1,721,146 research outputs found
Stupendous, Miserable City: Pasolini\u27s Rome, \u3cem\u3eby John David Rhodes\u3c/em\u3e
No full textStupendous, Miserable City: Pasolini’s Rome. John David Rhodes. Minneapolis: University of Minnesota Press, 2007. 240 pages. 20.00 (paper
The Prop and its Properties
No full textThe prop names a category of ubiquity: props are everywhere in cinema. The term, short for property, is defined by the Oxford English Dictionary as ‘any portable object (now usually other than an article of costume) used in a play, film, etc., as required by the action’. The straightforwardness of this definition, however, belies the strangeness of the prop. The prop begs questions of scale, ambience, contingency, commodification, objecthood, and narration. In the context of narrative cinema, props seem as necessary as actors, sets, and locations. Regarding cinema through the lens of the prop — which is the lens of property — helps us to see how an ontological instrumentality courses through the very nature of the cinematic medium. This talk, which will veer from theory to history to questions of close reading, emerges from Rhodes’s recent book on domestic architecture and cinema, Spectacle of Property: The House in American Film (2017). It will show how foregrounding cinema’s prop-ness summons into view some of the medium’s most curious and most unsettling features. John David Rhodes is the author and editor of six books, including Spectacle of Property: The House in American Film (2017), Stupendous, Miserable City: Pasolini’s Rome (2007), and Taking Place: Location and the Moving Image (2011). He is the Director of the Centre for Film and Screen at the University of Cambridge where he is Reader in Film Studies and Visual Culture. He is a fellow of Corpus Christi College and a founding editor of the journal World Picture.
Adrift in Pasolini’s Rome:Excursions into The Cinema of Poetry
No full textPasolini and Crane both refer to practices of melding different styles and traditions in order to produce fresh and unusual aesthetic experiences. The discussion focused on the importance of physical locations and the specificity of geography in their work. Place was a heuristic for Pasolini’s practice and politics as it is for Cathy Lee Crane. The conversation also engaged with Pasolini’s concept of ‘Cinema of Poetry’ and the stylistic freedom and intensity that it proposes. It grounded the viewing of Crane’s film Pasolini’s Last Words on 26 September 2014 in the Pasolini retrospective at the Cinema Arsenal in the context of the Pasolini Roma exhibit at the Martin-Gropius-Bau. Cathy Lee Crane has been making hybrid films on 16mm since 1994. Her first feature Pasolini’s Last Words (2012) was supported by a grant from the New York State Council on the Arts in 2010 and a 2009 New York Foundation for the Arts Fellowship in Film, and premiered at Festival du Nouveau Cinema in Montreal as a ‘gem of world cinema’. She received the prestigious Guggenheim Fellowship in 2013 for her lyrical re-combinations of archival and staged material. Currently she is associate professor in the Department of Cinema, Photography, and Media Arts at Ithaca College. John David Rhodes is a university lecturer in film studies in the Department of Italian, University of Cambridge. His research focuses on cinema’s engagement with other aesthetic forms and on the mutual implication of theory and material history. He is he author of Stupendous, Miserable City: Pasolini’s Rome (2007) where he places the city of Rome at the center of this in-depth examination of the work of Pasolini. Manuele Gragnolati (Oxford University/ICI Berlin) is professor of Italian at Oxford University and Fellow of Somerville College. His latest book is entitled Amor che move. Linguaggio del corpo e formal del desiderio in Dante, Pasolini e Morante (2013). He is the associate director of the ICI Berlin
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe 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
Full text link“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
Full text linkWe 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
Full text linkWe 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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