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Journal articles on the topic 'Metropolis – film'

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Published: 4 June 2021

Last updated: 1 February 2022

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1

Jović, Monja. "Taylorization motifs in Fritz Lang's film Metropolis." Kultura, no. 163 (2019): 151–65. http://dx.doi.org/10.5937/kultura1963151j.

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2

Wosk, Julie. "Update on the Film Metropolis." Technology and Culture 51, no. 4 (2010): 1061–62. http://dx.doi.org/10.1353/tech.2010.0069.

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3

Emanuel, Lynn. "Film Noir: Train Trip out of Metropolis." Antioch Review 52, no. 3 (1994): 495. http://dx.doi.org/10.2307/4613009.

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4

Byrne, D. C. "The top, the bottom and the middle: Space, class and gender in Metropolis." Literator 24, no. 3 (2003): 1–14. http://dx.doi.org/10.4102/lit.v24i3.298.

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My article explores the images and metaphors relating to space in Fritz Lang’s 1926 film, Metropolis (remade in 1984 by Georgio Moroder). Using a primarily Marxist interpretive framework, I analyse the spatial layout of the filmic city of Metropolis, divided into three levels, one above ground and two underground, as metonymic of the class divisions in the urban society that are represented in the film. The article also examines the architecture of Metropolis as representing social values and conflicts. It then proceeds to investigate the film’s gender dynamics as revealed in the two figures o

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Bignell, Jonathan, and Peter Brooker. "Modernity and Metropolis: Writing, Film and Urban Formations." Modern Language Review 99, no. 2 (2004): 476. http://dx.doi.org/10.2307/3738778.

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Hall, Sara. "Stars on the Screen, Strangers on the Streets." German Politics and Society 19, no. 3 (2001): 94–102. http://dx.doi.org/10.3167/104503001782486353.

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Jans B. Wager, Dangerous Dames. Women and Representation in the Weimar Street Film and Film Noir (Athens: Ohio University Press, 1999)Katharina von Ankum, ed., Women in the Metropolis: Gender and Modernity in Weimar Culture (Berkeley: University of California Press, 1997)

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7

Thomas, Dominic. "Frommiragetoimage: Africa on film in the metropolis, 1955–1975." African and Black Diaspora: An International Journal 2, no. 1 (2009): 97–112. http://dx.doi.org/10.1080/17528630802513490.

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8

Shlyakhtich, Maria A., and Pavel V. Prudnikov. "Non-equilibrium critical behavior of Heisenberg thin films." EPJ Web of Conferences 185 (2018): 11005. http://dx.doi.org/10.1051/epjconf/201818511005.

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In this work we study the non-equilibrium properties of Heisenberg ferromagnetic films using Monte Carlo simulations by short-time dynamic method. By exploring the short-time scaling dynamics, we have found thickness dependency of critical exponents z, θ′ and β/v for ferromagnetic thin film. For calculating the critical exponents of ferromagnetic films we considered systems with linear size L = 128 and layers number N = 2; 4; 6; 10. Starting from initial configurations, the system was updated with Metropolis algorithm at the critical temperatures

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9

Hageman, Andrew. "Machines, Topography, Organ Dialectic: The Science Fiction Ecology of Metropolis." Ecozon@: European Journal of Literature, Culture and Environment 3, no. 2 (2012): 57–73. http://dx.doi.org/10.37536/ecozona.2012.3.2.472.

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Since 1927, Fritz Lang’s Metropolis has circulated as stills, clips, and a sequence of increasingly more complete cuts in the global social imaginary. Whilst scholars have critiqued this science fiction film from gender, techno-culture, and German socio-political perspectives, this article analyzes the film afresh by reading it ecocritically. The article moves through three key components of Metropolis. The first movement examines the representational and ideological contradictions within the variety of machines inside the diegetic city to deconstruct the common interpretation of the film’s ma

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10

Jurkiewicz, Kenneth. "Using Film in the Humanities Classroom: The Case of "Metropolis"." English Journal 79, no. 3 (1990): 47. http://dx.doi.org/10.2307/819234.

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11

Lindner, C. "Peter Brooker., Modernity and Metropolis: Writing, Film, and Urban Formations." English 51, no. 201 (2002): 319–21. http://dx.doi.org/10.1093/english/51.201.319.

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12

Boyarshinova, Nina A. "Screen Сodes of Moscow". Observatory of Culture, № 6 (28 грудня 2014): 97–101. http://dx.doi.org/10.25281/2072-3156-2014-0-6-97-101.

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Examines the melodrama film “Moscow Does Not Believe in Tears” by film director Vladimir Menshov which is one of the most significant and successful Soviet movies of the 1970s. The author analyses the imagery of the film that vicariously represents the image of metropolis using a method of formula analysis proposed by John G. Cawelti. It is assumed that there is a sustainable melodrama structure that was borrowed from the literary texts connected to the Russian capital. Menshov’s picture was chosen as a bright example of “Moscow melodrama” representing Moscow as the city of trial and exploring

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13

Salnikova, E. V. "Algol. Tragedy of Power (1920) as Futuristic Peplum and the “Rehearsal” of Metropolis." Art & Culture Studies, no. 2 (June 2021): 286–321. http://dx.doi.org/10.51678/2226-0072-2021-2-286-321.

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The article is devoted to the recently found and restored film Algol. The Tragedy of Power (1920) by Hans Werckmeister, combining an adventurous beginning, fantasy, career history and family history. This is one of the earliest stories predicting the processes of globalization. The author examines the visual originality of the picture, which includes both expressionist scenes and out-of-style fragments, dwells in detail on some camera solutions. Analyzes the plot of the film, combining science and unscientific fiction with references to the series of novels (Rougon-Maccara by Zola, The Forsyte

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14

Sitek, Wojciech. "Miasto niekończącej się tułaczki. Pejzaż Los Angeles w twórczości filmowej Michaela Manna." Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura 9, no. 4 (2018): 19–29. http://dx.doi.org/10.24917/20837275.9.4.2.

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DOI 10.24917/20837275.9.4.2W Los Angeles, przestrzeni ciągłej podróży, wątpliwą ostoję dla znużonych nomadów wyznaczają wyłącznie pokoje hotelowe, niewyposażone domy i centra handlowe. Terytorium miasta jest zaś wytyczane przez labirynty dróg, torów kolejowych i pasów startowych, które stanowią z jednej strony drogę ucieczki z metropolii, z drugiej zaś częstokroć prowadzą z powrotem do opuszczanej przestrzeni. Namysł nad ekranową konstrukcją ponowoczesnego miasta jest elementem analizy czasów niekończącej się tułaczki, charakteryzującej dynamiczny ekosystem współczesności.A city of neverending

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15

Arribas, Sonia. "Book review: Miniature Metropolis: Literature in an Age of Photography and Film." Urban Studies 54, no. 5 (2017): 1300–1303. http://dx.doi.org/10.1177/0042098017691933.

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16

Xavier, Ismail. "The Modern and the Contemporary: Two Representations of the Metropolis in Film." Review: Literature and Arts of the Americas 39, no. 2 (2006): 188–97. http://dx.doi.org/10.1080/08905760601014994.

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17

CERESA, Marco. "SHANGHAIED INTO THE FUTURE: THE ASIANIZATION OF THE FUTURE METROPOLIS IN POST-BLADE RUNNER CINEMA." JOURNAL OF ARCHITECTURE AND URBANISM 41, no. 2 (2017): 129–44. http://dx.doi.org/10.3846/20297955.2017.1327951.

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The cliched 1930–1950 Western cinematic images of Shanghai as a fascinating den of iniquity, and, in contrast, as a beacon of modernity, were merged in Fritz Lang’s Metropolis. As a result, a new standard emerged in science fiction films for the representation of future urban conglomerates: the Asianized metropolis. The standard set by this film, of a dark dystopian city, populated by creatures of all races and genetic codes, will be adopted in most of the representations of future cities in non-Asian cinema. This article traces the representation of Shanghai in Western cinema from its earlies

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18

Müller, Adalberto. "Miniature Metropolis: Literature in an Age of Photography and Film by Andreas Huyssen." MFS Modern Fiction Studies 63, no. 1 (2017): 181–83. http://dx.doi.org/10.1353/mfs.2017.0013.

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19

Cowan, Michael. "The Heart Machine: "Rhythm" and Body in Weimar Film and Fritz Lang's Metropolis." Modernism/modernity 14, no. 2 (2007): 225–48. http://dx.doi.org/10.1353/mod.2007.0030.

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20

Koepnick, Lutz. "Miniature Metropolis: Literature in an Age of Photography and Film by Andreas Huyssen." Modernism/modernity 23, no. 2 (2016): 467–69. http://dx.doi.org/10.1353/mod.2016.0029.

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21

Artemeva, Ekaterina A. "Dziga Vertov — Boris Kaufman — Jean Vigo." Vestnik of Saint Petersburg University. Arts 10, no. 4 (2020): 560–70. http://dx.doi.org/10.21638/spbu15.2020.402.

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The article is an attempt to discuss Dziga Vertov’s influence on French filmmakers, in particular on Jean Vigo. This influence may have resulted from Vertov’s younger brother, Boris Kaufman, who worked in France in the 1920s — 1930s and was the cinematographer for all of Vigo’s films. This brother-brother relationship contributed to an important circulation of avant-garde ideas, cutting-edge cinematic techniques, and material objects across Europe. The brothers were in touch primarily by correspondence. According to Boris Kaufman, during his early career in France, he received instructions fro

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22

DIMENDBERG, EDWARD. "The kinetic icon: Reyner Banham on Los Angeles as mobile metropolis." Urban History 33, no. 1 (2006): 106–25. http://dx.doi.org/10.1017/s0963926806003543.

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Architectural historian P. Reyner Banham (1922–88) is widely known for his numerous writings on the modern built environment, including the book Los Angeles: The Architecture of Four Ecologies (1971). In the BBC television film Reyner Banham Loves Los Angeles (Julian Cooper, 1972), he concretized his earlier insights about the importance of mobility in the Southern California metropolis by employing the proclivity of the cinematic medium to represent movement. While traditional notions of the urban icon commonly understand it as a static monument or landmark, in these two works Banham challeng

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23

QIN, Qin. "Absence, Ambiguity, and Deviating Pleasure Activism: The Tokyo Rainbow Film Festival." Social Science Japan Journal 23, no. 1 (2019): 23–36. http://dx.doi.org/10.1093/ssjj/jyz049.

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Abstract Whereas several Japanese popular magazines have published reports and interviews on LGBT film festival curators, little scholarship has shed light on Japanese LGBT film festivals. This article serves as a case study of how the festival enables the festival community—cinephiles, LGBT audiences, organized groups of activists, and indie filmmakers—to share ideas and coordinate within and outside the metropolis. I conduct a synchronic and diachronic study to sketch the historical trajectory of the festivalgoers, material spaces, festival formation, curation, and programming. In utilizing

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24

Burke, Andrew. "From Weimar to Winnipeg: German Expressionism and Guy Maddin." Acta Universitatis Sapientiae, Film and Media Studies 16, no. 1 (2019): 59–79. http://dx.doi.org/10.2478/ausfm-2019-0004.

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Abstract The films of Guy Maddin, from his debut feature Tales from the Gimli Hospital (1988) to his most recent one, The Forbidden Room (2015), draw extensively on the visual vocabulary and narrative conventions of 1920s and 1930s German cinema. These cinematic revisitations, however, are no mere exercise in sentimental cinephilia or empty pastiche. What distinguishes Maddin’s compulsive returns to the era of German Expressionism is the desire to both archive and awaken the past. Careful (1992), Maddin’s mountain film, reanimates an anachronistic genre in order to craft an elegant allegory ab

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25

Laosiritaworn, Yongyut. "Magnetic Hysteresis Properties in Dilute Ising Ultra-Thin-Film: Monte Carlo Investigation." Advanced Materials Research 55-57 (August 2008): 385–88. http://dx.doi.org/10.4028/www.scientific.net/amr.55-57.385.

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Monte Carlo simulation was used to observe the dynamic magnetic behavior of dilute Ising ultra-thin-film. The hysteresis properties were investigated as varying the non-magnetic concentration, field frequency and field amplitude where the Metropolis algorithm was used. From the results, at fixed temperature and field amplitude, the hysteresis loop increases in size with increasing frequency at low frequency region but reduces at high frequency region due to the increase of the phase-lag between magnetization and external field signals. With the inclusion of non-magnetic sites, the phase-lag sh

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26

Mutiah, Tuty, Dhefine Armelsa, Faqihar Risyan, and Agung Raharjo. "DISTOPIA KONDISI LIBERALISME DALAM FILM TIGA (Studi Semiotika Roland Barthes Tentang Distopia Liberalisme di Jakarta dalam Film Tiga)." Cakrawala - Jurnal Humaniora 19, no. 2 (2019): 225–30. http://dx.doi.org/10.31294/jc.v19i2.5633.

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Dystopia in Film Tiga Liberalism Conditions (Roland Barthes Semiotics Studies about Dystopia on Liberalism in Jakarta in Film Tiga). This study goals is to determine the meaning of dystopian condition of Jakarta in the Film Tiga through the sign, signifier and signified. Three films is a film that adopts Liberal describe the depravity of Jakarta twenty years in the future in 2036. The method used semiotic analysis of Roland 2 Bartes.The object of research is the Film Tiga were directed by Anggy Umbara and classified through five objects dystopia condition of Jakarta, dystopian condition of the

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Woei Lien Chong. "ALIENATION IN THE MODERN METROPOLIS: The Visual Idiom of Taiwanese Film Director Tsai Ming-liang." China Information 9, no. 4 (1995): 81–95. http://dx.doi.org/10.1177/0920203x9500900408.

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28

Grove, Cassian. "Burning Woman: Sexualized Robots and the Vilification of Women in Metropolis and its Precursors." Oregon Undergraduate Research Journal 19, no. 1 (2021): 54–64. http://dx.doi.org/10.5399/uo/ourj.19.1.3.

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The vilification and subsequent destruction of feminine robots is a surprisingly common trope in film and literature. This essay draws connections between three very different works—Fritz Lang’s Metropolis, Villier’s Tomorrow’s Eve, and E.T.A. Hoffman’s The Sandman—and posits a shared narrative reason for the deaths of the three artificial women: male projection. Comparing and contrasting the three death scenes with each other as well as other texts on feminine literature and projection demonstrates how little substance there is to these “out of control” women/technologies beyond the faults of

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Teoh, May May, Tai-Shung Chung, David A. Schiraldi, and Si-Xue Cheng. "Thin-film polymerization and ‘RIS’ Metropolis Monte Carlo simulation of fluorinated aromatic copoly(ester–amide)s." Polymer 46, no. 11 (2005): 3914–26. http://dx.doi.org/10.1016/j.polymer.2005.03.028.

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30

Teoh, May May, Tai-Shung Chung, and K. P. Pramoda. "Thin-film polymerization and Metropolis Monte Carlo simulation of thermotropic liquid crystalline poly(ester-amide)s." Synthetic Metals 147, no. 1-3 (2004): 191–97. http://dx.doi.org/10.1016/j.synthmet.2004.06.051.

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31

Flickinger, Brigitte. "Cinemas in the City: Berlin‘s Public Space in the 1910s and 1920s." Film Studies 10, no. 1 (2007): 72–86. http://dx.doi.org/10.7227/fs.10.9.

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In the early years of the cinema and into the 1910s and 1920s, it was less the film than cinema-going itself that attracted urban publics. In this era, people were enthusiastic about technology and the achievements of modernity; while at the same time they felt anxious about the rapid and radical changes in their social and economic life. In Germany, this contradictory experience was especially harsh and perceptible in the urban metropolis of Berlin. The article demonstrates how within city life, Berlin cinemas – offering the excitement of innovation as well as optimal distraction and entertai

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Anđelković, Katarina. "The cinematic aspect of architecture: The role of time in discussing alternative architectural strategies." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 255–62. http://dx.doi.org/10.5937/saj1502255a.

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In the search for ways to overcome the negative connotations of applying characteristically traditional practice methods in the current regulation of spatio-visual parameters of the urban environment, we are moving towards discussing alternative 'architecture of relations'. The paper elucidates how film may offer an alternative position in architecture, where urban spaces are thought and designed in closer relation to the potentials of film to manipulate reality, change the mode of perception, provide vision and reconstruct unconscious impulses of the metropolis. The experimental designs show

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Singh, Satya Pal. "Spinodal Theory: A Common Rupturing Mechanism in Spinodal Dewetting and Surface Directed Phase Separation (Some Technological Aspects: Spatial Correlations and the Significance of Dipole-Quadrupole Interaction in Spinodal Dewetting)." Advances in Condensed Matter Physics 2011 (2011): 1–14. http://dx.doi.org/10.1155/2011/526397.

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The emerging structures in spinodal dewetting of thin nano films and spinodal decomposition of binary mixtures are found to be similar with certain differences attributed to the nonlinearities inherent in the wetting forces. This paper deals with the technological aspects of the spinodal processes by giving a brief account of the theory and to correlate the two phenomena termed as spinodal dewetting of thin nanofilms and surface-directed phase separation. The MC simulation micrographs at early stage of spinodal dewetting of a (linear) polymer film confined between two hard walls (using FENE po

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Sobrer, Josep Miquel. "LA GRAN ENCISERA: THREE ODES TO BARCELONA, AND A FILM." Catalan Review 18, no. 1-2 (2004): 121–28. http://dx.doi.org/10.3828/catr.18.1-2.8.

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Three odes to Barcelona, written by Jacint Verdaguer, Joan Maragall, and “Pere Quart” [Joan Oliver] respectively, make clear the changing faces of the city. For Verdaguer, Barcelona is an expansive metropolis on its way to greatness. For Maragall, Barcelona, while rocked by conflict, remains the inescapable center and “great enchantress” of Catalan life. For Pere Quart, Barcelona is the locus of a sweeping revolution aimed at bringing about a new social order —a hope promptly shattered by the Spanish war of 1936-39. The three odes roughly correspond to three generations and offer a poetic hist

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GRUEN, J. PHILIP. "MYTHOS METROPOLIS: DIE STADT ALS SUJET FÜR SCHRIFTSTELLER, MALER UND REGISSEURE (THE MYTH OF THE METROPOLIS: THE CITY AS A MOTIF FOR WRITERS, PAINTERS AND FILM DIRECTORS) BY FRANZISKA BOLLEREY." Art Book 14, no. 1 (2007): 44–45. http://dx.doi.org/10.1111/j.1467-8357.2007.00770.x.

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36

Tanamas, Tan Hendry, and Lina Purnama. "GALERI SENI TIPOGRAFI." Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 1, no. 1 (2019): 400. http://dx.doi.org/10.24912/stupa.v1i1.3956.

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Seiring dengan perkembangan zaman, seni menjadi sebuah hal yang semakin dibutuhkan kehadirannya dalam kehidupan masyarakat. Di zaman sekarang ini, penggunaan seni dalam kehidupan sehari-hari seperti pada iklan, film, dan lainnya semakin nyata. Salah satu seni yang berkembang dengan pesat di Kota Jakarta dan Indonesia adalah seni typography. Perkembangan komunitas typography yang semakin luas dan tidak adanya wadah beraktivitas bagi komunitas ini menjadi aspek yang harus dipenuhi oleh sebuah kota Jakarta sebagai kota metropolis. Saat ini belum ada bangunan arsitektur yang bertemekan typography

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37

Densky, Doreen. "Andreas Huyssen: Miniature Metropolis. Literature in an Age of Photography and Film. Cambridge, MA: Harvard UP, 2015. 368 pp." arcadia 51, no. 2 (2016): 434–37. http://dx.doi.org/10.1515/arcadia-2016-0036.

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38

DELMONT, MATT. "Introduction." Urban History 43, no. 4 (2016): 635–38. http://dx.doi.org/10.1017/s0963926816000389.

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The fields of urban history and visual culture both thrive on expansive horizons. Streets and rivers, neighbourhoods and stadia, festivals and parks populate the work of urban historians, who examine these and other subjects from local, metropolitan, regional, national and transnational perspectives. Viewing these urban themes with and through visual culture increases the potential areas of analysis exponentially. Not only do photography, film, television and advertising produce countless images of urban spaces, visual culture encourages scholars to take seriously the ways of seeing and practi

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Troelsen, Anders. "Andreas Huyssen. Miniature Metropolis: Literature in an Age of Photography and Film. Cambridge, Mass.: Harvard University Press, 2015. 368 pp." Critical Inquiry 43, no. 1 (2016): 221–22. http://dx.doi.org/10.1086/688336.

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Smyth, Rosaleen. "From the Empire's ‘second greatest white city’ to multicultural metropolis: the marketing of Sydney on film in the 20th century." Historical Journal of Film, Radio and Television 18, no. 2 (1998): 237–62. http://dx.doi.org/10.1080/01439689800260161.

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Ibrayev, E. E. "EVOLUTION OF THE CONCEPT OF «WHITE MAN'S BURDEN» IN THE BRITISH CINEMA OF 20TH CENTURY." MGIMO Review of International Relations, no. 4(49) (August 28, 2016): 26–36. http://dx.doi.org/10.24833/2071-8160-2016-4-49-26-36.

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The article discusses the features of the evolution on the silver screen so-called "white man's burden" or "civilizing mission" in the British colonies of the British Empire. The means of research were British feature films 1930-1980-ies. Using the author's methods of analysis of the ideological content of tapes and the context of their stories, it became clear that the idea of the "burden of the white" changed not only under the influence of the current socio-political situation in the metropolis and in the world, but also to a large extent transformed under the influence of highly artistic w

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DE MEDEIROS, PAULO. "Postcolonial memories and lusophone literatures." European Review 13, no. 1 (2005): 151–61. http://dx.doi.org/10.1017/s1062798705000141.

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By focusing almost exclusively on the circumstances of British colonialism, postcolonial theory has failed to take into consideration other histories of colonization and other forms of postcoloniality. By considering a few elements from the history of Portuguese colonialism and a few lusophone texts, it is my hope to demonstrate what I consider to be a limited perspective on postcolonial studies, at the same time that one may also ponder the fact that so much in postcolonial literature depends precisely on acts of remembrance. Ruins, all sorts of ruins, form a privileged space for the construc

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Thabet, Andrea. "“From Sagebrush to Symphony”." Pacific Historical Review 89, no. 4 (2020): 557–99. http://dx.doi.org/10.1525/phr.2020.89.4.557.

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This article explores the founding of the Hollywood Bowl and the multiple visions of its founding generation, tracing the cultural negotiations they engaged in between 1918 and 1926. These aims included disseminating high culture to ordinary citizens, democratizing access to music, providing spiritual uplift, unifying Hollywood’s diverse populace, and offering legitimacy to Hollywood as an emerging symbol of the U.S. film industry. By 1926, the Hollywood Bowl that emerged from a contentious planning process reflected aspects of all of the founders’ goals, but did not entirely fulfill those of

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Sikorski, Andrzej. "Computer Simulation of Polymer Chains in Confinement." Solid State Phenomena 138 (March 2008): 451–75. http://dx.doi.org/10.4028/www.scientific.net/ssp.138.451.

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Properties of macromolecules confined in a narrow slit, pore or capillary are important due to of their practical importance. Theoretical treatment of such systems is also interesting because the introduction of confinement has an impact on most properties of polymer chains and it gained a longstanding attention. In order to determine the properties of such systems coarse-grained models of confined polymers were designed where macromolecules were represented by united atoms. Lattice approximation was also often introduced. Different macromolecular architectures were studied: linear, cyclic and

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Court, J. "Miniature Metropolis: Literature in an Age of Photography and Film. By Andreas Huyssen. Cambridge, MA: Harvard University Press, 2015. 346 pages. $39.95." Monatshefte 108, no. 1 (2016): 137–40. http://dx.doi.org/10.3368/m.108.1.137.

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46

Ngo, V. Thanh, Phuong-Thuy Nguyen, and Hung T. Diep. "Statistical Physics Approach to Liquid Crystals: Dynamics of Mobile Potts Model Leading to Smectic Phase, Phase Transition by Wang–Landau Method." Entropy 22, no. 11 (2020): 1232. http://dx.doi.org/10.3390/e22111232.

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We study the nature of the smectic–isotropic phase transition using a mobile 6-state Potts model. Each Potts state represents a molecular orientation. We show that with the choice of an appropriate microscopic Hamiltonian describing the interaction between individual molecules modeled by a mobile 6-state Potts spins, we observe the smectic phase dynamically formed when we cool the molecules from the isotropic phase to low temperatures (T). In order to elucidate the order of the transition and the low-T properties, we use the high-performance Wang–Landau flat energy-histogram technique. We show

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Zainab Sabo Muhammad, Mahmud Yerima Iliyasu, Hassan Shuaibu Musa, Ibrahim Mustapha, and Goni Musa Lawan. "Comparative study on the performance of microscopic and rapid diagnostic test (RDT) for malaria among some patients in Maiduguri metropolis." World Journal of Biology Pharmacy and Health Sciences 3, no. 3 (2020): 023–29. http://dx.doi.org/10.30574/wjbphs.2020.3.3.0060.

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Malaria remains a major public health problem in Nigeria, that a positive, accurate and reliable microscopy or RDT should preferably be obtained before commencing treatment. High specificity will reduce unnecessary treatment with antimalarial drugs and improve the diagnosis. This study analyze the performance of microscopy and Rapid Diagnostic Techniques (RDT) used in the diagnosis of malaria at the University of Maiduguri Teaching Hospital, Maiduguri, Borno State, Nigeria from September to October, 2019. A total of 118 blood samples was screened for malaria by preparation of thick and thin fi

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Atsuwe, T. S., E. U. Amuta, G. N. Imandeh, and E. T. Azua. "Occurrence of Mixed Infection of Tick-Borne Haemoparasite of Cattle in Selected Abattoirs in Makurdi Metropolis, Benue State, Nigeria." European Journal of Biology and Biotechnology 2, no. 2 (2021): 114–18. http://dx.doi.org/10.24018/ejbio.2021.2.2.181.

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A study on the occurrence of mixed infection of tick-borne haemoparasite of cattle in selected abattoirs in Makurdi Metropolis, Benue State, Nigeria was carried out. Blood sample were collected randomly from a total of 216 cattle slaughtered at abattoir in both dry and wet season at Wurukum abattoir, Wadata abattoir, Modern Market Abattoir, Cattle Market Abattoir North Bank, Cattle Market North Bank and University of Agriculture cattle farm, Makurdi and analyzed using Microscopic method by thin blood film. Horn method was used to determine the age of the examined cattle and the collected data

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Zvegintseva, Irina A. "A Criminal as the Main Movie Character, or Old Themes and New Solutions." Journal of Flm Arts and Film Studies 8, no. 3 (2016): 115–25. http://dx.doi.org/10.17816/vgik83115-125.

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The former British colony, emerged as a place of exile for the most dangerous criminals and unreliable people from the metropolis, Australia began its existence very unenviable, appearing on the world map called "The Earths hell", which was used to frighten children in Europe. The fact is: the gene fund of the nation - the convicts, their guards, and adventurers came from all over Europe in hope of a better life. The first half of the 19th century Australia, in fact, remained a giant reforming home, a jail. And whatever paradoxical it might explain the significant number of films shot in the 2

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SULAIMAN, NANIWATI. "KAJIAN IKONOLOGI IKLAN TELEVISI SUSU FORMULA NUTRILON ROYAL TIGA VERSI “LIFE IS AN ADVENTURE”." Serat Rupa Journal of Design 1, no. 1 (2018): 78. http://dx.doi.org/10.28932/srjd.v1i1.443.

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Comparing to other milk-formula advertisements, Nutrilon Royal 3 “Life is an Adventure” version is one of the TV commercial which has got the most appreciation and positive response from various circles of society.The success of this ads does not solely lie in its visual creativity but is also determined by its suitability with the psychosocial cultural of the society. This research would like to reveal the message and the meaning behind the visual appearance of the Nutrilon Royal ads which is able to enchant the consumers by using the theory of analytic iconology of Erwin Panofsky. The TV com

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