Journal articles: 'Alpha processor'

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McLellan, E. "The Alpha AXP architecture and 21064 processor." IEEE Micro 13, no. 3 (June 1993): 36–47. http://dx.doi.org/10.1109/40.216747.

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Bernardeschi, Daniele, Francesca Yoshie Russo, Yann Nguyen, Eric Vicault, Jonathan Flament, Deborah Bernou, Olivier Sterkers, and Isabelle Mosnier. "Audiological Results and Quality of Life of Sophono Alpha 2 Transcutaneous Bone-Anchored Implant Users in Single-Sided Deafness." Audiology and Neurotology 21, no. 3 (2016): 158–64. http://dx.doi.org/10.1159/000445344.

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Single-sided deafness (SSD) represents one of the most difficult audiological conditions to rehabilitate. The aim of this prospective study was to evaluate the audiological benefits and quality of life of patients affected by SSD who had previously been users of the Alpha 1® when upgrading them to the Sophono Alpha 2® external processor (Boulder, Colo., USA). Nine patients were included in the study. They underwent physical examination, free-field speech audiometry at 40 and 60 dB, a hearing-in-noise test (Hirsch's test and the squelch test), the Glasgow Benefit Inventory (GBI) questionnaire, and a specific questionnaire on patient satisfaction with Alpha 1. Afterwards, the Alpha 2 external processor was delivered to all patients, and the above-mentioned protocol was repeated after 1 month with the Alpha 2. A statistically significant improvement was found in the speech discrimination score at 40 dB and in the squelch test when using the Alpha 2 external processor compared to the Alpha 1. Alpha 2 had a good clinical tolerance and gave similar results in the specific questionnaire and the GBI to Alpha 1. In conclusion, the new Alpha 2 external processor represents a safe and effective device for the rehabilitation of SSD, and there is an audiological benefit to upgrading to the Alpha 2 external processor for patients who had previously been users of the Alpha 1. The improvement in quality of life is similar to that with other bone-anchored hearing devices.

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Nijmeijer, M. J. P. "A parallel root-finding algorithm." LMS Journal of Computation and Mathematics 18, no. 1 (2015): 713–29. http://dx.doi.org/10.1112/s1461157015000236.

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We present a parallel algorithm to calculate a numerical approximation of a single, isolated root ${\it\alpha}$ of a function $f:\mathbb{R}\rightarrow \mathbb{R}$ which is sufficiently regular at and around ${\it\alpha}$. The algorithm is derivative free and performs one function evaluation on each processor per iteration. It requires at least three processors and can be scaled up to any number of these. The order with which the generated sequence of approximants converges to ${\it\alpha}$ is equal to $(n+\sqrt{n^{2}+4})/2$ for $n+1$ processors with $n\geqslant 2$. This assumes that particular combinations of the derivatives of $f$ do not vanish at ${\it\alpha}$.

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Karger, Paul A. "Performance and security lessons learned from virtualizing the alpha processor." ACM SIGARCH Computer Architecture News 35, no. 2 (June 9, 2007): 392–401. http://dx.doi.org/10.1145/1273440.1250711.

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SHARIF, MD HAIDAR. "HIGH-PERFORMANCE MATHEMATICAL FUNCTIONS FOR SINGLE-CORE ARCHITECTURES." Journal of Circuits, Systems and Computers 23, no. 04 (April 2014): 1450051. http://dx.doi.org/10.1142/s0218126614500510.

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Nowadays high-performance computing (HPC) architectures are designed to resolve assorted sophisticated scientific as well as engineering problems across an ever intensifying number of HPC and professional workloads. Application and computation of key trigonometric functions sine and cosine are in all spheres of our daily life, yet fairly time consuming task in high-performance numerical simulations. In this paper, we have delivered a detailed deliberation of how the micro-architecture of single-core Itanium® and Alpha 21264/21364 processors as well as the manual optimization techniques improve the computing performance of several mathematical functions. On describing the detailed algorithm and its execution pattern on the processor, we have confirmed that the processor micro-architecture side by side manual optimization techniques ameliorate computing performance significantly as compared to not only the standard math library's built-in functions with compiler optimizing options but also Intel® Itanium® library's highly optimized mathematical functions.

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Hadler, J. C., P. J. Iunes, S. R. Paulo, A. P. Policastro, and C. A. Tello. "A discussion of the reliability of alpha-spectroscopy using CR-39 and an image processor." Radiation Measurements 25, no. 1-4 (January 1995): 749–52. http://dx.doi.org/10.1016/1350-4487(95)00241-6.

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Rybka, A., J. Melč, P. Heřmánek, and I. Honzík. "Effect of Storage Duration and Atmosphere on the Content and Price of Hop Alpha Bitter Acids." Scientia Agriculturae Bohemica 48, no. 4 (December 20, 2017): 245–51. http://dx.doi.org/10.1515/sab-2017-0032.

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Abstract The quality of hops is significantly affected by the content of alpha bitter acids. Maintaining it with minimum losses lies within the competence of both the hop grower and processor depending on how they follow the optimum harvest technology, storage conditions, and post-harvest hop processing. That indicator is considerably affected by the hop storage method, i.e. whether the warehouse is air-conditioned or not, as well as the storage duration. The alpha bitter acid content should not be reduced during storage. The objective of this paper is an analysis of the alpha bitter acid content in the Saaz hop variety in a technological sequence of operations starting with drying at the grower and finishing with six-month storing at the processor, with three storage variants: an air-conditioned warehouse, non-conditioned warehouse, and a variant in which the square bale is moved after 60 days from a non-conditioned warehouse into an air-conditioned warehouse. The analysis of samples to identify the alpha bitter acid content was carried out by means of the ASBC Hops-6 and the HPLC EBC 7.7 methods. Practically in all cases the alpha content declines, although if a square bale is placed in an air-conditioned warehouse this decline is the lowest depending on the storage duration. The economic analysis shows a significant profit referring to the price of alpha contained in 1 t of hops stored in an air-conditioned warehouse. At the date of 1/11/2015 this profit was 14 706 CZK, at the date of 4/1/2016 it was 7646 CZK, and at 1/3/2016 the profit was 6587 CZK.

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Furumura, Takashi, B. L. N. Kennett, and Hiroshi Takenaka. "Parallel 3-D pseudospectral simulation of seismic wave propagation." GEOPHYSICS 63, no. 1 (January 1998): 279–88. http://dx.doi.org/10.1190/1.1444322.

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Three‐dimensional pseudospectral modeling for a realistic scale problem is still computationally very intensive, even when using current powerful computers. To overcome this, we have developed a parallel pseudospectral code for calculating the 3-D wavefield by concurrent use of a number of processors. The parallel algorithm is based on a partition of the computational domain, where the field quantities are distributed over a number of processors and the calculation is concurrently done in each subdomain with interprocessor communications. Experimental performance tests using three different styles of parallel computers achieved a fairly good speed up compared with conventional computation on a single processor: maximum speed‐up rate of 26 using 32 processors of a Thinking Machine CM-5 parallel computer, 1.6 using a Digital Equipment DEC‐Alpha two‐CPU workstation, and 4.6 using a cluster of eight Sun Microsystems SPARC-Station 10 (SPARC-10) workstations connected by an Ethernet. The result of this test agrees well with the performance theoretically predicted for each system. To demonstrate the feasibility of our parallel algorithm, we show three examples: 3-D acoustic and elastic modeling of fault‐zone trapped waves and the calculation of elastic wave propagation in a 3-D syncline model.

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Li, Jiaqiang, Vitaly Choutko, and Liyi Xiao. "Single Event Upset Analysis: On-orbit performance of the Alpha Magnetic Spectrometer Digital Signal Processor Memory aboard the International Space Station." Nuclear Instruments and Methods in Physics Research Section A: Accelerators, Spectrometers, Detectors and Associated Equipment 885 (March 2018): 98–104. http://dx.doi.org/10.1016/j.nima.2017.12.035.

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Fan, Yun Yun, Xu Dong Cai, Chao Hui He, and Dong Liu. "On-Orbit Single Event Effect of the Digital Signal Processor of the Alpha Magnetic Spectrometer and Discrepancy Analysis for the Rate Prediction." IEEE Transactions on Nuclear Science 65, no. 5 (May 2018): 1140–46. http://dx.doi.org/10.1109/tns.2018.2826538.

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PAU, L. F. "AN INTELLIGENT CAMERA FOR ACTIVE VISION." International Journal of Pattern Recognition and Artificial Intelligence 10, no. 01 (February 1996): 33–42. http://dx.doi.org/10.1142/s0218001496000049.

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Much research is currently going on about the processing of one or two-camera imagery, possibly combined with other sensors and actuators, in view of achieving attentive vision, i.e. processing selectively some parts of a scene possibly with another resolution. Attentive vision in turn is an element of active vision where the outcome of the image processing triggers changes in the image acquisition geometry and/or of the environment. Almost all this research is assuming classical imaging, scanning and conversion geometries, such as raster based scanning and processing of several digitized outputs on separate image processing units. A consortium of industrial companies comprising Digital Equipment Europe, Thomson CSF, and a few others, have taken a more radical view of this. To meet active vision requirements in industry, an intelligent camera is being designed and built, comprised of three basic elements: – a unique Thomson CSF CCD sensor architecture with random addressing – the DEC Alpha 21064 275MHz processor chip, sharing the same internal data bus as the digital sensor output – a generic library of basic image manipulation, control and image processing functions, executed right in the sensor-internal bus-processor unit, so that only higher level results or commands get exchanged with the processing environment. Extensions to color imaging (with lower spatial resolution), and to stereo imaging, are relatively straightforward. The basic sensor is 1024*1024 pixels with 2*10 bits addresses, and a 2.5 ms (400 frames/second) image data rate compatible with the Alpha bus and 64 bits addressing. For attentive vision, several connex fields of max 40 000 pixels, min 5*3 pixels, can be read and addressed within each 2.5 ms image frame. There is nondestructive readout, and the image processing addressing over 64 bits shall allow for 8 full pixel readouts in one single word. The main difficulties have been identified as the access and reading delays, the signal levels, and dimensioning of some buffer arrays in the processor. The commercial applications targeted initially will be in industrial inspection, traffic control and document imaging. In all of these fields, selective position dependent processing shall take place, followed by feature dependent processing. Very large savings are expected both in terms of solutions costs to the end users, development time, as well as major performance gains for the ultimate processes. The reader will appreciate that at this stage no further implementation details can be given.

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Kigozi, Julia, Emmanuel Baidhe, Isaac Oluk, Ivan Mukisa, Charles Muyanja, Leatitiah Namubiru, and Brenda Katarikawe. "Potential Benefits of the EAPI Agro-processing Skills Training Course on Micro, Small, and Medium Scale (MSMEs) Agro-processors in Uganda." Journal of Food Industry 4, no. 1 (December 1, 2020): 70. http://dx.doi.org/10.5296/jfi.v4i1.17917.

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Micro, Small, and Medium Scale Enterprises (MSMEs) in Uganda contribute significantly to socio-economic growth and development. Several training programs have been organized to upgrade the skills and competencies of personnel in these agro-processing enterprises but these often lack a wholistic approach. An Empowerment of the Agro-Processing Industry (EAPI) training was organised to include eight modules covering the key concepts necessary for an agro-processor. These included; food process and value-chain management, product optimization, national and international food standards, Good Management Practices (GMP) and hygienic food processing, quality control, waste management, infrastructure development for food production and food product marketing. This study assessed the potential benefits of the EAPI training on 40 agro-processors from 40 selected agro-processing facilities. Upon completion of a three-day skills development training, MSME practitioners were interviewed using a semi-structured questionnaire. Descriptive, scale, and thematic analysis were used in the study. The questionnaire used was reliable (Cronbach’s coefficient alpha for relevancy = 0.873). Agro-processors found all modules relevant with an average score ranging between 8.7 and 9.5 on a scale of 10. Increase in knowledge, and interaction between stakeholders were the most outstanding potential benefits of the training. Respondents anticipated improving their operations after the training. Provision of handouts, increasing the number of days for the training, and simplifying the language of delivery were some of the suggested improvements. The study suggests that trainings of this nature could improve operations at different agro-processing facilities.

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Kusnadi, Adhi, Christophorus Kris Widiarso, and Hugeng Hugeng. "Rancang Bangun Sistem Rekomendasi Pemilihan Smartphone Berbasis Web." Jurnal ULTIMA InfoSys 7, no. 1 (April 7, 2017): 31–37. http://dx.doi.org/10.31937/si.v7i1.510.

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With so many variations in the number of smartphones in the market makes it difficult to choose. Therefore, it is necessary to make a recommendation system that can help the process of selecting a smartphone. For the system of recommendation used the method weihgted product. Weighted product method is a method frequently used in the Multi- Criteria Decision Making. Weighted product method capable of finding the best sequence of several alternatives, with criteria price, size, type of OS, RAM size, processor speed, storage capacity, the ability of photography, and the battery capacity. To test user satisfaction is conducted survey of 30 respondents, with Likert scale and Cronbach Alpha. The figures obtained was 0.70, indicating that the system got quite good feedback from respondents. Keywords - recomended system, smartphones, weighted product.

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Du, Yuxuan, Wei Wang, Jiali Liu, Zhixin Zhang, Zhen Zhao, Falin He, Shuai Yuan, and Zhiguo Wang. "National Program for External Quality Assessment of Chinese Newborn Screening Laboratories." International Journal of Neonatal Screening 6, no. 2 (May 9, 2020): 38. http://dx.doi.org/10.3390/ijns6020038.

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Objectives: To analyze the coefficient of variation (CV) of external quality assessment (EQA) in Chinese newborn screening (NBS) laboratories. Method: EQA’s robust CV was analyzed by the Clinet-EQA evaluation system. Results: Participating laboratories of the EQA program increased annually. There was more than a 11-fold increase in phenylalanine (Phe) and thyroid stimulating hormone (TSH). It has shown a declining robust CV, which has tended to level off in recent years. The interquartile range (IQR) of Phe and TSH’s robust CV has decreased from 15.5% to 1.5% and from 22.8% to 1.8%, respectively. Compared to bacterial inhibition assay (BIA), the robust CV of Phe has been shown to be relatively reduced in the fluorescence assay and quantitative enzymatic assay (QEA). The robust CV by ELISA was relatively unstable compared to DELFIA and FEIA. In addition, the robust CVs of glucose-6-phosphate dehydrogenase (G6PD) and 17-alpha-hydroxy progesterone (17-OHP) by Genetic Screening Processor (GSP) were lower than other systems. The median of robust CV by non-derivatized MS/MS (Fenghua) in Phe and free carnitine were around 2.2–4.7% and 2.6–5.2%. Conclusion: Neonatal screening has developed rapidly in China and the majority of participant laboratories had satisfactory performance for the quantitative results.

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Srivastava, Satyam, Sachin Boyat, and Shashikant Sadistap. "A Novel Vision Sensing System for Tomato Quality Detection." International Journal of Food Science 2014 (2014): 1–11. http://dx.doi.org/10.1155/2014/184894.

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Producing tomato is a daunting task as the crop of tomato is exposed to attacks from various microorganisms. The symptoms of the attacks are usually changed in color, bacterial spots, special kind of specks, and sunken areas with concentric rings having different colors on the tomato outer surface. This paper addresses a vision sensing based system for tomato quality inspection. A novel approach has been developed for tomato fruit detection and disease detection. Developed system consists of USB based camera module having 12.0 megapixel interfaced with ARM-9 processor. Zigbee module has been interfaced with developed system for wireless transmission from host system to PC based server for further processing. Algorithm development consists of three major steps, preprocessing steps like noise rejection, segmentation and scaling, classification and recognition, and automatic disease detection and classification. Tomato samples have been collected from local market and data acquisition has been performed for data base preparation and various processing steps. Developed system can detect as well as classify the various diseases in tomato samples. Various pattern recognition and soft computing techniques have been implemented for data analysis as well as different parameters prediction like shelf life of the tomato, quality index based on disease detection and classification, freshness detection, maturity index detection, and different suggestions for detected diseases. Results are validated with aroma sensing technique using commercial Alpha Mos 3000 system. Accuracy has been calculated from extracted results, which is around 92%.

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Stevens, E. Charlotte. "“Researching Starsky and Hutch is exquisite torture”." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 213–19. http://dx.doi.org/10.33178/alpha.20.16.

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This paper reflects on work-in-progress on archived media fans’ letterzines of the 1970s and 1980s. Growing out of the science fiction APA fanzine scene, letterzines collect letters of comment (LOCs) between female fans and capture conversations about their television viewing. Zines from this period go beyond science fiction and include fandoms for cop shows such as Starsky & Hutch (ABC, 1975–1979) and Simon & Simon (CBS, 1981–1989). Letterzines, which have not typically been used as a source for exploring women’s television history, contain a range of information of interest to historians: interpretations of character and narrative, reports on fan conventions and meet-ups, and discussions of how women related to contemporary television at a time when VCRs started to saturate the domestic market. These primary source documents can potentially nuance assumptions about what women watched, their views on the programmes, and the contexts in which they watched.

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O’Connell, Kasandra. "Archivally absent? Female filmmakers in the IFI Irish Film Archive." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 12–27. http://dx.doi.org/10.33178/alpha.20.02.

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This paper is an initial exploration of women’s contribution to collections of the IFI Irish Film Archive, specifically in the area of amateur film production. It considers two female-created collections in this sphere of practice, the Currivan and Overend Collections, examining the context in which they were created as well as the nature of the films themselves. This article also examines the reasons why women are underrepresented in film production, specifically the extent to which organisational policies and the gendered nature of leadership and employment effect what material is produced and preserved. It concludes by looking at praxis within the IFI Irish Film Archive collections and asking what measures the Irish Film Institute can adopt to improve women’s representation and visibility in its programmes of exhibition and preservation.

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Abdel Karim, Maria. "Queer representation in Arab and Middle Eastern Films." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 71–86. http://dx.doi.org/10.33178/alpha.20.06.

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Queer representations have been present since the 1930s in Arab and Middle Eastern cinema, albeit always in coded forms. However, the idea of homosexuality or queerness in the Middle East is still not tolerated due to religious, political, social and cultural reasons. Middle Eastern filmmakers who represent homosexual relations in their films could face consequences ranging from censorship to punishment by the State or religious extremists. This article explores the representation of lesbians in three transnational Middle Eastern women’s films: Caramel (Sukkar banat, 2007) by Nadine Labaki, set in Lebanon, Circumstance (2011) by Maryam Keshavarz, set in Iran, and In Between (Bar Bahar, 2016) by Maysaloun Hamoud, set in Israel/Palestine. It analyses the position the female lesbian protagonists occupy in the narrative structure and their treatment within the cinematic discourse. The article will examine mise-en-scène elements and compare each director’s stylistic and directorial approach in representing homosexuality within different social and cultural contexts. It will also prompt discussions related to queer identity, queer feminism, women’s cinema, audience reception and spectatorship within the Middle East.

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Mincheva, Dilyana. "Cinematic Islamic feminism and the female war gaze." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 54–70. http://dx.doi.org/10.33178/alpha.20.05.

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One of 2019’s most acclaimed documentaries, Waad Al-Kateab’s For Sama is an extraordinary feminist representation of the Syrian civil war (2011present). Al-Kateab impressively documents five years of the most traumatic contemporary conflict in the Middle East by focusing on personal confessions to Sama, her new-born daughter. Raw, dramatic, and sometimes unbearable to watch, it is a poetic tribute to a micro-level, “singularly unmanly”, and painfully intimate portrayal of war and hope (Montgomery). A mixture of love and horror unfold through a kaleidoscopic personal narrative that broaches macro-political and religious subjects without centralising them in the cinematic experience. This article discusses how Al-Kateab’s documentary is a novel and risky experiment that intermingles the female war gaze with a subtle, image-based Islamic feminism. Capitalising on Svetlana Alexievich’s “female war gaze”, which represents the invisible stories of women in war, I show how Al-Kateab’s cinematography expands the scope of the female war experience through carefully selected visual refences to Islamic ethical praxis, as interiorised by the camerawoman. For Sama is simultaneously an intimate motherly confession and act of both “listening” and “remembrance” (as the praxis of the Sufi Samāʿ suggests). In short, it mediates an ethical truth about the human condition in ruins.

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Petty, Sheila. "Sensuous Cinema: The Body in Contemporary Maghrebi Film, by Kaya Davies Hayon." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 260–64. http://dx.doi.org/10.33178/alpha.20.23.

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Roberts, Steven. "The Pamela Davies Collection." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 220–27. http://dx.doi.org/10.33178/alpha.20.17.

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Film continuity supervision is a craft historically dominated by women. Yet, several years since Melanie Williams’s pathbreaking article on David Lean’s continuity supervisors, scholarship on this deeply gendered area of film production expertise remains lacking. In response, this dossier contribution will introduce Pamela Davies’ film continuity stills, catalogued by the author at the Bill Douglas Cinema Museum during an AHRC-funded placement (2018–2019). Davies secured the desired consistency of dialogue, cinematic staging and special effects in British cinema from 1948 to 1985, beginning with the post-war cycle of historical drama in widescreen and colour. Taking a multi-faceted archival approach, I discuss how photographs in the collection snapshot Davies at work and the stills photographers who collaborated with her during a transformative period in British cinema. Examining the stills in their material, craft and commercial contexts will raise new questions about continuity work and make the collection more accessible for researchers.

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Booth, Jack. "Main Street Movies: The History of Local Film in the United States, by Martin L. Johnson." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 248–53. http://dx.doi.org/10.33178/alpha.20.21.

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Cervera Ferrer, Lorena. "Towards a Latin American feminist cinema." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 150–65. http://dx.doi.org/10.33178/alpha.20.11.

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This article contextualises and characterises the history and film production of the Colombian feminist film collective Cine Mujer, and analyses how its collective and collaborative practices challenged auteurism. From 1978 to the late 1990s, Cine Mujer produced several short films, documentaries, series, and videos, and acted as a distribution company of Latin American women’s cinema. Its twenty years of activity possibly make it one of the world’s longest-lasting feminist film collectives. Yet, its history is largely unknown in Colombia and abroad. Thus, the question that motivates this article is related to how to inscribe Cine Mujer in film history without uncritically reproducing the methodologies that cast a shadow on women’s cinema. Throughout its trajectory, Cine Mujer transitioned from being an independent cinematic project interested in artistic experimentation to a media organization that produced educational videos commissioned by governmental and global institutions and often targeted at marginalised women. Based on interviews conducted with some of the Cine Mujer members, the Cine Mujer’s catalogues, and its films and videos, I organise Cine Mujer’s corpus of work in three main modes of production that disrupt the role of the auteur and the centrality of the director.

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Stead, Lisa. "Digital opportunities for feminist film historiography." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 191–204. http://dx.doi.org/10.33178/alpha.20.14.

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This paper discusses some of the key methodological challenges emerging from the AHRC project Reframing Vivien Leigh: Stardom, Archives and Access, led by PI Dr. Lisa Stead at the University of Exeter. This twenty-month project examined how the legacies of screen star Vivien Leigh are archived and curated by a range of public institutions in the South West of England, taking audiences behind the scenes of local archives and museums. The paper reflects on how researching within rural heritage centres and volunteer run archives encourages the introduction of new voices and new case studies within women’s film history, by encompassing the archival labour of a network of volunteers, amateurs and professionals within a broader heritage sector whose historical actions and choices produce alternative kinds of women’s film history. It reflects in turn on the challenge involved in finding new ways to present these histories in interactive, digital and physical forms for audiences beyond the academy and to make meaningful impact from this kind of research.

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Webb, Lawrence. "Film and Domestic Space: Architectures, Representations, Dispositif, edited by Stefano Baschiera and Miriam De Rosa." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 243–47. http://dx.doi.org/10.33178/alpha.20.20.

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Norton, Glen W. "Stanley Cavell and Film: Scepticism and Self-Reliance at the Cinema, by Catherine Wheatley." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 237–42. http://dx.doi.org/10.33178/alpha.20.19.

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Dove-Viebahn, Aviva. "Fan-ning the flame." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 87–103. http://dx.doi.org/10.33178/alpha.20.07.

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While promoting recent seasons of supernatural Western horror series Wynonna Earp (2016), cable channel Syfy released several fan-style videos championing the show’s resident lesbian couple: the protagonist’s sister, Waverly, and police officer Nicole Haught (celebrated via the portmanteau “WayHaught”). In 2019, a network “shipping” its own queer characters in service of fans contrasts starkly with the televisual landscape twenty, or even ten, years prior, when viewers invested in lesbian characters and/or same-sex couples relied on subtext and fan paratexts to fuel their enthusiasm for mostly unacknowledged or thwarted relationships between female characters. In this article, I engage in a two-part interrogation of the representation of lesbian romance on cult television shows in the last twenty-five years, with a focus on Wynonna Earp and its historical antecedents—supernatural, sci-fi, and fantasy shows featuring women and their female companion(s) (whether close friends or lovers). This includes a historiography of the development of lesbian fan communities around certain shows from the late 1990s and early 2000s, as well as an analysis of the narrative stakes and character development in both historical and contemporary shows, like Earp, in order to interrogate their representations of subtext or main text romantic pairings.

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Chinita, Fátima. "Positioning Art Cinema: Film and Cultural Value, by Geoff King." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 265–69. http://dx.doi.org/10.33178/alpha.20.24.

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Brizio-Skov, Flavia. "Fellini’s Films and Commercials: From Postwar to Postmodern, by Frank Burke." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 254–59. http://dx.doi.org/10.33178/alpha.20.22.

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Galt, Frances C. "Researching around our subjects." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 166–88. http://dx.doi.org/10.33178/alpha.20.12.

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This article explores the opportunities and obstacles of researching women’s trade union activism in the British film and television industries between 1933 and 2017. The surviving material on women’s union participation is incomplete and fragmented, and so my research has combined an examination of archival material—the union’s journal and the meeting minutes, correspondence and ephemera of three iterations of its equality committee—with new and existing oral history interviews. Sherry J. Katz has termed this methodological approach “researching around our subjects”, which involves “working outward in concentric circles of related sources” to reconstruct women’s experiences (90). While “researching around my subjects” was a challenging and time-consuming process, it was also a rewarding one, producing important insights into union activism as it relates to gender and breaking new ground in both women’s labour and women’s film and television history. This article concludes with a case study on the appointment of Sarah Benton as researcher for the ACTT’s Patterns report in 1973, revealing the benefits of this methodological approach in reconstructing events which have been effectively erased from the official record.

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Rascaroli, Laura. "General editor's note." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 1–2. http://dx.doi.org/10.33178/alpha.20.00.

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Aust, Rowan. "Reflexive practice, the “turn to care” and accounting for feeling." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 119–34. http://dx.doi.org/10.33178/alpha.20.09.

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This article examines methodological techniques and considerations during life-story interviews with female friends and acquaintances for research on television production. It reflects upon the nuances at play during such interviews in which the interviewer is positioned simultaneously as a researcher and an ex-television produceror what has long been identified as an “insider” (Caldwell)while simultaneously understanding television work within a framework of a contemporary “turn to care”. Understanding television work in the context of care raises specific considerations: to what extent should the emotional, experiential engagement of being an “insider”, amplified by a discussion of care, be used as part of this work? The discussion of care often focuses subjects on where care is not applied to them, particularly in the lives of freelancers as freelancing denies a structure of care due to its atomised and individualist construction. Meanwhile, conversations about care emphasise the emotional load demanded, which is often revealed as overwhelming. What are the responsibilities of the researcher in opening up subjects in this way; where should the work of the “insider” stop and are the methods balanced by the usefulness of the findings?

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Lane, Christina. "Researching Janet Dean." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 205–12. http://dx.doi.org/10.33178/alpha.20.15.

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The 1954 American television series Janet Dean, Registered Nurse (1954–1955) capitalised on the star power of its lead Ella Raines, business heft of CBS executive William Dozier, and cache of film producer Joan Harrison. Though a brainchild of Raines’, the series relied heavily on Harrison’s decades of nuts-and-bolts experience producing Hollywood films. It became a vehicle for both women to pool their creative talents, advance a growing medium, and comment on contemporary social issues. This contribution to the dossier considers the methodological challenges posed by analysing this instance of female collaboration in 1950s television production. It represents an effort to excavate undocumented production practices and women’s creativity, while decentring prevailing historical narratives surrounding the “great genius” male executive.

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Frymus, Agata. "Researching Black women and film history." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 228–36. http://dx.doi.org/10.33178/alpha.20.18.

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My project (Horizon 2020, 2018–20) traces Black female moviegoing in Harlem during the silent film era. The main challenge in uncovering the women’s stories is that historical paradigm has always prioritised the voices of the white, middle-class elite. In the field of Black film history, criticism expressed by male journalists—such as Lester A. Walton of New York Age—has understandably received the most attention (Everett; Field, Uplift). Black, working-class women are notoriously missing from the archive. How do we navigate historical records, with their own limits and absences? This paper argues for a broader engagement with historic artefacts—memoirs, correspondence and recollections—as necessary to re-centre film historiography towards the marginalised. It points to the ways in which we can learn from the scholars and methods of African American history to “fill in the gaps” in the study of historical spectatorship.

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Ostrowska, Ania. "“I felt more difficulty because of my class than I have because of my gender”." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 135–49. http://dx.doi.org/10.33178/alpha.20.10.

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Through the exploration of gender’s intersections with age, social class and race/ethnicity, this article introduces an intersectional lens to studies of female workers in the British creative and cultural industries (CCI). It presents intersectional analysis of data gathered in twenty-six qualitative interviews with contemporary British women documentarians who talk about their early career aspirations and perceived barriers to entry to the industry. Intersectionality, introduced to critical theory by African American scholars, holds that multiple axes of oppression mutually constitute different social positions and identities. The intersectional approach discussed in this article produces a nuanced picture of the small group of respondents, foregrounding a complex interplay between gender, race and ethnicity, class and region and thus demonstrating the limitations of the category “woman filmmaker” for researching professional disadvantage. However, rather than seeing their experiences as intersectional, the respondents tend to focus on one most salient social marker. Congruously with a large body of literature on systemic inequalities in British CCI, social class is the single most important factor shaping the beginnings of the respondents’ careers. By bridging the gap between intersectionality as a theory and research practice, this article seeks to make a contribution to the broader debate about the employment of intersectional approaches in media studies.

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Johnson, Veronica. "Seeking traces of women in early Irish filmmaking." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 28–37. http://dx.doi.org/10.33178/alpha.20.03.

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Recent research by Díóg O’Connell and Donna Casella has brought to light the work of Ellen O’Mara Sullivan with the Film Company of Ireland (1916–20). These scholars trace the personal archive of Ellen O’Mara Sullivan’s descendants and use this data to create a trajectory of her role within this first significant Irish film company. While the official record of the Film Company of Ireland is considered limited, there are traces of the company in trade papers, archives and newspapers. In comparison, information about the role of women in this company is difficult to discover as women often slip from the official archive in this period. In the case of Ellen O’Mara Sullivan, she is frequently hidden behind her husband’s record as owner and director of the Film Company of Ireland, or behind her more famous father and brothers, well-connected Republicans, Mayors of Limerick, and successful businessmen. This paper will examine the role of Ellen O’Mara Sullivan and her sister Mary Rynne in the development of the Film Company of Ireland by examining the archival records available and exploring how to find information about these women when they elude the official record. Working in particular on documents found in the Rynne family archive, Special Collections, NUIG, this paper will attempt to trace the financial contribution of Mary Rynne to this film company and to bring to light the role these two sisters played in the development of the early Irish film industry.

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Wait, Morgan. "Writing the history of women’s programming at Telifís Éireann." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 38–53. http://dx.doi.org/10.33178/alpha.20.04.

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The history of women’s programming at the Irish television station Teilifís Éireann has long been neglected within the historiography of Irish television. Seminal studies within the field have focused quite specifically on the institutional history of the Irish station and have not paid much attention to programming. This is particularly true in regards to women’s programmes. This paper addresses this gap in the literature by demonstrating a methodological approach for reconstructing this lost segment of programming using the example of Home for Tea, a women’s magazine programme that ran on TÉ from 1964 to 1966. It was the network’s flagship women’s programme during this period but is completely absent from within the scholarship on Irish television. Drawing on the international literature on the history of women’s programmes this paper utilises press sources to reconstruct the Home for Tea’s content and discourse around it. It argues that, though Home for Tea has been neglected, a reconstruction of the programme illuminates wider themes of the everyday at Teilifís Éireann, such as a middle-class bias and the treatment of its actors. As such, its reconstruction, and that of other similar programmes, are exceptionally important in moving towards a more holistic history of the Irish station.

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Dowmunt, Tony. "Memory, Place and Autobiography: Experiments in Documentary Filmmaking, by Jill Daniels." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 270–73. http://dx.doi.org/10.33178/alpha.20.25.

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Tembo, Kwasu D. "The curse and the chora." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 104–18. http://dx.doi.org/10.33178/alpha.20.08.

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Referring to the work of Julia Kristeva, this article seeks to perform a comparative analysis between Cordelia Chase (Charisma Carpenter), as she appears within the remit of Joss Whedon and David Greenwalts’s Angel (1999–2004), and Vanessa Ives (Eva Green) in John Logan’s Penny Dreadful (2014–2016). Taking each character as a case study, this article seeks to elucidate the precarious subject positions of central female leads in a team/ensemble horror television series in order to assess whether or not and how the portrayal and characterisation thereof has changed over two decades. To do so, this article employs a theoretical framing that examines the question of agency and power by assessing both characters as what I will call “Choraic conduits”. As such, both characters’ relation, manipulation of/by, and mediation of the supernatural as envisaged and presented in their respective diegetic worlds are analysed in themselves and comparatively against one another. Key concerns here are the questions and problems surrounding each character’s agency over her powers and the supernatural/spiritual realm(s) from which they emerge, as well as the psycho-physical and symbolic consequences of not only the possession of their respective powers, but the micro and macroscopic consequences of how they are used in their respective diegetic worlds.

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Arnold, Sarah, and Anne O'Brien. "Doing women’s film & television history." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 3–11. http://dx.doi.org/10.33178/alpha.20.01.

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The scholarship collected in this issue of Alphaville represents a selection of the research that was to be presented at the 2020 Doing Women’s Film & Television History conference, which was one of the many events cancelled as a result of the Covid-19 pandemic. The pandemic itself greatly impeded academic life and our capacity to carry out and share research among colleagues, students and the public. Covid-19 was even more problematic for women, who shouldered a disproportionate care burden throughout the pandemic. Therefore, we are particularly delighted to be able to present an issue that addresses a number of topics and themes related to the study of women in film and television, including, but not limited to, the production and use of archival collections for the study of women’s film and television histories; the foregrounding of women in Irish film and television histories; women’s productions and representation in films of the Middle East; representations of sex and sexuality in television drama; and women’s work and labour in film and television. The breadth of the themes covered here is indicative of the many ways in which scholars seek to produce, describe and uncover the histories and practices of women in these media. They suggest opportunities for drawing attention to women’s work, whether that is labouring in the film and television industries or the work that women’s images are put to do on screen. Collectively, the articles contained in this issue point to a multitude of opportunities for doing and producing women’s film and television histories, either as they occurred in the past or as they materialise in the present. They offer correctives to absences and marginalisation in production histories, in archiving or preservation, and in representation.

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Cervera Ferrer, Lorena. "A film by Cine Mujer." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 189–90. http://dx.doi.org/10.33178/alpha.20.13.

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Following recent endeavours that have unearthed women’s cinema and reclaimed its contribution to film history, this video essay revisits the filmography of the Colombian feminist film collective Cine Mujer (1978–1999). Narrated by three of its members—Eulalia Carrizosa, Patricia Restrepo, and Clara Riascos—through semi-structured interviews that intersect the personal, professional and political, this short film also reuses Cine Mujer’s archive. Its purpose is, one the one hand, to contribute to restoring its legacy and, on the other hand, to reframe and resignify its images within women’s ongoing battle for equality.

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Zimmermann, Patricia R. "Thirty speculations toward a polyphonic model for new media documentary." Alphaville: Journal of Film and Screen Media, no. 15 (October 9, 2018): 9–15. http://dx.doi.org/10.33178/alpha.15.01.

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Wiehl, Anna. "Beyond “toolness”." Alphaville: Journal of Film and Screen Media, no. 15 (October 9, 2018): 33–48. http://dx.doi.org/10.33178/alpha.15.03.

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The hypothesis underlying this article is that new documentary practices potentially enable new forms of mediation allowing all interactors to experience complexity and deal with contingency in a world of polyvocality through multilayered configurations. An exploration of the Korsakow documentary Racing Home (Marianne McMahon and Phil Hoffman, 2014) brings into focus the epistemological and ontological status of these assemblages. A central issue is the question of how significantly specific modes of editing in Korsakow affect the overall experience for both the authoring instances and for the user-interactor: not only the authorship is shared between the interrelated agents, but also the heterogeneity of materials from various sources adds to the complexity of the assemblages. Central research questions include the role that polyvocality and algorithmic editing play in Korsakow, its specific embracement of contingency and its probing of nonlinear narratives. The answers provided through the analysis of the case study lead to the conclusion that Korsakow is more than just a tool to promote a special purpose and/or a platform to distribute material. Rather, Korsakow is best seen as a methodology to approach complex matters and provide multiple affective and cognitive ways to respond to them.

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McIver, Gillian. "Making Time in Stanley Kubrick’s Barry Lyndon: Art History and Empire, by Maria Pramaggiore." Alphaville: Journal of Film and Screen Media, no. 14 (January 24, 2018): 219–24. http://dx.doi.org/10.33178/alpha.14.10.

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Aston, Judith, and Stefano Odorico. "I-docs as intervention." Alphaville: Journal of Film and Screen Media, no. 15 (October 9, 2018): 1–8. http://dx.doi.org/10.33178/alpha.15.00.

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The idea for this special issue of Alphaville originated at the i-Docs 2018 Symposium, held in March 2018 in Bristol, UK, where we jointly convened a discussion on the potential engagement of the interactive documentary (i-doc) form with Mikhail Bakthin’s expanded concept of polyphony. As part of this, we presented a series of provocations with a view to generating a new theoretical framework for i-docs.1 These provocations were inspired by all aspects of Bakthin’s polyphony, from both a theoretical and a practical point of view.

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Luna, Maria, and Philippe Meers. "The films of Ciro Guerra and the making of cosmopolitan spaces in Colombian cinema." Alphaville: Journal of Film and Screen Media, no. 14 (January 24, 2018): 126–42. http://dx.doi.org/10.33178/alpha.14.07.

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This article proposes to use the concept of “cosmopolitan cinematic margins” to analyse the paradoxical meeting of the cosmopolitan meaning and discourses of Ciro Guerra’s Colombian films and the spatial restrictions and immobility of the rural and remote places in which they are set. Such areas as seen on screen are usually interpreted by urban audiences as exotic locations, independently of their actual distance from cities. The article explores how films that, at first sight, show images of marginal and remote places like the Colombian Amazonian Jungle, when inserted into a global context—such as the hierarchical system of international film festivals—become symbols of cosmopolitan cinematic margins, and represent a country in the global spaces that legitimise the importance of that country’s film production. The cosmopolitan cinematic margins in the films of Guerra are then strategically situated in environments of global mobility and international prestige.

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Topp, Dominic. "Retrospective 2017." Alphaville: Journal of Film and Screen Media, no. 13 (July 20, 2017): 189–94. http://dx.doi.org/10.33178/alpha.13.15.

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Ostrowska, Dorota. "Cosmopolitan spaces of international film festivals." Alphaville: Journal of Film and Screen Media, no. 14 (January 24, 2018): 94–110. http://dx.doi.org/10.33178/alpha.14.05.

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Since its inception, the Cannes Film Festival was envisioned as a continuation, expansion and enhancement of the Riviera’s long-established cosmopolitan, carnivalesque and exclusive space. The Riviera’s cosmopolitanism was shaped by travel and the mobility of its international visitors, making it into a non-place; some of them, in addition, transformed the Riviera through their horticultural activity, thus literally rooting themselves in the Riviera. The particular version of the Riviera’s cosmopolitanism was mirrored in the internal architecture of the festival, in terms of its audiences and programming, which was international, elitist and characterised by the interplay of place and non-place. In this article, I argue that the origins of the festival as a cosmopolitan event are found in the nineteenth- and early-twentieth-century cultural history of the French Riviera—as it was rendered on the pages of the diarists who travelled to the region, and realised in the activities of the visual artists living and working there. I contend that the Cannes Film Festival replicates the dynamics and tensions inherent to the space in which it is settled—that of the French Riviera—and thus, it is not only rooted in the Riviera’s culture, but it is also a fascinating extension of the myth of the Riviera.

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Drouin, Renee Ann. "Games of archiving queerly." Alphaville: Journal of Film and Screen Media, no. 16 (January 30, 2019): 24–37. http://dx.doi.org/10.33178/alpha.16.02.

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The medium of video games often fails to depict queerness with positive representations. To combat the harmful stereotypes or optional queerness in the medium, I advocate for an application of queer archival methodologies to define and locate queerness in gaming. Queer archiving, with a focus on emotions, trauma, establishment of identity, and multimodality, pairs well with the digital nature of video games. Gone Home (2013) and Life Is Strange (2015), two video games with narratives reliant on the developing romantic relationships between teenage girls, grant us examples in which the inclusion of queerness is reliant on such archiving. Within each game, players gather artefacts to compile archives. In turn, these archives create irrefutable spaces in which queer content is included.

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Chen, Yuanyuan, and Laura Rascaroli . "Animation at the cutting edge." Alphaville: Journal of Film and Screen Media, no. 8 (February 9, 2015): 1–5. http://dx.doi.org/10.33178/alpha.8.00.

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Journal articles on the topic 'Alpha processor'

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