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Journal articles on the topic 'Film sketch'

Author: Grafiati

Published: 5 June 2025

Last updated: 2 August 2025

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1

Warman, Rahmat Aditya. "Mengubah Gambar Sketsa Menjadi Visual yang Menakjubkan : Membangun Dunia Animasi dengan Kecerdasan Buatan." Journal of Animation and Games Studies 10, no. 1 (2024): 45–60. http://dx.doi.org/10.24821/jags.v10i1.12434.

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The rapid development of technology in the current era has brought changes to the industry of animation. The utilization of artificial intelligence technology in the field of animation helps accelerate the creative process of creating animated films, one of which is the search for visual concepts to be used. The search for visual concepts can now be made using only sketch images through the assistance of artificial intelligence. The research method employed is exploration, and this study will explore the utilization of Control Trait on the artificial intelligence platform used, namely Playgrou

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2

Boardman, Frank. "Realism about Film and Realism in Films." Film and Philosophy 24 (2020): 43–62. http://dx.doi.org/10.5840/filmphil2020244.

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Realism has a significant place in the history of film theory. The claim that film is essentially a realistic art form has been employed to justify the art-status of films as well as the distinctness of film as a form. André Bazin and others once used realist ontologies of film to try to establish realist teleologies and universal critical standards. I briefly sketch this history before considering the prospects for various versions of realism: Bazin’s, as well as Kendall Walton’s and Gregory Currie’s less ambitious but more plausible accounts. I argue that these theories, though they are the

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Ryan, Connor. "New Nollywood: A Sketch of Nollywood’s Metropolitan New Style." African Studies Review 58, no. 3 (2015): 55–76. http://dx.doi.org/10.1017/asr.2015.75.

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Abstract:Recent experimentation by Nollywood producers has encouraged increasing differentiation of film practices as a strategy for contending with a demanding video market. “New Nollywood” refers to a select group of aesthetically sophisticated films intended for a new tiered distribution method, beginning with theatrical release and ending with DVD release. Nigeria’s upscale multiplex cinemas are therefore a starting point for examining what is new—and not so new—in Nollywood. This article argues that New Nollywood films and the cinemas in which they appear appeal directly to spectators’ se

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Füzi, Izabella. "Intermedial Practices as Reflections on Media and the Arts. What Do Kinema-Sketches Teach Us about Screenlife Movies?" Acta Universitatis Sapientiae Film and Media Studies 26 (November 29, 2024): 47–67. https://doi.org/10.47745/ausfm-2024-0010.

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The article redefines intermediality not as a mere artistic or expressive tool but as a set of practices shaping our conceptualization of technology, media, and art. In this context, intermedial practices are crucial in the continuous process through which technologies can evolve into mediums and art forms. These practices facilitate the socially negotiated meanings and uses that elevate new technologies into recognized mediums and confer cultural prestige to art forms. Drawing on examples from mass cultural practices, the article explores the role of intermedial practices in media debates. Th

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Pichler, Barbara. "En quête de traces — remarques sur des phénomènes (marginaux) typiquement autrichiens." Austriaca 64, no. 1 (2007): 127–38. http://dx.doi.org/10.3406/austr.2007.4537.

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Trace query — remarks on typical Austrian films from the fringes of cinema A success story of Austrian cinema, which in recent years has repeatedly been linked to the festival success of some feature films, can also be read — and maybe with greater justification -from the perspective of the experimental cinema. The production in this area is extremely heterogeneous, but there is one common factor : many works are to be found in the catalogue of sixpackfilm, a distribution company specifically founded to represent the “artistic film and video” and by now an integral part of Austrian film cultur

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Furkat, Bozorov. "PAINTING SOLUTION OF MODERN UZBEK FILMS." Look to the past 5, no. 12 (2022): 2. https://doi.org/10.5281/zenodo.7482921.

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This article comments on the history of the creation of cinematography, as well as an understanding of the pictorial solution of films, that is, film sketches, sketches, explanations and scenery that reveal the idea and content of films and television films being shot, more precisely, which illuminate the general color of films, and their significance in creating a film, were expressed the opinion that the clearer and more artistic the visual solution of the film is, the higher its success and popularity will be.

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Jason, Gary. "Fighting Fire with Fire: Using Film to Counter Film Propaganda." PROPAGANDA 3, no. 1 (2023): 49–67. http://dx.doi.org/10.37010/prop.v3i1.1132.

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His article explores how effective films are in countering propaganda in films. To organize the discussion, first a simple sketch of propaganda theory is drawn up, in which propaganda can be ranked from completely rational to highly irrational, on six different dimensions. This is how far the propaganda went: evidence-based; Honest; broadly logical; transparent; right on target; and transparent. Then the main propaganda film is reviewed in detail, Gasland. This film is a highly successful documentary attacking the production of natural gas by hydrofracturing, which is referred to in America as

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8

Solomon, Matthew. "From Screen to Stage and Back: Max Linder and the ‘Cinematographic Sketch’, 1908–1913." Nineteenth Century Theatre and Film 48, no. 1 (2021): 30–43. http://dx.doi.org/10.1177/17483727211000209.

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Between 1908 and 1913, as Max Linder emerged as a major international film star for Pathé, he made a specialty of combining film projections with live theatre performances. In these ‘cinematographic sketches’, action that began onscreen appeared to continue onstage. Using considerable primary-source evidence drawn from French, British, and American film and theatre trade periodicals, the essay demonstrates the liminality of Linder’s multimedia stardom during cinema’s ‘transitional period’ by demonstrating how frequently he went from screen to stage and back.

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Bâ, Saër Maty. "When Labor and Migration Dis-Place Film: Sketch of anIdea." WorkingUSA 16, no. 4 (2013): 449–56. http://dx.doi.org/10.1111/wusa.12073.

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Bohdziewicz, Janusz. "Transfiguracja – Piękna złośnica Jacques’a Rivette’a w świetle mimo-sekularnej myśli o filmie i mediach światłowodowych." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 30, no. 39 (2021): 95–118. http://dx.doi.org/10.14746/i.2021.39.05.

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The essay is an interpretation of the film by Jacques Rivette La Belle Noiseuse (1991) within the context of post-secular studies. The sketch is inspired primarily by the writings of Martin Heidegger and Jean-Luc Nancy, and it also corresponds with the Bible and biblical studies. The author describes the creative process shown in the film as an act of salvation which occurs between the painter and his model. The hiding of the resulting image is understood here in relation to the passion, cross and burial of Jesus which brings the hope for a liberated life and “the new creation”. The film is ma

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Tommy Hari Prihartanto, Januar Ivan Halimawan, and Akkapurlaura. "PIXAI: APLIKASI BERBASIS GENERATIVE AI SEBAGAI ALAT UNTUK DESAIN KARAKTER YANG EFISIEN." Jurnal Seni dan Reka Rancang: Jurnal Ilmiah Magister Desain 7, no. 3 (2024): 463–72. https://doi.org/10.25105/jsrr.v7i3.21673.

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PixAi: A Generative AI-Based Application as an Efficient Tool for Character Design. The use of Generative AI technology in the creative industry is rapidly growing, one example being the PixAi application. This application offers solutions for designers who have limitations in their illustration skills or who want to accelerate the process of designing characters and environments in 2D animated films. This research explores PixAi's ability to transform rough sketches or doodles into smoother forms that are suitable for use as concept art for a project or ready-to-use assets for 2D animated fil

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Marks, Laura U. "Real Images Flow: Mullā Sadrā Meets Film-Philosophy." Film-Philosophy 20, no. 1 (2016): 24–46. http://dx.doi.org/10.3366/film.2016.0003.

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The eastern Islamic concept of the imaginal realm, which explains how supra-sensory realities present themselves to imaginative perception, can enrich the imagination of film-philosophy. The imaginal realm, in Arabic ‘alam al-mithal, world of images, or ‘alam al-khayal, imaginative world, is part of a triadic ontology of sensible, imaginal, and intelligible realms. Diverging from roots shared with Western thought in the concept of the imaginative faculty, the Islamic imaginal realm is supra-individual and more real than matter. The imaginal realm is a radically pro-image concept, affirming the

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Greenberg, Raz. "How Animation Won Over the Lightning Sketch: Re-Evaluating Humorous Phases of Funny Faces." Animation 13, no. 2 (2018): 162–74. http://dx.doi.org/10.1177/1746847718783641.

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The short film Humorous Phases of Funny Faces, released in 1906 and directed by J Stuart Blackton (1875–1941), is considered to be one of the earliest examples of cinematic animation. This article aims at examining the film’s influence from another perspective, beyond its pioneering use of film camera: the author argues that Blackton’s film has also laid the foundation for common design principles in subsequent animated productions, particularly in the design of animated characters. The analysis of Blackton’s film aimed at supporting this argument is based on Scott McCloud’s seminal book Under

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Öhner, Vrääth, and Christian Dewald. "Showing – Becoming Aware – Learning. On the Pedagogical Dispositif of the <em>Kulturfilm</em>." TMG Journal for Media History 26, no. 1 (2023): 1–19. http://dx.doi.org/10.18146/tmg.836.

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The contribution presents in a first step those pedagogical and aesthetic concepts that have played an essential role in the development of the Kulturfilm (cultural film) as well as in its differentiation from the educational and instructional film. In a second step, from the perspective of educational science, we will examine which meaninggiving parameters also determine the pedagogical dispositive of (moving) images, which modalities of showing enable experience and learning, and which processes the (learning) subject goes through. In recent years, these questions have increasingly been link

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15

Ayres, John D. "The C. A. Lejeune Archive: Film Criticism for The Observer, The Sketch and Britain To-day." Journal of British Cinema and Television 22, no. 1 (2025): 76–97. https://doi.org/10.3366/jbctv.2025.0752.

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This article considers the means and styles with which film critic Caroline A. Lejeune (1897–1973) wrote for a multiplicity of journalistic outlets. Via reference to a newly acquired collection of her papers at the John Rylands Research Institute and Library, it examines how Lejeune reviewed selected films for The Observer newspaper, the illustrated society magazine The Sketch and the British Council propaganda periodical Britain To-day. Responding to the content of this archival holding, the article will pay specific attention to a series of reviews written for films such as Moulin Rouge, The

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Дилафруз, Тангриева. "Collaboration of the film director with the make-up artist." Multidisciplinary Journal of Science and Technology 4, no. 11 (2024): 115–18. https://doi.org/10.5281/zenodo.14177106.

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This article is written about the collaboration of a film director with the make-up artist: in the preparatory stage, the make-up artist must read the script and find the character of each character and fantasize each image and, of course, show and agree on each sketch of the image with the director; the final point of the image is set by the director about this and we can get acquainted with the rest in this article.

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Baldwin, Craig. "From Junk To Funk To Punk To Link." Revista Laika 3, no. 6 (2014): 47–50. http://dx.doi.org/10.11606/issn.2316-4077.v3i6p47-50.

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Among the rich and richly varied filmways of the Bay Area can be found that rather special practice known as the “Found-Footage” (FF) film. There can be little doubt that this mode of making has enjoyed a particularly prominent place in the local tradition…but why, exactly? As an FF practitioner myself, I would like to float a few possible contributing factors, and then sketch out a (necessarily partial) chronology of this curious activity in these here parts. Even curiouser, how could the overt use of pre-fabricated industrial images flourish in a regional film culture that so vigorously valo

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Strohecker, Carol. "The Zircus Concept Sketch for a Learning Environment and Online Community." Presence: Teleoperators and Virtual Environments 6, no. 3 (1997): 339–49. http://dx.doi.org/10.1162/pres.1997.6.3.339.

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This paper describes premises of a video, Zircus, presenting a design for a virtual environment. The video is a basis for discussion—a sketch, rather than a specification, of a virtual playspace and interactions that can happen there. The playspace is conceived as a learning environment in which constructive activities can focus thinking on certain sets of ideas. Conversations within the multiuser environment can also be conducive to learning, as well as to developing an online community. These actions and conversations would depend on a future system combining technologies in networked graphi

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QIN, Qin. "Absence, Ambiguity, and Deviating Pleasure Activism: The Tokyo Rainbow Film Festival." Social Science Japan Journal 23, no. 1 (2019): 23–36. http://dx.doi.org/10.1093/ssjj/jyz049.

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Abstract Whereas several Japanese popular magazines have published reports and interviews on LGBT film festival curators, little scholarship has shed light on Japanese LGBT film festivals. This article serves as a case study of how the festival enables the festival community—cinephiles, LGBT audiences, organized groups of activists, and indie filmmakers—to share ideas and coordinate within and outside the metropolis. I conduct a synchronic and diachronic study to sketch the historical trajectory of the festivalgoers, material spaces, festival formation, curation, and programming. In utilizing

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Matthey, Laurent, and Nicola Cantoreggi. "“The Form of a City”: Pasolini and the Poetic Ecology of the Sign." Space and Culture 20, no. 4 (2017): 399–414. http://dx.doi.org/10.1177/1206331217707472.

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This article examines the potential contributions of Pasolinian anthropology to urban studies. Pasolinian anthropology aims to articulate a historical moment (i.e., the acceleration of the second industrial revolution in Italy between the mid-1960s and mid-1970s) with environmental and urban transformations. The authors sketch a portrait of Pasolini as a primitive theoretician who supported that which would become known as landscape urbanism. The authors mainly consult Pasolini’s journalistic writings published in two anthologies ( Lettere luterane, Scritti corsari) and an incomplete pedagogic

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Sinnige, Sanne Fleur. "The allegorical re-presentation of colonial cinema in Sammy Baloji’s Pungulume (2016)." Moving Image Review & Art Journal (MIRAJ), The 12, no. 1 (2023): 23–42. http://dx.doi.org/10.1386/miraj_00104_1.

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This article analyses artist Sammy Baloji’s video installation Pungulume (2016) with a focus on its recycling of film clips extracted from an archival colonial film from 1912. Inspired by art historian Georges Didi-Huberman’s anachronic approach to art history, and through a sketch of the history and present-day social and political context in the Congolese Katanga region, this essay contends that these archival clips speak primarily about the present and contain a topical significance. As the author demonstrates, this topical significance can solely be assessed when the viewer is knowledgeabl

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Shamova, Nadezhda. "A Comparative-Contrastive Analysis of Corpus Tools (Case Study: Working with Corpora of Cinematic Discourse)." Nizhny Novgorod Linguistics University Bulletin, no. 53 (March 31, 2021): 82–95. http://dx.doi.org/10.47388/2072-3490/lunn2021-53-1-82-95.

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A broad scope of application of corpus technologies indicates their importance in applied linguistics. Employing the comparative-contrastive method and the method of computer analysis, the author seeks to compare and contrast the main corpus tools of the programs Sketch Engine, AntConc, and WordSmith Tools, focusing on texts from specialized periodicals about cinematography ‘Total Film’ and ‘American Cinematographer’ for 2019–2020. The primary goal of this comparison is to provide recommendations for optimal choice of tools and programs for obtaining certain types of information. The author pr

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Hayes, M. A., and S. B. G. O'Brien. "The fluid profile during spin-coating over a small sinusoidal topography." International Journal of Mathematics and Mathematical Sciences 2004, no. 43 (2004): 2279–98. http://dx.doi.org/10.1155/s0161171204308136.

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We consider spin-coating over a small sinusoidal topography modelling the physical problem of the coating of a television screen. This involves depositing a phosphor layer on a substrate with a precoating consisting of small parallel striations. Despite the fact that the basic flow is radial, we show that the final liquid coating does not have radial variation; rather, it varies according to the underlying topography. We use a thin film model resulting in an evolution equation for the fluid thickness and sketch several techniques for obtaining approximate solutions in appropriate limiting situ

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Gorlée, Dinda L. "A sketch of Peirce’s Firstness and its significance to art." Sign Systems Studies 37, no. 1/2 (2009): 205–69. http://dx.doi.org/10.12697/sss.2009.37.1-2.08.

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This essay treats the growth and development of Charles S. Peirce’s three categories, particularly studying the qualities of Peirce’s Firstness, a basic formula of “airy-nothingness” (CP: 6.455) serving as fragment to Secondness and Thirdness. The categories of feeling, willing, and knowing are not separate entities but work in interaction within the three interpretants. Interpretants are triadomaniac elements through the adopted, revised, or changed habits of belief. In works of art, the first glance of Firstness arouses the spontaneous responses of musement, expressing emotions without the s

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Taiwo, Adekemi Agnes, and Adeoye Jelili Adewale. "A Socio-Semiotics Analysis of Names in Abejoye: A Yoruba Christian Video Film." LingLit Journal Scientific Journal for Linguistics and Literature 4, no. 3 (2023): 130–38. http://dx.doi.org/10.33258/linglit.v4i3.972.

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Naming is an integral part of Yorùbá culture. It has an identity effects on the bearers. It is also believed that names control the actions and conducts of the bearers. The Yorùbá film producers are always careful and conversant with the fact that names given to their character must reflect in their characterization because orúkọ ọmọ ní í ro ọmọ ‘name has effects on a child’. The script writer, Mike Bamiloye, uses the name to draw a sketch of the attitudes, behavior and stature of the characters. This study therefore interrogates the socio-semiotic interpretation of names given to

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Чачи, Э. М. "Front-line Camera Operators, Natives of the Crimea, during the Great Patriotic War: A Historical and Biographical Sketch." Nasledie Vekov, no. 2(34) (June 30, 2023): 88–98. http://dx.doi.org/10.36343/sb.2023.34.2.007.

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Цель работы –выявить значение профессиональной деятельности кинооператоров, работавших во фронтовых условиях и являвшихся уроженцами Крымского полуострова, в освещении событий Великой Отечественной войны и создании кинематографических источников, свидетельствующих о них. Работа проведена на основе материалов Российского государственного архива литературы и искусства, использованы также фактография и выводы из работ специалистов по истории кино. Обобщены и проанализированы биографические данные девяти кинооператоров-крымчан (сведения о жизненном и боевом пути, заслугах и наградах, фильмография

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Patria, Anggit Yudha, and Andy Pramono. "Perancangan Opening, Closing, dan Bumper Animasi sebagai Media Pengenalan Animasi Petualangan Marta." JoLLA: Journal of Language, Literature, and Arts 2, no. 1 (2022): 29–48. http://dx.doi.org/10.17977/um064v2i12022p29-48.

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Abstract: The use of modern technology such as internet access has become an important role in today's information age. The ease of information access to the internet as a support for all needs and work is an important point in human life. The purpose of the author of writing this article is to use internet information to create animations that can be used as a means of learning for children. The Marta animation designed by Ridhotul Nur Insan is one of the positive benefits for children in utilizing internet technology. The opening, closing and bumper designs are crucial because they are the i

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Bueno, Claudio Celis. "From Spectacle to Deterritorialisation: Deleuze, Debord and the Politics of Found Footage Cinema." Deleuze and Guattari Studies 13, no. 1 (2019): 54–78. http://dx.doi.org/10.3366/dlgs.2019.0341.

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The aim of this article is to explore how the differences between Guy Debord and Gilles Deleuze delineate two different interpretations of the politics of found footage cinema. To do so, the notion of cinematic interval is crucial. While Debord's practice of détournement presupposes a Hegelian-inspired notion of interval that allows for self-awareness to be achieved, Deleuze puts forth a Bergsonian concept of interval that functions as a condition of possibility for creating an ‘image of movement in itself’. To explore these two interpretations, this article uses Guy Debord's 1973 film The Soc

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Sheremet, F. I. "Stylistic and narrative innovations in Norman McLaren’s works." Vestnik VGIK 16, no. 2(60) (2024): 121–34. http://dx.doi.org/10.69975/2074-0832-2024-60-2-121-134.

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This article is an attempt to theoretically comprehend the legacy of the famous canadian animator Norman McLaren, who worked in the field of abstract animation for many years, from his student days in the 1930s to the late 1970s. Apart from a brief creative sketch, this article includes two main sections devoted to the genesis of image and plot in McLaren's works – both animation and «photographic» ones. McLaren wanted to create entirely new film canon, based equally on abstract and realistic basics. Summarized, McLaren works are pivotal in the context of the evolution of avant-garde animation

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Sheremet, F. I. "Stylistic and Narrative Innovations in Norman McLaren’s Works." Vestnik VGIK 16, no. 3(61) (2024): 146–55. http://dx.doi.org/10.69975/2074-0832-2024-61-3-146-155.

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This article is an attempt to theoretically comprehend the legacy of the famous canadian animator Norman McLaren, who worked in the field of abstract animation for many years, from his student days in the 1930s to the late 1970s. Apart from a brief creative sketch, this article includes two main sections devoted to the genesis of image and plot in McLaren's works — both animation and ‘photographic’ ones. McLaren wanted to create entirely new film canon, based equally on abstract and realistic basics. Summarized, McLaren works are pivotal in the context of the evolution of avant-garde animation

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Mähkä, Rami. "Monty Pythonin komedia vastaelokuvana." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 30, no. 1 (2017): 7. http://dx.doi.org/10.23994/lk.63317.

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Monty Pythonin komedia vastaelokuvana Englantilainen elokuvateoreetikko Peter Wollen lanseerasi vuonna 1972 termin ”vastaelokuva” kuvaamaan Jean-Luc Godardin elokuvaa suhteessa valtavirran (eli Hollywoodin) elokuvaan. Vastaelokuva muistuttaa jatkuvasti katsojaa siitä, että tämä katsoo elokuvaa konstruoituna tekstinä, ei elokuvallisuutensa häivyttävänä ”todellisuutena”, kuten Hollywood-elokuvassa. Artikkelissa Wollenin käsitettä sovelletaan Monty Pythonin komediaan, jossa on vahvat vastaelokuvalliset piirteensä. Huomionarvoisaa on, että Monty Pythonin median roolia korostava komedia ja vastaelo

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Turnbull, Sue, and Felicity Collins. "Old Dogs, New Tricks: Beyond Simpson Le Mesurier, Crime-Comedy and the Telemovie Series." Media International Australia 100, no. 1 (2001): 33–48. http://dx.doi.org/10.1177/1329878x0110000106.

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Roger Simpson and Roger Le Mesurier are veterans of commercial television drama production (from Division 4 to Stingers). In the post-Skase/Bond era of deficit funding, their innovative telemovie series (Halifax f.p., Dogwoman) and crime-comedy series (Good Guys Bad Guys) have tested the boundaries of Australian television's staple drama format, the crime series. Taking actors (Rebecca Gibney, Marcus Graham, Magda Szubanski) as hooks for the networks, the joint venture company Beyond Simpson Le Mesurier has brought elements of sketch comedy and a high-concept film aesthetic to the crime series

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Wiraldy, I. Gusti Ngurahe Ade, and Daniel Ginting. "JON M. CHU’S FILM CRAZY RICH ASIANS: THE INTERPLAY OF WESTERN AND EASTERN CULTURES." LET: Linguistics, Literature and English Teaching Journal 11, no. 1 (2021): 140. http://dx.doi.org/10.18592/let.v11i1.4521.

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The film Crazy Rich Asians released in 2018 represents a complexity of social interactions among people with different cultural background. The adaptability to new environments is not always easy; yet, the main character is persistent and capable of maintaining her identity. Being an American born Chinese, Rachel Wu, the main character is depicted as a "banana". --yellow on the outside, white on the inside. Feeling like a curse to feel like an outsider in both the country, the main character was born in or the one her parents come from. The article aims to sketch the profile of Rachel Wu as a

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Rojas-Berscia, Luis Miguel. "Lóxoro, traces of a contemporary Peruvian genderlect." Borealis – An International Journal of Hispanic Linguistics 5, no. 1 (2016): 157. http://dx.doi.org/10.7557/1.5.1.3725.

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Not long after the premiere of Loxoro in 2011, a short-film by Claudia Llosa which presents the problems the transgender community faces in the capital of Peru, a new language variety became visible for the first time to the Lima society. Lóxoro [‘lok.so.ɾo] or Húngaro [‘uŋ.ga.ɾo], as its speakers call it, is a language spoken by transsexuals and the gay community of Peru. The first clues about its existence were given by a comedian, Fernando Armas, in the mid 90’s, however it is said to have appeared not before the 60’s. Following some previous work on gay languages by Baker (2002) and langua

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Yang, Yanhua, Pan Jin, Jinzhang Liu, et al. "Ternary memory property of novel polyimide with backbone carbazole moiety and pendant triphenylamine moiety." High Performance Polymers 31, no. 6 (2018): 640–50. http://dx.doi.org/10.1177/0954008318778762.

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The polyimide (TPA-Cz PI) was synthesized by the reaction of 9-(4′-(4′-diphenylamino)phenylbenzyl)-3,6-diaminocarbazole with 2,2′,3,3′-biphenyltetracarboxylic dianhydride through a classical two-step polymerization process. It exhibited excellent organo-solubility and self-extinguishing property. The synthesized TPA-Cz PI shown excellent film formation. The TPA-Cz PI film sandwiched between an indium tin oxide bottom electrode and Al top electrode. And the fabricated memory device exhibited ternary rewritable storage property in the bias with good data retention and the current ratio of 104:10

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Hall, Chris. "Scarred Flesh and the X of Law." TSQ 10, no. 3-4 (2023): 410–25. http://dx.doi.org/10.1215/23289252-10900928.

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Abstract This essay responds to and expands the concept of the X for trans studies, theorized by Marquis Bey, as a graphic tool for thinking the intersection of gender, race, law, and crime. In doing so, the essay reads Howard Hawks's 1932 film Scarface, a work crossed throughout by the symbology of the X. Rather than providing a simple visual cue for death and closure, the X is vitalized, through a reading of Bey and Scarface together, as the (un)graphing of law that both inscribes and defaces the biopolitical state, which predicates itself on legislating the difference between genders, races

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DAI, WAYNE WEI-MING. "PERFORMANCE DRIVEN LAYOUT FOR THIN-FILM MULTICHIP MODULES." International Journal of High Speed Electronics and Systems 02, no. 04 (1991): 287–317. http://dx.doi.org/10.1142/s0129156491000144.

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This paper addresses some of the problems encountered in propagating high speed signals on lossy transmission lines on the substrates of thin-film multichip modules. The interconnect lines on thin-film substrate are relatively lossy in the respect that the total resistance of such a line is typically comparable to its characteristic impedance. If such a line were terminated with a load resistor appropriately valued to minimize signal reflections and resonances, the voltage divider formed by the terminating resistance and line resistance causes undesirable attenuation of the output signals. In

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Lowe, N. J. "I Comedy: Definitions, Theories, History." New Surveys in the Classics 37 (2007): 1–20. http://dx.doi.org/10.1017/s0017383508000430.

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Comedy’, from Greek komoidia, is a word with a complex cultural history. Its modern, as opposed to its ancient, use covers all formally marked varieties of performed humour, whether scripted or improvised, group or solo, in any medium: theatre, film, television, radio, stand-up, and various hybrids and mutations of these. It is also, by extension, applied more loosely to novels and other non-performance texts that share recognizable features of plot, theme, or tone with the classical tradition of comic drama; and used more loosely still as a casual synonym for humour’. As a countable noun, how

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MIKHALEVSKYI, Vitalii. "THE FEATURES OF BASIC MODELING TOOLS OF 3D OBJECTS IN SKETCHUP." Herald of Khmelnytskyi National University 305, no. 1 (2022): 53–58. http://dx.doi.org/10.31891/2307-5732-2022-305-1-53-58.

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Recently, the intuitive-oriented program for designers and architects, which is used to quickly create three-dimensional models of objects, structures, buildings and interiors – SketchUp, has gained widespread recognition in the world of 3D. So now almost all other developers include in their software products or direct support for models (files) SketchUp, or data exchange with it through special plug-ins. SketchUp is designed primarily for sketch, searchable 3D modeling in three-dimensional space. However, SketchUp is successfully used to develop a variety of projects in all genres of design,

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Pajović, Uroš, and Naeem Mohaiemen. "Southward and Otherwise." ARTMargins 8, no. 2 (2019): 79–89. http://dx.doi.org/10.1162/artm_a_00237.

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This project comes out of a conversation between Mohaiemen and Pajović, about the relative absence of Non-Aligned Movement co-founder Josip Broz Tito, from the three-channel film Two Meetings and a Funeral (2017, dir: Mohaiemen). In the film, a series of conversations between Vijay Prashad, Samia Zennadi, Atef Berredjem, Amirul Islam, and Zonayed Saki sketch out the shadow play of warring forces inside the Non-Aligned Movement, especially around the decolonizing nations of the Middle East, Africa, and Asia that found an option to look toward an "Islamic" supra-national identity. Because of tha

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Virapyan, Ed. "Cultural experiences with narratives." Voprosy kul'turologii (Issues of Cultural Studies), no. 7 (June 10, 2020): 42–53. http://dx.doi.org/10.33920/nik-01-2007-06.

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Method and conclusion (sketch of narratives). Homer, Graves in Troy, Antisthenes, Enemy (from the meaning of him according to the lost treatise from the Cynics in the reconstruction of the late Stoics). Plato and Diogenes, Guy Julius Caesar, Mark Licinius Crassus, Cicero, Appian, astrologer Ptolemy. Julian the Apostate, Simeon Pillar, Francis of Assisi. Rumi, Emanuel Swedenborg, Casanova, Hoffmann, Bismarck. Stolypin, Nietzsche, Camus, Beckett, Lono (Freud), Kafka, Suzuki, with film expressors: Antonioni, Parajanov, Pazolini, Truffo, Godard, Zaillyan, Confession (Makkiaveli). Thinkers from the

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Li, Jinbao, Huijiao Ren, Changsheng Liu, and Shuo Shang. "The Effect of Specific Energy Density on Microstructure and Corrosion Resistance of CoCrMo Alloy Fabricated by Laser Metal Deposition." Materials 12, no. 8 (2019): 1321. http://dx.doi.org/10.3390/ma12081321.

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With the development of modern medical implants, there are significantly increasing demands for personalized prosthesis. Corrosion-resistance and dense cobalt alloy specimens have been successfully fabricated by laser metal deposition. The relationship between specific energy density, microstructure and corrosion resistance of the specimens is investigated. The results show that higher specific energy density promotes the formation of columnar grain and leads to coarse grain size. The evolution and distribution of deposited microstructure from bottom to top are summarized in a metallographic s

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WIERZBICKI, JAMES. "The Hollywood Career of Gershwin's Second Rhapsody." Journal of the American Musicological Society 60, no. 1 (2007): 133–86. http://dx.doi.org/10.1525/jams.2007.60.1.133.

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Abstract Around the time of its premiere in January 1932, George Gershwin's Second Rhapsody for Piano and Orchestra was erroneously described as an “expanded” version of music that had been written specifically for a 1931 Fox film entitled Delicious, and for decades this misinformation has been echoed by Gershwin scholars. In fact, Gershwin put the finishing touches on the Second Rhapsody months before Delicious went into production, and his sketch for what in essence is the complete work was made when the screenplay was still in its embryonic stage. Relying on evidence that includes Gershwin

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Megahed, Ahmed M., and Mostafa A. A. Mahmoud. "MHD non-Newtonian thin film fluid flow due to an unsteady stretching sheet under thermocapillarity phenomenon." International Journal of Modern Physics C 30, no. 11 (2019): 1950085. http://dx.doi.org/10.1142/s0129183119500852.

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This theoretical work explores the effect of the magnetic field on the liquid thin film flow of a non-Newtonian Powell–Eyring fluid. The thermocapillarity phenomenon in association with the effect of slip velocity is studied. In our research, we cannot ignore the important role of the numerical shooting method which employed to get the solution for our problem. This method helped us to sketch both the dimensionless velocity and the dimensionless temperature for several parameters. Furthermore, the authentication on the correctness and effectiveness for our method is checked by performing a com

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Lin, Ruiquan, Yunwei Ji, Wanting Ding, Tianxiang Wu, Yaosheng Zhu, and Mengxi Jiang. "A Survey on Deep Learning in 3D CAD Reconstruction." Applied Sciences 15, no. 12 (2025): 6681. https://doi.org/10.3390/app15126681.

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Three-dimensional CAD reconstruction is a long-standing and important task in fields such as industrial manufacturing, architecture, medicine, film and television, research, and education. Reconstructing CAD models remains a persistent challenge in machine learning. There have been many studies on deep learning in the field of 3D reconstruction. In recent years, with the release of CAD datasets, there have been more and more studies on 3D CAD reconstruction using deep learning. With the continuous deepening of research, deep learning has significantly improved the performance of tasks in the f

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GREIG, DONALD. "Lady in the Lake, Choral Voices, and Narrative Agency." Music, Sound, and the Moving Image 15, no. 1 (2021): 37–69. http://dx.doi.org/10.3828/msmi.2021.3.

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A notable feature of the use of choral voices in cinema is the attenuation of language; singers hum, vocalise, and sing in invented or dead languages. Such an approach applies across genres and sees choruses used in two related ways: as evocations of human and inhuman collectives, and as celebrants of spectacle and narrative resolution. I argue that this approach is dictated by the particular implication of human agency that the voice, as opposed to the musical instrument, promotes. I sketch the ontological properties of choral voices in cinema and analyse Lady in the Lake (Robert Montgomery,

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Silvestri, E. "ITALY: NO COUNTRY FOR ARBITRATORS?" Bulletin of Taras Shevchenko National University of Kyiv. Legal Studies, no. 112 (2020): 49–51. http://dx.doi.org/10.17721/1728-2195/2020/1.112-9.

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The title of my presentation, besides being a play on the title of the Coen brothers film, makes it clear that Italy is not exactly the most hospitable environment when it comes to the popularity of arbitration. It is true that statistical data, when available, concern essentially institutional arbitration (the empirical data are not really updated. The only comprehensive survey of ADR in Italy concerns 2016; in that year the total number of arbitration procedures carried out by private and public institutions was 708 (784 in 2015) and can be considered misleading, at least to a certain degree

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Lopis, Jenifer Theresa, and Yuhri Inang Prihatina. "Penerapan Dirrect Transfer Film (DTF) dengan Motif System Neuron Jellyfish pada Busana Evening Gown." BAJU: Journal of Fashion and Textile Design Unesa 4, no. 1 (2023): 87–96. https://doi.org/10.26740/baju.v4n1.p87-96.

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The Neuron Jellyfish motif has a distinctive beauty and uniqueness in the form of channel lines from the branching jellyfish nerves. The research objectives are 1) to describe the application of DTF technique and 2) to know the finished result of DTF, with Neuron Jellyfiish motif system on Evening Gown fashion. This research method uses the Double Diomond method which has 4 stages, namely: the initial stage Discover stage where it determines the direction of fashion design, making an evening party dress with Jellyfish as the source of inspiration made for young women with sexy uniqe, and funky

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Bazalgette, Cary. "Media education in the UK." Comunicar 14, no. 28 (2007): 33–41. http://dx.doi.org/10.3916/c28-2007-03.

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Education about the media has been developing in the UK for at least 40 years. Various accounts of that history can be found elsewhere; this paper will just attempt to sketch out key features of the current scene, and to point readers to sources of more substantial information. Given that I work for the British Film Institute, a key player in this field, there is bound to be some bias in this account towards the BFI’s perspective: my defence is that, as every media educator knows, no account is ever completely unbiased. La educación en los medios se viene desarrollando en el Reino Unido desde

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Gregor, Ingo, Alexey Chizhik, Narain Karedla, and Jörg Enderlein. "Metal-induced energy transfer." Nanophotonics 8, no. 10 (2019): 1689–99. http://dx.doi.org/10.1515/nanoph-2019-0201.

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AbstractSince about a decade, metal-induced energy transfer (MIET) has become a tool to measure the distance of fluorophores to a metal-coated surface with nanometer accuracy. The energy transfer from a fluorescent molecule to surface plasmons within a metal film results in the acceleration of its radiative decay rate. This can be observed as a reduction of the molecule’s fluorescence lifetime which can be easily measured with standard microscopy equipment. The achievable distance resolution is in the nanometer range, over a total range of about 200 nm. The method is perfectly compatible with

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