The Midnight express phenomenon : a historical materialist approach to the reception of the film Midnight express /

This thesis examines the Midnight Express phenomenon focusing on the film's reception by audiences in Europe, North America, and Turkey between 1978-2003. Using and enhancing the "historical materialist approach" to film reception developed by Janet Staiger, the thesis considers the historical determinants of the film's nationally and culturally differential readings in different periods and of the transformations in those readings. The thesis argues that while Midnight Express was most likely read in the late 1970s as an attempt to reaffirm American social identity by projecting Turks as an instance of the negative Other, there has been an important shift in the reception of the film in the West during the 1990s due to the changes in the discursive contexts in which the film has been circulating. One does not observe any specific reference to Turkish prisons as a part of the issue of human rights violations in Turkey in the initial reception of the film by European and American critics, whereas these issues appear to be important constituents of a particular reception of the film in the West in the present. The thesis explains this shift by pointing to the constitution of a particular discourse on human rights violations in Turkey after 1980, and especially throughout the 1990s, which has become a part of the discursive repertoires of the Western audience. Therefore, the thesis argues that today, Midnight Express functions as a more legitimate political statement about Turkey in the eyes of some Western audiences than it had been in the 1970s. On the other hand, parallel to the increasing desire of Turkey to connect itself to the West, particularly to become a member of the European Union, one observes an immense increase in the belief in and defense against the negative effects of Midnight Express on Turkey's international representation since the 1990s. The historical and current discourses that audiences, both in Turkey and abroad, bring into play suggest that these audiences engage with Midnight Express by assuming or denying not only the subject positions constructed by the film text but also certain history-specific extra-filmic subject positions produced by other social and discursive formations.

Loculus : an ontology-based information management framework for the motion picture industry

"How do you film a punch?" This question can be posed by actors, make-up artists, directors and cameramen. Though they can all ask the same question, they are not all seeking the same answer. Within a given domain, based on the roles they play, agents of the domain have different perspectives and they want the answers to their question from their perspective. In this example, an actor wants to know how to act when filming a scene involving a punch. A make-up artist is interested in how to do the make-up of the actor to show bruises that may result from the punch. Likewise, a director wants to know how to direct such a scene and a cameraman is seeking guidance on how best to film such a scene. This role-based difference in perspective is the underpinning of the Loculus framework for information management for the Motion Picture Industry. The Loculus framework exploits the perspective of agent for information extraction and classification within a given domain. The framework uses the positioning of the agent’s role within the domain ontology and its relatedness to other concepts in the ontology to determine the perspective of the agent. Domain ontology had to be developed for the motion picture industry as the domain lacked one. A rule-based relatedness score was developed to calculate the relative relatedness of concepts with the ontology, which were then used in the Loculus system for information exploitation and classification. The evaluation undertaken to date have yielded promising results and have indicated that exploiting perspective can lead to novel methods of information extraction and classifications.

Report regarding investigation directed to be made by the President in his Executive order of November 27, 1933, approving the Code of fair competition for the motion picture industry.

Mode of access: Internet.

Motion picture agreement.

Mode of access: Internet.

Motion picture projection and sound pictures.

"12th edition."--Dust jacket.

Transactions of the Society of Motion Picture Engineers.

Mode of access: Internet.

Motion picture.

1911-Dec. 1954 as v. 1-v. 90, no. 5; Jan. 1955- as v. 44- (no. 529- ).

Chicago public schools, catalogue of 16mm. sound and silent motion picture films and stereopticon slides ... 1942-1943

Mode of access: Internet.

Sound equipment, motion picture projection, public address systems,

"This new book constitutes the sixth edition of Motion picture projection, the second edition of Public address systems and the second edtion of Questions and answers on sound projection."--p. [1]

Cyclopedia of motion-picture work : a general reference work on the optical lantern, motion head, specific projecting machines, talking pictures, color motography, fixed camera photography, motography, photo-plays, motion-picture theater, management and operation, audience, program, etc /

Cinematography.

Motion picture classic.

Volume numbering irregular: Sept. 1915-Feb. 1922 called v. 1-13; Mar. 1922-May 1923 called v. 9-11, no. 3; June 1923-A7ug. 1931 called v. 17-33.

Organizational maintenance manual : projection set, motion picture, sound AS-7A.

"30 August 1962."

Operator's manual : projection set, motion picture, sound AS-7A.

"27 August 1962."

Operator's manual : projection set, motion picture, sound AS-2(1).

"7 June 1960."