1,720,958 research outputs found
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
El doc-fic feminista: Explorando al cine -testigo del tiempo- y sus (re)presentaciones
No full textThis article explores the possible intersections between feminist film theories and the geopolitically produced cinema from Latin America. Taking cinema as an object of study, as a discourse, and also as a set of institutions surrounding the production, exhibition and distribution of films. Also the potential of feminist film theory is taken in consideration because allow us both new ways of analysis and new perspectives in order to keep us sensitive and be able to see what often goes unnoticed and what is taken for granted in sexist cinema (Kuhn 1991).En este texto se exploran los posibles entrecruzamientos entre las teorías fílmicas feministas y el cine geopolíticamente producido desde Latinoamérica. Para ello, se toma como objeto de estudio al cine comprendiéndolo como discurso y también como el conjunto de instituciones que rodean a la producción, la exhibición y distribución de películas. Asimismo, se tiene en consideración la potencialidad de la teoría fílmica feminista a la hora de ofrecer herramientas para un análisis, una perspectiva con la cual contemplar una película, capaz de mantenernos sensibles a lo que a menudo pasa inadvertido, a lo que se toma por supuesto en el cine sexista (Kuhn 1991)
Memórias de mulheres: O legado cinematográfico do Novo Cinema Latino-Americano em Treinta y Dos (Ana Mohaded, 2012) e Con Nombre de Flor (Carina Sama, 2019).
No full textLatin American cinema has been characterized by addressing the social exclusion produced by the absence of the state and neoliberal policies, by highlighting in its narratives the violence and helplessness affecting subjects marginalized by institutions.
The Condor Plan, whose antecedents take place in the 1964 coup d\u27état in Brazil, spread throughout Latin America, as a campaign of repression and state terrorism coordinated by military dictatorships from which official policies of extermination, torture, forced and massive disappearance of people were planned and carried out.
Two films are analyzed, Treinta y dos (Ana Mohaded, 2012) and Con nombre de flor (Carina Sama, 2019), which stage the struggle of resistance, both during the years of the Argentinean civic-military coup and in the previous years, taking into account the strengthening of a wave of negationist discourses in Latin America and also in the world. El cine latinoamericano se ha caracterizado por abordar la exclusión social producida por las ausencias estatales y las políticas neoliberales, al evidenciar en sus narrativas la violencia y el desamparo que afecta a sujetos marginados por las instituciones.
El Plan Condor, cuyos antecedentes tienen lugar en el golpe de estado de 1964 en Brasil, se extiende por America Latina, como una campaña de represión y terrorismo de estado coordinado por las dictaduras militares a partir de las cuales se planificaron y llevaron a cabo politicas oficiales de exterminio, tortura, desaparición forzada y masiva de personas.
Se analizan dos films, Treinta y dos (Ana Mohaded, 2012) y Con nombre de flor (Carina Sama, 2019), que ponen en escena las lucha de resistencia, tanto durante los años del golpe cívico militar argentino como en los años previos, teniendo en cuenta el fortalecimiento de una ola de discursos negacionistas en Latinoamérica y también en el mundo.Le cinéma latino-américain s\u27est caractérisé par son approche de l\u27exclusion sociale produite par les absences de l\u27État et les politiques néolibérales, en soulignant dans ses récits la violence et l\u27impuissance qui affectent les sujets marginalisés par les institutions. Le Plan Condor, dont les antécédents remontent au coup d\u27État de 1964 au Brésil, s\u27est répandu dans toute l\u27Amérique latine, sous la forme d\u27une campagne de répression et de terrorisme d\u27État coordonnée par des dictatures militaires, à partir de laquelle des politiques officielles d\u27extermination, de torture, de disparition forcée et massive de personnes ont été planifiées et mises en œuvre. Deux films sont analysés, Treinta y dos (Ana Mohaded, 2012) et Con nombre de flor (Carina Sama, 2019), qui mettent en scène la lutte de résistance, à la fois pendant les années du coup d\u27État civico-militaire argentin et dans les années qui l\u27ont précédé, en tenant compte du renforcement d\u27une vague de discours négationnistes en Amérique latine et dans le monde.O cinema latino-americano caracterizou-se por abordar a exclusão social produzida pelas ausências do Estado e pelas políticas neoliberais, destacando em suas narrativas a violência e o desamparo que afetam os sujeitos marginalizados pelas instituições.
O Plano Condor, cujos antecedentes remontam ao golpe de Estado de 1964 no Brasil, espalhou-se por toda a América Latina, como uma campanha de repressão e terrorismo de Estado coordenada por ditaduras militares, a partir da qual foram planejadas e executadas políticas oficiais de extermínio, tortura, desaparecimento forçado e em massa de pessoas.
São analisados dois filmes, Treinta y dos (ANA MOHADED, 2012) e Con nombre de flor (CARINA SAMA, 2019), que encenam a luta de resistência, tanto durante os anos do golpe cívico-militar argentino quanto nos anos anteriores a ele, considerando o fortalecimento de uma corrente de discursos negacionistas na América Latina e também no mundo
Cinema em hipermediatismo: O fenômeno Emilia Pérez
No full textThe article examines how the starsystem stages the film Emilia Pérez, directed by Jacques Audiard (2024), a modern tragedy presented in the form of a musical. The film, starring Hollywood figures such as Selena Gómez and Zoe Saldaña, tells the story of a lawyer who assists a Mexican drug lord in his decision to undergo a sex-gender transformation. The numerous criticisms unleashed by Latin American audiences on social media –many of them focused on the actresses’ way of speaking and the caricature-like treatment of drug trafficking and its related crimes– placed the film at the center of media discussion. Within this framework, the article focuses on the filmic portrait –a face that also includes a voice– as an articulating node between the starsystem, the actresses’ biographies, and a hypermediated reception. It argues that the rise of streaming platforms, social media, and interactive content turns cinema into a transmedia phenomenon, one traversed by debates, interviews, interactive advertising, reaction videos, cameos, memes, and other forms of contemporary discursivity.El artículo examina cómo el starsystem pone en escena la película Emilia Pérez, de Jacques Audiard (2024), una tragedia moderna con forma de musical. El film, protagonizado por figuras de Hollywood como Selena Gómez y Zoe Saldaña, relata la historia de una abogada que asiste a un narcotraficante mexicano en su decisión de realizar una transformación sexo-genérica. Las numerosas críticas desatadas por parte de la audiencia latinoamericana en redes sociales –centradas, en muchos casos, en el modo de hablar de las actrices y el tratamiento caricaturesco del narcotráfico y los crímenes asociados a él– colocó la película en el centro de la discusión mediática. En ese marco, el artículo centra su atención en el retrato fílmico –un rostro que incluye una voz– como nodo articulador entre starsystem, biografía de las intérpretes y recepción hipermediatizada. Al entender que el auge del streaming, las redes sociales y los contenidos interactivos convierten el cine en un fenómeno transmedia; atravesado por debates, entrevistas, publicidades interactivas, videos-reacción, cameos, memes y otras formas de discursividades contemporáneas.O artigo examina como o starsystem encena o filme Emilia Pérez, de Jacques Audiard (2024), uma tragédia moderna apresentada em forma de musical. O longa, protagonizado por figuras de Hollywood como Selena Gómez e Zoe Saldaña, narra a história de uma advogada que auxilia um narcotraficante mexicano em sua decisão de realizar uma transformação sexo-gênero. As numerosas críticas desencadeadas pelo público latino-americano nas redes sociais – centradas, em muitos casos, na maneira de falar das atrizes e no tratamento caricatural do narcotráfico e dos crimes a ele associados– colocaram o filme no centro da discussão midiática. Nesse contexto, o artigo concentra sua atenção no retrato fílmico –um rosto que também inclui uma voz– como um nó articulador entre o starsystem, a biografia das intérpretes e a recepção hipermediatizada. Parte-se do entendimento de que o crescimento do streaming, das redes sociais e dos conteúdos interativos transforma o cinema em um fenômeno transmídia, atravessado por debates, entrevistas, publicidades interativas, vídeos de reação, cameos, memes e outras formas de discursividades contemporâneas
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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