Relevant bibliographies by topics / The fanatic (Motion picture)

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'The fanatic (Motion picture)'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "The fanatic (Motion picture)"

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Verberck, Bart. "Motion picture." Nature Physics 10, no. 5 (April 30, 2014): 332. http://dx.doi.org/10.1038/nphys2971.

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Scott, Jamie S. "Postcolonial Islam in My Son the Fanatic: From Deobandi Revivalism to the Secular Transposition of the Sufi Imaginary." Humanities 10, no. 1 (December 23, 2020): 1. http://dx.doi.org/10.3390/h10010001.

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Set in the early 1990s, Hanif Kureishi’s short story “My Son the Fanatic” (1997) dramatizes tensions between Parvez, a lapsed Pakistani Muslim migrant to postcolonial England, and his son Ali, who rejects the western secularity of his father and reverts to a strict form of fundamentalist Islam. If these tensions remain unresolved in the story, Kureishi’s film adaptation elaborates them. In so doing, though, My Son the Fanatic (dir. Udayan Prasad 1997) presents a very different picture. Renamed Farid, the film’s eponymous youth breaks off engagement to the daughter of the local chief of police and challenges his father: “Can you put keema [minced meat] with strawberries?” Metaphorically, this question articulates the deeper concern underlying the story: How might migrants in diaspora live an authentic Muslim life in the secular environment of the predominantly non-Muslim United Kingdom? A close reading of My Son the Fanatic reveals vying answers. Farid and Parvez both invoke the Qur’an, ultimate arbiter of value, meaning and truth in Islam, but thence their paths diverge widely. On the one hand, the film depicts the revivalist maslak of Deobandi Islam, though such missionary fervour may lead all too easily to the violent militancy of Farid and his cohort. On the other hand, My Son the Fanatic suggests conditions of possibility for a Muslim life of sacralised secularity by developing the love between Parvez and Sandra in terms of tropes and themes transposed from the Sufi imaginary to the postcolonial United Kingdom, most notably an ethos of iḥsān, that is, the cultivation of what is beautiful and good.
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Kubota, Toshihiro, and Yasuhiro Awatsuji. "Femtosecond motion picture." IEICE Electronics Express 2, no. 9 (2005): 298–304. http://dx.doi.org/10.1587/elex.2.298.

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Offit, Paul. "Motion picture sickness." New Scientist 230, no. 3070 (April 2016): 20–21. http://dx.doi.org/10.1016/s0262-4079(16)30705-9.

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Boegner, Ray F. "Motion-Picture Projectors." Scientific American 279, no. 4 (October 1998): 134–35. http://dx.doi.org/10.1038/scientificamerican1098-134.

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Smallridge, Rachel. "A motion picture." Nature Reviews Molecular Cell Biology 3, no. 4 (April 2002): 228. http://dx.doi.org/10.1038/nrm786.

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Finnie, Paul, and Yoshikazu Homma. "Epitaxy: the motion picture." Surface Science 500, no. 1-3 (March 2002): 437–57. http://dx.doi.org/10.1016/s0039-6028(01)01730-7.

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Fovet, Frederic. "120 BPM [Motion Picture]." Journal of Homosexuality 66, no. 11 (October 18, 2018): 1626–28. http://dx.doi.org/10.1080/00918369.2018.1517498.

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Watt, Fiona M., and Richard Sever. "Consortia – the motion picture." Journal of Cell Science 118, no. 21 (November 1, 2005): 4915. http://dx.doi.org/10.1242/jcs.118.21.4915.

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Cleveland, David. "Preservation of motion picture films." Journal of Audiovisual Media in Medicine 8, no. 4 (January 1985): 133–36. http://dx.doi.org/10.3109/17453058509155997.

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Dissertations / Theses on the topic "The fanatic (Motion picture)"

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Kokaram, Anil Christopher. "Motion picture restoration." Thesis, University of Cambridge, 1993. https://www.repository.cam.ac.uk/handle/1810/256798.

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This dissertation presents algorithms for restoring some of the major corruptions observed in archived film or video material. The two principal problems of impulsive distortion (Dirt and Sparkle or Blotches) and noise degradation are considered. There is also an algorithm for suppressing the inter-line jitter common in images decoded from noisy video signals. In the case of noise reduction and Blotch removal the thesis considers image sequences to be three dimensional signals involving evolution of features in time and space. This is necessary if any process presented is to show an improvement over standard two-dimensional techniques. It is important to recognize that consideration of image sequences must involve an appreciation of the problems incurred by the motion of objects in the scene. The most obvious implication is that due to motion, useful three dimensional processing does not necessarily proceed in a direction 'orthogonal' to the image frames. Therefore, attention is given to discussing motion estimation as it is used for image sequence processing. Some discussion is given to image sequence models and the 3D Autoregressive model is investigated. A multiresolution BM scheme is used for motion estimation throughout the major part of the thesis. Impulsive noise removal in image processing has been traditionally achieved by the use of median filter structures. A new three dimensional multilevel median structure is presented in this work with the additional use of a detector which limits the distortion caused by the filters . This technique is found to be extremely effective in practice and is an alternative to the traditional global median operation. The new median filter is shown to be superior to those previously presented with respect to the ability to reject the kind of distortion found in practice. A model based technique using the 3D AR model is also developed for detecting and removing Blotches. This technique achieves better fidelity at the expense of heavier computational load. Motion compensated 3D IIR and FIR Wiener filters are investigated with respect to their ability to reject noise in an image sequence. They are compared to several algorithms previously presented which are purely temporal in nature. The filters presented are found to be effective and compare favourably to the other algorithms. The 3D filtering process is superior to the purely temporal process as expected. The algorithm that is presented for suppressing inter-line jitter uses a 2D AR model to estimate and correct the relative displacements between the lines. The output image is much more satisfactory to the observer although in a severe case some drift of image features is to be expected. A suggestion for removing this drift is presented in the conclusions. There are several remaining problems in moving video. In particular, line scratches and picture shake/roll. Line scratches cannot be detected successfully by the detectors presented and so cannot be removed efficiently. Suppressing shake and roll involves compensating the entire frame for motion and there is a need to separate global from local motion. These difficulties provide ample opportunity for further research.
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Gurski, Remi J. "Real-time motion picture restoration." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ38631.pdf.

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Har-Noy, Shay Shmuel. "Improved LCD motion picture quality." Diss., [La Jolla] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3356431.

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Thesis (Ph. D.)--University of California, San Diego, 2009.
Title from first page of PDF file (viewed June 16, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 107-114).
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Jansen, Christian. "The German motion picture industry." Doctoral thesis, Humboldt-Universität zu Berlin, Wirtschaftswissenschaftliche Fakultät, 2002. http://dx.doi.org/10.18452/14767.

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Die Arbeit ist mit den ökonomischen Auswirkungen von Regulierungen, die für die deutsche Filmwirtschaft relevant sind, befasst. Es werden die ökonomischen Effekte dreier Regulierungsfelder, die in der öffentlichen Debatte diskutiert werden, betrachtet. Diese sind: Das deutsche Filmförderungsgesetz (FFG), das Urheberrechtsgesetz (UrhG) und der Rundfunkstaatsvertrag (RStV). Im Zentrum der Analyse steht die Frage, wie die jeweiligen Regulierungen die ökonomische Effizienz beeinflussen. Darüber hinaus werden wesentliche institutionelle und marktliche Charakteristika der deutschen Filmwirtschaft betrachtet. Teile der Untersuchung sind in eine breit angelegte Regressionsanalyse über die Determinanten des Erfolges deutscher Kinofilme eingebettet. Die Arbeit zeigt, dass die betrachteten Regulierungen im Allgemeinen negative Auswirkungen auf die ökonomische Effizienz haben.
This work deals with the economic impact of regulations on the German film industry, focusing in particular on the effects of three pieces of legislation central to Germany's public debate on film politics. The legislation considered is the Film Act (Filmförderungsgesetz - FFG), the amendments to the Copyright Law (Urheberrechtsgesetz - UrhG), and the Inter-State Agreement on Broadcasting (Rundfunkstaatsvertrag - RStV). The inquiry examines how these statutes affect economic efficiency. In addition, major market and institutional characteristics of the German motion picture industry are studied. The analysis is partly embedded in a broadly disposed regression analysis of the determinants of performance of German movies in the theatrical market. The work indicates that the regulations considered generally detract from economic efficiency.
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Bokšteflová, Barbora. "Motion-picture spatial-differentiation model." Master's thesis, Vysoká škola ekonomická v Praze, 2009. http://www.nusl.cz/ntk/nusl-124646.

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The thesis presents a game theoretic model of two directors on a single market. It introduces a variable film type which attains a value from the interval [0,1], where the boundaries expresses the art and the mainstream film, respectively. Each director has opposite preferences over a film type and chooses which type of film to shoot. The director's decision influences the profit function of the other director. The objective of each director is to maximize his profit function. The profit function is the difference of the quadratic audience function and of the cost function. The cost function is the sum of quadratic production cost function and linear disutility cost function which expresses the director's unmeasurable cost issued from the deviation from his most preferred film type. The model therefore includes both the economic and the artistic incentives which influence the directors' decision. We prove that for each pair of profit functions, there exists at least one pure strategy Nash equilibrium. The discussion of possible outcomes is illustrated by an empirical application.
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Ng, Siu-hong Ryan. "Film Complex : Resuscitation of film in commercial society /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25946821.

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Gallina, Dino. "RED TIDE: A FEATURE LENGTH MOTION PICTURE." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2198.

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The following document provides insight into the uncharted process of producing a micro-budget feature length film. This paper aims to document my growth as an artist in terms of storytelling and filmmaking as well as the development and production process. Red Tide: A Feature Length Motion Picture includes elements from each phase of the production process, from story and script development to marketing and distribution. This document reflects on the obstacles we faced and the solutions we implemented during the process of creating a feature length motion picture on an undersized budget.
M.F.A.
School of Film and Digital Media
Arts and Humanities
Film and Digital Media MFA
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Huggett, Nancy. "A cultural history of cinema-going in the Illawarra (1900-1950)." Communication and Cultural Studies - Faculty of Creative Arts, 2002. http://ro.uow.edu.au/theses/246.

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This thesis explores a cultural history of cinema-going in the Illawarra region of New South Wales over the first half of the twentieth century through oral history interviews with cinema-goers of the period. The research was originally intended to explore the Australian cinema industry from a regional perspective. However, while the interviews contained fascinating details and stories of cinema-going in this period, they did not fit seamlessly into existing academic discussions about cinema which often focus on film texts and national cinema industries. Therefore, as well as considering how the oral histories I collected contributed to pre-existing academic discourses about the cinema industry and national screen content, I have also explored other discourses that are articulated in audience narratives. Through exploring the debates in cultural studies about audience research and the work of the Popular Memory Group and other critical oral historians, I critically evaluate the oral history narratives as well as the methodology of oral history itself. I look at the intersection of oral history practice with cultural studies in order to highlight issues of representation and power and to celebrate the way that differences between written and oral histories can foreground processes of meaning-making. My contention in this thesis is that cinema-going is a strategy of mediation through which people make sense of themselves, their lives and their relationships with others. I test this theory by considering cinema-going in relation to a series of identifications: national identity, local identity, personal identity and political identity (age being one strategic location from which older individuals can draw on age-related discourses and experiences to achieve particular narrative ends). In conclusion I argue that any cultural history of cinema-going is a mediated history which is constructed within a matrix of meaning-making strategies. It is created through audience members� narratives of cinema-going which re-configure memories in accordance with particular discourses of significance either in the narrated past or in the narrating present. The researcher, who tells the story with reference to specific research priorities and current academic discourses, further mediates such a history. Therefore, as well as setting out a cultural history of cinema-going in the Illawarra for debate and further research, the emphasis on mediation is intended to encourage reflection on the creation of history as a complex, collaborative and political process which creates one story as it silences others.
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Carman, Emily Susan. "Independent stardom female stars and freelance labor in 1930s Hollywood /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1666151841&sid=33&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Johnson, Mary P. A. "Online, onscreen, motion picture promotion via the Internet." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ60991.pdf.

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Books on the topic "The fanatic (Motion picture)"

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Guide for the film fanatic. New York: Simon & Schuster, 1986.

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Guide for the film fanatic. London: Simon & Schuster, 1987.

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Kureishi, Hanif. My son, the fanatic. London: Faber and Faber, 1997.

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Kokaram, Anil C. Motion Picture Restoration. London: Springer London, 1998. http://dx.doi.org/10.1007/978-1-4471-3485-5.

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Publishing, Universe, ed. Amelia: The motion picture. New York: Universe, 2009.

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Maryland's motion picture theaters. Charleston, SC: Arcadia Pub., 2008.

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Nash, Jay Robert. The motion picture guide. Chicago: Cinebooks, 1987.

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Nair, Mira. Amelia: The motion picture. New York: Universe, 2009.

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Johnston, Andrew James, Margitta Rouse, and Philipp Hinz, eds. The Medieval Motion Picture. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137074249.

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Case, Dominic. Motion picture film processing. London: Focal Press, 1985.

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Book chapters on the topic "The fanatic (Motion picture)"

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Jacob, Dodd. "Motion picture cameras." In 16mm and 8mm Filmmaking, 13–38. London; New York: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003000334-3.

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Kokaram, Anil C. "Image Sequence Restoration: A Review." In Motion Picture Restoration, 85–97. London: Springer London, 1998. http://dx.doi.org/10.1007/978-1-4471-3485-5_4.

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Kokaram, Anil C. "Introduction." In Motion Picture Restoration, 1–11. London: Springer London, 1998. http://dx.doi.org/10.1007/978-1-4471-3485-5_1.

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Kokaram, Anil C. "Noise Reduction for Image Sequences." In Motion Picture Restoration, 241–60. London: Springer London, 1998. http://dx.doi.org/10.1007/978-1-4471-3485-5_10.

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Kokaram, Anil C. "Using Colour." In Motion Picture Restoration, 261–67. London: Springer London, 1998. http://dx.doi.org/10.1007/978-1-4471-3485-5_11.

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Kokaram, Anil C. "Parting Remarks." In Motion Picture Restoration, 269–72. London: Springer London, 1998. http://dx.doi.org/10.1007/978-1-4471-3485-5_12.

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Kokaram, Anil C. "Motion Estimation for Image Sequence Processing: An Overview." In Motion Picture Restoration, 13–46. London: Springer London, 1998. http://dx.doi.org/10.1007/978-1-4471-3485-5_2.

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Kokaram, Anil C. "Three Dimensional Autoregressive Modelling for Image Sequences." In Motion Picture Restoration, 47–83. London: Springer London, 1998. http://dx.doi.org/10.1007/978-1-4471-3485-5_3.

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Kokaram, Anil C. "Line Registration for Jittered Video." In Motion Picture Restoration, 99–118. London: Springer London, 1998. http://dx.doi.org/10.1007/978-1-4471-3485-5_5.

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Kokaram, Anil C. "Heuristics for Reconstructing Missing Data." In Motion Picture Restoration, 119–50. London: Springer London, 1998. http://dx.doi.org/10.1007/978-1-4471-3485-5_6.

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Conference papers on the topic "The fanatic (Motion picture)"

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Tok, Michael, Volker Eiselein, and Thomas Sikora. "Motion modeling for motion vector coding in HEVC." In 2015 Picture Coding Symposium (PCS). IEEE, 2015. http://dx.doi.org/10.1109/pcs.2015.7170066.

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Tok, M., A. Krutz, A. Glantz, and T. Sikora. "Lossy parametric motion model compression for global motion temporal filtering." In 2012 Picture Coding Symposium (PCS). IEEE, 2012. http://dx.doi.org/10.1109/pcs.2012.6213354.

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Aoshima, Kenichi, Hidekazu Kinjo, Kenji Machida, Daisuke Kato, Kiyoshi Kuga, Tomoyuki Mishina, Hiroshi Kikuchi, and Naoki Shimidzu. "Three dimensional motion picture technologies." In 2014 IEEE Industry Applications Society Annual Meeting. IEEE, 2014. http://dx.doi.org/10.1109/ias.2014.6978440.

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Hillman, P. M. "Segmentation of motion picture images." In International Conference on Visual Information Engineering (VIE 2003). Ideas, Applications, Experience. IEE, 2003. http://dx.doi.org/10.1049/cp:20030496.

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Hyungjun Lim, Dong Yoon Kim, Hyun Wook Park, Jun Ho Cho, Se Hyeok Park, and Jae Hyun Kim. "Motion estimation with adaptive block size for motion-compensated frame interpolation." In 2012 Picture Coding Symposium (PCS). IEEE, 2012. http://dx.doi.org/10.1109/pcs.2012.6213358.

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Okade, M., and P. K. Biswas. "Fast camera motion estimation using discrete wavelet transform on block motion vectors." In 2012 Picture Coding Symposium (PCS). IEEE, 2012. http://dx.doi.org/10.1109/pcs.2012.6213314.

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Mao, Jue, Hualong Yu, Xiaoding Gao, and Lu Yu. "Complementary Motion Vector for Motion Prediction in Video Coding with Long-Term Reference." In 2019 Picture Coding Symposium (PCS). IEEE, 2019. http://dx.doi.org/10.1109/pcs48520.2019.8954511.

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Krutz, A., A. Glantz, M. Tok, and T. Sikora. "Adaptive global motion temporal filtering." In 2012 Picture Coding Symposium (PCS). IEEE, 2012. http://dx.doi.org/10.1109/pcs.2012.6213349.

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Xu, Rui, Aous Thabit Naman, Reji Mathew, Dominic Rufenacht, and David Taubman. "Motion estimation with accurate boundaries." In 2015 Picture Coding Symposium (PCS). IEEE, 2015. http://dx.doi.org/10.1109/pcs.2015.7170072.

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Shih, Timothy K., Rong-Chi Chang, and Yu-Ping Chen. "Motion picture inpainting on aged films." In the 13th annual ACM international conference. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1101149.1101215.

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Reports on the topic "The fanatic (Motion picture)"

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Smith, J. A Uniform Resource Name (URN) Namespace for the Motion Picture Experts Group (MPEG). RFC Editor, September 2003. http://dx.doi.org/10.17487/rfc3614.

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Hanson, Gordon, and Chong Xiang. Testing the Melitz Model of Trade: An Application to U.S. Motion Picture Exports. Cambridge, MA: National Bureau of Economic Research, October 2008. http://dx.doi.org/10.3386/w14461.

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Gharai, L., C. Perkins, G. Goncher, and A. Mankin. RTP Payload Format for Society of Motion Picture and Television Engineers (SMPTE) 292M Video. RFC Editor, March 2003. http://dx.doi.org/10.17487/rfc3497.

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Labosier, James. Motion Picture Exhibition and the Development of a Middle-class Clientele: Portland, Oregon, 1894-1915. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.6828.

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Downs, J., and J. Arbeiter, eds. RTP Payload Format for Society of Motion Picture and Television Engineers (SMPTE) ST 336 Encoded Data. RFC Editor, April 2012. http://dx.doi.org/10.17487/rfc6597.

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Edwards, T. A Uniform Resource Name (URN) Namespace for the Society of Motion Picture and Television Engineers (SMPTE). RFC Editor, February 2008. http://dx.doi.org/10.17487/rfc5119.

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Edwards, T. RTP Payload for Society of Motion Picture and Television Engineers (SMPTE) ST 291-1 Ancillary Data. RFC Editor, February 2018. http://dx.doi.org/10.17487/rfc8331.

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Edwards, T. Media Type Registration for the Society of Motion Picture and Television Engineers (SMPTE) Material Exchange Format (MXF). RFC Editor, May 2006. http://dx.doi.org/10.17487/rfc4539.

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