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nema  [PDF]
Ru?i? Vladislava
Ju?noslovenski Filolog , 2010, DOI: 10.2298/jfi1066419r
Abstract: nema
HERPETOLOGICAL CATALOGUE OF MUSEO DEL MAR OF ARTURO PRAT UNIVERSITY, IQUIQUE, CHILE
Moreno M,Rodrigo; Moreno,Jorge; Torres-Pérez,Fernando; Ortiz,Juan C.; Breskovic,Antonio;
Gayana (Concepción) , 2001, DOI: 10.4067/S0717-65382001000200006
Abstract: the herpetological catalogue of museo del mar in arturo prat university is described. there are 100 specimens included in 29 species, 11 genera and six families
Stereoscopic Cinema  [PDF]
Frédéric Devernay,Paul Beardsley
Computer Science , 2015, DOI: 10.1007/978-3-642-12392-4
Abstract: Stereoscopic cinema has seen a surge of activity in recent years, and for the first time all of the major Hollywood studios released 3-D movies in 2009. This is happening alongside the adoption of 3-D technology for sports broadcasting, and the arrival of 3-D TVs for the home. Two previous attempts to introduce 3-D cinema in the 1950s and the 1980s failed because the contemporary technology was immature and resulted in viewer discomfort. But current technologies -- such as accurately-adjustable 3-D camera rigs with onboard computers to automatically inform a camera operator of inappropriate stereoscopic shots, digital processing for post-shooting rectification of the 3-D imagery, digital projectors for accurate positioning of the two stereo projections on the cinema screen, and polarized silver screens to reduce cross-talk between the viewers left- and right-eyes -- mean that the viewer experience is at a much higher level of quality than in the past. Even so, creation of stereoscopic cinema is an open, active research area, and there are many challenges from acquisition to post-production to automatic adaptation for different-sized display. This chapter describes the current state-of-the-art in stereoscopic cinema, and directions of future work.
Novo cinema, nova loucura?
Perrone, Claudia Maria;Engelman, Selda;
Psicologia & Sociedade , 2008, DOI: 10.1590/S0102-71822008000100011
Abstract: the objective of this text is to discuss the relationship of cinema with the production of subjectivity. at its birth, cinema pointed towards the birth of a new regime of sensibility, establishing transverse relationships among body, technology and a certain exploitation of madness, as a modulation of the production of the subject. in the contemporary it fits to question if cinema has not been a device of the institutions of itself at the time when madness and disease undid their bows.
HERPETOLOGICAL CATALOGUE OF MUSEO DEL MAR OF ARTURO PRAT UNIVERSITY, IQUIQUE, CHILE CATALOGO HERPETOLOGICO DEL MUSEO DEL MAR DE LA UNIVERSIDAD ARTURO PRAT DE IQUIQUE, CHILE
Rodrigo Moreno M,Jorge Moreno,Fernando Torres-Pérez,Juan C. Ortiz
Gayana (Concepción) , 2001,
Abstract: The Herpetological Catalogue of Museo del Mar in Arturo Prat University is described. There are 100 specimens included in 29 species, 11 genera and six families Se da a conocer el Catálogo de los Herpetozoos depositados en el Museo del Mar de la Universidad Arturo Prat de Iquique, el cual cuenta con 100 ejemplares, los que pertenecen a 29 especies agrupadas en 11 géneros y 6 familias
O Cinema no século
Arlindo Castro,José Gatti
Ilha do Desterro , 2008,
Abstract: In his elegantly written introduction to O Cinema no Século, Ismail Xavier comments on the crossroads at wich the area of film studies finds itself at the turn of the century. For those who are not familiar with the most important trends of film theory, Xavier’s text comes in handy. After all, few areas of knowledge have been as influential in the human sciences in our century as the study of cinema. In his elegantly written introduction to O Cinema no Século, Ismail Xavier comments on the crossroads at wich the area of film studies finds itself at the turn of the century. For those who are not familiar with the most important trends of film theory, Xavier’s text comes in handy. After all, few areas of knowledge have been as influential in the human sciences in our century as the study of cinema.
Action and Transnational Cinema  [cached]
Richard Smith
Cultural Studies Review , 2011,
Abstract: A review of Meaghan Morris, Siu Leung and Stephen Chan Ching-kiu (eds), Hong Kong Connections: Transnational Imagination in Action Cinema (Duke University Press, Durham and London, 2005).
Like a Carsic River: Gay Independent Cinema from Underground Films to New Queer Cinema and Beyond  [cached]
Silvia Grassi
Altre Modernità , 2009,
Abstract: Like a Carsic River: Gay Independent Cinema from Underground Films to New Queer Cinema and Beyond.
T.W. Adorno: Cinema in Spite of Itself—But Cinema all the Same  [cached]
Nicole Brenez
Cultural Studies Review , 2011,
Abstract: This article discusses T.W. Adorno's criticisms of cinema, and how he saw it in terms of cultural commodification.
TU RKI YE’DE SI NEMA SALONLARININ DI JI TAL DO NU S U MU
Hakan ERKILIC?
The Turkish Online Journal of Design, Art and Communication , 2012, DOI: 10.7456/10202100/013
Abstract: Cinema industry is changing from celluloid-based film (35mm film) production, distribution and release net to the digital production, distribution and release net. Today digital process about production phase has been completed, providing the standardization is waited. So In digital cinema distribution and release phase which seem a real problem involves suspense out of a few practice. It is underlined that right away cinema industry need to invest in digital cinema which reduces the costs to compete with innovations such as HD TV broadcasting, developing DVD market. Also, new digital technology enables film distribution, download and viewing via internet so this appeals to the audience and causes lose of audience in the movie theatres. It is asserted that with digital cinema distribution and release, costs will be lower and its positive results in the ticket prices (lower ticket price) will appeal the audience to the movie theatres again. At this point in spite of the finance ,suspense of technological standardization and inadequacy of craft, main concern is how to transform movie theatres to the digital cinema. This notice focuses on observed release aspect of digital process in Turkey cinema both in production and release field. Within this scope the question of has Turkey got a ‘policy of digital cinema’ will be answered.
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