Relevant bibliographies by topics / Manhattan (Motion picture)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Manhattan (Motion picture)'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Manhattan (Motion picture)"

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Herman, David. "A Renaissance Robot." Mechanical Engineering 120, no. 02 (1998): 80–82. http://dx.doi.org/10.1115/1.1998-feb-4.

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This article focuses on a computer in downtown Manhattan that is displaying a robotics designer’s latest creation in action. Fashioned to look like an armored knight, the mechanical man in this three-dimensional simulation sits up, waves its arms, moves its head on a flexible neck, and opens and closes its hands and its jaw, all in smooth, precise motions. The robot could be used in a new motion picture, museum, or amusement park. Its original designer, however, never heard of movies, computers, or Wait Disney: The robot sprang from the mind of Leonardo da Vinci. Most Renaissance-era designers
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Smith, Royce W. "The Image Is Dying." M/C Journal 6, no. 2 (2003). http://dx.doi.org/10.5204/mcj.2172.

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The whole problem of speaking about the end…is that you have to speak of what lies beyond the end and also, at the same time, of the impossibility of ending. Jean Baudrillard, The Illusion of the End(110) Jean Baudrillard’s insights into finality demonstrate that “ends” always prompt cultures to speculate on what can or will happen after these terminations and to fear those traumatic ends, in which the impossible actually occurs, may only be the beginning of chaos. In the absence of “rational” explanations for catastrophic ends and in the whirlwind of emotional responses that are their after-e
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Rushkoff, Douglas. "Coercion." M/C Journal 6, no. 3 (2003). http://dx.doi.org/10.5204/mcj.2193.

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The brand began, quite literally, as a method for ranchers to identify their cattle. By burning a distinct symbol into the hide of a baby calf, the owner could insure that if it one day wandered off his property or was stolen by a competitor, he’d be able to point to that logo and claim the animal as his rightful property. When the manufacturers of products adopted the brand as a way of guaranteeing the quality of their goods, its function remained pretty much the same. Buying a package of oats with the Quaker label meant the customer could trace back these otherwise generic oats to their sour
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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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Flynn, Bernadette. "Towards an Aesthetics of Navigation." M/C Journal 3, no. 5 (2000). http://dx.doi.org/10.5204/mcj.1875.

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Introduction Explorations of the multimedia game format within cultural studies have been broadly approached from two perspectives: one -- the impact of technologies on user interaction particularly with regard to social implications, and the other -- human computer interactions within the framework of cybercultures. Another approach to understanding or speaking about games within cultural studies is to focus on the game experience as cultural practice -- as an activity or an event. In this article I wish to initiate an exploration of the aesthetics of player space as a distinctive element of
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Collins, Steve. "Recovering Fair Use." M/C Journal 11, no. 6 (2008). http://dx.doi.org/10.5204/mcj.105.

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IntroductionThe Internet (especially in the so-called Web 2.0 phase), digital media and file-sharing networks have thrust copyright law under public scrutiny, provoking discourses questioning what is fair in the digital age. Accessible hardware and software has led to prosumerism – creativity blending media consumption with media production to create new works that are freely disseminated online via popular video-sharing Web sites such as YouTube or genre specific music sites like GYBO (“Get Your Bootleg On”) amongst many others. The term “prosumer” is older than the Web, and the conceptual co
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Dissertations / Theses on the topic "Manhattan (Motion picture)"

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Sheery, Yardena do Baixo 1981. "Agripina é Roma-Manhattan e outras experiências héliocinematográficas /." São Paulo, 2015. http://hdl.handle.net/11449/123946.

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Orientador: José Leonardo do Nascimento<br>Banca: Sérgio Mauro Romagnolo<br>Banca: Francisco Cabral Alambert Junior<br>Banca:Omar Khouri<br>Banca: Marco Garaude Giannotti<br>Resumo: Este trabalho é uma tentativa de aproximação, por várias frentes diferentes, de Agripina é Roma Manhattan, curta-metragem no formato super-8 realizado por Hélio Oiticica em 1972, durante sua estadia em Nova Iorque. Consequentemente, este trabalho se aproxima de outras produções cinematográficas do universo rico e singular do artista.<br>Abstract: This work is an attempt to approach, by several different ways; to Ag
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Sheery, Yardena do Baixo [UNESP]. "Agripina é Roma-Manhattan e outras experiências héliocinematográficas." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/123946.

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Made available in DSpace on 2015-06-17T19:34:23Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-02-25. Added 1 bitstream(s) on 2015-06-18T12:48:57Z : No. of bitstreams: 1 000830845.pdf: 995151 bytes, checksum: 5545c45a36a93dcf65ce6d1fac6a1eb7 (MD5)<br>Este trabalho é uma tentativa de aproximação, por várias frentes diferentes, de Agripina é Roma Manhattan, curta-metragem no formato super-8 realizado por Hélio Oiticica em 1972, durante sua estadia em Nova Iorque. Consequentemente, este trabalho se aproxima de outras produções cinematográficas do universo rico e singular do artista.<br>
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Maulden, Hannah Leah. "Heroes and Villains: Political Rhetoric in Post-9/11 Popular Media." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1431964700.

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Books on the topic "Manhattan (Motion picture)"

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Dagrada, Elena. Woody Allen: Manhattan. Lindau, 1996.

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Pisek, Gerhard. Die grosse Illusion: Probleme und Möglichkeiten der Filmsynchronisation : dargestellt an Woody Allens Annie Hall, Manhattan, und Hannah and her sisters. Wissenschaftlicher Verlag, 1994.

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Pisek, Gerhard. Die grosse Illusion: Probleme und möglichkeiten der filmsynchronisation. WVT, 1994.

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Katz, Chuck. Manhattan on film: Walking tours of Hollywood's fabled front lot. Limelight Editions, 1999.

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Katz, Chuck. Manhattan on film: Walking tours of Hollywood's fabled front lot. Limelight Editions, 2005.

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Gombeaud, Adrien. Une blonde à Manhattan: Ed Feingersh et Marilyn Monroe. Serpent à plumes, 2011.

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Katz, Chuck. Manhattan on film 2: More walking tours of location sites in the Big Apple. Limelight Editions, 2002.

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Bushnell, Candace. Mujeres de Manhattan. Editorial Planeta, S.A., 2007.

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author, Brazee Christopher D., ed. Loew's Canal Street Theatre, 31 Canal Street, Manhattan: Built in 1926-27, Thomas W. Lamb, Inc., architect. Landmarks Preservation Commission, 2010.

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author, Postal Matthew A., ed. Claremont Theater Building, 3320-3338 Broadway (aka 536-540 West 135th Street), Manhattan: Built 1913-14; Gaetano Ajello, architect. Landmarks Preservation Commission, 2006.

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Book chapters on the topic "Manhattan (Motion picture)"

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Erish, Andrew A. "1905–1908." In Vitagraph. University Press of Kentucky, 2021. http://dx.doi.org/10.5810/kentucky/9780813181196.003.0003.

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Chapter Two covers Vitagraph's return to production on a full-time basis, which began with relocating its studio from a rooftop in Manhattan to a purpose-built facility in Brooklyn. The new glass-roofed studios enabled year-round production, necessitating the establishment of a stock company of players and writer-directors. Blackton and Smith devised a system whereby each would oversee production units that reflected their individual values and approach to cinema. This coincided with the explosive growth of nickelodeon theatres across America. Vitagraph opened a distribution office in Chicago,
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Lupack, Barbara Tepa. "Seeking “Old Opportunity”." In Silent Serial Sensations. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501748189.003.0002.

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This chapter details how Ted Wharton got into the entertainment business. The early years that Ted spent on and behind the stage gave him an invaluable introduction to virtually all aspects of the entertainment industry, especially to the performance and production of melodrama. They also taught him the technical and improvisational skills that would serve him well as he graduated from vaudeville performance and legitimate stage acting to direction of film shorts and production of serials, particularly since he was often experimenting as he developed the conventions and devices that would beco
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Charbonneau, Oliver. "Moros in America." In Civilizational Imperatives. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501750724.003.0007.

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This chapter talks about Moros and Americans negotiating an increasingly globalized world beyond colony and metropole. It mentions a vernacular dime novel about the St. Louis World's Fair published in 1904 titled Uncle Bob and Aunt Becky's Strange Adventures at the World's Great Exposition. It also describes how overseas colonies appeared to a skeptical metropolitan public and how cultural producers appropriately portrayed the America's foreign subjects. The chapter mentions the U.S. newspapers that followed the Moros closely as they met with presidents, performed for midwestern crowds, took i
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Conrath, Ryan. "Andy Warhol in Stitches." In Between Images. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197612293.003.0001.

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Abstract In the summer of 1968, amid the white walls of an otherwise unremarkable sixth-floor office space in Manhattan, Valerie Solanas aims a gun at Andy Warhol and shoots him. This was at once an event of relation and of montage, one that inextricably intertwined the fates of two lives through the violent “editing” of the body of the most famous artist in the world, setting into motion an entirely new sequence of images and works. In subsequent years, Warhol’s cut-and-sutured body entered into a complex constellation of images and practices, first in portraits by Richard Avedon and Alice Ne
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