Relevant bibliographies by topics / Film language

Contents

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

Academic literature on the topic 'Film language'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 May 2022

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Journal articles on the topic "Film language"

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Usó-Juan, Esther, and Alicia Martínez-Flor. "Fostering learners’ (meta)pragmatic awareness through film analysis." Language Value 14, no. 1 (July 27, 2021): 85–111. http://dx.doi.org/10.6035/languagev.5821.

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Film-based dialogues have been praised in the current work on pragmatics as a potentially useful source that can enhance learners’ (meta)pragmatic awareness of the pragmatic phenomena in actual communicative events. Following this view, this paper first outlines the concept of (meta)pragmatic awareness and explains, drawing on McConachy and Spencer-Oatey (2020), the different theoretical perspectives examining the role that awareness plays in developing learners’ pragmatic ability. Then, it surveys studies that have reported benefits of bringing audiovisual input through films into the classroom. Finally, the analysis of two film-dialogues is presented to illustrate how it may foster learners’ awareness of communication as a context-dependent act. Along the way, it also highlights selected research-based techniques that can engage learners in critical film analysis.
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Ruiz, José Santaemilia, and Betlem Soler Pardo. "Translating film titles." Babel. Revue internationale de la traduction / International Journal of Translation 60, no. 2 (December 31, 2014): 193–215. http://dx.doi.org/10.1075/babel.60.2.04rui.

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In Spain, as in the rest of the non-Anglophone Western world, English-language film titles have become texts (or paratexts) of great cultural importance. The titles of the films that one may encounter in Western cinema can be considered, on the one hand ephemeral, elusive, and inconsequential. However, on the other hand, despite their clear irrelevance, film titles are considered to be the genuine contemporary cultural texts, for their continued presence in the media and for their evocative nature: an important marketing tool. Moreover, the result of what happens when film titles are translated into other languages and cultures has always intrigued the audience: this is perhaps indicative of the vast universe of translation studies. The differences between languages are palpable, not only from a linguistic point of view but also from a pragmatic, historical or cultural standpoint. In this paper, we deal with the translation of Quentin Tarantino’s film titles into a number of European languages, including Spanish, Catalan, French and German. Quentin Tarantino’s films are controversial, self-reflexive and have acquired a significant recognition within popular culture. Most of the typologies employed so far have revolved around the notion of ‘fidelity” in the translation of film titles, and involving such strategies as literal translation, transposition, addition, etc. We wish to propose here another avenue for investigation: that of film-title translation as a complex (and globalised) rewriting phenomenon that benefits the commercial and ideological interests of the film industry.
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Corrius, Montse, and Patrick Zabalbeascoa. "Translating Code-Switching on the Screen." Journal of Audiovisual Translation 2, no. 2 (December 31, 2019): 72–91. http://dx.doi.org/10.47476/jat.v2i2.96.

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This paper outlines the complexity of accounting for multilingual audiovisual films for the purpose of their translation. In particular it focuses on an issue that has not received much scholarly attention so far, the fictional representation of code-switching in feature films, with particular attention to Spanglish, given that language and its interlinguistic barriers towards interpersonal communication is one of the main themes of the film. The paper distinguishes different types of language shifts (alternations) as part of a film’s plot or script, like straightforward translation between characters, in order to better characterize code-switching as concept borrowed from sociolinguistics. This, in turns allows for a broader notion of language shifts, of which code-shifting is a part. Finally, the paper also includes a three-type classification of films depending on the amount and importance of languages other than the main language of a film: anecdotal, recurrent, and L3-as-theme, L3 being the notation system used to label all instances of languages in a text (written, oral or audiovisual) other than the main language.
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Satkauskaitė, Danguolė, and Alina Kuzmickienė. "Conveying Frenchness in the Dubbing of Animated Film Ratatouille." Sustainable Multilingualism 16, no. 1 (May 1, 2020): 205–26. http://dx.doi.org/10.2478/sm-2020-0010.

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SummaryDue to globalization, migration, tourism and other reasons multiculturalism and multilingualism have become the rule rather than the exception. In this context films, on the one hand, serve as a reflection of multilingual and multicultural reality, on the other hand, multilingualism inevitably occurs by translating films for different audiences since (interlingual) translation involves at least two languages. Films, in which characters belong to different cultures and languages, pose a considerable challenge to translators. Such a case is the American animated film “Ratatouille” (2007), which action takes place in France and most of its characters are French. However, by adapting the film for the main target audience – the children – the character identity is revealed not using complete foreign language dialogues but creatively combining various modes: verbal acoustic (dialogues and lyrics), verbal visual (written texts), nonverbal visual (images) and nonverbal acoustic (nondiegetic music). The same modes are applied to render culture-specific items, especially food and drink names. Since verbal mode varies depending on the target audience, American English source language as well as Lithuanian, Russian and French dubbed versions of the film “Ratatouille” will be compared in order to determine semiotic modes, which convey Frenchness. Additionally, by comparing selected dubbed versions of the film, amusing translations, resulting exactly from the encounter of cultures and languages, will be presented as well. For the research methodological approaches of audiovisual translation, multimodality and comparative method will be applied.
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Smith, Adrian. "The Language of Love: Swedish Sex Education in 1970s London." Film Studies 18, no. 1 (2018): 34–51. http://dx.doi.org/10.7227/fs.18.0003.

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In 1974 the British Board of Film Censors refused to grant a certificate to the Swedish documentary More About the Language of Love (Mera ur Kärlekens språk, 1970, Torgny Wickman, Sweden: Swedish Film Production), due to its explicit sexual content. Nevertheless, the Greater London Council granted the film an ‘X’ certificate so that it could be shown legally in cinemas throughout the capital. This article details the trial against the cinema manager and owners, after the film was seized by police under the charge of obscenity, and explores the impact on British arguments around film censorship, revealing a range of attitudes towards sex and pornography. Drawing on archival records of the trial, the widespread press coverage as well as participants’ subsequent reflections, the article builds upon Elisabet Björklund’s work on Swedish sex education films and Eric Schaefer’s scholarship on Sweden’s ‘sexy nation’ reputation to argue that the Swedish films’ transnational distribution complicated tensions between educational and exploitative intentions in a particularly British culture war over censorship.
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VanPatten, Bill. "Film and Language Acquisition." Hispania 98, no. 3 (2015): 391–93. http://dx.doi.org/10.1353/hpn.2015.0086.

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TILLMAN, FRANK. "Film, thought and language." World Englishes 5, no. 2-3 (July 1986): 265–72. http://dx.doi.org/10.1111/j.1467-971x.1986.tb00732.x.

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Giampieri, Patrizia. "Spoken language features (and anomalies) in films for ESL classes." Language Learning in Higher Education 8, no. 2 (September 25, 2018): 399–425. http://dx.doi.org/10.1515/cercles-2018-0022.

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Abstract It is argued that learning a language through films is enjoyable, useful and motivating. At the same time, despite being scripted, film dialogues are claimed to mirror authentic conversational language. This paper is aimed at exploring whether films provide useful and interesting instances of spoken language. These can be used in ESL (English as a Second Language) classes in order to foster second language (L2) learners’ communication skills. To this aim, a trial pedagogical intervention was carried out in which students were exposed to film excerpts and prompted to highlight spoken language features and anomalies. In order to foster learners’ noticing and comparing, the dubbed versions of the film excerpts were also addressed. The paper argues that the many instances of authentic colloquial language in film can be exploited in ESL classes. As far as the dubbed versions are concerned, this paper will demonstrate that not all dialogues are dubbed faithfully and many features of spoken language are unfortunately “lost in translation”. Nonetheless, exposing L2 learners to film sequences in both the original and dubbed versions can be useful in order to raise their awareness and foster noticing and comparing.
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Levshina, Natalia. "Online film subtitles as a corpus: ann-gram approach." Corpora 12, no. 3 (November 2017): 311–38. http://dx.doi.org/10.3366/cor.2017.0123.

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In this paper, I investigate online film subtitles from a quantitative perspective, treating them as a separate register of communication. Subtitles from films in English and other languages translated into English are compared with registers of spoken and written communication represented by large corpora of British and American English. A series of quantitative analyses based of n-gram frequencies demonstrate that subtitles are not fundamentally different from other registers of English and that they represent a close approximation of British and American informal conversations. However, I show that the subtitles are different from the conversations with regard to several functional characteristics, which are typical of the language of scripted dialogues in films and TV series in general. Namely, the language of subtitles is more emotional and dynamic, but less spontaneous, vague and narrative than that of normally occurring conversations. The paper also compares subtitles in original English and subtitles translated from other languages and detects variation that can be explained by differences in communicative styles.
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Malíčková, Michaela, and Juraj Malíček. "Theatricality of Film Language in Baz Luhrmann’s Films." Slovenske divadlo /The Slovak Theatre 68, no. 3 (October 14, 2020): 209–28. http://dx.doi.org/10.31577/sd-2020-0013.

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Dissertations / Theses on the topic "Film language"

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Khazaal, Natalie Michaylova. "Sectarianism, language, and language education in Lebanese theater, television, and film." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1467886891&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Yu, Julia. "Translating the Language of Film: East Asian Films and Their Hollywood Remakes." Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/cmc_theses/138.

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Hollywood remakes of East Asian films clearly change more than just the language of a film, and the choices that producers and directors make in order to tailor a foreign film so that it better appeals to American audiences creates an entry point that allows for a more direct comparison of aesthetic styles, cultural tastes, and narrative conventions. An analysis of two case studies, South Korean hit film My Sassy GIrl (2001) and Hong Kong's Infernal Affairs trilogy (2002, 2003, 2003) remade into My Sassy Girl (2008) and The Departed (2006), explores the principles of Korean and Hong Kong commercial film industries and how they differ and interact with those of Hollywood.
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Hall, Kenneth E. "Mountain Men on Film." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/5447.

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Bleichenbacher, Lukas. "Multilingualism in the movies : Hollywood characters and their language choices /." Tübingen : Francke, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=3045361&prov=M&dok_var=1&dok_ext=htm.

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Keeler, Farrah Dawn. "Developing an Electronic Film Review for October Sky." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd800.pdf.

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Leung, Ho Sze Louisa. "A functional analysis of the language of film reviews." HKBU Institutional Repository, 1998. http://repository.hkbu.edu.hk/etd_ra/107.

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Cordero-Campis, Lydia. "Confrontando caras| Confronting language, facing cultural identity." Thesis, State University of New York at Buffalo, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10127796.

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Ethnic identity can be subject to both passive and overt review, which has the potential to cause traumatic fracture of identity. I am a second generation American-Puerto Rican, which can be defined as a person born in the United States of native Puerto Rican ancestry. Personal identity is constructed in part via social and linguistic associations that work with, and against, the cohesive development of an individual’s claim to his or her identity. From the standpoint of a non-fluent Spanish speaker of Puerto Rican descent, I analyze the connection between place, language, and in particular, face-to-face communication, as these aspects come together in developing/disassembling identity. The major focus of this thesis concerns the power of the face as a point of (mis)recognition between people, the site in which a confrontation of identity takes place, in conjunction with spoken language.

The face is the essential locus on the body for recognizing that the person before you is indeed a person; from that point forth, identity is revealed and awareness of subjectivity constructed. Stuart Hall discussed the construction of identity through the concepts of the enlightened subject, the sociological subject, and the post-modern subject. I will be referring to an individual’s identity in terms of these three models, while focusing on ethnic and cultural associations. It should be understood that in my discussion of face, “face” is not comprised solely of what rests above one’s shoulders; rather, the concept incorporates the entirety of an individual’s physical representation. I will question the ways in which language shapes identity, and how culture(s) and society reinforce it. I will also explore the conflict that unfolds when one is denied ownership of the identity that one has established as true. This analysis incorporates philosophy and cultural theory, including, but not limited to: Emmanuel Levinas’ “Face of the Other,” which professes that we must not inflict conceptual violence on the face of the person standing before us; additionally, Gloria Anzaldúa’s theory of the ethnic face and haciendo cara (making face), which states that minorities (women in particular) must construct layers of masks in order to adapt, and to deflect persecution.

Language defines the borders of “face,” and urges us to construct a binary of correct and incorrect, true and false. However, a person’s identity cannot be false, because subjectivity exists beyond language. In the context of this thesis, I re-frame the individual’s frustrations with misrecognition of ethnic identity, through my focus on face and fluency, or lack thereof, in a particular spoken language. Through my video practice, I have forged a new pathway to explore these dualities. In a self-revelatory process, this project guides the viewer through a mixed media visualization of ethnic authentication and judgment.

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Bleichenbacher, Lukas. "Multilingualism in the movies Hollywood characters and their language choices." Tübingen Francke, 2007. http://d-nb.info/986848778/04.

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Kim, Lynn. "Body Language." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587494555861933.

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Furstenau, Marc. "Cinema, language, reality : digitization and the challenge to film theory." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84508.

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Digital cinema has provoked a strong response over the last decade, not only from the movie-going public, but also from film theorists. It has re-opened basic theoretical questions about cinematic representations of and reference to reality.
This thesis begins with a critical review of the vast theoretical literature dealing with the digitization of the cinema. Most theorists have come to the conclusion that the cinema is dead because digitization has severed the ties between what we see on the screen and real life. At root, this conclusion is derived from a structuralist, nominalist position prevalent in contemporary film theory.
I argue, instead, that film theory needs to re-address the complex issue of the relationship between image and reality, rather than simply accepting the traditional view. In so doing, I follow Stanley Cavell's call for a more thorough consideration of realist traditions in film theory, the premise of which is an unquestioned relationship between representation and reality.
The complexity and subtlety of that relationship has been addressed most systematically and fruitfully by Charles Saunders Peirce. Indeed, many structuralist theorists have made reference to Peirce in response to the shortcomings of a semiologically inflected film theory. In the second step of my argument, however, I show that structuralist theory has produced misleading conclusions, since a Peircian semiotics is incommensurable with the structuralist position. In fact, this implicit conflict has led theorists to doubt the real in the digital cinema, rather than investigating the logically necessary continuity of reality and representation, regardless of its technological kind.
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Books on the topic "Film language"

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John, Marland, and Rawle Steven, eds. The language of film. Lausanne, Switzerland: AVA Publishing, 2010.

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Screen language: From film writing to film-making. London: Methuen, 2001.

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Barry, Tomalin, ed. Film. Oxford: Oxford University Press, 2001.

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The Secret language of film. London: Faber, 1995.

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The secret language of film. New York: Pantheon Books, 1994.

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Jeremy, Grant, and British Film Institute, eds. Teaching analysis of film language. London: BFI Education, 2007.

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Grammar of the film language. Los Angeles: Silman-James Press, 1991.

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Read, Paula K. Film talk: Film wörterbuch - film dictionary, Deutsch-Englisch Enlisch-deutsch. Hamburg: Verlag für Medienliteratur, 1993.

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Class, language, and American film comedy. Cambridge, UK: Cambridge University Press, 2002.

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Meyers, Randall. Film music: Fundamentals of the language. [Oslo]: Ad Notam Gyldendal, 1994.

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Book chapters on the topic "Film language"

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Lacey, Nick. "Film Language." In Introduction to Film, 1–38. London: Macmillan Education UK, 2016. http://dx.doi.org/10.1007/978-1-137-46386-9_1.

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Lacey, Nick. "Film Language." In Introduction to Film, 5–45. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-0-230-21155-1_2.

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Villarejo, Amy. "The language of film." In Film Studies, 27–57. 3rd ed. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429026843-2.

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Hodson, Jane. "Analysing language variation in film." In Dialect in Film and Literature, 42–59. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-39394-4_3.

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Thesen, Thomas Paul. "Character Staging and Film Language." In Composition for the 21st ½ century, 105–40. Boca Raton: CRC Press, 2022. http://dx.doi.org/10.1201/b22148-6.

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Perego, Elisa. "chapter 5. Film language and tools." In Benjamins Translation Library, 81–102. Amsterdam: John Benjamins Publishing Company, 2014. http://dx.doi.org/10.1075/btl.112.06per.

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Hennefeld, Maggie. "Griffith's Body Language and Film Narration." In A Companion to D.W. Griffith, 243–83. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781118341056.ch10.

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Paran, Amos. "Triangulating novel, film, and critique." In Foreign Language Learning in the Digital Age, 91–104. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003032083-8.

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Hueth, Alan C. "Vision and language of scriptwriting." In Scriptwriting for Film, Television, and New Media, 49–80. London ; New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429461361-3.

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Banerjee, Debanjan. "The business of Bengali film and television industry." In Regional Language Television in India, 250–58. London: Routledge India, 2021. http://dx.doi.org/10.4324/9780429270420-21.

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Conference papers on the topic "Film language"

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Barov, Sergey, Tatiana Orlova, and Yurii Medvedev. "USE OF FILM FOOTAGE IN CHINESE LANGUAGE TEACHING." In International Conference on Education and New Learning Technologies. IATED, 2017. http://dx.doi.org/10.21125/edulearn.2017.1170.

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Kusumastuti, Fenty. "Analyzing Translation through the Science Fiction Film Arrival." In 1st Bandung English Language Teaching International Conference. SCITEPRESS - Science and Technology Publications, 2018. http://dx.doi.org/10.5220/0008214600050013.

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Meng, Xianhua, and Yan Chen. "The Particularity of Film Translation." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.89.

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Ji Park, Su, and Alan Rozet. "Film Quality Prediction Using Acoustic, Prosodic and Lexical Cues." In 2021 IEEE Spoken Language Technology Workshop (SLT). IEEE, 2021. http://dx.doi.org/10.1109/slt48900.2021.9383509.

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Awaliah, Yatun Romdonah, Suminto A. Sayuti, and Dingding Haerudin. "Sundanese Language Code-mixing in “Kabayan Jadi Milyuner” Film." In 4th International Conference on Language, Literature, Culture, and Education (ICOLLITE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.123.

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Du, Jinan, and Zixiao Gong. "The Application of Lens Language in Animation Film Design." In 2021 International Conference on Education, Language and Art (ICELA 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220131.128.

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Wang, Yilan. "The Dialogue Strategy Between Left-wing Filmmakers and Film Audience in the 1930s — Focusing on the Construction of Audience by Film Critics of “Morning Paper·Daily Film”." In 2020 International Conference on Language, Communication and Culture Studies (ICLCCS 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210313.068.

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Liu, Shupeng, Lin Chen, Xiangming Zhu, Lili Dai, and Yanfei Xin. "Digital piano keyboard based on PVDF piezoelectric film." In 2010 International Conference on Audio, Language and Image Processing (ICALIP). IEEE, 2010. http://dx.doi.org/10.1109/icalip.2010.5684555.

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Yi, Jing, and Jianxun Wu. "Research on Chinese-Language film in the Context of Globalization." In 2017 International Seminar on Social Science and Humanities Research (SSHR 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/sshr-17.2018.57.

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Siekmeier, Aren, WonKee Lee, Hongseok Kwon, and Jong-Hyeok Lee. "Tag Assisted Neural Machine Translation of Film Subtitles." In Proceedings of the 18th International Conference on Spoken Language Translation (IWSLT 2021). Stroudsburg, PA, USA: Association for Computational Linguistics, 2021. http://dx.doi.org/10.18653/v1/2021.iwslt-1.30.

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Reports on the topic "Film language"

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Filip, Grażyna. SEMANTIC OF QUIET AND SILENCE BASED ON POLISH HUMAN SCIENCE. Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11103.

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The article is an introduction to an individual research subject called The Communicational Potential of Silence, planned – and partially already realised since 2020 – as a cycle of publications based on diversified example material. In print are already two texts: G. Filip, The Communicational Potential of Silence. Film Reviews (University of Rzeszów Publishing House) and G. Filip, The Communicational Potential of Silence. Automotive Brand Press Maria Curie-Skłodowska University of Lublin Publishing House). The presented here English-language article serves for popularization Poland-wide and local (University of Rzeszów) research in the field communications.
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Merzlykin, Olexandr V., Iryna Yu Topolova, and Vitaliy V. Tron. Developing of Key Competencies by Means of Augmented Reality at CLIL Lessons. [б. в.], November 2018. http://dx.doi.org/10.31812/123456789/2661.

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Using of new learning and IC technologies is necessary for effective learning of modern students. Their specific educational needs are: using of mobile ICTs, collaboration, challenging tasks and entertainment. Appropriate learning environment should be created to satisfy all these demands. It ought to deal with cloud-based technologies (for 24/7 access, individual and group work according to a personal schedule), augmented reality (for creating of firm links between real and virtual objects), content and language integrated learning (for immersion in an additional language and creation challenging groups and personal tasks in language and non-language subjects). Using these technologies in complex provides social and ICT mobility and creates positive conditions for developing 9 of 10 key competencies. The paper deals with the features, problems and benefits of technologies’ implementation in secondary schools. To sum up, in spite of all difficulties, this environment helps students to get some practical experience in using foreign languages and understanding abstract nature concepts; to develop language and research competencies and to remain motivated (and self-motivated) in learning Science and English.
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Bradley, Gordon H. Network and Graph Markup Language (NaGML) Data File Formats. Fort Belvoir, VA: Defense Technical Information Center, July 2004. http://dx.doi.org/10.21236/ada425213.

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Merzlykin, Olexandr, and Iryna Topolova. Developing of Key Competencies by Means of Augmented Reality in Science and Language Integrated Learning. [б. в.], May 2018. http://dx.doi.org/10.31812/123456789/2897.

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Using of new learning and IC technologies is necessary for effective learning of modern students. That is why it can be reasonable to introduce augmented reality and content-language integrated learning in educational process. Augmented reality helps create firm links between real and virtual objects. Content and language integrated learning provides immersion in an additional language and creates challenging group and personal tasks in language and non-language subjects. Using these technologies in complex provides social and ICT mobility and creates positive conditions for developing 9 of 10 key competencies. The paper deals with the features, problems and benefits of these technologies’ implementation in secondary schools.
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Arnold, Zachary, Joanne Boisson, Lorenzo Bongiovanni, Daniel Chou, Carrie Peelman, and Ilya Rahkovsky. Using Machine Learning to Fill Gaps in Chinese AI Market Data. Center for Security and Emerging Technology, February 2021. http://dx.doi.org/10.51593/20200064.

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In this proof-of-concept project, CSET and Amplyfi Ltd. used machine learning models and Chinese-language web data to identify Chinese companies active in artificial intelligence. Most of these companies were not labeled or described as AI-related in two high-quality commercial datasets. The authors' findings show that using structured data alone—even from the best providers—will yield an incomplete picture of the Chinese AI landscape.
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6

Baker, James, and Sofya Shahab. Preserving Communities' Heritage: A Workbook for Heritage Capturers. Institute of Development Studies (IDS), November 2021. http://dx.doi.org/10.19088/creid.2021.006.

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This is a practical workbook to guide local communities and heritage gatherers through the process of capturing and storing their heritage for future generations. Through initiatives with the British Academy and the Coalition for Religious Equality and Inclusive Development (CREID), the Institute of Development Studies (IDS) has been working with young people in Egypt, Iraq and Syria to capture their oral heritage, so that it may be preserved for future generations. Alongside life history interviews and topic interviews - which cover particular aspects of communities’ heritage - a key component of this heritage preservation is how these records will be stored. Thinking about the language and accessibility of digital archiving practices, this workbook is a practical guide to capturing and storing “heritage harvests”, including community interviews, photographs, and short films.
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Sladen, W. E., R. J. H. Parker, P. D. Morse, S V Kokelj, and S. L. Smith. Geomorphic feature inventory along the Dempster and Inuvik to Tuktoyaktuk highway corridor, Yukon and Northwest Territories. Natural Resources Canada/CMSS/Information Management, 2022. http://dx.doi.org/10.4095/329969.

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Thaw of permafrost and associated ground ice melt can reduce ground stability, modify terrain, and reconfigure drainage patterns affecting terrestrial and aquatic ecosystems and presenting challenges to northern infrastructure and societies. The integrity of ground-based transportation infrastructure is critical to northern communities. Geomorphic features can indicate ground ice presence and thaw susceptibility. This Geological Survey of Canada Open File presents the digital georeferenced database of landforms identified in continuous permafrost terrain using high-resolution satellite imagery. The database is for a 10 km-wide corridor centered on the Dempster and Inuvik-Tuktoyaktuk highways. This 875 km-long transect traverses a variety of geological and physiographic terrain types, including glaciated and non-glaciated terrain, in the northcentral Yukon and northwestern Northwest Territories, where variation in climate, relief, ecology, and disturbance have produced a variety of periglacial conditions. We identified geomorphic features in high-resolution (0.6 m) satellite imagery visualized in 3D, and digitized them in ArcGIS. We used custom Python scripts to populate the attributes for each geomorphic feature. A total of 8746 features were mapped by type and categorized within three main classes: hydrological (n = 1188), mass movement (n = 2435), and periglacial (n = 5123). Features were identified at 1:10 000 and mapped at 1:5000. This report presents the geospatial database in ESRI shapefile, Keyhole Markup Language (KML), and comma-delineated formats.
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Surficial geology, Cornwall Island, Nunavut, parts of NTS 59-C and 69-D. Natural Resources Canada/CMSS/Information Management, 2022. http://dx.doi.org/10.4095/314740.

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This new surficial geology map product represents the conversion of the parts of Open File 541 covering Cornwall Island (Edlund and Hodgson, 1978) and its legend, using the Geological Survey of Canada's Surficial Data Model (SDM version 2.3.14) (Deblonde et al., 2018). All geoscience knowledge and information from Open File 541 that conformed to the current SDM were maintained during the conversion process. The purpose of converting legacy map data to a common science language and common legend is to enable and facilitate the efficient digital compilation, interpretation, management, and dissemination of geological map information in a structured and consistent manner. This provides an effective knowledge-management tool designed around a geodatabase which can expand following the type of information to appear on new surficial geology maps.
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Surficial geology, Amund Ringnes Island, Nunavut, parts of NTS 59-C, F, and 69-D, E. Natural Resources Canada/CMSS/Information Management, 2022. http://dx.doi.org/10.4095/314717.

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This new surficial geology map product represents the conversion of the parts of Open File 541 covering Amund Ringnes Island (Edlund and Hodgson, 1978) and its legend, using the Geological Survey of Canada's Surficial Data Model (SDM version 2.3.14) (Deblonde et al., 2018). All geoscience knowledge and information from Open File 541 that conformed to the current SDM were maintained during the conversion process. The purpose of converting legacy map data to a common science language and common legend is to enable and facilitate the efficient digital compilation, interpretation, management, and dissemination of geological map information in a structured and consistent manner. This provides an effective knowledge-management tool designed around a geodatabase which can expand following the type of information to appear on new surficial geology maps.
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