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Journal articles on the topic 'Moving Images'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

Catrein, Christoph. "Moving Images." Classical Review 49, no. 1 (April 1999): 244–46. http://dx.doi.org/10.1093/cr/49.1.244.

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2

Riches, Harriet. "Moving Images." Afterimage 38, no. 4 (January 1, 2011): 31–32. http://dx.doi.org/10.1525/aft.2011.38.4.31.

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3

Marks, Laura U. "Moving Images." Afterimage 40, no. 1 (July 1, 2012): 4–5. http://dx.doi.org/10.1525/aft.2012.40.1.4.

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4

Lovejoy, Alice. "Moving Images." East European Politics and Societies: and Cultures 28, no. 4 (November 2014): 709–14. http://dx.doi.org/10.1177/0888325414551787.

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5

Fingerhut, Joerg, and Katrin Heimann. "Enacting Moving Images." Projections 16, no. 1 (March 1, 2022): 105–23. http://dx.doi.org/10.3167/proj.2022.160107.

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This article highlights ways to relate psychology, neuroscience, and film theory that are underrepresented in the current debate and that could contribute to a new cognitive media theory. First, we outline how neuroscientific approaches to moving images could be embedded in the embodied, enactive cognition framework and recent predictive processing theories of the brain. Within this framework, we understand filmic engagement as a specific way of worldmaking, which is co-constituted by formal elements such as framing, camerawork, and editing. Second, we address experimental progress. Here we weigh the promises and perils of neuroscientific studies by discussing the motor neuron account to camera movements as an example. Based on the limitations we identify, we advocate for a multi-method study of film experience that brings cognitive science into dialogue with philosophical accounts and qualitative in-depth explorations of subjective experience.

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6

Ishita, Saeko. "Moving Images and Societies." Japanese Sociological Review 60, no. 1 (2009): 7–24. http://dx.doi.org/10.4057/jsr.60.7.

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7

Fingerhut, Joerg. "Twofoldness in Moving Images." Projections 14, no. 3 (December 1, 2020): 1–20. http://dx.doi.org/10.3167/proj.2020.140302.

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When watching a film, we are seeing-in moving images. Film’s visual experience is therefore twofold, encompassing a recognitional (the scene presented, the story told, etc.) and a configurational fold (editing, camera movement, etc.). Although some researchers endorse twofoldness with respect to film, there is also significant resistance and misrepresentations of its very nature. This paper argues that the concept is central to an understanding of the basic apprehension and the aesthetic appreciation of film. It demonstrates how twofoldness could play a more substantial role in a new cognitive film theory and a naturalized aesthetics of film. By discussing recent theories of our motor engagement with cinema it shows how referencing to the interplay of two filmic folds could inform such a theory.

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8

Di Stefano, John. "Moving Images of Home." Art Journal 61, no. 4 (December 2002): 38–53. http://dx.doi.org/10.1080/00043249.2002.10792135.

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9

Demos, T. J. "Moving Images of Globalization." Grey Room 37 (October 2009): 6–29. http://dx.doi.org/10.1162/grey.2009.1.37.6.

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10

Lipton, Lenny. "Review: Stereoscopic Moving Images." SMPTE Motion Imaging Journal 120, no. 6 (September 2011): 67–68. http://dx.doi.org/10.5594/j18089.

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11

Stefano, John Di. "Moving Images of Home." Art Journal 61, no. 4 (2002): 38. http://dx.doi.org/10.2307/778150.

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12

Lo, Jacqueline. "Moving Images, Stilling Time." Third Text 28, no. 1 (January 2, 2014): 56–66. http://dx.doi.org/10.1080/09528822.2014.880552.

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13

Cameron, Ann. "Capturing moving images online." Indexer: The International Journal of Indexing: Volume 24, Issue 3 24, no. 3 (April 1, 2005): 142–44. http://dx.doi.org/10.3828/indexer.2005.24.3.8.

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‘Archive Live’, the online catalogue from Scottish Screen Archive, brings the film and video material in Scotland’s National Moving Image Collection to life on the web. Designed to service the general public and the commercial programme maker, the catalogue is an essential reference tool, offering detailed information about moving images from 1895 to the present day. This article describes the planning and decision-making processes involved in actually getting the catalogue online, and provides a look at cataloguing and indexing practice in a film archive.

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14

Dittrich, Jens, Lukas Blunschi, and Marcos Antonio Vaz Salles. "MOVIES: indexing moving objects by shooting index images." GeoInformatica 15, no. 4 (February 3, 2011): 727–67. http://dx.doi.org/10.1007/s10707-011-0122-y.

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15

Zhi, Jin. "Digital Compositing for Moving Images." International Journal of the Arts in Society: Annual Review 3, no. 3 (2008): 11–20. http://dx.doi.org/10.18848/1833-1866/cgp/v03i03/35484.

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16

Valier, Claire, and Ronnie Lippens. "Moving Images, Ethics and Justice." Punishment & Society 6, no. 3 (July 2004): 319–33. http://dx.doi.org/10.1177/1462474504043635.

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17

Wang, J. Y. A., and E. H. Adelson. "Representing moving images with layers." IEEE Transactions on Image Processing 3, no. 5 (1994): 625–38. http://dx.doi.org/10.1109/83.334981.

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18

Usai, Paolo Cherchi. "The Conservation of Moving Images." Studies in Conservation 55, no. 4 (January 2010): 250–57. http://dx.doi.org/10.1179/sic.2010.55.4.250.

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19

Vegdahl, Steven R. "Moving structures between Smalltalk images." ACM SIGPLAN Notices 21, no. 11 (November 1986): 466–71. http://dx.doi.org/10.1145/960112.28745.

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20

Kun Gai, Zhenwei Shi, and Changshui Zhang. "Blind Separation of Superimposed Moving Images Using Image Statistics." IEEE Transactions on Pattern Analysis and Machine Intelligence 34, no. 1 (January 2012): 19–32. http://dx.doi.org/10.1109/tpami.2011.87.

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21

Borish, David, Ashlee Cunsolo, Ian Mauro, Cate Dewey, and Sherilee L. Harper. "Moving images, Moving Methods: Advancing Documentary Film for Qualitative Research." International Journal of Qualitative Methods 20 (January 1, 2021): 160940692110136. http://dx.doi.org/10.1177/16094069211013646.

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With the widespread use of digital media as a tool for documentation, creation, preservation, and sharing of audio-visual content, new strategies are required to deal with this type of “data” for research and analysis purposes. This article describes and advances the methodological process of using documentary film as a strategy for qualitative inquiry. Insights are drawn from a multimedia study that explored Inuit-caribou relationships in Labrador, Canada, through the co-production of community-based, research-oriented, participatory documentary film work. Specifically, we outline: 1) the influence of documentary film on supporting the project conceptualization and collaboration with diverse groups of people; 2) the strength of conducting filmed interviews for in-depth data collection, while recognizing how place and activities are intimately connected to participant perspectives; and 3) a new and innovative analytical approach that uses video software to examine qualitative data, keep participants connected to their knowledge, and simultaneously work toward creating high impact storytelling outputs. The flexibility and capacity of documentary film to mobilize knowledge and intentionally create research outputs for specific target audiences is also discussed. Continued and future integration of documentary film into qualitative research is recommended for creatively enhancing our abilities to not only produce strong, rich, and dynamic research outputs, but also simultaneously to explore and communicate diverse knowledges, experiences, and stories.

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22

E. "On death, time, and moving images." Suomen Antropologi: Journal of the Finnish Anthropological Society 44, no. 3-4 (April 9, 2020): 59–62. http://dx.doi.org/10.30676/jfas.v44i3-4.90734.

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23

TAKAGI, Koichi. "Moving Images in the Social Research." Annals of Japan Association for Urban Sociology 2011, no. 29 (2011): 53–57. http://dx.doi.org/10.5637/jpasurban.2011.53.

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24

Maehara, Hideaki, Jun'ichi Takiguchi, and Keiichi Nishikawa. "Crack Detection from Moving Camera Images." IEEJ Transactions on Electronics, Information and Systems 132, no. 7 (2012): 1208–9. http://dx.doi.org/10.1541/ieejeiss.132.1208.

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25

Matthews, W. J., Clare Benjamin, and Claire Osborne. "Memory for moving and static images." Psychonomic Bulletin & Review 14, no. 5 (October 2007): 989–93. http://dx.doi.org/10.3758/bf03194133.

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26

Takeuchi, T., and K. K. D. Valois. "Motion sharpening in moving natural images." Journal of Vision 2, no. 7 (March 14, 2010): 377. http://dx.doi.org/10.1167/2.7.377.

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27

Balsom, Erika. "LUX/ICA Biennial of Moving Images." MIRAJ, Moving Image Review & Art Journal 2, no. 2 (October 1, 2013): 272–80. http://dx.doi.org/10.1386/miraj.2.2.272_5.

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28

Black, David M. "Moving images: Psychoanalytic reflections on film." International Journal of Psychoanalysis 98, no. 3 (June 2017): 935–39. http://dx.doi.org/10.1111/1745-8315.12505.

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29

Gottfried, Erika. "The Tamiment/Wagner Moving Images Collection." Historical Journal of Film, Radio and Television 16, no. 1 (March 1996): 85–88. http://dx.doi.org/10.1080/01439689600260141.

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30

Takeuchi, T., and K. K. Valois. "Perceived sharpness of moving natural images." Journal of Vision 4, no. 8 (August 1, 2004): 490. http://dx.doi.org/10.1167/4.8.490.

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31

Berenbaum, May. "Images of Entomologists—Moving and Otherwise." American Entomologist 44, no. 2 (1998): 70–71. http://dx.doi.org/10.1093/ae/44.2.70.

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32

GOSCILO, HELENA. "Moving Images, Imagination, and Eye-deologies." Russian Studies in Literature 40, no. 2 (April 2004): 7–19. http://dx.doi.org/10.1080/10611975.2004.11062137.

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33

Kirste, Lynne. "Collective Effort: Archiving LGBT Moving Images." Cinema Journal 46, no. 3 (2007): 134–40. http://dx.doi.org/10.1353/cj.2007.0023.

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34

Gamlen, Alan. "Moving inkblots: Interpreting images of immigration." Migration Studies 4, no. 3 (November 2016): 281–88. http://dx.doi.org/10.1093/migration/mnw031.

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35

Westerink, Joyce H. D. M., and Kees Teunissen. "Perceived sharpness in complex moving images." Displays 16, no. 2 (January 1995): 89–97. http://dx.doi.org/10.1016/0141-9382(95)91178-5.

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36

Abke, Jörg, Christian Eyrich, Matthias Steeg, and Wolfgang Wiewesiek. "Transmission of moving images via Flexray." ATZelektronik worldwide 3, no. 6 (November 2008): 40–44. http://dx.doi.org/10.1007/bf03242201.

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37

Dafni, Adi, Yael Moses, Shai Avidan, and Tali Dekel. "Detecting moving regions in CrowdCam images." Computer Vision and Image Understanding 160 (July 2017): 36–44. http://dx.doi.org/10.1016/j.cviu.2017.04.004.

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38

Gardner, Sally. "Procedures for moving. Walls." Choreographic Practices 11, no. 2 (December 1, 2020): 245–58. http://dx.doi.org/10.1386/chor_00021_1.

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This article discusses an experiment in combining personal archival digital images, including those taken at various dance performances or rehearsals, in which the phenomenon of interruption was both discovered and investigated. The composite images were shown at a Space, Race, Bodies cultural studies and activist conference with the theme of ‘Walls’, held in 2018 in Aotearoa New Zealand. Parallel with discussing the process of creating these images and considering their effects, the article draws on the experience of exhibiting at the conference to explore relations between poetics and politics. The idea of interruption can be a key to this relation. With its rich history in the modernist performing arts and film, interruption facilitates making connections through difference.

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39

Barker, Michele. "A Cinema of Movement." Screen Bodies 2, no. 2 (December 1, 2017): 45–63. http://dx.doi.org/10.3167/screen.2017.020204.

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In this article, I consider some of the aesthetic and temporal forces that give us the opportunity to rethink the relationship between movement and perception in cinema and new media practice. Following Bergson and Deleuze, I offer an idea of the moving image that considers how we can move with the image’s movement. Through a discussion of my own media arts practice, I suggest a new approach to the creation of images that create movement, one where we feel rather than see imperceptibility. Considered in relation to other artistic and scientific deployments of imperceptibility revealed in the use of slow motion in contemporary moving images, this “feeling” of movement summons a kind of time that is neither atemporal nor a subdivision of time but rather a time of moving with images.

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40

Hoguro, Masahiro, Yuki Inoue, Taizo Umezaki, and Takefumi Setta. "Moving Object Detection Using Strip Frame Images." IEEJ Transactions on Electronics, Information and Systems 128, no. 8 (2008): 1277–85. http://dx.doi.org/10.1541/ieejeiss.128.1277.

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41

GEMÜNDEN, GERD. "Travelling Subjects, Moving Images: Peter Handke's America." Seminar: A Journal of Germanic Studies 31, no. 1 (February 1995): 32–49. http://dx.doi.org/10.3138/sem.v31.1.32.

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42

ZHOU Tong-xue, 周同雪, and 朱明 ZHU Ming. "Moving target detection of the video images." Chinese Journal of Liquid Crystals and Displays 32, no. 1 (2017): 40–47. http://dx.doi.org/10.3788/yjyxs20173201.0040.

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43

Lipinski, Kamil. "Odessa Film Festival 2016: Purple Moving Images." Alphaville: Journal of Film and Screen Media, no. 17 (July 1, 2019): 274–79. http://dx.doi.org/10.33178/alpha.17.28.

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44

Bushati, Angela. "Children and Cinema: Moving Images of Childhood." European Journal of Multidisciplinary Studies 3, no. 3 (July 24, 2018): 34. http://dx.doi.org/10.26417/ejms.v3i3.p34-39.

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45

Kim, Hyo-Yong, and See-Eun Kim. "Modules of Directing Interactive Media Moving Images." Journal of the Korea Contents Association 12, no. 3 (March 28, 2012): 84–94. http://dx.doi.org/10.5392/jkca.2012.12.03.084.

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46

Overill, Ralph. "Between the screens: Screen-printing moving images." Journal of Arts Writing by Students 4, no. 1 (March 1, 2018): 37–47. http://dx.doi.org/10.1386/jaws.4.1.37_1.

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47

Didyk, Piotr, Elmar Eisemann, Tobias Ritschel, Karol Myszkowski, and Hans-Peter Seidel. "Apparent display resolution enhancement for moving images." ACM Transactions on Graphics 29, no. 4 (July 26, 2010): 1–8. http://dx.doi.org/10.1145/1778765.1778850.

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48

Silva, Monica Toledo. "Body Landscapes: Moving Images and Performing Narratives." Space and Culture 22, no. 1 (June 8, 2018): 10–18. http://dx.doi.org/10.1177/1206331218775326.

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The article follows a theoretical and experimental research on body narratives and forms of creating meanings through aesthetic languages of cinema and video performances. Philosophers from phenomenology, neuroscientists, biologists, and linguistics whose dialogue between body and film studies, cognitive sciences, and art media possibilities illustrate this text, filled with examples of a series of artistic works from the author, which specify the body landscapes in imaging creation.

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49

Mules, Warwick. "Review: Moving Images, Culture and the Mind." Media International Australia 99, no. 1 (May 2001): 139–40. http://dx.doi.org/10.1177/1329878x0109900118.

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50

Britten, Kenneth H. "Motion perception: How are moving images segmented?" Current Biology 9, no. 19 (October 1999): R728—R730. http://dx.doi.org/10.1016/s0960-9822(99)80469-2.

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