Ijé: the journey

Chioma, a child growing up in the Nigerian countryside, warned her restless sister, Anya, about the trappings of the American Dream. In "Ijé: The Journey" movie, ten years later, Anya is accused of killing 3 men in a Hollywood Hills mansion - one of them her record-producer husband. Chioma travels from Nigeria to Los Angeles, and with the help of a young attorney, discovers that the dark secret her sister wants to keep hidden might be the only thing that can win her freedom.

Calcários de Salselas

No âmbito da disciplina de Biologia/Geologia, dois alunos da Escola Secundária Abade de Baçal realizaram um trabalho de pesquisa que consistiu em reunir informação, elaborar e apresentar na aula um trabalho relacionado com um geossítio de um Geoparque português. Foi escolhido o geossítio “Calcários de Salselas” que faz parte do Geopark Terras de Cavaleiros. Foi efetuada uma pesquisa bibliográfica e recolhida informação audiovisual durante uma visita ao local. Tudo isto permitiu elaborar um trabalho em vídeo recorrendo ao programa de edição de vídeo “Movie Maker” e à aplicação “Google Earth”.

Urwesen - Studentisches Medienprojekt zur Internationalen REKLIM Konferenz in Kooperation mit der DEKRA-Hochschule Berlin, Links zum Dokumentarfilm in unterschiedlichen Auflösungen

Ein Stück Schlamm. Grau, leblos, kalt. Feine Linien ziehen sich hindurch und ein Faden verläuft in einer Zickzack-Linie über die Oberfläche. Es ist eine Sedimentprobe aus dem Pazifischen Ozean, die Stück für Stück ihre Geheimnisse preisgibt. Dr. Lars Max analysiert Sedimentkerne am Alfred-Wegener-Institut und erzählt von der Geschichte unserer Erde und unseres Klimas. Was können wir aus der "grauen" Vergangenheit lernen?

3D models created from ROV videos and their corresponding subtransect dimensions

Underwater video transects have become a common tool for quantitative analysis of the seafloor. However a major difficulty remains in the accurate determination of the area surveyed as underwater navigation can be unreliable and image scaling does not always compensate for distortions due to perspective and topography. Depending on the camera set-up and available instruments, different methods of surface measurement are applied, which make it difficult to compare data obtained by different vehicles. 3-D modelling of the seafloor based on 2-D video data and a reference scale can be used to compute subtransect dimensions. Focussing on the length of the subtransect, the data obtained from 3-D models created with the software PhotoModeler Scanner are compared with those determined from underwater acoustic positioning (ultra short baseline, USBL) and bottom tracking (Doppler velocity log, DVL). 3-D model building and scaling was successfully conducted on all three tested set-ups and the distortion of the reference scales due to substrate roughness was identified as the main source of imprecision. Acoustic positioning was generally inaccurate and bottom tracking unreliable on rough terrain. Subtransect lengths assessed with PhotoModeler were on average 20% longer than those derived from acoustic positioning due to the higher spatial resolution and the inclusion of slope. On a high relief wall bottom tracking and 3-D modelling yielded similar results. At present, 3-D modelling is the most powerful, albeit the most time-consuming, method for accurate determination of video subtransect dimensions.

Physical models of dilatant normal faulting in jointed cohesive rocks

Dilatant faults often form in rocks containing pre-existing joints, but the effects of joints on fault segment linkage and fracture connectivity is not well understood. We present an analogue modeling study using cohesive powder with pre-formed joint sets in the upper layer, varying the angle between joints and a rigid basement fault. We analyze interpreted map-view photographs at maximum displacement for damage zone width, number of connected joints, number of secondary fractures, degree of segmentation and area fraction of massively dilatant fractures. Particle imaging velocimetry helps provide insights on deformation history of the experiments and illustrate the localization pattern of fault segments. Results show that with increasing angle between joint-set and basement-fault strike the number of secondary fractures and the number of connected joints increases, while the area fraction of massively dilatant fractures shows only a minor increase. Models without pre-existing joints show far lower area fractions of massively dilatant fractures while forming distinctly more secondary fractures.

Motion picture.

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

Photoplay.

Mode of access: Internet.

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.

Men and books and cities,

An indictment or foreword.--I stage my first death scene.--Meredith Nicholson and a camel.--The soul and the trap-drummer.--Why Shakespeare's audience didn't walk out on him.--Booth Tarkington discusses the cosmos.--Riley and a colored barber.--Boyhood of the hero.--Miltonic angels, not Herrick blossoms.--The author goes wool gathering.--The effeminacy of pajamas.--A farewell from William Marion Reedy.--Mrs. Joyce Kilmar at Walnut Hills.--E.V. Lucas fools Chicago.--Maternity and climate.--To San Francisco: a new Walking-stick paper.--A pal of Jack London.--I become a movie "director"

Clio may be seen and listened. Movies as source and resource on history

El cine como fuente historiográfica es utilizado a partir de la "batalla" que dio Marc Ferro hacia el interior de Annales. Cuando era difícil que se aceptaran otras fuentes que no fueran las gráficas, este historiador logró abrirse camino hasta llegar a ser el director de Annales en los años '70. El discurso de la imagen o el discurso audiovisual representa con mayor verosimilitud lo que el discurso gráfico no alcanza a expresar. Sin embargo, la sinécdoque y la generalización se encuentran a mitad de camino en un juego representativo para complementarse a la hora de comprender y reconstruir el pasado. El aporte del cine puede tomarse como reflejo o representación social y también como una alternativa discursiva. En este sentido, Rosenstone con el apoyo de Hayden White y su análisis de la "historiofotía" son los que incursionan en esta nueva dimensión, esto es la narración audiovisual de la historia