Hasil untuk "Motion pictures"

Teena Nerwal, Swati Iyer, James W. Fleshman et al.

Background: Patient outcomes and wellness are well-established metrics in surgical research. However, little attention has been given to surgeon wellness and the physical impact of performing surgery. We hypothesized that surgeons would experience less pain and discomfort with the robotic platform compared to open and laparoscopic approaches due to the platform’s superior ergonomics. Objectives: To evaluate ergonomic posture during open, laparoscopic, and robotic surgery and assess its impact on the body. Design: Three-month survey study. Patient and Methods: This study was conducted by surveying a group of colorectal surgeons in Dallas, Texas. Baseline demographic data were gathered from each surgeon. Following each procedure, perioperative data were recorded, and surgeons reported specific body pains. Pictures of surgeons’ posture during surgery were obtained, and a rapid upper limb assessment (RULA, score <2 indicates acceptable posture) was performed. Main Outcome Measures: RULA score, baseline pain, and postprocedural pain. Sample Size: 182 cases. Results: Fourteen colorectal surgeons participated in this study. Of the 182 cases, 38 (20.9%) were open, 42 (23.1%) were laparoscopic, and 102 (56.0%) were robotic. Patient demographics and case duration were similar across all groups. Open cases were associated with more than twice the increase in postoperative neck, upper and lower back, shoulder, and leg pain. In laparoscopic and robotic surgery, increased neck, upper back, wrist, shoulder, and leg pain were reported. The average RULA scores were higher in open and laparoscopic surgery (5.1 and 5.0, respectively) compared to robotic surgery (3.3). The difference in RULA scores between open and robotic cases, as well as between laparoscopic and robotic cases, was statistically significant (P < 0.01). However, no significant difference was noted between RULA scores and factors such as the location of surgery, case duration, BMI, or comparisons between open and laparoscopic surgery. Conclusion: The majority of surgeon respondents reported increased pain after major abdominal and pelvic procedures. Our findings suggest that robotic surgery may provide better ergonomics, as indicated by lower RULA scores. Further studies are underway to evaluate additional robotic platform metrics, including guided ergonomic setup and intraoperative economy of motion, to better understand the physical impact of surgical techniques on physician pain. Limitations: This was a single-institution study involving residents and fellows. More than half of the cases analyzed were robotic, compared to open and laparoscopic cases. Additionally, the surgeons polled varied in age and years of experience, which may introduce some inherent bias. Conflict of interest: None.

Shu-Han Yang

This article examines K's messianic becoming in Blade Runner 2049 (Denis Villeneuve, 2017), tracing his transformation from a replicant officer to a man with his name. While current scholarship has primarily focused on K's development of human traits beyond implanted memories, I demonstrate that K's transformation unfolds through three epiphanic events. These events, paralleling three differencing repetitions of the name Joe, culminate in an uncanny caesura that fundamentally disrupts K's problematic epistemic relations to the world, his hologram partner Joi and himself. Building on Gilles Deleuze's cinema aesthetics, this article delineates how the film's symmetrical yet dis-symmetrical structure of chiasm and audiovisual counterpoints reinforce these repeated yet differentiated narrative ruptures. This filmic strategy creates a complex temporal framework that invites the viewer to participate in K's movement from programmed existence to deterritorialized becoming. The analysis further engages with Jacques Derrida's concept of messianicity without messianism to explore how this aesthetic experience, enriched by the film's biblical allusions and unique musical motifs, suggests a post-digital rethinking of what re-appropriates the human as human.

Gabriele, Giulia Ferdeghini, Ilario Meandri

The digital transition has radically transformed the atelier of the contemporary composer, leading to the emergence of a new “digital documentality”. This change necessitates a renewal of musicological research methodologies concerning contemporary creative practices. This paper presents the preliminary findings of an ethnographic fieldwork conducted at Christopher Young’s studio, highlighting the need to consider both documents and production practices. This approach has led to the development of an eclectic study methodology that integrates archival work with the investigation of oral histories, utilising a wide range of documentary sources and leading to a redefinition of the inquiry method. Despite the difficulty of replicating such a large-scale study, both synchronically and diachronically, we believe this research can provide meaningful methodological guidance for musicology concerned with source criticism in contemporary productions. Field observations focused on the music production of Christopher Young’s team for three films: The Autopsy (David Prior, 2022), The Offering (Oliver Park, 2023), and The Piper (Erlingur Thoroddsen, 2023). Fieldwork revealed how music teams integrate digital technologies into the compositional process with original technical, experimental, and creative solutions. The flexibility introduced by the digital transition represents one of the most significant challenges for contemporary musicological research on film music interested in reconstructing the compositional process.

BU Jiahua

Although fan cultures highlighting active audience engagement is prevalent in East Asia, the process and impact of such engagement have not been thoroughly explored in the literature. This study adopted a digital ethnographic approach to examine the fan-driven migration of the Korean television series Squid Game from Netflix to the Chinese online space, focusing on its spread on Bilibili. Despite the lack of access to Netflix, and thereby to the televised Squid Game series, under the country’s censorship policies, Chinese fans reutilized and repurposed elements from the series obtained from various social media and other platforms and released a significant number of fan-made videos on Bilibili. In doing so, they created new meanings and connections and facilitate the international cross-cultural spread of audiovisual artifacts. This study includes time as a factor to study audience engagement and uses the metaphor of ripples in a pool to describe the changing focus of altered audience engagement over time. Social media platforms are described as ecosystem life cycles that decompose and reuse uploaded audiovisual materials.

samuel antichi

This contribution will examine different communicative and narrative strategies adopted by some documentary productions in order to visualize something invisible, like the virus and its effects. Through the case studies I will take into account, my intent is to reflect upon the pandemic narration, which replaces or alternates the photographic realism of the images of pain and suffering, intended as scientific and incontrovertible proof of the virus manifestation, with a modernist narrative, mixing interviews with infographic material, maps, dashboards, photomicrographs, and computer graphics animations. Despite their profound mediation by software that makes pictures out of numbers, these informatic images, reported daily in news channels and broadcasts as well, besides shaping the relationships between scientific research, documentary, and its explanatory and pedagogical power to narrate, reconfigure the collective imagination of the pandemic in a bioinformation era.

Lucivânia Nascimento dos Santos-Fuser

O filme "Bacurau" é o objeto deste artigo. Considera-se, aqui, o território de Bacurau, nome fictício, uma metáfora das favelas, das áreas mais pobres do Nordeste, e também uma analogia sobre o Cangaço e uma espécie de Canudos vitoriosa, representável por Bacurau em seu estrato social e sua marginalidade espacial. O artigo faz uma analogia entre as paisagens, os massacres e a ausência de infraestrutura urbana no território de Bacurau, e as imagens, as lutas e resistências das populações que vivem em territórios racializados. Utiliza os conceitos de biopolítica e necropolítica e faz uma breve retomada da história social e política do Brasil desde Canudos, passando pelo Cangaço, até a eleição de Bolsonaro para presidente da República, contexto histórico em que Bacurau é filmado e lançado. Conclui que Bacurau é um emblema de resistência histórica de povos dos territórios racializados no mosaico do território nacional brasileiro, e das suas lutas pelo direito à vida e ao próprio território, muito além de uma distopia do futuro imaginado no contexto político e social das eleições presidenciais de 2018.

Oliver Kenny

Ian Robinson

This article considers two recent attempts at developing networked lm cultures in online exhibition spaces. Focusing on two video-on-demand platforms, Festival Scope and Curzon Home Cinema, the article examines how VOD is being positioned and utilized as a tool to develop lm-literate audiences while also serving the interests of the lm industry by promoting and exposing lms to different geographic markets. While Festival Scope originated as a platform for industry insiders to view and gather information about lms, Curzon Home Cinema has emerged in the last ve years as a leader in day-and-date online releases of art lms for audiences in the UK and Ireland. The emergence and growth of both platforms is examined with special attention to the rhetoric of on-demand spectatorship as a special event. In both cases, the platforms’ presentation of lms on-demand, concurrent with their theatrical (Curzon) or festival (Festival Scope) screenings, is offered to audiences as a privileged moment of participation in lm culture. The article then argues that these platforms should be understood in close relation to the prevalent discourses of European lm policy, funding and industrial support. Both Festival Scope and Curzon are funded in part by Creative Europe’s Media programme. The article situates the growth of these on-demand platforms in relation to Creative Europe’s competing cultural and economic discourses of public access and competitiveness. An analysis of Creative Europe’s funding schemes reveals how VOD gures into the goals of European cultural and economic integration. The re-intermediation of lm culture that is fostered by VOD platforms such as Festival Scope and Curzon is considered with regards to how it aligns with Creative Europe’s cultural and economic objectives and its emphasis on digitalization and transnationalism.

Marta Álvarez

Reseña

Simone Dotto

The article discusses the concept of ‘radio-film’, a term which repetitively entered the vocabulary of practitioners and theoreticians during the transition to sound, and raises several well acknowledged historical notions by adopting a slightly different question: has an idea of cinema as an entirely aural art — i.e. sound cinema as ‘cinema made of sound’ — ever come up in media history? Starting by considering the European scenario and by focusing more specifically on the case of the early Italian radio-play between 1925 and 1935, this article explores this path as a concrete historical possibility: in this context, the surfacing of two hybrid terms such as fonoquadro [phonoscene/phonoframe] and suonomontaggio [sound-montage] will represent the case studies for a discussion on ‘intermediality’ both as an epistemological framework to apply and ‘a state of historical transition’ to investigate. By questioning the role of cinema as an always present term of comparison in the debate on the medium specificity of radio and the ways in which a cinematic imagination has affected the development of entertainment genres in radio production, the essay aims at demonstrating how a hypothesis of aural cinema as a radio art can be grounded in several concrete aesthetic and technological intermedial exchanges.

Israel Roncero

<p>El presente texto trata de analizar las influencias recíprocas del panorama audiovisual occidental y el cine de Bollywood, contextos culturales que se contaminan mutuamente, pero que dada la asimetría de las diferentes categorías geopolíticas a las que se adscriben, precisan de un análisis crítico que ayude a determinar las consecuencias políticas de la imitación de un cine periférico por parte de un cine legitimado globalmente. Para ello, una vez dibujado el panorama medial y cultural de este diálogo cinematográfico, pasaremos a ejemplificar los efectos de la mímesis occidental de los productos del cine de la India con el estudio de un caso particular. Este análisis pormenorizado nos permitirá establecer dos hipótesis interpretativas diferenciadas, que intentarán determinar si la mímesis occidental del cine de Bollywood es una apropiación irónica que trata de restar el valor del producto citado o, por el contrario, un producto híbrido transnacional con una vocación dialógica.</p><p><strong>Palabras clave: </strong>Bollywood, mímesis iconográfica, orientalismo postmoderno, hipertextualidad, ironía, transnacionalismo, empoderamiento del sujeto subalterno.</p><p><strong>Abstract</strong></p><p>This paper analyzes the interplay of both Western audiovisual landscape and Bollywood cinema, cultural contexts that are constantly polluting each other, but due to the asymmetry of the different political categories of origin, a critical analysis that helped us to determine what the political consequences are when a peripheral cinema imitates a globally entitled cinema would be required. To achieve this, once drawn the media and cultural landscape of this cinematic dialogue, we will illustrate the effects of Western mimesis of India products with the study of a particular case. This detailed analysis will allow us to establish two distinct interpretative hypotheses that will attempt to determine whether Western mimesis of Bollywood cinema is an ironic appropriation that subtracts the value of the cited product or, conversely, a hybrid product with the vocation of achieving a transnational dialogue.</p><p><strong>Keywords: </strong>Bollywood, iconographic mimesis, postmodern orientalism, hypertext, irony, transnationalism, empowerment of the subaltern subject.</p>

William Brown

In this article I propose the concept of ‘non-cinema’. The term points to that which is excluded from cinema, and accordingly I seek to explore the various reasons for these exclusions, in particular the political/ideological ones, together with how these exclusions are manifested on an aesthetic level. Instead of André Bazin's founding question regarding what is cinema, therefore, this essay asks what cinema is not – and why. This question is of redoubled importance in an age of technological change: not only are nearly all films now not made using the traditional equipment of filmmaking (analogue cameras, linear editing systems, polyester film stock), but nor do they get exhibited in traditional theatrical venues (instead circulating on DVD and related formats, and online). On a related note, increasing numbers of filmmakers actively are moving away from feature filmmaking, e.g. into television. The essay focuses in particular on ‘non-cinematic’ works by Philippine director Khavn de la Cruz and American director Giuseppe Andrews. Formally, I argue that their films deliberately embrace that which is perceived as non-cinematic in order to put forward what Argentine philosopher Enrique Dussel might define as a ‘barbarian’ film-philosophical vision of the world, which is reminiscent of Antonio Negri's concept of multitude, and which also has an ethical dimension in that it proposes the inclusion of the overlooked and the dispossessed, and of the darkness that necessarily accompanies the light.

Rossella Catanese

Birgit Imhof, K. Scheiter, Jörg Edelmann et al.

John Bleasdale

Luc Vancheri

G. M. Rassweiler, L. Withrow

N. Bayley, W. S. Dysinger, C. A. Ruckmick et al.

N. Kleitman