Relevant bibliographies by topics / Dead man (Motion picture)

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  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Dead man (Motion picture)'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Dead man (Motion picture)"

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Chen, Xue. "“THE SUN OF THE DEAD” BY I.S. SHMELEV: SPATIAL SYMBOLS OF THE PICTURE OF BEING." Bulletin of Udmurt University. Series History and Philology 31, no. 2 (2021): 330–34. http://dx.doi.org/10.35634/2412-9534-2021-31-2-330-334.

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The article analyzes the key spatial images of the story by I.S. Shmelev "The Sun of the Dead." Their role in describing a specific landscape and expression of the author's worldview is indicated. Shmelev gives volume and ambiguity to the landscape, which appears in the story not only as a topos, a plot element, but also an image of cultural, psychological, religious intentions. The conclusion is drawn about the realism and mythologization of nature paintings, their symbolic meanings are decoded, structuring the vertical and horizontal space of the text and expressing the sensory, behavioral modalities of the characters. A connection is established between the artistic, spiritual space of man and the physical-geographical one. It is traced how through the ontologization of the images of nature Shmelev expresses his view on the Crimean realities of the early 1920s. The Old Testament and New Testament allusions in the image of the landscape are described, their role in translating the narrative of modern events into the plane of biblical history is determined. It has been suggested that the text deliberately introduces allusions to famous stories about Lot, persecutions of Christians, Egyptian executions, apocalyptic prophecies, symbols of the Lord, motives of His anger, apostolic judgments and others. Through images of space Shmelev combines existential motifs of the story and eschatological, mortal and life-affirming. The main compositional principle of the image of space is opposition. The works of I. Babel, I. Knorring, N. Turoverova, M. Tsvetaeva, A. Shiryaevets are attracted.
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Gerard, Nathan. "Dead family working." International Journal of Organization Theory and Behavior 20, no. 03 (2017): 363–90. http://dx.doi.org/10.1108/ijotb-20-03-2017-b004.

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AbstractIn their recent book, Dead Man Working, Carl Cederström and Peter Fleming paint a haunting picture of the contemporary employee: sleep deprived and overworked, exhausted and strung out, unable to tell where work ends and where life begins, hardly alive and yet unable to die. In this paper, the author widens the picture by examining the systemic effects of contemporary work on the family. Drawing upon ideas from psychoanalysis and critical theory, the author reveals how the extraction of life by work reverberates across generations and seeps into the home environment. The author also reveals how new constellations of family reinforce deadening work. What emerges is a family portrait known as the “dead family working.”
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Schubert, Linda. "Plainchant in Motion Pictures: The "Dies irae" in Film Scores." Florilegium 15, no. 1 (1998): 207–29. http://dx.doi.org/10.3138/flor.15.011.

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Several summers ago, the album Chant, a collection of plainsong performed by the monks of Santo Domingo de Silos, hit the top of the popular music charts, triggering the release and reissue of more chant albums by other groups. These included Greatest Hits—Chant, Mad About the Monks, and Chill to the Chant. In the meantime, the monks of Santo Domingo de Silos have followed up Chant with several other albums (Chant Noel, Chant II, Easter), and there is also a Chant video (see Chant, Visions, and Requiem). Though it may seem that plainchant has only just been discovered in popular culture, it has been heard for many years in film, a medium with strong ties to popular as well as "art" audiences. Some chants have become standard melodies for films, in particular the "Dies irae" from the Roman Catholic Mass for the Dead. The "Dies irae" is, in fact, one of the most frequently heard chants in film, used in television theme songs, commercials, and even a Christmas film (It's a Wonderful Life). Death, danger or the supernatural are invariably part of the story or visual situation where it is used.
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Segercrantz, Mikael, and Tapio Rantala. "Helsinki Court of Appeals prohibits the screening and distribution of the motion picture ‘Man Exposed’ (Riisuttu mies)." Journal of Intellectual Property Law & Practice 2, no. 7 (2007): 435–36. http://dx.doi.org/10.1093/jiplp/jpm085.

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Kamczyk, Wojciech. "Perykopa o wskrzeszeniu Łazarza (J 11, 1-44) a nauka św. Augustyna o odpuszczeniu grzechów." Vox Patrum 57 (June 15, 2012): 247–61. http://dx.doi.org/10.31743/vp.4130.

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Interpreting the pericope about the resurrection of Lazarus, Augustine began his commentary with a reflection about three resurrection miracles described in the Gospels. Namely the raising to life Jairus’ daughter, young man of Nain and Lazarus. The latter seems to be the richest in theological meaning. Augustine compared these three dead with three types of sin (in the heart, in deed and out of habit). Those dead were raised to life by Jesus. He is the one who has the pow­er to do so. The forgiveness of sins is here presented as a spiritual resurrection. However in the most serious situation is Lazarus. It is a picture of the sinner, who not only commits sin, but is subjected to a habit. The forgiveness of sins is done by the power of Christ, but there is also the need for confession of sin, repentance, and the interference of Mother Church, which releases us from the bondage of sin.
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Koos, Marianne. "Verkörperung – Entkörperung bei Rembrandt." Zeitschrift für Kunstgeschichte 80, no. 3 (2017): 349–91. http://dx.doi.org/10.1515/zkg-2017-0018.

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Abstract This article analyzes the painterly formation of pictorial subjects of embodiment and disembodiment since the early modern period. Starting with Gerhard Richter, Quattrocento painters, and Titian, it focuses on Rembrandt and his late group portrait The Anatomy Lesson of Dr. Deijman (1656). The subject of this picture is a dissection of a man’s brain – and hence the surgeons’ search for the seat of the human soul and the motion of life. In the motif of the corpse, Rembrandt performs a radical operation with paint layers that historical sources described with the terms “doodverwe” and “lyffverwe” (“dead color” and “body color”). Rembrandt’s pictorial formation is a distinctly complex answer to the soulless, lifeless corpse’s state of being, which has been reduced to no more than an image. At the same time, the dead body is the place in which Rembrandt reflects the act of painting as a way of working with the tension of embodiment and disembodiment, of giving and taking life, with color.
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Herbert, Stephen. "The man who stopped time: The illuminating story of Eadweard Muybridge – Pioneer photographer, father of the motion picture, murderer." Early Popular Visual Culture 7, no. 1 (2009): 106–8. http://dx.doi.org/10.1080/17460650902775450.

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Kalichová, Miriam, Sylva Hřebíčková, and Romana Labounková. "3D kinematická analýza bikrosového startu." Studia sportiva 6, no. 1 (2012): 35–44. http://dx.doi.org/10.5817/sts2012-1-4.

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Th e paper deals with techniques bicross start. Th e aim of this study is to analyse particular phases of BMX start through cinematographic metod and to evaluate basic cinematic parameters of fi rst movements. For scanning the picture we used two high-frequency synchronized digital cameras SIMI MOTION Version 7. Th e bicross start was performed by two representatives of the Czech Republic, one man and one woman. Th e result of our study is a distribution of start movement to fi ve basic phases. According to kinematic parameters of initial movements we compared diff erences between start techniques of each tested person.
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Susik, Abigail. ""The Man of these Infinite Possibilities": Max Ernst’s Cinematic Collages." Contemporaneity: Historical Presence in Visual Culture 1 (June 1, 2011): 61–87. http://dx.doi.org/10.5195/contemp.2011.27.

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On more than one occasion in his critical writings of the 1920’s, surrealist leader André Breton compared Max Ernst’s collages to cinema. In his first essay on the artist in 1921, Breton aligned Ernst’s collages with cinematic special effects such as slow and accelerated motion, and spoke of the illusionistic ‘transformation from within’ that characterized Ernst’s constructed scenes. For Breton, Ernst’s collages employing found commercial, scientific and journalistic images approximated the naturalistic movement of film, and thereby contributed to the radical obsolescence of traditional two-dimensional media such as painting and drawing, which remained frozen in stillness. Thus, Ernst’s images were provocative witnesses to the way in which modern technology fundamentally altered the perspectivally-ordered picture plane. But at the same time that Ernst’s collages rendered painting obsolete, they likewise depended upon fragments of outmoded popular culture themselves. For Breton, Ernst was a magician, “the man of these infinite possibilities,” comparable to cinematic prestidigators like turn-of-the-century filmmaker Georges Méliès. By drawing on the influence of recently outmoded popular culture such as early trick films, Ernst provides a crucial early example of the post-war fixation on counter-temporalities and anti-production. At once technologically advanced and culturally archeological, Ernst’s collages cannily defy strict categorization as “Modernist.”
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Conti, Luca, Kelly Gatt, Christopher Zammit, and Karen Cassar. "Kounis syndrome uncovers severe coronary disease: an unusual case of acute coronary syndrome secondary to allergic coronary vasospasm." BMJ Case Reports 12, no. 12 (2019): e232472. http://dx.doi.org/10.1136/bcr-2019-232472.

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Acute coronary syndrome occurring during the course of a type I hypersensitivity reaction constitutes Kounis syndrome. We report a case of a 64-year-old man who presented with a non-ST elevation myocardial infarction and peripheral blood eosinophilia. He had rhinitis and constitutional symptoms for several days prior to presentation. Blood investigations revealed moderate eosinophilia and elevated IgE levels. A cardiac MRI showed generalised oedema with a subtle wall motion abnormality in basal inferior/inferolateral wall, and subendocardial high signal on late gadolinium enhancement suggesting a localised myocardial infarction. A coronary angiogram then revealed triple vessel disease. A diagnosis of Kounis syndrome was made. Within days of starting appropriate treatment, the patient’s eosinophil count returned to normal with improvement of clinical picture.
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Dissertations / Theses on the topic "Dead man (Motion picture)"

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Lathrop, Benjamin A. "Cult films and film cults : the evil dead to Titanic /." Ohio : Ohio University, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1090934488.

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Erixon-Ågren, Malin. "Att skapa en användbar webbplats med ett kreativt utseende : En studie om hur man utformar en personlig webbplats som har både användbarhet och ett kreativt utseende." Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-27709.

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It becomes increasingly more difficult to stand out among the personal sites on the internet today and to become the one who actually gets remembered in the crowd. To be remembered, you need to have a useful website but also a creative appearance added to it. In this practical thesis I have focused on how a website should look like according to users and then added a creative look to the user-friendly website. The purpose of the study is to find out how to connect a useful website with a creative appearance. In order to do that, I first had to find out what users actually want. I used a survey in which I have asked questions about how a website should look like. Using the results of the survey I created prototypes and appearance sketches that I used in user tests. I used the results from the user test and created the final website that represents what users in this study believe is a useful website. To connect the useful website with a creative appearance, I created a short video clip of six seconds to loop on the website's front page. The welcome note describing the site's purpose is reached by means of an arrow, and therefore not directly visible when you enter the site. I have with this created a depth and a creative design solution to the website and thanks to the movement it got more interesting.
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Smolenski, Kristina Lyn. "High fidelity: Adapting narcissism to film." CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2101.

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Jovanovic, Nenad. "The part played by labour in transition from ape to man." 2003. http://wwwlib.umi.com/cr/yorku/fullcit?pMQ82935.

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Thesis (M.F.A.)--York University, 2003. Graduate Programme in Film and Video.<br>Typescript. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ82935.
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Thorn, Michael. "Rocket Man : a feature length screenplay /." 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR29622.

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Thesis (M.F.A.)--York University, 2007. Graduate Programme in Film (Screenwriting).<br>Typescript. Includes bibliographical references (leaves 147-149). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR29622
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Hemmings, Jonathan Michael. "Dead reckoning : an analysis of George Romero's 'Living dead' series in relation to contemporary theories of film genre and representations of race, class, culture and violence." Thesis, 2008. http://hdl.handle.net/10413/302.

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This thesis is an in-depth analysis of George Romero's 'Living Dead' tetralogy of films, comprising Night of the Living Dead (1968), Dawn ofthe-Bead (1978), Day of the Dead(\985) and Land of the Dead (2005), examined through the lensf of contemporary film genre theory. The project focuses specifically on issues of the representation of race, class, culture and violence in the four films, and how these representations, along with the concomitant social critique evident in Romero's work, change in response to the upheavals and developments which have occurred in the American social, cultural and political climate over the past four decades. It also focuses on how Romero's films respond to changes in the horror genre, and how Romero both structures his films on the binary oppositions which are central to the genre and deconstructs these oppositions, and the implications that this deconstruction (most notably that of the figure of the zombie, which occupies a zone of constantly shifting liminality between the human and the monstrous) has in relation to Romero's socio-cultural and political commentary implicit in the films.<br>Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2008
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Books on the topic "Dead man (Motion picture)"

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Rosenbaum, Jonathan. Dead man. British Film Institute, 2000.

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Rosenbaum, Jonathan. Dead man. BFI Pub., 2000.

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Robbins, Tim. Dead man walking. Faber, 1996.

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Silvis, Randall. Dead man falling. Carroll & Graf Publishers, 1996.

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Robbins, Tim. Dead man walking: The shooting script. Newmarket Press, 1997.

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Weintraub, Jerry. When I stop talking, you'll know I'm dead: Useful stories from a persuasive man. Twelve, 2010.

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Rich, Cohen, ed. When I stop talking, you'll know I'm dead: Useful stories from a persuasive man. Twelve, 2010.

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The Jarmusch way: Spirituality and imagination in Dead man, Ghost dog, and The limits of control. Scarecrow Press, Inc., 2012.

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The dead. Cork University Press in association with the Film Institute of Ireland, 2001.

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The evil dead companion. St. Martin's Griffin, 2001.

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Book chapters on the topic "Dead man (Motion picture)"

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Vinogradov, Igor’ A. "Nikolai Gogol and Alexander Andreyevich Ivanov in the work on the painting “The Apparition of the Messiah”." In Literary process in Russia of the 18 th — 19 th centuries. Secular and spiritual literature. А.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2020. http://dx.doi.org/10.22455/lit.pr.2020-2-159-176.

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The article presents an analysis of the creative dialogueАbstract: The article presents an analysis of the creative dialogueof Nikolai Gogol and artist Alexander Andreyevich Ivanov in the processof creating of the famous painting “The Apparition of the Messiah”by the latter. As a result of comparing the preliminary sketches of theartist, interpreting one of the drawings made by Nikolai Gogol forAlexander Andreyevich, as well as studying the similar religious andpolitical views of the writer and painter, a conclusion is drawn abouttheir fruitful cooperation in developing the concept of the famous painting.The compositional motifs prompted by Nikolai Gogol to AlexanderAndreyevich Ivanov and embodied in “The Apparition of the Messiah”include a number of interconnected and complementary Christian images.Transformed in baptism, ancient and modern humanity, what was depicted by the artist in the outlines of the temple, was the reconstructeddepicted by the artist in the outlines of the temple, was the reconstructed“fall of Adam”, the New Testament Noah’s ark — the ship of the Church,the “echidna” serpent of the baptised pagans. The latter image finds itscorrespondence in a whole series of Nikolai Gogol’s works of art, from“Evenings on a Farm Near Dikanka” to “Dead Souls”. Nikolai Gogol andAlexander Andreyevich Ivanov find deep unanimity in the developmentof the main messianic content of the picture.
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Baecker, Ronald M. "Digital media and intellectual property." In Computers and Society. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198827085.003.0007.

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Vannevar Bush envisioned a machine that would assist humanity in the creative work of writing. Doug Engelbart imagined the collaborative sharing and enhancement of knowledge. Digital media today—text, drawings, photos, audio, and video—surpass the visions of their pioneers. These media may be copied, shared, and modified in ways that challenge the legal system, because unrestricted content sharing without suitable payment to creators runs counter to intellectual property (IP) traditions and laws. Writers, musicians, artists, and inventors have long relied upon IP protection to enable them to control the use of their creations and inventions. Copyright infringement, that is, copying in violation of copyright, threatens the income that they could receive from their creations. The concept of fair use is a critical issue in such discussions, as it allows certain exceptions to copyright. One area that has received a great deal of attention is the digital copying and sharing of music; we shall examine the interplay between conventional behaviour, ethics, technical interventions to limit or block copying, laws and legal battles, and product and pricing innovation. Next, we shall look at similar issues in the domain of motion pictures. There are effective and legal streaming services, yet there are still concerns about copyright infringement. Copyright holders now automatically produce takedown notices to insist that websites remove illegally or improperly sourced material. Such notices include many errors, causing additional complications for video creators. One interesting challenge to the concept and laws of copyright occurs in the creation of mash-ups. Artists use fragments from existing musical or visual performances as well as their own material to create audio-visual works that combine multiple content sources. Artists, lawyers, and businesspeople debate the extent to which such mash-ups violate reasonable copyright protection. Copyright is also significant for academic articles and textbooks. There are two especially interesting cases to discuss. One is the widespread copying of textbooks by students due to the high price of texts. The other is the fair pricing of the publication of research results that have been funded by government grants. This issue has provided one of several stimuli to the creation of open access publications.
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Erish, Andrew A. "1909–1913." In Vitagraph. University Press of Kentucky, 2021. http://dx.doi.org/10.5810/kentucky/9780813181196.003.0004.

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Chapter Three charts Vitagraph's ascendency in becoming the world's leader in motion picture production, during which time the company earned one million dollars in annual net profit. This was derived exclusively from foreign earnings due to the mismanagement of the Patents Company's domestic distribution arm. Part of Vitagraph's popularity is attributed to the crediting and promotion of its actors via the creation of the first trade and fan magazines devoted exclusively to the movies. There are in-depth profiles of such leading players "Vitagraph Girl" Florence Turner, matinee idol Maurice Costello, and comedian John Bunny, who was widely regarded as the most recognizable man in the world. The significance of Vitagraph's Los Angeles studio in the production of popular Westerns is considered. The chapter also includes an analysis of the company's development of a sophisticated cinematography aesthetic to complement particular narratives, an approach that later came to be labeled "film noir".
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