Ghost/Machine: cinema in a digital age

Cinema, with its passive cinematic apparatus and linear narrative is often characterised as a contrast to new media narrative strategies, yet from Vertov’s Man with a Movie Camera to Mike Figgis’ TimeCode and Wong Kar Wei’s 2046 cinema provides narrative strategies and spatial conceptualisations which prefigure or are contiguous with new media environments. Both our perception of what cyberspace constitutes and the technology that actualises those perceptions arise out of and are driven by fantasy and desire. This paper will explore the metaphors used to represent and understand new media aesthetics through cinematic representations of new media environments. Two key themes relevant to new media aesthetics emerge. Irigaray, Haraway, and Grosz are used to explore the de-essentialising haptic and penetrative potential of new technologies and their ability to collapse the boundary between the body and the machine. The second fantasy, of new media as a liminal space that expresses the memorialising function of technology and its relation to mourning, is analysed using Benjamin, Burgin and Rutsky. These altered spaces and perceptions of the body and memory of the post-cinematic subject are illustrated through an analysis of Gondry’s Eternal Sunshine of the Spotless Mind and Jonze’s Being John Malkovich. [From the Author]

The redemption of the gaze: the crisis of observation in the "fin de siècle" and the advent of cinema

The intention of this article is not to affirm, but rather to question wether it is possible to speak of a loss of the ability to gaze in the context of the nineteenth century and especially in the context of the fin de siècle, in the bosom of the epistemological crisis that beset the Turn of the Century. And very especially, this article tries to question about the impact this crisis had, perhaps, in the birth of cinema. Is in this context that arises the work of Marey and the advent of the cinematograph of the Lumière brothers in the fin de siècle Europe, both of them showing a deep faith in a mechanical apparatus that would allow the redemption of a battered gaze. And it seems to be a dream that continues over time through the tradition of shooting the everyday life.

Alterações palpebrais após a idade de 50 anos

OBJETIVO: Avaliar quantitativamente as mudanças da posição palpebral e as medidas da fenda palpebral de indivíduos acima dos 50 anos. MÉTODOS: Estudo observacional, tendo sido avaliados 325 indivíduos, com idade acima de 50 anos, segundo distância intercantal, largura e altura da fenda palpebral, ângulo palpebral externo e interno, distância entre o reflexo pupilar e a margem da pálpebra superior (distância reflexo-margem) e a área total da fenda palpebral. Utilizou-se filmadora Sony Lithium para obtenção das imagens digitais, com o indivíduo fixando um objeto a 1 metro de distância, sendo as imagens transferidas posteriormente para computador McIntosh G4 e processadas pelo programa NIH 1.58. Os dados foram submetidos à análise estatística. RESULTADOS: Os participantes apresentavam dermatocálase (96,5%), ptose do supercílio (60,8%), prolapso de gordura orbital (50,0%) ou ptose palpebral (39,1%). As alterações foram bilaterais em 68,8% dos indivíduos. A distância intercantal aumentou com a idade; a largura da fenda palpebral, a distância reflexo-margem e a medida do ângulo externo diminuíram nos mais idosos. As diferenças foram mais significativas quando os olhos foram estudados separadamente. CONCLUSÃO: A distância intercantal aumenta, ao passo que a largura da fenda palpebral, a distância reflexo-margem e a área total da fenda palpebral diminuem com o aumento da idade.

Palpebral dimensions in Brazilian children: Assessment based on digital images

Purpose: To determine palpebral dimensions and development in Brazilian children using digital images. Methods: An observational study was performed measuring eyelid angles, palpebral fissure area and interpupillary distance in 220 children aged from 4 to 72 months. Digital images were obtained with a Sony Lithium movie camera (Sony DCR-TRV110, Brazil) in frontal view from awake children in primary ocular position; the object of observation was located at pupil height. The images were saved to tape, transferred to a Macintosh G4 (Apple Computer Inc., USA) computer and processed using NIH 1.58 software (NTIS, 5285 Port Royal Rd., Springfield, VA 22161, USA). Data were submitted to statistical analysis. Results: All parameters studied increased with age. The outer palpebral angle was greater than the inner, and palpebral fissure and angles showed greater changes between 4 and 5 months old and at around 24 to 36 months. Conclusion: There are significant variations in palpebral dimensions in children under 72 months old, especially around 24 to 36 months. Copyright © 2006 Informa Healthcare.

Determinação da velocidade de um objeto, a partir de uma seqüência de imagens, aplicando as equações de colinearidade modificadas

Pós-graduação em Ciências Cartográficas - FCT

Vídeo-documentação: realidade, técnica, poética

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

As relações no processo de montagem cinematográfica entre os filmes Um homem com uma câmera e Koyaanisqatsi

Pós-graduação em Comunicação - FAAC

Avaliação do processo de infiltração da água em solo residual de Biotita-gnaisse para superfícies com diferentes declividades utilizando lisímetros

Pós-graduação em Engenharia Civil e Ambiental - FEB

Santo Antônio e a vaca, um verdadeiro cinema caipira em Araraquara.

O texto analisa o filme Santo Antonio e a vaca, realizado no ano de 1958, na cidade de Araraquara. Nesse filme pioneiro, procura-se criar um cinema com narrativa e estética caipiras, mas para subverter a moderna e tecnológica linguagem cinematográfica. Santo Antônio e a Vaca resgata um tema típico das comunidades rurais, a chamadan narrativa moral na forma do “causo”, e o apresenta com acanhadas tomadas de câmera, sem a exploração dos recursos especialmente cinematográficos. O tema e a forma do filme foram adotados por seu idealizador e diretor, Wallace Leal, como uma forma de reação à demolição do teatro da cidade para ceder lugar à construção que abrigaria a prefeitura de Araraquara. À época em que o teatro foi demolido, Wallace Leal dirigia uma trupe teatral, que apresentava com certo sucesso o espetáculo que inspiraria e daria nome à fita.

Constant shear along a boundary of a flume

'I'he accurate rreasurement of bed shear stress has been extremely difficult due to its changing values until white propunded a theory which would give constant shear along the bed of a flume. In this investigation a flume has been designed according to White's theory and by two separate methods proven to give constant shearing force along the bed. The first method applied the Hydrogen Bubble Technique to obtain accurate values of velocity thus allowing the velocity profile to be plotted and the momentum at the various test sections to be calculated. The use of a 16 mm Beaulieu movie camera allowed the exact velocity profiles created by the hydrogen bubbles to be recorded whilst an analysing projector gave the means of calculating the exact velocities at the various test sections. Simultaneously Preston's technique of measuring skin friction using Pitot tubes was applied. Twc banks of open ended water manometer were used for recording the static and velocity head pressure drop along the flume. This tvpe of manometer eliminated air locks in the tubes and was found to be sufficiently accurate. Readings of pressure and velocity were taken for various types and diameters of bed material both natural sands and glass spheres and the results tabulated. Graphs of particle Reynolds Number against bed shear stress were plotted and gave a linear relationship which dropped off at high values of Reynolds number. It was found that bed movement occurred instantaneously along the bed of the flume once critical velocity had been reached. On completion of this test a roof curve inappropriate to the bed material was used and then the test repeated. The bed shearing stress was now no longer constant and yet bed movement started instantaneously along the bed of the flume, showing that there are more parameters than critical shear stress to bed movement. It is concluded from the two separate methods applied that the bed shear stress is constant along the bed of the flume.

Elizabeth Marsh and Richard Pabon in the Perry Home

This photo shows a film crew in a house with a partial image of Betty Perry leaning in the doorway. Charles Perry donated his papers of his time as president of the university to the FIU library where they are held in the archives. An interview, filmed by Richard Pabon and Elizabeth Marsh from FIU’s Broadcast Video Production team, recorded this event.

La vérité polyphonique : la problématisation théorique et pratique de la dichotomie entre fiction et documentaire, précédé du film YT Remix

La création cinématographique de l’étudiante qui accompagne ce mémoire sous la forme d’un DVD est disponible à la Médiathèque de la Bibliothèque des lettres et sciences humaines sous le titre : YT Remix (documentaire) ; Sonorisation d'un extrait de L'homme à la caméra (D. Vertov).(https://umontreal.on.worldcat.org/oclc/957316713)

La vérité polyphonique : la problématisation théorique et pratique de la dichotomie entre fiction et documentaire, précédé du film YT Remix

La création cinématographique de l’étudiante qui accompagne ce mémoire sous la forme d’un DVD est disponible à la Médiathèque de la Bibliothèque des lettres et sciences humaines sous le titre : YT Remix (documentaire) ; Sonorisation d'un extrait de L'homme à la caméra (D. Vertov).(http://atrium.umontreal.ca/notice/UM-ALEPH002370775)

Conference report: Lights, Camera, Action : Spotlight on Tourism in the New Millennium. 31st Annual Travel and Tourism Research Association Conference.

The 31st TTRA conference was held in California’s San Fernando Valley, home of Hollywood and Burbank’s movie and television studios. The twin themes of Hollywood and the new Millennium promised and delivered “something old, yet something new”. The meeting offered a historical summary, not only of the year in review but also of many features of travel research since the first literature in the field appeared in the 1970s. Also, the millennium theme set the scene for some stimulating and forward thinking discussions. The Hollywood location offered an opportunity to ponder on the value of the movie-induced tourism for Los Angeles, at a time when Hollywood Boulevard was in the midst of a much needed redevelopment programme. Hollywood Chamber of Commerce speaker Oscar Arslanian acknowledged that the face of the famous district had become tired, and that its ability to continue to attract visitors in the future lay in redeveloping its past heritage. In line with the Hollywood theme a feature of the conference was a series of six special sessions with “Stars of Travel Research”. These sessions featured: Clare Gunn, Stanley Plog, Charles Gouldner, John Hunt, Brent Ritchie, Geoffrey Crouch, Peter Williams, Douglas Frechtling, Turgut Var, Robert Christie-Mill, and John Crotts. Delegates were indeed privileged to hear from many of the pioneers of tourism research. Clare Gunn, Charles Goeldner, Turgut Var and Stanley Plog, for example, traced the history of different aspects of the tourism literature, and in line with the millennium theme, offered some thought provoking discussion on the future challenges facing tourism. These included; the commodotisation of airlines and destinations, airport and traffic congestion, environment sustainability responsibility and the looming burst of the baby-boomer bubble. Included in the conference proceedings are four papers presented by five of the “Stars”. Brent Ritchie and Geoffrey Crouch discuss the critical success factors for destinations, Clare Gunn shares his concerns about tourism being a smokestack industry, Doug Frechtling provides forecasts of outbound travel from 20 countries, and Charles Gouldner, who has attended all 31 TTRA conferences, reflects on the changes that have taken place in tourism research over 35 years...