The artist biopic: a historical analysis of narrative cinema, 1934-2010

The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies. These examples can then be used as models for exploring similar sets of data from other countries and time periods. The specific topics chosen for discussion include the representation of a single painter, for example, Vincent Van Gogh, to see how the treatment of an artist varies across several countries and over seventy years. British artist biopics are analysed as a case study in relation to the idea of them posing as a national stereotype. Topics within sex and gender studies are highlighted in analysis of the representation of the female artist and the queer artist as well as artists who have lived together as couples. A number of well-known gallery artists have become directors of artist biopics and their films are considered to see what particular insights a professional working artist can bring to the portrayal of artistic genius and creation. In the concluding part of the thesis it is argued that the artist biopic overall has survived the bad press which some individual productions have received and can even be said to have matured under the influence of directors producing a quality product for the art house, festival and avant-garde distribution circuits. As a genre it has proved extremely adaptable and has reflected the changing attitudes towards art and artists within the wider community. It has both encouraged renewed interest in the work of established national artists and also raised the profile of those relatively obscure such as Séraphine de Senlis and Pirosmani.

A new bulk-driven input stage design for sub 1-volt CMOS op-amps

This paper presents a new design approach for a rail-to-rail bulk-driven input stage using a standard single-well (n-well in this paper) CMOS technology. This input stage can provide nearly constant transconductance and constant slew rate over the entire input common-mode voltage, operating with a wide supply voltage ranging from sub 1-volt (V/sub T0/+ 3V/sub DSsat/) to the maximum allowed for the CMOS process, as well as preventing latch-up.

A Novel Sub-Nyquist Fourier Transform Estimator Based on Alias-free Hybrid Stratified Sampling

This paper introduces a novel method of estimating theFourier transform of deterministic continuous-time signals from a finite number N of their nonuniformly spaced measurements. These samples, located at a mixture of deterministic and random time instants, are collected at sub-Nyquist rates since no constraints are imposed on either the bandwidth or the spectral support of the processed signal. It is shown that the proposed estimation approach converges uniformly for all frequencies at the rate N^−5 or faster. This implies that it significantly outperforms its alias-free-sampling-based predecessors, namely stratified and antithetical stratified estimates, which are shown to uniformly convergence at a rate of N^−1. Simulations are presented to demonstrate the superior performance and low complexity of the introduced technique.