81 resultados para Minorities in motion pictures

em Consorci de Serveis Universitaris de Catalunya (CSUC), Spain


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A novel technique for estimating the rank of the trajectory matrix in the local subspace affinity (LSA) motion segmentation framework is presented. This new rank estimation is based on the relationship between the estimated rank of the trajectory matrix and the affinity matrix built with LSA. The result is an enhanced model selection technique for trajectory matrix rank estimation by which it is possible to automate LSA, without requiring any a priori knowledge, and to improve the final segmentation

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Observers are often required to adjust actions with objects that change their speed. However, no evidence for a direct sense of acceleration has been found so far. Instead, observers seem to detect changes in velocity within a temporal window when confronted with motion in the frontal plane (2D motion). Furthermore, recent studies suggest that motion-in-depth is detected by tracking changes of position in depth. Therefore, in order to sense acceleration in depth a kind of second-order computation would have to be carried out by the visual system. In two experiments, we show that observers misperceive acceleration of head-on approaches at least within the ranges we used [600-800 ms] resulting in an overestimation of arrival time. Regardless of the viewing condition (only monocular or monocular and binocular), the response pattern conformed to a constant velocity strategy. However, when binocular information was available, overestimation was highly reduced.

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Les pel·lícules i sèries de ficció més vistes a Espanya durant el 2008 en clau de gènere.

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Albert Lewin, conocido director de cine de Hollywood influenciado por el movimiento surrealista, une el mito de Pandora con la leyenda del Holandés errante para crear una historia de amor ejemplar, una historia de amor loco que va más allá de los límites de la racionalidad. Y, como que para creer en este tipo de amor no es la razón stricto sensu la que nos ha de guiar, construye un mundo de signos, un mundo semiológico complejo que este artículo ayuda a descifrar.

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Albert Lewin, conegut director de cinema de Hollywood influenciat pel moviment surrealista, conjumina el mite de Pandora amb la llegenda de l'Holandès errant per crear una història d¿amor exemplar, una història d¿amor foll que va més enllà del límits de la racionalitat. I, com que per creure en aquest tipus d'amor no es la raó stricto sensu la que ens ha de guiar, basteix tot un món de signes, un món semiològic complex que aquest article ajuda a desxifrar.

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Albert Lewin, a well-known Hollywood cinema director who is significantly influenced by the surrealistic movement, brings together the myth f Pandora and the legend of the flying Dutchman in order to create an exemplary love story, a crazy love story which goes beyond the limits of human reason. Bearing in mind, then, that if one wants to believe in this sort of love story must not be guided by human reason stricto sensu, he builds a world of signs, a semiologic world which this article aims at helping to interpret.

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Podeu consultar el document complet de la "XVI Setmana de Cinema Formatiu" a: http://hdl.handle.net/2445/22523

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Podeu consultar el document complet de la "XVI Setmana de Cinema Formatiu" a: http://hdl.handle.net/2445/22523

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Podeu consultar el document complet de la "XVI Setmana de Cinema Formatiu" a: http://hdl.handle.net/2445/22523

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Podeu consultar el document complet de la "XVI Setmana de Cinema Formatiu" a: http://hdl.handle.net/2445/22523

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Podeu consultar el document complet de la "XVI Setmana de Cinema Formatiu" a: http://hdl.handle.net/2445/22523

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Podeu consultar el document complet de la "XVI Setmana de Cinema Formatiu" a: http://hdl.handle.net/2445/22523

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Podeu consultar el document complet de la "XVI Setmana de Cinema Formatiu" a: http://hdl.handle.net/2445/22523

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Aquest treball estudia els personatges femenins de la filmografia de Yasujiro Ozu durant el període d'ocupació nord-americana a l'estat japonès (1945-1953).

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Podeu consultar el document complet de la "XVI Setmana de Cinema Formatiu" a: http://hdl.handle.net/2445/22523