Review of Jinhee Choi, The South Korean Film Renaissance: Local Hitmakers, Global Provocateurs

In this review of Jinhee Choi’s monograph The South Korean Film Renaissance: Local Hitmakers, Global Provocateurs, I argue that Choi provides an insightful and original contribution to the growing ?eld of Korean ?lm studies. By examining some of the domestic ?lm trends that have never received sustained academic attention in the English language, Choi represents the true diversity of contemporary South Korean cinema and the issues it raises around notions of national cinema and globalisation.

Early Cinema and Oklahoma

This article provides the first history of early cinema in the territory and (from 1907) US state of Oklahoma. It covers the origins and proliferation of fiction and nonfiction filmmaking, paying particular attention to the various films produced at the 101 Ranch and the Pawnee Bill Ranch. It also covers the beginnings of newsreel footage in the state. The article also delves into the issues of film exhibition in Oklahoma, ranging from the earliest film screenings to the nickelodeon era, and also provides a history of efforts towards censorship in the pre-1915 era.

From Beijing with love: The global dimension of Bertolucci’s The Last Emperor

Famous for being the first foreign feature film that obtained permission to shoot in the Forbidden City, The Last Emperor (1987) is also one of the most ambitious and expensive independent productions of its time, awarded four Golden Globes and nine Academy Awards, including Best Picture. In addition, The Last Emperor can be considered as one of the first attempts of cinematic collaboration between West and East, in a period of cultural and economic transformations witnessed by China. This article aims to offer an overview of the production history of The Last Emperor, focusing on the co-production collaborations and the outcomes of a western auteur’s gaze on Chinese history. Questions of Orientalism, travel narrative and critical reception are taken into account in order to engage with the transnational implications of Bertolucci’s film and the western fascination with China.

Retro, faux-vintage, and anachronism: When cinema looks back at Its Analogue Past

This article explores the definition of ‘vintage cinema’ and specifically re-evaluates the fetishism for the past and its regurgitation in the present by providing a taxonomy of the phenomenon in recent film production. Our contribution identifies three aesthetic categories: the faux-vintage, the retro and the anachronistic and by illustrating their overlapping and discrepancies, it argues that the past remains a powerful negotiator of meaning for the present and the future. Drawing on studies of memory and digital nostalgia, this article focuses on the latter category: anachronism and unravel the persistence of and the filmic fascination for obsolete analogue objects through an analysis of Only Lovers Left Alive (Jim Jarmusch, 2013).

Auditory cueing in Parkinson's patients with freezing of gait. What matters most: action-relevance or cue-continuity?

Gait disturbances are a common feature of Parkinson’s disease, one of the most severe being freezing of gait. Sensory cueing is a common method used to facilitate stepping in people with Parkinson’s. Recent work has shown that, compared to walking to a metronome, Parkinson’s patients without freezing of gait (nFOG) showed reduced gait variability when imitating recorded sounds of footsteps made on gravel. However, it is not known if these benefits are realised through the continuity of the acoustic information or the action-relevance. Furthermore, no study has examined if these benefits extend to PD with freezing of gait. We prepared four different auditory cues (varying in action-relevance and acoustic continuity) and asked 19 Parkinson’s patients (10 nFOG, 9 with freezing of gait (FOG)) to step in place to each cue. Results showed a superiority of action-relevant cues (regardless of cue-continuity) for inducing reductions in Step coefficient of variation (CV). Acoustic continuity was associated with a significant reduction in Swing CV. Neither cue-continuity nor action-relevance was independently sufficient to increase the time spent stepping before freezing. However, combining both attributes in the same cue did yield significant improvements. This study demonstrates the potential of using action-sounds as sensory cues for Parkinson’s patients with freezing of gait. We suggest that the improvements shown might be considered audio-motor ‘priming’ (i.e., listening to the sounds of footsteps will engage sensorimotor circuitry relevant to the production of that same action, thus effectively bypassing the defective basal ganglia).

Sound Seam

A moving image work based on research with neurologists and audiologists, collectors and archivists. The film gives voice to the idea that every surface, in particular parts of our anatomy, is potentially inscribed with an unheard sound or echoes of voices from the past. The soundtrack’s musical composition is interlaced with a voice-over which draws on Rainer Maria Rilke’s text 'Primal Sound', where he reflects on the possibility of playing the coronal suture of a skull with a phonograph needle. The film uses microscopic photography, scanning electron microscopy, and sounds of otoacoustic emissions to uncover haunting aural bonescapes. The voiceovers too are recorded using old sound technology as a filter - writing and over-writing of wax cylinder to create unexpected scratches, glitches, loops and echoes. Exhibitions: shown as multi-channel sound/film installation AV festival (Newcastle 2010); solo exhibition at Wellcome Collection (London 2010-11); group exhibition ‘Samsung Art+ Prize’ BFI Southbank (London 2012); group exhibition ‘Transcendence’, Gertrude Contemporary, Melbourne (2014); solo exhibition as part of the International Rotterdam Film Festival (2013); group exhibition ‘The Sight of Sound’, Deutsche Bank VIP Lounge, Frieze Art Fair, NY (2012). Screenings: mini-retrospective at the Lincoln Centre, NY, as part of the New York Film Festival (2013); Jarman Award Tour screenings (2012, venues included Whitechapel Gallery, London; FACT, Liverpool; CCA, Glasgow; The Northern Charter in partnership with CIRCA projects; Nottingham Contemporary, Nottingham; Watershed, Bristol; Duke of York Cinema, Brighton), Whitechapel Gallery, London; FACT, Liverpool; CCA, Glasgow; The Northern Charter in partnership with CIRCA projects, Newcastle (special Q&A Aura Satz with Rebecca Shatwell, director of AV festival); Nottingham Contemporary, Nottingham; Watershed, Bristol; Duke of York Cinema, Brighton; Mini-retrospective at Tate Britain (London 2014); Mini-retrospective screening, DIM Cinema, The Cinematheque (Vancouver 2015); Mini-retrospective at Whitechapel Gallery (London 2016). Publications: ‘Sound Seam’ booklet with contributions by Steven Connor and Tom McCarthy (2010).

Molecular mechanisms controlling synaptic recruitment of GluA4 subunit-containing AMPAreceptors

Synaptic recruitment of AMPA receptors (AMPARs) represents a key postsynaptic mechanism driving functional development and maturation of glutamatergic synapses. At immature hippocampal synapses, PKA-driven synaptic insertion of GluA4 is the predominant mechanism for synaptic reinforcement. However, the physiological significance and molecular determinants of this developmentally restricted form of plasticity are not known. Here we show that PKA activation leads to insertion of GluA4 to synaptic sites with initially weak or silent AMPAR-mediated transmission. This effect depends on a novel mechanism involving the extreme C-terminal end of GluA4, which interacts with the membrane proximal region of the C-terminal domain to control GluA4 trafficking. In the absence of GluA4, strengthening of AMPAR-mediated transmission during postnatal development was significantly delayed. These data suggest that the GluA4-mediated activation of silent synapses is a critical mechanism facilitating the functional maturation of glutamatergic circuitry during the critical period of experience-dependent fine-tuning.

Cinema na primeira pessoa: auto-representação e auto reflexividade no documentário contemporâneo: trabalho de projecto

Trabalho de Projeto submetido à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Desenvolvimento do Projeto Cinematográfico - especialização em Dramaturgia e Realização.

Quantifying consistency of Event Related Potentials across subjects based on single-trial topographic analysis

Introduction: Non-invasive brain imaging techniques often contrast experimental conditions across a cohort of participants, obfuscating distinctions in individual performance and brain mechanisms that are better characterised by the inter-trial variability. To overcome such limitations, we developed topographic analysis methods for single-trial EEG data [1]. So far this was typically based on time-frequency analysis of single-electrode data or single independent components. The method's efficacy is demonstrated for event-related responses to environmental sounds, hitherto studied at an average event-related potential (ERP) level. Methods: Nine healthy subjects participated to the experiment. Auditory meaningful sounds of common objects were used for a target detection task [2]. On each block, subjects were asked to discriminate target sounds, which were living or man-made auditory objects. Continuous 64-channel EEG was acquired during the task. Two datasets were considered for each subject including single-trial of the two conditions, living and man-made. The analysis comprised two steps. In the first part, a mixture of Gaussians analysis [3] provided representative topographies for each subject. In the second step, conditional probabilities for each Gaussian provided statistical inference on the structure of these topographies across trials, time, and experimental conditions. Similar analysis was conducted at group-level. Results: Results show that the occurrence of each map is structured in time and consistent across trials both at the single-subject and at group level. Conducting separate analyses of ERPs at single-subject and group levels, we could quantify the consistency of identified topographies and their time course of activation within and across participants as well as experimental conditions. A general agreement was found with previous analysis at average ERP level. Conclusions: This novel approach to single-trial analysis promises to have impact on several domains. In clinical research, it gives the possibility to statistically evaluate single-subject data, an essential tool for analysing patients with specific deficits and impairments and their deviation from normative standards. In cognitive neuroscience, it provides a novel tool for understanding behaviour and brain activity interdependencies at both single-subject and at group levels. In basic neurophysiology, it provides a new representation of ERPs and promises to cast light on the mechanisms of its generation and inter-individual variability.

Book Review: Pirate Cinema

Book Review of 'Pirate Cinema' written by Cory Doctorow.

Le traitement de l’espace dans Badlands et Days of Heaven, de Terrence Malick

Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio‐visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Création sonore et cinéma contemporain : la pensée et la pratique du mixage

Notre thèse décrit et analyse les conditions esthétiques, matérielles et idéelles qui rendent possibles les agencements sonores du cinéma contemporain. Au cours des 30 dernières années, le raffinement des outils de manipulation du son, l’importance grandissante du concepteur sonore et le nouvel espace de cohabitation des sons (favorisé par le Dolby et la diffusion multicanal) sont des facteurs qui ont transformé la création et l’écoute du son au cinéma. Ces transformations révèlent un nouveau paradigme : le mixage s’est graduellement imposé comme le geste perceptif et créateur qui rend compte de la sensibilité contemporaine. Notre thèse explore les effets de la pensée du mixage (qui procède par résonance, simultanéité, dosage et modulation) sur notre écoute et notre compréhension de l'expérience cinématographique. À l'aide de paroles de concepteurs sonores (Murch, Beaugrand, Thom, Allard…), de textes théoriques sur le son filmique (Cardinal, Chion, Campan), de documentaires sur des musiciens improvisateurs (Lussier, Glennie, Frith), de films de fiction à la dimension sonore affirmée (Denis, Van Sant), de textes philosophiques sur la perception (Leibniz, James, Straus, Szendy…), d'analyses du dispositif sonore cinématographique, notre thèse rend audibles des tensions, des récurrences, de nouveaux agencements, des problèmes actuels et inactuels qui forgent et orientent l'écoute du théoricien, du créateur et de l'auditeur. En interrogeant la dimension sonore de la perception, de l’action, de l’espace et de la pensée, cette thèse a pour objectif de modifier la façon dont on écoute, crée et pense le son au cinéma.

The monstrous archive. Aesthetics of decay and horror in found footage films

Ce texte a été présenté à la table ronde « Contested Footage: Snuff, Disease, the Avant-Garde, and the Archive » lors du congrès annuel de la PCA/ACA (Popular Culture Association/American Culture Association) qui se tenait à la Nouvelle-Orléans, du 1er au 4 avril 2015. La participation à ce congrès s’inscrivait dans le cadre du projet de recherche « Archives et création : nouvelles perspectives sur l’archivistique » sous la direction d’Yvon Lemay. Ce projet est financée par le Conseil de recherches en sciences humaines du Canada (CRSH) dans le cadre du programme Savoir (2013-2016).

El cinema com a recurs i matèria d'estudi: l'experiència de Drac Màgic

La tesi titulada "El cinema com a recurs i matèria d'estudi: l'experiència de Drac Màgic", consta de quatre parts clarament diferenciades, però complementàries entre si, que responen a la voluntat d'orientar la introducció del cinema en l'àmbit de l'educació. L'objectiu fonamental de la primera part de la tesi és el de crear un marc teòric en el que conflueixin les recerques i les opinions de diversos autors, provinents del camp de la comunicació o bé especialistes en l'àmbit de l'educació, que s'han interrogat, des de la seva particular parcel·la d'estudi, sobre aspectes relacionats amb la presència dels mitjans de comunicació, en general, o bé sobre la incidència del cinema, en particular, en la nostra societat i en les persones. Les qüestions més bàsiques que constitueixen, segons el meu parer, els principals dubtes que ha de dissipar un educador que està interessat en la possibilitat d'introduir el cinema en la seva pràctica educativa i que són les següents: què és el cinema, per què introduir el cinema, quin cinema introduir i com introduir el cinema. La segona part de la tesi està dedicada íntegrament a l'estudi de l'experiència d'una cooperativa de Barcelona, anomenada Drac Màgic, que des de fa vint-i-cinc anys treballa en l'aplicació del cinema en l'àmbit de l'educació formal i en la formació permanent del professorat. L'anàlisi d'aquesta proposta, ens permet concretar amb un exemple pràctic, que és molt proper a la nostra realitat immediata, es aspectes teòrics que hem presentat en la primera part de la tesi. Per altra banda, l'estudi d'aquesta experiència pretén ser un punt de referència a l'hora de realitzar la proposta pràctica d'integració del cinema en els plantejaments educatius, que realitzem a la quarta part de la tesi. En la tercera part de la tesi, hem investigat en el marc legal que configura les possibilitat i els límits que se'ls hi plantegen als professors que estan interessats en introduir els mitjans de comunicació, en general, i el cinema, en particular, en les seves pràctiques educatives. Així, doncs, per conèixer el nivell de compromís que les institucions públiques adopten per potenciar la introducció dels mitjans de comunicació en general, i del cinema, en particular, a les escoles, hem investigat en el marc legal que regula actualment el funcionament dels centres escolars i que es coneix amb el nom de Reforma educativa i també hem volgut conèixer els principals objectius i les activitats que desenvolupen dues iniciatives institucionals El Programa de Noves Tecnologies de la Informació i de la Comunicació del Ministeri d'Educació i Ciència espanyol i el Programa de Mitjans Audiovisuals del Departament d'Ensenyament de la Generalitat de Catalunya. En la quarta part de la tesi, hem dissenyat una proposta pràctica per introduir el cinema a les escoles del nostres país, que s'ha concretat en l'elaboració d'un crèdit variable sobre cinema destinat als alumnes que cursen l'Educació Secundària Obligatòria.