1,720,956 research outputs found
Entrevista a Antxón Gómez: La huella de la dirección artística
Get PDFAntxón Gómez is a Spanish artistic director and production designer, both for advertising and film. His beginning in the advertising field dates back to 1978 and his first cinematographic collaboration was with the film Tres por cuatro (Manuel Iborra, 1982), although his definitive introduction into the medium as an artistic director occurred thanks to the Spanish film director and screenwriter, Bigas Luna, with whom he worked in Huevos de oro (1993). His love for the arts and collecting marks his projects and he has obtained recognition from the Barcelona Film Awards in 2006 for his work in Salvador (Puig Antich) (Manuel Huerga, 2006), the Goya Award for Best Artistic Direction in 2009 for Che: Part one (Steven Soderbergh, 2008) or the European Film Academy (EFA) Award, for Best Production Design for his work for Dolor y gloria (Pedro Almodóvar, 2019).Antxón Gómez es un director artístico y diseñador de producción español, tanto de publicidad, como de cine. Su comienzo en el ámbito publicitario data de 1978 y su primera colaboración cinematográfica fue con la película Tres por cuatro (Manuel Iborra, 1982), aunque su introducción definitiva en el medio como director artístico, se produjo gracias al director y guionista de cine español, Bigas Luna, con el que trabajó en Huevos de oro (1993). Su afición por las artes y el coleccionismo marcan sus proyectos y ha obtenido el reconocimiento del Barcelona Film Awards en 2006 por su trabajo en Salvador (Puig Antich) (Manuel Huerga, 2006), el Premio Goya a la Mejor dirección artística en 2009 por Che, el argentino (Steven Soderbergh, 2008) o el Premio de la Academia del Cine Europeo (EFA), al Mejor Diseño de Producción por su trabajo para Dolor y gloria (Pedro Almodóvar, 2019)
Ruth Barranco Raimundo, El proceso creativo en la dirección artística cinematográfica de Antxón Gómez: La verdad del objeto en el arte de la ficción: Resumen de tesis doctoral
No full textHabitar tras la Transición: los hogares cinematográficos de P. Almodóvar y A. Gómez
No full textEl objetivo de esta comunicación es reflexionar sobre la puesta en escena cinematográfica del
hogar, efectuada por parte del director de cine Pedro Almodóvar (1949, Calzada de Calatrava,
Ciudad Real) y el director artístico Antxón Gómez (1952, San Sebastián).
Pedro Almodóvar comienza su trayectoria cinematográfica poco antes del inicio de la
Transición con el corto inédito Film político (1974) y Antxón Gómez por su parte es un
reconocido director artístico tanto publicitario, como cinematográfico, premiado a la Mejor
Dirección Artística por Che, el argentino (Steven Soderbergh, 2008).
Tomaremos su primer trabajo cinematográfico conjunto en Carne trémula (1997) y el siguiente
Todo sobre mi madre (1999), para analizar la puesta en escena doméstica que construyen en
simbiosis creativa. El tratamiento del hogar en estas películas plasma gustos estéticos
particulares, pero también tipologías de vivienda existentes en España tras la Transición y otros
modos de habitarlas.We analyze here the representation of the home in the cinema of director Pedro Almodóvar
(1949, Calzada de Calatrava, Ciudad Real) and the production designer Antxón Gómez (1952,
San Sebastián).
Pedro Almodóvar start before the beginning of the Spanish transition (Transición) with the
unpublished short Film político (1974) and Antxón Gómez is also an acknowledged production
designer, for both advertising and the film industry, awarded for the Best Art direction for Che:
Part One (Steven Soderbergh, 2008).
We will take the first film of them forming a team, which starts in Live Flesh (1997) and the
following All about my mother (1999) to analyze the domestic staging that they construct in
creative symbiosis. The treatment of the home in these films reflects particular aesthetic tastes,
but also housing typologies existing in Spain after the Transición and other ways of inhabiting
them
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
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
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