Relevant bibliographies by topics / Encino man (Motion picture)

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

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

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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

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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 (May 25, 2007): 435–36. http://dx.doi.org/10.1093/jiplp/jpm085.

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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 (April 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 (July 9, 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 (December 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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Sommers, Joseph Michael. "The Traumatic Revision of Marvel’s Spider-Man: From 1960s Dime-Store Comic Book to Post-9/11 Moody Motion Picture Franchise." Children's Literature Association Quarterly 37, no. 2 (2012): 188–209. http://dx.doi.org/10.1353/chq.2012.0016.

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ELLIS, PATRICK. "A cinema for the unborn: moving pictures, mental pictures and Electra Sparks's New Thought film theory." British Journal for the History of Science 50, no. 3 (September 2017): 411–28. http://dx.doi.org/10.1017/s0007087417000644.

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AbstractIn the 1910s, New York suffragette Electra Sparks wrote a series of essays in theMoving Picture Newsthat advocated for cine-therapy treatments for pregnant women. Film was, in her view, the great democratizer of beautiful images, providing high-cultural access to the city's poor. These positive ‘mental pictures’ were important for her because, she claimed, in order to produce an attractive, healthy child, the mother must be exposed to quality cultural material. Sparks's championing of cinema during its ‘second birth’ was founded upon the premise of New Thought. This metaphysical Christian doctrine existed alongside the self-help and esoteric publishing domains and testified, above all, to the possibility of the ‘mind-cure’ of the body through the positive application of ‘mental pictures’. Physiologically, their method began best in the womb, where the thoughts of the mother were of utmost importance: the eventual difference between birthing an Elephant Man or an Adonis. This positive maternal impression was commonplace in New Thought literature; it was Sparks's innovation to apply it to cinema. Investigating Sparks's film theory, practice and programming reveals her to be a harbinger of the abiding analogy between mind and motion picture that occupies film theorists to this day.
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Paul, Andrew. "“Sometimes a Bee Can Move an Ox”: Biblical Epics and One Man's Quest to Promote Jewish Values in Blacklist-Era Hollywood." Modern American History 1, no. 2 (May 15, 2018): 173–94. http://dx.doi.org/10.1017/mah.2018.11.

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In the 1950s, the top American Jewish organizations chose a single man, John Stone, to represent their collective interests in Hollywood. Over the course of the decade, Stone's Motion Picture Project sought to prevent antisemitism on film and to inspire the creation of positive Jewish characters. Negotiating the cultural politics of the era, however, resulted in an increasing tendency to favor depictions of biblical Jews over contemporary American ones. In a strange twist, Stone endorsed no film with as much zeal asBen-Hur, a New Testament celebration of Jesus. By following Stone's tortuous attempts to navigate Cold War controversies, and by casting new light on the phenomenal success of biblical epics in the 1950s, this essay suggests that at the heart of postwar popular culture was a shift toward a particular discourse of liberal humanism.
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Herman, David. "A Renaissance Robot." Mechanical Engineering 120, no. 02 (February 1, 1998): 80–82. http://dx.doi.org/10.1115/1.1998-feb-4.

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This article focuses on a computer in downtown Manhattan that is displaying a robotics designer’s latest creation in action. Fashioned to look like an armored knight, the mechanical man in this three-dimensional simulation sits up, waves its arms, moves its head on a flexible neck, and opens and closes its hands and its jaw, all in smooth, precise motions. The robot could be used in a new motion picture, museum, or amusement park. Its original designer, however, never heard of movies, computers, or Wait Disney: The robot sprang from the mind of Leonardo da Vinci. Most Renaissance-era designers took a practical approach to mechanics, viewing each machine as a universal entity to be applied as a whole. Leonardo, however, used a revolutionary method of analysis that involved dissecting machines into individual components or “organs” and establishing how many essential parts exist; pulleys, chains, pinions, shock absorbers, springs, and friction bearings were just some of the elements he discovered to be common in many different machines. Leonardo’s studies have influenced and inspired Rossheim greatly in his current robotics designs. Leonardo followed the Renaissance ideal of “man as the measure,” the standard for which the world was designed.
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Adji, Alberta Natasia. "REVEALING THE RE-TRANSFORMATION OF 9 SUMMERS 10 AUTUMNS." Paradigma, Jurnal Kajian Budaya 8, no. 1 (July 31, 2018): 99. http://dx.doi.org/10.17510/paradigma.v8i1.185.

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<p><span style="font-size: medium;"><em>9 Summers 10 Autumns</em> (2011) is an inspirational autobiographical novel about a young man from a small city of Batu who later succeeded in pursuing his dream by working in the United States. The novel was written according to Iwan Setyawan’s life story and it has been made into a movie by the same name in 2013. Two years later, the movie was adapted into an augmented motion picture hinted illustrative book which is said to be the first kind to appear in Indonesia that combines novel, comic, app and film together. Somehow this phenomenon has also contributed to the rising trend of films adapted into books in Indonesia, such as <em>Assalamualaikum Beijing</em> (2015), <em>What’s Up with Love?</em> (2016), and others. This study caters for Iwan Setyawan’s strategy in achieving legitimacy in the arena of Indonesian Literature and his American Dream Ideals that are depicted within the book. The discussion is carried out within the perspectives of Pierre Bourdieu’s field of cultural production theory as well as sociology of literature approach in highlighting the phenomenon of transformation from novel into film and eventually into augmented motion picture hinted illustrative book. Later, the study discovers that it has changed the image of Indonesian art and literary world in which such prestigious legitimacy can now be achieved through commercial strategies, making it seem dynamic but at the same time questionable in its most authentic sense. </span></p>
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Dissertations / Theses on the topic "Encino man (Motion picture)"

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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.
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).
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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Books on the topic "Encino man (Motion picture)"

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Joel, Coen, ed. A serious man. London: Faber and Faber, 2009.

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

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

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Howard, Sara. Fantasy man. New York: Kensington Pub. Corp., 2001.

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Forbes, Bryan. The rewrite man. London: Mandarin, 1993.

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Duncan, Alice. Her leading man. New York: Zebra, 2001.

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Joel, Coen, ed. The man who wasn't there. London: Faber and Faber, 2001.

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Petit, Philippe. Man on wire: Now a major motion picture. New York: Skyhorse Pub., 2008.

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Lee Man-hee. Seoul, Korea: Korean Film Council, 2009.

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MacHale, Des. A Quiet man miscellany. Cork: Atrium, 2009.

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

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Erish, Andrew A. "1909–1913." In Vitagraph, 58–110. 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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