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Journal articles on the topic 'Inquisition in motion pictures'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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1

Young, Linda. "Motion Pictures." SMPTE Journal 105, no. 4 (1996): 177–78. http://dx.doi.org/10.5594/j15829.

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2

Masson, Alan J. "Motion Pictures." SMPTE Journal 108, no. 2 (1999): 75–78. http://dx.doi.org/10.5594/j17112.

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3

Masson, Alan J. "Motion Pictures." SMPTE Journal 107, no. 1 (1998): 11–13. http://dx.doi.org/10.5594/j17616.

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4

Bonnaud, Irène, Suzanne Doppelt, Christophe Triau, and Sacha Zilberfarb. "Motion pictures." Vacarme 15, no. 2 (2001): 60. http://dx.doi.org/10.3917/vaca.015.0060.

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5

Burns, Edward J. "Motion Pictures." SMPTE Journal 97, no. 4 (1988): 268–74. http://dx.doi.org/10.5594/j00667.

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6

Young, Linda. "Motion Pictures." SMPTE Journal 106, no. 1 (1997): 9–11. http://dx.doi.org/10.5594/j09530.

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7

Ricotta, Frank J. "Motion Pictures." SMPTE Journal 104, no. 4 (1995): 186–88. http://dx.doi.org/10.5594/j09609.

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8

Ricotta, Frank J. "Motion Pictures." SMPTE Journal 103, no. 4 (1994): 211–15. http://dx.doi.org/10.5594/j09688.

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9

Antonoff, Michael. "Motion Pictures." Scientific American 296, no. 5 (2007): 24–25. http://dx.doi.org/10.1038/scientificamerican0507-24.

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10

Mitchison, Tim J. "Motion pictures." Nature 357, no. 6373 (1992): 32. http://dx.doi.org/10.1038/357032a0.

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11

Gomery, Douglas. "Motion Pictures." Communication Booknotes 16, no. 5 (1985): 49. http://dx.doi.org/10.1080/10948008509488306.

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12

Gomery, Douglas. "Motion Pictures." Communication Booknotes 17, no. 1 (1986): 7–9. http://dx.doi.org/10.1080/10948008609488219.

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13

Gomery, Douglas. "Motion Pictures." Communication Booknotes 17, no. 9-10 (1986): 98–107. http://dx.doi.org/10.1080/10948008609488269.

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14

Gomery, Douglas. "Motion Pictures." Communication Booknotes 18, no. 7-8 (1987): 63–69. http://dx.doi.org/10.1080/10948008709488193.

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15

Gomery, Douglas. "Motion Pictures." Communication Booknotes 18, no. 9-10 (1987): 93–99. http://dx.doi.org/10.1080/10948008709488203.

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16

Gomery, Douglas. "Motion Pictures." Communication Booknotes 19, no. 5 (1988): 95–103. http://dx.doi.org/10.1080/10948008809488155.

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17

Block, Eleanor, James K. Bracken, Eleanor S. Block, and Bruce A. Austin. "Motion Pictures." Communication Booknotes Quarterly 29, no. 1 (1998): 52–60. http://dx.doi.org/10.1080/10948009809361557.

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18

Levine, Niall, John A. Lent, and Bruce Austin. "Motion pictures." Communication Booknotes Quarterly 29, no. 2 (1998): 88–96. http://dx.doi.org/10.1080/10948009809361564.

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19

Austin, Bruce A., Eleanor Block, Chris Sterling, Robert Huesca, and Gary R. Edgerton. "Motion pictures." Communication Booknotes Quarterly 29, no. 4 (1998): 196–203. http://dx.doi.org/10.1080/10948009809361586.

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20

Austin, Bruce A., Niall Levine, and Chris Sterling. "Motion pictures." Communication Booknotes Quarterly 30, no. 4 (1999): 227–31. http://dx.doi.org/10.1080/10948009909361637.

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21

Blasko, Edward J. "Motion Pictures." SMPTE Journal 95, no. 4 (1986): 413–19. http://dx.doi.org/10.5594/j17960.

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22

Iosifian, S. A., and V. A. Petrovskii. "Motion Pictures." Russian Education & Society 37, no. 10 (1995): 11–22. http://dx.doi.org/10.2753/res1060-9393371011.

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23

Baptista, John L. "Motion Pictures." SMPTE Journal 101, no. 4 (1992): 231–34. http://dx.doi.org/10.5594/j02302.

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24

Baptista, John L. "Motion Pictures." SMPTE Journal 102, no. 4 (1993): 289–94. http://dx.doi.org/10.5594/j03791.

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25

Baptista, John L. "Motion Pictures." SMPTE Journal 100, no. 4 (1991): 225–31. http://dx.doi.org/10.5594/j04767.

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26

Jennifer Tebbe-Grossman. "Medicine’s Motion Pictures." Film & History: An Interdisciplinary Journal of Film and Television Studies 39, no. 1 (2009): 98–99. http://dx.doi.org/10.1353/flm.0.0076.

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27

Cho, Minhaeng. "Molecular motion pictures." Nature 444, no. 7118 (2006): 431–32. http://dx.doi.org/10.1038/444431a.

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28

Hunter, Jefferson. "Pictures and Motion Pictures in the 1940s." Hopkins Review 7, no. 1 (2014): 93–111. http://dx.doi.org/10.1353/thr.2014.0001.

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29

Nimis, Erika. "“Motion pictures” in Nigeria." Visual Anthropology 14, no. 3 (2001): 293–99. http://dx.doi.org/10.1080/08949468.2001.9966836.

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30

Bardell, Eunice Bonow. "Pharmacists in Motion Pictures." American Journal of Health-System Pharmacy 45, no. 1 (1988): 179–83. http://dx.doi.org/10.1093/ajhp/45.1.179.

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31

Leach-Murray, Susan. "SWANK Motion Pictures, Inc." Technical Services Quarterly 35, no. 1 (2017): 115–16. http://dx.doi.org/10.1080/07317131.2017.1385299.

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32

Copeland, V. Natasha E. "Pictures in Motion or Motion Pictures: Sembène’s Natural Products Steal the Show." Études littéraires africaines, no. 30 (November 17, 2014): 58–76. http://dx.doi.org/10.7202/1027347ar.

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Dans ses films Xala (1974) et Ceddo (1977), Sembène redéfinit l’usage des sculptures traditionnelles en bois, tout en demeurant fidèle aux métaphysiques sahéliennes dans ses innovations esthétiques, littéraires ou cinématographiques. Des masques, un bâton ou une canne jouent à l’écran un rôle qui, en raison de leur propre vitalité et de leur étroite association avec divers personnages, capte l’attention du public autant que le font les héros des films. Sembène oppose, dans la trame de ses films, la force vitale de ces objets africains à celle d’artefacts, symboles de l’Occident. Sculptés par l

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33

Palanco Aguado, Fernando. "Los primeros años de Inquisición en Filipinas: Jueces eclesiásticos, el obispo Domingo de Salazar y los comisarios agustinos fray Francisco Manrique y fray Diego Muñoz (1577-1594)." Archivo Agustiniano 102, no. 220 (2018): 79–106. https://doi.org/10.53111/aa.v102i220.1216.

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This article deals with the activity of the Holly Office of the Inquisition in the Philippines during its initial years (1577-1594). First, it presents the legal proceedings followed by some ecclesiastical judges and by Bishop Domingo de Salazar acting as inquisitor. Then it exposes the conflict of jurisdiction that arose when the inquisitors of the tribunal of Mexico appointed the Augustinian Francisco Manrique as comisario. Finally, it displays the tasks that Diego Muñoz had to deal when he assumed that job of comisario.The Inquisition in the Philippines does not match the stereotypes of imp

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34

Porée, Marc. "Poets' lives in motion (pictures)." Études anglaises 66, no. 4 (2013): 511. http://dx.doi.org/10.3917/etan.664.0511.

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35

Ba Tu Truong, S. Venkatesh, and C. Dorai. "Scene extraction in motion pictures." IEEE Transactions on Circuits and Systems for Video Technology 13, no. 1 (2003): 5–15. http://dx.doi.org/10.1109/tcsvt.2002.808084.

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36

Baecker, Dirk. "The Reality of Motion Pictures." MLN 111, no. 3 (1996): 560–77. http://dx.doi.org/10.1353/mln.1996.0032.

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37

Marta Zarzycka and Bettina Papenburg. "Motion Pictures: Politics of Perception." Discourse 35, no. 2 (2013): 163. http://dx.doi.org/10.13110/discourse.35.2.0163.

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38

Yeazell, Ruth Bernard. "Sex, Lies, and Motion Pictures." Henry James Review 25, no. 1 (2004): 87–96. http://dx.doi.org/10.1353/hjr.2004.0012.

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39

Blackstone, Erwin A., and Gary W. Bowman. "Vertical Integration in Motion Pictures." Journal of Communication 49, no. 1 (1999): 123–39. http://dx.doi.org/10.1111/j.1460-2466.1999.tb02785.x.

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40

Nebeker, F. "Motion pictures [Scanning Our Past]." Proceedings of the IEEE 101, no. 4 (2013): 1020–25. http://dx.doi.org/10.1109/jproc.2013.2244752.

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41

Wartenberg, T. E. "The Philosophy of Motion Pictures." British Journal of Aesthetics 49, no. 1 (2009): 83–85. http://dx.doi.org/10.1093/aesthj/ayn053.

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42

Gazley, Aaron, Gemma Clark, and Ashish Sinha. "Understanding preferences for motion pictures." Journal of Business Research 64, no. 8 (2011): 854–61. http://dx.doi.org/10.1016/j.jbusres.2010.09.012.

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43

DecencièreFerrandière, Étienne. "Restoration of Old Motion Pictures." Microscopy Microanalysis Microstructures 7, no. 5-6 (1996): 311–16. http://dx.doi.org/10.1051/mmm:1996127.

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44

Bakker, Gerben. "How Motion Pictures Industrialized Entertainment." Journal of Economic History 72, no. 4 (2012): 1036–63. http://dx.doi.org/10.1017/s002205071200068x.

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Motion pictures constituted a revolutionary new technology that transformed entertainment—a rival, labor-intensive service—into a non-rival commodity. Combining growth accounting with a new output concept shows productivity growth in entertainment surpassed that in any manufacturing industry between 1900 and 1938. Productivity growth in personal services was not stagnant by definition, as current understanding has it, but instead was unparalleled in some cases. Motion pictures’ contribution to aggregate GDP and TFP growth was much smaller than that of general purpose technologies steam, railwa

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45

Ratn, Anoop, and Farha Deeba. "EXPERIMENTAL ANIMATIONS IN INDIA: AN EMERGING NEW MEDIA ART FORM." ShodhKosh: Journal of Visual and Performing Arts 4, no. 2CDSDAD (2023). http://dx.doi.org/10.29121/shodhkosh.v4.i2cdsdad.2023.571.

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Since the beginning of civilization, humans have always been inquisitive about ways to uniquely express their sides of stories. Traditional Art forms like drawing, painting, sculpting, literature, music, and many others have helped to make it possible. More unconventional new art possibilities have emerged with the introduction of new technologies and industrial revolutions. Motion Pictures and Animation are the two most fascinating forms of artistic expression in these areas.Often, animation is considered a fascinating medium of entertainment for kids and the younger generation. However, many

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46

"Motion Pictures." SMPTE Journal 94, no. 4 (1985): 369–81. http://dx.doi.org/10.5594/j14054.

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47

"MOTION PICTURES." Communication Booknotes Quarterly 31, no. 1 (2000): 43–54. http://dx.doi.org/10.1207/s15326896cbq3101_10.

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48

"MOTION PICTURES." Communication Booknotes Quarterly 31, no. 2 (2000): 138–44. http://dx.doi.org/10.1207/s15326896cbq3102_11.

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49

"MOTION PICTURES." Communication Booknotes Quarterly 31, no. 4 (2000): 258–65. http://dx.doi.org/10.1207/s15326896cbq3104_06.

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50

"MOTION PICTURES." Communication Booknotes Quarterly 32, no. 1 (2001): 27–31. http://dx.doi.org/10.1207/s15326896cbq3201_05.

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