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Journal articles on the topic 'Australia In motion pictures'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Jóźwiak, Marek, Brian Po-Jung Chen, Bartosz Musielak, Jacek Fabiszak, and Andrzej Grzegorzewski. "Social Attitudes toward Cerebral Palsy and Potential Uses in Medical Education Based on the Analysis of Motion Pictures." Behavioural Neurology 2015 (2015): 1–8. http://dx.doi.org/10.1155/2015/341023.

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This study presents how motion pictures illustrate a person with cerebral palsy (CP), the social impact from the media, and the possibility of cerebral palsy education by using motion pictures. 937 motion pictures were reviewed in this study. With the criteria of nondocumentary movies, possibility of disability classification, and availability, the total number of motion pictures about CP was reduced to 34. The geographical distribution of movie number ever produced is as follows: North America 12, Europe 11, India 2, East Asia 6, and Australia 3. The CP incidences of different motor types in

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2

McKenzie, Jordi. "Revealed word-of-mouth demand and adaptive supply: survival of motion pictures at the Australian box office." Journal of Cultural Economics 33, no. 4 (June 25, 2009): 279–99. http://dx.doi.org/10.1007/s10824-009-9104-4.

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3

Zvegintseva, Irina A. "The Theme of Apocalypse in Australian Cinema." Journal of Flm Arts and Film Studies 7, no. 4 (December 15, 2015): 111–20. http://dx.doi.org/10.17816/vgik74111-120.

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The article analyses the Australian apocalypse films. Apocalypse is often used as a synonym to the worlds end or a world scale catastrophe. The world knows hundreds of motion pictures of different talent and artistry, where the set takes place either before, during or after a global catastrophe. Reasons for the apocalypse vary: nuclear war, alien invasion, riot of the machines, a gigantic meteor, a disease unknown to science, etc. Nevertheless, the result always remains the same: humanity ceases to exist. Australian filmmakers, too, have not stood out of their foreign colleagues and made a lar

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4

McGowan, John J. "From “Eve in Ebony” to a “Bran Nue Dae”: The Representation of Aboriginal and Torres Strait Islander People in Australian Motion Pictures ‒ A Synopsis." Zeitschrift für Australienstudien / Australian Studies Journal 28 (2014): 8–27. http://dx.doi.org/10.35515/zfa/asj.28/2014.03.

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5

Young, Linda. "Motion Pictures." SMPTE Journal 106, no. 1 (January 1997): 9–11. http://dx.doi.org/10.5594/j09530.

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6

Ricotta, Frank J. "Motion Pictures." SMPTE Journal 104, no. 4 (April 1995): 186–88. http://dx.doi.org/10.5594/j09609.

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7

Ricotta, Frank J. "Motion Pictures." SMPTE Journal 103, no. 4 (April 1994): 211–15. http://dx.doi.org/10.5594/j09688.

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8

Young, Linda. "Motion Pictures." SMPTE Journal 105, no. 4 (April 1996): 177–78. http://dx.doi.org/10.5594/j15829.

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9

Masson, Alan J. "Motion Pictures." SMPTE Journal 108, no. 2 (February 1999): 75–78. http://dx.doi.org/10.5594/j17112.

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10

Masson, Alan J. "Motion Pictures." SMPTE Journal 107, no. 1 (January 1998): 11–13. http://dx.doi.org/10.5594/j17616.

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11

Burns, Edward J. "Motion Pictures." SMPTE Journal 97, no. 4 (April 1988): 268–74. http://dx.doi.org/10.5594/j00667.

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12

Bonnaud, Irène, Suzanne Doppelt, Christophe Triau, and Sacha Zilberfarb. "Motion pictures." Vacarme 15, no. 2 (2001): 60. http://dx.doi.org/10.3917/vaca.015.0060.

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13

Mitchison, Tim J. "Motion pictures." Nature 357, no. 6373 (May 1992): 32. http://dx.doi.org/10.1038/357032a0.

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14

Antonoff, Michael. "Motion Pictures." Scientific American 296, no. 5 (May 2007): 24–25. http://dx.doi.org/10.1038/scientificamerican0507-24.

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15

Gomery, Douglas. "Motion Pictures." Communication Booknotes 16, no. 5 (May 1985): 49. http://dx.doi.org/10.1080/10948008509488306.

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16

Gomery, Douglas. "Motion Pictures." Communication Booknotes 17, no. 1 (January 1986): 7–9. http://dx.doi.org/10.1080/10948008609488219.

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17

Gomery, Douglas. "Motion Pictures." Communication Booknotes 17, no. 9-10 (September 1986): 98–107. http://dx.doi.org/10.1080/10948008609488269.

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18

Gomery, Douglas. "Motion Pictures." Communication Booknotes 18, no. 7-8 (July 1987): 63–69. http://dx.doi.org/10.1080/10948008709488193.

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19

Gomery, Douglas. "Motion Pictures." Communication Booknotes 18, no. 9-10 (September 1987): 93–99. http://dx.doi.org/10.1080/10948008709488203.

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20

Gomery, Douglas. "Motion Pictures." Communication Booknotes 19, no. 5 (September 1988): 95–103. http://dx.doi.org/10.1080/10948008809488155.

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21

Block, Eleanor, James K. Bracken, Eleanor S. Block, and Bruce A. Austin. "Motion Pictures." Communication Booknotes Quarterly 29, no. 1 (January 1998): 52–60. http://dx.doi.org/10.1080/10948009809361557.

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22

Levine, Niall, John A. Lent, and Bruce Austin. "Motion pictures." Communication Booknotes Quarterly 29, no. 2 (March 1998): 88–96. http://dx.doi.org/10.1080/10948009809361564.

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23

Austin, Bruce A., Eleanor Block, Chris Sterling, Robert Huesca, and Gary R. Edgerton. "Motion pictures." Communication Booknotes Quarterly 29, no. 4 (September 1998): 196–203. http://dx.doi.org/10.1080/10948009809361586.

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24

Austin, Bruce A., Niall Levine, and Chris Sterling. "Motion pictures." Communication Booknotes Quarterly 30, no. 4 (September 1999): 227–31. http://dx.doi.org/10.1080/10948009909361637.

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25

Blasko, Edward J. "Motion Pictures." SMPTE Journal 95, no. 4 (April 1986): 413–19. http://dx.doi.org/10.5594/j17960.

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26

Baptista, John L. "Motion Pictures." SMPTE Journal 100, no. 4 (April 1991): 225–31. http://dx.doi.org/10.5594/j04767.

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27

Baptista, John L. "Motion Pictures." SMPTE Journal 101, no. 4 (April 1992): 231–34. http://dx.doi.org/10.5594/j02302.

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28

Baptista, John L. "Motion Pictures." SMPTE Journal 102, no. 4 (April 1993): 289–94. http://dx.doi.org/10.5594/j03791.

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29

Iosifian, S. A., and V. A. Petrovskii. "Motion Pictures." Russian Education & Society 37, no. 10 (October 1995): 11–22. http://dx.doi.org/10.2753/res1060-9393371011.

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30

Helmholz, P., S. Zlatanova, J. Barton, and M. Aleksandrov. "GEOINFORMATION FOR DISASTER MANAGEMENT 2020 (Gi4DM2020): PREFACE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIV-3/W1-2020 (November 18, 2020): 1–3. http://dx.doi.org/10.5194/isprs-archives-xliv-3-w1-2020-1-2020.

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Abstract. Across the world, nature-triggered disasters fuelled by climate change are worsening. Some two billion people have been affected by the consequences of natural hazards over the last ten years, 95% of which were weather-related (such as floods and windstorms). Fires swept across large parts of California, and in Australia caused unprecedented destruction to lives, wildlife and bush. This picture is likely to become the new normal, and indeed may worsen if unchecked. The Intergovernmental Panel on Climate Change (IPCC) estimates that in some locations, disaster that once had a once-in-

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31

Helmholz, P., S. Zlatanova, J. Barton, and M. Aleksandrov. "GEOINFORMATION FOR DISASTER MANAGEMENT 2020 (GI4DM2020): PREFACE." ISPRS Annals of Photogrammetry, Remote Sensing and Spatial Information Sciences VI-3/W1-2020 (November 17, 2020): 1–2. http://dx.doi.org/10.5194/isprs-annals-vi-3-w1-2020-1-2020.

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Abstract. Across the world, nature-triggered disasters fuelled by climate change are worsening. Some two billion people have been affected by the consequences of natural hazards over the last ten years, 95% of which were weather-related (such as floods and windstorms). Fires swept across large parts of California, and in Australia caused unprecedented destruction to lives, wildlife and bush. This picture is likely to become the new normal, and indeed may worsen if unchecked. The Intergovernmental Panel on Climate Change (IPCC) estimates that in some locations, disaster that once had a once-in-

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32

Jennifer Tebbe-Grossman. "Medicine’s Motion Pictures." Film & History: An Interdisciplinary Journal of Film and Television Studies 39, no. 1 (2009): 98–99. http://dx.doi.org/10.1353/flm.0.0076.

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33

Cho, Minhaeng. "Molecular motion pictures." Nature 444, no. 7118 (November 2006): 431–32. http://dx.doi.org/10.1038/444431a.

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34

Hunter, Jefferson. "Pictures and Motion Pictures in the 1940s." Hopkins Review 7, no. 1 (2014): 93–111. http://dx.doi.org/10.1353/thr.2014.0001.

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35

Nimis, Erika. "“Motion pictures” in Nigeria." Visual Anthropology 14, no. 3 (September 2001): 293–99. http://dx.doi.org/10.1080/08949468.2001.9966836.

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36

Leach-Murray, Susan. "SWANK Motion Pictures, Inc." Technical Services Quarterly 35, no. 1 (November 27, 2017): 115–16. http://dx.doi.org/10.1080/07317131.2017.1385299.

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37

Bardell, Eunice Bonow. "Pharmacists in Motion Pictures." American Journal of Health-System Pharmacy 45, no. 1 (January 1, 1988): 179–83. http://dx.doi.org/10.1093/ajhp/45.1.179.

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38

Copeland, V. Natasha E. "Pictures in Motion or Motion Pictures: Sembène’s Natural Products Steal the Show." Études littéraires africaines, no. 30 (November 17, 2014): 58–76. http://dx.doi.org/10.7202/1027347ar.

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Dans ses films Xala (1974) et Ceddo (1977), Sembène redéfinit l’usage des sculptures traditionnelles en bois, tout en demeurant fidèle aux métaphysiques sahéliennes dans ses innovations esthétiques, littéraires ou cinématographiques. Des masques, un bâton ou une canne jouent à l’écran un rôle qui, en raison de leur propre vitalité et de leur étroite association avec divers personnages, capte l’attention du public autant que le font les héros des films. Sembène oppose, dans la trame de ses films, la force vitale de ces objets africains à celle d’artefacts, symboles de l’Occident. Sculptés par l

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39

Porée, Marc. "Poets' lives in motion (pictures)." Études anglaises 66, no. 4 (2013): 511. http://dx.doi.org/10.3917/etan.664.0511.

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40

Baecker, Dirk. "The Reality of Motion Pictures." MLN 111, no. 3 (1996): 560–77. http://dx.doi.org/10.1353/mln.1996.0032.

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41

Bakker, Gerben. "How Motion Pictures Industrialized Entertainment." Journal of Economic History 72, no. 4 (December 14, 2012): 1036–63. http://dx.doi.org/10.1017/s002205071200068x.

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Motion pictures constituted a revolutionary new technology that transformed entertainment—a rival, labor-intensive service—into a non-rival commodity. Combining growth accounting with a new output concept shows productivity growth in entertainment surpassed that in any manufacturing industry between 1900 and 1938. Productivity growth in personal services was not stagnant by definition, as current understanding has it, but instead was unparalleled in some cases. Motion pictures’ contribution to aggregate GDP and TFP growth was much smaller than that of general purpose technologies steam, railwa

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42

Yeazell, Ruth Bernard. "Sex, Lies, and Motion Pictures." Henry James Review 25, no. 1 (2004): 87–96. http://dx.doi.org/10.1353/hjr.2004.0012.

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43

Marta Zarzycka and Bettina Papenburg. "Motion Pictures: Politics of Perception." Discourse 35, no. 2 (2013): 163. http://dx.doi.org/10.13110/discourse.35.2.0163.

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44

DecencièreFerrandière, Étienne. "Restoration of Old Motion Pictures." Microscopy Microanalysis Microstructures 7, no. 5-6 (1996): 311–16. http://dx.doi.org/10.1051/mmm:1996127.

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45

Wartenberg, T. E. "The Philosophy of Motion Pictures." British Journal of Aesthetics 49, no. 1 (January 1, 2009): 83–85. http://dx.doi.org/10.1093/aesthj/ayn053.

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46

Nebeker, F. "Motion pictures [Scanning Our Past]." Proceedings of the IEEE 101, no. 4 (April 2013): 1020–25. http://dx.doi.org/10.1109/jproc.2013.2244752.

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47

Stadler, Jane. "Experiential Realism and Motion Pictures." Studia Phaenomenologica 16 (2016): 439–65. http://dx.doi.org/10.5840/studphaen20161616.

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48

"Motion Pictures." SMPTE Journal 94, no. 4 (April 1985): 369–81. http://dx.doi.org/10.5594/j14054.

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49

"MOTION PICTURES." Communication Booknotes Quarterly 31, no. 1 (March 2000): 43–54. http://dx.doi.org/10.1207/s15326896cbq3101_10.

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50

"MOTION PICTURES." Communication Booknotes Quarterly 31, no. 4 (December 2000): 258–65. http://dx.doi.org/10.1207/s15326896cbq3104_06.

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