Journal articles: 'Motion pictures - political aspects'

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CHO, Kang Sok. "A STUDY ON THE ASPECTS OF EUROCENTRISM AND DIFFUSIONISM REPRESENTED IN FOREIGNERS’ TRAVEL RECORDS ON KOREA IN EARLY 1900s." International Journal of Korean Humanities and Social Sciences 3 (July 8, 2017): 117–26. http://dx.doi.org/10.14746/kr.2017.03.07.

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This paper deals with three different perspectives appeared in foreign visitors’ records on Korea in 1900s. Jack London was a writer who wrote novels highly critical of American society based on progressivism. However, when his progressive perspective was adopted to report the political situation of Korea in 1904, he revealed a typical perspective of orientalism. He regarded Korea and ways of living in Korea as disgusting and ‘uncivilized.’Compared with Jack London’s perspective, French poet Georges Ducrocq’s book was rather favorable. He visited Korea in 1901 and he showed affectionate attitude toward Korea and its people. However, his travel report, Pauvre et Douce Coree, can be defined as representing aesthetic orientalism. He tried to make all the ‘Korean things’ seem beautiful and nice, but it is true that this kind of view can also conceal something concrete and specific. This perspective at once beautifies Korea and also conceals the reality about Korea.E. Burton Holmes was a traveler and he often used his ‘motion-picture’ machine to record things he witnessed while travelling around worldwide countries. So, his report (travelogue) and motion picture film on Korea written and made in 1901 was based on close observation and rather objective point of view. Nonetheless, he couldn’t avoid the perspective of the colonizer’s model of the world, in other words, geographical diffusionism of western culture.

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Iosifian, S. A., and V. A. Petrovskii. "Motion Pictures." Russian Education & Society 37, no. 10 (October 1995): 11–22. http://dx.doi.org/10.2753/res1060-9393371011.

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Glotov, M. B. "College Students and Motion Pictures." Russian Education & Society 39, no. 7 (July 1997): 73–88. http://dx.doi.org/10.2753/res1060-9393390773.

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Heinemann, Julia. "Motion Pictures of the Royal Family." French Historical Studies 44, no. 2 (April 1, 2021): 191–216. http://dx.doi.org/10.1215/00161071-8806426.

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Abstract This article explores the role of letter writing in the political practice of the French royal family. By focusing on the use of letters exchanged by Henri III, François d'Anjou, and Catherine de’ Medici between 1574 and 1584, it analyzes how both kinship relations and notions of royal authority were negotiated and intertwined by letter. In a dynamic communication process, the correspondents discussed and framed familial relationships and political concepts. The letters were read, seen, and heard by a broader audience at court, thus transcending modern categories such as public and private, formal and informal, or intimate and official. The article argues that the correspondence produced specific, sometimes opposing pictures of the royal family that were supposed to be visible. This use of letters shaped social relations and political processes during the Wars of Religion in early modern France. Cet article traite du rôle de la correspondance dans les pratiques politiques de la famille royale française. En me concentrant sur l'usage des lettres par Henri III, François d'Anjou et leur mère Catherine de Médicis dans les années 1574–84, j'analyse comment les correspondants négocient ensemble les relations de parenté et les concepts politiques. La discussion et la modélisation de cette conception familiale de l'autorité royale par les lettres sont partie prenante d'un processus de communication dynamique. La fonction de ces lettres est d’être lues, vues et entendues à la cour. Ce faisant, cette communication outrepasse les divisions « modernes » entre le privé et le public, le formel et l'informel ou encore l'intime et l'officiel. Cet usage de l’écrit est spécifique aux relations sociales et aux processus politiques pendant les guerres de Religion à l’époque moderne.

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Traube, Elizabeth G., Stephen Powers, David J. Rothman, and Stanley Rothman. "Hollywood's America: Social and Political Themes in Motion Pictures." Contemporary Sociology 26, no. 6 (November 1997): 763. http://dx.doi.org/10.2307/2654673.

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Fisher, Bradley J. "Exploring Ageist Stereotypes through Commercial Motion Pictures." Teaching Sociology 20, no. 4 (October 1992): 280. http://dx.doi.org/10.2307/1318969.

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Wall, Michael. "Censorship and Sovereignty: Shanghai and the Struggle to Regulate Film Content in the International Settlement." Journal of American-East Asian Relations 18, no. 1 (2011): 37–57. http://dx.doi.org/10.1163/187656111x577456.

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AbstractThe Nationalist government struggled to control the content and exhibition of motion pictures in Shanghai in the 1920s. Officials of the Shanghai Municipal Council in the foreign-controlled International Settlement, empowered by the right of extraterritoriality, stymied Chinese efforts to control foreign – predominantly American – motion pictures shown in the enclave. The struggle over political control was exacerbated by increasing nationalist sentiment and belief that foreign motion pictures contained distorted and unflattering images of China and its people. Demonstrations targeted Hollywood films including those by Douglas Fairbanks and Harold Lloyd. Ultimately, neither strenuous Chinese efforts nor stubborn foreign resistance could resolve the matter satisfactorily, but the dispute became moot with Japan's seizure of Shanghai in 1937.

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Halaby, Samia. "The Political Basis of Abstraction in the 20th Century As Explored by a Painter." Manazir Journal 1 (October 1, 2019): 94–110. http://dx.doi.org/10.36950/manazir.2019.1.1.7.

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The political nature of abstraction presented from an artist’s point of view – one who considers the most advanced task is the exploration of the language of pictures. Such exploration is understood as a separate discipline from the many others that employ pictures for practical functions. The author examines the development of 20th century abstraction as an effect of revolutionary social motion. Historic steps to abstraction, taking shape as rising and receding artistic movements, are correlated to revolutionary motion. The materialist underpinning of abstraction is distinguished from the idealism of Post-Modernism. The paper ends with an examination of contemporary discourse in the Western art world that attempts to erase the internationalism of abstraction and, thereby, marginalize non-Western practitioners.

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Jeffries, Judson L. "Jordan Peele (Dir.), Us (Motion Picture), Universal Pictures." Journal of African American Studies 24, no. 2 (April 14, 2020): 288–96. http://dx.doi.org/10.1007/s12111-020-09470-x.

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Frenţiu, Luminiţa, and Codruţa Goşa. "From West to East: Romeo Must Die but Shakespeare is the Sun." Romanian Journal of English Studies 11, no. 1 (March 1, 2014): 167–82. http://dx.doi.org/10.2478/rjes-2014-0021.

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Abstract The paper presents a mini survey of the hallmark English language motion pictures which are explicitly based on William Shakespeare’s Romeo and Juliet. The selection of the six films under investigation takes into account various criteria such as aspects of chronology, culture, impact or novelty of approach. The analysis is based on four categories: genre, auteurism (authorship), reception and verisimilitude.

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Stamm, Michael. "Watching News in Public: The Rituals and Responses of Newsreel Theater Audiences." JCMS: Journal of Cinema and Media Studies 63, no. 2 (January 2024): 96–118. http://dx.doi.org/10.1353/cj.2024.a919193.

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abstract: From roughly 1930 to 1950, newsreel theaters played important roles in urban and film cultures. These small (200- to 600-seat) theaters showed hour-long loops of news that patrons could drop into from morning to midnight. Some aspects of the newsreel theater experience extended the rituals of nickelodeon spectatorship of earlier decades, and others predated the post–World War II development of television news consumption. Newsreel theaters allowed patrons to pass the time watching motion picture news, and they became politically charged spaces offering ways for people to watch and react vocally to the news in public as members of groups.

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Coss, Richard G., and Steven R. Towers. "Provocative Aspects of Pictures of Animals in Confined Settings." Anthrozoös 3, no. 3 (September 1990): 162–70. http://dx.doi.org/10.2752/089279390787057586.

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Khorob, S. I. "THE CREATION OF A CINEMA WORLD AS A FICTIONAL PROCESS (ON THE MATERIAL OF FILMS OF UKRAINIAN “POETIC CINEMA”)." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 2(54) (January 22, 2019): 288–97. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-288-297.

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The article considers some aspects of a creative process over the film. On the example of motion pictures of the representatives of the Ukrainian “poetic cinema”, as well as of the creative work of their producers the attempt is made to single out peculiarities of psychology of creative work, its phases and stages. It is proved that such movies as “Tini zabutykh predkiv”, “Propala hramota”, “Vechir na Ivana Kupala”, “Kaminnyi khrest”, “Vavylon XX” and their creators substantially renewed the aesthetics of the cinematographic art of Ukraine.

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Cook, David A., and Wenli Wang. "Neutralizing the piracy of motion pictures: reengineering the industry’s supply chain." Technology in Society 26, no. 4 (November 2004): 567–83. http://dx.doi.org/10.1016/j.techsoc.2004.08.001.

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COOK, D., and W. WANG. "Neutralizing the piracy of motion pictures: reengineering the industryʼs supply chain." Technology in Society 26, no. 4 (November 2004): 567–83. http://dx.doi.org/10.1016/s0160-791x(04)00053-3.

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Maltby, Richard. "Hollywood's America: Social and Political Themes in Motion Pictures Stephen Powers David J. Rothman Stanley Rothman." Film Quarterly 51, no. 2 (December 1997): 62–64. http://dx.doi.org/10.2307/3697146.

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Mehr, Linda Harris. "Oscar’s very special library: the Margaret Herrick Library of the Academy of Motion Picture Arts and Sciences." Art Libraries Journal 34, no. 3 (2009): 29–34. http://dx.doi.org/10.1017/s0307472200015996.

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‘Oscar’ is the best-known symbol of the Academy of Motion Picture Arts and Sciences. But there is more to the Academy than the golden statuette. The Academy’s Margaret Herrick Library, which has been in existence for 80 years, is widely regarded as the pre-eminent research and reference facility for the study of all aspects of motion pictures, as an art form and an industry. The non-circulating research and reference collection, located in Beverly Hills, California, is open to the public, free of charge, and is heavily used by students, scholars, industry personnel, journalists, filmmakers and the general public. Its holdings document the multiple facets of the film industry and its personnel, past and present, and include books, periodicals, clipping files and screenplays, as well as special collections of photographs, manuscripts, posters, graphic art materials, music and recorded sound, and oral histories.

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Geranfar, Babak. "The Malick Viewed." Conversations: The Journal of Cavellian Studies, no. 5 (February 27, 2018): 70–73. http://dx.doi.org/10.18192/cjcs.v0i5.2408.

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The question of the relation between Film and philosophy has been at the center of many intellectual debates since the foundation of cinema. It has been paraphrased and articulated in many disciplines such as Philosophy of Film, Film-Philosophy, Philosophy of Motion Pictures, Philosophy of Moving Images, even Film Theory. Nevertheless, as much as the technical aspects of the movies developed rapidly, the philosophical questions around it became more and more specific and the answers became more fallible by the end of the day. If you could agree before with some of the ontological conclusions of Bazin, Deleuze, Badiou or Cavell about celluloid-based Film, you certainly cannot share that agreement to generalize that to the kind of digital imagery that we call ‘Film’ today, nor can you justify the Hologram or 3D IMAX footage as constituents of a motion picture. The irony is that the old question, ‘what is Film?’, is as often and as rapidly revised as the question, “what is philosophy?”.

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Tobroni, Roni. "Komunikasi Politik Mohammad Natsir." Communicatus: Jurnal Ilmu komunikasi 1, no. 1 (February 25, 2017): 39–60. http://dx.doi.org/10.15575/cjik.v1i1.1208.

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This study aims to reveal aspects of political communication made by M. Natsir when formulating, socialize, until the date of the adoption by MPRS integral motion. This study uses qualitative descriptive approach, so as to reveal the fact that more comprehensive. This study has revealed a struggle that is not simply how a motion integral before being accepted and confirmed by parliament. M. Natsir when trusted to formulate make the concept of unification of Indonesia in response to the threat of disintegration, he conducted political lobbies are quite long, before finally when dipidatokan no interruptions and obstacles of other MPs. These findings make clear that aspects of political communication becomes very important in reading a historical fact related to the socialization integral motion Natsir.

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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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Porter, Pete. "Engaging the Animal in the Moving Image." Society & Animals 14, no. 4 (2006): 399–416. http://dx.doi.org/10.1163/156853006778882411.

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AbstractHuman engagement with nonhuman animals in motion pictures is a complex process that anthropomorphism and identification misconstrue. A superior model comes from cognitive theories of how spectators engage characters, particularly Smith (1995), who suggests modifications to account for the nuances of spectator engagement with nonhuman animal characters. The central components of this amended model include the person schema, the three types of cues that films use to activate the person schema, and what Smith calls the "Structure of Sympathy." Such a model enables us to understand better the role that moving image representations of nonhuman animals play in human-animal relationships.

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Shin, Sunny Y., and Jordi McKenzie. "Asymmetric cultural discounting and pattern of trade in cultural products: Empirical evidence in motion pictures." World Economy 42, no. 11 (October 9, 2019): 3350–67. http://dx.doi.org/10.1111/twec.12861.

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Mhamdi, Chaker Ali. "The use of political cartoons during popular protests: the case of the 2011 Tunisia uprising." Journal of English Studies 15 (November 28, 2017): 193. http://dx.doi.org/10.18172/jes.3063.

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This study investigates the use of political cartoons in the Tunisian context during its transitory phase in the aftermath of the 2011 uprising. It explores how political cartoons were used to critically reflect the socioeconomic and geopolitical conditions inTunisiaat that time. Additionally, it analyzes the predominant themes of Tunisian political cartoons during the transitory phase. To address these two research questions, this study uses a qualitative approach to analyze selected samples of political cartoons focusing on textual and graphic elements. The methodology adopted in this paper also employs textual analysis drawing upon semiotic theory addressing the framing of pictures, systems of signs, and visual aspects and modes of presentation.

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Yasir, Hafiz Syed Muhammad, Arshad Ali Khan, and Amina Khalid. "Political Resistance on Social Media: An Evaluation of Figurative Language." Global Political Review VII, no. II (June 30, 2022): 23–30. http://dx.doi.org/10.31703/gpr.2022(vii-ii).04.

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The use of resistance against 'power' is prevalent in the politics on social media, which is practised in different forms like pictures, and comments showing anger or hate. So, this study highlights the linguistic specifications of language’s use in political resistance on social media by underlining figurative language. The study follows the theoretical base of Foucault’s studies (1977) and(1982) by pinning the concept of 'resistance'. For this purpose,Facebook’s public group named as PTI TIGERS was selected(because of the high number of group members) to take the data.Data was narrowed down to the specific content. Through the use of figurative speech, different focused aspects and intentions of political resistance show the semantic complexity of using resistance-based figurative expressions by the public.

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Hahn, Hans Peter. "Urban Life-Worlds in Motion: In Africa and Beyond." Africa Spectrum 45, no. 3 (December 2010): 115–29. http://dx.doi.org/10.1177/000203971004500306.

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Although throughout the history of anthropology the ethnography of urban societies was never an important topic, investigations on cities in Africa contributed to the early theoretical development of urban studies in social sciences. As the ethnography of rural migrants in towns made clear, cultural diversity and creativity are foundational and permanent elements of urban cultures in Africa (and beyond). Currently, two new aspects complement these insights: 1) Different forms of mobility have received a new awareness through the concept of transnationalism. They are much more complex, including not only rural–urban migration, but also urban–urban migration, and migrations with a destination beyond the continent. 2) Urban life-worlds also include the appropriation of globally circulating images and lifestyles, which contribute substantially to the current cultural dynamics of cities in Africa. These two aspects are the reasons for the high complexity of urban contexts in Africa. Therefore, whether it is still appropriate to speak about the “locality” of these life-worlds has become questionable. At the same time, these new aspects explain the self-consciousness of members of urban cultures in Africa. They contribute to the expansive character of these societies and to the impression that cities in Africa host the most innovative and creative societies worldwide.

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Baltodano Román, Gabriel. "La literatura y el cine: una historia de relaciones." LETRAS, no. 46 (July 29, 2009): 11–27. http://dx.doi.org/10.15359/rl.2-46.1.

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La literatura y el cine se relacionan en cuatro aspectos básicos: la literatura determina, en sus orígenes, la naturaleza de los filmes, sus motivos y estrategias; la literatura y el cine son formas narrativas, por lo que comparten estructuras míticas, populares y de relato; ambos se vinculan mediante el problema de la adaptación; y el cine ejerce una influencia estética en las obras literarias y en el concepto tradicional de literatura. Este artículo examina estos vínculos desde una perspectiva conceptual e histórica.Literature and cinema are related in four main aspects: in its origins literature determines the nature of films; literature and motion pictures are narratives, and share mythical, popular and narrative structures; both are linked because of the issue of adaptation; and movies influence literary works and the traditional concept of literature. This article examines these relationships from a conceptual and historic perspective.

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Darasz, Zdzisław. "Plakat polityczny w chorwackiej ikonosferze." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 283–89. http://dx.doi.org/10.14746/pss.2020.18.17.

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The titular problem of Croatian political poster, regarded as an art of margins, is treated by the author, according to the order of chapters, in four main aspects: historical, aesthetic, socio-political, and cultural one. The development of poster art, correlated with national history in 19th and 20th century Croatia, is presented in the chapter “In the vapour of history”. In the next chapters some particular sections of the searching field are described. These sections are as follows: technique of montage of the pictures, modern iconoclastic practices, chaos vs. order, and the place (“From margin to centre”).

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Apriliana, Lia, Ismet Ismet, and Ida Sriyanti. "Analysis of Validation Results of Electronic Student Worksheet Based on Multi Representation of Linear Motion Kinematics Materials." Berkala Ilmiah Pendidikan Fisika 10, no. 1 (May 21, 2022): 84. http://dx.doi.org/10.20527/bipf.v10i1.12198.

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Multi-representation-based electronic student worksheets are learning media with teaching materials that include verbal components, pictures, graphics, and mathematics. This study aimed to analyze the electronic student worksheet based on multi-representing valid linear motion kinematics material in high school physics class X. The research was conducted using Define-Design-Develop-Disseminate) model. Produce a valid product. There are two main aspects that we will analyze, namely: material and media. The results of the validation of the material aspects with indicators (1) content/breadth of material include material breadth, material depth, material truth, material completeness, material presentation, learning evaluation, and student activities with a percentage of 79% (valid), (2) Presentation of material that are covering techniques for presenting material, systematics, and generating motivation to learn with a percentage of 80% (valid), and (3) Language which includes sentence clarity, conformity with Indonesian language rules, and very valid status sentence structure with a percentage of 80% (valid). Meanwhile, the results of the analysis for the validation of media aspects with indicators (1) Didactic, which includes the learning process and ability development with a percentage of 80% (valid), (2) Construction which includes the accuracy of using language and sentences, paying attention to students' abilities, and has benefits, objectives, and identity with a percentage of 97% (very valid), and (3) Technical, said to be very valid by media experts on all indicators with a percentage between 97% (very valid). Based on the results of the analysis of the electronic student worksheet based on multiple representations, the media developed is valid. This media can analyze problem-solving skills in high school physics learning. This research is expected to reference other researchers in developing physics learning media.

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Barrett, Deborah, and Martin S. Pernick. "The Black Stork: Eugenics and the Death of "Defective" Babies in American Medicine and Motion Pictures since 1915." Social Forces 75, no. 3 (March 1997): 1136. http://dx.doi.org/10.2307/2580542.

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Krajewski, Jarek, Martin Sauerland, and Michael Muessigmann. "The Effects of Priming-Induced Social Approach and Avoidance Goals on the Exploration of Goal-Relevant Stimuli." Social Psychology 42, no. 2 (January 2011): 152–58. http://dx.doi.org/10.1027/1864-9335/a000055.

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This article presents an experiment testing the assumption that humans show clear avoidance reactions to possible nonbeneficial social contacts, even without conscious awareness. When the potential costs of interpersonal contacts are salient, people quickly respond to and extensively explore those situational configurations that are relevant to experimentally induced goals. A priming procedure was used to activate potential costs or benefits of interpersonal contacts or neutral aspects. To assess the unconscious activation of social approach or avoidance responses we chose three parameters reflecting participants’ eye movements on different pictures that contained (1) social and (2) nonsocial flight- and avoidance-relevant areas (areas of interest, AOI). Participants primed with the costs (benefits) of social contacts explored nonsocial (social) AOI on the presented pictures significantly longer than participants who were primed with the benefits (costs) of interpersonal contacts.

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Sedleryonok, Valeria D. "Venetian Cinquecento Pictures and France in the 1820s: Painting, Perception, Influence." Vestnik of Saint Petersburg University. Arts 12, no. 1 (2022): 69–89. http://dx.doi.org/10.21638/spbu15.2022.104.

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This article deals with reassessing Venetian Cinquecento painting in France in the 1820s. This research is a series of case studies related to this problem and providing various types of historical analysis. It examines particular artworks, artistic, social, political contexts, and the influence of Venetian art on the formation of a new artistic language in France in the 1820s. Using an analysis of a wide range of both visual and verbal primary sources, I explore theoretical and practical aspects of the reassessment of Venetian Cinquecento painting in early nineteenth-century France. The paper presents a detailed examination of various French publications of that time regarding Venetian art, as well as a comparative analysis of artworks by Venetian and French artists, namely, Jacopo Robusti, Paolo Veronese, Andrea Schiavone, Eugène Delacroix, Xavier Sigalon, and Eugène Devéria. In this article, I address the following questions. What was the knowledge about Italian Renaissance art in France in the early 19th century? What place did the Venetian school take among the Italian schools of painting in the French consciousness at that time? How was Venetian painting perceived, revisited and presented? How did it influence the formation of a new artistic language in the 1820s? This study reveals the causes, specifics, aspects, and far-reaching consequences of the reconsideration of Venetian Cinquecento painting in the 1820s and its significance for the understanding of the patterns of art development in 19th-century France.

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Viernes, Noah Keone. "Restricted vision: Censorship and cinematic resistance in Thailand." Journal of Southeast Asian Studies 52, no. 4 (December 2021): 634–57. http://dx.doi.org/10.1017/s0022463421000990.

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Film censorship screens the nation as a ‘way of seeing’ that is both fundamental to the art of governance and vulnerable to the flexibility of contemporary global images. In Thailand, this historically-conditioned regime arose in the geopolitics of the 1930 Film Act, the Motion Pictures and Video Act of 2008, and a coterminous regulation of visuality as a form of cultural governance. I pursue a close reading of two banned films by Apichatpong Weerasethakul and Nontawat Numbenchapol, respectively, to illustrate the aesthetics of film censorship in light of the development of a national cinema, especially to consider the strategies that film-makers use to negotiate the governance of vision.

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Vasiu, Ioana, and Lucian Vasiu. "Criminal Enforcement of Copyright as an Important Safeguard for Economic and Security Interests." European Journal of Sustainable Development 8, no. 3 (October 1, 2019): 228. http://dx.doi.org/10.14207/ejsd.2019.v8n3p228.

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Copyright industries represent an important part of the developed economies. The effective protection of copyright fulfills an important role in the advancement of innovation and economic development. However, in the digital economy, the protection of copyrighted works poses numerous and very difficult challenges. The protected works usually targeted by criminals are computer programs, motion pictures, video games, and musical compositions. The estimated or actual harm to copyright owners can amount to billions of dollars. Moreover, these offenses are sometimes perpetrated in connection with other crimes, such as conspiracy to commit racketeering or money laundering. This paper argues that criminal enforcement of copyright can be an important safeguard of economic and information security interests. The paper discusses essential aspects regarding the criminal protection of copyright in the United States. Based on a theoretically-informed, yet empirically-driven approach, which takes into account a large corpus of data, consisting mostly of cases brought to courts of law, the paper discusses the main aspects of the phenomenon. Finally, the paper proposes a number of measures that would improve the protection copyrighted works. Keywords: Copyright, Economic Development, Cybercrime, Infringement, Security, Loss

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Moore, David. "The Lisa and John Slideshow (2017): A Play about Photography." Arts 12, no. 3 (May 26, 2023): 109. http://dx.doi.org/10.3390/arts12030109.

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The Lisa and John Slideshow is a theatrical response to my own earlier photographic project, Pictures from the Real World. Colour Photographs, 1987–88, interrogating recurring theoretical questions that challenge the discourse of social documentary photography through an expanded practice. As a significant piece of research, devised through participation with those depicted within the image, the forty-five-minute play questions representational methods through an alternate medium. The project evokes what else was knowable from the terrain of possibilities when the sovereign images of the former project were captured, as it reaches into photographs, opening contextual focus on the social, political and relational aspects of production. This paper is drawn from my Ph.D. thesis, What the Subject Does. Lisa and John and Pictures from the Real World submitted to the University of Sussex in December 2022. The question asked within this commentary is: How can unequal power relations within photographic representation of working-class communities be renegotiated through trans-media practice and the use of theatre?

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McGrath, Jason. "Suppositionality, Virtuality, and Chinese Cinema." boundary 2 49, no. 1 (February 1, 2022): 263–92. http://dx.doi.org/10.1215/01903659-9615487.

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In Chinese performance arts, one thing that was largely abandoned in the shift from traditional drama to motion pictures was the suppositionality of Chinese operatic performance, and the transition to digital cinema, particularly in the case of big-budget blockbusters that compete for mass audiences in greater China as well as abroad, raises the question of if and how an aesthetic of suppositionality is related to the emerging virtual realism enabled by computer-generated imagery (CGI). The concept of suppositionality not only helps us to evaluate how contemporary Chinese animation and CGI blockbusters remediate premodern cultural narratives but also provides an analytical measure for approaching the growing phenomenon of motion capture and composited performances. The “virtual realism” of CGI frees Chinese filmmakers to reject the ontological realism of photography and instead favor an aggressively animated style of visual effects while returning actors to a reprise of the suppositional performance style of traditional opera.

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Richani, Nazih. "The Political Economy of Violence: The War-System in Colombia." Journal of Interamerican Studies and World Affairs 39, no. 2 (1997): 37–81. http://dx.doi.org/10.2307/166511.

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Violence, in its criminal and political aspects, largely reflects the contradictory impulses set in motion by modernization and serves as an expression of the various dislocations — social, economic, psychological and cultural — which accompany that process. Violence increases when the prevailing institutions fail to mediate among the various antagonistic forces unleashed by socio-economic and political change. Colombia represents a country where violence has risen overwhelmingly in recent years, reaching extremes of both extent and duration. A phenomenon well worth scholarly attention, the subject of violence has given rise to an impressive body of literature concerned with exploring its many aspects: its causes, trajectory, and variety of manifestations (see Sánchez, 1991).

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Chandrawansa, Kumari, Frits H. Ruymgaart, and Arnoud C. M. Van Rooij. "Controlling the Gibbs phenomenon in noisy deconvolution of irregular multivariable input signals." Journal of Applied Mathematics and Stochastic Analysis 13, no. 1 (January 1, 2000): 1–14. http://dx.doi.org/10.1155/s1048953300000010.

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An example of inverse estimation of irregular multivariable signals is provided by picture restoration. Pictures typically have sharp edges and therefore will be modeled by functions with discontinuities, and they could be blurred by motion. Mathematically, this means that we actually observe the convolution of the irregular function representing the picture with a spread function. Since these observations will contain measurement errors, statistical aspects will be pertinent. Traditional recovery is corrupted by the Gibbs phenomenon (i.e., overshooting) near the edges, just as in the case of direct approximations. In order to eliminate these undesirable effects, we introduce an integral Cesàro mean in the inversion procedure, leading to multivariable Fejér kernels. Integral metrics are not sufficiently sensitive to properly assess the quality of the resulting estimators. Therefore, the performance of the estimators is studied in the Hausdorff metric, and a speed of convergence of the Hausdorff distance between the graph of the input signal and its estimator is obtained.

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Rosen, Philip. "Nation and Anti-Nation: Concepts of National Cinema in the "New" Media Era." Diaspora: A Journal of Transnational Studies 5, no. 3 (December 1996): 375–402. http://dx.doi.org/10.3138/diaspora.5.3.375.

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[M]y knowledge of movies, pictures, or the idea of movie-making, was strongly linked to the identity of a nation. That’s why there is no French television, or Italian, or British, or American television. There can be only one television because it’s not related to nation. It’s related to finance or commerce. Movie-making at the beginning was related to the identity of the nation and there have been very few ―national‖ cinemas. In my opinion there is no Swedish cinema but there are Swedish movie-makers—some very good ones, such as Stiller and Bergman. There have been only a handful of cinemas: Italian, German, American and Russian. This is because when countries were inventing and using motion pictures, they needed an image of themselves. The Russian cinema arrived at a time they needed a new image. And in the case of Germany, they had lost a war and were completely corrupted and needed a new idea of Germany. At the time the new Italian cinema emerged Italy was completely lost—it was the only country which fought with the Germans, then against the Germans. They strongly needed to see a new reality and this was provided by neo-realism. Today, if you put all these people in one so-called ―Eurocountry,‖ you have nothing; since television is television, you only have America. (Jean-Luc Godard in conversation with Colin MacCabe [Petrie 98] )

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Shindy, Regina Ayu Harna, and Romel Noverino. "ECRANISATION STUDY OF SOCIAL SETTING OF ME, AND EARL, AND THE DYING GIRL." Jurnal Bahasa, Sastra, dan Budaya 11, no. 2 (May 4, 2021): 1–12. http://dx.doi.org/10.37905/jbsb.v11i2.10151.

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Ecranisation is transformation of written text in a novel into motion pictures in film. In so doing, the transformation undergoes three kinds of characteristics which become the main analysis in ecranization study, namely reduction, addition, and variation of change. This article discusses the results of a study on how the three processes in terms of social setting have contributed to the alteration of storyline. Objective data were collected through purposive sampling in this qualitative study from the novel and its film of Me and Earl and the Dying Girl. The results show that the storyline in the film is socially constructed differently from its origin in the novel. It was found that the social behavior and the characterization in the film are not depicted in the same way as in the novel. As the novel is the benchmark for identifying any changes of social setting in the film, it is implied that the transformation has failed in taking into various social aspects as inherent element of storyline in the novel.

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D’Angiulli, Amedeo, and Stefania Maggi. "Development of drawing abilities in a distinct population: Depiction of perceptual principles by three children with congenital total blindness." International Journal of Behavioral Development 27, no. 3 (May 2003): 193–200. http://dx.doi.org/10.1080/01650250244000191.

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We studied the development of spontaneous tactile drawing in three 12-year-old children with congenital total blindness and with no previous drawing tuition. In a period of 9 months, from an initial phase in which they were taught to draw tangible straight and curve raised lines, the three blind children went on making spontaneous raised outlines representing edges, surfaces of objects, vantage point, and motion. The corpus of drawings produced by these children shows that several aspects of outline pictures can be implemented through touch. The perceptual principles represented in these drawings are comparable to those commonly found in sighted children. On the one hand, this convergence indicates similarities in the way vision and touch mediate the acquisition and the conceptualisation of spatial information from objects and the environment. On the other hand, it reflects the influence of cross-modal plasticity typically associated with early or congenital blindness. This study suggests that drawing development in general does not depend on learning pictorial conventions. Rather it seems driven by natural generativity based on children’s knowledge of space and perceptual principles.

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FRONC, JENNIFER. "Local Public Opinion: The National Board of Review of Motion Pictures and the Fight against Film Censorship in Virginia, 1916–1922." Journal of American Studies 47, no. 3 (December 5, 2012): 719–42. http://dx.doi.org/10.1017/s0021875812001375.

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This article examines the conflict that ensued when the National Board of Review of Motion Pictures (a New York City-based organization that opposed any form of legal film censorship) entered the debate over Virginia's state film censor board. Virginia's engagement with film censorship emerged out of its history and politics, particularly in regard to race relations. Elite white Virginians lived in fear both of federal intervention (with the specter of Reconstruction not far behind them) and of a local usurpation of political power by black Virginians. The National Board of Review (NBR) was largely ignorant of this situation, which worked against their goals and ability to cultivate reliable allies. In the 1910s and 1920s, film raised issues about authorities – locally based and oriented versus nationally oriented authority, private authority and municipal, state, and/or federal authority.

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Sarat, Austin, Madeline Chan, Maia Cole, Melissa Lang, Nicholas Schcolnik, Jasjaap Sidhu, and Nica Siegel. "Scenes of Execution: Spectatorship, Political Responsibility, and State Killing in American Film." Law & Social Inquiry 39, no. 03 (2014): 690–719. http://dx.doi.org/10.1111/lsi.12084.

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For as long as there have been motion pictures, scenes of execution have appeared in American film. This article examines those scenes over the course of the twentieth century and suggests that spectatorship, and what it means to watch, is central to scenes of execution in film. We are interested less in the intentions and politics of a filmmaker and more in what those scenes offer viewers. We argue that three central motifs of spectatorship characterized death penalty films during the more than 100‐year period that we studied. First, viewers are often positioned as members of an audience and many scenes of execution are presented in a highly theatrical fashion and, as a result, the line between spectatorship and witnessing is blurred. Second, in many scenes of execution viewers are brought “backstage” and provided chilling, intimate views of the machinery of death, privileged views unavailable outside of film. The third motif shifts the positioning of the viewer such that we stand in the shoes of those who are to be executed. We conclude by asking whether and how scenes of execution in American film provoke in viewers an awareness of the political responsibility inherent in their identities as democratic citizens in a killing state.

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MacKenzie, Megan. "Why do soldiers swap illicit pictures? How a visual discourse analysis illuminates military band of brother culture." Security Dialogue 51, no. 4 (January 30, 2020): 340–57. http://dx.doi.org/10.1177/0967010619898468.

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Military service members have been taking and circulating illicit images for decades, and soldier-produced illicit images are a regular and coherent category of international images. Focusing on two case studies – Abu Ghraib images and images of hazing – the argument put forward in this article is that soldier-generated illicit images are not simply photographic evidence, or accidental by-products, of exceptional military activities; rather, these images – and the practices associated with these images – are central to, and reinforce aspects of, military band of brother culture. Soldier-produced illicit images establish a visual vernacular that normalizes particular practices within military communities. Moreover, the practices of producing, circulating and consuming these images convey explicit messages to service members about acceptable behaviour and norms around loyalty and secrecy. A method of visual discourse analysis is developed and employed to examine the acts captured in soldier-generated illicit images as well as the practices linked to the production, circulation and consumption of images. Building on existing work on military culture and images and international relations, this article makes a unique contribution by systematically analysing soldier-produced illicit images in order to gain insights about internal military culture and group dynamics.

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Zhuang, Hongchao, Yilu Xia, Ning Wang, and Lei Dong. "High Inclusiveness and Accuracy Motion Blur Real-Time Gesture Recognition Based on YOLOv4 Model Combined Attention Mechanism and DeblurGanv2." Applied Sciences 11, no. 21 (October 25, 2021): 9982. http://dx.doi.org/10.3390/app11219982.

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The combination of gesture recognition and aerospace exploration robots can realize the efficient non-contact control of the robots. In the harsh aerospace environment, the captured gesture images are usually blurred and damaged inevitably. The motion blurred images not only cause part of the transmitted information to be lost, but also affect the effect of neural network training in the later stage. To improve the speed and accuracy of motion blurred gestures recognition, the algorithm of YOLOv4 (You Only Look Once, vision 4) is studied from the two aspects of motion blurred image processing and model optimization. The DeblurGanv2 is employed to remove the motion blur of the gestures in YOLOv4 network input pictures. In terms of model structure, the K-means++ algorithm is used to cluster the priori boxes for obtaining the more appropriate size parameters of the priori boxes. The CBAM attention mechanism and SPP (spatial pyramid pooling layer) structure are added to YOLOv4 model to improve the efficiency of network learning. The dataset for network training is designed for the human–computer interaction in the aerospace space. To reduce the redundant features of the captured images and enhance the effect of model training, the Wiener filter and bilateral filter are superimposed on the blurred images in the dataset to simply remove the motion blur. The augmentation of the model is executed by imitating different environments. A YOLOv4-gesture model is built, which collaborates with K-means++ algorithm, the CBAM and SPP mechanism. A DeblurGanv2 model is built to process the input images of the YOLOv4 target recognition. The YOLOv4-motion-blur-gesture model is composed of the YOLOv4-gesture and the DeblurGanv2. The augmented and enhanced gesture data set is used to simulate the model training. The experimental results demonstrate that the YOLOv4-motion-blur-gesture model has relatively better performance. The proposed model has the high inclusiveness and accuracy recognition effect in the real-time interaction of motion blur gestures, it improves the network training speed by 30%, the target detection accuracy by 10%, and the value of mAP by about 10%. The constructed YOLOv4-motion-blur-gesture model has a stable performance. It can not only meet the real-time human–computer interaction in aerospace space under real-time complex conditions, but also can be applied to other application environments under complex backgrounds requiring real-time detection.

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Elgamal, Amal. "Cinema and its image." Contemporary Arab Affairs 7, no. 2 (April 1, 2014): 225–45. http://dx.doi.org/10.1080/17550912.2014.918320.

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Cinema, or motion pictures, is known as ‘the art of the moving image’. Historically, fine arts have never been prohibited by the three monotheistic religions, but after the emergence of cinema, some religious leaders not only considered it ‘undesirable’ but also called for its outright prohibition. However, no consensus has ever been reached among jurists. Cinema is a universal language and a method of narration, recounting and storytelling whose popularity exceeds that of any other art as it is more entertaining and bedazzling. Egypt was a pioneer among Arab countries in the field of cinema, producing immortal films that addressed the sufferings and concerns of its people in an artistic manner. Throughout the history of Arab cinema its trends have varied from realism and neo-realism to biography, which was introduced by Youssef Chahine. Moreover, the evolution of cinema in Arab countries, notably Egypt, Syria, Morocco, Tunisia and Lebanon, could not have been achieved without breaking taboos and tackling problematic issues within society.

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Babajeva, Ludmila. "CONTEMPORARY THEORIES OF ADULT LEARNING." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 1 (May 9, 2015): 450. http://dx.doi.org/10.17770/sie2012vol1.72.

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<p>Due to the adult learning theory transition from cognitive to comprehensive aspects, this article analyses contemporary theoretical notions about adult’s learning. In order to characterise the modern view on adult, the most recent insights into the education of whole adult person (P. Jarvis), three dimensions of learning (K.Illeris) and the critical theory contribution (S.D. Brookfield) will be discussed. All of mentioned, globally-renowned theorists are of the same opinion and contribute to the general adult learning theory – P. Jarvis pictures the learning process from a viewpoint of a human as holistic organism, K.Illeris develops his theory in relation to the pedagogical conditions of learning, whereas Brookfield discusses an adult in the context of social, political and democratic concept.</p>

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Fedorchenko, Sergey. "Worldview problems in modern academic discourse: reflections on the thematic number." Journal of Political Research 6, no. 3 (October 14, 2022): 3–8. http://dx.doi.org/10.12737/2587-6295-2022-6-3-3-8.

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The thematic issue of the "Journal of Political Research" offered to the reader is entirely devoted to the problems of the worldview phenomenon. The crisis of the existing world order, international tension, the turbulence of economic and socio-political processes especially actualize the theme of the role of values, identity, traditions, worldview pictures in the formation of social harmony, solidarity, social consolidation, the establishment of sustainable, creative and effective forms of relationships between man, society and the state in modern Russia. Therefore, one of the tasks of the thematic portfolio of the issue was to initiate discussion of the above issues in the domestic academic community. The authors of the issue proposed to consider various aspects of the chosen problem: the perception of basic values, factors and structures of Russia's socio-historical development; communication foundations of the modern worldview; aspects of ideological construction; the concept of worldview in public discourse; worldview and political and economic features, risks of digitalization of the state; political absenteeism among students; experience of the Soviet ideocracy. It is noteworthy that among the articles there are works both conceptually oriented, offering explanatory models of existing processes, and empirically based studies. This specificity is determined by the seriousness of the value, civilizational and geopolitical challenges facing our country. The involvement of the academic community in the discussion and understanding of the axiological sphere is strategically important in order to clearly understand and determine the system of Russia's worldview coordinates.

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Parchao, Danny Bryan. "The role of social media in politics: on the public argumentation around the debate on guns in the United States." Cahiers du Centre de Linguistique et des Sciences du Langage, no. 59 (June 1, 2019): 103–17. http://dx.doi.org/10.26034/la.cdclsl.2019.53.

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The debate on gun control in the United States has been heated recently. In the public space, this debate has an important place in getting everyone involved. The development of social media and other technologies helped the construction of specific argumentative strategies related to what we call “digital communication”. The debate around gun control can be divided into two different aspects which also are the two research questions of this article: a) Which argumentative strategies are used and why they specifically fit in this new communicational environment that is the web? b) How do these strategies compare with the more “classic” aspect of the legislative debate around gun control (the interpretation of the second amendment). The quick analysis of “communicational elements” such as banners and pictures used in social media shows that strategies of digital communication are often weaker and more “populist” than in the place of a classic political debate centered around legislative aspects. The relative instability of social media partly explains this.

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Denham, Bryan. "Oriental Irritants and Occidental Aspirants: Immigrant Portrayals in Hearst Magazines, 1905–1945." Journalism & Communication Monographs 24, no. 1 (February 4, 2022): 4–64. http://dx.doi.org/10.1177/15226379211070038.

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William Randolph Hearst became editor and proprietor of the San Francisco Examiner in 1887, and by 1935, he had assembled a media empire consisting of nearly 30 major newspapers, 13 magazines, 8 radio stations, 3 news wires, and 2 motion picture companies. Most scholarship about Hearst has focused on his newspapers; less studied have been the magazines he acquired early in the 20th century. This monograph examines immigrant representations in Hearst magazines published between 1905 and 1945, focusing on how magazine fiction, nonfiction, and “fact-fiction” articles presented immigrants and immigration as social and political issues. Like Hearst himself, the publications favored immigrants from Germany and the Scandinavian countries of northern Europe and tended to disfavor those from China and Japan and, to a lesser extent, Mexico. According to the magazines, immigrants from the Far East and Mexico were “undesirables” who threatened society by, allegedly, importing, selling, and using hazardous drugs. Newspaper advertisements, news articles, and editorials extended these portrayals to wider audiences. Hearst also applied cross-media promotion to motion pictures, with writers converting fiction from his magazines into screenplays for Cosmopolitan Productions and MGM. The monograph contains examples of how magazine content and iconic covers have informed contemporary films and television series. In recent years, stylized representations have glamorized lifestyles but have also perpetuated cultural stereotypes that may contribute to anti-immigrant attitudes.

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Fokin, S. L. "Marcel Proust on screen. Film as a novel. Novel as a translation." Voprosy literatury, no. 2 (July 29, 2020): 167–82. http://dx.doi.org/10.31425/0042-8795-2020-2-167-182.

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The author of Ala Recherchedu Temps Perdu, M. Proust was certainly a man of his time, which was coincidentally the beginning of the cinematic age. Therefore, it remains a relevant scholarly task to recognize the virtual connections between Proust’s poetics and filmmaking techniques: a problem S. Fokin is trying to solve in this article. Here, he focuses less on the principles of a strictly philological analysis that centres on textual elements, intertextual aspects or the book’s genesis, but prefers instead to delve into elements of literary anthropology, with its preoccupation with the unity between the author, the text and the context, which does not rule out the use of literature as a tool for comprehension of a literary personality. Such an assumption does not reduce literature to life: an opponent of Sainte-Beuve’s biographical method, Proust, for one, would not tolerate it; but neither does it reduce literature to a text as a self-sufficient structure: this position sees the book as co-substantial to the author. To summarize the findings, in order to understand Proust’s view of the cinematic art, one should remember that his almost snobbish dismissal of the meaning and significance of motion pictures was just as typical of the author as his aristocratic ideas about the meaning of literature.

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Journal articles on the topic 'Motion pictures - political aspects'

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