Jeffrey A. Russell, Elizabeth A. Beverly, Lori J. Stewart
et al.
Abstract Background Mild traumatic brain injuries receive voluminous attention in the research literature, but this is confined almost entirely to sports and military contexts. As an occupation, performing stunts in film, television, and entertainment places the head at high risk of repetitive impact and whiplash, but stunt performers do not enjoy the same level of healthcare supervision and access as that provided to sports participants. Therefore, the aim of this study was to evaluate stunt performers’ qualitative perceptions of reporting and management of head trauma in their industry. Methods After giving their informed consent, 87 motion picture and television stunt performers responded to a query about their views of ways to improve how stunt performers’ occupational head trauma—specifically head impacts and head whips that could cause a concussion—are reported and managed. We analyzed their responses via content and thematic analyses. Two researchers independently marked and categorized key words, phrases, and texts to identify codes that described participants’ comments. They then revised, discussed, and resolved coding discrepancies through consensus to establish inter-coder reliability. Next, we identified thematic patterns that described participants’ understanding of the stunt performer industry and what must change to facilitate reporting of head trauma. We derived themes from data that occurred multiple times, both within and across short answer responses. Results We identified three primary themes cited by the stunt performers as needs in their industry: (1) Need to Reduce the Stigma of Reporting a Stunt-Related Injury, (2) Need to Eliminate the “Cowboy Culture,” and (3) Need to Improve the Quality of the Work Environment. Conclusions Stunt performers are crucial members of a global entertainment industry valued at approximately US$100 billion annually. A large segment of the world’s population consumes their work in motion pictures, television, and live entertainment. When they are given an anonymous opportunity to speak, stunt performers offer insight into and recommendations for industry changes—primarily cultural and educational in nature—that could improve their physical and mental health, career longevity, and employability when they are confronted with head trauma.
The statics and dynamics of supercooled water in the hydration layer of poly(ethylene glycol) (PEG) were studied by a combination of quasi-elastic neutron scattering (QENS) and molecular dynamics (MD) simulations. Two samples, that is, hydrogenated PEG/deuterated water (h-PEG/D2O) and fully deuterated PEG/hydrogenated water (d-PEG/H2O) with the same molar ratio of ethylene glycol (EG) monomer to water, 1:1, are compared. The QENS data of h-PEG/D2O show the dynamics of PEG, and that of d-PEG/H2O reveals the motion of water. The temperature-dependent elastic scattering intensity of both samples has shown transitions at supercooled temperature, and these transition temperatures depend on the energy resolution of the instruments. Therefore, neither one is a phase transition, but undergoes dynamic process. The dynamic of water can be described as an Arrhenius to super-Arrhenius transition, and it reveals the hydrogen bonding network relaxation of hydration water around PEG at supercooled temperature. Since the PEG-water hydrogen bond structural relaxation time from MD is in good agreement with the average relaxation time from QENS (d-PEG/H2O), MD may further reveal the atomic pictures of the supercooled hydration water. It shows that hydration water molecules form a series of pools around the hydrophilic oxygen atom of PEG. At supercooled temperature, they have a more bond ordered structure than bulk water, proceed a trapping sites diffusion on the PEG surface, and facilitate the structural relaxation of PEG backbone.
This paper demonstrates the three-parameter Dagum distribution provides a good fit for shot lengths in Hollywood films due to its ability to model a wide range of skewness and kurtosis values and a variety of tail behaviours by virtue of its two shape parameters. The fit of this distribution is better across films in the sample than the two-parameter lognormal distribution, though animated films are an important exception to this. These results can be applied to more closely replicate the editing practice of film editors when generating film sequences using automated editing software.
The purpose of this article is to examine the representation of Polish rock in Polish cinema and television in the 1960s and the 1970s, in other words (roughly) the first decade of the existence of Polish rock. My argument is that these films minimize their associations with youth, contemporaneity, modernity, rebellion and a western outlook — typical of rock — amplifying connotations which are not seen as central to the genre, such as its closeness to folk music and national culture. In my research I will draw on the history of Polish popular music and Polish cinema in the 1960s and its interface, and the division between pop and rock.
This article highlights the most salient points from the authors’ previously published work on ventilation of manure pits to reduce entry risk. On-farm confined-spaces, such as manure storage pits, often contain toxic and asphyxiating gases including hydrogen sulfide, carbon dioxide, methane and ammonia, as well low oxygen levels. This article describes briefly an innovative approach to manure pit ventilation for human entry into a manure pit that utilizes online software. This software has been turned into an online design aid and represents the culmination of more than a decade-long research and technology development effort at Pennsylvania State University. The online design aid tool results include contaminant gas concentration decay and oxygen replenishments curves inside the manure pit and inside the barns above the manure pits, as well as animated motion pictures of individual gas concentration decay and oxygen replenishment in selected horizontal and vertical cut plots of the manure pits and barns. These results identify ventilation time requirements, manure pit gas evacuation patterns, and animal and personnel evacuation requirements.
Chemical engineering, Computer engineering. Computer hardware
Tomamos como referência 3 filmes em que os povos reagem contra os poderes instituídos resistindo durante décadas, erguendo e solidificando processo de construção de comunidade e de cultura local. O primeiro filme Tous au Larzac! (2011) de Christian Rouaud, documenta a história contemporânea de agricultores que lutam durante mais de uma década (1971-81) pela posse da terra e contra a expropriação resultante da decisão do Ministério da Defesa francês de expandir a base militar da região de Larzac, no sul França e o processo de construção de uma comunidade em torno da luta e resistência. O
segundo filme, Finding our way (2011), de Giovanni Attili and Leonie Sandercock, acompanhado por um poderoso dispositivo hipermediático de incontornável valor pedagógico e de reflexividade social, conta a história de um povo espoliado de seu território e dos conflitos ainda não resolvidos dos povos indígenas com a indústria e os governos canadiano na Colúmbia Britânica. O terceiro filme, Boe Ero Kurireu - A Grande Tradição Bororo (2007) de Paulinho Ecerae Kadojeba propõe-se registar a cultura bororo a partir da sua própria cultura. [...]
<p>La historia de la animación de posguerra en nuestro país, conocida como «la edad dorada», siempre ha resultado fascinante por el contexto en que se desarrolló y por ello se ha convertido en objeto de estudio, pero todavía quedan algunos episodios menores por ultimar. El presente trabajo pretende completar una de esas lagunas, la referente a la obra de Joaquín Pérez Arroyo y su posterior relación con el cine doméstico de juguete y su entorno. A través de esta investigación profundizaremos en las películas de este animador, apenas conocido, y en su decisiva participación en dos de los ejemplos más populares del cine de juguete nacional: Payá y Jefe. Casos que estuvieron conectados gracias a él y que se mueven entre el cine de papel y los 35 mm, entre el salón comedor y la sala de cine, entre Mikito y Quinito.</p><p><strong>Palabras clave: </strong>cortometraje de animación, CIFESA, proyector de juguete, Payá, Saludes, Jefe, Quinito.</p><p> </p><p><strong>Abstract</strong></p><p>The story of the postwar animation in Spain, known as the « Golden Age», has always been fascinating due to the context where it happened and so, it became object of study. Nevertheless, there are still some episodes to be finished. This study aims to complete one of these gaps as the one related to Joaquín Pérez Arroyo's work and his later connection to home cinema as a toy and its context. All through this research, we'll analyze films of this barely known author and his decisive participation in two of the most popular toy cinema examples in Spain: Payá and Jefe. Thanks to him, these two cases became connected, two worlds that coexist within the paper film and the 35 mm, between the living room and the movie theatre, between Mikito and Quinito.</p><p><strong>Keywords: </strong>animation short film, CIFESA, toy projector, Payá, Saludes, Jefe, Quinito.</p>
Marian de HAAN-BOSCH, Josep?E BAÑOS, Álvaro GÓMEZ?TOMÁS
et al.
<p><em>Dallas</em><em> </em><em>Buyers Club </em>(2013), inspired by true events, tells the story of Ron Woodroof, a middle?aged elec? trician from Dallas (Texas), who is diagnosed with AIDS in 1985. With few treatment options, he estab? lishes the Dallas Buyers Club in order to provide unapproved drugs to the AIDS community. This results in constant business travels, disputes with the FDA and problems with the law and the IRS. The article analyzes the buyers’ clubs phenomenon in the US, the drugs cited in the film and the clinical trial with zidovudine shown in the movie. The film could be useful as a teaching tool providing an introduction to the AIDS epidemic, clinical research and drug development, bioethics of human research and the agen? cies that regulate drug approval and their availability. Finally, the article presents a possible guideline for the use of the film in a teaching environment.</p>
This article offers a close reading and a critique of Hasson et al.’s Neurocinematics, focusing on its treatment of the notion of control, meaning a predictable neural and cognitive activation triggered by film stimuli. In the first part of the article I suggest that the use of control in neurocinematics on the one hand relies on a similarly problematic – but still more nuanced – use of the notion in cognitive film theory, and on the other hand reflects a unidirectional model of communication which brackets out noisy cases that diverge from predictable behavior. In the second part, I argue that these “noisy” cases are exactly the ones that pertain the most to a complex and dynamic view of brain activity and film-mind communication. The dialogue between film studies and neuroscience can become more complex too, escaping from a problematic definition of film effectiveness with regards to predictable viewer reactions.
Are the historical series strongly influenced by cultural references shared by the community of their intended viewers easily exportable TV products outside the borders of their original “media landscape”? The success obtained in France by made-for TV movies and series in the tradition of British “heritage film” might suggest so. However what about a series like Nicolas Le Floch, deeply rooted in French history and culture? The historical series, which narrates the investigations of a police superintendent in the France of Louis XV and Louis XVI, is similar in many respects to the genre of “heritage fiction”: sets and costumes are lavish, dialogues carefully written in a language reminiscent of the Age of Enlightenment. However, this quality series, where narrative efficiency is sometimes sacrificed to a finicky historical reconstruction, is exported to quite a number of countries abroad. Its few concessions to international standards or generic plasticity do not explain everything: it is precisely the French touch that appeals to spectators beyond national borders, as it depicts – certainly somewhat simplistically – the charm of 18th-century France as shared by collective imagination: luxury, voluptuousness and art of conversation. This is the paradox of a fiction which yet remains “heritage” at heart.