Determining dramatic intensification via flashing lights in movies

Movie directors and producers worldwide, in their quest to narrate a good story that warrants repeated audience viewing, use many cinematic elements to intensify and clarify the viewing experience. One such element that directors manipulate is lighting. In this paper we examine one aspect of lighting, namely flashing lights, and its role as an intensifier of dramatic effects in film. We present an algorithm for robust extraction of flashing lights and a simple mechanism to group detected flashing lights into flashing light scenes and analyze the role of these segments in story narration. In addition, we demonstrate how flashing lights detection can improve the performance of shot-based video segmentation. Experiments on a number of video sequences extracted from real movies yields good results. Our technique detects 90.4% of flashing lights. The detected flashing lights correctly eliminates 92.7% of false cuts in these sequences. In addition, data support is compiled to demonstrate the association between flashing light scenes and certain dramatic intensification events such as supernatural power, crisis or excitement.<br /

The sensory screen: phenomenology of visual perception in early European avant-garde film

At the beginning of the twentieth century, certain artists, writers, and philosophers became intrigued by the profound ways in which filmic images could pervade aspects of modern thought and experience. For them, film had the potential to reveal radical new dimensions of sensory phenomena. The early development of avant-garde film-making in Europe is culturally crucial not only for its historical and conceptual context of creative transition, but also for its dynamic exploration of processes of visual perception. The central objective of this thesis is to expose and engage these profound perceptual issues within the specific sphere of graphic abstract film. The structural formation of the thesis entails the confluencing of material for analysis into a sequence of key areas comprising the central components of avant-garde cinematic visualisation. The visual implications of each area are analysed in specific depth, whilst acknowledging their respective interactivity. Significantly, the research applies analytic theories of phenomenology in order to focus incisively upon relevant early European avant-garde filmic imagery. The potential vitality of a phenomenological theorisation of early avant-garde film resides not only within their historical contemporaneity, but at the epistemological level of the mind's cognitive engagement with the realms of creative visualisation. It is a system of analysis which aims to establish a nuanced phenomenological theory of visual perception as a matter of prime sustenance to historically crucial cinematic art forms

Continuity and change in Hollywood representations of the Middle East after September 11th

This thesis inquires into the factors behind Hollywood's depiction of the Middle East. That depiction is not static, but is modified in response to changes in political events and US government foreign policy. Although the events of 9/11 seemed to justify the traditional negative stereotype of Arabs, the image has been partially and rationally re-interpreted. This was due to the rise in prominence of the ideas of a minority of radical and free-thinking members of the Hollywood community who embraced a more intellectual approach, which advocated that the popular Western view of the Arab world was unjustified and based on a fallacious fabrication for Western political advantage. The research further shows that these activists did not owe allegiance to the Hollywood-US government propaganda machine. They were able to fracture this traditional alliance and provide the opportunity for the appearance of films of a radical nature, which were critical of US Middle Eastern policy and projected the Arab world in a new light. The study analyzes a selection of films that represent the Middle East in terms of their philosophy and cinematic structure, which enables them to act as vectors to raise public awareness of the issues and to promote reconciliation and co-existence between East and West

Technology applications

A summary of NASA Technology Utilization programs for the period of 1 December 1971 through 31 May 1972 is presented. An abbreviated description of the overall Technology Utilization Applications Program is provided as a background for the specific applications examples. Subjects discussed are in the broad headings of: (1) cancer, (2) cardiovascular disease, (2) medical instrumentation, (4) urinary system disorders, (5) rehabilitation medicine, (6) air and water pollution, (7) housing and urban construction, (8) fire safety, (9) law enforcement and criminalistics, (10) transportation, and (11) mine safety

Cinema at the Crossroads: Bruce Conner’s Atomic Sublime, 1958 - 2008

This dissertation examines the films of Kansas-born, San Francisco-based artist Bruce Conner (1933-2008) over a period of fifty years, and contextualizes these works against the backdrop of Cold War American culture, politics, and history.It offers close readings of Conner’s films and related activities, from his pioneering work with found footage, to the visionary works he shot with his own camera, as well as his involvement in psychedelic light shows and in the Bay Area counterculture. Throughout, I explore how Conner’s films, situated at the historical “crossroads” of the Cold War, negotiated the cultural politics of race, nation, gender, and sexuality during this fraught period, with particular attention to their complex, and often ambivalent, engagement with popular culture. The dissertation is loosely chronological, with each chapter focusing on a specific cross-section of Conner’s filmmaking practice. It begins with Conner’s first film, A MOVIE (1958), a densely packed montage of found footage fragments that is widely celebrated as an incisive critique of both Cold War ideology and the cinematic medium itself. A MOVIE is the first instance in which Conner used the iconic image that would reappear in his films over the following two decades: the atomic mushroom cloud. Footage of atomic explosions resurfaces in many later films, culminating with CROSSROADS (1976), an extended motion study comprised of archival footage of the Bikini Atoll underwater atomic tests. CROSSROADS supplies the title of this dissertation, as well as its central metaphor—“cinema at the crossroads”— and its primary hermeneutic, the “atomic sublime.” Throughout, I argue that Conner’s films visualize the tense oscillation between dystopian anxieties and utopian aspirations that epitomized the atomic age. These tensions, I propose, are encapsulated in the aesthetic category of the “atomic sublime,” which describes the paradoxical experience of “terrible beauty,” prompted by the visual spectacle of an atomic explosion. By providing an in-depth examination of Conner’s distinctive body of films, this study ultimately aims to expand the narrative of postwar American art to account for the pivotal roles played by both avant-garde cinema and West Coast artists in that history

Sound of Violent Images / Violence of Sound Images: Pulling apart Tom and Jerry

Violence permeates Tom and Jerry in the repetitive, physically violent gags and scenes of humiliation and mocking, yet unarguably, there is comedic value in the onscreen violence.The musical scoring of Tom and Jerry in the early William Hanna and Joseph Barbera period of production (pre-1958) by Scott Bradley played a key role in conveying the comedic impact of violent gags due to the close synchronisation of music and sound with visual action and is typified by a form of sound design characteristic of zip crash animation as described by Paul Taberham (2012), in which sound actively participates in the humour and directly influences the viewer’s interpretation of the visual action. This research investigates the sound-image relationships in Tom and Jerry through practice, by exploring how processes of decontextualisation and desynchronisation of sound and image elements of violent gags unmask the underlying violent subtext of Tom and Jerry’s slapstick comedy. This research addresses an undertheorised area in animation related to the role of sound-image synchronisation and presents new knowledge derived from the novel application of audiovisual analysis of Tom and Jerry source material and the production of audiovisual artworks. The findings of this research are discussed from a pan theoretical perspective drawing on theorisation of film sound and cognitivist approaches to film music. This investigation through practice, supports the notion that intrinsic and covert processes of sound-image synchronisation as theorised by Kevin Donnelly (2014), play a key role in the reading of slapstick violence as comedic. Therefore, this practice-based research can be viewed as a case study that demonstrates the potential of a sampling-based creative practice to enable new readings to emerge from sampled source material. Novel artefacts were created in the form of audiovisual works that embody specific knowledge of factors related to the reconfiguration of sound-image relations and their impact in altering viewers’ readings of violence contained within Tom and Jerry. Critically, differences emerged between the artworks in terms of the extent to which they unmasked underlying themes of violence and potential mediating factors are discussed related to the influence of asynchrony on comical framing, the role of the unseen voice, perceived musicality and perceptions of interiority in the audiovisual artworks. The research findings yielded new knowledge regarding a potential gender-based bias in the perception of the human voice in the animated artworks produced. This research also highlights the role of intra-animation dimensions pertaining to the use of the single frame, the use of blank spaces and the relationship of sound-image synchronisation to the notion of the acousmatic imaginary. The PhD includes a portfolio of experimental audiovisual artworks produced during the testing and experimental phases of the research on which the textual dissertation critically reflects

Skyscraping Frontiers

As a space of extremes, the skyscraper has been continually constructed as an urban frontier in American cultural productions. Like its counterpart of the American wilderness, this vertical frontier serves as a privileged site for both subversion and excessive control. Beyond common metaphoric readings, this study models the skyscraper not only as a Foucauldian heterotopia, but also as a complex network of human and nonhuman actors while retracing its development from its initial assemblage during the 19th century to its steady evolution into a smart structure from the mid-20th century onward. It takes a close look at US-American literary and filmic fictions and the ways in which they sought to make sense of this extraordinary structure throughout the 20th and early 21st centuries. More traditional poststructuralist spatial theories are connected with concepts and methods of Actor-Network Theory in a compelling account of the skyscraper’s evolution as reflected in fictional media from early 20th-century short stories via a range of action, disaster and horror films to selected city novels of the 1990s and 2000s

Postmodernism: Style and Subversion 1970-1990

‘Postmodernism’ was the final instalment of a 12-year series of V&A exhibitions exploring 20th-century design. It examined a diverse collection of creative practices in art, architecture, design, fashion, graphics, film, performance and pop music/video, which the curators, Pavitt and Adamson (V&A/RCA), identified under the common theme of ‘postmodernism’. The exhibition assessed the rise and decline of postmodern strategies in art and style cultures of the period, exploring their radical impact as well as their inextricable links with the economics and effects of late-capitalist culture. The exhibition comprised over 250 objects, including large-scale reconstructions and archive film/video footage, drawn from across Europe, Japan and the USA. It was the first exhibition to bring together this range of material and to foreground the significance of pop music and performance in the development of postmodernism. Pavitt originated and co-curated the exhibition with Adamson. They shared intellectual ownership of the project and equal responsibility for writing and editing the accompanying 320-page book (including a 40,000-word jointly written introduction), but divided research responsibilities according to geography and subject. The research was conducted over four years, with Pavitt leading on European and British material. This involved interviewing artists, designers and architects active in the period and working with collections and archives across Europe. The research led to the acquisition of c.80 objects for the V&A’s permanent collections, making it one of the most significant public collections of late-20th-century design in the world. The exhibition was critically reviewed worldwide. For the Independent, ‘bright ideas abound at the V&A’s lucid show’ (2011). It attracted 115,000 visitors at the V&A (15% over the Museum’s target) and travelled in 2012 to MART Rovereto, Italy (50,000 visitors) and Landesmuseum Zürich, Switzerland (70,000 visitors). Pavitt was invited to speak about the exhibition in the UK, USA, Poland, Portugal, Ireland and Italy (2010-12)