Journal articles: 'Motion picture production code'

1

Vaughn, Stephen. "Morality and Entertainment: The Origins of the Motion Picture Production Code." Journal of American History 77, no. 1 (June 1990): 39. http://dx.doi.org/10.2307/2078638.

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Cox, Fiona. "Closet Cases: Costuming, Lesbian Identities and Desire, Hollywood Cinema and the Motion Picture Production Code." International Journal of the Image 1, no. 4 (2011): 43–56. http://dx.doi.org/10.18848/2154-8560/cgp/v01i04/44221.

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COHEN, HARVEY G. "The Struggle to Fashion the NRA Code: The Triumph of Studio Power in 1933 Hollywood." Journal of American Studies 50, no. 4 (December 28, 2015): 1039–66. http://dx.doi.org/10.1017/s002187581500122x.

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This article traces the long and antagonistic fashioning of the National Recovery Adminstration's code of practice for the film industry during 1933. The NRA code process publicly exposed resentful fissions within Hollywood, and the oligarchic, if not monopolistic, way in which the major film studios had set up their vertically integrated consolidation of the motion-picture industry in terms of production, distribution and exhibition on a national scale. A media spotlight flooded onto their soundstages and executive suites, and many, including President Franklin Roosevelt, were not pleased with what they saw. The NRA, signed into law in 1933 by Roosevelt, implemented an unprecedented reorganization of the American economy to restore employment to combat the Great Depression. Perhaps most controversially, especially for the union-averse film industry, the NRA established collective bargaining. Though they supported it initially, the major studios would not long abide by the NRA. Throughout 1933, they violated the spirit and letter of the code, ensuring as much as possible that the economic pain and sacrifice of the Great Depression in Hollywood was visited upon artists and technicians, not studio heads and executives. They used the making of the code to attempt to cement and further the advantages they enjoyed while offering little to other interests in the film industry.

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Timmer, Joel. "Restricting Portrayals of Film Violence to Reduce the Likelihood of Negative Effects in Viewers: Did the Framers of the Motion Picture Production Code Get It Right?" Journal of Popular Film and Television 39, no. 1 (March 14, 2011): 29–36. http://dx.doi.org/10.1080/01956051.2010.494186.

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Umenhoffer, Tamás, László Szécsi, and László Szirmay-Kalos. "Hatching for Motion Picture Production." Computer Graphics Forum 30, no. 2 (April 2011): 533–42. http://dx.doi.org/10.1111/j.1467-8659.2011.01878.x.

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Kennel, Glenn, John Pytlak, Richard Sehlin, and Ronald Uhlig. "Major Motion-Picture Production Standards." SMPTE Journal 97, no. 12 (December 1988): 985–90. http://dx.doi.org/10.5594/j02849.

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DeMarsh, Leroy E., Ronald R. Firth, and Richard C. Sehlin. "Scanning Requirements for Motion-Picture Post-Production." SMPTE Journal 94, no. 9 (September 1985): 921–24. http://dx.doi.org/10.5594/j03370.

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Gil, Ricard, and Pablo T. Spiller. "The Organizational Dimensions of Creativity: Motion Picture Production." California Management Review 50, no. 1 (October 2007): 243–60. http://dx.doi.org/10.2307/41166426.

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Mimaki, Yasunori, and Makoto Yamada. "Color Reproduction and Conversion for Digital Motion Picture Production." SMPTE Motion Imaging Journal 112, no. 12 (December 2003): 399–402. http://dx.doi.org/10.5594/j12344.

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Chuang, Richard, and Darwyn Peachey. "Special Issue on Computer Graphics for Motion Picture Production." Journal of Graphics Tools 9, no. 4 (January 2004): 1. http://dx.doi.org/10.1080/10867651.2004.10504897.

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Gentry, Rachel C. "Western Carolina University’s ‘‘Motion Picture and Television Production’’ Program." Film Matters 4, no. 1 (March 1, 2013): 78–79. http://dx.doi.org/10.1386/fm.4.1.78_1.

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Worley, Tracy L. F. "Using Constraint Management to Optimize Motion Picture Production Management." Project Management Journal 36, no. 4 (December 2005): 44–52. http://dx.doi.org/10.1177/875697280503600405.

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LEE, J. S., B. S. KANG, and Y. H. KIM. "Image-Dependent Code Optimization to Improve Motion Picture Quality of Plasma Displays." IEICE Transactions on Electronics E89-C, no. 10 (October 1, 2006): 1400–1405. http://dx.doi.org/10.1093/ietele/e89-c.10.1400.

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Ramesar, Yao. "Caribbeing: Cultural Imperatives and the Technology of Motion Picture Production." Caribbean Quarterly 42, no. 4 (December 1996): 19–21. http://dx.doi.org/10.1080/00086495.1996.11672088.

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Hirschman, Elizabeth C. "Resource Exchange in the Production and Distribution of a Motion Picture." Empirical Studies of the Arts 8, no. 1 (January 1990): 31–51. http://dx.doi.org/10.2190/ahpj-p6fc-y9b5-9dty.

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An independently produced motion picture was used as a case study of the resource exchange pattern underlying project-based aesthetic production systems. Several exploratory propositions resulted concerning 1) sources of processual conflict, 2) the nature of resource criticality during the production process, 3) the timing of returns on invested resources, and 4) the commercialization of aesthetic products.

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Schulz, Anne, Amelie Eder, Victor Tiberius, Samantha Casas Solorio, Manuela Fabro, and Nataliia Brehmer. "The Digitalization of Motion Picture Production and Its Value Chain Implications." Journalism and Media 2, no. 3 (July 9, 2021): 397–416. http://dx.doi.org/10.3390/journalmedia2030024.

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Technological change and development have been ongoing in the motion picture industry since its beginnings some 125 years ago. What further advancements of digitalization can be expected over the next decade and what are its implications for the industry’s value chain? To answer this question, we conducted an international two-stage Delphi study. The results suggested a more frequent use of smartphones as cameras, the emergence of full digital film sets and digital star avatars, as well as advancements in VR-based and interactive movies. The findings imply challenges for traditional players in the motion picture value chain. Production technology becomes both simpler and more complex, leading to the threat of new entrants.

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Rusinova, E. A. "Voice in the Metadiegetic Space of the Motion Picture." Journal of Flm Arts and Film Studies 9, no. 3 (September 15, 2017): 46–59. http://dx.doi.org/10.17816/vgik9346-59.

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This extension of the authors publication cycle Audiovisual Means of Creating Metadiegetic Space in Cinema (Vestnik VGIK #1(31), 2017; #2 (32), 2017) is a historical, artistical and technological survey of special sound-design techniques that make it possible to use the expressive potential of a human voice in a subjective (metadiegetic) space of the motion picture and through the voice to separate the metadiegetis from the sound realism of the diegesis of an audio-visual production.

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Owens, Mark F., and Adam D. Rennhoff. "Motion picture production incentives and filming location decisions: a discrete choice approach." Journal of Economic Geography 20, no. 3 (November 23, 2018): 679–709. http://dx.doi.org/10.1093/jeg/lby054.

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Abstract We use a discrete choice model to study the impact of tax incentives on firm location choices in situations involving heterogeneous geographic characteristics, heterogeneous firm preferences and large choice sets. We apply our model to investigate the impact of movie production incentives on filming location choices for movies produced from 1999 to 2013. We gather the characteristics of filming locations and use a machine-learning technique to define choice sets. We find production incentives can attract movies to a state, but the impact depends on the type of incentive offered, studio characteristics and inherent location geographic characteristics. Mid-sized studios respond to all forms of incentives, major studios respond only to refundable and transferable tax credits, and independent studios are not sensitive to any incentives. We fail to find strong evidence that incentives create a more permanent movie industry in a state. A counterfactual identifies the states most impacted by these policies. We supplement our discrete choice model with a simple cost-benefit analysis, which indicates that movie incentive programs are revenue-negative for states.

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Jescheniak, Jörg D., Frank Oppermann, Ansgar Hantsch, Valentin Wagner, Andreas Mädebach, and Herbert Schriefers. "Do Perceived Context Pictures Automatically Activate Their Phonological Code?" Experimental Psychology 56, no. 1 (January 2009): 56–65. http://dx.doi.org/10.1027/1618-3169.56.1.56.

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Morsella and Miozzo (Morsella, E., & Miozzo, M. (2002). Evidence for a cascade model of lexical access in speech production. Journal of Experimental Psychology: Learning, Memory, and Cognition, 28, 555–563) have reported that the to-be-ignored context pictures become phonologically activated when participants name a target picture, and took this finding as support for cascaded models of lexical retrieval in speech production. In a replication and extension of their experiment in German, we failed to obtain priming effects from context pictures phonologically related to a to-be-named target picture. By contrast, corresponding context words (i.e., the names of the respective pictures) and the same context pictures, when used in an identity condition, did reliably facilitate the naming process. This pattern calls into question the generality of the claim advanced by Morsella and Miozzo that perceptual processing of pictures in the context of a naming task automatically leads to the activation of corresponding lexical-phonological codes.

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Xu, Mengling. "Exploring the Effect of Syntactic Alignment on Chinese-English Bilinguals' Code-switched Sentence Production." International Journal of Translation, Interpretation, and Applied Linguistics 3, no. 2 (July 2021): 31–45. http://dx.doi.org/10.4018/ijtial.20210701.oa3.

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As one of the most common language phenomena in bilingual settings, code-switching has been studied widely to explore its nature and features. In the current study, the author set out to explore the effect of syntactic alignment on Chinese-English bilinguals' code-switched sentence production using a picture-describing task with a structural priming paradigm. The structural priming paradigm has been frequently used to explore the mechanisms of sentence production. The effect of syntactic alignment was observed, indicating Chinese-English bilinguals were inclined to produce code-switched sentences with the same syntactic structure between Chinese and English. The findings provide empirical evidence not only supporting structural priming during bilingual code-switched sentence production, but also extending the interactive alignment model (Pickering and Garrod, 2004) to interpret code-switching during bilingual sentence production. Implications for code-switching and bilingual sentence processing are discussed.

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Christopherson, S., and M. Storper. "The City as Studio; The World as Back Lot: The Impact of Vertical Disintegration on the Location of the Motion Picture Industry." Environment and Planning D: Society and Space 4, no. 3 (September 1986): 305–20. http://dx.doi.org/10.1068/d040305.

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Motion picture production is currently carried out by small firms under contract to an independent producer rather than in large integrated firms, the major studios. In this paper the emergence of this vertically disintegrated industry is traced and its impact on the location of the motion picture industry is analyzed. Vertical disintegration has led to a reagglomeration of motion picture employment and establishments in Los Angeles, despite the dispersal of film shooting throughout the world. The processes that are shaping the present-day organization of motion pictures can be observed across a range of industries. An examination of these processes in motion pictures suggests that their association with reagglomeration in urban centers could have an important impact on patterns of urbanization.

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Ardiyan, Ardiyan. "Video Tracking dalam Digital Compositing untuk Paska Produksi Video." Humaniora 3, no. 1 (April 30, 2012): 1. http://dx.doi.org/10.21512/humaniora.v3i1.3227.

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Video Tracking is one of the processes in video postproduction and motion picture digitally. The ability of video tracking method in the production is helpful to realize the concept of the visual. It is considered in the process of visual effects making. This paper presents how the tracking process and its benefits in visual needs, especially for video and motion picture production. Some of the things involved in the process of tracking such as failure to do so are made clear in this discussion.

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Murphy, David G. "The Entrepreneurial Role of Organized Labour in the British Columbia Motion Picture Industry." Articles 52, no. 3 (April 12, 2005): 531–52. http://dx.doi.org/10.7202/051185ar.

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Research into an industrial sector reflecting principles of the emergent "network" model of production indicates that organized labour can play a positive role in post-Fordist Systems of industrial governance. Within the dynamic motion picture industry of British Columbia (B. C), organized labour was the key organizational factor in the birth and rapid expansion of the agglomeration ofsmall, specialized film production firms which has become a competitor for the coveted title of second largest film centre, after Los Angeles, in North America. In this process, B.C. film unions have become the dominant "actors " in forging collaborative relations between local production companies, between the sector and the state, and between the district and other film centers, so critical to the success of the network model.

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Hagaman, Dianne DiPaola. "Connecting Cultures: Balinese Character and the Computer." Sociological Review 42, no. 1_suppl (May 1994): 85–102. http://dx.doi.org/10.1111/j.1467-954x.1994.tb03411.x.

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Gregory Bateson and Margaret Mead intended to use a combination of text, still photographs, and motion picture film in the report of their study of character development in Bali, but found this technically impossible. Multimedia computational devices have now made it possible to do what they could not do, making the three media (in Latour's terms) ‘combinable on a flat surface.’ We were compelled to economize on motion-picture film, and disregarding the future difficulties of exposition, we assumed that the still photography and the motion-picture film together would constitute our record of behavior. (Notes to the Photographs, in Bateson and Mead, 1942 (italics Bateson's)) If inventions are made that transform numbers, images and texts from all over the world into the same binary code inside computers, then indeed the handling, the combination, the mobility, the conservation and the display of the traces will all be fantastically facilitated. When you hear someone say that he or she ‘masters’ a question better, meaning that his or her mind had enlarged, look first for inventions bearing on the mobility, immutability or versatility of the traces; and it is only later, if by some extraordinary chance, something is still unaccounted for, that you may turn towards the mind. (Latour, 1986 (italics Latour's)).

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KOOTSTRA, GERRIT JAN, JANET G. VAN HELL, and TON DIJKSTRA. "Priming of code-switches in sentences: The role of lexical repetition, cognates, and language proficiency." Bilingualism: Language and Cognition 15, no. 4 (January 4, 2012): 797–819. http://dx.doi.org/10.1017/s136672891100068x.

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In two experiments, we tested the role of lexical repetition, cognates, and second language (L2) proficiency in the priming of code-switches, using the structural priming technique. Dutch–English bilinguals repeated a code-switched prime sentence (starting in Dutch and ending in English) and then described a target picture by means of a code-switched sentence (also from Dutch into English). Low- and high-proficient speakers of L2 English were tested in Experiments 1 and 2, respectively. We found that the participants’ tendency to switch at the same position as in the prime sentence was influenced by lexical repetition between prime sentence and target picture and by the presence of a cognate in prime and target. A combined analysis showed that these lexical effects were stronger in the high-proficient than in the low-proficient L2 speakers. These results provide new insights into how language-related and speaker-related variables influence code-switching in sentences, and extend cognitive models of lexical and combinatorial processes in bilingual sentence production.

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Paul, Alan, and Archie Kleingartner. "Flexible Production and the Transformation of Industrial Relations in the Motion Picture and Television Industry." Industrial and Labor Relations Review 47, no. 4 (July 1994): 663. http://dx.doi.org/10.2307/2524665.

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Paul, Alan, and Archie Kleingartner. "Flexible Production and the Transformation of Industrial Relations in the Motion Picture and Television Industry." ILR Review 47, no. 4 (July 1994): 663–78. http://dx.doi.org/10.1177/001979399404700410.

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The authors trace the development of the motion picture and television production industry's three-tier compensation scheme, showing how incremental solutions to unanticipated problems broadly transformed labor relations by changing key institutional relationships. This example, they argue, demonstrates that a fundamental transformation in the union-employer relationship need not originate in high-level strategic planning, and may represent hope for the survival of collective bargaining in other industries.

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Andriano-Moore, Stephen. "The Motion Picture Editors Guild Treatment of the Film Sound Membership: Enforcing Status Quo for Hollywood’s Post-Production Sound Craft." Labor Studies Journal 45, no. 3 (April 4, 2020): 273–95. http://dx.doi.org/10.1177/0160449x20912337.

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The Motion Picture Editors Guild (MPEG) is the labor union representing post-production workers in the Hollywood motion picture industry, including seven sound craft classifications. The sound craft has low status within the hierarchical structure of the Hollywood film industry in comparison to other filmmaking crafts. This article evaluates the workings of the MPEG in concerns with the sound craft and status within the industry through a thirty-plus year review of their professional journal, website, sound practitioner discourse, and other industrial documents. The article argues that the union does not sufficiently protect sound practitioners from employer exploitation, contributes to the alienation of sound practitioners from their work, and constraints the level of and recognition for creative contributions. These actions are seen as perpetuating the low status of sound practitioners and the sound craft, which weakens the power of the union.

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Trotto, Paul A., and Robert J. Tracy. "The Effect of Implied Motion on the Recall of Interactive Pictures." Imagination, Cognition and Personality 13, no. 3 (March 1994): 249–58. http://dx.doi.org/10.2190/xmb4-47dd-ceth-xuh9.

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The literature has customarily defined interaction between pictured objects in two ways. First, interaction has been defined as simply a conjoined union or physical touching of objects within a given picture scene. The second definition portrays interaction as predetermined action or implied motion between the pictured objects. Researchers typically assume these two modes of defining interaction as essentially equivalent. Generally stated, the purpose of this study was to uncover the effect that implied motion has on the processing of visual information. A factorial design was conducted with dependent variables being imageability, nameability, and recall of pictured objects. Independent variables were implied motion and viewing time. Results showed that implied motion pictures presented at a short viewing time were more nameable and better recalled than stationary pictures presented at a short viewing time. But when subjects were given more time to view visual information, implied motion and stationary pictures were equally nameable and recalled. The results indicate that when visual information is presented for a sufficiently short time, implied motion heightens the availability of a verbal code.

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Curtin, Michael. "What makes them willing collaborators? The global context of Chinese motion picture co-productions." Media International Australia 159, no. 1 (May 2016): 63–72. http://dx.doi.org/10.1177/1329878x16638938.

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Market access is becoming the single most significant factor affecting collaborations between Hollywood feature film producers and their Chinese partners. The current import quota system approves only 34 films each year, which are then distributed by the state-run China Film Group, which also controls the release date for each title. The best way for a foreign filmmaker to manage these uncertainties is to fashion a co-production deal with a mainland counterpart, such as Dalian Wanda Group, which is now nearing completion of a huge studio complex in Qingdao, a project that has been greeted sceptically by industry critics. This essay assesses the ambitious logic behind this project, situating it in the broader context of the globally networked production infrastructure that has emerged over the past 20 years, one that generally favours Hollywood producers at the expense of local partners. It illustrates why the Wanda studio may in fact succeed and why foreign producers are growing ever more willing to collaborate with Chinese partners.

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McGettigan, T. "Reflections in an Unblinking Eye: Negotiating Identity in the Production of a Documentary." Sociological Research Online 3, no. 1 (March 1998): 17–28. http://dx.doi.org/10.5153/sro.148.

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The presence of a motion picture documentary team during a Green Tortoise adventure trip created a variety of unique opportunities to evaluate the construction of identity in a postmodern, ‘cinematic society’ (Denzin, 1995). While, the ‘gaze’ (Nichols, 1991) of cameras often participated directly in the production of ‘spectacular’ events, the ‘simulating’ (Baudrillard, 1988, 1994) gaze of the cameras also served as a ‘reflexive mechanism’ through which to expose cinematic influences that construct contemporary reality.

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Léger, Pierre, and Angelo Romano. "Seismic analysis of short-period structures subjected to the 1988 Saguenay earthquake." Canadian Journal of Civil Engineering 19, no. 3 (June 1, 1992): 510–20. http://dx.doi.org/10.1139/l92-060.

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This paper presents elastic and inelastic response spectra of strong motion accelerograms recorded during the 1988 Saguenay earthquake. Comparisons are made with the National Building Code of Canada (NBC) 1990 lateral forces requirements for the seismic resistant design of short-period structures. The use of a period-dependent force modification factor is proposed to take advantage of the energy dissipation capacity of short-period structures on a more rational basis. The seismic response of a typical low-rise steel building designed according to the NBC 1990 and CAN3-S16.1-M89 is then investigated. It is shown that to obtain a realistic picture of the ductility demand of low-rise buildings, the structural overstrength, that is, the supplied strength in excess of the seismic design base shear, should be explicitly considered in the design process. Key words: seismic design, earthquake, low-rise structures, code.

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FAIRCHILD, SARAH, and JANET G. VAN HELL. "Determiner-noun code-switching in Spanish heritage speakers." Bilingualism: Language and Cognition 20, no. 1 (September 9, 2015): 150–61. http://dx.doi.org/10.1017/s1366728915000619.

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Code-switching is prevalent in bilingual speech, and follows specific syntactic constraints. Several theories have been proposed to explain these constraints, and in this paper we focus on the Minimalist Program and the Matrix Language Frame model. Using a determiner-noun picture naming paradigm, we tested the ability of these theories to explain determiner-noun code-switches in Spanish–English bilinguals. The Minimalist Program predicts that speakers will use the determiner from the gendered language, whereas the Matrix Language Frame model predicts that the determiner will come from the language that dominates the syntactic structure in a code-switched utterance. We observed that the bilinguals had slowest naming times and decreased accuracy in Spanish determiner - English noun conditions (‘el dog’), and that adding a Matrix Language did not modulate this pattern. Although our results do not align with either theory, we conclude that they can be explained by the WEAVER++ model of speech production.

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Christopherson, Susan, and Michael Storper. "The Effects of Flexible Specialization on Industrial Politics and the Labor Market: The Motion Picture Industry." ILR Review 42, no. 3 (April 1989): 331–47. http://dx.doi.org/10.1177/001979398904200301.

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The authors, citing historical and statistical evidence spanning three decades, examine how the transition to flexibly specialized production organization in the motion picture industry has changed the distribution of work and wages and the definition of skills. One important result of that process has been the emergence of a new form of intra-occupational labor market segmentation, based much less on differences in hourly wage rates than on differential access to hours of work. Also, the reorganization of the production process has altered the relative bargaining power of employers and workers and of different groups within the industry work force, resulting in increased conflict among segments of the work force and a strengthening of employers' bargaining power vis-à-vis industry unions.

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Hardin, J. C., and S. L. Lamkin. "An Euler Code Calculation of Blade-Vortex Interaction Noise." Journal of Vibration and Acoustics 109, no. 1 (January 1, 1987): 29–36. http://dx.doi.org/10.1115/1.3269391.

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An Euler code has been developed for calculation of noise radiation due to the interaction of a distributed vortex with a Joukowski airfoil. The time-dependent incompressible flow field is first determined and then integrated to yield the resulting sound production through use of the elegant low-frequency Green’s function approach. This code has several interesting numerical features involved in the vortex motion and in continuous satisfaction of the Kutta condition. In addition, it removes the limitations on Reynolds number and is much more efficient than an earlier Navier-Stokes code. Results indicate that the noise production is due to the deceleration and subsequent acceleration of the vortex as it approaches and passes the airfoil. Predicted acoustic levels and frequencies agree with measured data although a precise comparison would require the strength, size, and position of the incoming vortex to be known.

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Labosier, James. "From the Kinetoscope to the Nickelodeon: Motion Picture Presentation and Production in Portland, Oregon from 1894 to 1906." Film History: An International Journal 16, no. 3 (September 2004): 286–323. http://dx.doi.org/10.2979/fil.2004.16.3.286.

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Field, Allyson Nadia. "John Henry Goes to Carnegie Hall: Motion Picture Production at Southern Black Agricultural and Industrial Institutes (1909–13)." Journal of Popular Film and Television 37, no. 3 (November 16, 2009): 106–15. http://dx.doi.org/10.1080/01956050903218075.

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Smith, Jeffery A. "Hollywood Theology: The Commodification of Religion in Twentieth-Century Films." Religion and American Culture: A Journal of Interpretation 11, no. 2 (2001): 191–231. http://dx.doi.org/10.1525/rac.2001.11.2.191.

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A motion picture is a product formed by the intricate inter-play of film industry forces and cultural expectations. Hollywood must attract audiences and audiences crave gratification or, perhaps, edification. Movies with religious themes can deal with momentous issues, but take the risk of affronting deeply held beliefs. Problems naturally arise when matters as sensitive and speculative as the activity of the Creator and the role of the created become entertainment marketed to mass audiences. Technicolor scenery, special effects, celebrity actors, spiced-up scripts, and other big-screen production values may seem disrespectful or may divert attention away from serious reflection. Critics of consumer society have pointed to the manipulation, superficiality, and commercialization found in mass media environments and film scholars have evaluated movies with religious topics, but questions remain about cinematic treatments of ultimate meaning. The motion picture industry's customers have a multitude of spiritual perspectives.

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Goltsman, Maria. "Об общих графических закономерностях восприятия живописи и балета: мнемоническая форма танца [On some graphic regularities of perception in painting and dance: Mnemonic form of dance]." Sign Systems Studies 31, no. 2 (December 31, 2003): 393–419. http://dx.doi.org/10.12697/sss.2003.31.2.05.

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On some graphic regularities of perception in painting and dance: Mnemonic form of dance. The present article handles some problems of the mechanisms of visual perception in painting and classical ballet. It proceeds from the assumption that the interaction between those arts is based on the similarity of their formal languages. The main attention focuses on the questions of how and why does the classical ballet use the code of painting? The interaction between pictorial art and ballet occurs through the theatre, which is considered to be a picture coming alive in European tradition. This principle is taken here as a main method of analysis of ballet art and it is used in two ways. The first handles a problem of composition of a ballet as a theatrical performance. The second analyses the movement itself — the language of the choreography as such. The last part of the article contains the answer to the question — why does the ballet need such aspects of pictorial code as frontal composition of a picture coming alive, memory photo, multiplication of the similar images and repeating movements. Dance is dynamic, picture is stable. To represent a movement, the painting uses the rhythm and visual repeating of lines and contours. It helps to construct an illusion of motion and brings the temporal aspect into a static piece of art. Whereas different stops, poses and fixations in ballet help it to visualize the movement, to capture the space. This is one of the ways for ballet to leave its trace in space as much as in the memory of the spectators, to become fixed in space, to prevent the dispersion of dance in the thin air and to surmount in such a way the ephemera characteristic of it.

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Scott, Allen J., and Naomi E. Pope. "Hollywood, Vancouver, and the World: Employment Relocation and the Emergence of Satellite Production Centers in the Motion-Picture Industry." Environment and Planning A: Economy and Space 39, no. 6 (June 2007): 1364–81. http://dx.doi.org/10.1068/a38215.

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Alyunina, Yulia M., and Olga V. Nagel. "The Influence of Modern English Loanwords on the Verbal Code of Russian Culture." Russian Journal of Linguistics 24, no. 1 (December 15, 2020): 176–96. http://dx.doi.org/10.22363/2687-0088-2020-24-1-176-196.

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The aim of the article is to introduce the authors’ perspective on how English loanwords are changing the structure and the content of the verbal code of Russian culture and the Russian linguistic pictures of the world, as well as on how the latter might change the former. Having used the continuous sampling method, observation method, and synchronic-diachronic approach (lexical semantic analysis, comparative semantic analysis, morphological and quantitative analysis), the authors have allocated and analyzed 487 loanwords, which led to the introduction of three distinguished types of interaction between the verbal code of the Russian language and foreign loanwords. The first interaction type is the process whereby the loanwords adapt semantically to the rules of the host language and culture, which leads to the complete change of a loanword meaning or its modification (15 words). The second interaction type is connected with the loanwords bringing new concepts to a host language and indicating borrowed ideas and objects (270 words). The differentiation of these two interaction types is based on the results of a synchronic and diachronic study of the loanwords in Russian. The analyzed interaction types are linked to the changes in the host language’s verbal code. A concept of a “hybrid linguistic picture of the world” is being introduced as the one constituting the third interaction type (201 words). According to the authors, the hybrid linguistic picture of the world is developing at the current stage of the Russian language and is caused by the process of the morphological adaptation of English loanwords, which is manifested in the production of hybrid words and Russian words being actively substituted by English borrowings.

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S, Gautham, Maddula Abhijit, and Prof Sahana B. "Deployment of Applications Using Nginx Ingress Controller." Journal of University of Shanghai for Science and Technology 23, no. 07 (July 6, 2021): 352–57. http://dx.doi.org/10.51201/jusst/21/05345.

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Cloud computing is a method of storing and manipulating data by utilizing a network of remote servers. Cloud computing is becoming increasingly popular owing to its large storage capacity, ease of access, and wide range of services. Virtualization entered the picture when cloud computing progressed, and technologies or software such as virtual machines emerged. However, when customers’ computational needs for storage and servers rose, virtual machines were unable to meet those expectations owing to scalability and resource allocation limitations. As a result, containerization came into the picture. Containerization refers to the packaging of software code together with all of its necessary elements such as frameworks, libraries, and other dependencies such that they are isolated or segregated in their own container. Kubernetes used as an orchestration tool implements an ingress controller to route external traffic to deployments running on pods via ingress resource. This enables effective traffic management among the running applications avoiding unwanted blackouts in the production environment.

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Chen, Man, Xiaomin Han, Xinguo Zhang, and Feng Wang. "The business model of Chinese movies." Journal of Contemporary Marketing Science 2, no. 3 (December 17, 2019): 246–61. http://dx.doi.org/10.1108/jcmars-02-2019-0015.

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Purpose The motion picture industry is a cultural and creative industry. Unlike its US counterpart, the Chinese motion picture industry is still developing. Therefore, learning from the US market, the purpose of this paper is to analyze the business model of Chinese movies from the perspective of new product diffusion. Design/methodology/approach Based on 66 movies released in the US and 21 movies released in China, this paper first compares the diffusion curves of Chinese and US movies through the movie life cycle and box office trends. Next, it analyzes the moviegoing behaviors of Chinese and US audiences based on the innovation and imitation coefficients in the Bass model. Finally, it compares the attention to information of Chinese and US audiences from the perspective of interpersonal word-of-mouth (WOM). Findings In the USA, a movie’s highest weekly box office is usually in its opening week, followed by a weekly decline in revenue; in China, there is no difference in box office performance between the first two weeks, but a weekly decline in revenue similarly follows. US audiences pay more attention to advertisements for movies than WOM recommendations, while Chinese people pay more attention to WOM recommendations. Neither the Chinese nor the US market differs in the volume of WOM between the first week before release and the opening week, and these two weeks are the most active period of WOM in both markets. Practical implications During the production phase for Chinese movies, we should satisfy opinion leaders’ needs. During the distribution phase, we should not only focus on market spending before the movie’s release, but also increase market spending in the opening week. During the theater release phase, we should stimulate WOM communication between moviegoers and thereby attract many more opinion seekers. Originality/value Few studies have investigated the Chinese motion picture industry from the perspective of new products. This paper compares and analyzes the diffusion of Chinese and US movies using the Bass model of new product diffusion, providing systematic theoretical guidelines for the commercial operation of the Chinese motion picture industry.

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Basilowski, M., B. Schönfeld, S. Esser, A. Jatho, M. Kownatka, J. Signerski-Krieger, H. Esselmann, et al. "From Bones to Brain: 50 Years of Star Trek and Changes in the Stigmatization of Psychological Disorders." Current Psychology 39, no. 5 (May 19, 2018): 1705–14. http://dx.doi.org/10.1007/s12144-018-9868-9.

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Abstract The Star Trek franchise currently includes five spin-off series and 13 motion pictures. Star Trek’s central theme is the utopian future of mankind, but the series does not disregard issues that were socially relevant for its time of production. Therefore, Star Trek has functioned as a representation of history throughout its 50-year lifespan. This paper conducts a comparative analysis of fictional representations of psychological disorders and corresponding treatments to retrace the cultural changes in the portrayal and treatment of psychological disorders from the 1960s to the turn of the millennium. Video material produced between 1966 and 1999 was analysed with a focus on psychological disorders and coded according to the ICD-10. The results of the quantitative analysis indicate that the different Star Trek series demonstrate similar patterns of percentage distributions for psychological disorders. The qualitative analysis shows that psychological disorders were portrayed and treated in an increasingly realistic fashion. Changes in society’s attitude towards psychological disorders can be comprehensively illustrated through Star Trek episodes produced through 1999. Psychological phenomena are increasingly destigmatized, and the necessity of treatment has not been disregarded.

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Emmorey, Karen, Stephen McCullough, Sonya Mehta, Laura L. B. Ponto, and Thomas J. Grabowski. "The Biology of Linguistic Expression Impacts Neural Correlates for Spatial Language." Journal of Cognitive Neuroscience 25, no. 4 (April 2013): 517–33. http://dx.doi.org/10.1162/jocn_a_00339.

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Biological differences between signed and spoken languages may be most evident in the expression of spatial information. PET was used to investigate the neural substrates supporting the production of spatial language in American Sign Language as expressed by classifier constructions, in which handshape indicates object type and the location/motion of the hand iconically depicts the location/motion of a referent object. Deaf native signers performed a picture description task in which they overtly named objects or produced classifier constructions that varied in location, motion, or object type. In contrast to the expression of location and motion, the production of both lexical signs and object type classifier morphemes engaged left inferior frontal cortex and left inferior temporal cortex, supporting the hypothesis that unlike the location and motion components of a classifier construction, classifier handshapes are categorical morphemes that are retrieved via left hemisphere language regions. In addition, lexical signs engaged the anterior temporal lobes to a greater extent than classifier constructions, which we suggest reflects increased semantic processing required to name individual objects compared with simply indicating the type of object. Both location and motion classifier constructions engaged bilateral superior parietal cortex, with some evidence that the expression of static locations differentially engaged the left intraparietal sulcus. We argue that bilateral parietal activation reflects the biological underpinnings of sign language. To express spatial information, signers must transform visual–spatial representations into a body-centered reference frame and reach toward target locations within signing space.

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KIM, SANG PYO. "QUANTUM DYNAMICS FOR DE SITTER RADIATION." International Journal of Modern Physics: Conference Series 10 (January 2012): 43–54. http://dx.doi.org/10.1142/s2010194512005740.

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We revisit the Hamiltonian formalism for a massive scalar field and study the particle production in a de Sitter space. In the invariant-operator picture the time-dependent annihilation and creation operators are constructed in terms of a complex solution to the classical equation of motion for the field and the Gaussian wave function for each Fourier mode is found which is an exact solution to the Schrödinger equation. The in-out formalism is reformulated by the annihilation and creation operators and the Gaussian wave functions. The de Sitter radiation from the in-out formalism differs from the Gibbons-Hawking radiation in the planar coordinates, and we discuss the discrepancy of the particle production by the two methods.

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Faccioli, Ezio, and Manuela Villani. "Seismic Hazard Mapping for Italy in Terms of Broadband Displacement Response Spectra." Earthquake Spectra 25, no. 3 (August 2009): 515–39. http://dx.doi.org/10.1193/1.3159004.

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A new representation of seismic hazard is proposed for Italy based on displacement elastic response spectra in a vibration period range that extends from [Formula: see text]. This relies on an available seismotectonic zonation and earthquake catalogue, but makes use of a set of very recent, expressly developed attenuation relations. The long period picture of ground motion hazard is illustrated vis-à-vis the conventional one based on ground acceleration, and the feasibility of simple approximations of the displacement spectra, useful for design purposes, is shown. We give some foresight on the differences to be expected in hazard maps resulting from the use of a predominantly fault-based seismic source model, as opposed to the more conventional model that includes only spatially extended zones. Finally, we highlight the different hazard exposure of different regions depending on whether we represent hazard with a long or a short period parameter and we discuss the adequacy of recent code provisions regarding elastic displacement spectra.

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Thom, Michael. "Do State Corporate Tax Incentives Create Jobs? Quasi-experimental Evidence from the Entertainment Industry." State and Local Government Review 51, no. 2 (June 2019): 92–103. http://dx.doi.org/10.1177/0160323x19877232.

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Policy makers allocate billions of dollars each year to tax incentives that increasingly favor creative industries. This study scrutinizes that approach by examining motion picture incentive programs used in over thirty states to encourage film and television production. It uses a quasi-experimental strategy to determine whether those programs have contributed to employment growth. Results mostly show no statistically significant effects. Results also indicate that domestic employment is unaffected by competing incentives offered outside the United States. These findings are robust to several alternative models and should lead policy makers to question the wisdom of targeted incentives conferred on creative industries.

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Stephan, Franziska, Henrik Saalbach, and Sonja Rossi. "The Brain Differentially Prepares Inner and Overt Speech Production: Electrophysiological and Vascular Evidence." Brain Sciences 10, no. 3 (March 4, 2020): 148. http://dx.doi.org/10.3390/brainsci10030148.

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Speech production not only relies on spoken (overt speech) but also on silent output (inner speech). Little is known about whether inner and overt speech are processed differently and which neural mechanisms are involved. By simultaneously applying electroencephalography (EEG) and functional near-infrared spectroscopy (fNIRS), we tried to disentangle executive control from motor and linguistic processes. A preparation phase was introduced additionally to the examination of overt and inner speech directly during naming (i.e., speech execution). Participants completed a picture-naming paradigm in which the pure preparation phase of a subsequent speech production and the actual speech execution phase could be differentiated. fNIRS results revealed a larger activation for overt rather than inner speech at bilateral prefrontal to parietal regions during the preparation and at bilateral temporal regions during the execution phase. EEG results showed a larger negativity for inner compared to overt speech between 200 and 500 ms during the preparation phase and between 300 and 500 ms during the execution phase. Findings of the preparation phase indicated that differences between inner and overt speech are not exclusively driven by specific linguistic and motor processes but also impacted by inhibitory mechanisms. Results of the execution phase suggest that inhibitory processes operate during phonological code retrieval and encoding.

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Workman, Alec. "Ready for a Close-Up: The Effect of Tax Incentives on Film Production in California." Economic Development Quarterly 35, no. 2 (March 16, 2021): 125–40. http://dx.doi.org/10.1177/08912424211000127.

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Do motion picture incentives nudge productions to film in an adopting state, increase budgets, or hire more cast and filmmakers? Or do they simply subsidize productions that would have occurred regardless? Using California’s Film and Television Tax Credit Program, the author exploits incentives given out by lottery to answer these questions. The author finds that 19% of films would have filmed in California even without a tax incentive, but that the offering of an incentive increased the probability of a film being made in California by 16 percentage points. Both production budgets and the number of cast and filmmakers increased in response to the offering of a tax incentive, and, in California specifically, they increased budget spent by 267% and the number of cast and filmmakers hired by 123%. The program also had differential impacts based on film type, with only nonindependents increasing budgets and the number of cast and filmmakers in California.

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Journal articles on the topic 'Motion picture production code'

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