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Journal articles on the topic 'Movie quote'
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Voznesenska, M. "I Vam Ne Khvorat' (On a New Life of the Old Movie Quote)." Russkaia rech, no. 3 (June 2019): 20–28. http://dx.doi.org/10.31857/s013161170005208-7.
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Samusenko, Oksana. "ANIMATED MOVIES IN TEACHING FOREIGN LANGUAGES." Research Bulletin Series Philological Sciences 1, no. 193 (April 2021): 432–39. http://dx.doi.org/10.36550/2522-4077-2021-1-193-432-439.
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This paper deals with the methodology of teaching foreign languages, in particular Russian as a foreign one. The article presents an analysis of animated movies as one of the ways to motivate students to increase their speech activity and to form their communicative competence. The author learns an animation as an educational material in foreign languages teaching practice. As well the paper focuses on a linguo-methodological potential of animation and on variants of motivational exercises based on the animated movies material. The animated movies value in foreign languages teaching practice lies in the fact that the material is authentic and not made for educational goals initially; combines visual and auditory information; is a source for familiarity with culturally specific vocabulary; provides a wide range of opportunities for mastering grammatical constructions, different intentions and communicative strategies; develops listening and speaking, as well as reading and writing skills through the use of motivational exercises. Effectiveness of using such animated materials in teaching foreign languages and achievement of learning results, first of all, depends on coherent compliance of the principles selection. The main requirements are conformity of the proposed material to the level of language proficiency, a possibility to develop communicative skills, socio-cultural context. Precedence, ethical value and humorous component of a text are important as well. Based on the material of animations the author suggests such motivational tasks: predicting from a name or a picture, animated movie dubbing, staging of separate episodes, imagining life of characters, interviewing characters, retelling on behalf of each character, story-telling based on the pictures or screenshots of the animated movies, creating memes, blogging on behalf of a character, making a local map and giving a tour, making a quote book, quest based on an animated movie, various discussions and other role plays.
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Tsung, Lancy, Bill Mollon, Ming Pan, Yan Jia, Paul Mooney, and Chengye Mao. "Development of TV-rate CCD Cameras for in-situ Electron Microscopy." Microscopy Today 16, no. 3 (May 2008): 16–19. http://dx.doi.org/10.1017/s1551929500059204.
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We have all heard the quote “A picture is worth a thousand words” when describing how much information can really be represented by a single image. Many of you may have written and published pages of results all based sometimes on a single piece of important data such as an electron micrograph. Of course, if one image is worth a thousand words, as the saying goes, how much would 30 or more be worth? With the advent of better performing electronics and development of newer CCD (charge couple device) technology, it is now possible to extend the famous saying and complete it with “but a movie tells the whole story”. By extending the single acquired image into a series of fast-acquired frames, movie creation is possible. This capability allows us to record dynamic events in many different applications, leading towards sharing the sequence of images and telling a more complete story that cannot be done with one image alone. A brief background on how this technique is used in electron microscopy follows.
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Ganzha, Anhelina. "Polyphonizm of narrative in documentary film (On the case of films about P. Tychyna, M. Rylskyi, V. Sosiura)." Culture of the Word, no. 90 (2019): 150–64. http://dx.doi.org/10.37919/0201-419x-2019.90.13.
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Narratives in cinema text are seen as narratives of interrelated events occurring within specific space-time frames involving the author, narrator and characters. The intermedical nature of documentary filmmaking complicates its analysis in the coordinates of any research paradigm. However, among the universal categories of reception of film narratives, polyphonicism should be singled out as a means of creating a holistic view of a cultural product. The article offers the authorʼs vision of realization of the polyphonism of the film narrative in the documentaries “I Call You” (2006), “Poeta Maximus” (2008), “So No One Loved” (2008) from the series “Game of Fate”. It is concluded that there is a certain plot-compositional scheme of organization of audiovisual polyphonic narrative in the series. Among the specific figures of the screen narration in the analyzed documentary tapes we see transposition (eg, transition from the direct speech of the presenter to a voice-over commentary on a movie quote), overlay (simultaneous use of the “chronicle of the epoch” with the off-screen reading of an excerpt from an artistic text), photos and video snippets).
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Sadoff, Dianne F. ""Intimate Disarray": The Henry James Movies." Henry James Review 19, no. 3 (1998): 286–95. http://dx.doi.org/10.1353/hjr.1998.0034.
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Sadoff, Dianne F. ""Intimate Disarray": The Henry James Movies." Henry James Review 19, no. 3 (1998): 209–10. http://dx.doi.org/10.1353/hjr.1998.0040.
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McLean, Adrienne L. ""New Films in Story Form": Movie Story Magazines and Spectatorship." Cinema Journal 42, no. 3 (2003): 3–26. http://dx.doi.org/10.1353/cj.2003.0010.
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Witriani, Witriani. "The Jews in Hollywood: Altering Image through Religious Movies." Celt: A Journal of Culture, English Language Teaching & Literature 19, no. 2 (July 14, 2020): 202. http://dx.doi.org/10.24167/celt.v19i2.519.
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This article discusses the altering image of American Jews in Hollywood movies. Coming to America during the great migration, mostly from Eastern Europe, this Azkenazic Jews then contributed to the building and transformation of the Hollywood movies as a world icon. Though quite dominant, Jews are quite careful in this industry. Anti-Semitism, the World War and the Great Depression are some of the things that make Jews uncomfortable about being in the spotlight or talking about their identity among the Christian audience of the movies. However, the condition changed after the Second World War and the civil rights movement in the 1960s. Jews and Judaism later appeared in various representations, which does not only change their image in Hollywood, but also the acceptance of American society broadly. Focusing on the movie, Ben Hur: A Tale of the Christ (1959) as the object of research, the study explores how Jewish people represent themselves through films produced, including the negotiations and changes made as part of the American Jews. Using the theory of Stuart Hall’s Politics of Representation and Critical Discourse Analysis from Fairclough and Leuween as an approach, this work focuses on the analysis of text and images as a sign that represents the Jews and Judaism in the movie. Related to movie as a media construction, the filmmakers are able to reconstruct Jews in different image. Through the movie, the represented Jews are found to have conveyed various messages to the audience about their cultural and religious identity.
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Smith, Greg M. ""It's Just a Movie": A Teaching Essay for Introductory Media Classes." Cinema Journal 41, no. 1 (2001): 127–34. http://dx.doi.org/10.1353/cj.2001.0025.
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Minakar, Milad, and Amir Hossein Chitsazian. "The Study of Rubaiyat attributed to Khayyam in Movies." CINEJ Cinema Journal 8, no. 2 (December 3, 2020): 324–52. http://dx.doi.org/10.5195/cinej.2020.271.
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Among the literati and men of culture of Iran, it is not exaggerated to call Khayyam one of the vaguest figures. One might recognize him certainly and resolutely through his philosophical and scientific works; however, it was his Rubaiyat attributed to him which created many arguments. This paper studies Hakim Omar Khayyam’s Rubaiyat in English and Persian language feature and non-biographical movies; hence, biographical movies depicting factual or imaginary life of Khayyam or any serials, TV productions, documentaries, non- English, non- Persian movies are not included. The aim is to expound any relationships between the film and Rubaiyat; therefore, according to the type of the applied quatrain, movie genre, plot, some categories are propounded to classify the movies in which Khayyam’s quatrains are quoted such as Transiency-Death, Transiency-Carpe Diem, Heaven and Hell, and Determinism. Indeed, these categories can be applied to the theme of the movies or a single scene in which the stanza is quoted.
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Miller, Cynthia J. "The "B" Movie Goes to War in Hitler, Beast of Berlin (1939)." Film & History: An Interdisciplinary Journal of Film and Television Studies 36, no. 1 (2006): 58–64. http://dx.doi.org/10.1353/flm.2006.0015.
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Il Kim, Young, Shi-Young Lee, and Eun–mee Kim. "The Effect of the Korean Screen Quota System on Box Office Performance." Journal of World Trade 42, Issue 2 (April 1, 2008): 335–46. http://dx.doi.org/10.54648/trad2008015.
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The objective of this article is to examine the effectiveness of the Korean screen quota system on the box office performance of domestic films. We undertook an empirical analysis and found that the effectively enforced Korean screen quota system did not help to contribute to the box office performance of domestic films. Instead, the results indicate that production budget, critical reviews, and the number of screens contribute significantly to the recent success of Korean movies. Recently, there has been a steep rise in both the production budget of films and the number of multiplex theatres. The nature of game among domestic movie producers has changed to one focused on quality competition (high production and marketing costs). In this article, we found that protection such as the Korean screen quota system does not play any significant role in affecting the box office performance of domestic films.
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Schween, J. H., J. Kuettner, D. Reinert, J. Reuder, and V. Wirth. "Definition of "banner clouds" based on time lapse movies." Atmospheric Chemistry and Physics 7, no. 8 (April 24, 2007): 2047–55. http://dx.doi.org/10.5194/acp-7-2047-2007.
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Abstract. Banner clouds appear on the leeward side of a mountain and resemble a banner or a flag. This article provides a comprehensive definition of "banner clouds". It is based primarily on an extensive collection of time lapse movies, but previous attempts at an explanation of this phenomenon are also taken into account. The following ingredients are considered essential: the cloud must be attached to the mountain but not appear on the windward side; the cloud must originate from condensation of water vapour contained in the air (rather than consist of blowing snow); the cloud must be persistent; and the cloud must not be of convective nature. The definition is illustrated and discussed with the help of still images and time lapse movies taken at Mount Zugspitze in the Bavarian Alps.
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Fendler, Ute. "Le road movie dans le contexte interculturel africain." Cinémas 18, no. 2-3 (August 4, 2008): 69–88. http://dx.doi.org/10.7202/018552ar.
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Résumé À partir des années 1990, on constate, en Afrique francophone, une hausse de la production de films que l’on peut qualifier de road movies. Mais comment s’effectue le transfert de ce genre d’origine américaine, dont les caractéristiques les plus marquantes sont l’expérience de l’espace dans le sens spatial et symbolique et la quête d’identité, dans le contexte africain ? En fait, on note que des tendances thématiques et esthétiques se manifestent à l’intérieur du champ cinématographique maghrébin et ouest-africain francophone, notamment la migration Sud-Nord, synonyme de quête d’un avenir meilleur, et le voyage Nord-Sud, synonyme de quête de racines perdues. Outre ces voyages de migration, des périples effectués au sein d’un seul pays mettent l’accent sur la diversité ethnique et culturelle africaine, ce qui est l’occasion de rencontres interculturelles. Dans ce champ cinématographique s’insèrent aussi les films d’orientation historique, légendaire ou mystique où la quête de l’identité ou même du sens de la vie est centrale. Le road movie se prête en effet particulièrement à l’illustration de l’état des sociétés en mutation ou en voie de développement de l’Afrique francophone, ce qui se manifeste par l’abondance des lieux de transit et des mouvements en suspens dans son cinéma. Mais ce genre fait également écho aux récits traditionnels de cette dernière, de telle sorte que les road movies africains s’inscrivent plutôt dans une tradition propre aux récits de voyage et d’initiation — grâce aux types de narration que suppose le road movie —, où les destins individuels sont au premier plan. L’appropriation du genre road movie par les cinéastes d’Afrique francophone représente donc aussi la possibilité de s’inscrire dans l’histoire cinématographique pour attirer l’attention sur des productions issues des cinémas dits « mineurs », le genre leur conférant une certaine visibilité auprès des critiques et des publics.
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Hunter, Latham. ""What's Natural About It?": A Baseball Movie as Introduction to Key Concepts in Cultural Studies." Film & History: An Interdisciplinary Journal of Film and Television Studies 35, no. 2 (2005): 71–77. http://dx.doi.org/10.1353/flm.2005.0042.
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Pronin, Alexander Alexeevich. "Time - Backwards: Mayakovsky Quotes Vertov." Journal of Flm Arts and Film Studies 6, no. 4 (December 15, 2014): 26–32. http://dx.doi.org/10.17816/vgik6426-32.
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The article is devoted to the problem of creative interaction of such significant figures of Russian revolutionary avant-garde of the 1920's, as Vladimir Mayakovsky and Dziga Vertov. The relevance of the study is determined by everlasting public interest in one of the most significant pages in the history of Russian cinema, and its novelty stems from the fact that the author has discovered and analyzed previously unnoticed evidence of citing of Vertov's Kino-eye (1924) in the screenplays by Mayakovsky How are you? (1927). In his article the mechanism of Vertovs cinema texts incorporation into their own literary text script is thoroughly investigated, and a convincing proof for the reason why Mayakovsky resorted to this technique is provided. In addition, the article convincingly shows how the lyrical theme of the script changes the meaning of the quotation, which allows to arrive at the conclusion that quotatione, demonstrated in the original that is the power of cinema over time (negative of time), in the script by Mayakovsky becomes a metaphor for the lack of it as such. In the third script, the author shows breads way back from the shop counter to the peasants fields (frames 16-39), which fully corresponds to the action of the fourth part of the D. Vertov's documentary Kino-eye (32-40 minutes). The article advances the hypothesis that Mayakovsky was counting on recognition of the twist, and a possible D. Vertovs response on this creative game, proposed by Mayakovsky, might be Man with a Movie Camera (1929), since according to the plan and the composition it resonates with the script by Mayakovsky being a likewise lyrical diary of the artist as How are you?. The author concludes that Man with a Movie Camera is probably a sort of intravitam screen adaptation of Mayakovskys script.
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Lavik, Erlend. "Narrative Structure in The Sixth Sense: A New Twist in "Twist Movies"?" Velvet Light Trap 58, no. 1 (2006): 55–64. http://dx.doi.org/10.1353/vlt.2006.0031.
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Pancaningrum, Erminati, and Dify Virginia Rizaldy. "Video on demand: an easy way to watch movies – studies on consumer behavior." Journal of Management and Business 21, no. 1 (March 21, 2022): 61. http://dx.doi.org/10.24123/jmb.v21i1.512.
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Watching movies is an activity that many people do to get rid of fatigue after doing quite tiring daily activities. In the past, watching movies could only do by going to the cinema with determined showtimes, but as technology develops grow so fast, now watching movies possible to do anytime and anywhere using video on demand. This research background is the result of pre-research which shows there is a shifting phenomenon in consumer behavior who in the beginning watched movies in theaters then switched to using on-demand services. This research has a purpose to explore the existing phenomenon, also analyze the reasons behind movie lovers use video on demand to watch movies. This research is qualitative research by using the data source as in-depth interviews with 5 informants, document collection, and triangulation of data sourcesconducted by researchers. The results of the data are analyzed using the open coding method, axial coding, and selective coding by paying attention to the aspects of trustworthiness. The result of this research shows some factors become the reasons someone watching movies uses video on demand that is; hobby, flexibility, emotional motive, patronage motive, rational motive, intrinsic motivation, extrinsic motivation, and rerun.
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Jomelli, Vincent, Pascal Bertran, and Stephane Kunesch. "Le cône de la Momie : un nouveau type de dépôt proglaciaire mis en place depuis la fin du Petit Age Glaciaire. [The Momie cone : a new type of proglacial deposit constituted since the end of the Little Ice Age]." Quaternaire 13, no. 3 (2002): 257–65. http://dx.doi.org/10.3406/quate.2002.1718.
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North, Michael. "Words in Motion: The Movies, the Readies, and the "Revolution of the Word"." Modernism/modernity 9, no. 2 (2002): 205–23. http://dx.doi.org/10.1353/mod.2002.0033.
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Żaglewski, Tomasz. "– The specificity of graphic cinema on the example of "Hulk" by Ang Lee." Kultura Popularna 60, no. 2 (January 31, 2020): 230–39. http://dx.doi.org/10.5604/01.3001.0013.7346.
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In the article the author is trying to define the characteristics of a graphic cinema as one of the main trends in nowadays comic book film adaptations production. One of the main elements of this trend is an ambitious effort to adapt the formal aspects of comic books for a movie screen in the most accurate way that is possible. By using one of the first examples of graphic cinema - Ang Lee’s “Hulk” — the author is trying to reconstruct its mechanisms of the following the comic book language and find out where the limits of adaptation between comic book and film are.
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Kim, Jung-Ho. "Impact of Cutback of Screen Quota in Korean Movie Market: Three Years Before and After the Screen Quota Reduction in 2006." Journal of the Korea Contents Association 11, no. 2 (February 28, 2011): 238–50. http://dx.doi.org/10.5392/jkca.2011.11.2.238.
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Yazdi, Mohammad Rezaie. "Hollywood Mission: America the New Israel." Asian Journal of Social Science 37, no. 2 (2009): 305–14. http://dx.doi.org/10.1163/156853109x415408.
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AbstractThis article centres on the fact that American politicians tend to introduce America as “the New Israel.” By adherence to the religious beliefs, they identify themselves as the chosen nation. The substantial question is how the movies with so wide a range of popular viewers would reflect the new American religion. One of the ways to answer this question is to overview the movies that take up the parallel between America and Israel. If America is the new Israel, then an American film about Israel is probably a film that is (indirectly) about America as well. This article centres on two movies to go along with its proposal: the Technicolor The Ten Commandments (Demille, 1995) and the animated feature The Prince of Egypt (Chapman et.al., 1998). The two movies compare America and Israel to pose the new American civil religion in the form of the old ones. Moreover, it bears on the historical importance of the equation between America and Israel. The movie — the modern media — has converted these themes to “Californication” values and effects. Hollywood mediates the new religion that, compared with the old religion, is quite individual and does not so much refer to the whole society.
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Schween, J. H., J. Kuettner, D. Reinert, J. Reuder, and V. Wirth. "Defintion of “banner clouds" based on time lapse movies." Atmospheric Chemistry and Physics Discussions 6, no. 5 (October 10, 2006): 9995–10019. http://dx.doi.org/10.5194/acpd-6-9995-2006.
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Abstract. Banner clouds appear on the leeward side of a mountain and resemble a banner or a flag. This article provides a comprehensive definition of "banner clouds". It is based primarily on an extensive collection of time lapse movies, but previous attempts at an explanation of this phenomenon are also taken into account. The following ingredients are considered essential: the cloud must be attached to the mountain but not appear on the windward side; the cloud must originate from condensation of water vapour contained in the air (rather than consist of blowing snow); the cloud must be persistent; and the cloud must not be of convective nature. The definition is illustrated and discussed with the help of still images and time lapse movies taken at Mount Zugspitze in the Bavarian Alps.
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Yanan, Quan, and Tan Fuqiang. "Keyword extraction for film reviews based on social network analysis and natural language technology." E3S Web of Conferences 189 (2020): 03019. http://dx.doi.org/10.1051/e3sconf/202018903019.
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At present, there are many movie reviews appear on main stream websites, and these evaluations are quite different to the same movie. As a customer, how to choose your favorite movie and television program? To solve this problem, this study attempts to use the semantic analysis of word vectors (Word2vec) semantic analysis in machine learning as a research tool to mine a large number of movie reviews. The research shows that most movie reviews have a certain theme cohesion and their semantic network has quite connected. Through the use of social network analysis and the use of Word2vec word vector technology in natural language processing, it is possible to present a streamlined movie review based on movie review network semantics and keyword extraction, thus helping to select the favorite movie review.
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Quintal, Vanessa, and Ian Phau. "The role of movie images and its impact on destination choice." Tourism Review 70, no. 2 (June 15, 2015): 97–115. http://dx.doi.org/10.1108/tr-03-2014-0009.
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Purpose – This study aims to examine whether movies are pivotal in developing empathy, nostalgia, perceived risk, place familiarity and place image that can shape viewer attitude towards and intention to visit a place. Design/methodology/approach – Data were collected from two sample frames of patrons at a large cinema chain located in a major shopping centre in Perth, Western Australia. The experimental group watched the romantic comedy, Friends with Benefits. The control group watched the romantic comedy, Desi Boyz which is set in London and India and is not associated with New York. A quota for data collection was set at 230 subjects in each group. The two groups watched their movies concurrently in different theatres at the same cinema chain in the same shopping centre. Subjects in both groups were asked for their responses to New York immediately after viewing the movie. Findings – In an experimental study, subjects who watched a romantic comedy set in New York had significantly higher empathy, place familiarity, attitude towards and intention to visit New York and significantly lower performance/financial risk associated with visiting New York than the control group. However, perceived risk played no significant role in influencing place familiarity in the experimental group, whereas nostalgia played no significant role in influencing place familiarity in the control group. Originality/value – The proposed decision-making framework provides academics with theoretical underpinning for future empirical tourism studies in the research area. The findings also encourage more collaboration between government, movie producers, destination management organisations and marketers to deliver a movie that provides consistent branding in its story, location and product placement strategies.
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LATIFF, ROZMEL ABDUL, NOR HASNI MOKHTAR, RAJA HANANI RAJA MUSHAHAR, and MICHI FARIDA ABDUL HALIM. "PROMOTING ENGLISH LANGUAGE LEARNING AMONG LIMITED ENGLISH PROFICIENCY LEARNERS THROUGH MOVIES." MALIM: JURNAL PENGAJIAN UMUM ASIA TENGGARA (SEA JOURNAL OF GENERAL STUDIES) 22, no. 1 (November 20, 2021): 126–38. http://dx.doi.org/10.17576/malim-2021-2201-10.
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English language learning in a non-native environment is always a challenge. This is especially so among limited English proficiency (LEP) learners. Despite having eleven years of instructions in English in primary and secondary school, there are still quite a number of LEP learners entering the university. This may be attributed to lack of exposure to the language, as classroom instruction alone is not sufficient for mastery of a second language. Although English is widely spoken in Malaysia, this does not apply to all communities, especially in rural areas. In such circumstances, watching movies in the target language can provide the necessary exposure, the ample amount of listening and reading in the target language, which provides the comprehensible input essential for language acquisition. Movies also come with closed captions, which not only help the learner recognize the words but also enable them to look up the words in a dictionary. An action research was conducted to investigate the effectiveness of using movies in a Foundation English course. This paper details the implementation of movie viewing in the course and presents the usability and appropriateness of using English movies in the acquisition of English language skills and creating cultural awareness among LEP learners. Finally, this paper highlights the learners’ responses regarding their experience in watching the movies. These responses provide invaluable insights into the impetus for future use of movies in the ESL classroom. Keywords: Comprehensible input; Cultural awareness; Limited english proficiency (LEP) learners; Language skills; Movies.
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Falicov, Tamara L. "U.S.-Argentine Co-productions, 1982-1990: Roger Corman, Aries Productions, "Schlockbuster" Movies, and the International Market." Film & History: An Interdisciplinary Journal of Film and Television Studies 34, no. 1 (2004): 31–38. http://dx.doi.org/10.1353/flm.2004.0015.
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Dwipayani, Ni Made, I. Ketut Subagia, and Anak Agung Gede Suarjaya. "DEIXIS FOUND IN MOVIE SCRIPT SING." KULTURISTIK: Jurnal Bahasa dan Budaya 4, no. 1 (January 20, 2020): 44. http://dx.doi.org/10.22225/kulturistik.4.1.1574.
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The title of this paper is Deixis found in Movie Script Sing. In this paper, the writers try to analyze and discuss about the type, class words, and the use of deixis found in the movie script Sing. Data were collected from the movie script of Sing. The data were classified based on the types to Levinson’s Theory (1983). The specific aim of this paper is to describe and analyze the types of deixis in the movie script, analyze sentence by sentence. By doing this research it will be able to know more details about the types of deixis. Then analyzed, it was the types, class words and the use of deixis in the movie Sing. In collecting the data, observation method was applied. First the writer watched the movie than observed the subtitle in the movie. Then were quoted the selected data, and classified in accordance with their types of deixis. Based on the result of analysis, it was found there are five types of deixis, namely person deixis (including I, my, me, she, her, his, she, he, we, you, they), time deixis (including now), place deixis (including here), discourse deixis (including this, that), and social deixis (including mommy and grandpa).
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Simpson, Patricia Anne. ""Manche Menschen werden Brüder": Contemporary Music and New Fraternities." German Politics and Society 23, no. 2 (June 1, 2005): 50–71. http://dx.doi.org/10.3167/104503005780880696.
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In this article, I analyze the social and cultural trends from within the music scene that counter challenges the moderate and extreme right. This music centers on the issue of ethnic exclusivity and aggressively insists on accepting Germany as a diverse society, however uncomfortable a fit that may still be for many. Certain bands and musicians move from politics to identity politics, in an attempt to generate a discourse about racism and national identity. By foregrounding the contingent relationship between citizen and nation, bands like Advanced Chemistry destabilize any naturalized or motivated link between self and state. Songs like "Fremd im eigenen Land" dismantle any proprietary relationship between German ethnicity and entitlement to the rights of citizenship. An image of a new Germany emerges that insists on the political acceptance of diversity. Nevertheless, this vision is subject to the pressures of reality: Germany is not by any stretch of the imagination a hate-free zone. Structured in part by responses to alienation within Germany, as well as by imported musical forms of male affinity, some bands, rappers, and musicians are organizing themselves into new fraternities. While criticizing or rejecting certain Americanized clichés of masculinity, the bands I discuss look beyond the caricatures of yuppies and cowboys to different models.
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Muhartoyo, Muhartoyo, and Keilly Kristani. "Directive Speech Act in The Movie “Sleeping Beauty”." Humaniora 4, no. 2 (October 31, 2013): 949. http://dx.doi.org/10.21512/humaniora.v4i2.3536.
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Pragmatics is one of linguistics studies that is quite attractive to learn more about. There are many aspects of pragmatics; one of them is dealing with speech acts. Speech acts consist of many categories; one of them is directive speech act. This study aims to identify the directive speech act performed in “Sleeping Beauty” movie. Likewise, it will find out how often the directive speech act performed and which type of directive speech act that are most frequently used in the movie. This study used qualitative method in which data collection is done by watching the movie, analyzing the body movement and the dialogues of each character, reading the script and library research. A total of 139 directive speech acts were successfully identified. The result of analysis showed that the directive speech act of ordering is the most frequently used in the movie (21,6%). The least frequently used directive speech act is inviting directive speech act (0,7%). The study also revealed the importance of directive speech act in keeping the flow of storyline of the movie. This study is expected to give some useful insights in understanding what directive speech acts is.
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Ramesh, Akshya. "A Diasporic Study of the Tamil Movie - Nala Damayanthi." International Journal for Research in Applied Science and Engineering Technology 9, no. 8 (August 31, 2021): 2952–54. http://dx.doi.org/10.22214/ijraset.2021.37874.
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bstract: ‘Nala Damayanthi’ is a Tamil movie, directed by Moulee which was released in the year 2003, starring R. Madhavan, Geetu Mohandas, Anu Hassan, Sriman, Moulee and many others. This movie projects the life and problems of an Indian immigrant who goes to Australia and almost loses everything including his own identity. The movie also represents and reflects some of the issues that an average immigrant would face in a foreign land. Alienation, racial discrimination, loss and lack of identity are some of the prominent issues that are addressed in the movie. Ramji, the protagonist faces quite a lot of differences in Australia yet, he tries hard to fit in and accommodate that culture. But, in spite of all his attempts to change his behaviour and manners, he ultimately remains as an Indian and therefore, he is eventually rejected. Thus, this movie handles diasporic issues of an Indian in Australia. Keywords: Alienation, Diaspora, Racial Discrimination, Lack of Identity, Indian Immigrant
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Perrons, Robert K., and Jesse Jensen. "The Unfinished Revolution: What is Missing From the E&P Industry's Move to "Big Data"." Journal of Petroleum Technology 66, no. 05 (May 1, 2014): 20–22. http://dx.doi.org/10.2118/0514-0020-jpt.
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Rahmawati, Nailur, Retno Purnama Irawati, Muchlisin Nawawi, and Sulimah Sulimah. "ARABIC LANGUAGE DIRECTIVE SPEECH ACT IN SALAHUDDIN AL-AYYUBI MOVIE." Arabi : Journal of Arabic Studies 5, no. 2 (December 31, 2020): 142. http://dx.doi.org/10.24865/ajas.v5i2.292.
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A movie can be used as an effective and feasible medium for delivering messages; this served as the study’s rationale. This research acquired communicative speeches in the Salahuddin Al Ayyubi movie. This research aimed to explore two objectives: to describe the form of directive speech acts and to find out the functions of the directive speech acts. The techniques used in this research comprised: (1) uninvolved conversation observation; (2) recording; (3) transcription; and (4) note-taking. The results showed that (1) there were six forms of directive speech acts in the dialogues of "Saladin al-Ayyubi", i.e., imperative, request, invitation, advice, criticism, and prohibition; (2) the functions of directive speech acts in the dialogues of "Saladin al -Ayyubi” are quite varied. The imperative functions had 83 speech data. The request function comprised 52 speech data. The invitation function involved 33 speech data. The advice function consisted of 39 speech data. The criticism act had 13 speech data. The prohibition function consisted of 23 speech data.
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Yanık, Lerna. "Valley of the Wolves—Iraq: Anti-Geopolitics Alla Turca." Middle East Journal of Culture and Communication 2, no. 1 (2009): 153–70. http://dx.doi.org/10.1163/187398609x430660.
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AbstractThis article discusses the Turkish movie Valley of the Wolves—Iraq (Kurtlar Vadisi—Irak), a blockbuster in Turkey in 2006. The movie has made an important mark on the history of Turkish popular culture, not through any artistic achievement, but because of the movie's 'reversed' representations/imaginations. The movie contains favorable views of 'Pax Turca' and 'Pax Islamica' as well as a critique, which is quite anti-American, of the American occupation of Iraq. These images and thus the movie itself give powerful insights into the geopolitical self/other representations of Turks in the current global (dis)order. In addition to these 'reversed' geopolitical representations, the movie reverses (or to be more correct, 'steals') and uses one of the most important soft power tools that Westerners have: cinema and, hence, makes Valley of the Wolves—Iraq a case of double 'anti-geopolitics'.
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Kartika, Pheni Cahya. "RASIONALISASI PERSPEKTIF FILM LAYAR LEBAR BERADAPTASI KARYA SASTRA." Jurnal Pena Indonesia 2, no. 2 (January 16, 2017): 142. http://dx.doi.org/10.26740/jpi.v2n2.p136-150.
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Film as one of super important visual media is currently growing in Indonesia. Films will only be meaningful if it meets with the audience. Indonesia's willingness to watch the movie becomes very important. According to the survey the majority of wide screen film lovers, films adapted from literary works such as novels. This research is qualitative research in the field of literary studies and concentrate on the educational value of social psychology. Based on the analysis, it can be concluded that moviegoers are more interested in the film because of adopting novel storyline that often make a good impression, especially on their personality. Literary works such as novels able to be taught and enjoyed also by the presence of the film that this requirement will be educational value. Compared with the films that did not adopt a literary work, lovers of literature are sometimes not more interested in movies with some reason considered quite rational. Differences in the way the story and imagination commercial terms was seen as reducing the spirit of a literary work's title.
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Koutsoyiannis, D., C. Makropoulos, A. Langousis, S. Baki, A. Efstratiadis, A. Christofides, G. Karavokiros, and N. Mamassis. "HESS Opinions: "Climate, hydrology, energy, water: recognizing uncertainty and seeking sustainability"." Hydrology and Earth System Sciences 13, no. 2 (February 23, 2009): 247–57. http://dx.doi.org/10.5194/hess-13-247-2009.
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Abstract. Since 1990 extensive funds have been spent on research in climate change. Although Earth Sciences, including climatology and hydrology, have benefited significantly, progress has proved incommensurate with the effort and funds, perhaps because these disciplines were perceived as "tools" subservient to the needs of the climate change enterprise rather than autonomous sciences. At the same time, research was misleadingly focused more on the "symptom", i.e. the emission of greenhouse gases, than on the "illness", i.e. the unsustainability of fossil fuel-based energy production. Unless energy saving and use of renewable resources become the norm, there is a real risk of severe socioeconomic crisis in the not-too-distant future. A framework for drastic paradigm change is needed, in which water plays a central role, due to its unique link to all forms of renewable energy, from production (hydro and wave power) to storage (for time-varying wind and solar sources), to biofuel production (irrigation). The extended role of water should be considered in parallel to its other uses, domestic, agricultural and industrial. Hydrology, the science of water on Earth, must move towards this new paradigm by radically rethinking its fundamentals, which are unjustifiably trapped in the 19th-century myths of deterministic theories and the zeal to eliminate uncertainty. Guidance is offered by modern statistical and quantum physics, which reveal the intrinsic character of uncertainty/entropy in nature, thus advancing towards a new understanding and modelling of physical processes, which is central to the effective use of renewable energy and water resources.
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Lorenz, R. D., J. M. Norris, B. K. Jackson, R. D. Norris, J. W. Chadbourne, and J. Ray. "Trail formation by ice-shoved "sailing stones" observed at Racetrack Playa, Death Valley National Park." Earth Surface Dynamics Discussions 2, no. 2 (August 28, 2014): 1005–22. http://dx.doi.org/10.5194/esurfd-2-1005-2014.
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Abstract. Trails in the usually-hard mud of Racetrack Playa in Death Valley National Park attest to the seemingly-improbable movement of massive rocks on an exceptionally flat surface. The movement of these rocks, previously described as "sliding stones", "playa scrapers", "sailing stones" etc., has been the subject of speculation for almost a century but is an exceptionally rare phenomenon and until now has not been directly observed. Here we report documentation of multiple rock movement and trail formation events in the winter of 2013–2014 by in situ observation, video, timelapse cameras, a dedicated meteorological station and GPS tracking of instrumented rocks. Movement involved dozens of rocks, forming fresh trails typically of 10s of meters length at speeds of ~5 cm s−1 and were caused by wind stress on a transient thin layer of floating ice. Fracture and local thinning of the ice decouples some rocks from the ice movement, such that only a subset of rocks move in a given event.
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Goctu, Ramazan. "Using Movies in Efl Classrooms." European Journal of Language and Literature 8, no. 1 (May 19, 2017): 121. http://dx.doi.org/10.26417/ejls.v8i1.p121-124.
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This research examines the attitudes and awareness of foreign language (EFL) learners to the integration of English movies in their classes in terms improving their foreign language skills. 25 intermediate level students studying English in Faculty of Education and Humanities in Philology Department at International Black Sea University, Tbilisi, Georgia, participated in this study. Students watched the movies at home and films were analyzed at the lectures. After analyzing the films, 7 various questions were asked to students in order to obtain their awareness towards the using films in ELT classrooms. The findings of the study indicated that students have positive attitudes towards the use of movies in their classes in terms of improving their language skills. Until quite recently, it was difficult to find pedagogically sound film material to help students improve their language through watching film, and teachers had to spend many hours creating their own materials. However, with the advent of the internet there is now a wealth of online resources for both language teachers and their students. This study is remarkable for teachers who are willing to use movies in their classes as a tool to improve their learners` foreign language level.
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NEIMANIS, ASTRIDA. "Commuting Bodies Move, Creatively." PhaenEx 3, no. 2 (December 27, 2008): 115. http://dx.doi.org/10.22329/p.v3i2.579.
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In this paper, I sketch out the way our bodies are engaged while commuting in order to elucidate several key aspects of the bodily experience of “in-between-ness.” I discover that within the rhythm and movement of the in-between, our bodies can open to a specific kind of conceptual creativity—an insight that I unfold in reference to the unanticipated innovation and transformation that accompanies other bodily experiences of in-between-ness more generally. This sketch, however, also demands that I reflect on phenomenological methodology, and our ontological presuppositions about the “things” that we intend to “go back to.” I conclude by suggesting that while Deleuze and Guattari’s rhizomatic ontology helps us explain the findings of my phenomenological sketch of commuting, Merleau-Ponty’s embodied phenomenology can help to flesh out (quite literally) Deleuze and Guattari’s suggestion that all the work happens in “the logic of the AND” (A Thousand Plateaus 25). While the method I call on in this paper is decidedly phenomenological, the conclusions I reach invite me to explore further the promise of a more “rhizomatic phenomenological” practice.
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Zvegintseva, Irina A. "Two Peoples, Two Worlds." Journal of Flm Arts and Film Studies 8, no. 4 (December 15, 2016): 125–34. http://dx.doi.org/10.17816/vgik84125-134.
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By the time of the arrival of Europeans in the continent during the second half of the 18th century, the aboriginal tribes that inhabited Australia were under the primeval communal system. Their settlements became an easy conquering for the first aliens. Aborigines of Australia met the invaders quite friendly, providing virtually no resistance and the letters benefited immediately. There appeared a clash of two cultures, two worldviews. On the one hand, the absolute merging with nature, harmonious existence, which for centuries hadnt undergone any changes, and hence a complete tolerance to everything that didnt disturb the established order of the world; on the other hand - consumerist attitude to the land, the desire to get rich, tough competition. Naturally, such polar positions to combine turned out to be impossible, and without a desire to understand the natives who were moved out of their lands, the invaders hastened to announce the aborigines the second-class citizens. Of course, the national cinema couldnt avoid the most urgent problem of the Australian society. But if the first works of filmmakers of the past were focused more on the exotics, mystical rites, dances, daily life of aborigines, in recent years increasingly serious movies are on, and the authors call for a change in attitude to the natives, respect their culture, recognize their equal rights. Analysis of the best movies devoted to these problems, such as Jeddah, Manganese, Fence from rabbits, Charlies land and some others has become the focus of the article. Mainly under the influence of these movies the situation in the country has begun to change for better. Today in the film industry the aborigines have been working, and the movie Samson and Delilah, directed by aborigine Warwick Thornton/ has been a sensation at the Cannes film festival of 2009.
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El Khachab, Walid. "Le road movie interculturel comme voyage mystique : Le voyage de Fernando Solanas." Cinémas 18, no. 2-3 (August 4, 2008): 123–42. http://dx.doi.org/10.7202/018555ar.
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Résumé Le voyage de Fernando Solanas est un road movie interculturel oscillant entre deux tendances opposées : souligner la diversité et la multiplicité irréductibles, et penser l’ultime unité au sein d’une même culture. Les images montrent l’extrême diversité géographique, ethnique, sociale et culturelle de l’Amérique latine, à travers le voyage du jeune Martin qui parcourt le continent sud-américain à la recherche de son père. La transparence du montage participe d’une utopie de l’homogénéité, renforcée au niveau narratif par l’unicité du thème de la quête du père. Cependant, l’hétérogénéité des espaces filmiques et la narration épisodique introduisent tension et hétérogénéité au sein du film. Ainsi, Le voyage réunit deux tendances majeures du genre road movie : la construction d’une utopie de l’unité nationale, grâce à la mystique de la nation imaginée, et la production d’une dystopie critique, soulignant les tensions, diversités et discontinuités.
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Shumilova, Angela. "Ukrainian film poster of 1947—1994 from the collections of the VNLU as a special kind of creativity and mass communication." Вісник Книжкової палати, no. 1 (October 22, 2019): 48–52. http://dx.doi.org/10.36273/2076-9555.2020.1(282).48-52.
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The article is devoted to the research of the Ukrainian movie poster of 1947—1994 from the funds of the Vernadsky National Library of Ukraine (VNLU). The VNLU Ukrainian Circulation Poster Foundation has more than 3500 copies that reflect the history of cinema development in general. Developing creative potential, the movie poster became a noticeable independent phenomenon and occupied a leading position in the field of propaganda. The nature of a movie poster makes it possible to see it as a social and communicative tool and as a subject of fine arts belonging to different genres. The genre quite accurately reflects the actuality of art, the response of artists' creative efforts to historical conditions and the request of time. Being a carrier of visual information in mass media, a poster in graphic design appears as a complete artistic and communicative phenomenon. This tool of information is a powerful tool for influencing human consciousness. By means of looking at the posters that are used to promote the movie, we get information about the movie. The movie poster reveals the content of the movie, reflects the individual features of the creator of the poster. Each sheet is a powerful source for exploring the personalities (actors, sound producers, directors, directors, screenwriters, film artists, etc.), film studios that made the films. The article analyzes the movie posters of 1947—1994 that are stored in the funds of the VNLU. The results of observations on the forms of composing plots and the historical development of the poster are covered.
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Adilla, Annisa, and Sunarto Sunarto. "Parents’ Domineering Leadership In “Nanti Kita Cerita Tentang Hari Ini” Movie." Jurnal Komunikasi Pendidikan 6, no. 1 (January 31, 2022): 11. http://dx.doi.org/10.32585/jkp.v6i1.1944.
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This research was entitled “Parents’ Domineering Leadership in “Nanti Kita Cerita Tentang Hari Ini” Movie”. As is known, family conflict discourse had always been one of the debates within the household. Most of family disputes comes from the absence of open communication. Some efforts can be done to minimize conflicts within family scope. After all, family is one of the very first places where people starts to communicate to. This study aims to describe parent’s domineering leadership (father) towards his daughter epicted in “NKCTHI”. The object of the study is “Nanti Kita Cerita Tentang Hari Ini” movie, produced in 2020 by Angga Dwimas Sasongko. The research method uses Roland Barthes’ semiotic analysis through the meaning of lexia and the five existing reading codes. In providing evidences, this research will focus on dialogues and symbols taken from 6 specific scenes. The results indicate that the meaning of lexia occurs in form of restraint, emphasis, blame, and subordination. The study concludes that what is shown in “NKCTHI" is related to the representation of patriarchal society where men are considered more important than women and that women are considered as subordinates who do not have courage to speak up against men’s dominating power. This behavior occurs quite repeatedly in family scope which then creates injustice in gender relations that is often displayed by the media industry. Typically, patriarchal culture always displays perfect body, but the depicted perfect body in the media industry tends to show the superiority of masculine character identity which emphasizes the power of self-defense of parent’s domineering leadership
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Valduriez, Patrick. "Making the Right Move to Senior Researcher." ACM SIGMOD Record 50, no. 2 (August 24, 2021): 30–32. http://dx.doi.org/10.1145/3484622.3484628.
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I have been working on research in data management for the last 40 years. I like my job and my research institution (Inria, the French national research institute for computer science), which have offered me great opportunities to learn a lot, do good work, get to know smart and nice people and overall feel useful. However, since the early days of my mid-career, the research environment, including academia and industry, has certainly become more complex, making the move from junior (or pre-tenure) researcher to senior researcher quite challenging. Based on my experience, I review some of the main questions and challenges and give some hints on how to deal with them. I'll sometimes use stories and anecdotes to illustrate the point.
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Yani, Ni Kadek Windra, and Putu Devi Maharani. "Analysis of command, order and request directive speech act found in frozen 2 movie." Journal of Language and Applied Linguistics 3, no. 1 (January 24, 2022): 31–41. http://dx.doi.org/10.22334/traverse.v3i1.53.
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Being a social human, people have a way to express their hopes, which produces a directive illocutionary act. Directive illocutionary acts are a fascinating phenomenon of illocutionary acts. This research used theory from Searle (1979) to find out the dominant three types of directive speech act, Leech theory (1983) about Aspect of Speech theory to analyzed the purpose of directive speech acts. The researcher used a descriptive qualitative approach to collect data, the data that are founds from the data source were analyzed by using formal and informal method to support the research. According to the findings of this study, there are three types of directive speech acts used by figures in Frozen 2 Movie, they are command (76%), order (11%), request (13%). The three dominant types have quite similar meaning but in this research the researcher try to analyses and find out their differences clearly
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Barthel, R. "HESS Opinions "Integration of groundwater and surface water research: an interdisciplinary problem?"." Hydrology and Earth System Sciences Discussions 11, no. 2 (February 12, 2014): 2011–44. http://dx.doi.org/10.5194/hessd-11-2011-2014.
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Abstract. Today there is a great consensus that water resources research needs to become more holistic, integrating perspectives of a large variety of disciplines. Groundwater and surface water (hereafter: GW and SW) are typically identified as different compartments of the hydrological cycle and were traditionally often studied and managed separately. However, despite this separation, these respective fields of study are usually not considered to be different disciplines. They are often seen as different specialisations of hydrology with different focus, yet similar theory, concepts, methodology. The present article discusses how this notion may form a substantial obstacle in the further integration of GW and SW research and management. The article focusses on the regional scale (areas of approx. 103 to 106 km2), which is identified as the scale where integration is most greatly needed, but ironically the least amount of fully integrated research seems to be undertaken. The state of research on integrating GW and SW research is briefly reviewed and the most essential differences between GW hydrology (or hydrogeology, geohydrology) and SW hydrology are presented. Groundwater recharge and baseflow are used as examples to illustrate different perspectives on similar phenomena that can cause severe misunderstandings and errors in the conceptualisation of integration schemes. It is also discussed that integration of GW and SW research on the regional scale necessarily must move beyond the hydrological aspects, by collaborating with social sciences and increasing the interaction between science and the society in general. The typical elements of an ideal interdisciplinary workflow are presented and their relevance with respect to integration of GW and SW is discussed. The overall conclusions are that GW hydrology and SW hydrogeology study rather different objects of interest, using different types of observation, working on different problem settings. They have thus developed different theory, methodology and terminology. Yet, there seems to be a widespread lack of awareness of these differences which hinders the detection of the existing interdisciplinary aspects of GW and SW integration and consequently the development of truly unifying, interdisciplinary theory and methodology. Thus, despite having the ultimate goal of creating a more holistic approach, we should start integration by analysing potential disciplinary differences. Improved understanding among hydrologists of what interdisciplinary means and how it works is needed. Hydrologists, despite frequently being involved in multidisciplinary projects, are not sufficiently involved in developing interdisciplinary strategies and do usually not regard the process of integration as such as a research topic of its own. There seems to be a general reluctance to apply (truly) interdisciplinary methodology because this is tedious and few, immediate incentives are experienced.
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Grzechowiak, Jarosław. "Jedzenie w polskich filmach fabularnych o tematyce obozowej." Kultura Popularna 2, no. 56 (June 29, 2018): 132–46. http://dx.doi.org/10.5604/01.3001.0012.1143.
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The article is about food motives in Polish movies and TV serieses about concentration camps. It contains analysis of movies with concentration camps theme and indication of functions in which food performs in that productions. The post-war texts in the field of psychology and memories of concentration camps memories were quoted in that article.
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Barthel, R. "HESS Opinions "Integration of groundwater and surface water research: an interdisciplinary problem?"." Hydrology and Earth System Sciences 18, no. 7 (July 16, 2014): 2615–28. http://dx.doi.org/10.5194/hess-18-2615-2014.
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Abstract. Today there is a great consensus that water resource research needs to become more holistic, integrating perspectives of a large variety of disciplines. Groundwater and surface water (hereafter: GW and SW) are typically identified as different compartments of the hydrological cycle and were traditionally often studied and managed separately. However, despite this separation, these respective fields of study are usually not considered to be different disciplines. They are often seen as different specializations of hydrology with a different focus yet similar theory, concepts, and methodology. The present article discusses how this notion may form a substantial obstacle in the further integration of GW and SW research and management. The article focuses on the regional scale (areas of approximately 103 to 106 km2), which is identified as the scale where integration is most greatly needed, but ironically where the least amount of fully integrated research seems to be undertaken. The state of research on integrating GW and SW research is briefly reviewed and the most essential differences between GW hydrology (or hydrogeology, geohydrology) and SW hydrology are presented. Groundwater recharge and baseflow are used as examples to illustrate different perspectives on similar phenomena that can cause severe misunderstandings and errors in the conceptualization of integration schemes. The fact that integration of GW and SW research on the regional scale necessarily must move beyond the hydrological aspects, by collaborating with the social sciences and increasing the interaction between science and society in general, is also discussed. The typical elements of an ideal interdisciplinary workflow are presented and their relevance with respect to the integration of GW and SW is discussed. The overall conclusions are that GW hydrology and SW hydrogeology study rather different objects of interest, using different types of observation, working on different problem settings. They have thus developed a different theory, methodology and terminology. However, there seems to be a widespread lack of awareness of these differences, which hinders the detection of the existing interdisciplinary aspects of GW and SW integration and consequently the development of a truly unifying interdisciplinary theory and methodology. Thus, despite having the ultimate goal of creating a more holistic approach, we may have to start integration by analyzing potential disciplinary differences. Improved understanding among hydrologists of what interdisciplinary means and how it works is needed. Hydrologists, despite frequently being involved in multidisciplinary projects, are not sufficiently involved in developing interdisciplinary strategies and do usually not regard the process of integration as such as a research topic of its own. There seems to be a general reluctance to apply a (truly) interdisciplinary methodology because this is tedious and few immediate incentives are experienced. The objective of the present opinion paper is to stimulate a discussion rather than to provide recipes on how to integrate GW and SW research or to explain how specific problems of GW–SW interaction should be solved on a technical level. For that purpose it presents complicated topics in a rather simplified, bold way, ignoring to some degree subtleties and potentially controversial issues.
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Yakushenkov, Serguey N. "The Enigma of Gülchatai’s Face or The Face of the Other." Corpus Mundi 1, no. 1 (April 20, 2020): 166–96. http://dx.doi.org/10.46539/cmj.v1i1.10.
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The article analyzes the problem of interpretation of the image of the Other through their Body. In modern society, the problem of denoting the Other is extremely important. Very often mass media resorts to the metonymy of the body for naming the Other, for example, "the face of Caucasian nationality". This usage of the word ‘face’ as a certain metaphor to describe the nationality depersonalize people. The usage of the metonymic method of pars pro toto indicates archaic nature of the notions related to the corporality of the Other. As an argument, the author quotes numerous examples of images of mythological heroes whose otherness is expressed through hypertrophied bodily parts, for instance a large face or a tremendous head. The article analyses the popular Soviet movie "The White Sun of the Desert", because this movie demonstrates in the best way the Soviet and post-Soviet pattern of Cultural Encounter. The astonishing popularity of the movie in the USSR shows that the representation of a face-to-face meeting with the Other that the movie offered was very close to the Soviet viewer. The author argues that Russian society still faces the challenge of rediscovering the dialogue of cultures instead of a monologue.