1,720,976 research outputs found
A imobilidade movente da fotografia: em resposta a Alan Cholodenko
Get PDFEste texto contrapõe algumas considerações apresentadas por Alan Cholodenko, no ensaio Fotografia imóvel? Partindo do conceito de animação, discutido pelo autor, questiona-se até que ponto são viáveis as afirmações de que a fotografia apresenta uma anima própria, que faz com que seja animada. Percorrendo o caminho inverso ao de Cholodenko, que parte das discussões sobre cinema para discutir a fotografia, recorreu-se aos referenciais consolidados na teoria da fotografia para entender as características ontológicas e estéticas das imagens produzidas pela câmera escura. Esse percurso foi fundamental para compreender a fixidez como a principal característica da fotografia, contraponto o argumento de que as figurações fotográficas são animadas. Ao contrário do que defende Cholodenko, não é uma animação intrínseca a potência da fotografia, mas justamente a estética da fixidez, que faz com o que os corpos se animem diante do quadro estático. Essa mudança conceitual ajuda a compreender a infraestrutura da fotografia como produção humana, não reiterando o animismo da técnica, que personifica a imagem fotográfica como instância autônoma. A animação está no corpo que vê a fotografia e, diante do susto mórbido que ela provoca, pode fabular múltiplas possibilidades diante da fixidez da imagem fotográfica
Débats animés sur l’animationLa querelle Donald Crafton / Alan Cholodenko
No full textLa revue Animation : An Interdisciplinary Journal a proposé, en 2011, une réflexion sur l’animation dans le cinéma des premiers temps, prenant le parti d’adopter une approche consistant à repenser l’histoire du cinéma sous l’angle de la « série culturelle » de l’animation. La première question qui surgit de cette démarche est en l’occurrence la première dont traite ce numéro, question sans fin, constamment posée, mais qui trouve ici une nouvelle résonnance : qu’est-ce, au final, que l’animation ? Est-ce un domaine cinématographique singulier, institutionnalisé dans les années 1950 et s’accaparant rétroactivement tous les films de ses pionniers encore inconscients des implications futures de leurs œuvres ? Ou bien est-ce une technique généralisée de mise en mouvement des images?De fait, l’ouvrage commence par une querelle. Elle oppose, depuis le milieu des années 1990, Donald Crafton, auteur de l’article inaugural du volume, et Alan Cholodenko, théoricien de l’animation auteur, entre autres, de la double anthologie The Illusion of Life, et surtout de l’article « The Animation of Cinema » publié dans The Semiotic Review of Books (vol. 18.2, 2008), réponse directe à l’introduction du classique de Crafton : Before Mickey – The Animated Film, 1898-1928. Cholodenko est défenseur de l’idée consistant à affirmer que tout le cinéma est de l’animation, tandis que Crafton y voit un amalgame sémantique finalement peu convaincant, car largement décontextualisé. Le jeu sur les mots et les concepts, témoin d’une approche de théoricien du cinéma, est donc remis en question par Crafton, préférant à la démarche théorique une démarche de type historiographique. Nous souhaiterions revenir sur cette querelle, non seulement pour comprendre l’impasse à laquelle elle semble inévitablement mener, mais également – ce serait notre objectif – pour chercher à inventer des moyens de l’en dégager. Nous proposerons ainsi de prendre ce débat dans une perspective épistémologique afin de mettre en relief, non plus l’apport de l’un ou l’autre de ces deux chercheurs à la question de l’animation, mais plutôt l’apport de cette double-approche antagoniste à la compréhension de la pluralité théorique constitutive de la notion. Il s’agira ainsi de comprendre que si l’histoire des théories de l’animation se trouve compliquée par la diversité des méthodes choisies pour la conceptualiser et par les débats qui l’animent, cette diversité est également à la source de sa singularité et de son « identité » théorique qu’il conviendrait, le temps de cette réflexion, de mettre à jour dans une perspective nouvelle
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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