Hasil untuk "Motion pictures"

Junqi Peng, Ying Zhu

Diaosi, Chinese slang for “underdogs,” first appeared on the Chinese Internet in 2010, capturing youth discontent amid the cutthroat competition in China. The term became the most popular word by 2012 but would soon be overtaken by sang (“bereavement”), a new youth phenomenon akin to beatnik/hippie/punk culture in the West, which manifested itself in a variety of catchphrases and memes that amplified the weary and suffering human body, eventually leading to the rise in 2021 of the tangping (“lying flat”) movement that called for a life free from societal pressures. This article traces the origin, evolution, and impact of this youth cyber culture, what we call DST. It explores the motivations, perspectives, and actions of participants as well as reactions and responses of the Chinese government and the media.

Arsirii Vasyl, Kravchenko Oleg, Savchuk Bohdan et al.

The new method of visual diagnostics of liquid motion processes in physical models showed a high degree of the flow structure organization. Visual pictures made it possible to develop a hydraulic experiment to reveal the dimensions of the transverse structure in the form of layers and zones of flow separation from the channel walls. Visual diagnostics is the basis for comprehensive equipment design. Visual studies of the flow structure provide information for improving equipment by changing the geometry of the flow paths. Hydraulic studies show the change in the resistance of the equipment channels. Based on the results of visual and hydraulic studies, the wave character of the distribution of the pulsation velocity components was revealed. The regularities of the velocity distribution allow predicting the minimum or maximum values of the resistances of the flow paths of the equipment.

Reuben Martens

Christine Escallier

Alice Pember

Equipo Secuencias

<em>Secuencias. Revista de historia del cine</em>

Gerard Dapena

Secuencias

J. M. Minguet Batllori

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Simón Peña Fernández

Secuencias

J. Estivill

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Vicente Rodríguez Ortega

Secuencias

Trevor James Cunnington

Hui Wu

Shakespeare’s plays were first adapted in the Chinese cinema in the era of silent motion pictures, such as A Woman Lawyer (from The Merchant of Venice, 1927), and A Spray of Plum Blossoms (from The Two Gentlemen of Verona, 1931). The most recent Chinese adaptations/spinoffs include two 2006 films based on Hamlet. After a brief review of Shakespeare’s history in the Chinese cinema, this study compares the two Chinese Hamlets released in 2006—Feng Xiaogang’s Banquet and Hu Xuehua’s Prince of the Himalayas to illustrate how Chinese filmmakers approach Shakespeare. Both re-invent Shakespeare’s Hamlet story and transfer it to a specific time, culture and landscape. The story of The Banquet takes place in a warring state in China of the 10th century while The Prince is set in pre-Buddhist Tibet. The former as a blockbuster movie in China has gained a financial success albeit being criticised for its commercial aesthetics. The latter, on the other hand, has raised attention amongst academics and critics and won several prizes though not as successful on the movie market. This study examines how the two Chinese Hamlet movies treat Shakespeare’s story in using different filmic strategies of story, character, picture, music and style.

R. K. Pan, S. Sinha

Are there general principles governing the process by which certain products or ideas become popular relative to other (often qualitatively similar) competitors? To investigate this question in detail, we have focused on the popularity of movies as measured by their box-office income. We observe that the log-normal distribution describes well the tail (corresponding to the most successful movies) of the empirical distributions for the total income, the income on the opening week, as well as the weekly income per theater. This observation suggests that popularity may be the outcome of a linear multiplicative stochastic process. In addition, the distributions of the total income and the opening income show a bimodal form, with the majority of movies either performing very well or very poorly in theaters. We also observe that the gross income per theater for a movie at any point during its lifetime is, on average, inversely proportional to the period that has elapsed after its release. We argue that (i) the log-normal nature of the tail, (ii) the bimodal form of the overall gross income distribution and (iii) the decay of gross income per theater with time as a power law, constitute the fundamental set of stylized facts (i.e. empirical ‘laws’) that can be used to explain other observations about movie popularity. We show that, in conjunction with an assumption of a fixed lower cut-off for income per theater below which a movie is withdrawn from a cinema, these laws can be used to derive a Weibull distribution for the survival probability of movies that agrees with empirical data. The connection to extreme-value distributions suggests that popularity can be viewed as a process where a product becomes popular by avoiding ‘failure’ (i.e. being pulled out from circulation) for many successive time periods. We suggest that these results may apply beyond the particular case of movies to popularity in general.

Klaas de Zwaan

E. Dale

Nils H. Abramson

Desislava G. Budeva

W. Herriott, D. Farnsworth

J. Price