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Relevant bibliographies by topics / Motion pictures and war

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Academic literature on the topic 'Motion pictures and war'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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Journal articles on the topic "Motion pictures and war"

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Schwester, Richard W. "Tenets of Public Management and the World War II Mot ion Picture Genre." Public Voices 11, no. 1 (December 8, 2016): 41. http://dx.doi.org/10.22140/pv.100.

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The motion picture as an artistic medium amplifies emotions through the combination of imagery and sound. This medium has proven ideal for chronicling the American World War II experience. The World War II film genre has portrayed the American combat soldier as heroic and resourceful (Suid 2002). These portrayals of actions and leadership on the battlefield are, to some measure, applicable to contemporary public management. This paper examines select World War II motion pictures in the context of the following questions: (1) what tenets do these motion pictures convey and (2) to what extent do these tenets apply topublic management? Patton (1970), Saving Private Ryan (1998), and The Great Escape (1963) are examined

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LEFF, LEONARD J. "What in the World interests Women? Hollywood, Postwar America, and Johnny Belinda." Journal of American Studies 31, no. 3 (December 1997): 385–405. http://dx.doi.org/10.1017/s0021875897005744.

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During World War II, when the Office of War Information urged the American film companies to help the nation win the war, the OWI's Bureau of Motion Pictures delivered both moral support and guidance. The BMP “Manual” (1942), for instance, encouraged producers to show women dropping off their children at day-care centers, then cheerfully heading off to jobs where they enjoyed equal opportunity and equal pay. Scenes like those may have been fantasy, and for some women wryly amusing, and yet, in the late 1940s and beyond, as one historian says, World War II came to be thought of as “the best war ever,” the war, according to myth, where there were no tensions over class, or race, or gender.

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Quadrio, Carolyn. "Book Review: The War Zone (Motion Picture)." Australian & New Zealand Journal of Psychiatry 34, no. 6 (December 2000): 1039–40. http://dx.doi.org/10.1080/000486700289.

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DeBauche, Leslie Midkiff, Peter C. Rollins, and John E. O'Connor. "Hollywood's World War I: Motion Picture Images." Journal of American History 85, no. 4 (March 1999): 1636. http://dx.doi.org/10.2307/2568366.

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Laderman, Scott. "Hollywood's Vietnam, 1929––1964: Scripting Intervention, Spotlighting Injustice." Pacific Historical Review 78, no. 4 (November 1, 2009): 578–607. http://dx.doi.org/10.1525/phr.2009.78.4.578.

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Before 1965 and the introduction of the .rst of.cial American combat troops, the political unrest and revolutionary insurgency in Vietnam had already appeared in nearly a dozen Hollywood .lms. Yet while the anti-communist politics of these productions was predictable, it would be a mistake to view them as mere vehicles for Cold War propaganda. Although they served that obvious function, early American filmmakers who set their pictures in Vietnam also constructed the area as a childlike place in need of U.S. tutelage and instruction. At the same time, Vietnam became, by the 1950s, ironically transformed into a site of contestation over American values, especially with respect to race and gender. Drawing on rare prints of these early motion pictures, as well as numerous archival documents, this article spotlights the Indochinese conflict that was screened in the decades before Hollywood, in the 1970s and 1980s, began to perhaps forever reimage the war in American memory.

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Nangimah, Musrifatun. "The cultural repertoire of recontextualized superhero in the Avengers sequels." EduLite: Journal of English Education, Literature and Culture 6, no. 2 (August 31, 2021): 353. http://dx.doi.org/10.30659/e.6.2.353-368.

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This research presents content analysis to the cultural repertoire of Marvel Cinematic Universe�s superhero motion pictures. It investigates the content, theme, and core ideas of Avengers sequels: The Avengers (2012), Avengers: Age of Ultron (2015), Avengers: Infinity War (2018), and Avengers: Endgame (2019). It explores how the Avengers sequels portrays recontextualization of superhero characters and whether as well as to what extent it provides US cultural monomyth. The finding shows that each character of the Avengers has flaws and vulnerabilities as common human beings that leave them from traditional superhero monomyth. Nevertheless, it still illustrates US cultural imperialism, pharmakon portrayal, hegemonic masculinity, and sovereignty. These motion pictures still serve US heroism and patriotism interest as well as binary interplay: order-chaos, law-violence and villain-superhero that occurs among superheroes, extra-terrestrial race, robots and Titans despite its recontextualized characters. Moreover, it depicts the traditional masculine ideal valorisation where men are more likely powerful, intelligent, and equipped by sophisticated technology whereas women are seen as supportive superheroes with implied beauty standards. The recommendation for future research is discussed.

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Vukoder, Bret. "Screening sovereignty: Cold War mediations of nationhood in USIA motion picture operations in the SWANA region." Journal of Contemporary Iraq & the Arab World 18, no. 1 (March 1, 2024): 23–45. http://dx.doi.org/10.1386/jciaw_00118_1.

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This article explores how visible constructions and perceptions of sovereignty in the motion pictures of the United States Information Agency (USIA) factored into the dynamics of US Cold War foreign policy amidst the rise of the Non-Aligned Movement. Specifically, it focuses on agency films about and circulating within the Southwest Asian and North African (SWANA) region – such as the locally produced Iraq al-Youm newsreels (c.1956–58). By mapping the different policy contexts of the Eisenhower and Kennedy administrations onto the USIA films’ aesthetics and themes, the article illustrates continuities in the United States’s attempts to expressively leverage images and evocations of sovereignty to sell and consolidate its policy interests in the region.

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Dischl, Jonas. ""Nuit et brouillard" – Die erinnerungskulturelle Gedächtnismaschine. Ein Blick auf Alain Resnais' Meisterwerk." Didactica Historica 3, no. 1 (2017): 47–51. http://dx.doi.org/10.33055/didacticahistorica.2017.003.01.47.

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he documentary film Nuit et brouillard of the year 1955 is a masterpiece. Ten years after the end of World War II, Alain Resnais (1922‒2014) created a striking documentary about the NS regime’s policy of extermination. The movie had a lasting impact on the visual commemorative culture of the Shoa. Numerous iconographic illustrations of the Shoa are based on this documentary. Hence, later documentaries and motion pictures borrowed heavily from the imagery of Nuit et brouillard. This paper focuses on the history of reception of Nuit et brouillard and outlines one possible application for history lessons at secondary levels I and II.

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Bowers, Lauren. "The “Devil-May-Care Song of the Leathernecks”: A HISTORY OF THE “MARINES’ HYMN,” 1920–47." Marine Corps History 7, no. 2 (December 27, 2021): 36–53. http://dx.doi.org/10.35318/mch.2021070203.

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From 1920 to 1947, the “Marines’ Hymn” was a familiar sound over the radio waves and in motion pictures. Beyond its popular appeal, however, the hymn was scrutinized by Marine Corps leadership under the reforms of Major General Commandant John A. Lejeune, subjected to a prolonged ownership dispute, updated during a world war, and given an official birthday. This article continues the author’s research on the topic and examines these important milestones in the history of the “Marines’ Hymn” and the conflicts that arose as Marine Corps leadership attempted to maintain and promote one dignified official version that would foster a positive public image for the increasingly professional Corps.

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Putri, Nurul Perdana, and Hadi Gunawan Sakti. "Pengaruh Pemanfaatan Media Tutorial Berbentuk Film Motion Pictures Terhadap Motivasi Belajar Siswa." Jurnal Teknologi Pendidikan : Jurnal Penelitian dan Pengembangan Pembelajaran 6, no. 1 (April 14, 2021): 114. http://dx.doi.org/10.33394/jtp.v6i1.3617.

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The purpose of this study was to determine the effect of using tutorial media in the form of motion pictures on student motivation in class X ICT subjects at MA Darul Qur'an Wal Hadits. This research method using experiment. The population in this study were all students of class X at MA Darul Qur'an Wal Hadits 101 with a sample of 30 students. Data collection techniques in this study used a documentation questionnaire, observation and interviews. The data analysis technique used the t-test. From the research results obtained t-test of 3.481 with a significance level of 5% and d.b N-1 = (30-1 = 29) of 2.045. This shows that Ho is rejected and Ha is accepted, so it is concluded that there is an effect of the use of tutuorial media in the form of motion pictures on students' learning motivation in the X grade typology subject at MA Darul Qur'an Wal Hadits.

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Dissertations / Theses on the topic "Motion pictures and war"

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McDiarmid, Tracy. "Imagining the war /." Connect to this title, 2005. http://theses.library.uwa.edu.au/adt-WU2006.0054.

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Ferguson, Laura Elizabeth. "Kicking the Vietnam syndrome? : collective memory of the Vietnam War in fictional American cinema following the 1991 Gulf War." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2672/.

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This thesis analyses the concept of the “Vietnam Syndrome” and its continuing manifestation in fictional American films produced after the 1991 Gulf War, with reference to depictions of the Vietnam, Gulf and Iraq Wars. Based on contemporary press reports as source material and critical analysis, it identifies the “Vietnam Syndrome” as a flexible and altering national psychological issue characterised initially as a simple aversion to military engagement, but which grew to include collective feelings of shame, guilt and a desire to rewrite history. The thesis argues that the “Syndrome” was not quashed by the victory of the Gulf War in 1991, as had been speculated at the time. Rather, the thesis argues that it was only temporarily displaced and continues to be an ingrained feature of the collective American psyche in current times. The argument is based on theories of collective memory, according to which social attitudes are expressed in cultural products such as films. The relationships between memory and history, and between memory and national identity are explored as two highly relevant branches of collective memory research. The first of these combines the theories of Bodnar (1992), Sturken (1997), Winter and Sivan (1999) and Wertsch (2002), among others, to define memory’s relationship with history and position in the present. The discussion of the relationship between memory and national identity describes the process by which memory is adopted into the national collective, based on the research of Schudson (1992) and Hall (1999). Consideration is given to the alternative theories of Comolli and Narboni (1992 [1969]), Hobsbawm and Ranger (1983) and Miller (2005) that propose a unified representation from a dominant ideology and of The Popular Memory Group (1982) who argue a counter-hegemonic popular memory. The thesis argues that both are insufficient to account for public memory, establishing a multi-sourced collective memory as the basis for its arguments, as described by Hynes (1999) and Wertsch (2002). Successive chapters provide a close analysis of films in relation to the “Vietnam Syndrome”. Each of the films shows the different approaches to the conflicts and ways the “Vietnam Syndrome” manifests itself. Chapter 3 provides a summary of Vietnam War films released prior to the main period focused upon in this thesis, in order to contextualise the post-Gulf War texts. Chapter 4 analyses Heaven and Earth (1993, Dir. Oliver Stone) as a revolutionary depiction of the Vietnam War from a Vietnamese depiction. Chapter 5 discusses The War (1994, Dir. Jon Avnet) as a late revisionist text. The focus of Chapter 6 is Apocalypse Now Redux (2001, Dir. Francis Ford Coppola), a revision of a vision, in which the additional scenes are analysed for their contribution to this later, more reflective version of the 1970s text Apocalypse Now. The last Vietnam film analysed, We Were Soldiers (2002, Dir. Randall Wallace), is the subject of Chapter 7 and is discussed with reference to post-September 11 American society and the dormant period of the “Vietnam Syndrome.” Chapter 8 brings the previous Vietnam War film analysis chapters together to form intermediate conclusions prior to the progression to Gulf War films. Chapter 9 provides a break in the film analysis chapters to consider the press coverage of the Gulf War, compared to that of Vietnam, paving the way for the following discussion of Gulf War films. Press coverage of the Gulf War influences the visual depiction of the Gulf War in both Three Kings (1999, Dir. David O’Russell) in Chapter 10 and Jarhead (2005, Dir. Sam Mendes) in Chapter 11. The reading of Three Kings also analyses the narrative as a metaphor for American concerns over the American-led coalition’s conduct during the conflict, while Chapter 11 argues the use of Vietnam War films as media templates (Kitzinger, 2000) in Jarhead. Finally, Chapter 13 brings the film analysis to a close by discussing the early representations of the Iraq War that have emerged in recent years, including: American Soldiers: A Day in Iraq (2005, Dir. Sidney J. Furie), Home of The Brave (2006, Dir. Irwin Winkler), Stop-Loss (2008, Dir. Kimberley Peirce), Lions For Lambs (2007, Dir. Robert Redford) Redacted (2008, Dir. Brian de Palma) and The Hurt Locker (2008, Dir. Kathryn Bigelow). The main, but not exclusive, features typifying the “Vietnam Syndrome” expressed through the films include: a reluctance to engage in or support foreign military intervention; use of “good war” and “bad war” discourse; signs of a collective national trauma of defeat; expressions of guilt for the consequences of American actions and failings of policy; attempts to restore the national self-image. This thesis concludes that the “Vietnam Syndrome” is still relevant to American society and that it is expressed through films in a variety of ways. It argues that the Vietnam War and the “Vietnam Syndrome” have become frames of reference for the discussion and representation of conflict and that the American collective psyche suffers a mixture of syndromes, some mutually enforcing and some contradictory, that are triggered by a variety of circumstances. The “Vietnam Syndrome” is identified as the most prolific of these and through its construction and circulation in media products, including cinema, this thesis argues it has become an umbrella term for the remnants of angst over Vietnam and new concerns over other conflicts.

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Nguyen, Nguyet 1980. "Representation of Vietnam in Vietnamese and U.S. War Films: A Comparative Semiotic Study of Canh Dong Hoang and Apocalypse Now." Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/10635.

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xii, 125 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
This comparative semiotic study aims to examine and critically compare the portrayal of the Vietnam War in two award-winning films, one Vietnamese and the other American, both made in 1979: Canh Dong Hoang (The Wild Rice Field) and Apocalypse Now. This study employs semiology to examine the two films in the framework of postcolonial, ideology and hegemony theories to critically compare similarities and differences in the two films' portrayal of "the enemy," nationalism and individualism, and women, in order to understand how dominant perspectives of the times are reflected, reinforced, and challenged. In Apocalypse Now, the "other" is faceless, which reflects an imperialistic standpoint toward the Vietnamese people; nationalism is promoted by calling on individual suffering and sympathy; and women are diminished. Canh Dong Hoang gives "the enemy" a more balanced depiction; nationalism is woven naturally with individualism; and the women in the film play a much more significant role.
Committee in Charge: Dr. H. Leslie Steeves, Chair; Dr. Pat Curtin; Dr. Gabriela Martinez

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Gonzalez, Felix M. Kendrick James. ""What's the matter with bigamy?" the American family in the wartime comedies of Preston Sturges /." Waco, Tex. : Baylor University, 2009. http://hdl.handle.net/2104/5314.

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Archibald, David. "The Spanish Civil War in cinema." Thesis, University of Glasgow, 2004. http://theses.gla.ac.uk/1089/.

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In this thesis I present a case study of the Spanish civil war in cinema. I examine how this period has been represented in cinema through time, in different countries and in various cinematic forms. I reject the postmodern prognosis that the past is a chaotic mass, made sense of through the subjective narrativisation choices of historians working in the present. On the contrary, I argue that there are referential limits on what histories can be legitimately written about the past. I argue that there are different, often contradictory, representations of the Spanish civil war in cinema which indicates a diversity of uses for the past. But there are also referential limits on what can be legitimately represented cinematically. I argue that the civil war setting will continue to be one which filmmakers turn to as the battle for the future of Spain is partially played out in the cinematically recreated battles of the pas

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Fisher, Kevin B. "Intimate elsewheres altered states of consciousness in post WWII American cinema /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1565346871&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Akhter, Fahmida. "Fragmented memory, incomplete history : women and nation in war films of Bangladesh." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/20049/.

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The most important and celebrated chapter in the history of Bangladesh is its nine-month long Liberation War (Muktijuddho in Bengali) of 1971. My research explores the ways in which memories and histories of the war are shaped by the gender dynamics of nationalism in different periods through examining war-themed films of Bangladesh. By covering both mainstream and alternative war films produced just before, during and after the war, from 1970 to 2011, I trace the various ways in which men and women are represented in war films and construct the idea of nation. I also aim to unpack the politics and aesthetics of war films, contextualizing them as they intersect with the socio-historical contexts. Employing textual and visual analyses with using solid theoretical scholarship, both from the East and the West, concerning cinematic representation of the past, women and nation, I argue that the different power structures of men and women constructed in war films are in accordance with the dominant ideology of the society. The Liberation War was a people’s war, involving manifold participation of both men and women from different classes, religions and localities. Despite this reality, cinematic representations of the War have always portrayed the combat experience as an exclusively masculine enterprise. By contrast, women have been constructed in the films as passive victims or in subordinate roles. Woman is valorized in one instance, in her idealized portrayal as the ‘mother-nation’; this iconic projection of woman, however, highlights men’s heroic defence of their motherland. On the other hand, female rape victims in the war are framed as shame or dishonour for the nation and are offered a customary exclusion by suicide, death or occasionally by some other means at the end of the war films. I have argued that war films exclude the raped women from the narratives in order to maintain a perceived purity of the nationalist discourse, following the national politics, culture and historiography of Bangladesh.

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Chang, Hsin-Ning. "Viewing the Long Take in Post-World War II Films: A Cognitive Approach." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1227302639.

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Buckle, Christopher. "The 'War on Terror' metaframe in film and television." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/3014/.

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Following the terrorist attacks of September 11th, 2001, the government of the United States of America declared a ‘War on Terror’. This was targeted not only at the ostensible culprits – al-Qaeda - but at ‘terror’ itself. The ‘War on Terror’ acted as a rhetorical ‘metaframe’, which was sufficiently flexible to incorporate a broad array of nominally-related policies, events, phenomena and declarations, from the Iraq war to issues of immigration. The War on Terror is strategically limitless, and therefore incorporates not only actual wars, but potential wars. For example, the bellicose rhetoric towards those countries labelled the ‘Axis of Evil’ or ‘Outposts of Tyranny’ is as much a manifestation of the metaframe as the ‘Shock and Awe’ bombing of Baghdad. As a rhetorical frame, it is created through all of its utterances; its narrative may have been initially scripted by the Bush administration, but it is reified and naturalised by the news media and other commentators, who adopt the frame’s language even when critical of its content. Moreover, film and television texts participate in this process, with fiction-based War on Terror narratives sharing and supporting – co-constituting – the War on Terror discourse’s ‘reality’. This thesis argues that the War on Terror metaframe manifests itself in multiple interconnected narrative forms, and these forms both transcode and affect its politics. I propose a congruency between the frame’s expansiveness and its associational interconnections, and a corresponding cinematic plot-structure I term the Global Network Narrative. Elsewhere, an emphasis on the pressures of clock-time is evoked by the real-time sequential-series 24, while the authenticity and authority implied by the embedded ‘witness’ is shown to be codified and performed in multiple film and television fiction texts. Throughout, additional contextual influences – social, historical, and technological – are introduced where appropriate, so as not to adopt the metaframe’s claims of limitlessness and uniqueness, while efforts are made to address film and television not as mutually exclusive areas of study, but as suggestively responsive to one another.

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Treveri, Gennari Daniela. "America, the Vatican and the Catholic Church sphere of activity in Italian post-war cinema (1945-1960)." Thesis, University of Warwick, 2005. http://wrap.warwick.ac.uk/79998/.

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The thesis examines the extent the means and the degree to which the American and the Vatican's common cultural ideology was expressed in the film industry of post-war Italy (1945-1960). Through a comparative approach of current theories developed on ideology and an analysis of official documents from the Vatican and the United States Department of State, the thesis investigates the decisive role that American production companies played in the development of the Italian film industry and their links to the Vatican. This analysis evaluates how the Italian production and distribution industries satisfied the American political and economic interests. American political and cultural ideology of the post-1945 era, is compared with the Roman Catholic ideology in order to assess how close their cultural propaganda was. This is followed by studies of the roles played by key individuals, such as Giulio Andreotti and institutions such as ANICA and A.G.I.S. involved in formulating the policies and regulations that affected the production and distribution of American and Italian films in the post-1945 era, as well as the involvement of the Roman Catholic Church in this process. The case studies, which make up the remaining part of the dissertation, illustrate the relationship with the theoretical issues raised in its first part and their ramifications in the relationship between the Catholics and Italian and America cinema. The operation of the Centro Cattolico Cinematografico combined with box-office returns allows for the creation of a new analytical technique to be applied, one that has not been utilized in previous studies of Neorealist films and Italian popular cinema. It makes it possible to highlight the cross-currents that existed across different cinematic genres and styles of those American and Italian post-war movies, which were under the Catholic Church's sphere of activity.

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Books on the topic "Motion pictures and war"

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Shaw, Tony. Hollywood's Cold War. Amherst: University of Massachusetts Press, 2007.

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C, Rollins Peter, and O'Connor John E, eds. Hollywood's World War I: Motion picture images. Bowling Green, OH: Bowling Green State University Popular Press, 1997.

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So grün war die Heide: Der deutsche Nachkriegsfilm in neuer Sicht. Weinheim: Beltz, 1985.

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Macmillan, Peter. Explaining post-war cinema attendance in Great Britain. St. Andrews: St. Salvator's College, Dept. of Economics, 2000.

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Khatib, Lina. Lebanese cinema: Imagining the civil war and beyond. London: I.B. Tauris, 2008.

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Biskupski, Mieczysław B. Hollywood's war with Poland, 1939-1945. Lexington: The University Press of Kentucky, 2009.

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Simon, Charnan. Hollywood at war: The motion picture industry and World War II. New York: F. Watts, 1995.

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Bringing up daddy: Fatherhood and masculinity in post-war Hollywood. London: BFI, 2005.

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1943-, Orr John, and Taxidou Olga, eds. Post-war cinema and modernity: A film reader. New York, NY: New York University Press, 2001.

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The Hollywood war film. Malden, MA: Wiley-Blackwell, 2009.

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Book chapters on the topic "Motion pictures and war"

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Tholas-Disset, Clémentine. "Johanna Enlists (1918): An Elliptic and Comic Portrayal of the Great War in Motion Pictures." In Humor, Entertainment, and Popular Culture during World War I, 77–87. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137436436_5.

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Murphy, William T. "The United States Government and the Use of Motion Pictures During World War II." In The Japan/America Film Wars, 59–68. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003205289-3.

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Greco, Albert N. "The US Government and the Entertainment Industries Confront the War: Motion Pictures, Music, and Book Publishing." In The Marketing of World War II in the US, 1939-1946, 71–107. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39519-3_4.

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kydd, Elspeth. "Motion Pictures." In The Critical Practice of Film, 17–37. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34527-0_2.

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Kamada, Seiichi. "Motion Pictures." In Springer Monographs in Mathematics, 39–73. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4091-7_3.

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Kamada, Seiichi. "Motion pictures." In Mathematical Surveys and Monographs, 63–70. Providence, Rhode Island: American Mathematical Society, 2002. http://dx.doi.org/10.1090/surv/095/09.

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Yabuki, Nobuyoshi, Tomohiro Fukuda, and Ryu Izutsu. "As-Built Detection of Structures by the Segmentation of Three-Dimensional Models and Point Cloud Data." In CONVR 2023 - Proceedings of the 23rd International Conference on Construction Applications of Virtual Reality, 1117–24. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/10.36253/979-12-215-0289-3.111.

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At construction sites, as-built management is generally conducted by taking pictures or surveying with total stations and comparing the images or survey data with design drawings or Building Information Modeling (BIM) models. Since this work is time-consuming and error-prone, more efficient and accurate methods using advanced Information and Communication Technology (ICT) are desired. Therefore, this research proposes a method that can efficiently capture the progress of construction by detecting each constructed structural member, such as beams, columns, connections, etc. In this proposed method, construction engineers first take many pictures of the construction site and conduct automatic image segmentation using a pre-trained Convolutional Neural Network (CNN) model. Next, point cloud data is generated from taken pictures by using Structure from Motion (SfM). Then, the point cloud data is semantically segmented by overlapping the segmented images and point cloud data using the pin-hole camera technique. Finally, the design BIM model and segmented point cloud data are overlapped, and constructed parts of the BIM model can be detected, which can be reported as as-built parts. A prototype system was developed and applied to an actual railway construction project in Osaka, Japan for testing the accuracy and performance of the system

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Yabuki, Nobuyoshi, Tomohiro Fukuda, and Ryu Izutsu. "As-Built Detection of Structures by the Segmentation of Three-Dimensional Models and Point Cloud Data." In CONVR 2023 - Proceedings of the 23rd International Conference on Construction Applications of Virtual Reality, 1117–24. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0289-3.111.

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At construction sites, as-built management is generally conducted by taking pictures or surveying with total stations and comparing the images or survey data with design drawings or Building Information Modeling (BIM) models. Since this work is time-consuming and error-prone, more efficient and accurate methods using advanced Information and Communication Technology (ICT) are desired. Therefore, this research proposes a method that can efficiently capture the progress of construction by detecting each constructed structural member, such as beams, columns, connections, etc. In this proposed method, construction engineers first take many pictures of the construction site and conduct automatic image segmentation using a pre-trained Convolutional Neural Network (CNN) model. Next, point cloud data is generated from taken pictures by using Structure from Motion (SfM). Then, the point cloud data is semantically segmented by overlapping the segmented images and point cloud data using the pin-hole camera technique. Finally, the design BIM model and segmented point cloud data are overlapped, and constructed parts of the BIM model can be detected, which can be reported as as-built parts. A prototype system was developed and applied to an actual railway construction project in Osaka, Japan for testing the accuracy and performance of the system

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Walters, James. "Perpetual motion pictures." In The Routledge Companion to World Cinema, 382–92. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315688251-32.

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Czitrom, Daniel. "Early Motion Pictures." In Communication in History, 158–66. 8th ed. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003250463-26.

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Conference papers on the topic "Motion pictures and war"

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Andreeva, Ekaterina. "ANCIENT RUSSIAN MOTIFS AND IMAGES IN THE POEMS OF ARSENY TARKOVSKY 1941-1945." In FIRST KULAKOV READINGS: ON THE FIELDS OF RUSSIA'S MILITARY. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3637.khmelita-19/149-159.

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The article examines the functioning of ancient Russian artistic images and motifs in the poetry of Arseny Tarkovsky during the Great Patriotic War. The appeal to this motives and images fits modern events into the historical context, helps to create a general picture linking the past and present of the country. The author is particularly in demand for the images of Igor and Yaroslavna from “The Word about Igor's Regiment”, he reinterprets and re-creates images taking into account the new situation. Yaroslavna turns into a symbol of love, sadness, longing, memory, in her image everything opposes war and cruelty. In the poems of 1941-1946 there are references to the Horde invasion. Images of invaders appear in the lines of the poems associatively, intuitively: these are mongols, “tatarva”, Mamai. Poems about the war are devoid of pictures of battle, descriptions of cruel and destructive consequences, their main theme is the theme of love (not only between a man and a woman, but also love for the motherland) and memory, the connection of the past, present and future. Overestimating the cultural and historical material Arseny Tarkovsky fills the famous images with a new, universal sound.

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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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Soltani, Mohammad Reza, and Mohammad Farahani. "Experimental Investigation of Flow Instability in a Supersonic Inlet." In ASME 2010 10th Biennial Conference on Engineering Systems Design and Analysis. ASMEDC, 2010. http://dx.doi.org/10.1115/esda2010-24858.

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An extensive wind tunnel test series were conducted on an axisymmetric supersonic inlet. The model was tested at Mach numbers from 1.8 to 2.2 and at different values of mass flow rate. Shadowgraph flow visualization was used to capture the external shock structure in front of the inlet. The goal of this study is to find out the general characteristics of the inlet buzz. Frequencies of the buzz have been achieved from the analysis of the pressure data as well as the shadowgraph pictures. The amplitude of the shock waves motion has been measured from the visualization pictures too. In the some large value of mass flow rate, the frequency of shock oscillation increased versus Mach number. Also in each Mach number due to the mass flow rate decrement, the buzz frequency decreases and its amplitude increases conversely. Also buzz instability affects the external flow by the same frequency of the internal one.

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Dalili, A., S. Chandra, J. Mostaghimi, H. T. Charles Fan, and J. C. Simmer. "Bubble Entrapment in Sprayed Films." In ASME 2014 4th Joint US-European Fluids Engineering Division Summer Meeting collocated with the ASME 2014 12th International Conference on Nanochannels, Microchannels, and Minichannels. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/fedsm2014-21763.

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A compressed air sprayer was used to spray model paint onto two glass substrates at the same time. Afterwards, one glass substrate was placed on a LED light source and still photographs were taken from the top using a DSLR camera with a timer system. The other substrate was put on a balance to record weight. Pictures and weight measurements were taken at 5 second intervals for 15 minutes. The sprayed film thickness was varied. The pictures were analyzed using ImageJ software. Bubble Count vs. Time, Sauter Mean Diameter (SMD) of Bubbles vs. Time as well as Weight vs. Time was plotted. It was seen that the pace of weight loss was faster for thinner films. The rate of bubble escape also depended on film thickness. It took a longer time for thicker films to lose the bubbles entrapped in them. In the first 30 seconds, large bubbles escaped due to buoyancy forces and afterwards surface-tension driven flows became dominant. There was also a lot of bubble movement in thicker films. The effect of gravity was studied as well. Gravity did not affect the bubble escape rate since a downward facing film had the same bubble count as an upward facing film confirming that bubble motion was not due to buoyancy forces alone. However, the SMD of bubbles in a downward facing film was larger than an upward facing film. Buoyancy is not a factor in bubble escape from the downward facing film and only surface-tension driven flows play a role.

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Kru¨ger, Oliver, Katharina Go¨ckeler, Sebastian Go¨ke, Christian Oliver Paschereit, Christophe Duwig, and Laszlo Fuchs. "Numerical Investigations of a Swirl-Stabilized Premixed Flame at Ultra-Wet Conditions." In ASME 2011 Turbo Expo: Turbine Technical Conference and Exposition. ASMEDC, 2011. http://dx.doi.org/10.1115/gt2011-45866.

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The present study focuses on the numerical investigation of a generic swirl-stabilized burner operated with methane at ultra-wet conditions. The burner is fed with a preheated homogeneous mixture formed by steam and air. As a set of operating conditions atmospheric pressure, inlet temperature of 673K, equivalence ratio of 0.85 and a steam content of 30% is applied. Large eddy simulations have been performed to investigate the flow features. In a first step the non-reacting flow field was investigated with water as working medium. Comparison with Particle Image Velocimetry (PIV) and Laser-Doppler Velocimetry (LDV) measurements conducted in a water tunnel facility showed that an excellent agreement within the experimental uncertainty is obtained for the flow field. A dominant frequency in the turbulent energy spectrum was identified, which corresponds to the motion associated with a precessing vortex core (PVC). In order to investigate the reactive flow in a second step, a customized solver for handling low Mach number reacting flows based on an implicit LES approach was developed. As reaction mechanism a reduced 4 steps / 7 species global scheme was used. To compare the simulations qualitatively with a wet flame, OH chemiluminescence pictures serve as a reference. The simulations showed a more compact flame compared to the OH pictures. Nevertheless, the prolongation and position of the flame were found to be reasonable. The reduced mechanism captures the main effects, such as the reduction of the peak and mean temperatures. Furthermore, the presence of a PVC in the reacting flow could be determined and was not suppressed by heat-release.

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Obretenov, Christos. "Cinematography For Stylized Motion Pictures." In SIGGRAPH '23: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3587421.3595426.

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Williams, David R. "Photoreceptor Sampling of Moving Images." In Applied Vision. Washington, D.C.: Optica Publishing Group, 1989. http://dx.doi.org/10.1364/av.1989.wc1.

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A periodic moving stimulus can appear to move in the reverse direction if it is under-sampled in time, as in the case of the "wagon wheel" effect caused by an inadequate frame rate in motion pictures. Sampling by a spatial array of sensors or pixels can produce a similar motion reversal for periodic patterns moving at any velocity, if the spatial sampling frequency is too low. These artifacts are well-known to engineers who design discrete imaging systems. The artifact resulting from spatial under-sampling has been demonstrated in biological imaging systems (Goetz, 1965, Coletta and Williams, 1987). For example, insects tethered at the center of a rotating drum containing low spatial frequency vertical stripes exhibit an optomotor response: they rotate in the same direction as the stripes. However, these insects reverse their direction of motion when confronted with spatial frequencies that exceed the Nyquist frequency of their ommatidial array. This is just what one would expect from spatial aliasing by the regular array of insect ommatidia. Nancy Coletta and I have demonstrated a similar effect in the human with drifting interference fringes whose contrast is immune to optical degradation. In the parafoveal retina, high spatial frequency (but not low) gratings look like two-dimensional spatial noise and can appear to move in the opposite direction from their true direction of motion. This motion reversal can be demonstrated with a forced-choice technique. Subjects guessed the direction of motion of vertical, unity contrast fringes whose direction was randomly determined on each trial. No feedback was provided. Percent correct falls significantly below chance performance at high spatial frequencies, indicating a reversal in the perceived direction of motion. At higher frequencies, the perceived direction of motion reverses a second time, and at even higher frequencies performance settles to chance.

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Lagendijk, R. L., and M. I. Sezan. "Motion compensated frame rate conversion of motion pictures." In [Proceedings] ICASSP-92: 1992 IEEE International Conference on Acoustics, Speech, and Signal Processing. IEEE, 1992. http://dx.doi.org/10.1109/icassp.1992.226178.

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Karaki, Koichi, Hiroko Sasaki, and Masaharu Mitsunaga. "Holographic motion pictures by hole burning." In International Conferences on Optical Fabrication and Testing and Applications of Optical Holography, edited by Toshio Honda. SPIE, 1995. http://dx.doi.org/10.1117/12.215315.

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Alexander, P. "Development of integral holographic motion pictures." In Display Holography: Fifth International Symposium, edited by Tung H. Jeong. SPIE, 1995. http://dx.doi.org/10.1117/12.201899.

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Reports on the topic "Motion pictures and war"

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Koschmann, Anthony, and Yi Qian. Latent Estimation of Piracy Quality and its Effect on Revenues and Distribution: The Case of Motion Pictures. Cambridge, MA: National Bureau of Economic Research, August 2020. http://dx.doi.org/10.3386/w27649.

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Kiv, A. E., T. I. Maximova, and V. N. Soloviev. Microstructure of the relaxed (001) Si surface. [б. в.], December 1999. http://dx.doi.org/10.31812/0564/1245.

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We have applied molecular dynamics method and semi-empirical potential [1] to obtain the realistic picture of Si surface layers relaxation.The starting configuration was taken as a parallelepiped containing 864 atoms. There were 12 layers with 72 atoms in each one. Periodic boundary conditions were used in two dimensions. At first all atoms were in normal lattice positions. The relaxation of Si surface, which corresponds to (001) plane was investigated. MD method was applied in its standard form i.e. the equations of motion were solved by using of the central difference scheme. The time-step was 10-14s.

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Markiv, Mykola. LEGAL FOUNDATIONS FOR THE DEVELOPMENT AND PROTECTION OF THE RIGHTS OF FOREIGN AND UKRAINIAN JOURNALISTS IN UKRAINE DURING FULL SCALE RUSSIAN AGGRESSION. Ivan Franko National University of Lviv, March 2024. http://dx.doi.org/10.30970/vjo.2024.54-55.12149.

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The article is dedicated to theoretical understanding of the problem of development and protection of the rights of foreign and domestic journalists. The modern reality of journalistic activity, including the full scale russian aggression, was highlighted. The activities of foreign journalists that come to Ukraine to shoot and write materials to inform their audience with the current situation were carefully studied and analyzed. But on the other hand, the presence of different foreign press agencies in Ukraine can cause harm to national security, because information provided by foreign journalists can be used by hostiles in their criminal deeds. The harsh situation with journalists’ rights is proved by reports about targeting press-labelled cars, assassinations and burglarizing of journalists on annexed territory. War in Ukraine became the first precedent when occupational army prevent press associations to shoot and report crimes they commit there. Materials and photos provided by Ukrainian and foreign journalists do not only give emotional and information pictures to readers and the public, but also are used in courts for persecution. Because of systematic violation of journalists’ rights by russian forces, they demand an eager change of European and national law to punish criminals and increase responsibility for their crimes. Today demand on information is high. One can say that the most precious thing and one of the most valuable goods is information. The main priority today is the rights of journalists their safety Problematic issues of journalistic activity in today’s conditions are highlighted as destabilizing factors in the protection of journalists’ rights. Ways to solve the outlined problematic issues are provided. Key words: journalism, journalist, law, ensuring rights, rights and freedoms, war, invasion, journalistic activity.

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