Academic literature on the topic 'Lolita (Motion picture : 1997)'

Two immersive projection environments, both unconventional, both exploring different methods of 3D and panoramic imaging, and both produced as art installations, are described. Displacements (1980–1984) recreated an interior living space using a panoramic motion picture method and relief projection. Be Now Here (1995–1997) recreated outdoor public plazas using a panoramic motion picture method, stereopsis, and four channel sound. Both installations were unusual in that no intentions existed for anything more general or useful than the installations themselves as individual artworks.

AbstractWe use topographically corrected interferograms, repeated global positioning system observations of locations of stakes and time series of elevation data to produce time series of high-resolution three-dimensional (3-D) ice surface motion maps for the infilling of the ice depression created by the 1996 subglacial eruption at the Gjálp volcano in Vatnajökull, Iceland. The ice inflow generated uplift in the central parts of the depression. During the first months, the uplift was much reduced by basal melting as the subglacial volcano cooled. For those motions surface-parallel ice flow cannot be assumed. The 3-D motion maps are created by an optimization process that combines the complementary datasets. The optimization is based on a Markov random-field regularization and a simulated annealing algorithm. The 3-D motion maps show the pattern of gradually diminishing ice flow into the depression. They provide a consistent picture of the 3-D motion field, both spatially and with time, which cannot be seen by separate interpretation of the complementary observations. The 3-D motion maps were used to calculate the cooling rate of the subglacial volcano for the first year after the eruption. First an uplift rate resulting solely from the inflow of ice was calculated from inferred horizontal motions. Basal melting was then estimated as the difference between the calculated uplift generated by the inflow of ice, and the observed uplift that was the combined result of ice inflow and basal melting. The basal melting was found to decline from 55 m3 s–1 (due to power of 18 GW) in January 1997 to 5 m3 s–1 (2GW) in October 1997.

One of the challenges that teachers face when they teach data analysis to their students is getting them to see the “big picture.” Using multiple representations is one way to help students make sense out of a large amount of data. For example, the data can be recorded in a table, graphed in a rectangular-coordinate system, and analyzed for an equation of best fit. These techniques are standard practice in data analysis. However, furnishing an interesting context for teaching these methods is sometimes difficult. One way to motivate students to see the big picture of data analysis is to explore an example from the motion-picture business. Since the release of James Cameron's movie Titanic in December 1997, the film has become a part of the popular culture. It earned more than $1 billion worldwide at the box office, which makes it the highest-grossing film of all time. Inevitable articles and programs documented and commented on the success of this epic film. One article, in particular, in Newsweek was titled “Our Titanic Love Affair” (Ansen 1998). A simple statement of earnings trends appeared in a caption next to a graph showing the longevity of the weekend revenues generated by the movie. It read as follows: “Most hit movies enjoy big opening weekend sales, then revenues decline quickly.” Both the graph and the caption raise two interesting questions: What do the graphs and trends of “most hit movies” look like? And how are the weekend earnings of Titanic different?

Abstract. Auroral and airglow emissions over Eureka (89° CGM) during the 1997-98 winter show striking variations in relation to solar wind IMF changes. The period January 19 to 22, 1998, was chosen for detailed study, as the IMF was particularly strong and variable. During most of the period, Bz was northward and polar arcs were observed. Several overpasses by DMSP satellites during the four day period provided a clear picture of the particle precipitation producing the polar arcs. The spectral character of these events indicated excitation by electrons of average energy 300 to 500 eV. Only occasionally were electrons of average energy up to ~1 keV observed and these appeared transitory from the ground optical data. It is noted that polar arcs appear after sudden changes in IMF By, suggesting IMF control over arc initiation. When By is positive there is arc motion from dawn to dusk, while By is negative the motion is consistently dusk to dawn. F-region (anti-sunward) convections were monitored through the period from 630.0 nm emissions. The convection speed was low (100-150 m/s) when Bz was northward but increased to 500 m/s after Bz turned southward on January 20.Key words: Atmospheric composition and structure (airglow and aurora) - Ionosphere (particle precipitation) - Magnetospheric Physics (polar cap phenomena)

HTC corporation was started as a manufacturer of personal digital assistants (PDAs) in 1997 and later shifted to manufacturing smartphones for branded handset companies and for service providers such as T-Mobile, Vodafone, Orange, Sprint, Cingular, Verizon and NTT DoCoMo as an original design manufactures (ODMs) in 2002. In 2007, HTC had taken a strategic decision to manufacture branded products and sold smartphones under its own name. The main competitors of HTC in smartphone industry were Apple, Samsung, Research in Motion (RIM), Nokia and Huawei. HTC took a number of distinct paths to drive differentiation of its products which included a superb User Interface (UI) and applications (for e-mailing, screen locking, dialing and picture taking among others) that provided a unique experience to HTC users. Cher Wang believed that the key to creating a powerful brand was to produce cutting-edge smartphones. Cher Wang introduced a new culture, a culture of innovation in the organization. Her vision was to create innovative products that could enrich consumers’ lives. Cher Wang wanted to make HTC global organization to make convergence of internet, mobile, wireless and IT. HTC’s long-term plan was to distinguish itself in the handsets and tablets markets by offering an HTC-specific experience on both Android and Windows phones.

Tour into the picture (TIP), proposed by Horry et al. (Horry, Anjyo, & Arai, 1997, ACM SIGGRAPH '97 Conference Proceedings, 225–232) is a method for generating a sequence of walk-through images from a single reference image. By navigating a 3D scene model constructed from the image, TIP provides convincing 3D effects. This paper presents a comprehensive scheme for creating walk-through images from a video sequence by generalizing the idea of TIP. To address various problems in dealing with a video sequence rather than a single image, the proposed scheme is designed to have the following features: First, it incorporates a new modeling scheme based on a vanishing circle identified in the video, assuming that the input video contains a negligible amount of motion parallax effects and that dynamic objects move on a flat terrain. Second, we propose a novel scheme for automatic background detection from the video, based on 4-parameter motion model and statistical background color estimation. Third, to assist the extraction of static or dynamic foreground objects from video, we devised a semiautomatic boundary-segmentation scheme based on enhanced lane (Kang & Shin, 2002, Graphical Models, 64 (5), 282–303). The purpose of this work is to let users experience the feel of navigating into a video sequence with their own interpretation and imagination about a given scene. The proposed scheme covers various types of video films of dynamic scenes, such as sports coverage, cartoon animation, and movie films, in which objects are continuously changing their shapes and locations. It can also be used to produce a variety of synthetic video sequences by importing and merging dynamic foreign objects with the original video.

ABSTRACTMajor large-scale research projects in the early years of developmental psycholinguistics were English-based, yet even then numerous studies were available or under way in a range of different languages (Ferguson & Slobin, 1973). Since then, the field of cross-linguistic child language research has burgeoned in several directions. First, rich information is now available on the acquisition of dozens of languages from around the world in numerous language families, spearheaded by the five-volume series edited by Slobin (1985–1997) and complemented by in-depth examination of specific constructions – e.g. causative alternation, motion verbs, passive voice, subject elision, noun compounding – in various languages, culminating in an in-depth examination of the acquisition of ergativity in over a dozen languages (Bavin & Stoll, 2013). A second fruitful direction is the application of carefully comparable designs targeting a range of issues among children acquiring different languages, including: production of early lexico-grammatical constructions (Slobin, 1982), sentence processing comprehension (MacWhinney & Bates, 1989), expression of spatial relations (Bowerman, 2011), discourse construction of oral narratives based on short picture series (Hickmann, 2003) and longer storybooks (Berman & Slobin, 1994), and extended texts in different genres (Berman, 2008). Taken together, research motivated by the question of what is particular and what universal in child language highlights the marked, and early, impact of ambient language typology on processes of language acquisition. The challenge remains to operationalize such insights by means of psychologically sound and linguistically well-motivated measures for evaluating the interplay between the variables of developmental level, linguistic domain, and ambient language typology.

A large-Reynolds-number asymptotic solution of the Navier–Stokes equations is sought for the motion of an axisymmetric vortex ring of small cross-section embedded in a viscous incompressible fluid. In order to take account of the influence of elliptical deformation of the core due to the self-induced strain, the method of matched of matched asymptotic expansions is extended to a higher order in a small parameter ε = (v/Γ)1/2, where v is the kinematic viscosity of fluid and Γ is the circulation. Alternatively, ε is regarded as a measure of the ratio of the core radius to the ring radius, and our scheme is applicable also to the steady inviscid dynamics.We establish a general formula for the translation speed of the ring valid up to third order in ε. This is a natural extension of Fraenkel–Saffman's first-order formula, and reduces, if specialized to a particular distribution of vorticity in an inviscid fluid, to Dyson's third-order formula. Moreover, it is demonstrated, for a ring starting from an infinitely thin circular loop of radius R0, that viscosity acts, at third order, to expand the circles of stagnation points of radii Rs(t) and R˜s(t) relative to the laboratory frame and a comoving frame respectively, and that of peak vorticity of radius R˜p(t) as Rs ≈ R0 + [2 log(4R0/√vt) + 1.4743424] vt/R0, R˜s ≈ R0 + 2.5902739 vt/R0, and Rp ≈ R0 + 4.5902739 vt/R0. The growth of the radial centroid of vorticity, linear in time, is also deduced. The results are compatible with the experimental results of Sallet & Widmayer (1974) and Weigand & Gharib (1997).The procedure of pursuing the higher-order asymptotics provides a clear picture of the dynamics of a curved vortex tube; a vortex ring may be locally regarded as a line of dipoles along the core centreline, with their axes in the propagating direction, subjected to the self-induced flow field. The strength of the dipole depends not only on the curvature but also on the location of the core centre, and therefore should be specified at the initial instant. This specification removes an indeterminacy of the first-order theory. We derive a new asymptotic development of the Biot-Savart law for an arbitrary distribution of vorticity, which makes the non-local induction velocity from the dipoles calculable at third order.

Abstract From October 1997 through October 1998, the Surface Heat Budget of the Arctic (SHEBA) ice camp drifted across the western Arctic Ocean, from the central Canada Basin over the Northwind Ridge and across the Chukchi Cap. During much of this period, the velocity and shear fields in the upper ocean were monitored by Doppler sonar. Near-inertial internal waves are found to be the dominant contributors to the superinertial motion field. Typical rms velocities are 1–2 cm s−1. In this work, the velocity and shear variances associated with upward- and downward-propagating wave groups are quantified. Patterns are detected in these variances that correlate with underlying seafloor depth. These are explored with the objective of assessing the role that these extremely low-energy near-inertial waves play in the larger-scale evolution of the Canada Basin. The specific focus is the energy flux delivered to the slopes and shelves of the basin, available for driving mixing at the ocean boundaries. The energy and shear variances associated with downward-propagating waves are relatively uniform over the entire SHEBA drift, independent of the season and depth of the underlying topography. Variances associated with upward-propagating waves follow a (depth)−1/2 dependence. Over the deep slopes, vertical wavenumber spectra of upward-propagating waves are blue-shifted relative to their downward counterparts, perhaps a result of reflection from a sloping seafloor. To aid in interpretation of the observations, a simple, linear model is used to compare the effects of viscous (volume) versus underice (surface) dissipation for near-inertial waves. The latter is found to be the dominant mechanism. A parallel examination of the topography of the western Arctic shows that much of the continental slope is close to critical for near-inertial wave reflection. The picture that emerges is consistent with “one bounce” rather than trans-Arctic propagation. The dominant surface-generated waves are substantially absorbed in the underice boundary layer following a single roundtrip to the seafloor. However, surface-generated waves can interact strongly with nearby (<300 km) slopes, potentially contributing to dissipation rates of order 10−6–10−7 W m−3 in a zone several hundred meters above the bottom. The waves that survive the reflection process (and are not back-reflected) display a measurable blue shift over the slopes and contribute to the observed dependence of energy on seafloor depth that is seen in these upper-ocean observations.

Thesis (Ph. D.)--Discipline of Economics, University of Sydney, [2006?].
Title from title screen (viewed 27th June, 2007). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Discipline of Economics, University of Sydney. Degree awarded 2006?; thesis submitted 2005. Includes bibliographical references. Also issued in print.

As ownership of Hong Kong changed hands from the United Kingdom to the People's Republic of China in 1997, citizens and filmmakers of the city became highly aware of the political environment. Film director Wong Kar-Wai creates visually stimulating films that express the anxieties and frustrations of the citizens of Hong Kong during this period. This study provides a political reading of Days of Being Wild (1991), In the Mood for Love (2000), and 2046 (2004) through analyzing various story elements and details within the mise-en-scene. Story elements include setting, dialogue, character relationships, character identities, thematic motifs, musical references, numerology, and genre manipulation. Wong also uses details within the films' mise-en-scene, such as props and color, to express political frustrations. To provide color interpretations, various traditional aesthetic guidelines, such as those prescribed by Taoism, Cantonese and Beijing opera, and feng shui, are used to read the films' negative comments on the handover process and the governments involved. When studied together the three films illustrate how Wong Kar-Wai creates narrative and visual references to the time and atmosphere in which he works, namely pre-and-post handover Hong Kong.

This dissertation focuses on a content analysis through which representation of women in Bollywood cinema is examined. Bollywood has been a major point of reference for Indian culture in the last century and will undoubtedly persist for years to come. To an extent, Bollywood has shaped the way in which people read Indian culture as well as reflecting India's events, traditions, values and customs by the mere fact that it is a pervasive and inescapable force in Indian society. Women have been and to an extent still are represented as mere wallpaper in Bollywood films. Issues around gender, gender-based violence, femininity, women's rights and sexuality (outside of being a sexpot) are often ignored and in most cases, subverted. Feminist discourse in the west has taken this up in relation to Hollywood (cf. Mulvey, 1975; Kuhn, 1984; Kaplan, 2000) however, discussions of gender in eastern cinema has yet to be fully developed. Even though there is a body of work in this field (cf. Butalia, 1984; Datta, 2000) there is room for far more in-depth investigation. This study explores the ways in which women are represented and misrepresented in Bollywood cinema by looking at the main features which make Bollywood what it is: the stock characters, song and dance routines and elaborate dress. Each of these elements is discussed by using one or two films to illustrate the formula that is used in Bollywood cinema to undermine women.
Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2009.

Cultural policy studies, or studies in the relations of government and culture (Mercer, 1994) were initiated in Australia in the 1980s, where cultural studies have been reinterpreted into a dialogue of policy-making and cooperation between the government and academia (Cunningham, 1994; Hunter, 1993/1994; Molloy, 1994; Santamaria, 1994). This Australian-pioneered "cultural policy moment" (Cunningham 1994; Hawkins, 1994) thus provides an epistemological starting point for an analysis of cultural policy developments in South Africa, especially after 1994. Early South African cultural policy studies tend to draw from the Australian experience (Tomaselli and Shepperson, 1996). It must be noted that in terms of South African film policy analysis, there have been two cultural policy moments, one that addresses film post World War II to 1991, a period that is generally characterised as a "cinema of apartheid" (Tomaselli, 1989). This period is indebted to the seminal work of Keyan Tomaselli and Martin Botha. The second cultural policy moment begins in 1991 and continues to the present. It is this "moment" that informs the research and critical focus of the ways in which cultural studies in South Africa have modified the foundation of its critical position towards the state in response to developments since 1990. The aim of this thesis is to critically examine the ways in which South African cultural studies have responded to the Australian "cultural policy moment" in terms of academic-state relations, and the impact of discussions that were engaged in by various film organisations on film policy after 1990, and which resulted in the written proposals on film submitted to the Arts and Culture Task Group in 1994 and 1995. The Arts and Culture Task Group was the case study within which the notion of cultural policy was studied, along with the White Paper on Film. This thesis draws on and applies a variety of methods: firstly, there is the participatory research: I was employed by ACTAG to undertake research into film policy. My own experience of the process in which I worked very closely with the film sub-committee provides an "insider" account of assumptions, conflicts, practices and how outcomes were reached. I was also designated, along with Professor Tomaselli and Dr Botha, as one of the co-authors of the White Paper, and was thus part of the process of revising the ACTAG recommendations into draft legislation. Secondly, there is the method of comparative study: this thesis initially draws on the Australian cultural studies and film policy on the one hand, and South African cultural studies and film policy on the other. It then evolves into a critique of the "cultural policy moment" (Cunningham, 1994; Hawkins, 1994) as it related to the development of South African film policy between 1991 and 1997. Lastly, there was the empirical investigation: ACTAG, which was established to counsel Dr Ben Ngubane on the formulation of policy for the newly established government (see Chapter Four of this thesis, and see Karam, 1996), served as a case study. The final ACTAG document resulted in a reformulated arts and culture dispensation consistent with the new Constitution. This process in turn led to the origination and publication of the Government of National Unity's White Paper on Film in May 1996. Incorporated into this analysis was an "information trawl" (Given, 1994; Mercer, 1994 and Santamaria, 1994) of prior and extant policy frameworks and assumptions of various film, cultural and media organizations formulated during the period under review. The link between film and culture, and hence film and cultural policy, emerges from the following two commonplace associations: firstly, that film as a form of visual creation is therefore a form of art; and secondly, that the concepts of art and culture are inextricably connected. What drives the present debate is the Australian appropriations of Raymond Williams's description of culture as "a whole way of life". This, while validly dissolving the early-twentieth century identification of culture with "high" or "canonical" forms of traditional literature, sculpture, or painting, none the less leaves theorists with a "distinct fuzziness" (Johnson, 1979) as to what the term "culture" actually denotes. Australian policy studies' approaches tend to focus on culture as personifying a structure of "livability" under terms of employment, environmental concerns, and urban planning (Cunningham, 1994; Hawkins, 1994). In general, however, the focus has only attained any concrete outcomes when research has resuscitated precisely the link between culture and the arts, thereby drawing on the old polemics of "high" versus "low" and "popular" culture. The individual chapters cover the following topics: the Introductory Chapter provides a general historical overview of the South African film subsidization system, a crucial element of the analytical framework, from its inception in 1956 to it's dissolvement in the 1980s; Chapter Two, "Cultural Policy" deals with the origination and development of the concept of "cultural policy"; Chapter Three focuses on the Australian "cultural policy moment" and it's application to film; Chapters Four and Five deal with the ACTAG Film Sub-committee and the White Paper on Film respectively; and the last chapter, Chapter Six critiques these processes and their resulting documents, as case studies, from a cultural policy standpoint.
Thesis (M.A.)-University of Natal, Durban, 1997.

The image is one of the most suitable information input representations for future multimedia systems. However, it is difficult for conventional charge coupled device (CCD) systems to handle such image information, especially in high speed image processing such as motion picture processing. This is caused by the limitation of the frame rate of the CCD (1/60-1/30sec) and by the bus capacity between the CCD and the computer. To solve the problem of this transmission bottle neck, we have proposed a novel type of image sensor, an artificial retina (AR) chip, and we have demonstrated flexible and high-speed on-chip processing capabilities of the chip [1].

Abstract Computational aeroacoustics involves numerical study of the acoustic field generated by unsteady fluid motion. An area of significant interest is unsteady turbulent flow in free jets and resultant far field acoustic pressure fluctuations. Since Lighthill’s mathematical formulation for jet noise generation in the early 1960’s, a search has continued for a physical interpretation of his formal results and, in particular, the noise source term. Far field measurements have not provided a clear picture concerning the nature of the acoustic source. Therefore, industry standard procedures for prediction of far field noise from exhaust jets rely on semi-empirical methods to calculate mean sound pressure levels and directivity. Our objective is to contribute to a more thorough understanding of the acoustic source from a shear flow using Large-Eddy Simulation (LES) turbulence modeling. Published work for direct numerical simulation of these flows has been confined to low Reynolds number (< 3000) with Mach numbers up to 2.0, to study the physics of sound generation and test aeroacoustic prediction methods (Mitchell, et al, 1995). While furthering understanding of jet noise generation, these cases limit exhaust dimensions to millimeters and make it difficult to compare results to measured data. Here we address large Reynolds numbers and high subsonic Mach number (compressible) flow combined with realistic geometries more representative of aircraft engine exhausts. Standard turbulence models compute the average flow field, which cannot be used to calculate the aeroacoustic field. Temporal fluctuations are required and can be obtained using LES, with a spatial filtering operation applied to the equations of motion. The technique is based on computing only large scale motions directly subject to the problem’s boundary conditions, while small scale motions are assumed to be more universal and their statistics and effect upon large scales are predicted using a “subgrid-scale” model. The motivation for this approach is that experimental observations of turbulent flows show that large scale turbulent structures vary markedly from one flow situation to another, while small scales show less variation from case to case. The acoustic radiation calculation consists of three steps; 1) an approximate result for the mean flow field using a compressible flow code employing a k-ϵ turbulence model, 2) unsteady turbulent fluid field simulation using the CFD code appended with a LES turbulence model (the k-ϵ prediction serving as an initial guess) and 3) far field acoustics obtained using Lighthill’s analogy. Extensive far field noise data from ground static measurements of a WR19-4 mini-turbofan engine are being drawn from for comparisons between computed results and measurements.