I film therefore I am: process and participation, networks and knowledge – examples from Scottish community media projects.

This chapter examines community media projects in Scotland as social processes that nurture knowledge through participation in production. A visual and media anthropology framework (Ginsburg, 2005) with an emphasis on the social context of media production informs the analysis of community media. Drawing on community media projects in the Govan area of Glasgow and the Isle of Bute, the techniques of production foreground “the relational aspects of filmmaking” (Grimshaw and Ravetz, 2005: 7) and act as a catalyst for knowledge and networks of relations embedded in time and place. Community media is defined here as a creative social process, characterised by an approach to production that is multi-authored, collaborative and informed by the lives of participants, and which recognises the relevance of networks of relations to that practice (Caines, 2007: 2). As a networked process, community media production is recognised as existing in collaboration between a director or producer, such as myself, and organisations, institutions and participants, who are connected through a range of identities, practices and place. These relations born of the production process reflect a complex area of practice and participation that brings together “parallel and overlapping public spheres” (Meadows et al., 2002: 3). This relates to broader concerns with networks (Carpentier, Servaes and Lie, 2003; Rodríguez, 2001), both revealed during the process of production and enhanced by it, and how they can be described with reference to the knowledge practice of community media.

O uso de filme como recurso pedagógico no estudo das epidemias: possibilidades na aprendizagem significativa

Acompanha: Epidemias na escola? Só em filmes: possibilidades de contaminação na aprendizagem significativa

Subtitling Chinese cinema: a case study of Zhang Yimou’s films

In recent years, more and more Chinese films have been exported abroad. This thesis intends to explore the subtitling of Chinese cinema into English, with Zhang Yimou’s films as a case study. Zhang Yimou is arguably the most critically and internationally acclaimed Chinese filmmaker, who has experimented with a variety of genres of films. I argue that in the subtitling of his films, there is an obvious adoption of the domestication translation strategy that reduces or even omits Chinese cultural references. I try to discover what cultural categories or perspectives of China are prone to the domestication of translation and have formulated five categories: humour, politeness, dialect, history and songs and the Peking Opera. My methodology is that I compare the source Chinese dialogue lines with the existing English subtitles by providing literal translations of the source lines, and I will also give my alternative translations that tend to retain the source cultural references better. I also speculate that the domestication strategy is frequently employed by subtitlers possibly because the subtitlers assume the source cultural references are difficult for target language subtitle readers to comprehend, even if they are translated into a target language. However, subtitle readers are very likely to understand more than what the dialogue lines and the target language subtitles express, because films are multimodal entities and verbal information is not the only source of information for subtitle readers. The image and the sound are also significant sources of information for subtitle readers who are constantly involved in a dynamic film-watching experience. They are also expected to grasp visual and acoustic information. The complete omission or domestication of source cultural references might also affect their interpretation of the non-verbal cues. I also contemplate that the translation, which frequently domesticates the source culture carried out by a translator who is also a native speaker of the source language, is ‘submissive translation’.

La literatura y el cine: una historia de relaciones

La literatura y el cine se relacionan en cuatro aspectos básicos: la literatura determina, en sus orígenes, la naturaleza de los filmes, sus motivos y estrategias; la literatura y el cine son formas narrativas, por lo que comparten estructuras míticas, populares y de relato; ambos se vinculan mediante el problema de la adaptación; y el cine ejerce una influencia estética en las obras literarias y en el concepto tradicional de literatura. Este artículo examina estos vínculos desde una perspectiva conceptual e histórica.Literature and cinema are related in four main aspects: in its origins literature determines the nature of films; literature and motion pictures are narratives, and share mythical, popular and narrative structures; both are linked because of the issue of adaptation; and movies influence literary works and the traditional concept of literature. This article examines these relationships from a conceptual and historic perspective.

South Carolina Motion Picture Incentive Act : Policies and Procedures

The purpose of South Carolina motion picture incentives is to bring economic benefit to the State of South Carolina by using South Carolina as a site for film and television production, promoting the hiring of South Carolina residents as staff, cast, and crew, and promoting the purchase of supplies and services from South Carolina companies.

Robust real time multi-layer foreground segmentation

Many surveillance applications (object tracking, abandoned object detection) rely on detecting changes in a scene. Foreground segmentation is an effective way to extract the foreground from the scene, but these techniques cannot discriminate between objects that have temporarily stopped and those that are moving. We propose a series of modifications to an existing foreground segmentation system\cite{Butler2003} so that the foreground is further segmented into two or more layers. This yields an active layer of objects currently in motion and a passive layer of objects that have temporarily ceased motion which can itself be decomposed into multiple static layers. We also propose a variable threshold to cope with variable illumination, a feedback mechanism that allows an external process (i.e. surveillance system) to alter the motion detectors state, and a lighting compensation process and a shadow detector to reduce errors caused by lighting inconsistencies. The technique is demonstrated using outdoor surveillance footage, and is shown to be able to effectively deal with real world lighting conditions and overlapping objects.

Automated control of a dragline using machine vision

The research described in this paper is directed toward increasing productivity of draglines through automation. In particular, it focuses on the swing-to-dump, dump, and return-to-dig phases of the dragline operational cycle by developing a swing automation system. In typical operation the dragline boom can be in motion for up to 80% of the total cycle time. This provides considerable scope for improving cycle time through automated or partially automated boom motion control. This paper describes machine vision based sensor technology and control algorithms under development to solve the problem of continuous real time bucket location and control. Incorporation of this capability into existing dragline control systems will then enable true automation of dragline swing and dump operations.

Dynamic virtual fences for controlling cows

A virtual fence is created by applying an aversive stimulus to an animal when it approaches a predefined boundary. It is implemented by a small animal-borne computer system with a GPS receiver. This approach allows the implementation of virtual paddocks inside a normal physically-fenced paddock. Since the fence lines are virtual they can be moved by programming to meet the needs of animal or land management. This approach enables us to consider animals as agents with natural mobility that are controllable and to apply a vast body of theory in motion planning. In this paper we describe a herd-animal simulator and physical experiments conducted on a small herd of 10 animals using a Smart Collar. The Smart Collar consists of a GPS, PDA, wireless networking and a sound amplifier. We describe a motion planning algorithm that can move a virtual paddock subject to landscape constraints which is suitable for mustering cows. We present simulation results and data from experiments with 8 cows equipped with Smart Collars.

A biomechanical investigation of vertebral staples for fusionless scoliosis correction

Background: Fusionless scoliosis surgery is an early-stage treatment for idiopathic scoliosis which claims potential advantages over current fusion-based surgical procedures. Anterior vertebral stapling using a shape memory alloy staple is one such approach. Despite increasing interest in this technique, little is known about the effects on the spine following insertion, or the mechanism of action of the staple. The purpose of this study was to investigate the biomechanical consequences of staple insertion in the anterior thoracic spine, using in vitro experiments on an immature bovine model. Methods: Individual calf spine thoracic motion segments were tested in flexion, extension, lateral bending and axial rotation. Changes in motion segment rotational stiffness following staple insertion were measured on a series of 14 specimens. Strain gauges were attached to three of the staples in the series to measure forces transmitted through the staple during loading. A micro-CT scan of a single specimen was performed after loading to qualitatively examine damage to the vertebral bone caused by the staple. Findings: Small but statistically significant decreases in bending stiffness occurred in flexion,extension, lateral bending away from the staple, and axial rotation away from the staple. Each strain-gauged staple showed a baseline compressive loading following insertion which was seen to gradually decrease during testing. Post-test micro-CT showed substantial bone and growth plate damage near the staple. Interpretation: Based on our findings it is possible that growth modulation following staple insertion is due to tissue damage rather than sustained mechanical compression of the motion segment.

Examining the effects of an eco-driving message on driver distraction

This paper examines the effects of an eco-driving message on driver distraction. Two in-vehicle distracter tasks were compared with an eco-driving task and a baseline task in an advanced driving simulator. N = 22 subjects were asked to perform an eco-driving, CD changing, and a navigation task while engaged in critical manoeuvres during which they were expected to respond to a peripheral detection task (PDT) with total duration of 3.5 h. The study involved two sessions over two consecutive days. The results show that drivers’ mental workloads are significantly higher during navigation and CD changing tasks in comparison to the two other scenarios. However, eco-driving mental workload is still marginally significant (p ∼ .05) across different manoeuvres. Similarly, event detection tasks show that drivers miss significantly more events in the navigation and CD changing scenarios in comparison to both the baseline and eco-driving scenario. Analysis of the practice effect shows that drivers’ baseline scenario and navigation scenario exhibit significantly less demand on the second day. Drivers also can detect significantly more events on the second day for all scenarios. The authors conclude that even reading a simple message while driving could potentially lead to missing an important event, especially when executing critical manoeuvres. However, there is some evidence of a practice effect which suggests that future research should focus on performance with habitual rather than novel tasks. It is recommended that sending text as an eco-driving message analogous to the study circumstances should not be delivered to drivers on-line when vehicle is in motion.

Nambour : the model rural school

This paper examines the Rural Schools of Queensland. Starting with Nambour in 1917, the scheme incorporated thirty schools, and operated for over forty years. The rhetoric of the day was that boys and girls from the senior classes of primary school would be provided with elementary instruction of a practical character. In reality, the subjects taught were specifically tailored to provide farm skills to children in rural centres engaged in farming, dairying or fruit growing. Linked to each Rural School was a number of smaller surrounding schools, students from which travelled to the Rural School for special agricultural or domestic instruction. Through this action, the Queensland Department of Public Instruction left no doubt it intended to provide educational support for agrarian change and development within the state; in effect, they had set in motion the creation of a Queensland yeoman class. The Department’s intention was to arrest or reverse the trend toward urbanisation — whilst increasing agricultural productivity — through the making of a farmer born of the land and accepting of the new scientific advances in agriculture.

Establishing virtual production as a research and teaching activity at QUT

Located within the Creative Industries Faculty, the Animation team at the Queensland University of Technology (QUT) recently acquired a full-body inertial motion capture system. Our research to date has been predominantly concerned with interdisciplinary practice and the benefits this could bring to undergraduate teaching. From early experimental tests it was identified that there was a need to develop a framework for best practice and an efficient production workflow to ensure the system was being used to its full potential. Through our ongoing investigation we have identified at least three areas that stand to have long-term benefits from universities engaging in motion capture related research activity. This includes interdisciplinary collaborative research, undergraduate teaching and improved production processes. The following paper reports the early stages of our research, which explores the use of a full-body inertial motion capture (MoCap) solution in collaboration with performing artists.