Hasil untuk "Motion pictures"

Oxana Khomyshak

The research is devoted to the study of the utmost issue of enhancing the digitalisation of modern education through video-based learning. On the basis of scientific and methodic literature review, legislation and statistics analysis, and observation of best practices the essential findings of the study have been done. The article deals with video as a learning tool. The etymology of the notion “video” is considered. The study reveals the evolution of video as an audiovisual aid in chronological order.  The Ukrainian state policy aimed at video-based learning integration, support, and development is scrutinized. A review of a wide range of vivid educational resources (e.g., the English language curriculum, coursebook “Speakout”, the activity of All-Ukrainian Online School, scientific and pedagogical project “Intellect”, Center for Distance Learning Technologies of Kyiv Borys Hrinchenko University, online platforms Prometheus, EdEra, Diia.Education, application Leya AI) has been done to illustrate the role of video as a pivotal learning tool in the present day. To state the frequency, benefits, and challenges of video use, a questionnaire was designed. A survey was conducted among 67 people, including teenagers, youth, and adults. The findings have showcased the transformation of learning with the aid of video nowadays.  The evolution of video has been traced by the development of techniques of its use from 1895 to 2024 including demonstration (e.g. motion pictures, silent movies), explanation (e.g. feature-length movies with sound and colour), engagement (e.g. television, live broadcast real-world scenarios), interaction (e.g. online videos), personalisation (e.g. AI tutors, streaming videos). The didactic value of video-based learning for personal, academic and professional knowledge, skills, and competencies enhancement has been presented in the article. The weaknesses and strengths of using videos for learning have been outlined by the author.

Mark Cauchi

In this article, I undertake a close reading of Isabel Rocamora's 2015 film installation Faith, which shows, on three separate screens, Jewish, Christian, and Muslim men simultaneously performing their morning prayers in three distinct, historically significant sites in the Judean desert. Setting the cinematic and installation properties of the work into dialogue with a number of philosophers (Levinas, Derrida, Cavell), film theorists (Bazin, Deleuze, Chion), and art theorists (Fried, Elkins), I argue that it adopts a postsecular approach to religious pluralism. That is, without being a religious artwork, Faith nevertheless deconstructs the conventional liberal secular approach of universalist neutrality towards inter-religious relations and instead configures the relations between the human figures in the work according to an alterity that requires not cognitive certainty but inter-human faith. The work is thereby consistent with Derrida's notion that tout autre est tout autre (every other is wholly other).

Louis Menand

In this essay, Menand raises historiographical questions about the Cold War, arising mainly from his experience of authoring The Free World: Art and Thought in the Cold War (New York: Farrar, Straus and Giroux, 2021).

Kyle Barrowman

To date, film scholars have found the films of Jim Jarmusch to be tantamount to works of postmodern philosophy. For as intriguing and productive as such interpretations of Jarmusch’s films have been, I submit that the postmodern framework occludes a crucial aspect of Jarmusch’s film-philosophy, namely, his investment in the ordinary. From this perspective, I intend to show the availability of Jarmusch’s films to Wittgensteinian interpretation. More specifically, I plan to situate Jarmusch’s arthouse action film Ghost Dog: The Way of the Samurai (1999) between Ludwig Wittgenstein and Jacques Derrida in order to demonstrate the profound affinities between Jarmusch’s film-philosophy and Wittgenstein’s conception of ordinary language. Through a consideration of character dialogue, I will demonstrate the extent to which Jarmusch rejects the private language argument – which, by extension, amounts to a rejection of linguistic relativism as an instance, or species, of skepticism – in favor of ordinary conceptions of language, expressiveness, knowledge, and responsibility.

Direção C&T

Jules O'Dwyer

Luis E. Parés

Secuencias

Voskresenskaya N.G.

The author analyses peculiarities of choices of motion pictures with different dy- namic characteristics, taking into consideration spectator’s subjective perception of in- tenseness of his or her life in time perspective. The student participants were offered a choice of 16 films from which they were required to select the one they would prefer to watch at the moment. The film set was formed based on the ratings of films that are popular amongst students, in which survey 187 students participated. The selected films differed in terms of temporal and dynamic characteristics, and they were famil- iar to all the 60 participants in the sample. The students were also required to rate the fullness of their life in temporal perspective. The analysis of the data revealed that the film preference appears to be compensatory in nature. The perception of one’s life as boring and barren determines the choice of dynamic films with stimulation of forced attention by means of attention reflex and actualization of basic needs. The percep- tion of one's life as dynamic and full of new experiences contributes to the selection of circumstantial cinematic narrative and stimulation of voluntary attention through actualization of social needs.

Equipo Secuencias

Secuencias

M. del M. Azcona Montoliú

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Emily Ming Yao

Sylvaine Conord, Christine Dole-Louveau de la Guigneraye

Il s’agit ici de dépasser les débats mettant en rivalité image fixe et image animée, anthropologie visuelle et photographie sociologique. Afin de questionner les usages des images en sciences sociales, nous présentons les ancrages historiques, scientifiques et techniques, les questions de temporalité, les spécificités de recueil de données et les utilisations disjointes et conjointes de la photographie et du film. A l’heure où les technologies numériques offrent de nouvelles possibilités de prise de vue et de traitement des images, un vaste champ relatif à de nouvelles expérimentations de l’image s’ouvre.

André Gaudreault, Philippe Gauthier

In the first decade of the twentieth century Pathé presented itself ad a kind of film "laboratory" where several forms of editing were developed, in particular crosscutting, wherein segments of actions taking place concurrently and simultaneously within the same narrative were woven together. In order to fully understand the emergence of this major film technique, the authors of this article analyse editing in films in which a character looks through a keyhole or viewing device. While the systematic alternation of viewpoints (between those seeing and those seen) in an A-B-A-B manner is one of the forms of this discursive configuration, one of alternation, this does not make it an example of crosscutting. Alternation between those seeing and those seen is basically motivated by the acting: the film shows us an object in order to follow through on an actor's view of that object. As the authors demonstrate, crosscutting exists only when the cuts are independent of the contingencies of the action depicted - when the connection between the two actions is entirely and exclusively carried out and motivated by the "narrator" alone (by which is meant the mega-narrator).

J. Sunkara, E. Navaneethasagari, D. Pradeep et al.

N. Wade

Doyub Kim, Seung Woo Lee, O. Song et al.

D Vishwanath

“Stereopsis” refers to the characteristically vivid qualitative impression of 3D structure that is observed when real (or simulated-3D) scenes are viewed binocularly. Stereopsis is associated with a compelling perception of solidity or 3-dimensionality, a clear sense of space between objects, and a phenomenal sense of realism. These visual characteristics are conventionally thought to be a result of the different views of an object afforded by binocular vision (disparity) or self-motion (motion parallax). However, such visual characteristics can also be obtained under controlled monocular viewing of pictures. One explanation for the impression of monocular stereopsis is based on the notion of cue-coherence/conflict (eg, Ames, 1925). When a picture is viewed with both eyes, binocular cues specify the flat picture surface and are in conflict with the 3-dimentionality implied by the pictorial cues. The elimination of these conflicting cues under monocular viewing putatively causes the enhancement of pictorial depth impression. The cue-coherence/conflict explanation also predicts a greater magnitude of perceived depth relief accompanying the greater impression of stereopsis. I will present an alternative theory that stereopsis is the conscious perception of the precision of the brains estimate of absolute (egocentrically scaled) depth. Both qualitative and quantitative empirical results are consistent with this theory. Specifically, they show that (i) the same qualitative characteristics of depth impression are reported under binocular viewing of real scenes, stereoscopic images, and controlled monocular viewing of pictures; (ii) the impression of stereopsis is measurable and its variation, under different viewing conditions is not consistent with a cue-conflict account; (iii) stereopsis can be elicited by manipulating egocentric distance cues when viewing pictures, without altering conflicting binocular cues; and (iv) under conditions that elicit stereopsis in pictures, perceived magnitude of depth is not greater than under normal binocular viewing of pictures.

Guido Orgs, P. Haggard

Andrew D. Dewald, S. Sinnett, L. Doumas