Hasil untuk "Motion pictures"

Ashish Dwivedi

Juan Camilo Velásquez

In-gi Min, Suhn-yeop Kim

Background: It is reported that the proprioceptive sensation of patients with neck pain is reduced, and neck sensory-motor control training using visual feedback is reported to be effective. Objects: The purpose of this study is to investigate how sensorimotor control training for the cervical spine affects pain, function, and psychosocial status in patients with chronic cervical pain. Methods: The subjects consisted of 36 adults (male: 15, female: 21) who had experienced cervical spine pain for more than 6 weeks. An exercise program composed of cervical stabilization exercise (10 minutes), electrotherapy (10 minutes), manual therapy (10 minutes), and cervical sensorimotor control training (10 minutes) was implemented for both the experimental and the control groups. The cervical range of motion (CROM) and head repositioning accuracy were assessed using a CROM device. In the experimental group, the subjects wore a laser device on the head to provide visual feedback while following pictures in front of their eyes; whereas, in the control group, the subjects had the same training of following pictures without the laser device. Results: There were no statistically significant differences between the two groups in pain, dysfunction, range of motion, or psychosocial status; however, post-test results showed significant decreases after 2 weeks and 4 weeks compared to baseline (p < 0.01), and after 4 weeks compared to after 2 weeks (p < 0.01). The cervical joint position sense differed significantly between the two groups (p < 0.05). Conclusion: In this study, visual feedback enhanced proprioception in the cervical spine, resulting in improved cervical joint position sense. On the other hand, there were no significant effects on pain, dysfunction, range of motion, or psychosocial status.

Federica Cavaletti

Individuals suffering from depression often experience a condition of isolation, which relegates them in a separate and neglected world of their own. In light of this issue, could audiovisual media contribute to drawing attention to the world of depression, and make it more familiar to the general population? The first part of this paper provides an extensive and in-depth description of depression. More specifically, by combining the psychiatric account of Thomas Fuchs with Jakob von Uexküll’s notion of Umwelt, it frames it in terms of a ‘psychopathology of time’, and introduces the notion of a self-enclosed ‘temporal world’ that is usually home (or rather cage) to depressed people. In turn, the second part of this paper discusses some media strategies that may actually disclose the temporal world of depression. After taking into account a cinematographic option and showing how it succeeds in making this world visible, it further examines a VR-based alternative in order to assess whether it can make the same world not simply visible, but fully accessible: that is, affording an up-close, first-person grasp of depression to ordinary, non-affected spectators.

Petra Löffler

This article explores the necessity of gestures for film analysis and argues for a conception of media archaeology as gestural practice. Celluloid film copies are not only projected and watched but also touched repeatedly: they are put together and taken apart again, collected, restored and stored — or, on the contrary, forgotten, sorted out and destroyed. Each individual film is an equally fragile material thing with a micro-history of its own. The broad spectrum of gestures practiced in handling films will be examined on the basis of three examples dating from the 1990s where video technology became an important tool: first, Interface (Schnittstelle, Harun Farocki 1995) and Playback (Hartmut Bitomsky 1995), which demonstrate a self-reflective practice of film analysis whereby pointing to details of the arrested images or touching a film strip with the fingertips are crucial gestures. Second, I analyse the careful handling of archival material in Transparencies (Trasparenze, Yervant Gianikian and Angela Ricci Lucchi 1998), in which the authors re-filmed severely damaged footage recorded during World War I, and examined it frame by frame in a gestural way. What is at stake here is a rethinking of how to archive films and the need for what I call an ‘ecology of archiving’.

Equipo Secuencias

Secuencias

Equipo Secuencias

Secuencias

Marina Díaz López

Secuencias

Autores Secuencias

Secuencias

Alicia Alted Vigil

Reseña

S. Loureiro, Arthur Barbosa de Araujo

Giuliana Bruno

Translation of the text originally published in Bruno, Giuliana. 2007. “Modernist Ruins, Filmic Archaeologies. Jane and Louise Wilson’s <em>A Free and Anonymous Monument</em>.” In<em> Public Intimacy: Architecture and the Visual Arts,</em> 43-86. Cambridge: MIT Press.

Thorsten Botz-Bornstein

W. Walls, J. McKenzie

Valerio Coladonato

The declining sovereignity of nation-states intensifies the symbolic functions performed by physical borders. The frontier between Mexico and the U.S. is one of these ideologically charged places: it plays a defining role in national identities and narratives, and contributes to their hybridization. Nevertheless, in films involving a partnership between the U.S. and Mexico, critical discourse is predominantly shaped by separate “national” paradigms. The paper considers as case studies two films concerned with border narratives: The Three Burials of Melquiades Estrada (Tommy Lee Jones, 2005) and Sin nombre (Cary Fukunaga, 2009). Their critical reception is traced by examining reviews, articles and interviews both in the U.S. and in the Mexican press. The central premise of the two movies is, in fact, a journey towards the opposite side of the frontier (South-bound in the former, and North-bound in the latter). Concerns regarding the permeability of the national territory – which characterize contemporary surveillance culture – are filtered through the movies’ genres and their different mise-en-scène. Migration emerges as the primary geopolitical framework through which the films are interpreted: the emphasis lies on the economic dimension and/or the “national security” issues; hence, the dynamics of cultural hybridization are significantly overlooked.

R. T. Knapp

This paper describes water-tunnel investigations into the mechanics of “fixed”-type cavitation and into the probable mechanism through which this type causes material damage. High-speed motion pictures were used to study the cavity mechanics, and indications of the damage pattern were obtained by measuring the pitting rate on soft aluminum test specimens. Information was obtained on the frequency and intensity of the damaging blows, the distribution of damage in relation to the area covered by the cavitation, and the variation of the intensity of cavitation with velocity.

Keasley Welch

Liya Ding, Aleix M. Martinez

F. Delori, O. Pomerantzeff, M. Cox

Tino T. Balio

This anthology has been expanded and revised to include a fresh introductory overview by editor Tino Balio and ten new chapters - seen written specifically for this edition - that explore such topics as the growth of exhibition as big business, the mode of production for feature films, the star as market strategy, and the changing economies and structure of contemporary entertainment companies. Balio divides the subject into four eras: 1894-1908 describes how motion pictures developed from a novelty into a business enterprise; 1908-1930 chronicles the industry's development into an economic oligopoly; 1930-1948 covers the behaviour and organization of the industy at its peak; 1948 to the present analyzes the results of technological, legal, and social events on the contemporary economic history of American movies.