Articoli di riviste sul tema "Video recording in the theater"
Segui questo link per vedere altri tipi di pubblicazioni sul tema: Video recording in the theater.
Cita una fonte nei formati APA, MLA, Chicago, Harvard e in molti altri stili
Vedi i top-50 articoli di riviste per l'attività di ricerca sul tema "Video recording in the theater".
Accanto a ogni fonte nell'elenco di riferimenti c'è un pulsante "Aggiungi alla bibliografia". Premilo e genereremo automaticamente la citazione bibliografica dell'opera scelta nello stile citazionale di cui hai bisogno: APA, MLA, Harvard, Chicago, Vancouver ecc.
Puoi anche scaricare il testo completo della pubblicazione scientifica nel formato .pdf e leggere online l'abstract (il sommario) dell'opera se è presente nei metadati.
Vedi gli articoli di riviste di molte aree scientifiche e compila una bibliografia corretta.
1
Passos, Mateus Yuri. "The world in a bottle and the archeology of staging: audiovisual recording as registers of opera productions". Comunicação e Sociedade 31 (29 giugno 2017): 39–56. http://dx.doi.org/10.17231/comsoc.31(2017).2603.
Abstract (sommario):
This work focuses on the use of the audiovisual opera recording as a document to analyze contemporary stagings labeled by the German critics as director’s theater [Regietheater]. In director’s theater, Wagner’s total artwork project [Gesamtkunstwerk] achieves a turn in meaning, for the three artistic dimensions of opera – word, music and staging – become different texts. In this paper, we discuss the limitations of audiovisual recording as a register of director’s theater opera stagings, as well as filmic resources that allow for a reconstruction of the audiovisual text of such productions with solutions that are often quite distinct from those adopted on the stage. We are interested above all in problematizing the equivalence that is sometimes established between a staging and its recording – especially in the contemporary context of productions that frequently suffer considerable changes and are characterized by the unique aspect of each performance, always full of singular events and relatively autonomous regarding the general plan of the director. Thus, we will discuss problems and solutions of video direction of audiovisual recordings of stagings of the operatic cycle Der Ring des Nibelungen [The Ring of Nibelungo], by Richard Wagner (1813-1883).
2
Rubtsova, O. V., T. A. Poskakalova e A. G. Solov’eva. "Drama as an Educational Technology and a Tool for Achieving Personal Educational Results". Психологическая наука и образование 27, n. 1 (2022): 52–64. http://dx.doi.org/10.17759/pse.2022270105.
Abstract (sommario):
The article focuses on the results of the research project “Adolescent Theater as an Activity Technology for Education and Formation of Personal Educational Results", implemented in 2021—2022 by the Center for Interdisciplinary Research on Contemporary Childhood of the Moscow State University of Psychology and Education. The main goal of the project was to substantiate the the efficiency of school theater as a means of education and a tool for developing meta-subject competences and improving personal educational results in adolescents. For achieving this goal, a unique educational program of drama activities (30 sessions of 45 minutes each) was elaborated and trialed in “Starogorodkovskaya School” in Moscow Region. 10 teenagers aged from 13 to 14 years took part in the project. The research methods included: observation, video recording of drama sessions and subsequent analysis of the videos; analysis of the products of the activity (scripts, short videos, poems); regular interviews with teenagers and teachers, who participated in the project. Several case studies are discussed, demonstrating that drama can become an effective technology for education and development of personal educational results in adolescence.
3
Lewis, L., J. Jones e E. Haynes. "Low-cost video-films in the teaching of undergraduate and postgraduate medical students". Journal of Telemedicine and Telecare 6, n. 2_suppl (agosto 2000): 45–47. http://dx.doi.org/10.1258/1357633001935545.
Abstract (sommario):
The high cost of producing good-quality video-films for teaching has hindered the use of this method, which has been shown to improve significantly the efficiency of teaching and the retention of knowledge. During the last five years, a series of short video-films has been produced using inexpensive video-cameras and home video-recording and editing equipment. A variety of techniques were developed to allow recording of lecture presentations, while using the equipment as a teaching aid, without the need for technical staff. The positioning of the camera, the monitor, the slide projector and lighting were critical to the productions. Similar productions at low cost were obtained from recordings of operating theatre sessions, tutorials and clinical ward rounds. A survey of students exposed to teaching with video-film as part of a lecture presentation confirmed that the subject matter being taught was more easily understood and enjoyable and generated more discussions on than other forms of teaching.
4
Chapaev, Grigory I., e Maria N. Chistyakova. "Ballet and Drama: the Peculiarities of Expressive Scenographic Means in the Post-Classical Theater". ICONI, n. 3 (2021): 29–36. http://dx.doi.org/10.33779/2658-4824.2021.3.029-036.
Abstract (sommario):
A characteristic feature of the theater of the Post-Classical Era, which has lasted from the early 20th century up to the present time, is the interpenetration of elements pertaining to different art forms in the course of a ceaseless search for forms and means of impact on the audience. The interaction between ballet and drama theater leads to the result that one of the genres is enriched by the scenographic solutions of the other. From a broad spectrum of examples, it is possible to highlight a number of techniques characteristic for both the dramatic and the ballet stage. In the present work such scenographic techniques are determined and described as the changes of the parameters of the stage by means of a curtain system, the use of a curtain as a full-fledged member of the action, simultaneity (the simultaneous demonstration of several different places of action in one scene), the multi-leveledness of the stage space, adaptation for the cinema (use of elements of cinema, video-recording or the technique of “recording in real time” in the performance), as well as the change of decorations occurring in front of the viewer’s eyes.
5
de Marinis, Marco. "‘A Faithful Betrayal of Performance’: Notes on the Use of Video in Theatre". New Theatre Quarterly 1, n. 4 (novembre 1985): 383–89. http://dx.doi.org/10.1017/s0266464x00001809.
Abstract (sommario):
Video recording has recently become an accessible, unobtrusive, and increasingly inexpensive way of making a permanent record of theatrical performances. This might seem to anticipate a revolution in theatre studies, once the theatre of the present has become the object of study by future generations: yet little thought has been given to the dramaturgical or the pedagogic implications of this new tool. How, for example, will the medium affect the message it transmits, by the way in which it makes permanent what is in essence ephemeral, and ‘fixes’ what is constantly changing? Marco de Marinis here offers some tentative thoughts about the ‘how’ and ‘why’ of the audiovisual recording of theatre, intended not so much to present a definitive methodology as to clear the ground of some prevailing mistakes and misconceptions. His paper was first presented to a round-table at the Prato Centre for Theatre Semiotics in February 1983.
6
Varney, Denise, e Rachel Fensham. "More-and-Less-Than: Liveness, Video Recording, and the Future of Performance". New Theatre Quarterly 16, n. 1 (febbraio 2000): 88–96. http://dx.doi.org/10.1017/s0266464x00013488.
Abstract (sommario):
With the spread of digital and other modes of electronic recordings into the auditoria and lecture theatres where performance is studied, the debate about the video documentation of performance – already well rehearsed and in the pages of NTQ – is about to intensify. Rachel Fensham and Denise Varney have based the article which follows on their own work in videoing live theatre pieces for research into feminist performance. This article deliberates on their experience with the medium and examines the anxieties that surface at the point of implosion between live and mediatized performance. The first part locates these anxieties in the question of presence and absence in performance – especially that of the performer, whose body and self are both at stake in the recorded image. In the second part, the authors offer a description of viewing practices, which they present as a model of ‘videocy’. Rachel Fensham is Senior Lecturer in the Centre for Drama and Theatre Studies, Monash University, and Denise Varney is Lecturer in the School of Studies in Creative Arts, Victorian College of the Arts, University of Melbourne.
7
Antonova, Liubov G., e Ksenia A. Ryzhenkova. "Communicative tools for organizing a dialogue in network book sand bloginge". Socialʹnye i gumanitarnye znania 7, n. 3 (23 ottobre 2021): 318. http://dx.doi.org/10.18255/2412-6519-2021-3-318-325.
Abstract (sommario):
The article deals withthe communicative tools for organizing dialoguerelations in network book blogging, which is presented as an active intellectual news platform, a video hosting site that is interesting forits capabilities of educational content and technologies for promoting new products of cinema, theater and book products in the space of virtual discourse. The authors consider the problems of communicative competence of the blogger and the basics of effective communication in the context of blog discourse, present the basic requirements for organizing the news content of the recording, the way of self-presentation and the choice of tools for virtual interaction of the blogger-booktuber with subscribers. When describing the real tools of the virtual dialogue of the blogger-booktuber, the authors refer to the blog discourse of Nikolai Zharinov on the youtubchannele Artifix. On specific examples of video recording, the ways of self-presentation of the blogger, the strategy of his interaction with the target audience, his choice of style and language elements of influence are analyzed. Particular attention is paid to the methods of selection and theme of intellectual content for the programs of this author, the creative features of the individual author's commenting on information. The authors prove that online blogging is a unique communicative environment that allows the blogger to be a creative, self-sufficient competent person, successfully combine the public and intimate in a network dialogue. Each booktuber blogger strives for "effective communication", which is understood as such a dialogue interaction that allows the speaker to achieve the goal and solve a set of communicative tasks: socio-cultural education, successful self-presentation, competent promotion of an intellectual cognitive product-novelties of the book market.
8
Bakhmet, Tetiana. "Archive fund of the composer Mark Karminsky". Aspects of Historical Musicology 19, n. 19 (7 febbraio 2020): 10–28. http://dx.doi.org/10.34064/khnum2-19.01.
Abstract (sommario):
Mark Veniaminovich Karminskyi (1930–1995) is a composer who, already during his lifetime, was appreciated by his contemporaries as the brightest figure in musical art, in particular, musical theater. Well-known in the country and his native Kharkiv, he was also the constant reader of the Kharkiv ‘K. Stanislavskyi’ Music and Theater Library for many years, taking part in many events that took place within its walls. An excellent lecturer and interlocutor, benevolent and affable person, he found an attentive audience and ardent admirers of his musical talent among the library’s readers and stuff. Perhaps, this is why M. Karminskyi chose the Library as the main curator of his archive. What is better than studying the artist’s personal archive to give an idea of his personality, creative methods and worldview? Even a cursory glance at the collection of documents classified on the shelves of the archive, illustrating particular biographical episodes, helps the researcher to form a holistic impression of the artist’s creative personality, as well as to orient, if necessary, for further more depth studying of his heritage. The purpose of this article is a brief review of the general content of the archival fund of M. V. Karminskyi, with the materials of which the author had the honor to conduct research and bibliographic work, as of a documentary sources base for future research of the composer’s work and the history of the musical culture of Kharkiv in 1950–2000 years. Statement of the main positions of the publication. The composer began to transfer his archive to the library during his lifetime: he arranged folders with manuscripts, gave explanations about the time of writing and purpose of individual works. It was this archive that was the first to get into the library as a full-fledged array of documents about the life of a creative person. The condition for its transfer was the possibility of unimpeded viewing of the archive and its copying for the purpose of training and concert performance of the composer’s works. The full description of M. Karminskyi’s archive was completed in 1996, but the fund was supplemented several times thanks to new materials that came to the archival collection after its formation. It contains a variety of documents, including musical manuscripts, newspaper clippings, photographic documents, sound recordings on various media, posters, booklets, programs, manuscripts by other authors related to the activities of the composer. Thus, for the theater – opera, drama – the composer has been actively working since a young age. He wrote music for performances of Kharkiv theaters – Puppet Theater, Young Audience Theater, Ukrainian Drama Theater named after Taras Shevchenko, Jewish Theater, even for student amateur theaters. Four operas by M. Karminskyi, among them – “Ten days that shook the world”, “Irkutsk story” – were successfully staged in many theaters in Ukraine, Russia, the Czech Republic and Germany. Particular attention was drawn to the opera “Ten Days That Shook the World” based on John Reed’s book about the events in Petrograd in 1917, which was published as the separate piano reduction and received a large number of reviews in periodicals. The typewritten copies of reviews by famous Ukrainian musicologists K. Heivandova and I. Zolotovytska have been preserved in the archive. The collection of the archive also includes the published piano score of the opera “Irkutsk story”, the known “Waltz” from which served as a call sign of the Kharkiv Regional Radio for many years. One of the most interesting manuscripts of the archive is the music for the unfinished ballet “Rembrandt” on the libretto by V. Dubrovskyi. The musical “Robin Hood”, which was performed not only in Kharkiv, but also in Moscow, brought the composer national fame. The sound recording of the Moscow play was distributed thanks to the release of gramophone records created with the participation of stars of Soviet stage – the singers Joseph Kobzon, Lev Leshchenko, Valentina Tolkunova and the famous actor Eugene Leonov. The popularity of this musical was phenomenal; excerpts from it were performed even in children’s music schools, as evidenced by the archival documents. During the composer’s life and after his death, his vocal and choral works, works for various instruments were mostly published. The array of these musical editions and manuscripts of M. Karminskyi is arranged in the archive by musical genres. These are piano pieces and other instrumental works, among them is one of the most popular opuses of the composer – “Jewish Prayer” for solo violin (the first performer – Honored Artist of Ukraine Hryhoriy Kuperman). Number a large of publications about the life and career of M. Karminskyi published in books and periodicals are collected, among them are K. Heivandova’s book (1981) “Mark Karminskyi”, the brief collection of memoirs about the composer (compiler – H. Hansburg, 2000) and the congregation of booklets of various festivals and competitions, for example, the booklets of the International Music Festival “Kharkiv Assemblies”, in which the composer has participated since the day of their founding. The booklet of the M. Karminskyi Choral Music Festival testifies to a unique phenomenon in the musical life of the city: never before or since has such a large-scale event dedicated to the work of a single person taken place attracting so many choirs from all Ukraine. A separate array of documents is the photo archive, which includes 136 portraits, photos from various events; 41 of them were donated by a famous Kharkiv photographer Yu. L. Shcherbinin. The audio-video archive of M. V. Karminskyi consists of records of his works, released by the company “Melody”: staging of performances “Robin Hood”, “There are musketeers!” (based on the play by M. Svetlov “20 years later”), various songs, video and tape cassettes with recordings of concerts. Other interesting documents have been preserved, for example, a typewritten script for the Kharkiv TV program about M. Karminskyi with his own participation or the library form, which can be used to trace his preferences as a reader. M. Karminskyi also compiled reviews of publications on the performance of his works and short bibliographic descriptions of their print editions. Conclusions. M. Karminskyi’s personal archive founded by him own in Kharkiv ‘K. S. Stanislavskyi’ Music and Theater Library has been functioning as an independent library fund since 1996 and today it is an unique comprehensive ordered collection, which is freely available and stores documents of various types: music publications and manuscripts, newspaper and magazine fragments, announces, photos, sound and video documents. M. Karminskyi’s archival fund is used as a documentary source for scientific researches (the Candidate’s dissertations of art critics Yu. Ivanova (2001) and E. Kushchova (2004) were defended using the materials of the archive) and as a basic congregation of works by the composer for their performance. The use of digital technologies is part of the necessary modern perspective of the fund’s development, the value of which as a primary source of historical and cultural information only grows over time.
9
McAuley, Gay. "The Video Documentation of Theatrical Performance". New Theatre Quarterly 10, n. 38 (maggio 1994): 183–94. http://dx.doi.org/10.1017/s0266464x00000348.
Abstract (sommario):
Video technology has been widely available for the last twenty years, and offers possibilities for the documentation of theatrical performance that no previous generation has possessed. What are we doing with these possibilities? Why is it that we are only now taking some timid first steps towards the establishment of national or regional video archives? This article reports some findings from ten years of experimentation with recording formats and analysis, and urges the need for action by theatre practitioners, funding authorities, and university researchers to ensure that the theatrical output of another generation is not lost. The author, Gay McAuley, teaches in French and Performance Studies and is Director of the Interdisciplinary Centre for Performance Studies at the University of Sydney. Her research in recent years has focused on the semiotics of performance and, in particular, the ways actors use text in the construction of performance. She is currently writing a book called Space in Performance.
10
Velini, Riskia Siiti, e Deli Nirmala. "Environmental Metaphors in Randai Traditional Performance in Minangkabau: Ethnographic Study". E3S Web of Conferences 317 (2021): 01050. http://dx.doi.org/10.1051/e3sconf/202131701050.
Abstract (sommario):
Minangkabau Randai is one of the traditional arts from West Sumatera, Indonesia that combines four different aspects: silat, theater, music and dancing. The purpose of Randai is to spread moral values of Minangkabau tradition by using a story called kaba. This research discusses the communication patterns used in Randai. Descriptive qualiative method is used in the research and the data collection is done by doing library research. Because of the COVID-19 pandemic, Randai could not be performed and thus the data are taken from video recording. The title of the Randai performance discussed is Rambun Pamenan and ethnography of communication approach is used to analyze the data by using Hymes’ theory of unit of analysis. The result of the research shows that the communicative event takes place on an open field and there are five communicative events done by the speakers: the opening of Randai, the opening for kaba, dendang, the play for kaba and closing. The communicative acts in the play for kaba are in the form of dialogue, which contain verses and environmental metaphors. The position of women in Minangkabau culture is represented through the environmental metaphors in the dialogue.
11
Zyga, Olena, Sandra W. Russ, Heather Meeker e Jodi Kirk. "A preliminary investigation of a school-based musical theater intervention program for children with intellectual disabilities". Journal of Intellectual Disabilities 22, n. 3 (29 marzo 2017): 262–78. http://dx.doi.org/10.1177/1744629517699334.
Abstract (sommario):
The presence of an intellectual disability may cause a child to have significant deficits in social skills and emotion regulation abilities across development. A vital next step is to find interventions that can be delivered in the school environment and across disability categories that target socioemotional factors. The current study investigated the feasibility of delivering a school-based musical theater program to students with intellectual disability across a range of school settings. A within-group repeated-measures design was used to analyze pre- and post-video recordings of the intervention program, which were coded for six domains of socioemotional ability across all participants ( n = 47). Results showed that significant gains across all domains were observed. However, these gains related to school- and individual-level student factors, such as grade level, severity of disability, and baseline social skill ability.
12
Noor, Nurkhaliq Khussamad. "PERLINDUNGAN HUKUM HAK CIPTA ATAS FILM LAYAR LEBAR YANG DIPUBLIKASI MELALUI MEDIA SOSIAL TANPA IZIN". Riau Law Journal 3, n. 1 (30 maggio 2019): 124. http://dx.doi.org/10.30652/rlj.v3i1.7328.
Abstract (sommario):
In Law Number 28 of 2014 concerning Copyright it is regulated that the creator has the right to economic rights to his creation, where in Article 9 the creator has the right to prohibit other people from doubling the work in all its forms without permission for commercial use. This study aims to determine whether the act of publishing pieces of cinema scenes through the Instagram Stories application is categorized as copyright infringement on the film as well as knowing the form of Copyright legal protection for Widescreen Films published through social media without permission. This study uses empirical research. The location of the study was conducted at the Regional Office of the Ministry of Law and Human Rights of South Sulawesi and Cinema XXI of Makassar City. The results of the study indicate that recording movies in theaters uploaded through Instagram Stories can be categorized as violating the moral rights of the creator in terms of attribution rights if the uploader negates the identity in the video displayed. However, in terms of economic rights, copyright infringement is not found, this is because the motives used by the recording actors do not fulfill the element of seeking commercial profit. Legal protection regarding recording in theaters uploaded through Instagram Stories is regulated in Law Number 28 of 2014 concerning Copyright in Article 9 paragraph (1) letter b and in paragraph (2). Legal actions given by the cinema to the audience who perform the recording action, in the form of reprimand until the confiscation of the cellphone belonging to the audience and the making of a statement letter. But until now there have been no cases that have reached the Regional Office of the Ministry of Law and Human Rights of South Sulawesi.
13
Kneebone, Roger, e Abigail Woods. "Recapturing the History of Surgical Practice Through Simulation-based Re-enactment". Medical History 58, n. 1 (16 dicembre 2013): 106–21. http://dx.doi.org/10.1017/mdh.2013.75.
Abstract (sommario):
AbstractThis paper introducessimulation-based re-enactment(SBR) as a novel method of documenting and studying the recent history of surgical practice. SBR aims to capture ways of surgical working that remain within living memory but have been superseded due to technical advances and changes in working patterns. Inspired by broader efforts in historical re-enactment and the use of simulation within surgical education, SBR seeks to overcome some of the weaknesses associated with text-based, surgeon-centred approaches to the history of surgery. The paper describes how we applied SBR to a previously common operation that is now rarely performed due to the introduction of keyhole surgery: open cholecystectomy or removal of the gall bladder. Key aspects of a 1980s operating theatre were recreated, and retired surgical teams (comprising surgeon, anaesthetist and theatre nurse) invited to re-enact, and educate surgical trainees in this procedure. Video recording, supplemented by pre- and post-re-enactment interviews, enabled the teams’ conduct of this operation to be placed on the historical record. These recordings were then used to derive insights into the social and technical nature of surgical expertise, its distribution throughout the surgical team, and the members’ tacit and frequently sub-conscious ways of working. While acknowledging some of the limitations of SBR, we argue that its utility to historians – as well as surgeons – merits its more extensive application.
14
Ngo, Bic, e Diana Chandara. "Nepantlera Pedagogy in an Immigrant Youth Theater Project: The Role of a Hmong Educator in Facilitating the Exploration of Culture and Identity". Teachers College Record: The Voice of Scholarship in Education 123, n. 9 (settembre 2021): 87–111. http://dx.doi.org/10.1177/01614681211051979.
Abstract (sommario):
Background/Context: Community-based youth theater programs afford youth opportunities to explore and “author” new identities by “performing writing.” Yet, we know much less about the ways in which immigrant youth are exploring struggles and changes within their families and ethnic community. We particularly lack research about the roles of immigrant adult educators in youth programs, and the significance to the pedagogical process of their experiences, being, and modes of interacting with young people who share with them a common ethnicity. Purpose/Objective/Research Question/Focus of Study: The purpose of the study is to explore the role of a community-based Hmong immigrant educator as a “nepantlera,” or boundary-crossing “guide” in Hmong youth’s negotiation of culture and identity. It is guided by three questions: (1) How does nepantlera pedagogy move beyond self–other dichotomies? (2) How does nepantlera pedagogy facilitate rewriting the self to construct new visions of ethnic identity? and (3) How does nepantlera pedagogy entail risking the personal? Setting: The research setting was a Hmong community-based arts organization in an urban center in the Midwestern United States. Population/Participants/Subjects: Three 1.5-generation Hmong American adult staff of a community-based organization, one Korean American teaching artist from a local theater company, and 11 second-generation Hmong American adolescents participated in the study. Research Design: The study draws from a critical ethnographic investigation of the culturally relevant practices of a youth theater project within a Hmong coethnic organization. Data Collection and Analysis: Ethnographic data collection occurred over the 4-month program cycle of the theater project. Data sources include field notes from participant observations, semi-structured interviews, audio and video recordings of the activities, work products, and documents about the program and organization. The data were analyzed with thematic analysis techniques. Findings/Results: The findings suggest that the nepantlera pedagogy of the Hmong immigrant educator fostered opportunities for Hmong youth to (1) disrupt binaries between first-generation and second-generation immigrants by exploring not only differences but also commonalities; (2) imagine new ethnic selves by exploring and rewriting a Hmong edict against same-last-name relationships; and (3) experience the vulnerability of their Hmong educator through disclosure about his personal life. Conclusions/Recommendations: The nepantlera pedagogy of an immigrant educator within a coethnic community-based organization brings a perspective from the nepantla, or “in-between,” of culture and identity that provides immigrant youth with a deeper level of cultural knowledge and connectedness to navigate their multiple worlds.
15
Karwaszewska, Monika. "Bordering on monodrama… Madame Curie by Elżbieta Sikora". Zbornik Akademije umetnosti, n. 10 (2022): 152–65. http://dx.doi.org/10.5937/zbaku2210152k.
Abstract (sommario):
The subject of analysis is the contemporary opera Madame Curie (2010) by the Polish composer Elżbieta Sikora, premiered in 2011 in Paris. In an extremely emotional way, using innovative techniques for expression, the composer tells the story of the scientist Maria Skłodowska-Curie in the form of a script for the opera, with anxiety as the main idea of the libretto. This dramatic work is an example of an intermedia work in which the composer uses electronic media alongside traditional instruments. The composition is an intermedia spectacle revealing the symbolic significance of the sound emission interacting with the libretto, choreography, lighting, ancient Greek theatre form and an electronic medium. Despite being divided into scenes, the piece was directed using a single set representing the laboratory of the Polish Nobel Prize winner. The director patterned the staging of this opera after Greek theatre: for action on stage, the whole proscenium was used, and the orchestra was seated at the back of the stage (not in the orchestra pit), the soloists at the front, next to the spectators, while the conductor led the ensemble with the help of a video camera, not seeing the soloists. The chorus was amphitheatrically seated on chairs on both sides of the stage to follow the action on stage with the eye of a censor. Every role required of its actor great craft, extraordinary skill and professionalism. The aim of the presentation will have been a multi-aspect analysis and interpretation of the score and the recording of the opera, as well as a discussion of the characteristics of voice projection in this complex work. The article presents a comprehensive analysis and interpretation of the opera's score and recordng.
16
Waterson, Roxana. "Testimony, trauma and performance: Some examples from Southeast Asian theatre". Journal of Southeast Asian Studies 41, n. 3 (7 settembre 2010): 509–28. http://dx.doi.org/10.1017/s0022463410000287.
Abstract (sommario):
This paper is a reflection on a number of theatre performances held in Singapore, each of which probed problematic or traumatic historical events occurring either in Singapore itself or in other parts of Southeast Asia. These avant-garde performances were inspired by or built around actual testimonies of individuals in ways which, for this author, suggest a striking fluidity in the boundaries between testimony and performance, one that raises difficult questions about performance ethics and the processes by which collective memories are shaped. The plays also made use of visual media: one had been recorded on video while others incorporated photographic and video materials into the actual performance. At the time I witnessed these plays, I had already become interested in the way that, over the course of the twentieth century, documentary films had come to play an increasingly important role in the recording of testimony concerning traumatic events. Testimony on film, I have argued, functions simultaneously as evidential trace, and as performative event. Films of testimony develop their own trajectories as they enter into the realms of public remembering. They preserve and extend the record of personal experiences, thereby adding them to the pool of collective memory about an event. Theatrical performances, too, develop their own trajectories through repetition, as Marvin Carlson's statement (cited above) suggests. But what exactly might be different when testimony is performed as drama before a live audience? What are the purposes of such performances, and what might be their possible effects upon both participants and audiences? Is the trace left by a live theatre performance inevitably more ephemeral than those captured on film, or might it be in some respects even more powerful? These are some of the questions I raise – without necessarily being able to present definitive answers – in what follows. I conclude by arguing that in the Singapore context, because censorship laws place very specific constraints on the making of documentary films with openly political content, in recent years theatre has been able to offer a slightly greater space than film as a medium for critical reflection. How theatre directors and actors have tried to use this space is a subject correspondingly deserving of our close attention.
17
Houle, Gabrielle. "Dramaturgy of the Body: Marcello Moretti's Construction of Arlecchino at the Piccolo Teatro of Milan". New Theatre Quarterly 34, n. 2 (19 aprile 2018): 130–44. http://dx.doi.org/10.1017/s0266464x18000040.
Abstract (sommario):
In this article Gabrielle Houle examines the dramaturgical process that actor Marcello Moretti applied to his creation of Arlecchino's body in Giorgio Strehler's globally acclaimed productions of The Servant of Two Masters at the Piccolo Teatro of Milan between 1947 and 1960. She provides a critical analysis of Moretti's interdisciplinary and trans-historical research and creative process, including his study of iconographic representations of the commedia dell’arte, his observation of farmers in Padua in the mid-twentieth century, and the connections he made between his life experiences and his understanding of Arlecchino. She then examines Moretti's acting style, signature postures, and footwork, both as the international press described them and as she observed them in a video recording and in photographs of the productions. The article, based on extensive archival research at the Piccolo Teatro and on interviews with artists who knew both Moretti and Strehler, concludes with a discussion of Moretti's legacy within and beyond Italy. Gabrielle Houle is a theatre scholar, educator, and artist specializing in the recent staging history of the commedia dell’arte, contemporary mask-making practices, and masked performance. She has taught in several Canadian universities, and is a member of the Centre for Oral History and Tradition at the University of Lethbridge, where she is also an Adjunct Assistant Professor.
18
Jędrzejewski, Stanisław. "Kultura udomowiona a nowe technologie". Roczniki Nauk Społecznych 13(49), n. 1 (2021): 51–72. http://dx.doi.org/10.18290/rns21491.4.
Abstract (sommario):
Although the restrictions associated with the COVID-19 pandemic significantly reduced or completely eliminated the manifestations of artistic life, human ingenuity and simply necessity made it possible to transfer many offline cultural events and events to the online environment. Free online broadcasts from concerts such as the Berlin Philharmonic, opera performances from the New York Metropolitan, as well as theater and music concerts have gained in popularity worldwide. Film production companies have begun to make films available online. The offer of video or VOD (Netflix, YouTube, Twitch, Showmax, Paramount Play) has increased (Upper, 2020). Because, at least in the first phase of the pandemic, the revenue from the cinemas fell, VOD services could watch hits, e.g. in the United States — Emma, and in Poland — Hejter. Virtual tours were offered by well-known museums, such as the Louvre in Paris and international cultural heritage sites, including the Roman Colosseum. Since the outbreak of the epidemic there has also been a rapid increase in online gaming traffic. Finally, after the total suspension, sports competitions, e.g. football matches, came back, but without the participation of the fans, albeit like stand-ups with played recordings of the stadium’s fans’ reactions. In this way, what we call entertainment or popular culture has been domesticated and is done through the media. In this article I review the possibilities that new technologies now offer for domesticated culture in new circumstances forced by a pandemic COVID-19.
19
Husin, Fazilah, Nik Fazli Mohamad, Zulkifli Mohamad e Mohd Zariat Abdul Rani. "A PERFORMANCE APPROACH FOR DINSMAN's ISLAMIC THEATRES". International Journal of Creative Industries 1, n. 2 (15 dicembre 2019): 18–28. http://dx.doi.org/10.35631/ijcrei.12002.
Abstract (sommario):
The study focuses on a performance approach by Dinsman in his “Menunggu Kata Dari Tuhan” (Waiting for the Word of God's) (2016) and “Tamu Dari Medan Perang” (Guests of the Battlefield) (2017). Both theatres are analyzed based on the “Teater Fitrah” (Theatre of Fitrah) approach which outlined six principles in theatre production from the Islamic perspective. This approach is based on the principle that the essence of human life (nature) is to submit to the Creator i.e. Allah SWT including via theatre performance. According to “Teater Fitrah” (Theatre of Fitrah) approach, theatre performance can be a manifestation of man’s submission to the Creator through its content and implementation that is appropriate in the teaching of Islam. The six principles include story ending which in favour of the protagonist who believes in God, a character who is conscious about the nature of self-submission to Allah SWT, manifesting words about the human’s soul with good intentions, manifesting the faith in Allah SWT through particular actions, containing Islamic values that foregrounded with the purpose of submission as well as preserving ethics and etiquette in theatre staging. The research data is collected through observations on live staging practices or video recording. This study also pays attention to the issues and problems discussed. Both theatres are found to have raised different issues, but are closely linked to the issues, attitudes and thoughts among Muslim society. “Menunggu Kata Dari Tuhan” (Waiting for the Word of God) presents the issues of Muslim’s obedience and response to the commands of Allah SWT and His Messenger. The issue which directly relates to the actual behaviour of a Muslim, giving the audience an example of how they should react in a situation. Meanwhile, “Tamu dari Medan Perang” (Guests of the Battlefield) discusses on jihad and Muslim’s understanding about it. In conclusion, characters and story’s ending are in line with the principles outlined by pendekatan “Teater Fitrah” (Theatre of Fitrah). In the context of directing the performances, both theatres feature a relatively small number of characters. This strategy makes easy for the director in controlling the movements and interaction between one actors to another actor, especially among female and male characters.
20
Podguzova, O. A. "S. YAKOVENKO AND HIS SKILLS IN THE CONTEXT OF THE INTERPETATION OF Y. BOUTSKO’S MONO-OPERA "DIARY OF A MADMAN"". Arts education and science 1, n. 2 (2020): 140–45. http://dx.doi.org/10.36871/hon.202002017.
Abstract (sommario):
Sergey Borisovich Yakovenko is the People's Artist of Russia, a famous musician, vocal teacher and Doctor of Art History. He entered a bright page in the history of Russian vocal art of the XXth century. Starting from the 1950s, as a vocalist, he was in great demand for chamber vocal performances, with some of them being composed by modern musicians. Yakovenko was able to operate freely with a whole stock of expressive means, inherent for avant-garde music, allowing him to take part in the most difficult performances of the latest vocal and vocal-instrumental compositions, which manifested his inclination to the theater, to the disclosure of the dramaturgy of works. S. B. Yakovenko’s stage talent declared itself in its fullness during the performance of mono- operas, among them "Diary of a Madman" by Yuriy Butsko (1968), which received a great resonance in the theatrical life of Russia. The general content of this article is the analysis of S. B. Yakovenko’s performing skill, which gave birth to a wide range of character images, generated by the protagonist’s imagination. After the analysis of audio and video recordings of the vocalist’s performances, as well as his numerous scientific works and conversations, the author discovers several important features typical for the performing interpretation by S. B. Yakovenko. These are his vocal-dramaturgical principles and vocal-theatrical direction. In Y. Boutsko’s opera "Diary of a Madman" the unique performance palette of S. B. Yakovenko allows the singer to create eight various, rapidly interchanging images, using exclusively the resources of his voice, while being on an empty stage without props and with little or no gesture or mime.
21
Krotkova, Lyubov. "From collecting to sharing information: the Theatre Library in a changing world". Art Libraries Journal 17, n. 2 (1992): 29–31. http://dx.doi.org/10.1017/s030747220000780x.
Abstract (sommario):
The Theatre Library in Moscow, attached to the theatre school of the Maly Theatre, was founded in 1922. It contains books on theatre and the performing arts, magazines, newspaper clippings, theatre programmes, and graphic items. The scope of the collections embraces both Russian pre-Revolutionary and Soviet post-Revolutionary theatre and drama. Illustrative materials (not confined to theatrical subjects) include some 40,000 engravings, and many postcards. The Library compiles albums of visual source material for specific productions. Video recordings have been collected since 1988. Library services include the maintenance of several card indexes, the publication of specialised indexes, the provision of a small reading room, an enquiry service, assistance to users and the organisation of exhibitions.
22
Senelick, Laurence. "Early Photographic Attempts to Record Performance Sequence". Theatre Research International 22, n. 3 (1997): 255–64. http://dx.doi.org/10.1017/s0307883300017041.
Abstract (sommario):
In a recent issue of New Theatre Quarterly an article on the visual documentation of performance notes that theatre has proved to be resistant to ‘mechanical reproduction’ and that theatre practitioners are unconvinced of its value. The author goes on, however, to argue for the ‘urgent need’ for full archives of video recordings of performances. She even quotes Eugenio Barba to the effect that what really matters in performance is not the immediate effect on the spectators, but a kind of afterglow and the impression to be made on future generations.
23
Magalhães, Filipa, e Isabel Pires. "Recovering Music-Theatre Works Involving Electronic Elements: The case of Molly Bloom and FE…DE…RI…CO…". Organised Sound 24, n. 1 (aprile 2019): 96–108. http://dx.doi.org/10.1017/s1355771819000098.
Abstract (sommario):
This article aims to reflect on the main constraints encountered in recovering music-theatre works that involve a variety of diverse aspects that are relevant to their performance. As well as the score, scripts or other additional documents, the works considered here also include electroacoustics recorded on magnetic tape, consequently requiring specific approaches in order to preserve such kinds of works. Video recordings of concerts are important for understanding, documenting and eventually restaging these works. This idea is not new; audio-video recordings have for many years served as sources for documenting live performances (music-theatre or art performances). However, it is still important to discuss just how and with which tools these very important documents might be preserved and exploited. Hence, the study of the structure of Molly Bloom and FE…DE…RI…CO…, both with music by Constança Capdeville, enables an understanding of the processes in which documentation is relevant to preserving such a valuable cultural heritage.
24
Ting, Daniel S. W., Mei Ling Tay-Kearney, Ian Constable, Liam Lim, David B. Preen e Yogesan Kanagasingam. "Retinal Video Recording". Ophthalmology 118, n. 8 (agosto 2011): 1588–93. http://dx.doi.org/10.1016/j.ophtha.2011.04.009.
25
Umemoto, M., Y. Eto e T. Fukinuki. "Digital video recording". Proceedings of the IEEE 83, n. 7 (luglio 1995): 1044–54. http://dx.doi.org/10.1109/5.390122.
26
Khokhlova, Daria. "The "White" duet in J. Neumeier's ballet “Lady of the Camellias": features of the author's interpretation of the roles of Marguerite and Armand". Культура и искусство, n. 5 (maggio 2022): 1–9. http://dx.doi.org/10.7256/2454-0625.2022.5.37921.
Abstract (sommario):
In this article, the author continues to study the choreographic interpretations of the works of J. Neumeier, in particular, the ballet "Lady of the Camellias". The identification of expressive staging means and choreographic elements used by Neumeier in the production of the "white" duet of Marguerite and Armand is carried out in this work in order to determine the place of this choreographic fragment in the performance and its significance both for the plastic embodiment of the images of the main characters and in the context of the evolution of the author's style. The author applied comparative-historical, ideological-artistic and analytical methods, as well as the method of included observation (based on personal experience of working with Neumeier). Video materials from the archives of the Hamburg "Ballettzentrum" and the Moscow Bolshoi Theater and lectures conducted by Neumeier on the eve of the Moscow premiere of "Lady of the Camellias" (recordings from the author's archive) were also used. A detailed analysis of the "white" duet allows us to conclude that the studied choreographic fragment is markedly different from the other two duets of Marguerite and Arman. From the point of view of developing the images of the main characters, this is the only episode of the play in which Neumeier allows the audience to see the light lyrics in the relationship between Marguerite and Armand. In the "white" duet, the choreographic innovations of the choreographer in the field of technically saturated duet dance, replete with upper supports, with a lack of preparation for them and constant control by the partner of the ballerina's movements, are especially justified. They are the main means of plastic expressiveness, creating the effect of flight, an unbroken flow of movements, as well as the visualization of musical legato. It is this duet technique (later actively used by the choreographer) that can be called a distinctive feature of the choreographic style of J. Neumeier.
27
Khokhlova, Daria. "Duets by Anna Karenina and Alexey Vronsky in the ballet by J. Neumeier's "Anna Karenina": features of the author's interpretation of the images of the main characters". Философия и культура, n. 3 (marzo 2022): 9–22. http://dx.doi.org/10.7256/2454-0757.2022.3.37741.
Abstract (sommario):
This article continues the author's research devoted to the study of the problem of choreographic interpretations of literary works, in particular, John Neumeier's ballet "Anna Karenina". In this work, the identification of expressive staging means and choreographic elements used by Neumeier in the production of duets by Anna Karenina and Alexei Vronsky is carried out in order to determine the place of these choreographic fragments in the performance, as well as their significance for the author's interpretation of the images of the main characters of the novel by Leo Tolstoy. In the course of the research, the author applied comparative-historical, ideological-artistic and analytical methods, as well as the method of included observation (based on personal experience of working with Neumeier on Kitty's party). In the course of the source analysis, video materials from the archives of the Hamburg Ballettzentrum and the Moscow Bolshoi Theater were used, as well as lectures conducted by Neumeier before the Moscow premiere of Anna Karenina (recordings from the author's archive). A detailed analysis of the dance score of three duets by Anna and Vronsky revealed traditional and innovative author's solutions related to the new research results. So, Neumeier uses such staging means as the compilation of Tchaikovsky and Schnittke's music; the inclusion of symbolic images (a chair, a door, a bag) in the choreographic canvas; the appearance of other characters; the use of stage lighting to accentuate the transition from reality to the sphere of the subconscious; active choreographic development based on a technically saturated duet dance, replete with high supports in the neoclassical style, as well as acrobatic elements; semantic use of plastic quotations. It can be concluded that in order to develop the images and relationships of Anna Karenina and Alexey Vronsky, the choreographer chooses a duet as the dominant musical and choreographic form. Moreover, in his version of Anna Karenina, Neumeier makes three duets of the main characters a key component of the performance and the author's interpretation of the images of the main characters.
28
Khokhlova, Daria. "Ballet "The Taming of the Shrew" by Jean-Christophe Maillot: peculiarities of authorial interpretation of the images of Katherine and Petruchio". Человек и культура, n. 1 (gennaio 2022): 32–50. http://dx.doi.org/10.25136/2409-8744.2022.1.37356.
Abstract (sommario):
The subject of this research is Jean-Christophe Maillot’s interpretation of the images of Katherine and Petruchio in the context of ideological-imagery parallels with the original text – W. Shakespeare’s comedy "The Taming of the Shrew". The article determines the expressive means and choreographic elements used by the choreographer to stage the lead roles, as well as their contextual comparison with the original literary text. The theoretical framework leans on the principles of ballet analysis developed by the ballet theoretician and historians Dobrovolskaya, Krasovskaya, Slonimsky, and Surits. The works by Lopukhov serve as the methodological basis for analysis of the shape and choreography. Other sources include video materials from the archives of Monte Carlo Ballet and Bolshoi Theater, recordings of staged rehearsals that took place from April to June 2014 (author's archive). The research employs the methods of ideological-artistic analysis, semantic analysis of construction and choreographic solution of the roles of Katherine and Petruchio, as well as method of included observation (personal participation in the performance). The novelty lies in revealing the innovative and modernized classical elements of choreography and staging developed by Maillot (leitmotif plasticity combinations, transforming symbolic moves). The detailed semantic analysis of the composition and choreography f the images of Katherine and Petruchio became the main instrument of research and allowed making the following conclusions. Interpretation of the images of the protagonists in the first act is conceptually similar to Shakespeare's text and slightly adapted in accordance with the expressive potential of ballet art and authorial artistic tasks. In the second act, the choreographer shifts the compositional and plotline focus, highlighting not the final scenes, but the full-scale duet of the protagonists, where the plasticity solution is transformed depending on the changes in their emotional states. Namely abstract and visual plasticity ideation individualizes the choreographic style of Maillot and underlies his interpretation of the profound plotline of Shakespeare's comedy.
29
NUMAZAWA, Junji. "Video recording technique by perpendicular magnetic recording." Journal of the Metal Finishing Society of Japan 37, n. 7 (1986): 328–35. http://dx.doi.org/10.4139/sfj1950.37.328.
30
Vismann, Cornelia. ""Rejouer les crimes". "Theater vs. Video"". Cardozo Studies in Law and Literature 11, n. 2 (dicembre 1999): 161–77. http://dx.doi.org/10.2307/743442.
31
Vismann, Cornelia. ""Rejouer les crimes". "Theater vs. Video"". Cardozo Studies in Law and Literature 11, n. 2 (dicembre 1999): 161–77. http://dx.doi.org/10.1525/lal.1999.11.2.02a00040.
32
Vismann, Cornelia. "“Rejouer les crimes”—Theater vs. Video". Law & Literature 11, n. 2 (dicembre 1999): 161–77. http://dx.doi.org/10.1080/1535685x.1999.11015594.
33
Vismann, Cornelia. "“Rejouer les crimes” Theater vs. Video". Law & Literature 13, n. 1 (marzo 2001): 119–35. http://dx.doi.org/10.1080/1535685x.2001.11015621.
34
Østern, Tone Pernille. "Teaching Dance Spaciously". Nordic Journal of Dance 1, n. 1 (1 dicembre 2010): 46–57. http://dx.doi.org/10.2478/njd-2010-0007.
Abstract (sommario):
Abstract This article focuses on and discusses the concept of space as a theoretical tool in connection with dance pedagogy. The author suggests that to look at the dance class as spacious contributes to the dance teacher’s awareness of the fact that she operates in, and also creates, many different spaces as she teaches. This awareness might support the teacher in broadening the dance space in order to embrace differences among dancers, thereby providing the word spacious with a second meaning: generous. The author’s interest in the concept of space as a theoretical device to help understand what goes on in a dance class was born during the analysis of the video material collected for her PhD in dance (Østern, 2009). The practical investigation of the study dealt with formulating an approach to dance pedagogy with a group of mixed-ability dancers based on an understanding of the meaning-making processes among the different dancers in the project. Dialoguing with scholars like Maurice Merleau-Ponty (1962/2002), Valerie Briginshaw (2001), Shaun Gallagher, Dan Zahavi (2008) and Leena Rouhiainen (2007), the author distinguished different spaces in the dance improvisation classes she was teaching, video recording and analysing. Through this process, she developed a theory on the fact that in a dance improvisation class with differently bodied dancers meaning was made in different ways, touching on and producing different spaces. The author concludes that one main advantage of regarding a dance class as spacious is that it allows for an understanding that in class meaning-making can happen in different ways, within different spaces. Together with the dancers, the dance teacher moves in and out of these spaces as she teaches. Tone Pernille Østern (Doctor of Arts in dance) is a dance artist, teacher and researcher based in Trondheim, Norway. She is the artistic leader of the Inclusive Dance Company (www.dance-company.no) which is a small independent contemporary dance company. She has developed the Dance Laboratory (www.danselaboratoriet.no) which is a performing group with differently bodied dancers. The Dance Laboratory also formed the basis of her field work in relation to her PhD in Dance at the Theatre Academy in Helsinki (Østern, 2009). Østern is also the leader of the MultiPlié Dance and Diversity Festival, a biennial in Trondheim since 2004. The festival tries to stretch and discuss ideas about what dancing is and who can be a dancer. From 2009 she also takes up the position as assistant professor at the Program for Teacher Education at the NTNU University where she teaches and carries out research. E-mail: inclusive@dance-company.no / tone.pernille.ostern@plu.ntnu.no
35
Blank-Reid, Cynthia A., e Lewis J. Kaplan. "Video Recording Trauma Resuscitations". Journal of Trauma Nursing 3, n. 1 (gennaio 1996): 9–12. http://dx.doi.org/10.1097/00043860-199601000-00008.
36
Hanson, W. S., e P. A. Rahtz. "Video recording on excavations". Antiquity 62, n. 234 (marzo 1988): 106–11. http://dx.doi.org/10.1017/s0003598x00073567.
37
Hamalainen, J. "Video recording goes digital". IEEE Spectrum 32, n. 4 (aprile 1995): 76–79. http://dx.doi.org/10.1109/6.376006.
38
Ruchel-Stockmans, Katarzyna. "The Revolution Will Be Performed. Cameras and Mass Protests in the Perspective of Contemporary Art". Acta Universitatis Sapientiae, Film and Media Studies 10, n. 1 (1 agosto 2015): 7–23. http://dx.doi.org/10.1515/ausfm-2015-0023.
Abstract (sommario):
Abstract This article offers an analysis of Videograms of a Revolution (1992) by Harun Farocki and Andrej Ujica and The Pixelated Revolution (2011) by Rabih Mroue, which both reflect on the role of amateur recordings in a revolution. While the first deals with the abundant footage of the mass protests in 1989 Romania, revealing how images became operative in the unfolding of the revolution, the second shows that mobile phone videos disseminated by the Syrian protesters in 2011 respond to the desire of immediacy with the blurry, fragmentary images taken in the heart of the events. One of the most significant results of this new situation is the way image production steers the comportment of people involved in the events. Ordinary participants become actors performing certain roles, while the events themselves are being seen as cinematic. This increased theatricality of mass protests can thus be seen as an instance of blurring the lines between video and photography on the one hand and performance, theatre and cinema on the other.
39
Foglia, Elizabeth E., Jennifer James e Michael A. Posencheg. "Video Recording Delivery Room Resuscitation". NeoReviews 18, n. 11 (novembre 2017): e647-e657. http://dx.doi.org/10.1542/neo.18-11-e647.
40
ASHIKAWA, Masataka, Shuuji OGASAWARA, Naoyuki SATO e Hidefumi FUNAKI. "HIGH DENSITY VIDEO RECORDING EXPERIMENTS". Journal of the Magnetics Society of Japan 13, S_1_PMRC_89 (1989): S1_279–284. http://dx.doi.org/10.3379/jmsjmag.13.s1_279.
41
Le, Van Huynh Ha, e Huy Ngoc Nguyen. "Mobile Phones' Video Recording Tool". International Journal of Computer-Assisted Language Learning and Teaching 11, n. 2 (aprile 2021): 16–32. http://dx.doi.org/10.4018/ijcallt.2021040102.
Abstract (sommario):
Foreign language anxiety (FLA) has a debilitating influence on the oral performance of EFL speakers. Over the past decade, most research in MALL has emphasized the use of mobile applications on improving language skills, but little research has explored the impact of using video recording tool to decrease foreign language speaking anxiety (FLSA). Hence, this study examines the effect of using video recording tool on students' EFL speaking anxiety. Twenty-eight pre-intermediate freshmen at Van Lang University, Vietnam, participated in a seven-week project. In this research, mixed method was used in combination with three data collection instruments: questionnaire, observation notes, semi-structured interview. The results indicated that video recording tool significantly lowers EFL speaking anxiety. Therefore, this study makes a major contribution to research on FLA by exploring freshmen's anxiety causes and its impacts on learners' oral performance and offering a technique to help them overcome that phobia: mobile phone video recording.
42
Seongjo Ahn e 지영환. "The Admissibility of Video-Recording". HUFS Law Review ll, n. 30 (maggio 2008): 357–92. http://dx.doi.org/10.17257/hufslr.2008..30.357.
43
Eiling, A. "Theoretical analysis of video recording". IEEE Transactions on Magnetics 24, n. 6 (1988): 3249–58. http://dx.doi.org/10.1109/20.92383.
44
Meadow, R. "Video recording and child abuse." BMJ 294, n. 6588 (27 giugno 1987): 1629–30. http://dx.doi.org/10.1136/bmj.294.6588.1629.
45
Jaboury, Imad A. "Video recording of surgical operations". ANZ Journal of Surgery 89, n. 3 (marzo 2019): 268. http://dx.doi.org/10.1111/ans.15046.
46
Lai, Wing T., Daniel C. Bjorkquist, Martin P. Abbott e Amir A. Naqwi. "Video systems for PIV recording". Measurement Science and Technology 9, n. 3 (1 marzo 1998): 297–308. http://dx.doi.org/10.1088/0957-0233/9/3/002.
47
Thia, Brandon C., Nathan J. Wong e Shivanand J. Sheth. "Video recording in ophthalmic surgery". Survey of Ophthalmology 64, n. 4 (luglio 2019): 570–78. http://dx.doi.org/10.1016/j.survophthal.2019.01.005.
48
Okuda, Y., H. Inoue, T. Arai, Y. Kuno e T. Asai. "Video recording of tracheal intubation". Anaesthesia 60, n. 10 (ottobre 2005): 1042–43. http://dx.doi.org/10.1111/j.1365-2044.2005.04385.x.
49
Duker, Andrew P. "Video Recording in Movement Disorders". CONTINUUM: Lifelong Learning in Neurology 19 (ottobre 2013): 1401–5. http://dx.doi.org/10.1212/01.con.0000436163.63941.d6.
50
Mazhar Çelikoyar, M. "Video-recording a surgical procedure". Journal of Plastic, Reconstructive & Aesthetic Surgery 72, n. 2 (febbraio 2019): 356–62. http://dx.doi.org/10.1016/j.bjps.2018.10.045.