Relevant bibliographies by topics / Mitchell's (Firm)

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

Academic literature on the topic 'Mitchell's (Firm)'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2025

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Journal articles on the topic "Mitchell's (Firm)"

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Sy, Lloyd Alimboyao. "The Leftovers of Conspiracy: The Deformed Gazes of Under the Silver Lake." Camera Obscura 40, no. 1 (2025): 118–45. https://doi.org/10.1215/02705346-11606596.

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Abstract This article examines how David Robert Mitchell's 2018 neo-noir film Under the Silver Lake (US) displays the myopia of conspiracy theories, particularly insofar as they ignore gender-based violence and oppression. The article contends that the film's male characters become so engrossed in uncovering grand systemic plots that they overlook the immediate, tangible exploitation of women. Mitchell ridicules this obsessive focus on the abstract conspiracy by making it incarnate in ludicrous objects and ironizing his characters’ motives. But this article argues that women, constantly relega
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Keturakis, Saulius. "THE PHOTOS BY “THE MOLE”, OR IN SEARCH OF THE WAY TO THE OTHER / FOTOGRAFUOJANTIS „KURMIS“, ARBA KELIO LINK KITO PAIEŠKOSE." CREATIVITY STUDIES 5, no. 1 (2012): 22–31. http://dx.doi.org/10.3846/20297475.2011.645890.

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The title of the paper is not associated with the exotic show of a circus with the trained, capable of making the photos mole, but with the movie by Dalia Survilaitė The Mole, which is narrating the story of the poet, musician and blind from the birth photographer Remigijus Audiejaitis, who was tragically killed in the fire. The paper discusses the seemingly oxymoronic phenomena – the intention of the blind to express his experience by media, which he could experience himself only by using the ekphrasis device – by retelling the visual by words – or by using more complicated techniques of figu
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Ameti, Lirije. "THE PORTRAIT OF THE AMERICAN WOMAN IN MARGARET MITCHELL'S NOVEL "GONE WITH THE WIND"." KNOWLEDGE INTERNATIONAL JOURNAL 31, no. 6 (2019): 1749–53. http://dx.doi.org/10.35120/kij31061749a.

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This theme, The Portrait of the American Woman in Margaret Mitchell's Novel " Gone With The Wind " is broad, challenging, interesting and among many contradictory to one another's point of view, at different social grounds , periods of time simply or merely of the fact that a female writer of this tremendous saga read mostly by women represents multi dimensional themes. It is an interweave of tradition, history , war, social classes, Reconstruction, transition and more. All these and many other themes written with a masterful disciplined imagination put in the longest novel in history. A maste
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Sanader, Daniella. "Alexis Kyle Mitchell: The Treasury of Human Inheritance (2024)." Public 35, no. 70 (2024): 176–78. https://doi.org/10.1386/public_00226_4.

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In this review of Alexis Kyle Mitchell’s recent feature-length film, The Treasury of Human Inheritance (2024), screened alongside the second Museum of Contemporary Art Toronto triennial, I consider the artist’s experimental engagements with sound, analogue film processing, and the human voice to narrate her family’s experiences with grief and disability. I also connect these inter-personal dynamics to broader urgencies, positing that the film asks us to be mindful of how we hold responsibility for one another, amidst interconnected global crises.
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Laine, Tarja. "Traumatic Horror Beyond the Edge: It Follows and Get Out." Film-Philosophy 23, no. 3 (2019): 282–302. http://dx.doi.org/10.3366/film.2019.0117.

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Within cinematic horror, trauma as a concept has often been used as an allegorical strategy to work through collective anxieties. This article on It Follows (David Robert Mitchell, 2014) and Get Out (Jordan Peele, 2017) strikes another note. It argues that, by their aesthetic qualities, both films are rendered traumatic in their affective orientation, both toward the cinematic world and toward the spectator. It analyses the two films through trauma as an affective-aesthetic strategy that puts emphasis on the edge of the frame as well as on the offscreen space. This strategy evokes a sinister m
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Burke, Michael. "Haunted by the Other: Levinas, Derrida and the Persecutory Phantom." Film-Philosophy 25, no. 3 (2021): 362–85. http://dx.doi.org/10.3366/film.2021.0180.

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In this article, I explore what I call the persecutory trope – which underscores the alterity of the phantom and its relentless haunting and spectral oppression of the protagonists – in recent American ghost films, connecting it to the ethical thought of the continental philosophers, Emmanuel Levinas and Jacques Derrida. Films like The Ring (Gore Verbinski, 2002), The Grudge (Takashi Shimizu, 2004), It Follows (Robert Mitchell, 2014), and Sinister (Scott Derrickson, 2012) depict terrifying spectral antagonists whose relentless persecution of the protagonists often defies comprehension and narr
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O'Loughlin, Ciara. "Fighting Fire with Fire." Conflict and Society 2, no. 1 (2016): 125–41. http://dx.doi.org/10.3167/arcs.2016.020112.

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Recent decades have seen an explosion of interest in transitional justice. Although much attention has been directed toward measuring the effects of transitional justice mechanisms, discussion of the motivations for and manifestations of resistance to transitional justice processes has been limited. Th is article contributes to this underexamined area through an analysis of the nature of resistance to transitional justice in Bahrain following the February 2011 uprisings. It identifies existing explanations for resistance to and engagement with transitional justice before considering whether Mi
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Ni Kadek Debi Puspita Manggalita, Desak Putu Eka Pratiwi, and Putu Nur Ayomi. "Flouting of Grice’s Maxims in The Mitchells vs. The Machines Film." RETORIKA: Jurnal Ilmu Bahasa 8, no. 2 (2022): 151–59. http://dx.doi.org/10.55637/jr.8.2.4707.151-159.

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Obeying the cooperative principle is an important rule that must be done to attain a good and relevant conversation, which can be divided into four categories of maxims, such as maxim of quality, maxim of quantity, maxim of manner, and maxim of relation. However, in everyday life, there are still many people who flout these maxims which causes their conversation to be ineffective. This study aims to determine the types of flouting maxim found in The Mitchells vs. The Machines film is based on the Cooperative Principle theory of Grice (1975). This study also aims to analyze the reasons of flout
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Mitchell, William J. T. "Wojny graniczne: translacja i konwergencja w polityce i mediach." Artium Quaestiones, no. 35 (December 31, 2024): 149–65. https://doi.org/10.14746/aq.2024.35.7.

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The text is a translation of W. J. T. Mitchell’s essay included in his book Image Science. Iconology, Visual Culture, and Media Aesthetics (2015). It is an extensive, cultural reflection on the notion of borders and boundaries in terms of their diverse meanings, functions and interactions that take place across borders. Borders are treated as bot physical boundaries and virtual or imaginary divisions, addressed here in the sphere of geopolitics and media. The axis of his discussions are notions of translations and convergence as dynamic, productive and destructive, war or war-like interactions
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Toulmin, Vanessa, Patrick Russell, and Tim Neal. "The Mitchell and Kenyon Collection: Rewriting Film History." Moving Image 3, no. 2 (2003): x, 1–18. http://dx.doi.org/10.1353/mov.2003.0035.

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Dissertations / Theses on the topic "Mitchell's (Firm)"

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Johnson, Kinley. "Bridging the Fantastical Gap: Dread and the Uncanny in the Score of "It Follows"." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703402/.

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"It Follows" (2014), written and directed by David Robert Mitchell, premiered at the Cannes Film Festival in 2014. It chronicles the story of Jay, a college student who contracts a curse through sexual intercourse. The curse manifests itself as a human whom only the infected persons can see, always following at a walking pace, and determined to kill if it catches up. This thesis demonstrates the score's crucial role in establishing affect, setting, and character in a film with sparse dialogue and a silent monster. Moreover, the score creates a sense of the uncanny by complicating the binary be
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Lusk, Laura. "Forest Change and Balsam Woolly Adelgig Infestation in High Elevation Forests of Mt. Mitchell, North Carolina." Digital Commons @ East Tennessee State University, 2009. https://dc.etsu.edu/honors/1.

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The Black Mountain range of western North Carolina supports some of the most extensive, but threatened high elevation forests in the southern Appalachians. Of particular note, the insect pathogen, balsam woolly adelgid (Adelges piceae Ratzeburg) has been present on Mt. Mitchell for over fifty years. In anticipation of potential changes in forest composition, vegetation surveys were first conducted in 1966 on nine one-acre plots near the summit of Mt. Mitchell. These plots were re-surveyed in 1978, 1985 and 2002. The purpose of this study was to re-census those plots and use those data to analy
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McDonald, Trent A. "Between Artifice and Actuality: The Aesthetic and Ethical Metafiction of Vladimir Nabokov and David Mitchell." Ohio University Honors Tutorial College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1400014295.

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Soh, Tatcha Charles. "Sens et doublage cinématographique : étude de doublage de "Gone with the wind" (David O. Selznick et Victor Fleming, 1939), d'après le roman de Margaret Mitchell, traduit et doublé en français sous le titre "Autant en emporte le vent"." Paris 3, 1997. http://www.theses.fr/1997PA030169.

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Doublage afin de rendre compte du mécanisme intellectuel mis en œuvre au cours d'un film, nous avons étudié le processus intellectuel de la compréhension et de la déverbalisation en vue d'une réexpression équivalente en version double. à partir d'exemples extraits d'"Autant en emporte le vent", cette analyse a permis d'expliquer les mécanismes de la constitution du sens en doublage, et de présenter les grands types de synchronisme (phonétique, syntaxique et artistique) dont dépend la qualité du doublage. L'étude nous a permis de montrer qu'en dépit de la complexité du texte de doublage qui est
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Arrhénborg, Ludvig. "Pyramid och mosaik : En jämförande adaptionsanalys av den narrativa strukturen mellan romanen Cloud Atlas och dess filmatisering." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-296708.

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En adaptionsanalys som utforskar relationen mellan romanen Cloud Atlas av David Mitchell och dess filmatisering (2012) av Tom Tykwer och syskonen Wachowski. Fokuset ligger på skillnader och likheter i narrativ och vilka visuella möjligheter som kunnat tillföras när romanens handlingen gjordes om till filmformat.
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Pühler, Simon. "Funny games." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2014. http://dx.doi.org/10.18452/17063.

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"FUNNY GAMES. Spielräume des Sadomasochismus in Film und Medien" ist der Versuch, eine Geschichte medialer Schmerzlust zu rekonstruieren – in etwa von 1789 bis heute. Neben klassischer SM-Literatur sind es Spielfilme wie VIDEODROME (1983), FALSCHER BEKENNER (2005), THE HURT LOCKER (2008) oder SHORTBUS (2006), in denen modernes Schmerzlust-Empfinden und -Begehren offenbar wird. Die Untersuchung richtet sich dabei auf Konzepte technoimaginärer Wunsch- und Höllenmaschinen, dynamisierte Ich-Apparate, wie sie Donatien-Alphonse-François de Sade, Leopold und Wanda von Sacher-Masoch, Ernst Kapp, Sigmu
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Books on the topic "Mitchell's (Firm)"

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1931-, Mohsin Syed Mohammad, ed. The story of Mitchell's. 2nd ed. Printshop, 2012.

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F, Schmertz Mildred, ed. Mitchell/Giurgola Architects. Images Pub. Group, 2008.

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Mitchell Library (Glasgow, Scotland). Arts, Music and Recreation Department. Film and show recordings in the Mitchell Library. [Mitchell Library], 1993.

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Foundation, Atlanta-Fulton Public Library, ed. Margaret Mitchell: The book, the film, the woman. Atlanta-Fulton Public Library Foundation, 1996.

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Hager, Jean. The fire carrier. Mysterious Press, 1996.

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Hager, Jean. The fire carrier. The Mysterious Press, 1997.

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Stephen, Dobney, ed. Mitchell/Giurgola, architects: Selected and current works. Images Pub. Group, 1996.

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Toulmin, Vanessa. An early crime film rediscovered: Mitchell and Kenyon's Arrest of Goudie (1901). John Libbey, 2004.

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1958-, Wiley John, ed. Margaret Mitchell's Gone with the wind: A bestseller's odyssey from Atlanta to Hollywood. Taylor Trade Pub., 2011.

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Gold, Mitchell. Who we are. Mitchell Gold + Bob Williams, 2014.

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Book chapters on the topic "Mitchell's (Firm)"

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Bida, Aleksandra. "Global “at Homeness” in David Mitchell’s Cloud Atlas and the Wachowskis/Tykwer Film." In Mapping Home in Contemporary Narratives. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97967-0_13.

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Prebble, John, and Bruce Weber. "Early Years and Education 1920-1939." In Wanderind in the Gardens of the Mind. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195142662.003.0002.

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Abstract Peter Dennis N[itchell was born on 29 September 192() in a two-story semi-detached house at H) Rustic Avenue in the middle-class London suburb of Mitcham, Surrey. His fother, Christopher Gibbs Mitchell, was 31 and his mother, Kate Beatrice Dorothy (nee Taplin) Mitchell, was 27. They had married in 1914 just before World War l broke out An older son, Christopher John (Bill) Mitchell, was born in 1916.The Mitchell family was from DorSE>t, but it is not dear how many generations may have lived there or what occupation they followed. Family lore was that they were descended from se
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Grimm, Joshua. "‘A Hint of Joy Before it All Goes to Hell’." In It Follows. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325581.003.0002.

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This chapter discusses how David Robert Mitchell repeatedly listed John Carpenter as one of his main influences. It describes the opening scenes of Mitchell's It Follows on a tree-lined suburban street outside Detroit at dusk, which is considered a sister city of Haddonfield from the film Halloween (1978). It also explains the horror prologue as an essential component to the genre that serves as a mini trailer and provides a justification of the monster or as a way of keeping the audience tense or aware that they are watching a horror film and not a drama. The chapter assesses the striking ope
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Howe, Andrew. "Partial Rehabilitation: Task Force and the Case of Billy Mitchell." In ReFocus: The Films of Delmer Daves. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474403016.003.0010.

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Andrew Howe provides an account of one of Daves’ war films. Task Force is a biopic of General Billy Mitchell who, during the 1920s, tirelessly advocated for the concept of the aircraft carrier as the future of naval warfare. In his analysis, Howe posits three central figures: Daves as writer-director, Billy Mitchell as historical inspiration, and lead-actor Gary Cooper, who plays Mitchell’s fictional treatment in the film, Jonathan L. Scott. The chapter situates its analysis of ‘Mitchell’ within the context of the early Cold War years and of the Hollywood of the time. In the case of the latter
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Tembo, Kwasu. "The Horror of the Failure of Idealised Safety and the Eternal Return of Precarity and Crisis in It Follows." In Horror That Haunts Us. Liverpool University Press, 2024. http://dx.doi.org/10.3828/liverpool/9781802074628.003.0006.

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In Occidental horror cinema, desire has historically been characterized in a two-dimensional way. The construction of gendered desire ultimately frames female desire in particular as an inevitable cause of death. David Robert Mitchell's It Follows (2014) deconstructs the tropes – including a nostalgia for a late 80s/early to mid 90s aesthetic – of the slasher genre of horror, and in so doing offers the most original and insightful recent meditation on the relationship between gender, horror, and desire. This chapter interrogates in four sections based on the aforesaid concepts, how Mitchell's
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Scott, Ellen C. "Elizabeth Mitchell, Documentary, and the Invention of the Cinematic Black Atlantic." In The Oxford Handbook of American Documentary. Oxford University Press, 2025. https://doi.org/10.1093/oxfordhb/9780197554647.013.0010.

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Abstract Using the letter as a mode of address, this paper examines the history and possible futures of Elizabeth Mitchell, likely the first Black American woman documentarian who held her own camera and possibly the first Black Atlantic filmmaker. Mitchell, music teacher at the West Virginia Collegiate Institute, was one of the most traveled Black women in the United States and, on her 1920 journey through Europe to Africa, shot footage of North Africa and of Black Europe, footage she joined with earlier footage she shot of Black Americans in Harlem and West Virginia as well as Army signal co
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McDonald, JoAnna M. "The Battle at Blackburn’s Ford." In “We Shall Meet Again”. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195139389.003.0002.

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Abstract An hour later, Tyler’s lead brigade entered Centreville and found the Confederates had retreated toward Mitchell’s and Blackburn’s Ford. “Desiring to ascertain the extent” of the Confederate force near these fords, Tyler directed his lead brigade, commanded by Colonel Israel Richardson, down the Manassas-Centreville road. It was now 10:00 a.m. After two hours Tyler ordered six cannon to unlimber on the northern ridge, about one-and-a-half miles away from the fords. At 12:00 p.m. the Union cannoneers opened fire on Mitchell’s and Blackburn’s Fords. Tyler hoped the Confederates would re
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"Six Don Juan’s Reckless Daughter / Joni Mitchell." In Birds of Fire. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822394389-008.

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Panunzi, Mike Burkart Fausto. "Takeovers." In European Financial Markets And Institutions. Oxford University PressOxford, 2008. http://dx.doi.org/10.1093/oso/9780199229956.003.0010.

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Abstract A takeover typically involves much more than the mere transfer of ownership since the acquired firm subsequently undergoes a major reorganization. Its divisions are merged with or subordinated to those of the acquiring firm, divested, or even dissolved. Furthermore, such restructuring takes hold of entire industries as takeovers occur in waves and are within each wave clustered by industries (Andrade, Mitchell, and Stafiord 2001).
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Ebers, Mark. "Explaining Inter-Organizational Network Formation." In The Formation of Inter-Organizational Networks. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198289487.003.0001.

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Abstract In recent years, we have witnessed remarkable growth in various forms of co-operation among organizations. There has been a considerable increase in inter-organizational alliances during the 1980s, particularly in high-technology industries (Haagedoorn 1993; 1995; Hergert and Morris 1988; Mowery 1988). Within the US biotechnology industry, for example, firms without any formal co-operative ties to other firms have become increasingly rare, while the connectivity of firms within the industry has increased significantly (Powell et al. 1996). In the hospital systems software industry, in
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Conference papers on the topic "Mitchell's (Firm)"

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Karadeniz, K. E., D. Guner, and T. Sherizadeh. "Explosion Resistance of Reinforced Concrete Refuge Alternative Wall Under Certain Abutment Loading." In 57th U.S. Rock Mechanics/Geomechanics Symposium. ARMA, 2023. http://dx.doi.org/10.56952/arma-2023-0796.

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ABSTRACT Build-in-place (BIP) refuge alternatives (RAs) are used to provide safe havens for miners unable to escape their working area after an accident like an explosion. These underground infrastructures are built over time in various locations and might expose to mining-induced stresses. The convergences related to these stress redistributions around the mine openings might change their structural integrity and, subsequently, the explosion resistivity. Studying the effect of increasing vertical load like abutment stress on such underground mine stopping for the explosion resistance is diffi
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