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

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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

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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Umenhoffer, Tamás, László Szécsi, and László Szirmay-Kalos. "Hatching for Motion Picture Production." Computer Graphics Forum 30, no. 2 (April 2011): 533–42. http://dx.doi.org/10.1111/j.1467-8659.2011.01878.x.

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12

Holman, Tomlinson. "Motion picture theater loudspeaker system." Journal of the Acoustical Society of America 81, no. 5 (May 1987): 1662. http://dx.doi.org/10.1121/1.395048.

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13

Abramson, Nils. "Motion picture of short pulses." Nature Photonics 5, no. 7 (June 30, 2011): 389–90. http://dx.doi.org/10.1038/nphoton.2011.138.

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14

TERAMATSU, Shogo, Tetsu NAGASAKA, Ryoichi HASEGAWA, and Hiroshi KAMADA. "Motion Picture Color Learning System." Journal of JSEE 67, no. 6 (2019): 6_47–6_52. http://dx.doi.org/10.4307/jsee.67.6_47.

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15

Jenkins, C. Francis. "History of the Motion Picture." SMPTE Journal 98, no. 3 (March 1989): 188–94. http://dx.doi.org/10.5594/j02808.

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16

Kennel, Glenn, John Pytlak, Richard Sehlin, and Ronald Uhlig. "Major Motion-Picture Production Standards." SMPTE Journal 97, no. 12 (December 1988): 985–90. http://dx.doi.org/10.5594/j02849.

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17

L., Jagath J., Shalij P. R, and Haris Naduthodi. "Motion Picture Data Management System." International Journal of Business Innovation and Research 1, no. 1 (2020): 1. http://dx.doi.org/10.1504/ijbir.2020.10034213.

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18

Scott, Tom. "SMPTE Progress Report: Engineering, Motion Picture." SMPTE Motion Imaging Journal 116, no. 9 (September 2007): 331. http://dx.doi.org/10.5594/j16064.

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19

Golitzinsky, Michel. "Motion Picture Laboratory Services Technology (L6)." SMPTE Motion Imaging Journal 116, no. 9 (September 2007): 344. http://dx.doi.org/10.5594/j16075.

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20

Ponech, Trevor. "Visual Perception and Motion Picture Spectatorship." Cinema Journal 37, no. 1 (1997): 85. http://dx.doi.org/10.2307/1225691.

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21

Kubick, Chris, and Anne Walsh. "Sound Library: A Motion Picture Event." Leonardo Music Journal 16 (December 2006): 54–55. http://dx.doi.org/10.1162/lmj.2006.16.54.

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22

Kim, Hyounggon, and Sarah L. Richardson. "Motion picture impacts on destination images." Annals of Tourism Research 30, no. 1 (January 2003): 216–37. http://dx.doi.org/10.1016/s0160-7383(02)00062-2.

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23

Koltz, Rebecca. "Open Water 2: Adrift [Motion Picture]." Journal of Creativity in Mental Health 3, no. 2 (July 31, 2008): 175–78. http://dx.doi.org/10.1080/15401380802226687.

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24

Baetens, Jan. "Still: American Silent Motion Picture Photography." History of Photography 38, no. 3 (July 3, 2014): 317–19. http://dx.doi.org/10.1080/03087298.2014.912500.

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25

Wakabayashi, Akio, and Asami Katsumata. "The Motion Picture Mind-Reading Test." Journal of Individual Differences 32, no. 2 (January 2011): 55–64. http://dx.doi.org/10.1027/1614-0001/a000034.

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The Motion Picture Mind Reading (MPMR) Test is a novel naturalistic mind-reading task, designed to measure individual differences in a young adult population in Japan. Short scenes from TV films showing characters in social situations were presented to 128 university students; participants judged the mental state of a character in these films. The distribution of task performance (MPMR Test) of participants was approximately normal and its psychometric properties were found to be satisfactory. The MPMR Test scores correlated positively with those of the Eyes Test and also with scores on the empathy quotient (EQ); they correlated negatively with scores on the systemizing quotient (SQ). The MPMR Test provides a further method for assessing subtle individual differences in mind-reading ability in the general population.

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26

Cochrane, Robert H. "Beginning of motion picture press agenting." Film History: An International Journal 19, no. 3 (September 2007): 330–32. http://dx.doi.org/10.2979/fil.2007.19.3.330.

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27

Griffen, Ann P. "Packaging Innovations for Motion-Picture Films." SMPTE Journal 98, no. 3 (March 1989): 184–87. http://dx.doi.org/10.5594/j02807.

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28

Murphy, Shawn. "Motion Picture Scoring Stages an Overview." Acoustics Today 9, no. 2 (2013): 22. http://dx.doi.org/10.1121/1.4817490.

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29

Yeston, Jake. "Motion picture of a conical intersection." Science 361, no. 6397 (July 5, 2018): 38.11–40. http://dx.doi.org/10.1126/science.361.6397.38-k.

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30

Sasaki, H., K. Karaki, M. Mitsunaga, and N. Uesugi. "Holographic motion picture: theory and observations." Journal of Luminescence 64, no. 1-6 (May 1995): 273–81. http://dx.doi.org/10.1016/0022-2313(95)00042-o.

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31

NAKAZONO, Kaoru. "Motion Detection from Animated Sign Language Picture Using Motion Vector." Journal of the Visualization Society of Japan 23, Supplement1 (2003): 331–34. http://dx.doi.org/10.3154/jvs.23.supplement1_331.

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32

Powell, Steven J., Richard C. Sehlin, Roland J. Zavada, and Mitchell J. Bogdanowicz. "Interface of Motion-Picture Films and Video." SMPTE Journal 95, no. 6 (June 1986): 614–23. http://dx.doi.org/10.5594/j06522.

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33

DuMont, C. L., A. F. Kurtz, B. D. Silverstein, and D. H. Kirkpatrick. "Design Improvements for Motion Picture Film Projectors." SMPTE Journal 110, no. 11 (November 2001): 785–91. http://dx.doi.org/10.5594/j16428.

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34

정성욱. "Korea-Japan Overseas Motion Picture Subject Comparison." Journal of the society of Japanese Language and Literature, Japanology ll, no. 40 (February 2008): 317–38. http://dx.doi.org/10.21792/trijpn.2008..40.016.

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35

Boland, Erin K., Jiahong Liu, and Janna K. Maranas. "A molecular picture of motion in polyolefins." Journal of Chemical Physics 132, no. 14 (April 14, 2010): 144901. http://dx.doi.org/10.1063/1.3366660.

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36

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

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37

Miyamori, Shinji. "Digital sound recording on motion picture film." Journal of the Acoustical Society of America 104, no. 1 (July 1998): 25. http://dx.doi.org/10.1121/1.424054.

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38

Beard, Terry D. "Motion picture digital sound system and method." Journal of the Acoustical Society of America 104, no. 6 (December 1998): 3154. http://dx.doi.org/10.1121/1.424241.

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39

Broderick, Suzanne. "Piracy In The Motion Picture Industry (review)." Film & History: An Interdisciplinary Journal of Film and Television Studies 34, no. 1 (2004): 87–89. http://dx.doi.org/10.1353/flm.2004.0007.

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40

Sterling, Christopher H. "1. CBQ Review Essay: Motion Picture Theaters." Communication Booknotes Quarterly 44, no. 4 (October 2013): 145–58. http://dx.doi.org/10.1080/10948007.2013.836834.

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41

Gomery, Douglas. "Annual Round-up of Motion Picture Books." Communication Booknotes 17, no. 11-12 (November 1986): 115–25. http://dx.doi.org/10.1080/10948008609488275.

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42

Einav, Liran. "Seasonality in the U.S. motion picture industry." RAND Journal of Economics 38, no. 1 (March 2007): 127–45. http://dx.doi.org/10.1111/j.1756-2171.2007.tb00048.x.

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43

Lubbers, Charles A., and William J. Adams. "Merchandising in the Major Motion Picture Industry." Journal of Promotion Management 10, no. 1-2 (May 11, 2004): 55–63. http://dx.doi.org/10.1300/j057v10n01_05.

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44

Lewis, Kevin. "Rev. Herbert Jump and the Motion Picture." Film History: An International Journal 14, no. 2 (June 2002): 210–15. http://dx.doi.org/10.2979/fil.2002.14.2.210.

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45

Jump, Herbert A. "The Religious Possibilities of the Motion Picture." Film History: An International Journal 14, no. 2 (June 2002): 216–28. http://dx.doi.org/10.2979/fil.2002.14.2.216.

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46

Alvarez, Max. "The Motion Picture Distributing and Sales Company." Film History: An International Journal 19, no. 3 (September 2007): 247–70. http://dx.doi.org/10.2979/fil.2007.19.3.247.

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47

Ruggieri, Colleen A., and William V. Costanzo. "Bringing Drama to Life through Motion Picture." English Journal 95, no. 1 (September 1, 2005): 126. http://dx.doi.org/10.2307/30047416.

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48

Fortelius, M. "Fossil mammal communities: Motion picture playing now." GFF 118, sup004 (October 1996): 59–60. http://dx.doi.org/10.1080/11035899609546344.

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49

Mitsunaga, M., H. Sasaki, K. Karaki, and N. Uesugi. "Holographic motion picture by Eu^3+:Y_2SiO_5." Optics Letters 19, no. 10 (May 15, 1994): 752. http://dx.doi.org/10.1364/ol.19.000752.

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50

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

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