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Journal articles on the topic 'I am legend (Motion picture)'

Author: Grafiati

Published: 26 July 2024

Last updated: 31 July 2025

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1

Brown, Christine, and Lynne C. Boughton. "The Grail Quest as Illumination." Journal of Interdisciplinary Studies 9, no. 1 (1997): 39–62. http://dx.doi.org/10.5840/jis199791/23.

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Indiana Jones and the Last Crusade, a popular motion picture, offers a modem version of a Quest for the Holy Grail. Although this grail legend is new, a survey of medieval through nineteenth-century stories of heroic quests for a grail reveals that grail legends have always differed from each other in significant ways. The grail itself has been identified in some legends as a cup or chalice, and in others as a dish, platter, book, stone, or, possibly, a reliquary. Also profoundly different are the ways in which legends describe the purposes effects of a quest for the grail. What these diverse

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Isaías, Albertin de Moraes. "Política e Cinema na Era da Boa Vizinhança (1933-1945)." História e Cultura 4, no. 1 (2015): 277–301. https://doi.org/10.18223/hiscult.v4i1.1487.

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O presente artigo apresenta uma análise histórica da Política Externa de Boa Vizinhança para América Latina, particularmente no Brasil, e de sua principal instituição o Office of the coordinator of Inter-American Affairs (OCIAA), destacando sua divisão de cinema, a Motion Picture Division (MPD). Essas instituições são analisadas pelo enfoque teórico dos construtivistas modernistas-linguistas. Assim, o texto busca destacar a importância da construção de uma infraestrutura física, discu

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Wall, Barbara, and Dong Myong Lee. "Stability in Variation: Visualizing the Actantial Core of The Journey to the West ,." Korean Studies 47, no. 1 (2023): 117–44. http://dx.doi.org/10.1353/ks.2023.a908620.

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Abstract: The urge to find the authentic original of a story seems to be a universal longing. Recently, narratologists like Barbara Herrnstein Smith, as well as experts for East Asian literatures like Michael Emmerich or Lena Henningsen, draw our attention away from the original—which is often unknowable—and instead towards the variants of a story. While this suggestion brings a breath of fresh air to the field of narrative studies, it also poses a fundamental problem. If a story does not necessarily exist as a static original, but is comprised of many variants, how should we then imagine the

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Vitali, Valentina. "Contemporary Women Filmmakers in Myanmar: Reflections on a Visit in February 2019." BioScope: South Asian Screen Studies 11, no. 1 (2020): 78–91. http://dx.doi.org/10.1177/0974927620935754.

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Existing accounts of Myanmar’s film industry available to English speakers are more than twenty years out of date. Opening with a brief overview of cinema in Myanmar since 2000, this article is based on a recent visit to the Myanmar Motion Picture Development Department and the Yangon Film School, on conversations with staff, students and alumnae of these institutions and of the National University of Arts and Culture, and with local independent filmmakers. The purpose of my visit was to begin the groundwork needed to answer basic questions: Who are the women making films in Myanmar today? Whe

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Sanz, Ángel S., Milena D. Davidović, and Mirjana Božić. "Bohmian-Based Approach to Gauss-Maxwell Beams." Applied Sciences 10, no. 5 (2020): 1808. http://dx.doi.org/10.3390/app10051808.

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Usual Gaussian beams are particular scalar solutions to the paraxial Helmholtz equation, which neglect the vector nature of light. In order to overcome this inconvenience, Simon et al. (J. Opt. Soc. Am. A 1986, 3, 536–540) found a paraxial solution to Maxwell’s equation in vacuum, which includes polarization in a natural way, though still preserving the spatial Gaussianity of the beams. In this regard, it seems that these solutions, known as Gauss-Maxwell beams, are particularly appropriate and a natural tool in optical problems dealing with Gaussian beams acted or manipulated by polarizers. I

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Jäcklein-Kreis, Elisabeth. "Wenn Seelen zwischen Wellblechdächern verschwinden." merz | medien + erziehung 54, no. 5 (2010): 76–78. https://doi.org/10.21240/merz/2010.5.25.

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Gleißende Sonne. Staub. Wellblechdächer. Bunte Tücher und zerfetzte Jeans. Alte Ledersandalen. Neue Handys. Glücksspiel und Bettler. Lachen. Schüsse. Erste Liebe. Überleben. Aberglaube. Religion. Familie. Mittendrin Abi, rennend, schwitzend, redend, suchend. Wenn man 14 Jahre alt ist und eines Morgens erfährt, dass seinem Vater die Seele abhanden gekommen ist, dann geht man sie suchen. Soviel ist klar. Ein Vater ohne Seele ist eine traurige Angelegenheit. Aber wo sucht man eine Seele? Abis Mutter und leidgeprüfte Ehefrau des um seine Seele Erleichterten würde sich da vertrauensvoll an den näch

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Hilgendorf, Suzanne K. "Transnational Media and the Use of English: The Case of Cinema and Motion Picture Titling Practices in Germany /." Sociolinguistica 27, no. 1 (2013). http://dx.doi.org/10.1515/soci.2013.27.1.167.

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Dieser Beitrag untersucht die Beziehung zwischen transnationalen Medien und der Verbreitung des Englischen am Beispiel des traditionellen Mediums Kino in Deutschland, dem größten Land Europas, das zu Kachru’s (1990) „Expanding Circle“ der englischen Sprache gehört. Die Diskussion erstreckt sich auf die weltweite Geschichte des Kinos seit dem frühen 20. Jahrhundert einschließlich der Faktoren, die zum Aufstieg Hollywoods zur international dominierenden Macht beigetragen haben, auch in Deutschland. Hieran anschließend richtet sie sich auf den Sprachgebrauch, wo bei Einführung des Tonfilms die US

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Rafał, Paliński. "Oblicza wojennej grozy w kinie postjugosłowiańskim – przykład filmu Muškarci ne placu." September 30, 2023. https://doi.org/10.5281/zenodo.8395102.

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Faces of war horror in post-Yugoslavian cinema – the case of the film Mu&scaron;karci ne placu The article’s topic is an image of war trauma of war veterans in former Yugoslavia, depicted in the movie Mu&scaron;karci ne plaču (2017) by Bosnian director Alen Drljevic. It is a relevant topic in post-Yugoslav cinematography because the issue of ethnic and religious conflicts and wars is still an unresolved problem in this region. Among others, there are motion pictures trying to explain outbreaks of wars, depicting the course of warfare, and also those presenting consequences of

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Fang, Sihan, Hyeokkoo Eric Kwon, Anandasivam Gopal, and Yongjin Park. "Return of the Movie Night? Analyzing the Impact of Netflix Subscriptions on Offline Movie Spending." Information Systems Research, October 11, 2024. http://dx.doi.org/10.1287/isre.2022.0530.

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The advent of streaming services, like Netflix and Prime Video by Amazon, has led to the expectation that demand for offline movie consumption is likely to die (i.e., consumers will simply stop going to the movies). We study this question in our work, and instead, we find that although streaming services provide value to customers in terms of comfort, convenience, and price, they do not lead to a reduction in offline movie consumption. Instead, we show that the offline movie consumption actually increases because streaming services do not fully substitute for the social aspects of going to the

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Dados, Nour. "Anything Goes, Nothing Sticks: Radical Stillness and Archival Impulse." M/C Journal 12, no. 1 (2009). http://dx.doi.org/10.5204/mcj.126.

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IntroductionThe perception of the archive as the warehouse of tradition is inflected with the notion that what it stores is also removed from the everyday, at once ancient but also irrelevant, standing still outside time. Yet, if the past is of any relevance, the archive cannot maintain a rigid fixity that does not intersect with the present. In the work of the Atlas Group, the fabrication of “archival material” reflects what Hal Foster has termed an “archival impulse” that is constructed of multiple temporalities. The Atlas Group archive interrogates forms that are at once still, excavated fr

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Gregg, Melissa. "Affect." M/C Journal 8, no. 6 (2005). http://dx.doi.org/10.5204/mcj.2437.

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   It seems not insignificant that the cult film Donnie Darko is set in the final stages of the Bush-Dukakis election campaign, which had the twin effects of inaugurating the Bush presidential dynasty and making “liberal” an insurmountably derogatory term in American politics. Donnie’s gift of seeing into the future is, at least superficially, a reaction to his medication for “emotional problems”. But the count-down to his apocalyptic date with a giant bunny-rabbit also coincides with the demise of any remaining hope for a certain kind of progressive Left politics. With the o

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Matthews, Nicole. "Creating Visible Children?" M/C Journal 11, no. 3 (2008). http://dx.doi.org/10.5204/mcj.51.

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I want to argue here that the use of terms like “disabled” has very concrete and practical consequences; such language choices are significant and constitutive, not simply the abstract subject of a theoretical debate or a “politically correct” storm in a teacup. In this paper I want to examine some significant moments of conflict over and resistance to definitions of “disability” in an arts project, “In the Picture”, run by one of the UK’s largest disability charities, Scope. In the words of its webpages, this project “aims to encourage publishers, illustrators and writers to embrace diversity

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Burns, Alex, and Axel Bruns. ""Share" Editorial." M/C Journal 6, no. 2 (2003). http://dx.doi.org/10.5204/mcj.2151.

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Does the arrival of the network society mean we are now a culture of collectors, a society of sharers? We mused about these questions while assembling this M/C Journal issue, which has its genesis in a past event of ‘shared’ confusion. Alex Burns booked into Axel Bruns’s hotel room at the 1998 National Young Writer’s Festival (NYWF) in Newcastle. This ‘identity theft’ soon extended to discussion panels and sessions, where some audience members wondered if the NYWF program had typographical errors. We planned, over café latte at Haddon’s Café, to do a co-session at next year’s festival. By then

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Burford, James. "“Dear Obese PhD Applicants”: Twitter, Tumblr and the Contested Affective Politics of Fat Doctoral Embodiment." M/C Journal 18, no. 3 (2015). http://dx.doi.org/10.5204/mcj.969.

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It all started with a tweet. On the afternoon of 2 June 2013, Professor Geoffrey Miller, an evolutionary psychologist at the University of New Mexico (UNM) and visiting instructor at New York University (NYU), tweeted out a message that would go on to generate a significant social media controversy. Addressing aspiring doctoral program applicants, Miller wrote:Dear obese PhD applicants: if you didn’t have the willpower to stop eating carbs, you won't have the willpower to do a dissertation #truthThe response to Miller’s tweet was swift and fiery. Social media users began engaging with him on T

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Ballard, Su. "Information, Noise and et al." M/C Journal 10, no. 5 (2007). http://dx.doi.org/10.5204/mcj.2704.

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   The two companions scurry off when they hear a noise at the door. It was only a noise, but it was also a message, a bit of information producing panic: an interruption, a corruption, a rupture of communication. Was the noise really a message? Wasn’t it, rather, static, a parasite? Michael Serres, 1982. Since, ordinarily, channels have a certain amount of noise, and therefore a finite capacity, exact transmission is impossible. Claude Shannon, 1948. Reading Information At their most simplistic, there are two means for shifting information around – analogue and digital. Anal

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Eubanks, Kevin P. "Becoming-Samurai." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2643.

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   Samurai and Chinese martial arts themes inspire and permeate the uniquely philosophical lyrics and beats of Wu-Tang Clan, a New York-based hip-hop collective made popular in the mid-nineties with their debut album Enter the Wu-Tang: Return of the 36 Chambers. Original founder RZA (“Rizza”) scored his first full-length motion-picture soundtrack and made his feature film debut with Ghost Dog: The Way of the Samurai (Jim Jarmusch, 2000). Through a critical exploration of the film’s musical filter, it will be argued that RZA’s aesthetic vision effectively deterritorialises the

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Carty, Breda. "Interpreters in Our Midst." M/C Journal 13, no. 3 (2010). http://dx.doi.org/10.5204/mcj.257.

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When deaf people work in professional environments and participate in public events, we are often accompanied by sign language interpreters. This usually means wonderfully enhanced access – we can learn, participate and network in ways which are difficult if not impossible on our own. But while we often try to insist that our interpreters are ‘invisible’, that we are the ones learning, engaging in dialogue and consuming services, we are regularly bemused by the public fascination and focus on our interpreters – sometimes at the expense of their attention to us. When interpreters are in our mid

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Thomas, Brennan. "The Transformative Magic of Education in Walt Disney’s <em>The Sword in the Stone</em>." M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.2993.

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Introduction The Disney brand has become synonymous with magic through its numerous depictions of spells, curses, prophecies, and pixie dust. Thus, it is ironic that in 2023, the 100th anniversary of the Walt Disney Studio’s founding (“Disney History”), the final film released during Walt Disney’s life, The Sword in the Stone (celebrating its 60th anniversary) remains stuck in obscurity (Aronstein 129) despite being steeped in magic and wizardry. The Sword in the Stone is regarded as “one of the most obscure [films] in the Disney animated canon” (Booker 38). Although it performed moderately we

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Ahn, Sungyong. "On That <em>Toy-Being</em> of Generative Art Toys." M/C Journal 26, no. 2 (2023). http://dx.doi.org/10.5204/mcj.2947.

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Exhibiting Procedural Generation Generative art toys are software applications that create aesthetically pleasing visual patterns in response to the users toying with various input devices, from keyboard and mouse to more intuitive and tactile devices for motion tracking. The “art” part of these toy objects might relate to the fact that they are often installed in art galleries or festivals as a spectacle for non-players that exhibits the unlimited generation of new patterns from a limited source code. However, the features that used to characterise generative arts as a new meditative genre, s

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West, Patrick Leslie. "Between North-South Civil War and East-West Manifest Destiny: Herman Melville’s “I and My Chimney” as Geo-Historical Allegory." M/C Journal 20, no. 6 (2017). http://dx.doi.org/10.5204/mcj.1317.

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Literary critics have mainly read Herman Melville’s short story “I and My Chimney” (1856) as allegory. This article elaborates on the tradition of interpreting Melville’s text allegorically by relating it to Fredric Jameson’s post-structural reinterpretation of allegory. In doing so, it argues that the story is not a simple example of allegory but rather an auto-reflexive engagement with allegory that reflects the cultural and historical ambivalences of the time in which Melville was writing. The suggestion is that Melville deliberately used signifiers (or the lack thereof) of directionality a

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Michele Guerra. "Cinema as a form of composition." TECHNE - Journal of Technology for Architecture and Environment, May 25, 2021, 51–57. http://dx.doi.org/10.36253/techne-10979.

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Technique and creativity Having been called upon to provide a contribution to a publication dedicated to “Techne”, I feel it is fitting to start from the theme of technique, given that for too many years now, we have fruitlessly attempted to understand the inner workings of cinema whilst disregarding the element of technique. And this has posed a significant problem in our field of study, as it would be impossible to gain a true understanding of what cinema is without immersing ourselves in the technical and industrial culture of the 19th century. It was within this culture that a desire

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Juckes, Daniel. "Walking as Practice and Prose as Path Making: How Life Writing and Journey Can Intersect." M/C Journal 21, no. 4 (2018). http://dx.doi.org/10.5204/mcj.1455.

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Through my last lengthy writing project, it did not take long to I realise I had become obsessed with paths. The proof of it was there in my notebooks, and, most prominently, in the backlog of photographs cluttering the inner workings of my mobile phone. Most of the photographs I took had a couple of things in common: first, the astonishing greenness of the world they were describing; second, the way a road or path or corridor or pavement or trail led off into distance. The greenness was because I was in England, in summer, and mostly in a part of the country where green seems at times the onl

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Michele, Guerra NA. "Cinema as a form of composition." November 17, 2021. https://doi.org/10.36253/techne-10979.

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Technique and creativity Having been called upon to provide a contribution to a publication dedicated to "Techne", I feel it is fitting to start from the theme of technique, given that for too many years now, we have fruitlessly attempted to understand the inner workings of cinema whilst disregarding the element of technique. And this has posed a significant problem in our field of study, as it would be impossible to gain a true understanding of what cinema is without immersing ourselves in the technical and industrial culture of the 19th century. It was within this culture that a desire

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Lawrence, Robert. "Locate, Combine, Contradict, Iterate: Serial Strategies for PostInternet Art." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1374.

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We (I, Robert Lawrence and, in a rare display of unity, all my online avatars and agents)hereby render and proclaim thisMANIFESTO OF PIECES AND BITS IN SERVICE OF CONTRADICTIONAL AESTHETICSWe start with the simple premise that art has the job of telling us who we are, and that through the modern age doing this job while KEEPING UP with accelerating cultural change has necessitated the invention of something we might call the avant-garde. Along the way there has been an on-again-off-again affair between said avant-garde and technology. We are now in a new phase of the new and the technology und

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Vavasour, Kris. "Pop Songs and Solastalgia in a Broken City." M/C Journal 20, no. 5 (2017). http://dx.doi.org/10.5204/mcj.1292.

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IntroductionMusically-inclined people often speak about the soundtrack of their life, with certain songs indelibly linked to a specific moment. When hearing a particular song, it can “easily evoke a whole time and place, distant feelings and emotions, and memories of where we were, and with whom” (Lewis 135). Music has the ability to provide maps to real and imagined spaces, positioning people within a larger social environment where songs “are never just a song, but a connection, a ticket, a pass, an invitation, a node in a complex network” (Kun 3). When someone is lost in the music, they can

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