Academic literature on the topic 'Marwencol (Motion picture : 2010)'
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Journal articles on the topic "Marwencol (Motion picture : 2010)"
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Breitman, Alexandre S. "POWER AND FREEDOM IN THE MOTION PICTURE TRIPTYCH BY ALEXANDRE SOKUROV." Scholarly Notes of Komsomolsk-na-Amure State Technical University 2, no. 1 (June 30, 2010): 65–70. http://dx.doi.org/10.17084/2010.i-2(1).14.
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Mik, Anna. "Disability, Race, and the Black Satyr of the United States of America: The Case of Grover Underwood from Rick Riordan’s The Lightning Thief and its Film Adaptation by Chris Columbus." Dzieciństwo. Literatura i Kultura 1, no. 1 (July 24, 2019): 130–46. http://dx.doi.org/10.32798/dlk.20.
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This article aims to present the book-to-film metamorphosis of Grover Underwood from Rick Riordan’s novel The Lightning Thief (2005), adapted in 2010 by Chris Columbus for the screen. This character in both works is presented as an excluded member of the society: in the empirical world, as a disabled person, in the mythological one, as a satyr. What is more, in the motion picture, Grover, played by a Black actor, poses as an even more marginalised character, as a representative of a community discriminated in the USA. Therefore, the images of this character reflect the various levels of exclusion and show the ideological significance of a contemporary adaptation for the young audience. The comparative analysis is performed with the use of reception studies and critical race theory perspectives.
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Petrescu, Olivia Narcisa. "Significados la muerte e inmigración en la película Biutiful." Acta Hispanica 20 (January 1, 2015): 91–104. http://dx.doi.org/10.14232/actahisp.2015.20.91-104.
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Starting from the hermeneutics of the plot identifiable in the movie Biutiful, directed by the Mexican Alejandro González Iñárritu in 2010, our study aims to analyse the multicultural connections among the characters, in terms of their tragic destinies, of the death, illegal immigration and poverty in an unusual framework as it is that of a sordid and marginal Barcelona.Even if the story concerns only a film, one could embody multiple intertextual references which allude to fantasy literature. Besides, the harsh reality and the anxieties experienced by the main protagonist establish a credible insight of some real ethnic, social and spiritual phenomena, specific for XXI century Europe, but also universal for all ages of humanity. From this perspective, our exegesis is meant to be a cultural interpretation of the life-death significance, as perceived through three crisscrossing communities in the motion picture: the Spanish, Chinese, and Senegalese communities, which metaphorically represent three very different continents and cultures.
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Yeh, Wei Ming. "The Study of New Trend for DSC Scene Effects Technology." Advanced Materials Research 225-226 (April 2011): 1284–87. http://dx.doi.org/10.4028/www.scientific.net/amr.225-226.1284.
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Since early 2007, many ambitious DSC manufactures in Japan have paid special attention for built in digital effects, in order to create better quality of picture, such as: Face Detection, Smile Shutter Mode, Full frame CCD, Anti Shake system, Live View, CMOS sensor..., which were highly appreciated by many photo fans around the world, and created hot-selling record on favorite model. In fact, these fancy “Digital Technologies” could be standardized in selected new cameras right now. In late 2009, new artificial intelligence image chips such as: back-illuminated CMOS image sensor, 30x Optical Zoom (or more), Full HD Video, Sweep Panorama, Interchangeable Unit Camera System,Super High Speed ISO, Super Steady, Motion Remover.., have been promoted in new generation of camera. It could change not only the performance of new camera (DSC/DC) but to challenge the current DV market seriously, and may inspire new record-high selling again. In our experiment, we collect more than 300 cases from the telephone survey during Sep, 2010 and Dec, 2010. Total of 220 cases comply with the conditions. To probe mainly into the relationship between new generation DC Confidence level and 3 potential customers: Amateur Photographer (AP), Senior Photographer (SP), and college student (CS). That is the reason what we are probe into this highly competitively market with brilliant creative design, and hope to offer an objective suggestion for both industry and education administers.
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Hendy, Benjamin, Steven Raikin, David Pedowitz, Rachel Shakked, Ryan Rogero, and Elizabeth McDonald. "Total Ankle Arthroplasty." Foot & Ankle Orthopaedics 3, no. 2 (April 19, 2018): 2473011418S0001. http://dx.doi.org/10.1177/2473011418s00015.
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Category: Ankle, Ankle Arthritis Introduction/Purpose: Reports of ankle range of motion and how it affects patient outcomes following total ankle arthroplasty (TAA) have been mixed. Furthermore, recent studies have relied on clinical exam to obtain postoperative range of motion and have lacked preoperative functional scores. The purpose of our study was to analyze how preoperative range of motion and functional scores change with time following TAA using postoperative functional scores and radiographs for range of motion calculations. Methods: A retrospective chart review was performed on 107 patients (109 ankles) that had undergone fixed-bearing implant TAA by a single surgeon between 2010 and 2015. Preoperative range of motion was gathered clinically in office by the senior author. Postoperative range of motion through the ankle joint was evaluated with dedicated weight-bearing maximum dorsiflexion and plantarflexion lateral radiographs at 3 and 6 months, 1 and 2 years. The range of motion was measured using the angle measurement tool on the picture archiving and communication system. Patients completed visual analogue scale (VAS) for pain and the Foot and Ankle Ability Measure (FAAM) questionnaire subcategorized into activities of daily (ADL) and sports subscale preoperatively and at postoperative intervals of 3 and 6 months, 1 and 2 years. The mean age was 65 years (range, 31-83 years). Mean BMI was 28.1 (range, 14.9-44.9). There were 53 males (50%). Results: The mean total arc of ankle motion preoperatively was 20.7 degrees and improved significantly to 28.3, 34.3, 33.3, and 33.3 degrees at 3 and 6 months, 1 and 2 years, respectively (P<0.001) (Figure 1). Mean VAS pain and mean FAAM ADL preoperative scores improved significantly at each postoperative time point as seen in Figure 1 (P<0.001). Increased ankle range of motion was correlated with lower VAS preoperatively (r=-0.38, P=0.007), and at 1 year (r=-0.36, P<0.001), and 2 years (r=-0.2, P=0.033) postoperatively. Increased ankle range of motion was significantly correlated with higher FAAM-ADL at 3 months (r=0.48, P=0.012), 1 year (r=0.24, P<0.034), and 2 years (r=0.37, P<0.001) postoperatively. Conclusion: Patients undergoing fixed-bearing TAA had continued and sustained improvement from preoperative total arc of motion, pain, and function at each postoperative visit, up to 2 years. Ankle range of motion was noted to peak at 6 months, while pain and FAAM-ADL continued to improve up to 2 years postoperatively. Patients with greater ankle range of motion correlated with less pain and improved function at 1 and 2 years postoperatively. Though pain and function may continue to improve even as far out as 2 years postoperatively, it is not likely that range of motion will continue to increase.
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Vaculíková, Pavlína, Alena Skotáková, Lenka Svobodová, Martin Sebera, and Dagmar Šimberová. "Komparace výsledků přijímacích zkoušek z gymnastických disciplín pro akademické roky 2010/2011 a 2011/2012." Studia sportiva 6, no. 2 (December 17, 2012): 100–106. http://dx.doi.org/10.5817/sts2012-2-12.
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The disciplines of gymnastics have been an important part of entrance examination at the university with the physical orientation already for many years. It is also the same case at the faculty of physical studies at Masaryk University in Brno. Because there is a need to give a true picture of the level of motoric abilities and certain motion presumptions which are needed for studies of practical subjects with using gymnastics, there is more and more need to find the best choice of gymnastics equipment and also its content. It is also because of economical reasons. This was the reason why there were some changes in entrance examinations in academic year 2010/2011 and 2011/2012. It was done in one of disciplines but also in the content of the second discipline. The biggest change concerned the horizontal bar for women and men to trapeze bar. Choosing of exercises we tried to cover as much as possible the level of chosen motoric abilities (in case of trapeze bar foremost the force abilities), which could be helpful for easier managing new locomotive skills during gymnastics lessons. The exercises on the floor were spread in strengthening exercises whose aim was to show abilities of the applicants how to control the body as the complex. The monitoring unit was created in total 1037 – 509 for 2010/2011 (132 women and 377 men) and 529 applicants (140 women and 389 men) for 2011/2012. In our contribution we tried to watch the differences in evaluation of individual disciplines for men and women in entrance examinationfor academic year 2010/2011 and 2011/2012. Next aim of comparison and findings of mutual relationship between each discipline was their possible exchangeability in entrance examination for academic year 2012/2013. There is visible difference between evaluation of men and women on trapeze bar and it was in 2010/2011 and 2011/2012. On the contrary women got better results on the floor in both years. As far as the exchangeability of individual disciplines is concerned, correlation coefficients show possible exchangeability trapeze for floor or floor for trapeze.
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Toka, Karolina. "Progression or Stagnancy? Portraying Native Americans in Michael Apted’s Thunderheart (1992)." Ad Americam 22 (March 28, 2021): 87–100. http://dx.doi.org/10.12797/adamericam.22.2021.22.06.
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Progression or Stagnancy? Portraying Native Americans in Michael Apted’s Thunderheart (1992)
As argued by Wilcomb Washburn, no other ethnic group has been misrepresented in media and popular culture to such extent as the Native Americans (2010). Movies that shaped their image did so by crystallizing stereotypes and misconceptions, through which indigenous peoples have been perceived until the present day. Thomas Edison’s vignettes, early westerns, as well as subsequent motion pictures of the 1960s and 1970s strengthened the stereotypes of the vanishing Indians, bloodthirsty savages, and their noble alter ego. The 1990s brought about a revival of the western in its new, revisionist form, mainly due to the achievements of the American Indian Movement. This paper argues that the movie Thunderheart (1992) by Michael Apted — albeit belonging to that ostensibly revolutionary current — continues to reproduce various well established stereotypes in the portrayal of the Native Americans . It examines significantachievements of this partly liberal motion picture, as well as its failures and faults. Thisarticle argues that Thunderheart departs from traditional, dualistic portrayals of Native Americans as bloodthirsty and noble savages and manages to present a revisionist version of historical events; at the same time, it fails to omit numerous Hollywood clichés, such as stereotypical representation of native spirituality, formation of an “Indian identity”, and “othering” of the Native Americans, which contributes to their further alienation and cultural appropriation. This paper provides an insightful analysis of the movie, drawing on scholarship in the field of cultural and indigenous studies in order to lay bare the ambivalence towards indigenous people in the United States, that is reflected in the movie industry. Moreover, it indicates towards the commodification of native culture, as well as the perception of Native Americans as primitive and inferior, allowing to classify Thunderheartas an unfortunate product of colonialism.
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Komendant, V. H. "ON THE CHARACTER OF AN ARTIFICIAL SATELLITE DRAG UNDER VARIOUS STATES OF SOLAR AND GEOMAGNETIC ACTIVITY." Radio physics and radio astronomy 25, no. 4 (December 2, 2020): 308–23. http://dx.doi.org/10.15407/rpra25.04.308.
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Purpose: The artificial satellites drag in the atmosphere remains an urgent problem to date. In this work, the artificial satellites data are used in order to study the atmosphere state under various manifestations of solar and geomagnetic activity. The selected satelites were moving uncontrollable being good indicators of the upper atmosphere state. The B-star (drag term) drag coefficient is used in this work. This term is used in the SGP and SDP models to take into account the resistance of the atmosphere to the satelite orbital motion. The data of the drag of two artificial satellites, one moving in elliptical and the other in circular orbits at midlatitudes (orbital plane angles of 58°-60°) were considered. These data include the end of the 23rd solar activity cycle, as well as the growth, the maximum and the decay phases of the 24th solar cycle (years 2005–2017). Seven periods of anomalous drag of the satellites were analyzed. They are: 4 monthly periods (two in 2005 and two in 2011) and 3 yearly periods (within 19.07.2014 to 22.08.2015), five-year long (2005–2010) and six-year long (2011–2017) periods. Design/methodology/approach: The periodogram analysis was made. This allowed to reveal the periodic processes in changes in the state of the atmosphere of different duration. The correlation coefficients of the B-star drag term with the indices of solar and geomagnetic activity were calculated. The analysis of extreme drag of the satellites in the periods of the increased solar and geomagnetic activity (intervals of observation lasting a month) was made. Findings: Using the solar and geomagnetic data we found that some month-long part of the anomalous drag periods were followed by flares on the Sun and the arrival of the coronal mass ejections into the near-Earth space. At time intervals of yearlong observations the highest values (0.5-0.7) were obtained for the coefficients of the B-star parameter correlation with the solar activity indices – solar radiation at the wavelength of 10.7 cm, F10.7, and Lyman alpha radiation, Lα. At monthly time intervals, the largest values of the correlation coefficients were obtained for the B-stars with the electron fluxes with energies above 0.6 and 2 MeV, E, (0.3-0.5), the Lyman alpha radiation, Lα, (0.58–0.73 for a сircular orbit satellite), and the solar constant, TSI, (0.3–0.6), as well as the geomagnetic storms intensity index, Dst , (0.66–0.69). Periodogram calculations show the presence of a whole spectrum of periods in the deceleration of a circular orbit satellite and a dedicated period for an elliptical orbit satellite. Conclusions: The B-star drag term dependences on the indices of solar and geomagnetic activity during some periods of their intensification for the 23–24 cycles of solar activity are considered. The periodogram analysis made together with the analysis of the conditions and parameters of space weather allows to see the general and more detailed picture of the solar and geomagnetic activity influence on the change in the motion of the satellite in the atmosphere. The B-star drag term helps to consider only the atmosphere influence on the artificial satellite movement in the near-Earth space. Key words: artificial satellite, atmosphere, artificial satellite drag, solar activity, geomagnetic activity, space weather
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Musse, Christina Ferraz, and Ana Clara Campos dos Santos. "Memória e filmes domésticos em Super 8: a família Assis em Juiz de Fora - MG." Revista Observatório 1, no. 3 (December 26, 2015): 181. http://dx.doi.org/10.20873/uft.2447-4266.2015v1n3p181.
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Neste trabalho abordamos a memória como objeto de estudo, a película cinematográfica Super 8 e os filmes domésticos. No embasamento teórico, utilizamos autores como Andreas Huyssen e Pierre Nora (memória), Roger Odin e Lila Foster (filmes domésticos). Nosso objetivo é apresentar os filmes em Super 8 feitos pelo fotógrafo Márcio Assis na década de 1970, a fim de verificar as relações entre sua narrativa oral atual por meio da gravação em áudio de seus comentários do filme, em comparação a sua narrativa visual sobre a própria família na década de 1970. Também fazemos um estudo de como os familiares de Márcio Assis assistem a esses filmes, cerca de quarenta anos depois, por meio da coleta de depoimentos nas redes sociais e entrevistas.PALAVRAS-CHAVE: Audiovisual; memória; Super 8; filmes domésticos. ABSTRACTIn this paper we address the memory as an object of study, the motion picture film and Super 8 home movies. On theoretical basis, we use authors like Andreas Huyssen and Pierre Nora (memory), Roger Odin and Lila Foster (home movies). Our goal is to present Super 8 films made by the photographer Marcio Assis in the 1970s in order to verify the relationship between his current oral narrative through the audio recording of his comments the film, compared to its visual narrative about his own family in the 1970s. We also do a study as family Marcio Assis watch these movies, some forty years later, by collecting testimonials on social networks and interviews.KEYWORDS: Audiovisual; memory; Super 8; home movies. RESUMENEn este artículo, abordamos la memoria como un objeto de estudio, la película cinematográfica Súper 8 y el cine doméstico. En la base teórica, utilizamos autores como Andreas Huyssen y Pierre Nora (memoria), Roger Odin y Lila Foster (cine doméstico). Nuestro objetivo es presentar las películas en Súper 8 realizadas por el fotógrafo Marcio Assis en la década de 1970 con el fin de verificar la relación entre la narrativa oral actual mediante el registro de información de audio de la película en comparación con su narrativa visual acerca de la propia familia, en la década de 1970. También hacemos un estudio de cómo la familia de Marcio Assis asiste a estas películas, unos cuarenta años más tarde, mediante la recopilación de testimonios en las redes sociales y entrevistas. PALABRAS CLAVE: Audiovisual; memoria; Súper 8; cine doméstico. ReferênciasÁLVAREZ, Efrén Cuevas. De vuelta a casa: Variaciones del documental realizado con cine doméstico. In: La casa abierta: el cine doméstico y sus reciclajes contemporáneos. Ayuntamiento de Madrid, 2010. p. 121-166.ASSIS, Bianca Vieira Marques. Filmes domésticos de Júlio e Márcio Assis. 25 jun. 2014. Depoimento concedido a Ana Clara Campos dos Santos por meios eletrônicos.ASSIS, Ana Carolina Furtado de. Filmes domésticos de Júlio e Márcio Assis. Juiz de Fora. 16 mai. 2014. Depoimento concedido a Ana Clara Campos dos Santos em áudio.ASSIS, Márcio de Alcântara. Comentários dos filmes do acervo de Super 8 de Márcio Assis. Juiz de Fora. 11 mai. 2014. Depoimento dado a Ana Clara Campos dos Santos em áudio.ASSIS, Mariana Furtado. Filmes domésticos de Júlio e Márcio Assis. 26 jun. 2014. Depoimento concedido a Ana Clara Campos dos Santos por meios eletrônicos.CARUSO, Carlos Alberto Antonio. Conceitos fundamentais para o estudo do filme doméstico. In: O filme de família: O Fascínio da Preservação da Imagem, Histórias e Memórias. 2012. Dissertação (Mestrado em Comunicação) - Universidade Anhembi Morumbi, São Paulo, 2012. cap. 01, p. 13-32. Disponível em: <http://portal.anhembi.br/wp-content/uploads/Dissertacao_Carlos_Alberto_Antonio_Caruso1.pdf>. Acesso em: 11 mar. 2015.DARGY, P. A prática do super 8 / P. Dargy, N. Bau; adaptação e prefácio da ed. Brasileira de Abrão Berman; (tradução de Luiz Roberto S. Malta). - 4. ed. - São Paulo: Summus, 1979.FOSTER, Lila Silva. Conceitos fundamentais para o estudo do filme doméstico. In: Filmes domésticos: uma abordagem a partir do acervo da Cinemateca Brasileira. 2010. Dissertação (Mestrado em Imagem e Som) - Universidade Federal de São Carlos, São Carlos, 2010. cap. 01, p. 17-53. Disponível em: <http://www.bdtd.ufscar.br/htdocs/tedeSimplificado/tde_busca/arquivo.php?codArquivo=2965>. Acesso em: 11 mar. 2015.HOME Movie Day Rio. 2013. Apresenta informações sobre inscrições e programação do evento Home Movie Day Rio, ano de 2013. Disponível em: <http://homemoviedayrio.wordpress.com/>. Acesso em: 11 mar. 2015. Site.HUYSSEN, Andreas. Passados presentes: mídia, política, amnésia. In: Seduzidos pela memória: arquitetura, monumentos, mídia. 2. ed. Rio de Janeiro: Aeroplano, 2004. cap. 01, p. 09-40.LEAL, Marília Muniz. Filmes de família: lembrança e documento. 2013. 62 f. Monografia (Bacharel em Comunicação Social, habilitação cinema). Universidade Federal Fluminense, Niterói, 2013. Disponível em: <http://www.rascunho.uff.br/ojs/index.php/rascunho/article/view/49/31>. Acesso em: 11 mar. 2015.LINS, Consuelo; BLANK, Thais. Filmes de família, cinema amador e a memória do mundo. Significação. Vol. 39, nº 37, 2012. p. 52-54. Disponível em: <http://www.revistas.usp.br/significacao/article/view/71254>. Acesso em: 11 mar. 2015.NORA, Pierre. Entre memória e história: a problemática dos lugares. In: Projeto História. São Paulo, dez. 1993. p. 07-28.ODIN, Roger. El cine doméstico en la instituición familiar. In: La casa abierta: el cine doméstico y sus reciclajes contemporáneos. Ayuntamiento de Madrid, 2010. p. 39-60.SILVA, Armando. O arquivo do álbum de fotografias. In: Álbum de família: a imagem de nós mesmos. São Paulo: Senac, 2008. cap. 02, p. 41-75. Disponível em:Url: http://opendepot.org/2705/ Abrir em (para melhor visualização em dispositivos móveis - Formato Flipbooks):Issuu / Calameo
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Kamenieva, Anna. "Stylistic features of the choral concerto “Witchery songs” by M. Shukh." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (November 20, 2019): 122–35. http://dx.doi.org/10.34064/khnum1-55.09.
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Background. The current paper provides an intonation and dramaturgical analysis of the choral concerto “Witchery Songs” by a contemporary Ukrainian composer M. Shukh (1952–2018). It reveals stylistic features of the late composition, presents an argument for its affiliation to the meditative sphere enriched with new stylistics, which can be seen in the semantics of contemplation, philosophical and psychological focus (the first movement), the concept of “Light” (the second miniature) as well as composure and blissful sleep (final). Objectives. To reveal stylistic features of the choral concert “Witchery songs” in order to understand the multidimensionality of the late style of M. Shukh (2010). Methods. The methodology of the research is based on the genre, stylistic, structurally functional, intonation-dramaturgicaland semantic scientific approaches. Results. The structure of the cycle includes three miniatures created in different years (1993, 2006 and 2009). The composer combined them into a new author’s concept: the unifier was the image of the author’s contemplation, meditation on various images of O. Kryvoruchko’s poetry, which was related to his spiritual universe. The program title of the cycle “Witchery Songs” chosen by the author is general, borrowed from the dramatic imaginary sphere of the first movement. The first movement “Practising witchery on a Gray Seagull” embodies the image of a seagull appearing in different forms: as a white bird, a symbol of purity, and the grey one, which had been grief-stricken and died, leaving behind baby seagulls. The poetic text is abundant with symbols of death (“black water”, “bitter mountain”), and vice versa, with signs that symbolize hope: “clear field”, “pure wonder”, “white grasses”. At the same time, the name of the movement, its folklore bias and content also point to the image of witchery, which is embodied by M. Schukh in thematism through meditation (means of tempo and timbre dramaturgy, “dark” modal and tonal focus). The metrical organization of the movement attracts attention. If the beginning of the introduction is presented in the 4/4 time, then in the enunciation of the main theme (bar 7) the composer uses an odd meter of 11/8 with the subsequent change to 10/8, 5/8, then 3/4. The frequent change of the metric rhythm indicates the relation of the musical stylistics of this theme to the Ukrainian folk-song tradition. The second movement “Night” contains no specific symbolism of practising witchery: the semantics of the night includes rather a genre model of a nocturne with its onomatopoeia (breeze, bells, stars, moon). A beautiful pattern is perceived as an intermezzo between the dramatic text of the cycle exposition and the celestial lullaby, which elevates the earth’s feelings to the Light. The movement reveals a magical picture of nightlife. The composer embodied this contemplative image by creating light meditation. Major colour, quiet dynamics, slow tempo, and chamber-like use of musical expressiveness all contribute to the basic essence of a meditative state – calmness and relaxation. Meditative onomatopoeia interfuses the whole movement – a light breeze, lighting up the stars. The image of the bell is found in all parts: the first soprano part has a poetic text – “the wind tinkles “, the alto one has mormorando, a singing technique, the second sopranos – syllables “din, don” with sonorous singing of the last “n”. In this part the composer often applies the techniques of free development – glissando, tenuto, rhythmic variety – triples, long delays. In such a way the artist sought to “let the performers go”, creating a meditative image of night silence. In the third movement, “Angelic lullaby,” meditative semantics is multiplied, since the genre of lullaby, like meditation, has a calming effect. Thanks to its name the composer gave the song a higher, deeper meaning. Musically, the composer filled the imagery of the movement with an incredibly expressive theme, onomatopoeic techniques similar to the previous movements: imitation of a breeze, hum of birds, stream overflows. Basically, the theme of the movement unfolds with the help of a spiral-like motion technique, the sound of which contributes to the lulling of a baby to sleep. The rhythmic basis of the theme is coloured by the intonational ostinato. The metro-rhythmic structure plays a special role in the dramaturgy of the movement: the composer often changes time signature, a large number of syncopescolour the musical texture, adding depth and at the same time lightness to the texture, and making the choir sound elusively charming. Conclusions. The semantics of the work is formed by stylistic synthesis (folk elements of the musical language embedded in the poetic text of O. Kryvoruchko; sacral signs – bells, angelic lullabies and onomatopoeia), emphasized at the soundintonational level. Taking into account the program subtitle (Practising witchery), the work, at first glance, seems to be a “cognitive dissonance” in the context of spiritual themes predominance in M. Schukh’s music. However, in the original concept of the composition, the composer clarifies for the thoughtful listener his idea – “modulation” way from mythopoetic (earthy) magic to the sacredness of the spiritual type (blissful sleep). The use of folklore stylistics shows that the artist continued the national tradition of O. Koshits, L. Dychko, Ye. Stankovich and others in the choral genre. Such a genre-stylistic decision is today perceived as an actualization of the appeal to traditional folk art, through the lens of philosophicalreligious poetics of author’s thinking.
Dissertations / Theses on the topic "Marwencol (Motion picture : 2010)"
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Montoya, Rubio Alba. "Les pel·lícules musicals d’animació dels estudis Walt Disney: anàlisi de l’aparició i evolució dels elements recurrents a les cançons (1937-2010)." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/481959.
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Aquesta tesi estudia la música a les pel·lícules de Disney, concretament la configuració de les seves cançons, si hi ha uns patrons formals en la seva creació i disposició en un llargmetratge animat. A partir d’aquesta anàlisi, es pretén esbrinar si existeix el que sovint es denomina “la fórmula” Disney, segons la qual en aquestes pel·lícules sempre hi ha d’haver un determinat tipus de cançó amb uns trets molt definits. Per resoldre aquesta qüestió s’han analitzat un total de 34 pel·lícules, fent un especial èmfasi en els moments musicals i tots els elements que hi interactuen: la lletra, la imatge i la música. D'aquesta anàlisi i de la comparació d'aquestes pel·lícules ha estat possible deduir com han estat dissenyades, si existeixen uns patrons formals en la configuració dels números musicals i si tot això dona lloc a un estil únic i diferenciable a nivell artístic, a més de permetre revisar la definició del musical com a gènere cinematogràfic.La presente tesis estudia la música en las películas de Disney, concretamente la configuración de sus canciones, si hay unos patrones formales en su creación y disposición en un largometraje animado. A partir de este análisis, se pretende averiguar si existe lo que a menudo de llama “la fórmula” Disney, según la cual en dichas películas siempre debe haber un determinado tipo de canción con unas características muy definidas. Para resolver esta cuestión se han analizado un total de 34 películas, haciendo un especial énfasis en los momentos musicales y todos los elementos que interactúan: la letra, la imagen y la música. De este análisis y de la comparación de las películas ha sido posible deducir cómo han sido diseñadas, si existen unos patrones formales en la configuración de los números musicales y si esto da lugar a un estilo único y diferenciable a nivel artístico, además de permitir revisar la definición del musical como género cinematográfico.
Abstract: The aim of this thesis is to analyze Disney movies from a scientific perspective and appraise its contribution in the audiovisual language field. It is also the goal of this dissertation to propose a new analysis methodology that includes three disciplines: music, literature and visual arts. From the analysis and comparison of these films it will be possible to gather how they have been created, if there is a formula in the setting of musical numbers and if all this results in a artistic style unique and distinguishable. Lastly, all this may allow reformulating the definition of musical as a cinematographic genre.
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Kendrick, Jeb Sherrill. "The nature of being "A wake"." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-12-2195.
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"The nature of being 'A wake'" documents the inglorious genesis and evolution of the feature film, "A wake," as it exposes the personal defects and character flaws of its writer, Jeb Sherrill Kendrick.text
Books on the topic "Marwencol (Motion picture : 2010)"
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Emer, Rockett, ed. Film exhibition and distribution in Ireland, 1909-2010. Dublin: Four Courts Press, 2011.
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Rāva, Sī Bhāskara. Hindī sinemā: Eka sapharanāmā 2001-2010. Naī Dillī: Śāradā Prakāśana, 2011.
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Census of motion picture & music industry 2010-2011, Nepal. Kathmandu: Central Bureau of Statistics, National Planning Commission Secretariat, Government of Nepal, 2012.
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Warin, Bernard. Le cinéma au village: Flines et Râches (1900-2010). Bouvignies]: Les Éditions Nord avril, 2011.
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Die Zukunftsruine: Metropolis 2010, Fritz Langs restaurierter Klassiker. Köln: SB, Strzelecki Books, 2010.
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Kuchmiĭ, Vladimir. Staryĭ novyĭ Gollivud: Ėnt︠s︡iklopedii︠a︡ kino : 1903-2010. Moskva: Chelovek, 2010.
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Bruno, Torri, and Mostra internazionale del nuovo cinema (51st : 2015 : Pesaro, Italy), eds. Esordi italiani: Gli anni Dieci del cinema (2010-2015). Venezia: Marsilio, 2015.
Find full textBook chapters on the topic "Marwencol (Motion picture : 2010)"
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"THE MOTION PICTURE INDUSTRY." In Media Today, 2010 Update, 494–535. Routledge, 2010. http://dx.doi.org/10.4324/9780203852101-26.
Full textConference papers on the topic "Marwencol (Motion picture : 2010)"
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Vinolee, R., and J. Vijayalakshmi. "Motion interpolation using interframe coding for block motion picture." In 2010 International Congress on Ultra Modern Telecommunications and Control Systems and Workshops (ICUMT 2010). IEEE, 2010. http://dx.doi.org/10.1109/icumt.2010.5676537.
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Lakshman, Haricharan, Benjamin Bross, Heiko Schwarz, and Thomas Wiegand. "Fractional-sample motion compensation using generalized interpolation." In 2010 Picture Coding Symposium (PCS). IEEE, 2010. http://dx.doi.org/10.1109/pcs.2010.5702555.
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Glantz, Alexander, Andreas Krutz, and Thomas Sikora. "Adaptive global motion temporal prediction for video coding." In 2010 Picture Coding Symposium (PCS). IEEE, 2010. http://dx.doi.org/10.1109/pcs.2010.5702463.
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Alshin, A., E. Alshina, and T. Lee. "Bi-directional optical flow for improving motion compensation." In 2010 Picture Coding Symposium (PCS). IEEE, 2010. http://dx.doi.org/10.1109/pcs.2010.5702525.
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Haque, M. N., Moyuresh Biswas, Mark R. Pickering, and Michael R. Frater. "An adaptive low-complexity global motion estimation algorithm." In 2010 Picture Coding Symposium (PCS). IEEE, 2010. http://dx.doi.org/10.1109/pcs.2010.5702574.
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Kimura, Jun-ichi, and Naohisa Komatsu. "Accurate motion estimation for image of spatial periodic pattern." In 2010 Picture Coding Symposium (PCS). IEEE, 2010. http://dx.doi.org/10.1109/pcs.2010.5702478.
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Klomp, Sven, Marco Munderloh, and Jorn Ostermann. "Decoder-side hierarchical motion estimation for dense vector fields." In 2010 Picture Coding Symposium (PCS). IEEE, 2010. http://dx.doi.org/10.1109/pcs.2010.5702509.
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Zeng, Huanqiang, Kai-Kuang Ma, and Canhui Cai. "Motion activity-based block size decision for multi-view video coding." In 2010 Picture Coding Symposium (PCS). IEEE, 2010. http://dx.doi.org/10.1109/pcs.2010.5702450.
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Min, Kyungyeon, Seanae Park, and Donggyu Sim. "Distributed video coding based on adaptive slice size using received motion vectors." In 2010 Picture Coding Symposium (PCS). IEEE, 2010. http://dx.doi.org/10.1109/pcs.2010.5702481.
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Seiler, Jurgen, Thomas Richter, and Andre Kaup. "Spatio-temporal prediction in video coding by non-local means refined motion compensation." In 2010 Picture Coding Symposium (PCS). IEEE, 2010. http://dx.doi.org/10.1109/pcs.2010.5702497.
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