Relevant bibliographies by topics / Early film history

Contents

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

Academic literature on the topic 'Early film history'

Author: Grafiati
Published: 24 April 2022

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Journal articles on the topic "Early film history"

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Negra, Diane. "Introduction: Female Stardom and Early Film History." Camera Obscura: Feminism, Culture, and Media Studies 16, no. 3 (2001): 1–7. http://dx.doi.org/10.1215/02705346-16-3_48-1.

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Vélez-Serna, Maria A., and John Caughie. "Remote Locations: Early Scottish Scenic Films and Geo-databases." International Journal of Humanities and Arts Computing 9, no. 2 (October 2015): 164–79. http://dx.doi.org/10.3366/ijhac.2015.0147.

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In the field of cinema history, an increased interest in social experience and context has challenged the centrality of the film and the primacy of textual analysis. The ‘Early Cinema in Scotland, 1896–1927’ research project takes a contextual approach, using geo-database tools to facilitate collaboration. This article shows how spatially-enabled methods can also be mobilized to bring issues of representation back into a cinema history project. We argue that, when the films have not survived, their geographical descriptors as recorded by trade-press reviews and catalogues offer new avenues of analysis. The article argues that foregrounding location as a significant element in the film corpus creates a new point of interconnection between film text and context. The juxtapositions and divergences between the spatial patterns of film production and cinema exhibition are connected to pre-cinematic traditions of representation. The spatial distribution also sheds light on the differences between films made for local and international consumption, reflecting on Scotland's position in relation to discourses of modernity.
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Welker, Cécile. "Early History of French CG." Leonardo 46, no. 4 (August 2013): 376–85. http://dx.doi.org/10.1162/leon_a_00609.

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This paper provides an historical summary of the emergence of computer graphics research and creation in France between 1970 and 1990, a period of innovation that transformed artistic practice and French visual media. The paper shows the role of these developments in the history of art, the evolution of digital technology, and the expansion of animation and visual effects in the film industry.
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White, Jerry. "Cold War Contexts: Pawlikowski in Film, Television, and European History." Film Quarterly 72, no. 3 (2019): 44–51. http://dx.doi.org/10.1525/fq.2019.72.3.44.

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Jerry White compares Paweł Pawlikowski's new film Zimna wojna (Cold War, 2018) to Karpo Godina's classic Slovenian film Rdeči boogie ali Kaj ti je deklica (Red Boogie, 1982), discussing the narrative and thematic continuities between the two films in the context of Cold War history and cinema. White also explores Pawlikowski's prior incarnation as a British documentary filmmaker named Paul to suggest a curious evolution; that in returning to his native Poland in his most recent films (Cold War and Ida), Pawlikowski has gone astray, abandoning the authenticity of his early British films such as Last Resort for a muddled romantic vision.
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Bottomore, Stephen. "Rediscovering early non-fiction film." Film History: An International Journal 13, no. 2 (June 2001): 160–73. http://dx.doi.org/10.2979/fil.2001.13.2.160.

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Usuvaliev, Sultan I. "Methodological aspects of studying the history of Soviet cinema in the 1930s." Journal of Flm Arts and Film Studies 11, no. 3 (November 13, 2019): 17–28. http://dx.doi.org/10.17816/vgik11317-28.

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The article is devoted to the history of the Russian film studies and methodology of film history as science using the example of the Introduction of History of the Soviet Film Art by Nikolai Iezuitov (18991941), one of the founders of the national film studies. Since the manuscript of History of the Soviet Film Art the first history of the Soviet cinema has not yet been published and introduced into scholarly use, the author pays special attention to archival sources. Despite a number of essays and discussions about film history and its methodology, a fundamental scholarly work on the historiography of the history of Soviet and Russian cinema has not yet been written. The relevance and novelty of the article is that it is based on the study of archival manuscripts of Nikolai Iezuitov. The exploration of early approaches to the study of the history of the Soviet cinema is important both historically and pedagogically. One of the most important sources of the concept of film history at an early stage of the national film studies is Iezuitov's Introduction to History of the Soviet Film Art. The Introduction is valuable because: 1) it is a rare evidence of reflection on the foundations of film history as scholarship and its methodology; 2) it is given by the author of the first history of the Soviet cinema; 3) it is represented by the author not as a separate abstract essay but as a part of the history itself. The Introduction defines the scholarly tasks and content of film history; overviews foreign books on the history of cinema; emphasizes specific periods of Soviet film history; and indicates the principles of work with relevant sources. Iezuitovs main principles in relation to film history are established in connection, firstly, with Soviet history scholarship; and secondly, with the vision of film history as the history of film art. Thus, film history, according to Iezuitov, is the unity of Marxist understanding of history and art-historical (stylistic) analysis of films and the main film movements in Soviet cinema.
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Adriaensens, Vito. "Cultivating the Early Canons: The Pordenone Silent Film Festival." Film Quarterly 69, no. 3 (2016): 91–95. http://dx.doi.org/10.1525/fq.2016.69.3.91.

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Festival Report: For passionate lovers of silent cinema, the first weekend of October is permanently highlighted in the calendar: it is then that a small city in the north of Italy serves up more than just excellent antipasti and chilled Aperol Spritz. Le Giornate del Cinema Muto, or “the days of silent cinema,” commonly known as the Pordenone Silent Film Festival, has been the mecca for film historians and amateurs of “mute flickers” since its founding in 1982. The festival is the largest silent film festival in the world, offering a nine-day bombardment of rediscoveries, restorations, retrospectives, and special events from dusk until well past dawn, projected at the proper speeds and accompanied by such leading early cinema musicians as Neil Brand, John Sweeney, and Günter Buchwald. Film history comes alive. Films reviewed include: Douro, Faina Fluvial (1931), Chuji tabinikki (A Diary of Chuji's Travels, Daisuke Ito, 1927), and Henri Fescourt's 1925–26 rendition of Les Misérables.
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Förster, Annette, and Eva Warth. "Feminist approaches to early film history 1: An overview." TMG Journal for Media History 2, no. 1 (August 14, 2018): 114. http://dx.doi.org/10.18146/tmg.37.

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Schlüpmann, Heide. "Feminist approaches to early film history 2: Fantastic Motion." TMG Journal for Media History 2, no. 1 (August 14, 2018): 128. http://dx.doi.org/10.18146/tmg.38.

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Warth, Eva. "Feminist approaches to early film history 3: Moving Bodies." TMG Journal for Media History 2, no. 1 (August 14, 2018): 142. http://dx.doi.org/10.18146/tmg.39.

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Dissertations / Theses on the topic "Early film history"

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Tang, GVGK. "The Surprise of a Knight: Excavating Material Legacies through Early Queer Film." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/567974.

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History
M.A.
Absent provenance or any background information, and with both implicit and explicit barriers to access within the archival space, how can we hypothesize—or critically fabulate—queer material legacies? The first—or earliest extant—American film to explicitly depict “queer” sex is The Surprise of a Knight (1929). By synthesizing perspectives on archives, material culture, queer identity, film, the Internet and pornography, this paper treats Surprise as an entry point into a discussion of public history and sexuality—revealing current issues with processing erotic materials and their impact on queer historiographies. This study outlines the problems presented by Surprise and explores contingencies for historical contextualization—methods public historians (archivists and interpreters alike) may adapt to fit similar materials within a broader history of film and queer identity. It explores current methods and future conundrums for best practices in the preservation of (born-digital) pornography, and concludes with impressions from potential audiences and present-day content producers as a means of envisioning new avenues of queer grassroots history-making.
Temple University--Theses
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Frisvold, Hanssen Eirik. "Early Discourses on Colour and Cinema : Origins, Functions, Meanings." Doctoral thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-1261.

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This dissertation is a historical and theoretical study of a number of discourses examining colour and cinema during the period 1909 to 1935 (trade press, film reviews, publications on film technology, manuals, catalogues and theoretical texts from the era). In this study, colour in cinema is considered as producing a number of aesthetic and representational questions which are contextualised historically; problems and qualities specifically associated with colour film are examined in terms of an interrelationship between historical, technical, industrial, and stylistic factors, as well as specific contemporary conceptions of cinema. The first chapter examines notions concerning the technical, material, as well as perceptual, origins of colour in cinema, and questions concerning indexicality, iconicity, and colour reproduction, through focusing on the relationship between the photographic colour process Kinemacolor, as well as other similar processes, and the established non-photographic colour methods during the early 1910s, with an in-depth analysis of the Catalogue of Kinemacolor Film Subjects, published in 1912. The second chapter examines notions concerning the stylistic, formal and narrative functions of colour in cinema, featuring a survey of the recurring comparisons between colour and sound, found in the writing of film history, in discourses concerning early Technicolor sound films, film technology, experimental films and experiments on synaesthesia during the 1920s, as well as Eisenstein’s notions of the functions of colour in sound film montage. The third chapter examines the question of colour and meaning in cinema through considering the relationship between colours and objects in colour film images (polychrome and monochrome, photographic and non-photographic) during the time frame of this study.
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Slowik, Michael James. "Hollywood film music in the early sound era, 1926-1934." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3191.

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This dissertation traces the history of the early Hollywood sound score for feature films between the years 1926 and 1934. In the growing literature on film sound, no topic has enjoyed more attention than film music. Yet film music scholars have almost uniformly written off film music in the early sound era (1926-1932). Believing the use of "nondiegetic" music (music without a source in the image) in the early sound era to be minimal, scholars have posited a striking narrative in which King Kong, released in 1933, burst onto the scene featuring a score that single-handedly revolutionized film music practices and paved the way for the heavily studied Golden Age of film music (1935-1950). In fact, a host of film scores preceded King Kong, scores which with rare exceptions have received no attention. Due to this inattention, scholars have mischaracterized the nature of late 1920s and early 1930s sound film, overlooked important and unusual early sound film music strategies and failed to offer any satisfactory account for the rise of the Golden Age of film music. Based on screenings of hundreds of early sound films, I demonstrate that the early sound era featured a wide array of musical approaches rather than a single-minded avoidance of nondiegetic music. Drawing upon musical techniques from opera, melodrama, musicals, phonography, radio, and silent films, the early sound era featured an eclectic mix of accompaniment practices. Though early synchronized sound films largely adhered to a silent film music model, the advent of synchronized dialogue encouraged the use of several other conflicting musical accompaniment models. The late 1920s featured a substantial reduction in musical accompaniment, but the period still contained a diverse array of film score experiments rather than a total avoidance of nondiegetic music. By the early 1930s, a more consistent musical approach emerged, in which music was tied to unfamiliar settings or heightened internal mental states. This tactic exerted a considerable influence on King Kong's score and continued to be influential on musical accompaniment practices in the classical era. The first chapter surveys a range of musical influences available to film music practitioners in the years leading up to the transition to sound. Chapter two then analyzes the film score in early synchronized films and part-talkies from 1926-1929, while chapter three examines the use of music in "100% talkies" from 1928-1931. After chapter four discusses the special case of the film score in the early musical from 1929-1932, chapter five examines the score for non-musicals from 1931 to just before the release of King Kong in April of 1933. In light of the plethora of pre-King Kong scores discussed in this study, chapter six offers a radical revision of King Kong's contribution to film music history. Finally, the Conclusion examines the early sound score's legacy in the Golden Age of film music.
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Hart, Hilary 1969. "Sentimental spectacles : the sentimental novel, natural language, and early film performance." Thesis, University of Oregon, 2004. http://hdl.handle.net/1794/297.

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Advisor: Mary E. Wood. xii, 181 leaves : ill. ; 29 cm. Print copy also available for check out and consultation in the University of Oregon's library under the call number: PS374.S714 H37 2004.
The nineteenth-century American sentimental novel has only in the last twenty years received consideration from the academy as a legitimate literary tradition. During that time feminist scholars have argued that sentimental novels performed important cultural work and represent an important literary tradition. This dissertation contributes to the scholarship by placing the sentimental novel within a larger context of intellectual history as a tradition that draws upon theoretical sources and is a source itself for later cultural developments. In examining a variety of sentimental novels, I establish the moral sense philosophy as the theoretical basis of the sentimental novel's pathetic appeals and its theories of sociability and justice. The dissertation also addresses the aesthetic features of the sentimental novel and demonstrates again the tradition's connection to moral sense philosophy but within the context of the American elocution revolution. I look at natural language theory to render more legible the moments of emotional spectacle that are the signature of sentimental aesthetics. The second half of the dissertation demonstrates a connection between the sentimental novel and silent film. Both mediums rely on a common aesthetic storehouse for signifying emotions. The last two chapters of the dissertation compare silent film performance with emotional displays in the sentimental novel and in elocution and acting manuals. I also demonstrate that the films of D. W. Griffith, especially The Birth of a Nation, draw upon on the larger conventions of the sentimental novel.
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Scoma, David. "THE DEVELOPMENT OF LOOP-BASED CINEMATIC TECHNIQUES IN TWENTIETH CENTURY MOTION PICTURES AND THEIR APPLICATION IN EARLY DIGITAL C." Doctoral diss., University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2227.

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For centuries, repetition in one form or another has been seen as a significant element in the artistic palette. In numerous formats of expression, duplication and looping became a significant tool utilized by artisans in a multitude of creative formats. Yet within the realm of film, the Griffith and Eisenstein models of cinematic editing techniques (as the most popular-- and near-monolithic--narrative aesthetic criteria) effectively disregarded most other approaches, including looping. Despite the evidence for the consistent use of repetition and looping in multiple ways throughout the course of cinematic history, some theorists and practitioners maintain that the influx of the technique within digital cinema in recent years represents a sudden breakthrough, one that has arrived simply because technology has currently advanced to a point where their utilization within digital formats now makes sense both technologically and aesthetically. This situation points to a cyclical problem. Students of film and video frequently are not taught aesthetical or editorial options other than standard industry procedures. Those who are interested in varying techniques are therefore put in the position of having to learn alternative practices on their own. When they do look beyond visual norms to try applying different approaches in their projects, they risk going against the views of their instructors who are only interested in implementations of the standard methods which have been in the forefront for so long. Yet the loop s importance and prevalence as a digital language tool will only likely grow with the evolution of digital cinema. With this is mind, the dissertation addresses the following questions: To what extent can various forms of repetitive visuals be found throughout film history, and are not simply technical manifestations that have merely emerged within digital cinema? How might current educational practices in the realm of film and video work to inform students of techniques outside of the common narrative means? Finally, what other sources or strategies might be available to enlighten students and practitioners exploring both the history surrounding--and possible applications of--techniques based upon early cinema practices such as the loop?
Ph.D.
Department of English
Arts and Humanities
Texts and Technology PhD
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Rieger, Bernhard Wolfgang. "Public readings of technology film, aviation, and passenger liners in Britain and Germany, 1890s to early 1930s /." Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1999. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.313461.

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Kaplan, Stacey Meredith 1973. "The modern(ist) short form: Containing class in early 20th century literature and film." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10574.

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ix, 182 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
My dissertation analyzes the overlooked short works of authors and auteurs who do not fit comfortably into the conventional category of modernism due to their subtly experimental aesthetics: the versatile British author Vita Sackville-West, the Anglo-Irish novelist and short-story writer Elizabeth Bowen, and the British emigrant filmmaker Charlie Chaplin. I focus on the years 1920-1923 to gain an alternative understanding of modernism's annus mirabulus and the years immediately preceding and following it. My first chapter studies the most critically disregarded author of the project: Sackville-West. Her 1922 volume of short stories The Heir: A Love Story deserves attention for its examination of social hierarchies. Although her stories ridicule characters regardless of their class background, those who attempt to change their class status, especially when not sanctioned by heredity, are treated with the greatest contempt. The volume, with the reinforcement of the contracted short form, advocates staying within given class boundaries. The second chapter analyzes social structures in Bowen's first book of short stories, Encounters (1922). Like Sackville-West, Bowen's use of the short form complements her interest in how class hierarchies can confine characters. Bowen's portraits of classed encounters and of characters' encounters with class reveal a sense of anxiety over being confined by social status and a sense of displacement over breaking out of class groups, exposing how class divisions accentuate feelings of alienation and instability. The last chapter examines Chaplin's final short films: "The Idle Class" (1921), "Pay Day (1922), and "The Pilgrim" (1923). While placing Chaplin among the modernists complicates the canon in a positive way, it also reduces the complexity of this man and his art. Chaplin is neither a pyrotechnic modernist nor a traditional sentimentalist. Additionally, Chaplin's shorts are neither socially liberal nor conservative. Rather, Chaplin's short films flirt with experimental techniques and progressive class politics, presenting multiple perspectives on the thematic of social hierarchies. But, in the end, his films reinforce rather than overthrow traditional artistic forms and hierarchical ideas. Studying these artists elucidates how the contracted space of the short form produces the perfect room to present a nuanced portrayal of class.
Committee in charge: Paul Peppis, Chairperson, English; Michael Aronson, Member, English; Mark Quigley, Member, English; Jenifer Presto, Outside Member, Comparative Literature
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Tohline, Andrew M. "Towards a History and Aesthetics of Reverse Motion." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1438771690.

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Frykholm, Joel. "Framing the Feature Film : Multi-Reel Feature Film and American Film Culture in the 1910s." Doctoral thesis, Stockholm : Acta Universitatis Stockholmiensis : eddy.se [distributör], 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-29742.

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Tofighian, Nadi. "Blurring the Colonial Binary : Turn-of-the-Century Transnational Entertainment in Southeast Asia." Doctoral thesis, Stockholms universitet, Institutionen för mediestudier, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-94155.

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This dissertation examines and writes the early history of distribution and exhibition of moving images in Southeast Asia by observing the intersection of transnational itinerant entertainment and colonialism. It is a cultural history of turn-of-the-century Southeast Asia, and focuses on the movement of films, people, and amusements across oceans and national borders. The starting point is two simultaneous and interrelated processes in the late 1800s, to which cinema contributed. One process, colonialism and imperialism, separated people into different classes of people, ruler and ruled, white and non-white, thereby creating and widening a colonial binary. The other process was bringing the world closer, through technology, trade, and migration, and compressing the notions of time and space. The study assesses the development of cinema in a colonial setting and how its development disrupted notions of racial hierarchies. The first decade of cinema in Southeast Asia, particularly in Singapore, is used as a point of reference from where issues such as imperialism, colonial discourse, nation-building, ethnicity, gender, and race is discussed. The development of film exhibition and distribution in Southeast Asia is tracked from travelling film exhibitors and agents to the opening of a regional Pathé Frères office and permanent film venues. By having a transnational perspective the interconnectedness of Southeast Asia is demonstrated, as well as its constructed national borders. Cinematic venues throughout Southeast Asia negotiated segregated, colonial racial politics by creating a common social space where people from different ethnic and social backgrounds gathered. Furthermore, this study analyses what kind of worldview the exhibited pictures had and how audiences reproduced their meanings.
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Books on the topic "Early film history"

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Moving color: Early film, mass culture, modernism. New Brunswick, N.J: Rutgers University Press, 2012.

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Blom, Ivo. Jean Desmet and the early Dutch film trade. Amsterdam: Amsterdam University Press, 2002.

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Blom, Ivo Leopold. Jean Desmet and the early Dutch film trade. Amsterdam: Amsterdam University Press, 2003.

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Early film noir: Greed, lust, and murder Hollywood style. Jefferson, N.C: McFarland, 2003.

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Popple, Simon. Early cinema: From factory gate to dream factory. London: Wallflower, 2004.

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Afterlives: Allegories of film and mortality in early Weimar Germany. New York: Bloomsbury, 2014.

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Brewster, Ben. Theatre to cinema: Stage pictorialism and the early feature film. Oxford: Oxford University Press, 1997.

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John, Sundholm, and Söderbergh-Widding Astrid, eds. A history of Swedish experimental film culture: From early animation to video art. Stockholm: National Library of Sweden, 2010.

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Shakespeare remains: Theater to film, early modern to postmodern. Ithaca, N.Y: Cornell University Press, 2002.

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Australian History and Film Conference (6th 1993 La Trobe University, Melbourne). Screening the past: Aspects of early Australian film : selected papers from the Sixth Australian History and Film Conference and other sources. Acton, ACT: National Film and Sound Archive, 1995.

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Book chapters on the topic "Early film history"

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Borchard, Gregory A. "Early Infotainment in Broadcast and Film." In A Narrative History of the American Press, 166–79. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315658667-11.

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Price, Steven. "Copyright Law, Theatre and Early Film Writing." In A History of the Screenplay, 36–51. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137315700_3.

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Naselli, Mara. "Representations of evil in early film." In The History of Evil in the Early Twentieth Century, 289–300. 1 [edition]. | New York : Routledge-Taylor & Francis, 2016.: Routledge, 2018. http://dx.doi.org/10.4324/9781351138369-18.

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Warnicke, Retha M. "Anne Boleyn in History, Drama, and Film." In “High and Mighty Queens” of Early Modern England: Realities and Representations, 239–55. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1007/978-1-137-10676-6_15.

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Hanan, David. "Filming the ‘Struggle for the Nation’, and Its Aftermath: Early Films of Usmar Ismail and the Perfini Company 1950–1954." In Moments in Indonesian Film History, 11–62. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72613-3_2.

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Burt, Richard. "The Passion of El Cid and the Circumfixion of Cinematic History: Stereotypology/Phantomimesis/Cryptomorphoses." In Medieval and Early Modern Film and Media, 75–106. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1007/978-0-230-61456-7_3.

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Huang, Xuelei, and Zhiwei Xiao. "Shadow Magic and the Early History of Film Exhibition in China." In The Chinese Cinema Book, 47–55. London: British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-84457-580-0_6.

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Gabriele, Alberto. "Sensationalism and the Early History of Film: From Magic Lantern to the Silent Film Serial Drama of Louis Feuillade." In Reading Popular Culture in Victorian Print, 111–37. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230101272_6.

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Sisson, Elaine. "Kismet: Hollywood, Orientalism and the Design Language of Padraic Colum’s Mogu of the Desert." In Cultural Convergence, 175–92. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57562-5_7.

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Abstract The lure of the exotic ‘other’ was implicit from the early years of the Gate’s repertoire. In 1931 the Gate produced Padraic Colum’s Mogu of the Desert, designed by Micheál mac Liammóir and featuring a young Orson Welles. Exploring Mogu uncovers a broader engagement with ‘exotic’ or oriental narratives at the Gate generally. The history and subject matter of Mogu contextualizes mac Liammóir’s fascination with oriental and Middle-Eastern culture within contemporary film. Archival photos illustrate how production stills copied the iconographic styling of film publicity using ‘film-star’ portraiture to promote the Gate. Orientalist narratives require the display of the body through the eroticization of costume – legitimizing the costumed body as a to-be-looked-at space. The Gate’s fascination with oriental settings enables the visibility of ‘transgressive’ sexualities as well as understanding the tastes and appeal of popular culture.
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"HOLLYWOOD’S EARLY SOUND FILMS, 1928–33." In Film Music: A History, 126–46. Routledge, 2009. http://dx.doi.org/10.4324/9780203884478-15.

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Conference papers on the topic "Early film history"

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Olarescu, Dumitru. "The historical-biographical film: destinies and personalities." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.10.

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The history of national cinema shows that the evolution of non-fiction biographical film began with subjects dedicated to prominent personalities. These were included in the film magazine “Soviet Moldova” and in the almanac “Life in pictures”. In 1961, the first historical-biographical film “The Legendary Brigade Commander”- a eulogy to Grigore Kotovski (director A. Litvin) appeared at the “Moldova-film” studio, followed by other films dedicated to the heroes of the times: Pavel Tkacenko, Elena Sârbu, Tamara Cruciok, which were dominated by a pronounced propagandistic character. A new level of national historical-biographical film can be noticed in the late 1960s and early 1970s, when the filmmakers: Emil Loteanu (“Academician Tarasevici”), Andrei Buruiană (“Ştefan Neaga”), Vlad Druc (“Ion Creangă”) made their debut. Yet, the idea of biography especially predominates in the creation of Anatol Codru, who played a significant role in the affirmation stage of this kind of nonfiction film, bringing through his films, “Alexandru Plămădeală”, “Alexei Şciusev”, “Dimitrie Cantemir”,”Vasile Alecsandri” a new breath in the context of the films made before him. He imposed himself through a poetic-philosophical vision on the destinies and the creation of the personalities, who contributed to the spiritual prosperity of the nation.
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2

Dunn, Michael, and Randall Mathison. "History of Short-Duration Measurement Programs Related to Gas Turbine Heat Transfer, Aerodynamics, and Aeroperformance at Calspan and OSU." In ASME Turbo Expo 2013: Turbine Technical Conference and Exposition. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/gt2013-94926.

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Short-duration facilities have been used for the past thirty-five years to obtain measurements of heat transfer, aerodynamic loading, vibratory response, film-cooling influence, purge flow migration, and aeroperformance for full-stage high-pressure turbines operating at design corrected conditions of flow function, corrected speed, and stage pressure ratio. This paper traces the development of experimental techniques now in use at The Ohio State University (OSU) Gas Turbine Laboratory (GTL) from initial work in this area at the Cornell Aeronautical Laboratory (CAL, later to become Calspan) in 1975 through to the present. It is intended to summarize the wide range of research that can be performed with a short-duration facility and highlight the types of measurements that are possible. Beginning with heat-flux measurements for the vane and blade of a Garrett TFE 731-2 HP turbine stage with vane pressure-surface slot cooling, the challenge of each experimental program has been to provide data to aid turbine designers in understanding the relevant flow physics and help drive the advancement of predictive techniques. Through many different programs, this has involved collaborators at a variety of companies and experiments performed with turbine stages from Garrett, Allison, Teledyne, Pratt and Whitney, General Electric Aviation, Rocketdyne, Westinghouse, and Honeywell. The Vane/Blade Interaction measurement and CFD program, which ran from the early eighties until 2000, provided a particularly good example of what can be achieved when experimentalists and computational specialists collaborate closely. Before conclusion of this program in 2000, the heat-flux and pressure measurements made for this transonic turbine operated with and without vane trailing edge cooling flow were analyzed and compared to predictive codes in conjunction with engineers at Allison, United Technologies Research Center, Pratt and Whitney, and GE Aviation in jointly published papers. When the group moved to OSU in 1995 along with the facility used at Calspan, refined techniques were needed to meet new research challenges such as investigating blade damping and forced response, measuring aeroperformance for different configurations, and preparing for advanced cooling experiments that introduced complicating features of an actual engine to further challenge computational predictions. This required conversion of the test-gas heating method from a shock-tunnel approach to a blowdown approach using a combustor emulator to also create inlet temperature profiles, the development of instrumentation techniques to work with a thin-walled airfoil with backside cooling, and the adoption of experimental techniques that could be used to successfully operate fully cooled turbine stages (vane row cooled, blade row cooled, and proper cavity purge flow provided). Further, it was necessary to develop techniques for measuring the aeroperformance of these fully cooled machines.
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J. Podber, Jacob. "Bridging the Digital Divide in Rural Appalachia: Internet Usage in the Mountains." In 2003 Informing Science + IT Education Conference. Informing Science Institute, 2003. http://dx.doi.org/10.28945/2708.

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This project looks at Internet usage within the Melungeon community of Appalachia. Although much has been written on the coal mining communities of Appalachia and on ethnicity within the region, there has been little written on electronic media usage by Appalachian communities, most notably the Melun-geons. The Melungeons are a group who settled in the Appalachian Mountains as early as 1492, of apparent Mediterranean descent. Considered by some to be tri-racial isolates, to a certain extent, Melungeons have been culturally constructed, and largely self-identified. According to the founder of a popular Melungeon Web site, the Internet has proven an effective tool in uncovering some of the mysteries and folklore surrounding the Melungeon community. This Web site receives more than 21,000 hits a month from Melungeons or others interested in the group. The Melungeon community, triggered by recent books, films, and video documentaries, has begun to use the Internet to trace their genealogy. Through the use of oral history interviews, this study examines how Melungeons in Appalachia use the Internet to connect to others within their community and to the world at large.
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"Immature teratoma." In 16th Annual International Conference RGCON. Thieme Medical and Scientific Publishers Private Ltd., 2016. http://dx.doi.org/10.1055/s-0039-1685328.

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Introduction: Immature teratoma represents 3% of all teratomas, 1 % of all ovarian cancers and 20% of malignant ovarian germ cell tumors. It is found either in pure form or as a component of a mixed germ cell tumor. It occurs essentially during the first two decades of life. According to WHO, immature teratoma is defined as a teratoma containing a variable amount of immature embryonal type neuroectodermal tissue Case: We present here a report of 23 years old unmarried female who presented with complaint of abdominal pain since 1 month and her CT scan done outside, showed fibroid uterus. She had history of typhoid fever 1 month back for which USG was done which suggested large uterine fibroid. On examination she was hemodynamically stable. On abdominal examination a non-tender supra-pubic mass of 24 weeks size with firm consistency, irregular margin was felt. On investigation CA 125 was 64.90 IU/L, LD- 223, beta HCG- 1.14. On MRI a large abdomino-pelvic lesion, likely left adnexal lesion with multiple cystic areas, with hemorrhage, with ascites and enlarged retroperitoneal lymph nodes with omental infiltration suggestive of a possibility of malignant germ cell tumor. In view of large ovarian tumor, possibly malignant decision for staging laparotomy was taken. Intra-operatively a large irregular vascular solid mass of 20 x 20 cms with bosselated appearance with few cystic lesions over it was seen, arising from left ovary and was sent for frozen section which reported malignant mature teratoma with components of immature teratoma. She underwent laparotomy with left salpingo-oophorectomy with right ovarian biopsy, omentectomy, appendectomy with B/L pelvic lymphadenectomy. Histopathology was suggestive of grade III immature teratoma. In view of grade III immature teratoma, she received chemotherapy (BEP regimen) post-operatively and is currently under follow up. Conclusion: This case reflects the importance of early diagnosis in cases of pelvic masses in young females. Fertility preservation should be considered in young women with germ cell tumors. Patients with grade II or III tumors or a mere advanced stage disease should be treated with adjuvant chemotherapy (BEP) in addition to surgery.
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5

Donohue, Brian P. "Seattle Center Monorail Train Refurbishment Program." In ASME 2011 Rail Transportation Division Fall Technical Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/rtdf2011-67021.

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Long the iconic transportation symbol of Seattle, the monorail system was constructed for the 1962 World’s Fair. Seattle’s monorail vehicles were the last and most technically advanced vehicles designed and built by the firm of Alweg-Forschung, GmbH (Alweg) of Cologne, Germany. The primary train operating systems and components were supplied by major US transit system equipment vendors of that era, including G.E., WABCO, and Rockwell. The two, 4-car train’s original layout and function generally conformed to US transit rail equipment standards and design practices of the early 1960s. However, during 45-years of near-continuous, revenue operation that included upgrades, piecemeal refurbishment projects and accident/incident repairs, many changes were made to the original design with varying levels of success and documentation. In 2007, a small team of Seattle Monorail staff and consultants identified the vehicle systems and components that were most urgently in need of replacement or overhaul given the limited funding and time available for completion of design work, preparation of contractor bid documentation and construction. Project funding was primarily via a grant from the Federal Transit Administration (FTA), supplemented by the City of Seattle. The historical significance of the Seattle Monorail was at the center of the refurbishment program, with great care in functional design, aesthetics and construction being exercised throughout the program until completion in 2010. The modernization included the installation and integration of: communications-based train control; programmable logic controllers (PLC’s) for auxiliary systems; redundancy and interlocking of key safety-related components; streamlined controls that lead to significant weight savings and increased reliability; modern components to address ADA compliance; and ergonomic Driver Cabs. This report discusses the Seattle Center Monorail Refurbishment Program given the unique opportunity to modernize two historic pieces of transportation rolling stock that is anticipated to run in revenue service for the next 45 years.
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