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Journal articles on the topic 'Film scoring'
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Licata, Elizabeth. "Scoring Film." Afterimage 26, no. 1 (July 1998): 15. http://dx.doi.org/10.1525/aft.1998.26.1.15.
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Febrian, Arsya, Hestiasari Rante, Sritrusta Sukaridhoto, and Akhmad Alimudin. "Music Scoring for Film Using Fruity Loops Studio." E3S Web of Conferences 188 (2020): 00004. http://dx.doi.org/10.1051/e3sconf/202018800004.
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Making music for a film can be said to be quite challenging for some people with the necessity that music can evoke the atmosphere in the film. Determination and placement of audio aspects into visual form are things done in the music scoring process. Of course, it will be very inconvenient and inefficient when making music must be through recording instruments manually through the studio. As technology develops in the world of music production, making music for films can now be made using only a computer. This can happen thanks to the Digital Audio Workstation (DAW) software. Nowadays, various types of DAW are emerging, including one that is quite well known, Fruity Loops Studio or commonly called FL Studio. This study aims to find out how the music scoring process for a film using FL Studio, as a reference for making music for films.
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Purwacandra, Pandan Pareanom, and Oriana Tio Parahita Nainggolan. "Sampling Suara Instrumen Musik sebagai Strategi Peningkatan Hasil Belajar Mahasiswa dalam Pembuatan Film Scoring." REKAM 15, no. 1 (September 26, 2019): 61–70. http://dx.doi.org/10.24821/rekam.v15i1.3232.
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ABSTRAKFilm scoring merupakan pembuatan musik untuk mengiringi gambar visual dalam film. Dalam pembuatan film scoring sangat dibutuhkan pengetahuan tentang musik, hal ini dikarekan film scoring memiliki tujuan untuk menciptakan emosi penonton agar dapat memahami film yang ditonton. Instrumen musik merupakan elemen musikal yang mendukung terciptanya emosi penonton. Penelitian ini memiliki tujuan meningkatkan hasil belajar mahasiswa Program Studi D-3 Animasi, Fakultas Seni Media Rekam, Institut Seni Indonesia Yogyakarta pada pembuatan Film Scoring dengan strategi pembelajaran menggunakan sampling suara isntrumen musik. Untuk mengetahui peningkatan hasil belajar mahasiswa, maka digunakan penelitian tindak kelas dengan tiga siklus. Indikator keberhasilan hasil belajar mahasiswa didapat dari nilai dalam tugas membuat film scoring. Hasil penelitian menunjukkan bahwa terjadi peningkatan hasil belajar mahasiswa pada akhir siklus ketiga dari PTK dengan menggunakan strategi pembelajaran sampling suara instrumen musik. Hasil belajar mahasiswa ini ditunjukan dengan jumlah mahasiswa yang mendapat nilai amat baik dan baik yaitu sekitar 93,75% dari 16 mahasiswa. Berdasarkan hasil tersebut, maka dapat disimpulkan bahwa penggunaan strategi sampling suara instrumen musik meningkatkan hasil belajar mahasiswa pada pembuatan film scoring. Film scoring is music written specifically to accompany a movie. The knowledge about music plays an important role in the making of film scoring. The purpose of film scoring is evoking audience’s emotion so they will understand the film message. Musical instrument is musical element that create audience’s emotion while watching film. This research aims to enhance student learning outcomes at Animation Study Program, Faculty of Media and Recorded Arts, Indonesia Institute of the Arts Yogyakarta in making film scoring with using sampling musical instrument as learning strategy. This research is classroom action research with three cycles. The indicator of student learning outcomes gathering from number of students who got an excellent and good marking in making film scoring. The results show 93,75% students or 15 out of 16 students got an excellent and good marking in making film scoring. According to the result of this study, it was concluded that the strategy of using sampling musical instrument can improve student learning outcome in making film scoring.
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Park, Byung-Kyu. "Timing Synchronization for film scoring." Journal of Digital Contents Society 12, no. 2 (June 30, 2011): 177–84. http://dx.doi.org/10.9728/dcs.2011.12.2.177.
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Xian, Yue. "Analysis of TV Film Scoring and Communication Efficiency Based on Artificial Intelligence." Wireless Communications and Mobile Computing 2022 (May 14, 2022): 1–10. http://dx.doi.org/10.1155/2022/5289754.
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The spread of TV movies has brought free participation in film reviews. Movies have brought freedom of time and space for comments. You can publish your own comments at any time without time restrictions. You can publish comments on forums, blogs, vote, and various websites, film companies, and even individuals to hold special online film competitions or film review activities. With the gradual maturity of film types, a series of subtypes such as artificial intelligence, interstellar civilization, and alien species have been derived. These contents have different emphases on type characteristics and narrative characteristics, although the subtypes of films have some common characteristics in essence. Based on artificial intelligence, this paper studies the scoring analysis and communication efficiency of TV and film. By adjusting the recommendation through user feedback, the average absolute error has been improved by 18% and the accuracy has been improved by 24%. Moreover, through four rounds of feedback, the accuracy of online computing recommendation for new users is very close to that for old users. This shows the superiority of artificial intelligence algorithm in solving the problems of cold start and complex interest recommendation. It can be predicted that artificial intelligence will become a unique cultural phenomenon. Its cultural connotation is all inclusive and worthy of continuous research and exploration by future generations. Artificial intelligence appears more and more frequently in science fiction films and presents more rich and detailed diversity and complexity.
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Terauchi, Y., H. Nadano, and M. Kohno. "Effect of MoS2 Films on Scoring Resistance of Gears." Journal of Mechanisms, Transmissions, and Automation in Design 108, no. 1 (March 1, 1986): 127–34. http://dx.doi.org/10.1115/1.3260775.
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In trying to clarify the effect of molybdenum disulfide film on the scoring resistance and the wear characteristics of gears, various tests on balls and gears coated with MoS2 film have been run. From the test results obtained with a four-ball machine and a power-circulating gear machine it was found that the effect of the MoS2 film was small on the seizure load of the balls. In contrast, the effect of the MoS2 film on the scoring resistance of the gears was significant, and the development of the gears of which the load-carrying capacity against scoring is considerably large could be made.
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Indrayuana, Adhitya. "Penggunaan Software “Native Instrument Kontakt” Pada Scoring Film." ULTIMART Jurnal Komunikasi Visual 6, no. 1 (November 12, 2016): 19–21. http://dx.doi.org/10.31937/ultimart.v6i1.363.
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Native Instrument Kontakt adalah software simulasi instrument atau sound effect yang biasa digunakan dalam menciptakan bunyi-bunyian , music dan scoring film . Suara pada software ini relative real seperti suara aslinya karena proses capturing-nya menggunakan instrument asli (analog) yang sudah ada . Target penggunanya adalah Composer & Sound Designer yang ingin bekerja cepat dan mendapat- kan hasil yang maksimal. Selain itu software ini sangat membantu ketika film yang akan di garap musiknya merupakan film low budget.
Key words : simulasi , capturing instrument , software , composing , real audio , sequencer , midi.
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PLATTE, NATHAN. "BeforeKongWas King: Competing Methods in Hollywood Underscore." Journal of the Society for American Music 8, no. 3 (August 2014): 311–37. http://dx.doi.org/10.1017/s1752196314000224.
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AbstractIn many histories of American film music, Max Steiner's score forKing Kong(1933) marks a new era by establishing norms in original, symphonic underscoring that would dominate Hollywood for decades.Kong's reign, however, eclipses diverse approaches to underscoring practiced at studios before and after its release. In this study, I compare the methods of Max Steiner at RKO and Nathaniel Finston at Paramount to show how both influenced film music implementation and discourse in the years leading up toKong. Steeped in the practices of silent cinema, Finston championed collaborative scoring and the use of preexistent music in films likeFighting Caravans(1931). Steiner preferred to compose alone and placed music strategically to delineate narrative space in films, as inSymphony of Six Million(1932), a technique he adapted for mediating exotic encounters in island adventure films precedingKong. Although press accounts and production materials show that Steiner and Finston's methods proved resilient in subsequent years,Kong's canonic status has marginalized Finston's role and threatens to misdirect appraisals of Steiner's other work. Considering Finston's practices at Paramount alongside Steiner's pre-Kongscores at RKO illuminates the limitations of using onlyKongas a model, and shows that Finston's perspective on film scoring in the early 1930s provides a corrective balance for understanding film musicians’ work before and afterKong.
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Ngubane, Ntombi. "Killmonger: scoring modes and representation in Black Panther." Image & Text, no. 36 (June 21, 2022): 1–14. http://dx.doi.org/10.17159/2617-3255/2022/n36a6.
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Anticipated by many, and equally a site of contention or reverence, Black Panther and its accompanying original musical score as composed by Ludwig Gõrranson is rife for analysis and brings to fore the question: in what ways is a Hollywood practice used in a film with seemingly other aesthetic aims? A score which features few disparate and disconnected vague references to an "African sound" for the imagined country of Wakanda is undercut even more so by the insistent use of an otherwise purely western orchestral score. Firstly, through a brief overview of Goransson's production approaches to the score for Black Panther, and his collaboration with local experts, this article argues for a more nuanced understanding of authorship arising from such collaborations between these expert improvising music and film composers who tend to be the sole credited composers. Furthermore, musical representations are complicated by the recurring theme of the "other" according to Classical Hollywood tropes through the integration of occasional African instruments. In section two, brief transcriptions of the music composed for the character Killmonger are provided, in the search for representation devices - how the music works to or fails to establish the character. Also provided are the authors' personal insights as to whether or not Gõransson's intentions with the music are in fact evident in the film.
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Wykes, Robert, Fred Karlin, and Rayburn Wright. "On the Track: A Guide to Contemporary Film Scoring." Notes 48, no. 2 (December 1991): 529. http://dx.doi.org/10.2307/942072.
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Murphy, S. "Scoring Loss in Some Recent Popular Film and Television." Music Theory Spectrum 36, no. 2 (September 24, 2014): 295–314. http://dx.doi.org/10.1093/mts/mtu014.
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Usabaev, Bela, Anna Eschenbacher, and Angela Brennecke. "The Virtual Theremin: Designing an Interactive Digital Music Instrument for Film Scene Scoring." i-com 21, no. 1 (April 1, 2022): 109–21. http://dx.doi.org/10.1515/icom-2022-0007.
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Abstract This paper presents a first prototype of a virtual Theremin instrument for accompanying film scenes with sound. The virtual Theremin is implemented as a hybrid application for the web. Sound control is achieved by capturing user gestures with a webcam and mapping the gestures to the corresponding virtual Theremin parameters pitch and volume. Different sound types can be selected. The application’s underlying research is part of the multi-modal digital heritage project KOLLISIONEN which targets to open up the private archive of the Russian film maker Sergej Eisenstein to a broader public in digital form. Eisenstein, a film theorist and pioneer of film montage, was particularly intrigued by the Theremin as an instrument for film sound design. The virtual Theremin presented here is therefore linked to a film scene from the 1929 Soviet drama “The General Line” by Sergej Eisenstein which was never set to music originally. In its first implementation state, the application connects music interaction design with digital heritage in a modular, flexible and playful way and uses contemporary web technologies to enable easy operation and the greatest possible accessibility.
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Ariani, Dian Retno, and Fandy Neta. "Penerapan Teknik Color Grading dan Musik Scoring pada Tahap Paska Produksi Film Horor "Waktu Terlarang"." JOURNAL OF APPLIED MULTIMEDIA AND NETWORKING 5, no. 1 (July 31, 2021): 29–41. http://dx.doi.org/10.30871/jamn.v5i1.2375.
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Film adalah salah satu media komunikasi modern dan efektif sebagai pengiriman informasi atau pesan yang baik, mendukung cerita yang menarik, suara yang jernih, gambar yang jelas, dan video dengan resolusi tinggi, serta proses editing film akan sangat membantu untuk membuat film menjadi lebih jelas dalam mewujudkan tujuan dari film yang akan dibuat. Perkembangannya begitu cepat, hal ini terjadi dalam semua aspek, baik dari segi cerita sampai pelaksanaannya. Seiring dengan perkembangan zaman yang ada saat ini, film pun mengalami suatu perkembangan dengan memiliki banyak sekali genre film yang beredar ditengah – tengah masyarakat, Salah satunya adalah genre film horror yang diangkat dari kepercayaan masyarakat yang terjadi di lingkungan sekitar yaitu mitos. Tugas akhir ini penulis membuat film pendek yang mengangkat mitos larangan tidur pada waktu magrib serta menerapkan teknik color grading dan musik scoring sebagai solusi untuk menciptakan kualitas video digital. Masalah ini menarik untuk dibahas karena akan membantu meningkatkan dan memberikan warna baru dalam perfilman Indonesia.
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Deaville, James, and Simon Wood. "Synchronization by the Grace of God? The Film/Music Collaboration of Jean Cocteau and Georges Auric." Canadian University Music Review 22, no. 1 (March 4, 2013): 105–26. http://dx.doi.org/10.7202/1014501ar.
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Jean Cocteau's relationship with music has never been explored in detail with regard to his films. Given his well-known statements against synchronization, Cocteau appears upon first glance not to have paid much attention to the relationship between image, word and music, entrusting the music to his long-term friend Georges Auric. However, a closer examination of Auric's scores in the context of their films reveals a much closer corraboration of music and film than previously thought by specialists (or admitted by Cocteau). Analysis of musical and filmic elements in Le Sang d'un poète (1932), La Belle et la Bête (1946) and Orphée (1949) presents a complex and rich yet traditional approach to film scoring both by Auric and Cocteau.
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Rossi, Jérôme. "French film music scoring in the thirties: a stylistic tripartition." French Screen Studies 20, no. 3-4 (January 15, 2020): 180–96. http://dx.doi.org/10.1080/14715880.2019.1697129.
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Kmet, Nicholas. "Remote Control: Collaborative Scoring and the Question of Authorship." Revue musicale OICRM 5, no. 2 (November 30, 2018): 1–14. http://dx.doi.org/10.7202/1054145ar.
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Perhaps the most interesting – and controversial – aspect of Hans Zimmer’s Remote Control Productions is the collaborative workflow that many of the film scores that pass through the Santa Monica studio are produced under. While Zimmer and business partner Steven Kofsky have taken great pains in interviews to emphasize the independence of composers working at the Santa Monica studio – Kofsky has said that “these composers are independent, have their own businesses, and secure their own movies” – the reality is one of frequent collaboration. The website for the studio’s parent company – a joint venture between Zimmer, Kofsky, and Lorne Balfe – advertises that “clients have access to over a dozen composers and music editors;” composer collaboration is clearly a prime selling point of Zimmer’s business. An important side-effect of this process is that it has often become difficult – if not impossible – for scholars and enthusiasts to determine the authorship of individual cues within scores. It is not uncommon for as many as five composers – including some of the more prominent names at the studio – to be credited as providing additional music or filling other roles in the music department. This article examines the collaborative process practiced at Zimmer’s Remote Control Productions, and how it challenges traditional notions of authorship in relation to the Hollywood film score.
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Rosar, William H. "Theme Songs without Words." Journal of Film Music 9, no. 1-2 (February 24, 2022): 8–22. http://dx.doi.org/10.1558/jfm.21422.
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When Max Steiner arrived at RKO Studios in late December 1929, he came as a seasoned Broadway conductor and arranger to work on musicals. Applying the art and craft of song arranging from musical comedies on the Broadway stage to so-called “theme songs” that were sung in dramatic films in the early talkies, he developed what came to be known as “the big theme” in Hollywood Golden Age film scoring parlance in which a song-like theme was featured instrumentally as background music rather than sung on screen. In conjunction with this practice, Steiner and his Hollywood cohorts continued and adapted the existing dramatic techniques of silent film accompaniment to “talking pictures,” which, because of music playing under dialog, was given the name “underscoring.”
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Bombola, Gina. "Searching for a Fresh Point of View." Journal of Musicology 35, no. 3 (2018): 368–96. http://dx.doi.org/10.1525/jm.2018.35.3.368.
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In the early 1940s Aaron Copland cultivated an identity as an authority on film composition through public lectures, interviews, and his own film scores. Championing film music’s potential as a serious art form, Copland sought to show Hollywood that film composers could branch out from the romantic and post-romantic aesthetics that infused contemporary soundtracks and write in a more modern, even American, style. During the 1940s the film industry was already embracing an abundance of new production styles, techniques, and genres that fostered innovation in the development of cinematic musical codes. When Copland returned to Hollywood in 1948 to score William Wyler’s psychological melodrama The Heiress (1949), he chose to take on a set of new challenges. Copland attempted to discover a new idiom for love music, on the one hand, and began to use leitmotifs as a structural device, on the other. Copland’s experience with The Heiress opens a space in which to reassess his opinions about appropriate film-scoring techniques as well as his public endorsement of film composition. His perspectives on film composition—as demonstrated in his writings, correspondence, and film scores as well as in interviews and reviews of his film music—reveal a tension between the composer’s artistic sensibilities and his attitude toward the commercialism of film music. Indeed he maintained a more ambivalent attitude toward cinematic composition than he publically professed. Understood in this context, Copland’s scoring decisions in The Heiress reflect a turn away from the Americana of Rodeo (1942) and Appalachian Spring (1944) and the Russian-themed score of The North Star (1943), as he sought to refashion his identity as a composer in the post-war years.
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GRABER, NAOMI. "Kurt Weill'sThe River Is Blue: “Film-Opera” and Politics in 1930s Hollywood." Journal of the Society for American Music 11, no. 3 (August 2017): 313–53. http://dx.doi.org/10.1017/s1752196317000232.
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AbstractIn early 1937, Kurt Weill and playwright Clifford Odets collaborated on a Spanish Civil War film that they hoped would lead to a new kind of political–musical picture. Originally titledThe River Is Blue, the film was eventually released in 1938 asBlockadewithout the involvement of either Odets or Weill, but recently uncovered archival material of the abandoned project reveals new facets of Weill's musico-dramatic thought. The discovery of Odets's first draft of the screenplay shows an extraordinarily close collaboration between composer and screenwriter as the shot numbers in the script align exactly with numbers in Weill's score. Read together, these two documents show Weill attempting to combine different paradigms of film scoring that were popular in the 1930s. There are moments of typical Golden Age–style scoring with mickey-mousing and leitmotifs, but there is also evidence of older practices such as the use of popular songs. Weill's score also displays the influence of the Popular Front, elements of Eisensteinian montage, and anti-Wagnerianism. These show Weill working toward what he termed “film-opera,” not a filmed version of an opera but an entirely new genre that combined elements of musical theatre and movies.
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Johan, Adil. "Scoring Tradition, Making Nation: Zubir Said’s Traditionalised Film Music for Dang Anom." Malaysian Journal of Music 6, no. 1 (March 2, 2017): 50–72. http://dx.doi.org/10.37134/mjm.vol6.1.4.2017.
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Donelan, James H. "Scoring Transcendence: Contemporary Film Music as Religious Experience, written by Callaway, Kutter." Religion and the Arts 21, no. 1-2 (2017): 271–73. http://dx.doi.org/10.1163/15685292-02101012.
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Wang, Yongmei, Junpeng Shao, Xigui Wang, Xuezeng Zhao, Shubao Li, and Lixin Cao. "Effect of load and speed on warship power rear drive system helical gear anti-scuffing properties in thermal elasto-hydrodynamic lubrication." Advances in Mechanical Engineering 9, no. 1 (January 2017): 168781401668470. http://dx.doi.org/10.1177/1687814016684703.
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The key parameters which caused the scoring failure of helical gears are operating load and speed. In this study, the simulations using geometric meshing theory were carried out to investigate the effect of load and speed of warship transmission helical gear system on thermal elasto-hydrodynamic lubrication. The numerical algorithm for the analysis of three-dimensional thermal elasto-hydrodynamic lubrication used in this work has advantage that the film pressure and distributions can be calculated from Reynolds equation for all mixed lubrication regions without any specific boundary condition for the edge of solid contact region. Oil film pressure, film thickness as well as film temperature under different load and speed conditions were obtained and compared. In addition, experimental tests were conducted to determine gear surface temperature under different load and speed conditions. This work provided a guidance to understand the load- and speed-dependent thermal elasto-hydrodynamic lubrication.
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Moreira, Daniel. "Mayhem, Madness and Distorted Mirrors in Herrmann’s Music for Hitchcock’s Psycho." Journal of Film Music 10, no. 1 (June 13, 2022): 76–111. http://dx.doi.org/10.1558/jfm.20006.
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Bernard Herrmann’s music for Hitchcock’s Psycho plays a crucial role in implementing the relentless move towards mayhem and madness which is characteristic of this film, as well as in creating distorted reflections between sanity and madness. In this article, I claim that the former aspect is expressed by a gradual move from tonal towards “mistuned” and then atonal harmonic objects, while the distorted mirror relationship is suggested by a number of subtle correspondences (both similarities and differences) between cues associated with Marionand cues associated with Norman. My analysis rests on both intratextual and intertextual factors. While I reveal the former through a close analysis of the film score in relation to the narrative, I discuss the latter in terms of Herrmann’s general approach to film music, the conventions of horror film scoring, and the special linkage between modernist music and madness in concert music, opera and cinema.
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Roberts, N., and S. Stanley. "An observer study: comparison of computed radiography to electronic and film portal imaging." Journal of Radiotherapy in Practice 5, no. 4 (November 30, 2006): 197–202. http://dx.doi.org/10.1017/s1460396906000288.
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Introduction: Computed radiography (CR) is an imaging facility that does not require the use of hard copy film, digital images are obtained with a photostimulable phosphor plate, which replaces film, in a cassette. As the first UK radiotherapy site to trial CR, we are collecting data to assess the feasibility of using CR in radiotherapy treatment verification.Method: From 30 patients undergoing radical radiotherapy, 10 were consecutively accrued to three sites: pelvis, thorax and head and neck. Treatment verification images were taken using current protocols, but substituting standard imaging for CR images on one fraction. Four independent observers were used: two clinical oncologists and two therapy radiographers. Observers rated CR, electronic portal imaging (EPI) and enhanced contrast (EC) films of the three sites for both landmark visibility and ease of verification decision, using a numerical scoring system.Results: Ratings for visibility of landmarks and for verification decision were similar for CR and film/EPI images for most landmarks. However, CR images rated poorly compared to EC film in the head and neck region with landmarks such as thyroid cartilage and cricoid cartilage rating as ‘not clear’. CR images rated better than EPI images for both visibility and verification decision on the majority of landmarks in the pelvis region.Conclusion: Results gathered from a relatively small sample size have provided the following conclusion. The visibility of landmarks in CR images is comparable to that in film and EPI. Verification of treatment images based on CR is comparable to that of the current imaging media in the department.
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Ira Newborn and Ron Sadoff. "Compositional Process in Film Scoring: An Interview of Composer/Guitarist, Part 1 of 2." Music and the Moving Image 3, no. 2 (2010): 1. http://dx.doi.org/10.5406/musimoviimag.3.2.0001.
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Ira Newborn and Ron Sadoff. "Compositional Process in Film Scoring: An Interview of Composer/Guitarist, Part 2 of 2." Music and the Moving Image 3, no. 2 (2010): 14. http://dx.doi.org/10.5406/musimoviimag.3.2.0014.
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Torabian, Asefeh, and Massoud Tajadini. "Fostering EFL Learners’ Reading Comprehension: Animation Film Technique." Advances in Language and Literary Studies 8, no. 2 (April 30, 2017): 55. http://dx.doi.org/10.7575/aiac.alls.v.8n.2p.55.
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The current study investigated the effect of implementing animation films on developing reading comprehension texts among EFL learners of a language institute in Kerman. For this purpose, two groups of pre-intermediate EFL learners were chosen (30 participants in each group). After three months of instruction, twice a week, 2story books named the "Good Dinosaur" and "Little Prince" including totally 20 chapters in both groups and animation films including 60 minutes divided into 6 to 7 minutes in each session in experimental group were presented. To estimate the primary knowledge of the subjects, a pretest was taken from both groups and after the experiment came to an end, a posttest was followed. The result revealed that a meaningful relationship could be identified between the procedures incorporated for both groups. However, the experimental group achieved higher degree of achievement using animation films presented to them by scoring higher in the total mean and also, interview participants were satisfied with the use of animation films in the reading class.
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Elahi, Babak. "Reorienting Grass." Afterimage 49, no. 3 (September 1, 2022): 46–72. http://dx.doi.org/10.1525/aft.2022.49.3.46.
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The original score of Iranian, Turkish, Arab, and Kurdish music created for the 1992 Milestone Films re-release of Grass: A Nation’s Battle for Life, deserves more attention than scholars have given it. This essay aims to fill this gap in the critical literature by providing context for the Milestone soundtrack and analyzing its musical and cultural implications and its potential impact on viewers of the film. The essay sets the context for this study by speculating about the lost 1925 score by Hugo Riesenfeld, especially in relation to his reputation for scoring Westerns. It also builds on other scholars’ examination of Aryan race theory expressed in the film’s intertitles, placing this racist ideology within more recent critical theory. I go on to discuss how Amir Vahab, one of the composers, approached the score. I argue that the music is an example of locative cosmopolitanism. Within these contexts, the essay analyzes the score in detail by focusing on the regional elements of the music, its relationship to traditional dances depicted on screen, the choice of modes and instrumentation, and the use of sung Turkish and Persian poetry. The essay argues that the culturally and regionally relevant score challenges and even displaces the racializing ideology of the intertitles.
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Ford, Phil. "Music at the Edge of the Construct." Journal of Musicology 26, no. 2 (2009): 240–73. http://dx.doi.org/10.1525/jm.2009.26.2.240.
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Abstract Writers across a wide spectrum of cold war discourse voiced an anxiety that American minds could be made to see things as some alien will might want us to see them. Cold War popular culture drew on such notions to fashion a spectacle of mind control and depicted advertising, Hollywood, and politics as sites for the manufacture of illusions. Each site finds its critique in a film from the first postwar decades: A Star Is Born (1954) shows Hollywood myths overwhelming the lives of their creators; John Cassavetes's Shadows (1957/1959) voices the hip critique of commodified mass culture; and The Manchurian Candidate (1962) spins a paranoid scenario in which American politics, Communist brainwashing, and television conspire to create a counterfeit reality so total there may be no escape. These films picture their characters struggling to escape the construct of false images that besets them. The musical scoring of these films, though while radically different, defines the boundary of the construct and marks the distance between reality and image.
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Stilwell, Robynn J. "Black Voices, White Women's Tears, and the Civil War in Classical Hollywood Movies." 19th-Century Music 40, no. 1 (2016): 56–78. http://dx.doi.org/10.1525/ncm.2016.40.1.56.
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Two musical trends of the 1930s—the development of a practice for scoring sound films, and the increasing concertization of the spiritual in both solo and choral form—help shape the soundscape of films based in the South and/or on Civil War themes in early sound-era Hollywood. The tremendous success of the Broadway musical Show Boat (1927), which was made into films twice within seven years (1929, 1936), provided a model of chorus and solo singing, and films like the 1929 Mary Pickford vehicle Coquette and the 1930 musical Dixiana blend this theatrical practice with a nuanced syntax that logically carries the voices from outdoors to indoors to the interior life of a character, usually a white woman. Director D. W. Griffith expands this use of diegetic singing in ways that will later be the province of nondiegetic underscore in his first sound film, Abraham Lincoln (1930). Shirley Temple's Civil War–set films (The Little Colonel and The Littlest Rebel [both 1935] and Dimples [1936]) strongly replicate the use of the voices of enslaved characters—most of whom are onscreen only to provide justification for the source of the music—to mourn for white women. Jezebel, the 1938 antebellum melodrama, expands musicodramatic syntax that had been developed in single scenes or sequences over the entire second act and a white woman's fall and attempted redemption. Gone with the Wind (1939) both plays on convention and offers a moment of transgression for Prissy, who takes her voice for her own pleasure in defiance of Scarlett O'Hara. The detachment of the spiritual from the everyday experience of African Americans led to a recognition of the artistry of the music and the singers on the concert stage. In film, however, the bodies of black singers are marginalized and set in service of white characters and white audiences.
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Stantic, Tomislav, Olivera Ciraj-Bjelac, Sanja Stojanovic, Marijana Basta-Nikolic, Danijela Arandjic, and Dragana Stoiljkovic. "Screen-film versus full-field digital mammography: Radiation dose and image quality in a large teaching hospital." Nuclear Technology and Radiation Protection 28, no. 4 (2013): 398–405. http://dx.doi.org/10.2298/ntrp1304398s.
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The objective of this paper is to measure the radiation dose and image quality in conventional screen-film mammography and full-field digital mammography in women referred to mammography examination. Participants underwent bilateral, two-view screen-film mammography or full-field digital mammography. The visibility of anatomical regions and overall clinical image quality was rated by experienced radiologists. Total of 387 women and 1548 mammograms were enrolled in the study. Image quality was assessed in terms of image quality score, whereas patient dose assessment was performed in terms of mean glandular dose. Average mean glandular dose for cranio-caudal projection was 1.5 mGy and 2.1 mGy in full-field digital mammography and screen-film mammography, respectively. For medio-lateral oblique projection, corresponding values were 2.3 and 2.1 mGy. Overall image quality criteria scoring was 0.82 and 0.99 for screen-film and digital systems, respectively. The scores were in the range from 0.11 to 1.0 for different anatomical structures. Overall, full-field digital mammography was superior both in terms of image quality and dose over the screen-film mammography. The results have indicated that phantom dose values can assist in setting the optimisation activities in mammography and for comparison between mammography units. To obtain accurate diagnostic information with an acceptable radiation dose to breast, it is necessary to periodically perform patient dose and image quality surveys in all mammography units.
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Supapan, Jintra, and Parames Chutima. "Defect Reduction in the Manufacturing Process of In-Mould Decoration of Injection Moulded Components." Materials Science Forum 962 (July 2019): 181–88. http://dx.doi.org/10.4028/www.scientific.net/msf.962.181.
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The purpose of this research is to reduce the defect rate from the manufacturing process of in-mould decoration (IMD), the process combining PET film with decorative patterns are moulded together with ABS resins, which has been developed to reduce the secondary process of decorative screen printing. Recently, the case study company has produced components with a high defect rate, which increased sharply to 22.3% in June 2018. The major causes of the defect resulting from PET film peeled off. In order to reduce the defect rate, the five steps of the DMAIC Six Sigma methodology are implemented. The detail of the IMD manufacturing process was studied to identify appropriate measurement methods and factors affecting PET film peeled off by using the cause and effect diagram and its scoring matrix. Then the prioritized factors were analyzed and selected from FMEA to conduct the design of experiment (DOE) to find significant factors and optimal parameter settings for improvement and control process to prevent reoccurrence. After improvement of PET film peeled off by setting appropriate parameter as well as implementing control plans and Standard Operation Procedure (SOP) to eliminate other defects from in-mould decoration process, the result shows that the defect rate of in-mould decoration process decreased from 22.3% to 0.7% in July 2018.
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Anderson, Laura. "Sonic ‘Detheatricalization’: Jean Cocteau, Film Music, and ‘Les Parents Terribles’." Music and Letters 100, no. 4 (November 1, 2019): 654–84. http://dx.doi.org/10.1093/ml/gcz081.
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Abstract Jean Cocteau’s adaptation of his controversial play Les Parents terribles for the screen stands out in his oeuvre as an attempt to reconcile theatre and cinema. It also presented a challenge in preparing a soundscape for a work that did not have any music in its original form. Parents occupies a unique, Janus-like position in the history of French film music, as forward-looking in its anticipation of New Wave treatment of music as material as it is representative of the turn to adapting stage plays for the screen that started in the 1930s. Drawing on production sketchbooks and testimonies, this article considers the development of Cocteau’s working method and his collaboration with Georges Auric, fuelled by the director’s desire to take control of sonic matters. The resulting employment of a monothematic score was not only a new solution to the famous problem of filmed theatre, ‘detheatricalizing’ Parents sonically and visually, it contributed considerably to the development of Cocteau’s status as film auteur—one whose role now extended to adapting musical material. Furthermore, the effect of this compositional technique in Parents suggests that it can be fruitfully situated in relation to recent work in film music studies on issues of anempathetic scoring practices.
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Seireg, A. "Thermal stress effects on the surface durability of gear teeth." Proceedings of the Institution of Mechanical Engineers, Part C: Journal of Mechanical Engineering Science 215, no. 8 (August 1, 2001): 973–79. http://dx.doi.org/10.1177/095440620121500810.
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The current standards and design relationships for the surface durability of gears are based on contact stress considerations. Thermal effects are considered only for scoring failures resulting from the destruction of the lubricating film owing to temperature rise. This paper investigates the effect of thermal shock and thermal stress cycling on pitting, micropitting and wear for different gear geometries, materials, operating conditions, machining processes and surface treatments. Because of the current interest in applying surface coating technology to gears, special attention is given to illustrating the potential benefits of this technology in improving the performance and extending the life of gears.
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Lintangsari, Alies Poetri, Wahyu Widodo, and Rachmawati Ayu Kuswoyo. "KETERAMPILAN NARASI SISWA TULI PADA TINGKAT MIKRO." Linguistik Indonesia 37, no. 2 (September 26, 2019): 159–68. http://dx.doi.org/10.26499/li.v37i2.107.
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Anak tunarungu sebagian besar, menggunakan bahasa isyarat sebagai bahasa pertama mereka. Di sisi lain, mereka diharuskan mampu menulis dengan baik dan benar untuk mampu berkomunikasi dalam proses pembelajaran, baik komunikasi dengan guru maupun sesama teman. Penelitian ini bertujuan untuk mengetahui keterampilan anak-anak tunarungu di tataran paragraf, khususnya dalam menulis narasi. Subjek penelitian ini adalah 37 siswa kelas 2 sampai kelas 6 SDLB YPTB Malang. Penelitian ini menggunakan metode kualitatif deskriptif dengan menggunakan dua instrumen: (1) film bisu The Pear Story ‘kisah buah pir’ yang digunakan untuk memancing subjek untuk menarasikan apa yang telah dilihat, dan menuliskan film tersebut dalam bentuk paragraf narasi, (2) narrative scoring guidelines ‘panduan penilaian narasi’ yang mengukur keterampilan narasi pada tingkat mikro struktur meliputi kohesi naratif, kohesi referensial, penggunaan konjungsi, pembentukan kata-kata gramatikal, dan piranti-piranti naratif. Harapannya hasil penelitian ini mampu mengungkap ketimpangan penelitian yang masih belum tergali dan mampu memberikan kontribusi dalam peningkatan literasi siswa Tuli.
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Antony Cruse, Jayakumar, Samuel Livingstone Kumaran, and Tamilselvan Pachiyappan. "Comparative study of tear film evaluation among healthy pregnant women and gestational diabetes: a cross-sectional study." International Journal Of Community Medicine And Public Health 9, no. 3 (February 28, 2022): 1401. http://dx.doi.org/10.18203/2394-6040.ijcmph20220702.
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Background: Diabetes mellitus (DM) is one of the risk factors for dry eye. This study aimed to estimate the characteristics of tear film by measuring the tear secretion, tear evaporation rate, conjunctival impression cytology and also ocular surface disease index (OSDI) scoring through a questionnaire for gestational diabetes mellitus (GDM) and healthy pregnant women (HPW).Methods: Total of 40 subjects which included 20 subjects who were HPW in group-1 and 20 subjects who were GDM in group-2. After examining their ocular status, the subjects were initially administered with OSDI questionnaire followed by dry eye evaluation procedures such as non-invasive tear breakup time (NIBUT), Schirmer’s 1 and 2, tear film break up time (TBUT) and conjunctival impression cytology (CIC).Results: The gathered data was checked for normality. Mean and standard deviation was compiled for each parameter for their respective groups. A statistical comparison with independent t test was performed between the groups which compared OSDI scores, NIBUT, Schirmer’s 1 and 2, TBUT and CIC for both HPW and GDM group women. Statistically significant difference (p<0.01) was observed with OSDI scores, Schirmer's test 2, TBUT and NIBUT whereas Schirmer's test 1 and CIC were not statistically significant (p>0.01). OSDI scores represented mild symptoms for GDM women.Conclusions: Tear film of GDM women was affected more than HPW suggesting evaporative dry eye. Assessing tear film as a part of routine eye examination for women with GDM is essential to avoid the occurrence of complications due to tear film abnormalities.
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Guo, Qing. "Development Trend of Car Painting Technology." Advanced Materials Research 591-593 (November 2012): 2573–82. http://dx.doi.org/10.4028/www.scientific.net/amr.591-593.2573.
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In recent years, a great amount of new car painting technology emerges. New wet on wet Aqueous compact coating process reduces energy consumption and improves process efficiency, which contribute to large decline in costs of car manufacturers. New nano face paint has higher performance than traditional paints in scoring preventing and resistance to body paint off. Prefilming technology gives rise to less environment pollution, facility investment, fast remodeling, which shocked the automobile painting industry. According to the current situation of painting in China and the international technology developments, this paper introduce development trend of car painting technology in terms of pretreatment, CED, floating coat, face paint painting, and film solidification.
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Irsan, Robby, Yulisa Fitrianingsih, and SB Soeryamassoeka. "TYPOLOGY OF CAR GLASS FILM TOWARDS CLIMATE IN ANTICIPATION TO GLOBAL WARMING." Jurnal TEKNIK-SIPIL 22, no. 2 (December 16, 2022): 130. http://dx.doi.org/10.26418/jtsft.v22i2.59035.
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Climate change has a significant impact on the socio-economic and development of Indonesia. Transportation in this study is related to cars where cars require a lot of fuel consumption. Window Film is able to reject Infrared from sunlight which ensures that the car cabin will feel cooler can help overcome climate change. This study explains how the right type and and the percentage of window are used in the tropics to deal with global climate change. The purpose of this study was to analyze the parameters of temperature, wind speed, lighting, and noise originating from the outside of the car on the ability of each type of car window film to reduce heat. The research method used is the method of collecting data by taking data on the characteristics of temperature, lighting, wind speed and noise inside the car and outside the car which affect the window film. The results of scoring the noise quality standard using the application from SPSS using Crosstab, the quality standard is at a Moderate level between 56-65 db(A), the quality standard lighting level is at a Moderate level between 500-999 Lux, the wind speed to humans is at a very high level. The average score between Effective Temperature and Minimum Humidityis 24.46°C with 63% Humidity. Typology of 40% window film with a combination of glasswall dampers is able to reduce the value of climate parameters from outside the car.
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Ayhan, Barıs, Mehmet Erikoglu, Süleyman S. Tavlı, and Hatice Toy. "A comparison of the application of fibrin glue and adhesive film for repair of anastomotic leaks in the rat." Clinical & Investigative Medicine 35, no. 4 (August 4, 2012): 216. http://dx.doi.org/10.25011/cim.v35i4.17150.
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Background: Anastomotic leaks constitute one of the most serious intraoperative complications and although many studies have been devoted to finding a solution for this problem, none of them has yet been able offer a decisive, successful method. In this study, the ability of fibrin glue and adhesive film to repair anastomotic leaks in an experimental model was compared. Materials and methods: The sample comprised four groups of seven rats: Group 1 (Control): the distal colon was transected and anastomosis was performed. Group 2 (Primary repair): incomplete anastomosis produced a leak that was closed by primary repair on day 3. Group 3 (Fibrin glue): incomplete anastomosis produced a leak that was closed by primary repair and fibrin glue applied on day 3. Group 4 (Adhesive film): incomplete anastomosis produced a leak that was closed by primary repair and adhesive film was applied on day 3. The rats were sacrificed on day 6 following anastomosis. Anastomotic blast compressions were measured and fibroblast activation, inflammation, neovascularization and levels of collagen were evaluated. Results: The results from Group 4 showed that blast compression values were high and statistically significantly increased over control values (p < 0.05). Inflammation in Group 2 was significantly higher than the other groups (p < 0.05). No significant differences were detected in the comparison of the groups regarding the other scoring criteria (p > 0.05). Conclusion: Adhesive film is more effective in reducing anastomotic leakage than fibrin glue.
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Kulezic-Wilson, Danijela. "Tango for a dream." Alphaville: Journal of Film and Screen Media, no. 8 (February 9, 2015): 60–75. http://dx.doi.org/10.33178/alpha.8.04.
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Richard Linklater’s Waking Life (2001) combines unapologetically cerebral content with a sensuous audiovisual style; fragmentariness in the narrative with an all-encompassing breadth of ideas. Another aspect of Waking Life’s internal contradictions is the juxtaposition of the film’s liminal narrative space with the most “earthly” of music genres, the tango. I will explore the contradictions of Linklater’s film by viewing it in the context of the filmmaker’s metaphysical concerns, showing how all his formal choices, including the rotoscoped visual style, the “narrative of digressions” (Linklater qtd. in Singer) and the choice and placement of music, resonate with the film’s thematic undercurrents and its inquiry into the mysteries of existence, consciousness and time. I will argue that the tension between the film’s narrative liminality and tango’s erotic corporeality addresses the dualistic nature of human experience and that the film’s references to Jean-Luc Godard’s Prénom Carmen (1983) in the scoring not only evoke the French director’s distrust of the film medium itself but also connect to Waking Life’s wider concerns with the nature of reality and our perception of it.
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Nurindra, Azka Prima, Moch Amin Alamsjah, and Sudarno Sudarno. "Karakterisasi Edible Film dari Pati Propagul Mangrove Lindur (Bruguiera gymnorrhiza) dengan Penambahan Carboxymethyl Cellulose (Cmc) sebagai Pemlastis [Characterization of Edible Film From Propagules Mangrove Lindur (Bruguiera Gymnorrhiza) Starch with Addition of Carboxymethyl Cellulose (Cmc) as Plasticizer]." Jurnal Ilmiah Perikanan dan Kelautan 7, no. 2 (January 13, 2019): 125. http://dx.doi.org/10.20473/jipk.v7i2.11195.
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Abstract The using of synthetic packaging generally has a problem for healthy and nature. This plastic rubbish can’t degredable by nature and soil. Necessary alternative packaging technology which safe and degredable that is edible film. Use of single material in edible film as starch have some shortage, that is brittle and rigid. Therefore, it is necessary to add material as plasticizer. Plasticizer that use in this study is Carboxymethyl Cellulose. This purpose of this study is to know the effect addition of carboxymethyl cellulose on characterization edible film from propagules mangorve B.gymnorrhiza. The method of this study is experimental with Completely Randomized Design. The treatment is concentration addition of CMC, that is A (0%), B (0,2%), C (0,4%), D (0,6%), E (0,8%), F (1%) and G (1,2%), with four repeatations. Parameters measured were thcikness, water vapor transmission rate, tensile strength and elongation at break. Data analysis using Analysis of Varioan (ANOVA) and if there is difference significant on the result, further with Duncan’s Multiple Range Test. The result of this study show that addition of CMC have different very significant (p<0,01) on thickness, water vapor transmission rate, tensile strength and elongation at break. The best treatment in this study is treatment G (addition CMC concentration 1,2%) with scoring method which basicaly on JIS (Japanesse Industrial Standard)
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Gorbman, Claudia. "Bong's Song." Film Quarterly 71, no. 3 (2018): 21–26. http://dx.doi.org/10.1525/fq.2018.71.3.21.
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Bong Joon-ho's Okja (2017) hops across genres and moods. Part Lassie Come Home (Fred M. Wilcox, 1943) with a girl and her giant pig instead of a boy and his loyal dog; part Brazil (Terry Gilliam, 1985), also a comic and nightmarish sci-fi; part Capitalism, a Love Story (Michael Moore, 2009) for its lessons in greed, with Tilda Swinton playing twin heads of a transnational biotech corporation; it pleads a serious case for animal rights and vegetarianism as well. Bong has an eccentric genius for songs and scoring, few other living directors make musical choices that are as boldly unconventional. Bong goes musically hog wild in this pig movie. When the apotheosis arrives halfway through the film, it is with a song: John Denver's “Annie's Song.” Almost every review of Okja mentions this outlandish pairing of music and visuals. Bong has frequently employed songs cleverly in his films, but never in as deep and many-layered way as in Okja. Gorman pursues Bong's particular use of songs in his oeuvre to unearth other surprises, and notes that there is a still deeper auteurist vein to be mined for further insight on how “Annie's Song” works in Okja.
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Duda, Henryk. "Evaluation of football players' actions in individual risky situations of offensive play as a model determinant of a sports game." Journal of Kinesiology and Exercise Sciences 30, no. 92 (December 30, 2020): 29–39. http://dx.doi.org/10.5604/01.3001.0014.8208.
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The essence of effective training in a sports game is the use of means and forms of teaching in the organisation of a game, which most faithfully reflect the environment of the player's actual activity in natural conditions. Thus, there is a need to accurately identify the conditions of competition in a sports game. One of the types of such activities is observation, which being an elementary method of cognition, based on deliberate, targeted and intended as well as systematic perception of the studied subject, process or phenomenon. Research objective and questions The aim of the work is to assess the level of absolutely dependent cooperation (synergy) during a team sports game in changing game situations, in achieving the highest offensive objective, i.e. scoring a goal. - Is the effectiveness of achieving the highest objective of the game in offensive actions (i.e. scoring a goal) dependent on the level of player synergy? - Is the size of the conflict in the sports objective of the game dependent on creative player involvement? Material and test method - In the work, detailed observation was carried out with regard to players' actions in achieving the highest objective of the game, i.e. scoring a goal. The observation concerned analysis of 134 goals scored in 61 UEFA Champions League and European League football matches in 2009-2020. - In this study, the method of observation was used, with the possibility of repeatedly observing events being the subject of research. - In the research analysis, the use of film material of recorded games on a DVD was taken into account, where the observed effects were applied to an observation sheet. - The situations in which goals were scored and the research material comprised teams that competed in a given match. - The observation of scoring goals took the type of situation and level of interaction between players into account. Results Analysis of the obtained results can be inferred: 1. In achieving the highest objective of offensive actions, a high level of synergy prevails, requiring anticipation of events. 2. The high level of synergistic activities increases with the difficulty of situational tasks. 3. Due to the multi-faceted nature of team games, the player's training process should also affect his/her mental sphere.
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Özyurt, Deniz. "THE STRUGGLE BEHIND THE SOUNDTRACK: INSIDE THE DISCORDANT NEW WORLD OF FILM SCORING By Stephan Eicke. McFarland, 2019. 227 pp. $45.00 paper." Journal of Popular Film and Television 49, no. 2 (April 3, 2021): 127–28. http://dx.doi.org/10.1080/01956051.2021.1923325.
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Pandey, Shashikant, and Muniyappa Amarnath. "Applications of vibro-acoustic measurement and analysis in conjunction with tribological parameters to assess surface fatigue wear developed in the roller-bearing system." Proceedings of the Institution of Mechanical Engineers, Part J: Journal of Engineering Tribology 235, no. 10 (January 8, 2021): 2034–55. http://dx.doi.org/10.1177/1350650120982465.
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Rolling-element bearings are the most commonly used components in all rotating machinery. The variations in the operating conditions such as an increase in the number of operating cycles, load, speed, service temperature, and lubricant degradation result in the development of various defects such as pitting, spalling, scuffing, scoring, etc. The defects that appeared on rolling contact surfaces cause surface deterioration and change in the vibration and sound levels of the bearing system. The present experimental investigations are aimed at assessing the surface fatigue wear that appears on the contact surfaces of roller bearings. The studies considered the estimation of specific film thickness, analysis of surface fatigue wear developed on the rolling-element surfaces, surface roughness analysis, grease degradation analysis using Fourier transform infrared radiation, and vibration and sound signal measurement and analysis. The results obtained from the experimental investigation provide a good correlation between surface wear, vibration, and sound signals with a transition in the lubrication regimes in the Stribeck curve.
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Hendricks, H. J., G. L. Miller, M. L. Williams, and J. C. Stephenson. "Citrus Whitefly Control, Alabama, 1985." Insecticide and Acaricide Tests 11, no. 1 (January 1, 1986): 388–89. http://dx.doi.org/10.1093/iat/11.1.388a.
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Abstract Test plants were ca. 1 ft tall, growing in 3-qt plastic pots filled with an amended pine bark medium. Fourteen insecticides were applied by 1 or 2 methods: foliar sprays or insertion of fertilizer spikes impregnated with an insecticide into soil around plant. Treatments were replicated 4 times, one plant constituting a replication. A single application of the test materials was made out-of-doors on 17 Jun (Dry Bulb 86°F: Wet Bulb 78°F). The adjuvant Nu-Film 17 was added to all spray mixtures at the rate of 2.4 ml/gal. Foliar sprays were applied to runoff using a hand-pumped compressed air sprayer and spikes were placed ½ inch below soil surface, 1 inch from pot rim, and watered in. Test plants were returned to a screened shadehouse. Efficacy was determined 1 Jul by examining 100 citrus whitefly pupae per plant and scoring them as dead or alive.
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Politch, Joseph A., Susan Cu-Uvin, Thomas R. Moench, Karen T. Tashima, Jai G. Marathe, Kate M. Guthrie, Howard Cabral, et al. "Safety, acceptability, and pharmacokinetics of a monoclonal antibody-based vaginal multipurpose prevention film (MB66): A Phase I randomized trial." PLOS Medicine 18, no. 2 (February 3, 2021): e1003495. http://dx.doi.org/10.1371/journal.pmed.1003495.
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Background MB66 film is a multipurpose prevention technology (MPT) product with monoclonal antibodies (mAbs) against HIV-1 (VRC01-N) and HSV-1 and 2 (HSV8-N). The mAbs were produced by transient expression in Nicotiana benthamiana (N). We conducted a Phase I clinical trial to assess the safety, pharmacokinetics (PK), and ex vivo efficacy of single and repeated doses of MB66 when used intravaginally. Methods and findings The clinical trial enrolled healthy reproductive-aged, sexually abstinent women. In Segment A, 9 women received a single MB66 film which was inserted into the vaginal posterior fornix by a clinician. In Segment B, 29 women were randomly assigned to MB66 (Active) or Placebo film groups and were instructed to insert 1 film vaginally for 7 consecutive days. Visits and clinical sampling occurred predose and at various time points after single and repeated film doses. The primary endpoint was number of adverse events (AEs) Grade 2 or higher related to product use. Secondary endpoints included film dissolution rate, Nugent score (a Gram stain scoring system to diagnose bacterial vaginosis), vaginal pH, post-use survey results, cytokine concentrations in cervicovaginal lavage (CVL) specimens (assessed by Luminex assay), mAb concentrations in vaginal fluid collected from 4 sites (assessed by ELISA), and HIV and HSV neutralization activity of CVL samples ex vivo (assessed by TZM-bl and plaque reduction assay, respectively). The product was generally safe and well tolerated, with no serious AEs recorded in either segment. The AEs in this study were primarily genitourinary in nature with the most commonly reported AE being asymptomatic microscopic hematuria. There were no differences in vaginal pH or Nugent scores or significant increases in levels of proinflammatory cytokines for up to 7 days after film insertion in either segment or between Active and Placebo groups. Acceptability and willingness to use the product were judged to be high by post-use surveys. Concentrations of VRC01-N and HSV8-N in vaginal secretions were assessed over time to generate pharmacokinetic curves. Antibody levels peaked 1 hour postdosing with Active film (median: 35 μg/mL) and remained significantly elevated at 24 hours post first and seventh film (median: 1.8 μg/mL). Correcting for sample dilution (1:20), VRC01-N concentrations ranged from 36 to 700 μg/mL at the 24-hour time point, greater than 100-fold the IC50 for VRC01 (0.32 μg/mL); HSV8-N concentrations ranged from 80 to 601 μg/mL, well above the IC50 of 0.1 μg/m. CVL samples collected 24 hours after MB66 insertion significantly neutralized both HIV-1 and HSV-2 ex vivo. Study limitations include the small size of the study cohort, and the fact that no samples were collected between 24 hours and 7 days for pharmacokinetic evaluation. Conclusions Single and repeated intravaginal applications of MB66 film were safe, well tolerated, and acceptable. Concentrations and ex vivo bioactivity of both mAbs in vaginal secretions were significantly elevated and thus could provide protection for at least 24 hours postdose. However, further research is needed to evaluate the efficacy of MB66 film in women at risk for HIV and HSV infection. Additional antibodies could be added to this platform to provide protection against other sexually transmitted infections (STIs) and contraception. Trial registration ClinicalTrials.gov NCT02579083.
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Malloy, Colin. "Timbral effects the Paulstretch audio time-stretching algorithm." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A158. http://dx.doi.org/10.1121/10.0010964.
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The Paulstretch algorithm is a procedure for achieving aurally pleasing extreme time-stretches while avoiding the “phasiness” issues common to phase-vocoder-based implementations. The algorithm accomplishes this by randomizing the phase information where a typical phase-vocoder approach would perform phase-unwrapping or another method to preserve phase alignment. When performed without time-stretching, phase randomization is often referred to as whisperization. This allows for more extreme time-stretches than other approaches. Where most audio time-stretching is usually used for small adjustments, Paulstretch is regularly used to stretch audio by a factor of 5, 10, 20 or much more. This effect is popular for its aesthetic timbral effects and is regularly used in soundscapes, film/television scoring, and more. When time-stretching is performed at such extremes, however, it is unclear how randomizing the phase, different FFT window sizes, the stretch factor, and other variables combine to affect the reconstructed audio output. This study employs multiple audio analysis methods to examine the spectral, timbral, and perceptual effects of the Paulstretch algorithm.
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Beyazyıldız, Emrullah, Ferda Alpaslan Pınarlı, Özlem Beyazyıldız, Emine Rümeysa Hekimoğlu, Uğur Acar, Muhammed Necati Demir, Aynur Albayrak, Figen Kaymaz, Güngör Sobacı, and Tuncay Delibaşı. "Efficacy of Topical Mesenchymal Stem Cell Therapy in the Treatment of Experimental Dry Eye Syndrome Model." Stem Cells International 2014 (2014): 1–9. http://dx.doi.org/10.1155/2014/250230.
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Purpose. The current study was set out to address the therapeutic efficacy of topically applied mesenchymal stem cells (MSCs) on dry eye syndrome (DES) induced by benzalkonium chloride (BAC) in rats.Methods. Rats were divided into two groups just after establishment of DES. Eye drops containing either bromodeoxyuridine labeled MSCs (n=9) or phosphate buffer solution (n=7) were topically applied once daily for one week. Schirmer test, break-up time score, ocular surface evaluation tests, and corneal inflammatory index scoring tests were applied to all rats at baseline and after treatment. All rats were sacrificed after one week for histological and electron microscopic analysis.Results. Mean aqueous tear volume and tear film stability were significantly increased in rats treated with MSCs (P<0.05). Infiltration of bromodeoxyuridine labeled MSCs into the meibomian glands and conjunctival epithelium was observed in MSCs treated rats. Increased number of secretory granules and number of goblet cells were observed in MSCs treated rats.Conclusion. Topical application of MSCs could be a safe and effective method for the treatment of DES and could potentially be used for further clinical research studies.
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Wahyuni, Indah Suasani, Irna Sufiawati, Wipawee Nittayananta, Irma Melyani Puspitasari, and Jutti Levita. "Efficacy and safety of plant-based therapy on recurrent aphthous stomatitis and oral mucositis in the past decade: a systematic review." Journal of Herbmed Pharmacology 10, no. 2 (January 5, 2021): 179–87. http://dx.doi.org/10.34172/jhp.2021.19.
Full textAbstract:
Oral mucosal inflammation is one of the oral diseases causing pain and reducing the quality of human life. The types of oral mucosal inflammation that commonly found were recurrent aphthous stomatitis (RAS) and oral mucositis (OM). Anti-inflammatory drugs, both synthetic and plant-based, have been used to treat RAS and OM. Plant-based drugs have been attracted the attention of some researchers to minimize the side effects of synthetic drugs. However, a comprehensive review addressing the use of plant-based drugs for RAS and OM therapy, including drug formulation and species of plant, has not yet been reported. Here, we reported the article review of 9 publications derived from the databases of PubMed, ScienceDirect, Cochrane Library, and other additional relevant works, in order to find the effectiveness and safety of plant-based drugs for RAS and OM therapy. This review was written by following the PRISMA guidelines, and the risk of bias of the articles was evaluated using the Oxford Quality Scoring System. It was found that the effective and safe drugs for RAS therapy contained acemannan from Aloe vera and curcumin from Curcuma longa, both in an oral gel formulation. For OM therapy, drugs contained curcumin from Curcuma longa; licorice from Glycyrrhiza glabra; Aloe vera and black mulberry from Morus nigra, in soft tablet, mouthwash solution or mucoadhesive film formulation. In conclusion, the most effective and safest plant-based therapy for RAS is Acemannan 0.5% in oral gel, whereas for OM is Licorice root extract 0.18 mg in mucoadhesive film.