Historical Film and the Assassination of President Lincoln: The Prisoner of Shark Island (1936) and The Lincoln Conspiracy (1977)

Indiana University-Purdue University (IUPUI

Connecting the Dots: Leveraging Social Network Analysis to Understand and Optimize Collaborative Dynamics Within the Global Film Production Network

In recent years, the global film industry has observed a notable surge in international cooperation and cross-border investments. However, a comprehensive overview of these collaborative investments within the industry is lacking. This study employs social network analysis to delve into the possibilities that lie in collaborative efforts and joint investments within the film sector. The research constructs a network of 150 countries based on shared creative elements in their film productions, comprising over 7800 interconnected links. Employing measures of centrality, certain pivotal nations such as the United States, China, and England emerge as influential nodes, showcasing a strong potential to steer industry growth through collaborative engagement. Through a more detailed exploration involving community identification, distinct clusters centered around thematic commonalities that have converged through joint creative endeavors become evident. For example, the "Global Thrill Seekers" community focuses on action films, whereas the "Cultural-Social Cinema Group" addresses worldwide cultural and social issues. Each of these communities presents distinctive perspectives for international cooperation and the collaborative creation of content. This analysis significantly enhances our understanding of the global film network's structure and dynamics, while concurrently highlighting promising pathways for future investment and collaborative initiatives. The research underscores the critical role of leveraging social network analysis methodologies to optimize informed decision-making concerning collaborative investments, thereby paving the way for anticipatory outcomes. This study not only contributes insights but also serves as a model for investigating data-centric participation within the creative industries

Non-fungible tokens (NFTS) and their security challenges

The Non-Fungible Token (NFT) market has been exploding in the past years. The notion of NFT originated with Ethereum's token standard, which aimed to differentiate each token using distinguishing signals. Tokens of this type can be associated with virtual or digital properties to serve as unique identifiers. Using NFTs Non-Fungible Token (NFT) is a new technology gaining traction in the Blockchain industry. In this article, we examine state-of the art NFT systems that have the potential to reshape the market for digital virtual assets. We will assess the security of existing NFT systems and expand on the opportunities and prospective uses for the NFT idea. Finally, we discuss existing research challenges that must be overcome before mass-market penetration may occur. We hope that this paper provides an up-to-date analysis and summary of existing and proposed solutions and projects, making it easier for newcomers to stay current.Fonksuz Belirteç (NFT) pazarı son yıllarda patlama yapıyor. NFT'nin nosyonu Ethereum'un belirteç standardıyla ortaya çıkmıştır ve bu durum, her belirteci ayırt edici sinyaller kullanarak ayırt etmeyi amaçlamaktadır. Bu tipteki belirteçler, benzersiz tanımlayıcılar olarak hizmet vermek için sanal veya dijital özelliklerle ilişkilendirilebilir. NFTS Non-Fungible Token (NFT) kullanmak, Blockchain endüstrisinde yeni bir teknoloji kazanıyor. Bu makalede, dijital sanal varlıklar için pazarı yeniden şekillendirme potansiyeline sahip son teknoloji ürünü NFT sistemlerini inceliyoruz. Mevcut NFT sistemlerinin güvenliğini değerlendirecek ve NFT fikri için fırsatları ve olası kullanımları genişleteceğiz. Son olarak, kitle pazara giriş gerçekleşmeden önce aşılması gereken mevcut araştırma zorluklarını ele alıyoruz. Bu incelemede, mevcut ve önerilen çözüm ve projelerin güncel bir analizi ve özeti sağlanarak, yeni gelenlerin güncel kalmasını kolaylaştırılmasını umuyoruz.No sponso

The Wooster Voice (Wooster, OH), 1993-11-19

In this edition of the Voice, Thomas R. Martin, the Jeremiah O’Connor professor in Classics at the College of the Holy Cross lectures on the topics of “Slaves, Police, and Counterfeiting in Classical Athens.” In the “Speak Your Mind” section, students respond to the question “do you think drinking is a problem on this campus?” An article discusses the sex habits of Wooster students. The Flying Karamazov Brothers perform on campus. A full page advertisement for the Greenwood Trust Company encompasses page seven. Additionally, the 8-9th page has the Men’s Basketball roster from the 1993-94 academic year. Page fourteen has a full page advertisement for Kmart. Athletic updates for the past week are highlighted on pages fifteen and sixteen.https://openworks.wooster.edu/voice1991-2000/1077/thumbnail.jp

The Wooster Voice (Wooster, OH), 1993-11-19

In this edition of the Voice, Thomas R. Martin, the Jeremiah O’Connor professor in Classics at the College of the Holy Cross lectures on the topics of “Slaves, Police, and Counterfeiting in Classical Athens.” In the “Speak Your Mind” section, students respond to the question “do you think drinking is a problem on this campus?” An article discusses the sex habits of Wooster students. The Flying Karamazov Brothers perform on campus. A full page advertisement for the Greenwood Trust Company encompasses page seven. Additionally, the 8-9th page has the Men’s Basketball roster from the 1993-94 academic year. Page fourteen has a full page advertisement for Kmart. Athletic updates for the past week are highlighted on pages fifteen and sixteen.https://openworks.wooster.edu/voice1991-2000/1077/thumbnail.jp

The Beatles on Film: Analysis of Movies, Documentaries, Spoofs and Cartoons

This book provides the production history and a contextual interpretation of The Beatles' movies (A Hard Day's Night, Help!, Yellow Submarine, Let It Be) and describes their ability to project the group's image at different stages in their career. It also includes a discussion of all of The Beatles' promotional films and videos, as well as their television cartoon series and the self-produced television special Magical Mystery Tour. Along with The Beatles' feature movies and promos, this analysis also contains documentaries, such as The Compleat Beatles and Anthology, as well as dramatizations of the band's history, such as Backbeat, The Hours and Times, and Two of Us

American Audiences on Movies and Moviegoing

A unique perspective on half a century of American cinema—from the audience’s point of view. Tom Stempel goes beyond the comments of professional reviewers, concentrating on the opinions of ordinary people. He traces shifting trends in genre and taste, examining and questioning the power films have in American society. Stempel blends audience response with his own observations and analyzes box office results that identify the movies people actually went to see, not just those praised by the critics. Avoiding statistical summary, he presents the results of a survey on movies and moviegoing in the respondents’ own words—words that surprise, amuse, and irritate. The moviegoers respond: “Big bad plane, big bad motorcycle, and big bad Kelly McGillis.”—On Top Gun “All I can recall were the slave girls and the Golden Calf sequence and how it got me excited. My parents must have been very pleased with my enthusiasm for the Bible.”—On why a seven-year-old boy stayed up to watch The Ten Commandments “I learned the fine art of seduction by watching Faye Dunaway smolder.”—A woman’s reaction to seeing Bonnie and Clyde “At age fifteen Jesus said he would be back, he just didn’t say what he would look like.”—On E.T. “A moronic, very ‘Hollywoody’ script, and a bunch of dancing teddy bears.”—On Return of the Jedi “I couldn’t help but think how Mad magazine would lampoon this.—On The Exorcist A refreshing antidote to dry statistical summary, Stempel’s entertaining tome offers a different perspective on a half-century of American cinema. —American Cinematographer A highly charming and provocative study of audiences. —American Studies Deflates ‘artistic’ opinions about directors by using box-office grosses and audience response as a measuring rod. —Choice A sprawling look at the last fifty years of American movies and how audiences responded to them. —Cineaste Does something that most academically oriented cinema-related books don’t: he gets in touch with the magic of the movies. —Creative Screenwriting Obligatory reading for serious film goers and film makers alike. Written with charm and style, this book gives the audience perspective on movies as no other book has done. Insightful. —David Brown A fascinating glimpse into history. —Express Books In drawing our attention back to the audience, he has rendered a service by reminding us that a reciprocal relationship exists between the filmmaker and audience. All too often we tend to ignore the latter. —Film & History The results reflect the ideas of anyone who has ever sat down with an overpriced combo of popcorn and soda: some movies are great, others are stinkers, and when it comes right down to it, the opinions of professional critics don’t amount to a hill of beans. —ForeWord A great idea for a book. —Lexington Herald-Leader In this book, ordinary people talk back to the screen, describing early movie-going memories, family nights at the drive in, growing up with movies in the early days of television, and loving and hating movies in the 1960s. Other topics include the always popular subject of sex in the cinema . . . and the our changing response to movies as we age. . . . . Lively, divergent reactions to classics and box-office hits are also included. —Library Journal Stempel draws upon his considerable expertise to examine the complex relationship between the audience and the movies. . . . Very highly recommended and unique reading for students of film history and American popular culture. —Midwest Book Review Gives voice to the audience. —Plushttps://uknowledge.uky.edu/upk_film_and_media_studies/1006/thumbnail.jp

"People don't die like in Rambo": representations of violence in Band of Brothers

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Inglês: Estudos Linguísticos e Literários, Florianópolis, 2015.Abstract : The subject of the present study consists of an analysis of the implications of graphic violence in the HBO miniseries Band of Brothers (Spielberg and Hanks prods. 2001), more specifically whether violence can be regarded as adding layers of meaning to the narrative or as only emphasizing the technological innovations in re-creating the rough battlefield environment. In ten episodes, Band of Brothers depicts the hardships of Easy Company, a group of paratroopers during the Second World War, as they struggle to survive until the end of the war. The theme of brotherhood permeates the miniseries and becomes a significant feature in the violent sequences. The scene analysis will focus on instances of extreme body damage and mutilation in the episodes as notions of cinematography and mise-en-scene from David Bordwell and Kristin Thompson are applied. The reverberation of the violent act will be analyzed in relation to the episodic narrative and the miniseries as a whole, by taking into consideration Seymour Chatman's notion of kernel and satellite scenes. The intertwined relationship of violent images and narrative flow of Band of Brothers will demonstrate that by focusing on the physical and emotional reverberations caused by violence, instead of highlighting shock value, the miniseries offers the opportunity of reflection upon human behavior and fragility during ruthless times.O tema do presente estudo consiste na análise das implicações da violência gráfica na minissérie da HBO Band of Brothers (Spielberg e Hanks prods. 2001), mais especificamente se a violência pode adicionar camadas de significado a narrativa ou se apenas enfatiza as inovações tecnológicas na re-criação do ambiente hostil do campo de batalha. Em dez episódios, Band of Brothers retrata as dificuldades da Easy Company, um grupo de paraquedistas durante a Segunda Guerra Mundial, enquanto eles lutam pela sobrevivência até o término da guerra. O tema de companheirismo permeia a minissérie e torna-se uma característica significante durante as sequências violentas. A análise de cena irá concentrar-se nos momentos de extremo dano e mutilação corporal dos soldados, aplicando as noções de cinematografia e mise-en-scene de David Bordwell and Kristin Thompson. A reverberação do ato violento será analisado em relação a estrutura da narrativa do episódio e da minissérie em geral, levando em consideração os conceitos de Seymour Chatman sobre cenas kernel e satellite. A relação intrínseca das imagens violentas e a narrativa de Band of Brothers demonstrará que ao focar nas consequências físicas e emocionais causadas pela violência, ao invés de salientar o efeito de choque, a minissérie oferece uma oportunidade de reflexão sobre o comportamento humano e a fragilidade da vida durante momentos cruéis