Relevant bibliographies by topics / Apocalypse now (Motion picture)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Apocalypse now (Motion picture)'

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Published: 4 June 2021
Last updated: 4 March 2023

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Journal articles on the topic "Apocalypse now (Motion picture)"

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Fortelius, M. "Fossil mammal communities: Motion picture playing now." GFF 118, sup004 (October 1996): 59–60. http://dx.doi.org/10.1080/11035899609546344.

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Naimark, Michael. "Two Unusual Projection Spaces." Presence: Teleoperators and Virtual Environments 14, no. 5 (October 2005): 597–605. http://dx.doi.org/10.1162/pres.2005.14.5.597.

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Two immersive projection environments, both unconventional, both exploring different methods of 3D and panoramic imaging, and both produced as art installations, are described. Displacements (1980–1984) recreated an interior living space using a panoramic motion picture method and relief projection. Be Now Here (1995–1997) recreated outdoor public plazas using a panoramic motion picture method, stereopsis, and four channel sound. Both installations were unusual in that no intentions existed for anything more general or useful than the installations themselves as individual artworks.
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Wetta, Frank Joseph, and Martin A. Novelli. ""Now a Major Motion Picture": War Films and Hollywood's New Patriotism." Journal of Military History 67, no. 3 (2003): 861–82. http://dx.doi.org/10.1353/jmh.2003.0263.

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Knight, Arthur. "Spotlight on Film: All the World's a Stage." Media Information Australia 43, no. 1 (February 1987): 9–11. http://dx.doi.org/10.1177/1329878x8704300103.

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One phenomenon dominates the history of motion pictures: at one time or another, a single country has emerged as the most creative and vital source of film making on the international scene. It is almost as if a spotlight moved across the stages of the world, pausing now here, now there, to illuminate the work of an entire group of artists. This was perhaps understandable in the Soviet Union during the mid-Nineteen-Twenties, when a new government actively encouraged experimentation in all the arts, and particularly the art of the motion picture.
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Raw, Laurence. "Now a Major Motion Picture: Film Adaptations of Literature and Drama by Christine Geraghty." Journal of American Culture 31, no. 3 (September 2008): 330–31. http://dx.doi.org/10.1111/j.1542-734x.2008.00681_15.x.

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Cartmell, D. "Now A Major Motion Picture: Film Adaptations of Literature and Drama * Authorship in Film Adaptation." Screen 50, no. 4 (December 1, 2009): 462–65. http://dx.doi.org/10.1093/screen/hjp034.

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Hagaman, Dianne DiPaola. "Connecting Cultures: Balinese Character and the Computer." Sociological Review 42, no. 1_suppl (May 1994): 85–102. http://dx.doi.org/10.1111/j.1467-954x.1994.tb03411.x.

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Gregory Bateson and Margaret Mead intended to use a combination of text, still photographs, and motion picture film in the report of their study of character development in Bali, but found this technically impossible. Multimedia computational devices have now made it possible to do what they could not do, making the three media (in Latour's terms) ‘combinable on a flat surface.’ We were compelled to economize on motion-picture film, and disregarding the future difficulties of exposition, we assumed that the still photography and the motion-picture film together would constitute our record of behavior. (Notes to the Photographs, in Bateson and Mead, 1942 (italics Bateson's)) If inventions are made that transform numbers, images and texts from all over the world into the same binary code inside computers, then indeed the handling, the combination, the mobility, the conservation and the display of the traces will all be fantastically facilitated. When you hear someone say that he or she ‘masters’ a question better, meaning that his or her mind had enlarged, look first for inventions bearing on the mobility, immutability or versatility of the traces; and it is only later, if by some extraordinary chance, something is still unaccounted for, that you may turn towards the mind. (Latour, 1986 (italics Latour's)).
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Preston, Patrick. "“If you scale back now, you probably lose everything”: State Tax Incentives and the Motion Picture Industry." Journal of the Music and Entertainment Industry Educators Association 13, no. 1 (2013): 181–205. http://dx.doi.org/10.25101/13.9.

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Curtin, Michael. "What makes them willing collaborators? The global context of Chinese motion picture co-productions." Media International Australia 159, no. 1 (May 2016): 63–72. http://dx.doi.org/10.1177/1329878x16638938.

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Market access is becoming the single most significant factor affecting collaborations between Hollywood feature film producers and their Chinese partners. The current import quota system approves only 34 films each year, which are then distributed by the state-run China Film Group, which also controls the release date for each title. The best way for a foreign filmmaker to manage these uncertainties is to fashion a co-production deal with a mainland counterpart, such as Dalian Wanda Group, which is now nearing completion of a huge studio complex in Qingdao, a project that has been greeted sceptically by industry critics. This essay assesses the ambitious logic behind this project, situating it in the broader context of the globally networked production infrastructure that has emerged over the past 20 years, one that generally favours Hollywood producers at the expense of local partners. It illustrates why the Wanda studio may in fact succeed and why foreign producers are growing ever more willing to collaborate with Chinese partners.
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Malinetsky, G. G., and A. A. Skurlyagin. "“Hume’s Guillotine” in the Interdisciplinary Context." Russian Journal of Philosophical Sciences, no. 12 (February 14, 2019): 7–25. http://dx.doi.org/10.30727/0235-1188-2018-12-7-25.

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The authors deal with the classic paradox of ethical theories, “Hume’s guillotine,” based on the contradiction in morality between what is and what should be. At the same time, the theological justification of moral principles is beyond this criticism, because the sacred commandments “by definition” combine what is and what should be, overcoming the “secular” gap between being and duty, and thus “the problem of transition from description to evaluation is removed.” Modern ways of removing this contradiction, revealed by Hume, are considered from several points of view. Special attention is paid to the analogy between the development of ethical and mathematical theories, a synergistic approach to the formation of ethics, as well as to the ethical choice associated with the development of digital reality, which humanity will face soon. A synergistic approach can be viewed as a bridge “over the abyss of two cultures - natural science and humanities.” Now it has become clear that there can be many logics, geometries, versions of analysis of infinitely small, etc. Ethics can also be constructed and then put into practice. A classic example is the ethical code of King Lycurgus. Separate ethical systems are not able to ensure the survival of humanity under extreme conditions. Existence of general ethical rules in global crises allows many to survive. Without them, everyone would die. True amazement is the fact that the eight Dyakonov phase transitions in human history completely coincide with the crises periodicity presented in the text of the Apocalypse, where crises are figuratively called “beasts.” Then a vivid picture is given, a picture of the civilization transformation into a post-singular state, which goes beyond the horizon of scientific forecast.
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Dissertations / Theses on the topic "Apocalypse now (Motion picture)"

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Nguyen, Nguyet 1980. "Representation of Vietnam in Vietnamese and U.S. War Films: A Comparative Semiotic Study of Canh Dong Hoang and Apocalypse Now." Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/10635.

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xii, 125 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
This comparative semiotic study aims to examine and critically compare the portrayal of the Vietnam War in two award-winning films, one Vietnamese and the other American, both made in 1979: Canh Dong Hoang (The Wild Rice Field) and Apocalypse Now. This study employs semiology to examine the two films in the framework of postcolonial, ideology and hegemony theories to critically compare similarities and differences in the two films' portrayal of "the enemy," nationalism and individualism, and women, in order to understand how dominant perspectives of the times are reflected, reinforced, and challenged. In Apocalypse Now, the "other" is faceless, which reflects an imperialistic standpoint toward the Vietnamese people; nationalism is promoted by calling on individual suffering and sympathy; and women are diminished. Canh Dong Hoang gives "the enemy" a more balanced depiction; nationalism is woven naturally with individualism; and the women in the film play a much more significant role.
Committee in Charge: Dr. H. Leslie Steeves, Chair; Dr. Pat Curtin; Dr. Gabriela Martinez
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Dye, Charles Eugene. "Now and all are important a post-structural critique of humanism, Aldo Leopold's "The Land Ethic," and Disney/Pixar's "Wall-E" /." Thesis, Montana State University, 2008. http://etd.lib.montana.edu/etd/2008/dye/DyeC1208.pdf.

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Feelings of hopelessness and meaninglessness have become hallmarks of American society. As a filmmaker and film educator it is clear I share a responsibility to address these defining issues. Using some of the ideas of Zygmunt Bauman, Jacques Derrida, Neil Evernden, Claude Levi-Strauss, Bill Nichols, Nell Noddings, José Ortega y Gasset, Edward Said, and Erwin Straus, I observe this problem to be a result of dispassionate humanism-a machineworld story considered appropriate in the current social construction. From this critical perspective, I then analyze Aldo Leopold's The Land Ethic and the Disney/Pixar film WALL-E. The former I show to be written in such a way as to leave its audience confused. The latter I demonstrate fosters unnecessary and immoral assumptions about the "imminent" collapse of our civilization. In conclusion, I make clear that it is how we relate to our current existence that is important. While the power of our ideas is truly humankind's greatest creation, that power is naught outside of time and the realities of our being Earth-bound. What we must learn to value in America alongside the power of ideas, are the responsibilities inherent in simply being.
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Su, Xinxin. "Genesis : a feature screenplay /." Online version of thesis, 2009. http://hdl.handle.net/1850/8692.

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Raleigh, Peter Joseph. "Space and structure in Nicolas Roeg's Don't look now and Brian De Palma's Dressed to kill." Scholarly Commons, 1990. https://scholarlycommons.pacific.edu/uop_etds/2196.

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This study will focus on confined, negative space, the claustrum, in its varied manifestations, and on ascents and descents within both the cities themselves and the specific buildings which house these claustra. By definition, the claustrum signifies psychological and often physical confinement. In both films, the major characters are restricted by claustra which simultaneously reflect their psychological conditions or stages of development and also confine them physically. Both Roeg and De Palma are keenly aware of how to manipulate the spectator’s own fears of claustra and exploit them to the full in all of their films. This analysis deals with the aesthetics of space interpreted towards psychological ends: the malevolent space of the claustrophobic nightmare, rather than the positive space of the felicias dream. One model of positive psychological space can be found in Gaston Bachelard’s The Poetics of Space (1964). His essential comments on enclosed spaces - especially on the diametric opposition of garret and cellar - and his insights into the nature of the city and its influence on its inhabitants are briefly examined and then inverted to provide a starting point for this study.
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Mensato, Joice 1986. ""Meu nome agora é Zé Pequeno" = apelidos e posições-sujeito = "Li'l dice my ass, my name is now Li'l Zé now": the nickname and subject-position." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269288.

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Orientador: Carmen Zink Bolonhini
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-20T11:29:39Z (GMT). No. of bitstreams: 1 Mensato_Joice_M.pdf: 1753334 bytes, checksum: 0b87231d97bd59fcd2507a1ef79aabb7 (MD5) Previous issue date: 2012
Resumo: Uma prática comum entre pessoas que frequentam um mesmo espaço (como estudantes, por exemplo) é o ato de atribuir apelidos para os colegas, entretanto esse gesto determina e é determinado pela posição-sujeito assumida por ele no discurso. Esta pesquisa teve como objetivo analisar esse deslocamento que o sujeito sofre ao receber um apelido a partir do enunciado "Dadinho é o caralho, meu nome agora é Zé Pequeno, porra" produzido por um dos personagens do filme Cidade de Deus, de Fernando Meirelles. Esta escolha foi determinada primeiramente pelo trabalho que este filme tem com a linguagem, principalmente no que diz respeito a nomes e apelidos. Outro fator determinante para esta escolha foi a relevância, nos cenários nacional e internacional desse filme, bem como a grande circulação do enunciado analisado, de modo que ele se tornou emblemático quando se fala do filme em questão. Para nortear a análise, nos baseamos no referencial teórico da Análise de Discurso materialista, bem como da Semântica da enunciação, trabalhando, desse modo, com o sujeito que "é atravessado pela linguagem e pela história, sob o modo imaginário" de modo que ele "só tem acesso a parte do que diz. (...). Ele é sujeito à língua e à história, pois para se constituir, para (se) produzir sentidos ele é afetado por elas" (ORLANDI, 1999:49). A partir disso, vimos que os nomes/apelidos que o sujeito assume durante a sua vida têm uma historicidade e que essa passa a constituir o sujeito nomeado/apelidado. Do mesmo modo, retomamos o trabalho de Hashiguti (2008) sobre corpo de memória para mostrar os sentidos que o corpo faz circular e como ele entra nesse processo de atribuição de apelidos. Por fim, mostramos o deslocamento que o personagem Dadinho sofre ao trocar o seu apelido para Zé Pequeno, mostrando que o apelido determina e é determinado pela posição-sujeito que o sujeito ocupa no discurso
Abstract: A common practice among people that attend the same place (students, for instance) is the act of attribute nicknames for their mates, however this action determines and is determined by the subject-position which is assumed by it in the discourse. This research's goal was to analyze the displacement that the individual suffers when he receives a nickname from the enunciation "Li'l Dice my ass, my name is now Li'l Zé now" produced by one of the characters from the movie City of God, by Fernando Meirelles. This choice was made, first, because of the way this movie deals with the language, mainly considering the names and nicknames. Another important factor for this choice was the relevance, in the national and international scenarios of this movie and because of the big spread of the analyzed enunciation as well, in a way that it became emblematic when people talk about this movie. To lead the analysis, we were based on the theoretical of the materialist Discourse Analysis and on the Semantics of enunciation as well, working with the individual that "is crossed by the language and by the history, in the imaginary way" and he "only has access to part of what he says. (¿). He is subjected to the language and to the history, because to constitute and to produce senses he is affected by them" (ORLANDI, 1999:49). From this, we saw that the names/nicknames assumed by the individual during his life have a historicity and that it starts to constitute the named/nicknamed individual. In the same way, we resumed the project of Hashiguti (2008) about the body of memory to show the senses that the body makes circulate and how it begins this process of nicknames' attribution. Finally, we showed the displacement suffered by the character Li'l Dice when he changes his nickname to Li'l Zé, showing that the nickname determines and is determined by the subject-position that the individual occupies in the discourse
Mestrado
Lingua Materna
Mestre em Linguística Aplicada
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Sikes, April Jolayne Raney Arthur A. "Now playing information processing of cues used in motion picture advertising /." Diss., 2005. http://etd.lib.fsu.edu/theses/available/etd-04112005-180513.

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Thesis (M.S.)--Florida State University, 2005.
Advisor: Dr. Arthur Raney, Florida State University, College of Communication, Dept. of Communication. Title and description from dissertation home page (viewed June 15, 2005). Document formatted into pages; contains vii, 86 pages. Includes bibliographical references.
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Books on the topic "Apocalypse now (Motion picture)"

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Sendor, Roy Anthony. Apocalypse now. [Derby]: Derbyshire College of Higher Education, 1987.

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Holger, Hermann, ed. " Apocalypse now". Tübingen: Gunter Narr Verlag, 1985.

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Baso, Giulia. Apocalypse now. Palermo: L'epos, 2011.

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Karl French on Apocalypse now. New York, N.Y: Bloomsbury, 1999.

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Karl French on Apocalypse now. London: Bloomsbury, 1998.

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Francis Ford Coppola: Apocalypse now : un'analisi semiotica. Roma: Bulzoni, 2010.

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Alonge, Andrea Giaime. Tra Saigon e Bayreuth: "Apocalypse now" di Francis Ford Coppola. Torino [Italy]: Tirrenia Stampatori, 1993.

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Notes: [on the making of Apocalypse now]. London: Faber and Faber, 1995.

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Apocalypse now: Cinema e letteratura in Francis Ford Coppola. Roma: Aracne, 2008.

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Fraser, George MacDonald. The Hollywood history of the world: From one million years B.C. to Apocalypse now. New York: Beech Tree Books, 1988.

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Book chapters on the topic "Apocalypse now (Motion picture)"

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Keller, Jocelyn, and Wolfram R. Keller. "“Now is the Time”: Shakespeare’s Medieval Temporalities in Akira Kurosawa’s Ran." In The Medieval Motion Picture, 19–40. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137074249_2.

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Shulman, Terry Chester. "Deirdre, Johnny, and Jane." In Film's First Family, 183–94. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813178097.003.0023.

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Vruwink’s sterility casts a pall on his marriage to Dolores, who desperately wants more children. For this and other reasons, she starts drinking heavily. Helene is offered permanent residence at the Motion Picture Country Home, and with Le Blanc now training with the Merchant Marines, Dolores’s custody of Deirdre is made official despite the fact that Le Blanc continues to welsh on his support agreements. Dolores makes her last film appearance in This Is the Army. John Blyth Barrymore, an unruly and difficult youth, tries his family’s patience. Le Blanc sues Helene for custody and a protracted legal battle begins.
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Culkin, Nigel, Norbert Morawetz, and Keith Randle. "Digital Cinema as Disruptive Technology." In Information Communication Technologies, 1832–45. IGI Global, 2008. http://dx.doi.org/10.4018/978-1-59904-949-6.ch129.

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The distribution and exhibition of motion pictures are at a crossroads. Ever since the medium was invented in the 1890s the “picture” has been brought to the spectator in the form of photochemical images stored on strips of celluloid film passed in intermittent motion through a projector. Now, at the beginning of the 21st century, an entirely new method has emerged, using digitally stored data in place of film and barely needing any physical support other than a computerised file. This opens an intriguing portfolio of revenue-generating opportunities for the movie exhibitor. This chapter will give an overview of current developments in digital cinema (d-cinema). It will examine potential new business models in an industry wedded to the analogue process. The authors will consider the strategies of companies at the forefront of the technology; implications associated with the change; and how different territories might adapt in order to accommodate this transition.
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Culkin, Nigel, Norbert Morawetz, and Keith Randle. "Digital Cinema as Disruptive Technology." In Information Communication Technologies and Emerging Business Strategies, 160–78. IGI Global, 2007. http://dx.doi.org/10.4018/978-1-59904-234-3.ch009.

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The distribution and exhibition of motion pictures are at a crossroads. Ever since the medium was invented in the 1890s the “picture” has been brought to the spectator in the form of photochemical images stored on strips of celluloid film passed in intermittent motion through a projector. Now, at the beginning of the 21st century, an entirely new method has emerged, using digitally stored data in place of film and barely needing any physical support other than a computerised file. This opens an intriguing portfolio of revenue-generating opportunities for the movie exhibitor. This chapter will give an overview of current developments in digital cinema (d-cinema). It will examine potential new business models in an industry wedded to the analogue process. The authors will consider the strategies of companies at the forefront of the technology; implications associated with the change; and how different territories might adapt in order to accommodate this transition.
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Snelson, Chareen. "Web-Based Video for e-Learning." In Web-Based Education, 1745–64. IGI Global, 2010. http://dx.doi.org/10.4018/978-1-61520-963-7.ch117.

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The recent explosive growth of Web-based video has expanded the repository of free content that can be tapped into for e-learning. Millions of video clips are now available online and more are uploaded each day. Since thecreation of YouTubeTM in 2005, a video clip phenomenonhas swept the Internet. Never before has it been so easy to locate, record, and distribute video online. This opens intriguing possibilities for teaching, learning, and course design for e-learning. This chapter introduces Web-basedvideo as a new form of educational motion picture, delvesinto technical aspects of Web 2.0 video tools, describes instructional strategies that integrate Web-based videoclips in e-learning, and examines barriers that could potentially inhibit its use. Future directions are also discussed.
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Lupack, Barbara Tepa. "Seeking “Old Opportunity”." In Silent Serial Sensations, 14–31. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501748189.003.0002.

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This chapter details how Ted Wharton got into the entertainment business. The early years that Ted spent on and behind the stage gave him an invaluable introduction to virtually all aspects of the entertainment industry, especially to the performance and production of melodrama. They also taught him the technical and improvisational skills that would serve him well as he graduated from vaudeville performance and legitimate stage acting to direction of film shorts and production of serials, particularly since he was often experimenting as he developed the conventions and devices that would become staples of later cinema and television. Ted's interest in the motion picture industry was further aroused by his visits to the old Edison Studios in Manhattan, after which, on his own, he began writing screenplays that revealed his aptitude for the craft. He then joined Pathé Frères to assist in the opening of its American studio and then to serve as its director. In late 1911 or early 1912, Ted decided to leave the company for a better opportunity at another studio: Essanay. The chapter then looks at Ted's most thematically and technically sophisticated short for Essanay, From the Submerged (1912), which is now considered one of the masterpieces of silent film.
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Anitha R, Surya Koti Kiran A, Anurag K, and Nikhil Y. "An Efficient Algorithm for Movie Recommendation System." In Advances in Parallel Computing Technologies and Applications. IOS Press, 2021. http://dx.doi.org/10.3233/apc210124.

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Now a day’s recommendation system has changed the fashion of looking the items of our interest. OTT Movie Application Recommendation for mobile users is crucial. It performs a complete aggregation of user preferences, reviews and emotions to help you make suitable movies. It needs every precision and timeliness, however,this can be info filtering approach that’s accustomed predict the preference of that user. Recommender System may be a system that seeks to predict or filter preferences in keeping with the user’s selections. The very common purpose where recommender system is applied are OTT platforms, search engines, articles, music, videos etc During this work we tend to propose a Collaborative approach-based Movie Recommendation system. it is supported collaborative filtering approach that creates use of the knowledge provided by users, analyzes them so recommends the flicks that’s best suited to the user at that point. The suggested motion picture list is sorted in keeping with the ratings given to those movies by previous users. It conjointly helps users to search out of their selections supported the movie expertise of alternative users in economical and effective manner while not wasting a lot of time in useless browsing [1]. Therefore, we tend to offer the item-oriented methodology of the analysis of social network as the steering force of this method to further improve accuracy within the recommendation system. We tend to propose economic healthcare associates during this paper The algorithmic rule of the Film Recommendation supported improved KNN strategy that measures simpler advisory system accuracy. However, to evaluate performance, the k closest victimized neighbors, the maximum inner circles, as well as the basic inner strategies are used [2]. The exception to this is the projected results, which use algorithms to check for (supposedly) involvement.The performance results show that the projected strategies improve additional accuracy of the Movie recommendation system than the other strategies employed in this experiment.
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Conference papers on the topic "Apocalypse now (Motion picture)"

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Yablonovitch, E. "Accelerating reference frame for electromagnetic waves in a rapidly growing plasma: Unruh radiation and the dynamic Casimir effect." In OSA Annual Meeting. Washington, D.C.: Optica Publishing Group, 1988. http://dx.doi.org/10.1364/oam.1988.fw2.

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In 1974, Hawking showed1,2 that black holes evaporate by the emission of low-temperature thermal radiation, now named Hawking radiation. Shortly thereafter a closely related effect called Unruh radiation became apparent. According to Unruh3 and Davies,4 observers of the electromagnetic field in an accelerating reference frame should see thermal radiation at a temperature T: where a is the acceleration relative to an inertial frame, c is the speed of light, and ħ and k are Planck's and Boltzmann’s constant, respectively. With an acceleration equivalent to that at the earth’s surface, g = 980 cm/s2, this thermal radiation is at a temperature of only 4 × 10−20 K. Bell has suggested5 that the spin depolarization of electrons accelerating around a storage ring may be interpreted as being caused by such radiation. Boyer6 introduced a physically helpful semiclassical interpretation of Unruh radiation. In his phe­nomenological picture, external zero point electro-magnetic field fluctuations are accelerated up to a nonzero temperature. The observer need not experience the acceleration directly. Davies and Fulling7 argued that the observation of reflected zero point field fluctuations from an accelerating mirror was sufficient to establish the relative accelerating motion.
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