Academic literature on the topic 'Motion picture acting'
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Journal articles on the topic "Motion picture acting"
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Frank, Irmgard. "Classical Nuclear Motion: Comparison to Approaches with Quantum Mechanical Nuclear Motion." Hydrogen 4, no. 1 (December 29, 2022): 11–21. http://dx.doi.org/10.3390/hydrogen4010002.
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Ab initio molecular dynamics combines a classical description of nuclear motion with a density-functional description of the electronic cloud. This approach nicely describes chemical reactions. A possible conclusion is that a quantum mechanical description of nuclear motion is not needed. Using Occam’s razor, this means that, being the simpler approach, classical nuclear motion is preferable. In this paper, it is claimed that nuclear motion is classical, and this hypothesis will be tested in comparison to methods with quantum mechanical nuclear motion. In particular, we apply ab initio molecular dynamics to two photoreactions involving hydrogen. Hydrogen, as the lightest element, is often assumed to show quantum mechanical tunneling. We will see that the classical picture is fully sufficient. The quantum mechanical view leads to phenomena that are difficult to understand, such as the entanglement of nuclear motion. In contrast, it is easy to understand the simple classical picture which assumes that nuclear motion is steady and uniform unless a force is acting. Of course, such a hypothesis must be verified for many systems and phenomena, and this paper is one more step in this direction.
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Rødje, Kjetil. "Intra-Diegetic Cameras as Cinematic Actor Assemblages in Found Footage Horror Cinema." Film-Philosophy 21, no. 2 (June 2017): 206–22. http://dx.doi.org/10.3366/film.2017.0044.
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This article proposes a reconceptualization of the term “actor” within motion pictures and presents the argument that “acting” is a matter of distributed agency performed by heterogeneous assemblages. What constitutes an actor is what I will label as a “cinematic actor assemblage,” a term that comprises what is commonly known as human actors as well as material entities that play an active part in motion picture images. The use of intra-diegetic cameras in contemporary found footage horror films constitutes a particular case of such cinematic actor assemblages. Through a dynamic relational performance, cameras here take on roles as active agents with the potential to affect other elements within the images as well as the films’ audiences. In found footage horror the assemblage mode of operation creates suspense, since the vulnerability of the camera threatens the viewer's access to the depicted events. While human characters and individual entities making up the camera assemblage are disposable, the recording is not. Found footage horror crucially hinges upon the survival of the footage. I will further suggest that these films allow filmmakers to experiment with the acting capabilities of intra-diegetic cameras.
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Slagle, Kevin. "The Gauge Picture of Quantum Dynamics." Quantum 8 (March 21, 2024): 1295. http://dx.doi.org/10.22331/q-2024-03-21-1295.
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Although local Hamiltonians exhibit local time dynamics, this locality is not explicit in the Schrödinger picture in the sense that the wavefunction amplitudes do not obey a local equation of motion. We show that geometric locality can be achieved explicitly in the equations of motion by "gauging" the global unitary invariance of quantum mechanics into a local gauge invariance. That is, expectation values ⟨ψ|A|ψ⟩ are invariant under a global unitary transformation acting on the wavefunction |ψ⟩→U|ψ⟩ and operators A→UAU†, and we show that it is possible to gauge this global invariance into a local gauge invariance. To do this, we replace the wavefunction with a collection of local wavefunctions |ψJ⟩, one for each patch of space J. The collection of spatial patches is chosen to cover the space; e.g. we could choose the patches to be single qubits or nearest-neighbor sites on a lattice. Local wavefunctions associated with neighboring pairs of spatial patches I and J are related to each other by dynamical unitary transformations UIJ. The local wavefunctions are local in the sense that their dynamics are local. That is, the equations of motion for the local wavefunctions |ψJ⟩ and connections UIJ are explicitly local in space and only depend on nearby Hamiltonian terms. (The local wavefunctions are many-body wavefunctions and have the same Hilbert space dimension as the usual wavefunction.) We call this picture of quantum dynamics the gauge picture since it exhibits a local gauge invariance. The local dynamics of a single spatial patch is related to the interaction picture, where the interaction Hamiltonian consists of only nearby Hamiltonian terms. We can also generalize the explicit locality to include locality in local charge and energy densities.
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Robert, R., and C. Rosier. "Long range predictability of atmospheric flows." Nonlinear Processes in Geophysics 8, no. 1/2 (April 30, 2001): 55–67. http://dx.doi.org/10.5194/npg-8-55-2001.
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Abstract. In the light of recent advances in 2D turbulence, we investigate the long range predictability problem of atmospheric flows. Using 2D Euler equations, we show that the full nonlinearity acting on a large number of degrees of freedom can, paradoxically, improve the predictability of the large scale motion, giving a picture opposite to the one largely popularized by Lorenz: a small local perturbation of the atmosphere will progressively gain larger and larger scales by nonlinear interaction and will finally cause large scale change in the atmospheric flow.
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Levy, Emanuel. "Stage, Sex, and Suffering: Images of Women in American Films." Empirical Studies of the Arts 8, no. 1 (January 1990): 53–76. http://dx.doi.org/10.2190/90lj-px9t-q0j8-kb0g.
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This article systematically examines the portrayal of women in the American cinema over the last sixty years, from 1927. More specifically, it addresses itself to the following issues: the main attributes of screen women in terms of age, marital status, and occupation; the guidelines prescribed by American films for structuring women's lifestyles; the degree of rigidity of these normative prescriptions and proscriptions; and recent changes in the portrayal of women. The research is based on content analysis, quantitative and qualitative, of 218 screen roles, male and female, which have won the Academy Award, bestowed annually by the Academy of Motion Picture Arts and Sciences for the best achievements in film acting. The study demonstrates the differential treatment of gender in American films and the durability of specific screen stereotypes for men and for women. The prevalence of rigid conventions in the portrayal of women for half a century is explained in relation to male economic and ideological dominance in Hollywood and in American society at large.
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Leftow, Brian. "Why didn't God Create the World Sooner?" Religious Studies 27, no. 2 (June 1991): 157–72. http://dx.doi.org/10.1017/s0034412500020813.
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The Western monotheisms agree that (1) God has created the universe, and that (2) at some point in the past, the universe began to exist. Thus they believe that (1) and (2) are compatible. Yet one can argue that (1) and (2) are incompatible, so that the Western theistic picture of creation is inconsistent. Augustine's Confessions quotes a famous argument that (1) entails~(2):What was God doing before he made heaven and earth? … if (God) did nothing, why did he not continue in this way … forever …? If any new motion arise in God, or a new will is formed in him, to the end of establishing creation which he had never established previously …, then (God) is not truly … eternal. Yet if it were God's sempiternal will for the creature to exist, why is not the creature sempiternal also?This argument suggests that if God has created the universe, then for any t, God must have been acting before t, and therefore the universe must have existed before t. But if for any t the universe existed before t, then the universe had no first moment of existence, and so (2) is false.
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Lari, Giacomo, Melaine Saillenfest, and Marco Fenucci. "Long-term evolution of the Galilean satellites: the capture of Callisto into resonance." Astronomy & Astrophysics 639 (July 2020): A40. http://dx.doi.org/10.1051/0004-6361/202037445.
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Context. The Galilean satellites have very complex orbital dynamics due to the mean-motion resonances and the tidal forces acting in the system. The strong dissipation in the couple Jupiter–Io is spread to all the moons involved in the so-called Laplace resonance (Io, Europa, and Ganymede), leading to a migration of their orbits. Aims. We aim to characterize the future behavior of the Galilean satellites over the Solar System lifetime and to quantify the stability of the Laplace resonance. Tidal dissipation permits the satellites to exit from the current resonances or be captured into new ones, causing large variation in the moons’ orbital elements. In particular, we want to investigate the possible capture of Callisto into resonance. Methods. We performed hundreds of propagations using an improved version of a recent semi-analytical model. As Ganymede moves outwards, it approaches the 2:1 resonance with Callisto, inducing a temporary chaotic motion in the system. For this reason, we draw a statistical picture of the outcome of the resonant encounter. Results. The system can settle into two distinct outcomes: (A) a chain of three 2:1 two-body resonances (Io–Europa, Europa–Ganymede, and Ganymede–Callisto), or (B) a resonant chain involving the 2:1 two-body resonance Io–Europa plus at least one pure 4:2:1 three-body resonance, most frequently between Europa, Ganymede, and Callisto. In case A (56% of the simulations), the Laplace resonance is always preserved and the eccentricities remain confined to small values below 0.01. In case B (44% of the simulations), the Laplace resonance is generally disrupted and the eccentricities of Ganymede and Callisto can increase up to about 0.1, making this configuration unstable and driving the system into new resonances. In all cases, Callisto starts to migrate outward, pushed by the resonant action of the other moons. Conclusions. From our results, the capture of Callisto into resonance appears to be extremely likely (100% of our simulations). The exact timing of its entrance into resonance depends on the precise rate of energy dissipation in the system. Assuming the most recent estimate of the dissipation between Io and Jupiter, the resonant encounter happens at about 1.5 Gyr from now. Therefore, the stability of the Laplace resonance as we know it today is guaranteed at least up to about 1.5 Gyr.
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SHIKHMURZAEV, YULII D. "Moving contact lines in liquid/liquid/solid systems." Journal of Fluid Mechanics 334 (March 10, 1997): 211–49. http://dx.doi.org/10.1017/s0022112096004569.
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A general mathematical model which describes the motion of an interface between immiscible viscous fluids along a smooth homogeneous solid surface is examined in the case of small capillary and Reynolds numbers. The model stems from a conclusion that the Young equation, σ1 cos θ = σ2 − σ3, which expresses the balance of tangential projection of the forces acting on the three-phase contact line in terms of the surface tensions σi and the contact angle θ, together with the well-established experimental fact that the dynamic contact angle deviates from the static one, imply that the surface tensions of contacting interfaces in the immediate vicinity of the contact line deviate from their equilibrium values when the contact line is moving. The same conclusion also follows from the experimentally observed kinematics of the flow, which indicates that liquid particles belonging to interfaces traverse the three-phase interaction zone (i.e. the ‘contact line’) in a finite time and become elements of another interface – hence their surface properties have to relax to new equilibrium values giving rise to the surface tension gradients in the neighbourhood of the moving contact line. The kinematic picture of the flow also suggests that the contact-line motion is only a particular case of a more general phenomenon – the process of interface formation or disappearance – and the corresponding mathematical model should be derived from first principles for this general process and then applied to wetting as well as to other relevant flows. In the present paper, the simplest theory which uses this approach is formulated and applied to the moving contact-line problem. The model describes the true kinematics of the flow so that it allows for the ‘splitting’ of the free surface at the contact line, the appearance of the surface tension gradients near the contact line and their influence upon the contact angle and the flow field. An analytical expression for the dependence of the dynamic contact angle on the contact-line speed and parameters characterizing properties of contacting media is derived and examined. The role of a ‘thin’ microscopic residual film formed by adsorbed molecules of the receding fluid is considered. The flow field in the vicinity of the contact line is analysed. The results are compared with experimental data obtained for different fluid/liquid/solid systems.
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Adachi, A., W. L. Clark, L. M. Hartten, K. S. Gage, and T. Kobayashi. "An observational study of a shallow gravity current triggered by katabatic flow." Annales Geophysicae 22, no. 11 (November 29, 2004): 3937–50. http://dx.doi.org/10.5194/angeo-22-3937-2004.
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Abstract. Observations from a wind profiler and a meteorological tower are utilized to study the evolution of a gravity current that passed over the Meteorological Research Institute's (MRI) field site in Tsukuba, Japan. The gravity current was created by katabatic flow originating on the mountainous slopes west of the field site. The passage of the shallow current was marked by a pronounced pressure disturbance and was accompanied by vertical circulations seen in the tower and profiler data. Direct vertical-beam measurements are difficult, especially at low heights during high-gradient events like density currents. In this study vertical velocities from the profiler are derived from the four oblique beams by use of the Minimizing the Variance of the Differences (MVD) method. The vertical velocities derived from the MVD method agree well with in situ vertical velocities measured by a sonic anemometer on the tower. The gravity current is analyzed with surface observations, the wind profiler/RASS and tower-mounted instruments. Observations from the profiler/RASS and the tower-mounted instruments illustrate the structure of the gravity current in both wind and temperature fields. The profiler data reveal that there were three regions of waves in the vertical velocity field: lee-type waves, a solitary wave and Kelvin-Helmholtz waves. The lee-type waves in the head region of the gravity current seem to have been generated by the gravity current acting as an obstacle to prefrontal flow. The solitary wave was formed from the elevated head of the gravity current that separated from the feeder flow. Profiler vertical-motion observations resolve this wave and enable us to classify it as a Benjamin-Davis-Ono (BDO) type solitary wave. The ducting mechanism that enabled the solitary wave to propagate is also revealed from the wind profiler/RASS measurements. The combination of high-resolution instruments at the MRI site allow us to develop a uniquely detailed picture of a shallow gravity current structure.
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Qiang, Niu, Teng Hai, and Martin Wolff. "China EFL: Teaching with movies." English Today 23, no. 2 (April 2007): 39–46. http://dx.doi.org/10.1017/s0266078407002076.
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ABSTRACTSome observations on using motion pictures to teach Business English. THE USE of motion pictures or other captioned films as part of teaching English as a foreign language has markedly increased in recent years in China. Because of this, we undertook a four-year experiment to determine how effective the use of English-language movies has been in the teaching of business. From this experiment it became clear that a cavalier use of movies in effect misused them. The appropriate and effective use of motion pictures requires a range of elements: (1) movies that are at one and the same time educational, informative, and entertaining; (2) a workbook linked to such movies that enables students to get ready beforehand; (3) most importantly, a range of classroom activities to induce and elicit timely and optimal output from the students, so as to make talking and writing about communication easier and more effective. Activities such as dubbing, story retelling, acting, discussing, debating, and role playing are only a few of the effective techniques a teacher can employ to engage the students.
Dissertations / Theses on the topic "Motion picture acting"
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Lacaze, Gerowyn. "Negotiating meaning : a handbook for performance direction for the screen." Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/35846/1/35846_Lacaze_1999.pdf.
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The purpose of this study is to investigate directing, especially from the perspective of a director's relationship with actors. It is intended as a resource
for beginning film makers, including an investigation of current beliefs and practices of both experienced and beginning directors, a workbook of exercises, a documentary illustrating these techniques and a short film that exemplifies performance gained through adherence to a selection of these techniques.
The key focus of this study is to produce a resource that aims to give directors an understanding of possible approaches to facilitating productive actor -
director relationships. It deals with techniques that relate specifically to one of their human resources - the actors. Developing performance in actors assists directors to enhance the integrity of their films, empowering them through a shared language that effectively communicates with actors. Individuals wishing to work as film and television directors require an understanding of the craft of acting and how it fits in this medium. Specifically, they need to demonstrate conceptual originality and logistic viability while harnessing the diverse talents and skills of a creative team. Therefore, directors need to speak a common language, which draws together the interpretative skills of this team. This study aims to develop skills in communication with actors.
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Ferreira, Douglas de Magalhães. "Guerra conjugal : o cinema antropofágico de Joaquim Pedro de Andrade /." Araraquara, 2015. http://hdl.handle.net/11449/127915.
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Orientador: Maria de Lourdes Ortiz Gandini BaldanBanca: Sylvia Helena Telarolli
Banca: Leonardo Francisco Soares
Resumo: O campo de pesquisa no qual este trabalho se insere é o das intricadas relações entre literatura e cinema, e seu objeto de estudo é Guerra conjugal (1975), adaptação cinematográfica de Joaquim Pedro de Andrade, um dos expoentes do Cinema Novo, para alguns contos de Dalton Trevisan, um dos mais importantes escritores em língua portuguesa. Tomando-se o esforço adaptativo por tradução crítica e, portanto, nada afeito à exigência de fidelidade à obra original, o objetivo deste trabalho consiste em demonstrar, mediante análise do seguimento narrativo fílmico dedicado à decadente figura vampírica de Nelsinho, a orientação antropofágica que (1), em sentido positivo, norteia o método criativo do cineasta, cuja obra mantém estreito e fértil diálogo com a literatura nacional, mas sem a ela se submeter; e (2), agora em chave negativa, permeia as batalhas amorosas registradas em Guerra conjugal, em sua declarada intenção de dominar, impor-se, enfim, devorar o outro através do sexo, em tratamento que alinha o filme a ao menos duas grandes tendências do cinema de então: o sexo como bandeira política e o retrato da decadência via crônica da vida privada. Para a consecução de tal objetivo, procurar-se-á identificar os contos-base de Dalton Trevisan utilizados para a composição da trajetória de Nelsinho no longa-metragem, bem como os principais expedientes da literatura do escritor curitibano, sem deixar de considerar o contexto de explosão do gênero conto no Brasil entre as décadas de 1960-1970. Em seguida, analisarse- á pormenorizadamente a narrativa do filme-resultado, procurando-se evidenciar o modo como Joaquim Pedro traduziu os contos, ao reelaborar a literatura de Trevisan no interior de um gênero cinematográfico de amplo apelo popular, a pornochanchada, a cujos traços mais recorrentes o cineasta adere, em princípio, apenas para subvertê-los na sequência
Abstract: The research field in which this work can be inserted in is that of the intricate relations between literature and cinema, and its subject matter is Guerra conjugal (1975), a film adaptation by one of the exponents of Cinema Novo in Brazil, Joaquim Pedro de Andrade, for some short-stories by Dalton Trevisan, one of the most important writers in Portuguese. Taking the adaptive effort as a critical translation and not at all accustomed, therefore, to the requirement of fidelity to the original work, the objective of this research is to demonstrate, by the analysis of the filmic narrative sequence dedicated to the decadent vampire figure of Nelsinho, the anthropophagic orientation that (1), in a positive sense, guides the creative method of the filmmaker Joaquim Pedro, whose work holds closely and fruitful dialogue with the Brazilian literature, but without undergoing the books; and (2), now in a negative way, permeates the loving battles of Guerra conjugal, which characters' intentions are to dominate, to impose, finally, to eat each other through the sexual experience, in a choice that lines up the film to at least two major inclinations of the cinema from that decade: sex as a political banner and the picture of decay through the chronic of private life. To achieve this goal, efforts will be made to identify the short-stories by Dalton Trevisan used for the composition of Nelsinho's path along the film as well as the main literary expedients of the writer from Curitiba, while considering the context of growth of the short-story in Brazil between the decades 1960-1970. Then it will be tried to analyze in details the narrative of the film adaptation, in a way to highlight how Joaquim Pedro translated the short-stories to the screen, rewriting Trevisan's literature in a filmic genre of a broad popular appeal, the pornochanchada, to which recurring features the filmmaker adheres in principle just to subvert them after
Mestre
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O'Rourke, Christopher Paul. "Models, artistes and photoplayers : the film actor in Britain, 1895-1929." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610163.
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Yuen, Nancy Wang. "Performing authenticity how Hollywood working actors negotiate identity /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1692357331&sid=13&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Ferreira, Douglas de Magalhães [UNESP]. "Guerra conjugal: o cinema antropofágico de Joaquim Pedro de Andrade." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/127915.
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000846709.pdf: 1378680 bytes, checksum: 37bad6fce3c0157227ab5f84bb71fee7 (MD5)O campo de pesquisa no qual este trabalho se insere é o das intricadas relações entre literatura e cinema, e seu objeto de estudo é Guerra conjugal (1975), adaptação cinematográfica de Joaquim Pedro de Andrade, um dos expoentes do Cinema Novo, para alguns contos de Dalton Trevisan, um dos mais importantes escritores em língua portuguesa. Tomando-se o esforço adaptativo por tradução crítica e, portanto, nada afeito à exigência de fidelidade à obra original, o objetivo deste trabalho consiste em demonstrar, mediante análise do seguimento narrativo fílmico dedicado à decadente figura vampírica de Nelsinho, a orientação antropofágica que (1), em sentido positivo, norteia o método criativo do cineasta, cuja obra mantém estreito e fértil diálogo com a literatura nacional, mas sem a ela se submeter; e (2), agora em chave negativa, permeia as batalhas amorosas registradas em Guerra conjugal, em sua declarada intenção de dominar, impor-se, enfim, devorar o outro através do sexo, em tratamento que alinha o filme a ao menos duas grandes tendências do cinema de então: o sexo como bandeira política e o retrato da decadência via crônica da vida privada. Para a consecução de tal objetivo, procurar-se-á identificar os contos-base de Dalton Trevisan utilizados para a composição da trajetória de Nelsinho no longa-metragem, bem como os principais expedientes da literatura do escritor curitibano, sem deixar de considerar o contexto de explosão do gênero conto no Brasil entre as décadas de 1960-1970. Em seguida, analisarse- á pormenorizadamente a narrativa do filme-resultado, procurando-se evidenciar o modo como Joaquim Pedro traduziu os contos, ao reelaborar a literatura de Trevisan no interior de um gênero cinematográfico de amplo apelo popular, a pornochanchada, a cujos traços mais recorrentes o cineasta adere, em princípio, apenas para subvertê-los na sequência
The research field in which this work can be inserted in is that of the intricate relations between literature and cinema, and its subject matter is Guerra conjugal (1975), a film adaptation by one of the exponents of Cinema Novo in Brazil, Joaquim Pedro de Andrade, for some short-stories by Dalton Trevisan, one of the most important writers in Portuguese. Taking the adaptive effort as a critical translation and not at all accustomed, therefore, to the requirement of fidelity to the original work, the objective of this research is to demonstrate, by the analysis of the filmic narrative sequence dedicated to the decadent vampire figure of Nelsinho, the anthropophagic orientation that (1), in a positive sense, guides the creative method of the filmmaker Joaquim Pedro, whose work holds closely and fruitful dialogue with the Brazilian literature, but without undergoing the books; and (2), now in a negative way, permeates the loving battles of Guerra conjugal, which characters' intentions are to dominate, to impose, finally, to eat each other through the sexual experience, in a choice that lines up the film to at least two major inclinations of the cinema from that decade: sex as a political banner and the picture of decay through the chronic of private life. To achieve this goal, efforts will be made to identify the short-stories by Dalton Trevisan used for the composition of Nelsinho's path along the film as well as the main literary expedients of the writer from Curitiba, while considering the context of growth of the short-story in Brazil between the decades 1960-1970. Then it will be tried to analyze in details the narrative of the film adaptation, in a way to highlight how Joaquim Pedro translated the short-stories to the screen, rewriting Trevisan's literature in a filmic genre of a broad popular appeal, the pornochanchada, to which recurring features the filmmaker adheres in principle just to subvert them after
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Overpeck, Deron. "Out of the dark American film exhibition : political action and industrial change, 1966-1986 /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1459904671&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Nunes, Caue 1977. "Documentário, falso e ciência : ancoragens e decolagens." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270575.
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Orientador: Fernando Cury de TaccaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Essa pesquisa propõe uma investigação sobre o documentário audiovisual e sua interlocução com o conceito de "falso", a partir de alguns filmes que se utilizam de narrativas que mesclam "ficção" com "documentário". Ao final, há uma proposta de roteiro de um falso documentário cujo tema é a ciência, o terceiro elemento que dialoga com os conceitos de "documentário" e "falso"
Abstract: This research proposes an investigation into the audiovisual documentary and its dialogue with the concept of "false", from some movies that use narratives that mix "fiction" with "documentary". At the end, there is a proposed script for a fake documentary whose subject is science, the third element that dialogues with the concepts of "documentary" and "false"
Mestrado
Divulgação Científica e Cultural
Mestre em Divulgação Científica e Cultural
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Wong, Suet-lan, and 黃雪蘭. "Hong Kong cinema made international: the action cinema of Bruce Lee and Jackie Chan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951764.
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Gallagher, Mark. "Action figures : spectacular masculinity in the contemporary action film and the contemporary American novel /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9978590.
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Thesis (Ph. D.)--University of Oregon, 2000.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 320-335). Includes filmography (leaves 335-337). Also available for download via the World Wide Web; free to University of Oregon users.
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Hart, Hilary. "Sentimental spectacles : the sentimental novel, natural language, and early film performance /." view abstract or download file of text, 2004. http://wwwlib.umi.com/cr/uoregon/fullcit?p3120625.
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Thesis (Ph. D.)--University of Oregon, 2004.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 176-181). Also available for download via the World Wide Web; free to University of Oregon users.
Books on the topic "Motion picture acting"
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1949-1992, Tomlinson Doug, ed. Actors on acting for the screen: Roles and collaborations. New York: Garland Pub., 1994.
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Puṇarjīva, Dharmajit. Yaṭhārṭhavādī mahā sinamā ākhyāna prabhasvara kaḷa naḷuvarayā gē pragdhanaya: The actor's Kapital. Koḷamba: Dharmajit Puṇarjīva Rupaṇa Kalā Vidyāyatanaya, 2014.
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Zhongguo dian ying biao yan yi shu xue hui. Dang dai ying shi biao yan qu xiang: Di shi er jie "dian ying biao yan yi shu xue hui jiang" wen ji. Beijing: Zhongguo dian ying chu ban she, 2009.
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Lento, Mattia. La scoperta dell'attore cinematografico in Europa: Attorialità, esperienza filmica e ostentazione durante la seconde époque. Pisa: Edizioni ETS, 2017.
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Istituto multimediale Scrittura e immagine. Convegno nazionale. L' attore tra qualità e identità: Atti del Convegno nazionale, Pescara-Chieti, 20 dicembre 1997. [Pescara]: Ediars, 1997.
Find full textBook chapters on the topic "Motion picture acting"
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"Carnicke Emotional Expressivity in Motion Picture Capture Technology." In Acting and Performance in Moving Image Culture, 321–38. transcript-Verlag, 2012. http://dx.doi.org/10.14361/transcript.9783839416488.321.
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Marie, Sharon. "Carnicke Emotional Expressivity in Motion Picture Capture Technology." In Acting and Performance in Moving Image Culture, 321–38. transcript Verlag, 2012. http://dx.doi.org/10.1515/transcript.9783839416488.321.
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Shulman, Terry Chester. "Here Lies the Mick." In Film's First Family, 195–202. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813178097.003.0024.
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Maurice retires to the Motion Picture Country Home, where he will spend the rest of his life. After her father is awarded custody, Deirdre is shuffled around before being reunited with her mother at the Wolff Sanitarium. In October 1950, Maurice suffers a massive heart attack, from which he never entirely regains consciousness. He dies in the hospital the morning of the 29th. Vruwink is fed up with Dolores’s drinking and moves out. After a brief reconciliation he leaves again and she files for divorce. Following a short-lived attempt at stage acting, she retreats to an empty house and the relative solace of her drinking.
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Zubairy, M. Suhail. "Newtonian mechanics and the deterministic world." In A Mysterious Universe, 7–14. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198883067.003.0002.
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Abstract After briefly discussing the contributions of Copernicus, Kepler, and Galileo, the main contributions of Newton are presented. His major contributions, including the law of gravitation and the laws of motion, initiated the modern age of science. Newtonian laws painted a deterministic picture of the universe—if the location of all the objects in the universe and the forces acting upon them at a given time are known then the future can be predicted precisely. Newton’s views on space and time are also presented. Most of these ideas were challenged by the modern theories of nature, namely the special and general theories of relativity and quantum mechanics.
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Lupack, Barbara Tepa. "Seeking “Old Opportunity”." In Silent Serial Sensations, 14–31. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501748189.003.0002.
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This chapter details how Ted Wharton got into the entertainment business. The early years that Ted spent on and behind the stage gave him an invaluable introduction to virtually all aspects of the entertainment industry, especially to the performance and production of melodrama. They also taught him the technical and improvisational skills that would serve him well as he graduated from vaudeville performance and legitimate stage acting to direction of film shorts and production of serials, particularly since he was often experimenting as he developed the conventions and devices that would become staples of later cinema and television. Ted's interest in the motion picture industry was further aroused by his visits to the old Edison Studios in Manhattan, after which, on his own, he began writing screenplays that revealed his aptitude for the craft. He then joined Pathé Frères to assist in the opening of its American studio and then to serve as its director. In late 1911 or early 1912, Ted decided to leave the company for a better opportunity at another studio: Essanay. The chapter then looks at Ted's most thematically and technically sophisticated short for Essanay, From the Submerged (1912), which is now considered one of the masterpieces of silent film.
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Strohm, Reinhard. "Townscape–Soundscape." In Music in Late Medieval Bruges, 1–9. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780193164185.003.0001.
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Abstract LATE medieval Bruges is known to us through the stillness of pictures. Motion and sound are contained in them, but in a frozen form: reduced to an infinitely small fraction of time. Given time, the pictures would start to move, and the music would be heard. In the Ghent panels by Hubert and Jan van Eyck, an angel is seen playing the organ: she is about to press the keys F, c and a.— The time lapse between her action and the perception of the chord is extended to eternity. Next to the organ-player another angel, holding a harp, counts the time with her fingers on the shoulder of the partner in front of her, who holds a viol and is ready to play, but is resting. In the opposite wing of the picture, eight angels are singing mensural polyphony. Musical measure determines the precise moment in time in which the whole picture is set.
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Chowdhury, Debasish Roy, and John Keane. "Motion Sickness." In To Kill A Democracy, 97–113. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198848608.003.0005.
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This chapter focuses on India’s public transport system. If cities are democratic laboratories that nurture free and equal motion, then India fails the test every day. In Mumbai, for example, up to sixteen people can find themselves packed into a one-square-metre space inside a carriage during peak hours as Indian Railways fails to provide enough trains and coaches to the financial capital’s arterial rail network. Travelling like animals, risking their lives for livelihood, has been the lot of Mumbai’s daily commuters for as long as they can remember. Away from the cities, where 70 per cent of India lives, the picture is even bleaker, with virtually no state-run public transport system—buses or trains. The daily indignities and inconveniences of travelling prevents citizens from freely accessing goods, services, and social networks that are key to the pursuit of their chosen life strategies. By hindering everyday mobility, hazardous and insufficient transport options have the anti-democratic effect of perpetuating social inequities and dispersing communities into isolated silos that prevent collective assembly, deliberation, and action. Other than dilapidated or non-existent public transport systems, elitist policies, and poor government oversight hinder movement—and democracy—in various other ways.
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subito, attacca. "Glimpse of Wonders." In Documentary, 1–30. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195078985.003.0001.
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Abstract The inventors of cinema, who were legion, included diverse showmen, and others with interests far from showmanship. Some of these were scientists who felt a compelling need to document some phenomenon or action, and contrived a way to do it. In their work the documentary film had prenatal stirrings. Thus the French astronomer Pierre Jules Cesar Janssen wanted a record of Venus passing across the sun, an event of 1874. He developed what he called a revolver photographique—a cylinder-shaped camera in which a photographic plate revolved. The camera automatically took pictures at short intervals, each on a different segment of the plate. The result—photographed by Janssen in Japan—was not yet a motion picture, but it was a step in that direction, and it gave ideas to others. For Janssen the important thing was: it documented the event.
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Hutchinson, G. O. "Visual Art." In Motion in Classical Literature, 6–31. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198855620.003.0002.
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Visual art shows the ancient interest in motion palpably, and helps in perceiving both differences between depictions in art and literature and aspects they have in common. Mostly well-known works of art are chosen for detailed discussion. A Corinthian arbyallos shows leaping in a dance as an action admired in itself; a Boeotian skyphos gives a dynamic picture of Odysseus blown by the wind. The stele of Dexileos presents a moment of motion just before a decisive event, as does a wall-painting of Pentheus. Still further back before events come the discus-thrower (Discobolus) and a painting of Medea. A wall-painting of Hades and Persephone and Exekias’ vase-painting of Dionysus show gods in motion at the start and in the sequel of events. Artistic depictions exploit space, visual detail, and the regularity of motion; the viewer’s knowledge is important, as in literature. Lessing misguidedly thinks that literature is more suited to depicting motion; literature can do more with time, but less with physical detail and space. The contribution of the reader’s or listener’s imagination does not reduce the significance of described motion, any more than the contribution of the viewer reduces the significance of depicted thought. Part of literature’s interest in art is an interest in motion, as in ekphrasis or Pindar. Art and literature together show important variables (like speed), oppositions (as between individual and a group), structures (as of male and female). In literature, language is important to what motion arrests attention.
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Ladjailia, Ammar, Imed Bouchrika, Nouzha Harrati, and Zohra Mahfouf. "Encoding Human Motion for Automated Activity Recognition in Surveillance Applications." In Applied Video Processing in Surveillance and Monitoring Systems, 170–92. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-1022-2.ch008.
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As computing becomes ubiquitous in our modern society, automated recognition of human activities emerges as a crucial topic where it can be applied to many real-life human-centric scenarios such as smart automated surveillance, human computer interaction and automated refereeing. Although the perception of activities is spontaneous for the human visual system, it has proven to be extraordinarily difficult to duplicate this capability into computer vision systems for automated understanding of human behavior. Motion pictures provide even richer and reliable information for the perception of the different biological, social and psychological characteristics of the person such as emotions, actions and personality traits of the subject. In spite of the fact that there is a considerable body of work devoted to human action recognition, most of the methods are evaluated on datasets recorded in simplified settings. More recent research has shifted focus to natural activity recognition in unconstrained scenes with more complex settings.
Conference papers on the topic "Motion picture acting"
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Stanescu, Monica, and Marius Stoicescu. "NEW COMPETENCIES FOR PHYSICAL EDUCATION AND SPORT TEACHERS: USING SOFTWARE FOR MOTION ANALYSYS." In eLSE 2012. Editura Universitara, 2012. http://dx.doi.org/10.12753/2066-026x-12-090.
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ICT development has determined in the latest decades important changes in all the activity fields, including education. These changes are also reflected in the curriculum assigned to teachers’ initial and continuing training. Disciplines such as IT and computer-assisted instruction, specific to the initial training, or purposely designed programs for the continuing training come to meet this exigency of our contemporary society. In the above-mentioned context, this paper aims at highlighting the professionals’ opinion about the opportunity of using ICT in teaching, as well as the characteristics of one of the ICT main applications to the instruction in physical education and sports field, namely to support the motor action assessment process. Starting from the data provided by the survey conducted on 126 physical education teachers and coaches participating in the training program “ICT applications to physical education and sports teaching” (developed within the POSDRU grant 19/1.3/G/13096, Professionalization of teaching career in physical education and sports from the perspective of continuing learning), the paper emphasizes the specialists’ interest in objectifying the assessment of motor actions by means of specialized software, as well as the main functionalities of the software programs for the motion graphical analysis (measuring the motion angles, biomechanical analysis of motions, frame-by-frame motion analysis, measuring the action times and distances, comparing two motor performances, information saving and storage, importing pictures and movies, processing possibilities). The advantages and limitations of practically using such software in our field are also emphasized. Conclusions synthesize the main competencies acquired by the specialists using these tools and which represent the basis for some proposals meant to optimize the training process.
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Kvetanová, Zuzana, and Jana Radošinská. "AQUAMAN THE MOVIE AS A LATE MODERN FAIRY TALE." In NORDSCI Conference Proceedings. Saima Consult Ltd, 2021. http://dx.doi.org/10.32008/nordsci2021/b1/v4/24.
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The feature film Aquaman (2018, directed by James Wan) is the most commercially successful superhero movie belonging to the DC Extended Universe. Produced by DC Films and Warner Bros. Pictures, the motion picture portrays a rebellious superhero with an extraordinary physical presence. The paper aims to reflect on the movie Aquaman and its ability to function as a late modern fairy tale. Aquaman’s genre structure includes elements of fantasy, science-fiction and action film. However, the authors work with the assumption that the story is, in its nature, a fairy tale involving late modern means of expression. The first part of the text is largely theoretical, outlining the movie’s importance and defining the genre of a fairy tale in the context of late modern culture. Following the given line of thought, the second part of the paper presents a narrative analysis of the film in question, which is based on Propp’s morphology of fairy tales.
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Jordaan, Ian, and Philippa Gosine. "The Titanic Disaster and Ice Mechanics: Completing the Picture." In SNAME 10th International Conference and Exhibition on Performance of Ships and Structures in Ice. SNAME, 2012. http://dx.doi.org/10.5957/icetech-2012-149.
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Although the Titanic disaster occurred 100 years ago, explanations of the failure rely heavily on studies of the structural failure (failure of the rivets, brittle fracture of the side plate, ... for example). Very little attention has been paid to how the ice delivered the required force. Background to the disaster is reviewed and in particular the records of experiences of passengers showing that the impact involved a “slight jar” or a “little vibration”. These indicate small global loading but not excluding the possibility of high local loading. The construction of the Titanic is described, and in particular the overlapping plates connected by rivets. Evidence based on ultrasonic scans and calculations of the flow of water into the vessel suggests that the failure was associated with a series of slits in the hull, with a total area of about 12 square feet. Recent explorations into the strength of the rivets are described. The main focus of the paper is then introduced: the formation of high pressure zones in ice compressive failure. The total load in these tests may be of the order of several MN. The high-pressure zones are characterized by a localization of damage in the ice resulting in the formation of a distinct layer of microstructurally modified material. Pressures from the ramming of ice features in ship rams are analyzed, and it is again shown that forces associated with quite small areas may be of the order of several MN. When compared to the strength of the rivets, it is clear that enough force can be generated to cause slits of the kind deduced from the evidence. The results are also consistent with the observed small motions of the ship during impact. The Titanic was not designed for interaction with ice and avoidance would have been a wise course of action. It seems inappropriate to suggest that poor rivet construction was the cause of the sinking. The main cause was the high local loads involved in ice-structure interaction.
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Martelli, Alessandro, Giordano-Bruno Arato, and Enrico Bellani. "Advanced Tested Technology for Earthquakes and the Shapes of Memory: A Short Film and a Motion-Picture Developed in the Framework of the MUSICA Project." In ASME 2002 Pressure Vessels and Piping Conference. ASMEDC, 2002. http://dx.doi.org/10.1115/pvp2002-1435.
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This paper provides updated information, with respect to that already given at the 2001 ASME-PVP Conference, on the Project MUSICA (Multimedia for the Development of Innovative Systems for Anti-Seismic Constructions). This project was jointly undertaken by the Italian Agency for New Technology, Energy and the Environment (ENEA) and other partners associated in the Italian Working Group on Seismic Isolation (GLIS) in May 2000, to contribute to information and training on the modern passive control techniques of seismic vibrations through a better, modern use of media. It consists in the development of a series of films of various durations on manufacturing, R&D and applications of the aforesaid techniques, namely seismic isolation, passive energy dissipation, hydraulic coupling by means of shock transmitters, systems formed by shape memory alloy devices, “active sewing” method for masonry buildings, etc. Films are addressed to designers, representatives of the Institutions and the ordinary public, as well. Most of them have already been completed. The short film “Advanced Tested Technology for Earthquakes” (that developed for ENEA within the MUSICA Project) will be shown at the Symposium, together with (if possible) the motion-picture “The Shapes of Memory”.
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Ogorodnov, D. M., S. A. Evdokimov, and Yu D. Kropotov. "The research of neuroplasticity by the Visual Continuous Performance Tasks in teaching by the method of complex music and vocal education." In VIII Vserossijskaja konferencija s mezhdunarodnym uchastiem «Mediko-fiziologicheskie problemy jekologii cheloveka». Publishing center of Ulyanovsk State University, 2021. http://dx.doi.org/10.34014/mpphe.2021-156-159.
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The Methodology of Comprehensive Music and Vocal Education (CMVE) is a powerful pedagogical instrument which helps a person's to improve its voice and musicality. Because several zones, such is auditory, somatosensory, motor (mainly due to the inclusion of hands and speech motor apparatus) and visual are actively involved, which is active contributes to a change in the picture of the dominant centers of the cortex, stimulates and develops such cognitive functions as attention, speech, memory, praxis. Neuroplasticity is closely related to music education, as indicated, for example, by such work as G. Schlaug, which explains some of the sensorimotor and cognitive improvements associated with music education. This allows us to assume and test the effects of neuroplasticity when working according to the CMVE method, which also uses different modalities. To investigate event-related potentials, the authors use a two-stimulus selective attention test (VCPT Go / NoGo test).
Key words: EEG, ERP, VCPT-task, musical-vocal education by D.E. Ogorodnov.
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Alnafjan, Abeer. "Math Game for Elementary School Children Using Leap Motion Controller." In Intelligent Human Systems Integration (IHSI 2024) Integrating People and Intelligent Systems. AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004605.
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Education holds significant importance in society as it provides individuals with essential knowledge, skills, and critical thinking abilities. However, traditional educational approaches may not always engage children effectively. To address this, innovative methods are needed to make education more interesting and captivating for children. By incorporating interactive elements such as educational games, multimedia resources, and creative teaching techniques, we can create a learning environment that fosters curiosity, exploration, and active participation. This approach enhances learning outcomes and fosters a lifelong passion for learning in children. In recent years, the advancement of technology has transformed the educational landscape, offering a wide array of resources to enhance learning experiences. Educational games have emerged as a promising tool, particularly in fostering children's interest and engagement in various subject areas. There has been a significant increase in the number of studies, projects, and research efforts dedicated to designing guidelines and frameworks for integrating technology and educational games in the field of education. This increased focus demonstrates the acknowledgment of the significant potential of educational games as effective tools for improving learning outcomes. To ensure the effectiveness of these games, researchers and developers have identified essential features that contribute to their educational value. These features include the ability to stimulate critical thinking, minimize the reliance on textual content, provide user-friendly interfaces, and promote interactivity. By incorporating these elements into game design, educators can create engaging learning experiences that foster deeper understanding and knowledge acquisition among learners. The focus on these crucial features demonstrates the commitment to designing educational games that effectively support learning goals and engage students in meaningful ways. Our project’s primary aim is to design and develop an educational game employing hand movements using the Leap Motion Controller (LMC) as an interactive input device. The game aims to enhance children's understanding of arithmetic operations, specifically addition and subtraction, in an enjoyable and captivating manner. The use of LMC enables the recognition of children's gestures representing numbers, thereby providing an interactive learning experience. The objectives of the project include acquiring relevant background knowledge, establishing functional requirements and computational constraints, designing and developing a math game incorporating elements such as 3D animations and pictures, and validating the game's effectiveness in achieving its intended benefits for both children and their teachers.The paper is organized into five sections. Section 1 introduces the problem and outlines the aim and objectives of the project. Section 2 reviews related works in the field. Section 3 presents the system design. Section 4 describes the challenges anticipated during and after implementation. Finally, Section 5 concludes with a summary of our findings, future work, and design considerations.
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Xueqing, Liu, and Lu Luyi. "Flow Characteristics in the Improved Impinging Stream Reactor by Means of Particle Image Velocimetry (PIV)." In ASME 2017 Power Conference Joint With ICOPE-17 collocated with the ASME 2017 11th International Conference on Energy Sustainability, the ASME 2017 15th International Conference on Fuel Cell Science, Engineering and Technology, and the ASME 2017 Nuclear Forum. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/power-icope2017-3227.
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The impinging Stream is a novel technique in enhancing heat and mass transfer. In the conventional impinging stream reactor (ISR), as the particles in that reactor are affected by the fluid resistance, the energy of the particles is rapidly decreased after the infiltration of the reverse flow, which leads to the effective mixing of the particles. In this paper, we design an improved impinging stream reactor (IISR) that has different fluid inlet velocity but same mean fluid inlet velocity in a period, which still belongs to definition of impinging stream. In the present study, the flow characteristics in the IISR are investigated using particle image velocimetry (PIV) and computational fluid dynamics. The effects of the fluid inlet velocity in the axisymmetric opposed jets are discussed for equal mean volumetric flow rates of the two jets. The impingement plane and the flow filed of the IISR are measured from captured images using the PIV technique. The two fluid inlet velocity with different sinusoidal variations are applied in the improved impinging stream. Besides, the experimental results show that the impingement plane is moving instantaneously with the two inlet velocity changing dynamically, which expands efficient active areas compared with the conventional impinging stream. Besides, computational fluid dynamics are used in combination with the discrete phase model (CFD-DPM) to predict the flow characteristics within the improved Impinging Stream. The simulation results show that impinging stream flow field can be divided into the inlet, the impact zone, the exit zone and the vortex area. At the same time, the impact zone and the impingement plane is also found to be moving The CFD-DPM results give predictions that are in better agreement with the flow filed pictured by the PIV technique. Because of the complexity of the liquid immersion impinging stream, it is difficult to study the trajectory of the particles in the flow field, so we use the numerical simulation to study the motion of the particles in the immersion IISR. Analysis shows the effective mixing region of the particles can be greatly increased, particles’ motion trajectory can be longer and the heat and mass transfer between the particles and the interphase can be further enhanced. Compared with the conventional ISR, the IISR has obvious advantages. The results point out this improved impinging Stream has a good application prospect in future engineering works.
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Stanić Loknar, Nikolina, Diana Bratić, and Ana Agić. "Kinetic typography - figuration and technology." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p81.
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Kinetic typography - text in motion is an animation method of characters that has a video form instead of some "static" form such as picture, poster or book. The most important element for figuration of kinetic typography is the choice of font. Furthermore, one should think about the letter cut, the size and color of the characters, and the background color on which the animation takes place. It can be created in various ways, most often using software that applies a multitude of effects to the text or letter character, creating dynamic solutions. The effects vary from the simplest such as "fade-in" and "fade-out" (entering and exiting text in and out of the frame). Static characters can expand, narrow, move slowly or rapidly, grow and change in a variety of ways to very complex ones in which the author builds an entire story or promotional video by carefully combining software capabilities. However, each software has its limitations and for this reason the kinetic typography presented in this paper is programmed using codes. In a wide range of available programming languages due to the simple interface that does not require advanced programming concepts and gives exceptional results in the field of kinetic typography, Processing was chosen. The Processing programming language is intended for generating and modifying graphics and is based on the Java programming language. The most important difference between Processing and Java is that Processing offers a simple programming interface that does not require advanced levels of programming such as classes, objects, or animations. It also allows advanced users to use them. Processing uses a variety of typography rendering approaches such as raster and vector solutions and allows typography to be programmed and displayed on the Web independently of the user's Web browser and font database. Processing enables the use of visual elements in animation, including typographic ones, by introducing interaction to the user. The user is no longer a passive observer but actively participates in the performance of the application whose final appearance is not predefined but arises from the actions of each individual user. For the purposes of this paper, individual letters were created in a font-making program. The letters made are of various written classifications and cuts, which with their variety contribute to the attractiveness of the animation. In the creating of motion typography in this paper, the programming language Processing was used. Written program codes that manipulate words, letters, or parts of characters to create interesting visual effects for the viewer that aim to hold the viewer's attention and convey the desired message or emotion. There are no strict rules and patterns when making kinetic typography. In kinetic typography, each author determines his own rules, method of production, and there are no same solutions.
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MEHMETALI, Bekir. "THE SUBJECT BETWEEN SYNTAX AND SEMANTICS." In 2. IJHER-International Congress of Humanities and Educational Research. Rimar Academy, 2021. http://dx.doi.org/10.47832/ijhercongress2-8.
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The science of grammar is the basis on which the sciences of the Arabic language are based, and in which its fruits are manifested, it is the science that studies the structure and the sentence, and the single word has no value unless it is organized into a sentence or structure, and it has no useful meaning, and no eloquence if words and pictures are not combined in a useful sentence that exists on grammatical rules. The science of grammar studies the grammatical elements within the sentence, whether they are essential or preferred elements, including the subject, which is an essential pillar in the actual sentence, and has settled in the minds, and in grammatical rules that the subject is a raised noun that performs the known act or what takes its place, and by checking and scrutiny in language books it caught my attention. That the subject may not exist in the verb in terms of meaning and significance, and if it is raised, the known verb is attributed to it grammatically, and the noun may be active in the meaning and connotation despite the fact that the known verb or what took its place from a source and others are not ascribed to it grammatically, and this is a lot. This issue in this research is for the purpose of distinguishing between the grammatical subject and the semantic subject, and here lies the importance of the research, and the motive for it, based on what was mentioned in the books of the advanced and later grammarians of the Arabic language, citing the evidence they cited, analyzing them, commenting on them, and adding the Qur’an to them. Arabic poetry is old, and modern, striving as much as possible to clarify the rhetorical aspect of this issue; The research will be a modest contribution to the service of the Arabic language and scientific research, following the descriptive and analytical approaches. Key words: Grammar, Subject, Semantics, Arabic, Language.