wave, for I consider the creation of motion pictures and drama serials to be by far the most precious, influential and revealing form of art.
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Cho, Minkwang, and Hyun Mee Kim. "Effect of assimilating CO2 observations in the Korean Peninsula on the inverse modeling to estimate surface CO2 flux over Asia." PLOS ONE 17, no. 2 (February 18, 2022): e0263925. http://dx.doi.org/10.1371/journal.pone.0263925.
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To investigate the impact of two CO2 observation datasets obtained from the Korean Peninsula on the surface CO2 flux estimation over Asia, the two datasets are assimilated into the CarbonTracker (CT) inverse modeling system and the estimated surface CO2 fluxes are analyzed. Anmyeon-do (AMY) and Gosan (GSN) sites in the Korean Peninsula have observed surface CO2 mole fraction since the late 1990s. To investigate the effect of assimilating the additional Korean observations on the surface CO2 flux estimation over Asia, two experiments are conducted. The reference experiment (CNTL) only assimilates observations provided by National Oceanic and Atmospheric Administration (NOAA), while the other experiment (EXP1) assimilates both NOAA observations and two Korean observation datasets. The results are analyzed for 9 years from 2003 to 2011 in Asia region because both AMY and GSN datasets exist almost completely for this period. The annual average of estimated biosphere CO2 flux of EXP1 shows more flux absorption in summer and less flux emission from fall to spring compared to CNTL, mainly on Eurasia Temperate and Eurasia Boreal regions. When comparing model results to independent CO2 concentration data from surface stations and aircraft, the root mean square error is smaller for EXP1 than CNTL. The EXP1 yields more reduction on uncertainty of estimated biosphere CO2 flux over Asia, and the observation impact of AMY, GSN sites on flux estimation is approximately 11%, which is greater than other observation sites around the world. Therefore, the two CO2 observation sets in the Korean Peninsula are useful in reducing uncertainties for regional as well as global scale CO2 flux estimation.
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Song, Geng. "The Afterlife of a Tang Monk: Buddhist Masculinity and Transformations of the Image of Xuanzang in East Asia." NAN NÜ 24, no. 2 (November 9, 2022): 296–318. http://dx.doi.org/10.1163/15685268-02410049.
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Abstract This study focuses on how Xuanzang (602-64), the well-known monk who procured Mahāyāna Buddhist scriptures from India and translated them into Chinese, posthumously became an icon of soft and queer masculinities in East Asian popular culture. Through a historical survey of the transformation of this image in various cultural forms, including literature, films, TV shows, anime and manga, computer games, and memes in China, Japan, and Korea, this article explores the interplay between religion and gender in East Asia, and argues that the image of Xuanzang is the product of the negotiations among a variety of cultural and economic forces and factors, such as the Buddhist notions of gender transgression and reincarnation, the Confucian discourse of scholar masculinity and androgyny, the cult of homosocial bond and brotherhood, as well as commercial concerns in TV and cinematic adaptations. Despite concerns over the character’s effeminacy and various attempts to re-masculinize him, the most popular and widely accepted image of Xuanzang remains that of a young scholar characterized by vulnerability and feminine beauty – a prototype of the fashionable “little fresh meat” aesthetic today.
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Bolboacă, Lucian-Eugen, Emanuel Ştefan Baltag, Lucian Fasolă-Mătăsaru, and Constantin Ion. "First Observation of the Yellow-Browed Warbler Phylloscopus Inornatus in Romania." Ring 36, no. 1 (January 29, 2015): 45–49. http://dx.doi.org/10.2478/ring-2014-0004.
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ABSTRACT The Yellow-browed Warbler is a species of the Sylviidae family that breeds in Asia and winters in South East Asia and western Europe. In northern and north-western Europe it is considered one of the most numerous nocturnal migratory species from Siberia. In the southern and eastern part of the continent there are fewer observations of the presence of the species in passage or in winter. On 29 September 2013, during a ringing session in the southern part of the Danube Delta (Romania), we captured a juvenile individual of the Yellow-browed Warbler. This is the first record of the species in Romania.
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Hilsabeck, Burke. "Frank Tashlin's Jackson Pollock." Modernist Cultures 11, no. 2 (July 2016): 243–67. http://dx.doi.org/10.3366/mod.2016.0137.
Повний текст джерелаАнотація:
This paper situates Frank Tashlin's Paramount-produced Artists and Models (1955) alongside a genealogy of modernist painting. Beginning with the observation that the opening sequence of Tashlin's film burlesques Abstract Expressionist painting and Jackson Pollock in particular, it puts Artists and Models in conversation with Clement Greenberg's paint-on-a-flat-canvas modernism (and Greenberg's interest in articulating this modernism through the figure of Pollock) with a distinct account of cinematic specificity. The essay then places Tashlin's film and the figure of Jerry-Lewis-as-Jackson-Pollock in relation to Pop Art of the late 1950s and early 1960s. It concludes by suggesting that Tashlin's Pollock can help us to better think about the relationship between high modernism and mass culture.
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Ha, Tuyen V., Juliane Huth, Felix Bachofer, and Claudia Kuenzer. "A Review of Earth Observation-Based Drought Studies in Southeast Asia." Remote Sensing 14, no. 15 (August 5, 2022): 3763. http://dx.doi.org/10.3390/rs14153763.
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Drought is a recurring natural climatic hazard event over terrestrial land; it poses devastating threats to human health, the economy, and the environment. Given the increasing climate crisis, it is likely that extreme drought phenomena will become more frequent, and their impacts will probably be more devastating. Drought observations from space, therefore, play a key role in dissimilating timely and accurate information to support early warning drought management and mitigation planning, particularly in sparse in-situ data regions. In this paper, we reviewed drought-related studies based on Earth observation (EO) products in Southeast Asia between 2000 and 2021. The results of this review indicated that drought publications in the region are on the increase, with a majority (70%) of the studies being undertaken in Vietnam, Thailand, Malaysia and Indonesia. These countries also accounted for nearly 97% of the economic losses due to drought extremes. Vegetation indices from multispectral optical remote sensing sensors remained a primary source of data for drought monitoring in the region. Many studies (~21%) did not provide accuracy assessment on drought mapping products, while precipitation was the main data source for validation. We observed a positive association between spatial extent and spatial resolution, suggesting that nearly 81% of the articles focused on the local and national scales. Although there was an increase in drought research interest in the region, challenges remain regarding large-area and long time-series drought measurements, the combined drought approach, machine learning-based drought prediction, and the integration of multi-sensor remote sensing products (e.g., Landsat and Sentinel-2). Satellite EO data could be a substantial part of the future efforts that are necessary for mitigating drought-related challenges, ensuring food security, establishing a more sustainable economy, and the preservation of the natural environment in the region.
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Reddy, C. Sudhakar, V. S. Faseela, Anjaly Unnikrishnan, and C. S. Jha. "Earth observation data for assessing biodiversity conservation priorities in South Asia." Biodiversity and Conservation 28, no. 8-9 (December 5, 2018): 2197–219. http://dx.doi.org/10.1007/s10531-018-1681-0.
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Zhussupbekov, A. Zh, A. Issina, Y. Iwasaki, Sh Kenjaev, and I. Usmankhodjaev. "GEOTECHNICAL FEATURES OF HISTORICAL ARCHITECTURAL MONUMENTS OF CENTRAL ASIA." International Journal for Computational Civil and Structural Engineering 16, no. 2 (June 26, 2020): 132–44. http://dx.doi.org/10.22337/2587-9618-2020-16-2-132-144.
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In this paper geoenvironmental problems of the historical cities of Central Asia are considered, climatic, geotechnical, hydrogeological characteristics of the studied objects, their constructive decision and the analysis of deformations of elevated and underground construction designs are provided. Main reasons for deformations of monuments of architecture of Central Asia: uneven rainfall of soil of the basis in the most overloaded sites of designs of the building; seismic influences; violation of temperature moisture conditions and moisture; anthropogenous influence (especially notable in the historical cities of Samarkand and Bukhara where monuments of architecture are influenced by vibrations from traffic). In the paper the offered observation method of monuments of architecture of Central Asia and results of observation of the mausoleum Arystan-Bab and a mosque and minaret Kalon for 2014 is described.
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Uyeda, Hiroshi. "Mesoscale Precipitation Systems Along the Meiyu/Baiu Front and Future Expectation for Research Radar and Weather Radar Network." Journal of Disaster Research 3, no. 1 (February 1, 2008): 61–68. http://dx.doi.org/10.20965/jdr.2008.p0061.
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Field experiments on precipitation systems in East Asia are a key to better understanding global climate change, to uncovering weather phenomena related to meteorological disasters in the region, and to improving quantitative precipitation estimation (QPE) and quantitative precipitation forecasting (QPF). Observations with Doppler radar and radiosonde have clarified the structure of Meiyu/Baiu frontal precipitation systems and Typhoon rainbands. The Hydroshperic Atmospheric Research Center (HyARC) of Nagoya University has conducted field experiments on precipitation systems over the Yangtze River and East China Sea using dual Doppler radar observation on convective systems around the Meiyu front and aircraft observation with dropsonde on Baiu frontal precipitation systems. These studies are revealing characteristics of precipitation systems over the East China Sea and in East Asia. Precipitation clouds form dramatically rapidly in the moist environment, and precipitation systems developing south of the Baiu front play an important role on the formation of heavy rainfalls along the west coast of Kyushu, Japan. We discuss 1) the results of recent field experiments on precipitation systems over the East China Sea, 2) observation networks and preparation of new observation tools, 3) the development of a cloud resolving model to simulate precipitation systems, and 4) new research collaboration in East Asia.
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Nugroho, Agustinus Dwi. "The Artist: Silent Technique in Film Form." International Journal of Creative and Arts Studies 3, no. 1 (December 29, 2017): 9. http://dx.doi.org/10.24821/ijcas.v3i1.1831.
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The Artist is a film that uses the silent era techniques to visualize the film. This study sought to uncover what the motivation behind the use of techniques to the silent era films with his observation of the text of both aspects of the narrative as well as aspects of the technique. The findings of the observation process could be the basis of analysis. The Artist makes this silent era technology into a cinematic technique to visualize the film. This has become a strong motivation and able to demonstrate the strength of the story as a whole that tells about the silent era transition process from the perspective of the player. The silent era techniques were used to make this technique as a force in the film. This study focuses on how the technique of the silent era emerged as a new technique in the world of film and brings new perspective in film studies. This new technique emerged because it was never used fully in the present.
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Itahashi, Syuichi, Baozhu Ge, Keiichi Sato, Joshua S. Fu, Xuemei Wang, Kazuyo Yamaji, Tatsuya Nagashima, et al. "MICS-Asia III: overview of model intercomparison and evaluation of acid deposition over Asia." Atmospheric Chemistry and Physics 20, no. 5 (March 4, 2020): 2667–93. http://dx.doi.org/10.5194/acp-20-2667-2020.
Повний текст джерелаАнотація:
Abstract. The Model Inter-Comparison Study for Asia (MICS-Asia) phase III was conducted to promote understanding of regional air quality and climate change in Asia, which have received growing attention due to the huge amount of anthropogenic emissions worldwide. This study provides an overview of acid deposition. Specifically, dry and wet deposition of the following species was analyzed: S (sulfate aerosol, sulfur dioxide (SO2), and sulfuric acid (H2SO4)), N (nitrate aerosol, nitrogen monoxide (NO), nitrogen dioxide (NO2), and nitric acid (HNO3)), and A (ammonium aerosol and ammonia (NH3)). The wet deposition simulated by a total of nine models was analyzed and evaluated using ground observation data from the Acid Deposition Monitoring Network in East Asia (EANET). In the phase III study, the number of observation sites was increased from 37 in the phase II study to 54, and southeast Asian countries were newly added. Additionally, whereas the analysis period was limited to representative months of each season in MICS-Asia phase II, the phase III study analyzed the full year of 2010. The scope of this overview mainly focuses on the annual accumulated deposition. In general, models can capture the observed wet deposition over Asia but underestimate the wet deposition of S and A, and show large differences in the wet deposition of N. Furthermore, the ratio of wet deposition to the total deposition (the sum of dry and wet deposition) was investigated in order to understand the role of important processes in the total deposition. The general dominance of wet deposition over Asia and attributions from dry deposition over land were consistently found in all models. Then, total deposition maps over 13 countries participating in EANET were produced, and the balance between deposition and anthropogenic emissions was calculated. Excesses of deposition, rather than of anthropogenic emissions, were found over Japan, northern Asia, and southeast Asia, indicating the possibility of long-range transport within and outside of Asia, as well as other emission sources. To improve the ability of models to capture the observed wet deposition, two approaches were attempted, namely, ensemble and precipitation adjustment. The ensemble approach was effective at modulating the differences in performance among models, and the precipitation-adjusted approach demonstrated that the model performance for precipitation played a key role in better simulating wet deposition. Finally, the lessons learned from the phase III study and future perspectives for phase IV are summarized.
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Pradhono, Choiru, Rosta Minawati, and Adi Krisna. "DAMPAK PEMILIHAN LOKASI PEMBUATAN FILM TERHADAP PROMOSI PARIWISATA." Artchive: Indonesia Journal of Visual Art and Design 1, no. 2 (November 2, 2020): 83. http://dx.doi.org/10.53666/artchive.v1i2.1626.
Повний текст джерелаАнотація:
Film is an audio-visual medium which can be extremely effective in conveying information to society at large. The method used here is qualitative using the technique of data collection through observation, literature research and documentation. Film has two determining aspects: narrative and cinematic respectively. Narrative consists of creative content which is to be conveyed to audiences. Cinematic aspects include Mise- en-scène, cinematography, editing and sound. Mise-en-scène consists of four elements, among them the setting and background shooting at tourist objects. These locations have become popular in fact because of publication through film. As phenomena film is extremely effective as an indicator for promotion of tourist destinations, both within the country and abroad. Tourism and film are two pillars in a mutually symbioticrelationship and are useful to society. ABSTRAKFilm adalah audio visual yang sangat efektif dalam menyampaikan informasi ke masyarakat luas. Metode yang digunakan kualitatif dengan teknik pengumpulan data observasi, studi pustaka dan dokumentasi. Film terdiri dari dua unsur pembentuk yakni unsur naratif dan sinematik. Unsur naratif memiliki conten kreatif yang ingin disampaikan kepada penoton, sedangkan unsur sinematik terdiri dari mise en scene,sinematografi, editing, dan suara. Mise en scene terdiri dari empat, diantaranya setting dan latar yang berhubungan dengan lokasi-lokasi shooting film di tempat wisata. Lokasi-lokasi tersebut menjadi popular karena terpublikasi bersama dengan kepopuleran filmnya. Secara fenomena, film sangat efektif beindikasi terhadap promosi lokasi pariwisata, baik dalam negeri maupun luar negeri. Pariwisata dan film merupakan dua pilar yang saling bersimbiosis mutualisme dan menguntungkan bagi masyarakatKata kunci : Film; Indikasi; Promosi; Pariwisata
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Alamsyah, M. Subhan, Winoto Hadi, and Daryati Daryati. "ANALISA KAPASITAS PENYEBERANGAN SEBIDANG DI JALAN ASIA AFRIKA SENAYAN JAKARTA." Menara: Jurnal Teknik Sipil 15, no. 2 (July 16, 2020): 66–72. http://dx.doi.org/10.21009/jmenara.v15i2.14212.
Повний текст джерелаАнотація:
The purpose of this study is to provide an evaluation on pedestrian crossing facility on Asia Afrika street, Senayan Jakarta based on requirement on Directorate General of Transportation and also provided a new suggestion for an alternative pedestrian crossing facility on Asia Afrika street especially in front of Senayan City. The alternative of pedestrian facility obtained by observation on site of the location by observing the traffic of pedestrian whose crossed the street of Asia Afrika and the traffic of all vehicle that crossed the street at peak hours. The observation also included a geometric condition of the street and pedestrian facility on site. As additional study, a survey on 100 pedestrians also being held to determine the characteristic of pedestrian. The result of this study found that the available pedestrian crossing facility on site which is a zebra cross is not capable of providing comfort and safety to pedestrian. Because based of all calculation requirement on MKJI 2007 the Asia Afrika street should provide a pedestrian crossing bridge or a pedestrian crossing tunnel for pedestrian crossing facility which is safer and more comfortable.
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Liu, Maodian, Qianru Zhang, Chenghao Yu, Liuliang Yuan, Yipeng He, Wenjie Xiao, Haoran Zhang, et al. "Observation-Based Mercury Export from Rivers to Coastal Oceans in East Asia." Environmental Science & Technology 55, no. 20 (October 7, 2021): 14269–80. http://dx.doi.org/10.1021/acs.est.1c03755.
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