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Journal articles on the topic 'Discrimination in motion pictures'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Freeman, J., S. E. Avons, J. Davidoff, and D. E. Pearson. "Effects of Stereo and Motion Manipulations on Measured Presence in Stereoscopic Displays." Perception 26, no. 1_suppl (1997): 144. http://dx.doi.org/10.1068/v970362.

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Methods of assessing presence, a sense of ‘being there’ within a displayed virtual environment, include post-test subjective measures, discrimination tests, and monitoring reflexive responses. Each is limited—either they do not provide a measure of temporal variation, are not feasible with current display technology or are overly content-specific. A measure of presence derived from the method of continuous evaluation (ITU-R, Recommendation BT.500-7, revised, “Methodology for the subjective assessment of the quality of television pictures”, 1995) has been used to overcome these limitations. The

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2

Yamauchi, Naoto, Kazuko Shinohara, and Hideyuki Tanaka. "Crossmodal Association Between Linguistic Sounds and Motion Imagery: Voicing in Obstruents Connects With Different Strengths of Motor Execution." Perception 48, no. 6 (2019): 530–40. http://dx.doi.org/10.1177/0301006619847577.

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The present study investigates whether obstruent voicing may or may not affect the imagery of different strengths of motor execution. In a modified version of the implicit association test, participants responded to discrimination tasks that include viewing static pictures of athletes in motion and hearing mono-syllabic linguistic sounds. The results suggest that voiced obstruents are compatible with the motion imagery that implies stronger motor executions, whereas voiceless obstruents are compatible with the imagery that implies weaker motor executions. These results provide experimental sup

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3

Dr., M. Anjum Khan. "Ability Divide and Disability Guide: Exploring the Screen Space." Literary Druid Volume 5, Issue 1 (2023): 1–10. https://doi.org/10.5281/zenodo.7644067.

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<em>Attitudinal barriers can take the form of negative stereotypes about disabled people. These stereotypes can include assumptions that disabled people are dependent, helpless, or pitiable. These negative stereotypes can create barriers to the social inclusion of disabled individuals by influencing how others perceive and treat them. To address attitudinal barriers, it is important to challenge and change negative attitudes and stereotypes about disability. This can involve educating the public about disability, promoting understanding and empathy towards disabled people, and working to reduc

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4

Mitroiu, Simona. "Challenging the Roma Structural Discrimination: Deterritorialization Practices in Romanian Cinema." Metacritic Journal for Comparative Studies and Theory 7, no. 2 (2021): 46–68. http://dx.doi.org/10.24193/mjcst.2021.12.03.

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This paper examines the cinematographic reworking of memory spaces associated with power relations and structural injustice. The way in which space is represented and used as a medium that reflects power relations allows to question the space itself in cultural productions from Central-Eastern Europe when associated with Romani people (space and power relations, memory of slavery and discrimination, space and freedom, territoriality, space and its inhabitants, non-belonging, segregation, etc.). The paper focuses on motion pictures produced in the last decade in Romania, a prolific period due t

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5

Kops, C. E., and E. P. Gardner. "Discrimination of simulated texture patterns on the human hand." Journal of Neurophysiology 76, no. 2 (1996): 1145–65. http://dx.doi.org/10.1152/jn.1996.76.2.1145.

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1. Textures formed by periodic dot arrays are defined by the dot density, spacing, and angular orientation with respect to the direction of motion. In this report we evaluate the effects of the dot density (intensive cues) and arrangement (spatial cues) on the ability of human subjects to discriminate texture patterns scanned across an OPTACON tactile stimulator that selective stimulates rapidly adapting cutaneous mechanoreceptors. We compared dot arrays arranged on the index finger in specific patterns (horizontal, vertical, diamond, up diagonal, or down diagonal orientation) and spaced 4.8,

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6

Castro, Jasmyn. "A License to Project." Feminist Media Histories 11, no. 2 (2025): 9–24. https://doi.org/10.1525/fmh.2025.11.2.9.

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During World War II, African American WACs (Women’s Army Corps) served as “motion picture operators,” representing a significant yet overlooked history at the intersection of nontheatrical film studies, African American studies, and women’s studies. This essay explores the success African American WACs experienced at Fort Huachuca in Arizona, and the challenging assumptions and beliefs that affected the trajectory of Black women in technical film trades. Although Black women faced both racial and gender-based discrimination, they countered stereotypes by demonstrating technical proficiency as

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7

Jinxiu Zhu, Jinxiu Zhu, Xue Xu Jinxiu Zhu, Chang Choi Xue Xu, and Xin Su Chang Choi. "Multi-scale Generative Adversarial Deblurring Network with Gradient Guidance." 網際網路技術學刊 24, no. 2 (2023): 243–55. http://dx.doi.org/10.53106/160792642023032402003.

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<>With regards to the lack of crisp edges and a poor recovery of high frequency information such as details in deblurred motion pictures, this research proposes a multi-scale adversarial deblurring network with gradient guidance (MADN). The algorithm uses the classical generative adversarial network (GAN) framework, consisting of a generator and a discriminator. The generator includes a multi-scale convolutional network and a gradient feature extraction network. The multi-scale convolutional network extracts image features at different scales with a nested connection residual codec struc

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8

Young, Linda. "Motion Pictures." SMPTE Journal 105, no. 4 (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 (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 (1998): 11–13. http://dx.doi.org/10.5594/j17616.

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11

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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12

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

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13

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

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14

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

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15

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

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16

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

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17

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

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18

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

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19

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

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20

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

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21

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

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22

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

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23

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

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24

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

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25

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

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26

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

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27

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

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28

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

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29

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

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30

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

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31

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

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32

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

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33

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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34

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

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35

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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36

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

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37

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

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38

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

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39

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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40

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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41

Ba Tu Truong, S. Venkatesh, and C. Dorai. "Scene extraction in motion pictures." IEEE Transactions on Circuits and Systems for Video Technology 13, no. 1 (2003): 5–15. http://dx.doi.org/10.1109/tcsvt.2002.808084.

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42

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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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

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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45

Dowell, Catherine, McKenzie Gunter, and Alen Hajnal. "The effects of viewpoint, motion, and affordance priming on perceptual learning of feelies." Perception, April 2025. https://doi.org/10.1177/03010066251320575.

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Perceptual learning is a process of developing the skill to differentiate previously undifferentiated information. In this study participants learned to identify novel objects (feelies). To test the role of visual exploration, objects were viewed from either a side or a top view and displayed as either static pictures or rotating about a vertical axis, with moving objects facilitating more visual exploration. In Experiment 1, a simple object discrimination task was used. Participants reached perfect accuracy sooner in static conditions than in motion conditions, regardless of viewpoint, sugges

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46

Simorangkir, Imelda M., and Yulia Sofia. "Tragic Discrimination in Hiddden Figure Movie Dialogue." East Asian Journal of Multidisciplinary Research 3, no. 7 (2024). http://dx.doi.org/10.55927/eajmr.v3i7.9919.

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The movie dialogue from Hidden Figure is used in the present research. Published in 2016, this is an American motion picture. Theodore Melfi was the director of this movie. The same-titled novel served as the inspiration for this movie. The lives of three African-American women who work at NASA are chronicled in this movie. Theodore Melfi was the director of this movie.As a minority, they are positioned. By using Norman Fairlough's critical discourse theory, the researchers in the present research wanted to analyze this movie. The primary source of data for the present research is the dialogue

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47

"Semi-Supervised Gan for medical image segmentation." ARPN Journal of Engineering and Applied Sciences, January 30, 2024, 2532–39. http://dx.doi.org/10.59018/1123305.

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Echocardiography is a popular ultrasound imaging method used for the diagnosis of heart conditions. With the advent of numerous image processing algorithms, echocardiographic image segmentation has become more significant. This is a crucial stage since it offers a framework for evaluating numerous cardiac parameters, including LV volume and heart wall, valve motion, ejection fraction, thickness, etc. All these factors are crucial for determining a heart's health. The task of manual segmentation requires skilled operators and takes a lot of time. By requiring the discriminator network to output

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48

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

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49

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

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50

"MOTION PICTURES." Communication Booknotes Quarterly 31, no. 2 (2000): 138–44. http://dx.doi.org/10.1207/s15326896cbq3102_11.

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