Hasil untuk "Motion pictures"

Ao Chen

Rhythmus 21 (Hans Richter, 1921) has earned a highly influential position in abstract or absolute film, presenting the rectangles of various sizes that seem to initiate a sense of depth. Nevertheless, the spatial experience of seeing this film can fall apart if Buddhist dust theory is applied to the discussion of spatial experience. This article uses wufen weichen (extremely tiny and indivisible dust) in Buddhist studies as a philosophical methodology for scrutinising the spatial experience of seeing Rhythmus 21, arguing that there is no inherently spatial depth manifested in this film because all the rectangles can be seen as the same size. In other words, there are no large and small rectangles establishing close and distant zones. This argument will lead to an alternative epistemological understanding of no-absolute-size, which will trigger a re-examination of the existential state of spatial depth. Throughout this article, detailed analyses of the rectangles’ sizes within the philosophical context of Buddhist dust theory will give rise to a new ontological interpretation of space in this film.

Adewale Christopher Oyewo, Azeez Akinwumi Sesan

The persistence of violence in Nigeria’s socio-political space has called for critical interventions of government and other stakeholders with a view to finding solutions from ideological and combative fronts. Nollywood filmmakers have been consistently intervening in national discourses aimed at ushering in peace and national cohesion through the subject matter and themes of their films. Pascal Amanfo’s Nation Under Siege (2013) is one of the Nollywood films that have intervened in ideological discourse aimed at sustainable peace in Nigeria. With the tenets of psychoanalysis, the article critiques the film’s focus on Boko Haram insurgents. With content analysis, the article found that the film highlights the operative strategies of the insurgents and the ineptitude of the government in the fight against them. The film, however, upholds the view that ideological warfare should also be engaged in the fight against the insurgents as underlined in the characterisation and role of Lina, a prostitute in the film. With the topicality and relevance of the film to ideological discourse, Nollywood has come of age considering the quality of its story and boldness to take risk in the face of state censorship.

Halpern, Manuel

Review of the film Não Sou Nada – The Nothingness Club (2023)

M. Sawhney, J. Eliashberg

The primary objective of this paper is to develop a parsimonious model for forecasting the gross box-office revenues of new motion pictures based on early box office data. The paper also seeks to provide insights into the impact of distribution policies on the adoption of new products. The model is intended to assist motion picture exhibitor chains retailers in managing their exhibition capacity and in negotiating exhibition license agreements with distributors studios, by allowing them to project the box-office potential of the movies they plan to or currently exhibit based on early box-office results. It is also of interest to practitioners in other software industries e.g., music, books, CD-ROMs where the distribution intensity is highly variable over the product life cycle and is an important determinant of new product adoption patterns. The model and its extensions are of interest to academic researchers interested in modeling distribution effects in new product adoption, as well as forecasters looking for ways to leverage historical data on related products to forecast the sales of new products. We draw upon a queuing theory framework to conceptualize stochastically the consumer's movie adoption process in two steps---the time to decide to see the new movie, and the time to act on the adoption decision. The parameter for the time-to-decide process captures the intensity of information intensity flowing from various information sources, while the parameter for the time-to-act process is related to the delay created by limited distribution intensity and other factors. Our conceptualization extends existing new product forecasting models, which assume that consumers act instantaneously on the motivating information they receive about the new product. The resulting model is parsimonious, yet it accommodates a wide range of adoption patterns. In addition, the stochastic formulation allows us to quantify the uncertainty surrounding the expected adoption pattern. In the empirical testing, we focus on the most parsimonious version of the modeling framework. BOXMOD-I, a model that assumes stationarity with respect to the two shape parameters that characterize the adoption process. The model produces fairly accurate early forecasts using at most the first three weeks of data for calibration, and the predictive performance of the model compares favorably with benchmark models. We propose extensions of the basic model that account for more realistic non-stationary distribution intensity patterns---including a “wide release” pattern that relies on intensive distribution and promotion, and a “platform release” pattern that involves a gradual buildup of distribution intensity. Finally, we present an adaptive weighing scheme that combines initial parameter estimates obtained from a meta-analysis procedure with estimates obtained from early data to produce forecasts of box-office revenues for a new movie when little or no box-office data are available. An important finding from the empirical testing is that motion picture box-office revenue patterns display remarkable empirical regularity. We find that there are only three classes of adoption patterns, and these can all be represented within the basic model by using a two-parameter. Exponential or Erlang-2 probability distribution, or a three parameter Generalized Gamma distribution. We also find that cumulative box-office revenues can be predicted with reasonable accuracy often within 10% of the actual using as little as two or three data points. However, our attempts to predict revenue patterns without any sales data meet with limited success. While the scale parameter can be estimated reasonably well from a historical database of parameter values, we find that it is considerably more difficult to predict the shape parameters using historical data. The parsimony we seek in developing the model comes at the cost of several limiting assumptions. We assume that the time-to-decide subprocess and the time-to-act subprocess are independent, which may not be the case if decisions on continued exhibition by retailers are endogenously related to box-office revenues over the life cycle. In the basic model formulation, we also assume that the time-to-act process can be represented by an exponential distribution, which may not always be the case. While we provide some empirical evidence to support these assumptions, further research could relax these and other assumptions to enrich the basic model, although this would entail some loss in parsimony.

D. Levin, D. Simons

Xuyuan Yang, Guang Jiang

In recent years, there has been a growing demand for 3D reconstructions of tunnel pits, underground pipe networks, and building interiors. For such scenarios, weak textures, repeated textures, or even no textures are common. To reconstruct these scenes, we propose covering the lighting sources with films of spark patterns to “add” textures to the scenes. We use a calibrated camera to take pictures from multiple views and then utilize structure from motion (SFM) and multi-view stereo (MVS) algorithms to carry out a high-precision 3D reconstruction. To improve the effectiveness of our reconstruction, we combine deep learning algorithms with traditional methods to extract and match feature points. Our experiments have verified the feasibility and efficiency of the proposed method.

Xu Xingwei, Ying Guohu

Through the study of the characteristics and appearance of motion pictures,this paper discusses the rationality of its existence and the uniqueness of its performance.

Miguel Mera

This article traces some of the political and cultural implications of the use of popular music and popular musicians in British films of the 1960s and 1970s, demonstrating different, and sometimes incompatible, facets of the British psyche in relation to identity, independence, nationalism, nostalgia, and exoticism. These divergent perspectives seem to have emerged and ruptured in the 2016 Brexit vote, but are in fact deep-rooted and central to the British circumstance. Using Adler-Nissen et al.’s concept of the performativity of Brexit, which works both as a promise of a different future and to establish a specific past, various interrelationships between culture, identity politics, stardom, and music can be determined. These are explored through three general typologies — ‘Discovering Europe’, ‘Defeating Europe’, and ‘Reappraising Home’ — in order to demonstrate that the decision to leave the EU in 2016 was not a flash in the pan, but rather a long and protracted journey reflecting conflicted notions of freedom and accountability.

T. Hennig-Thurau, Victor Henning, H. Sattler

Ulrike Mothes

Transcultural studies often theorize third world diaspora from within the dominant Western context, and its relation to the culture of their postcolonial home. This essay takes on a reversed perspective, aiming to examine lmic representations of two young Western subjects in third world countries. The lmmakers Thomas Brück and Bentley Brown spent their formative years as members of Western diaspora families in Mexico and Chad. Using the medium of lm, their work navigates cultures — as the works of certain subaltern immigrant artists and lmmakers in the West do. By analysing their personal documentaries Third Culture Kid and Oustaz, the essay investigates their cinematic means of negotiating transcultural identity across geopolitical borders. Special emphasis is given to the employment of home video material to reconstruct and represent memory.

A. Goldberg, H. M. Schey, J. Schwartz

Jaime Pena

DVD

V. González Diéguez

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Minerva Campos

«Llegará un día en que el cine habrá cambiado el mundo más que la invención de la pólvora, la electricidad o el descubrimiento de nuevos continentes. El cine permitirá a la gente repartida por los más remotos confines de la Tierra conocerse y apreciarse mejor. El cine reconciliará las diferencias de opinión y contribuirá de forma decisiva a la realización de los ideales de la Humanidad. Es fundamental que concedamos al cine la importancia que merece». Mustafa Kemal Atatürk (1937)

Miriam De Rosa, Vinzenz Hediger

The text retraces the current debate around the notions of post-cinema and post-media. Employing a dialogic approach, the editors propose a theoretical framework to provide context for the main contributions on these topics published in recent years, highlighting the conceptual connections to the previous scholarship. The resulting reflection serves as a platform to introduce and situate the contributions to this special issue. In particular, the editors propose to use the term configuration to account for the various aspects and facets of contemporary cinematic experience.

Vicente Sánchez-Biosca

<p>En 2010, un documental germano-israelí –<em>A Film Unfinished</em>– recuperaba enigmáticos planos rodados por un equipo de cineastas alemanes (<em>Propaganda Kompanien</em>) en el ghetto de Varsovia durante la primavera de 1942. Una porción considerable de estos planos que el Ministerio de Propaganda de Goebbels decidió no utilizar por confusas razones ya había circulado profusamente en films anteriores, desde los años 50. Depositados en los archivos de la DEFA, habían sido utilizados <em>a contrario </em>en primer lugar por cineastas de la RDA y de la DDR: tratando de denunciar a sus autores. Dicho de otro modo, las imágenes llamadas a denigrar a los judíos servían para denunciar a sus autores, convirtiéndose en eficaz arma del antifascismo. También Frédéric Rossif acudió a ellas en <em>Le temps du ghetto</em>. El presente ensayo analiza las estrategias de apropiación de este material bruto en distintas épocas en relación con las premisas estéticas, éticas, políticas de distintos autores y movimientos para concluir sobre la forma de representar víctimas tomando como fuente la imagen producida por el odio de sus enemigos. Así, se pasa revista a su montaje, su aligeramiento, su relación con testimonios vivos, su conducción a través de una <em>voice over narration</em>, entre otras cosas.</p><p><strong>Palabras clave: </strong>Documental de apropiación, imagen de archivo, migración de imágenes, cinee historia, ghetto de Varsovia, cine nazi.</p><p><strong>Abstract</strong></p><p>In 2010, a German-Israeli documentary entitled <em>A Film Unfinished </em>recovered some enigmatic footage shot by a team of German filmmakers (Propaganda Kompanien) in the Warsaw ghetto during the spring of 1942. A considerable portion of these shots had circulated widely in previous films from the 50s, even though the Minister of Propaganda, Joseph Goebbels, decided not to use them for confusing reasons. Shelved in the DEFA archives, they were used by anti-nazi film makers to denounce their authors. In other words, these images called to denigrate Jews served to denounce the perpetrators, becoming an effective weapon of anti-fascism. Frederic Rossif also assisted them in <em>Le temps du ghetto</em>. This paper analyzes the strategies of appropriation of such raw material at different periods of film history in regard with the aesthetic, ethical, and political attitudes in order to conclude on how to represent victims using as source the image produced by the hatred of their enemies. In this sense, the essay looks into the composition, the editing and especially the relationship these shots entertain with other strategies such as the living testimonies, and the use of the voice over narration.</p><p><strong>Keywords: </strong>re-apropiation in documentary, film footage, migration of images, cinema and history, Warsaw ghetto, Nazi cinema.</p>

M. Holbrook

Scott Sochay

Frida Beckman

Emre Çağlayan