3,940 research outputs found
Author Peter FitzSimons speaking at the National Library of Australia, Canberra, 13 November 2012 /
No full textTitle from acquisitions documentation.; Part of the collection: Portraits of author Peter FitzSimons speaking at the National Library of Australia, Canberra, 13 November 2012.; Acquired in digital format; access copy available online.; Mode of access: Online.; Photographed by a staff member of the National Library of Australia
Dr. Craig Kinsley – Faculty Author Interview
No full textDr. Craig Kinsley, Professor of Psychology and co-author of Clinical Neuroscience, discusses this unique textbook that integrates neurobiological mechanisms of general health into the coverage of mental disorders. By using this resource, instructors can easily integrate principles of neuroscience into clinical, developmental, behavioral, cognitive, and social psychology. The second edition of Clinical Neuroscience will be published in early 2010
The Hobbit: The Desolation of Smaug - A New Era of Realism?
No full textPeter Jackson’s Hobbit trilogy is a familiar blockbuster franchise, adapting a well-known piece of literature and designed to appeal to global audiences. This trilogy, however, is also experimental, as the premium release of each film utilised higher frame rate (HFR) technologies together with computer generated imaging (CGI) and 3D in ways that were intended to extent the apparatus of cinema itself. These technological processes are part of a long line of developments aimed at creating a more compelling cinematic experience (Michelle, Davis, Hight, and Hardy, 2015). 3D film is thought to be the culmination of technological advances in film as the format’s ‘implicit mission was to conquer the entire sensorial complex, to represent reality in its totality’ (Asselin and Gosselin, 2013, p.132). Thus, this thesis focuses on the reception of global audiences to the technological aspects of the second film of The Hobbit franchise, The Desolation of Smaug (2013), focusing on whether 3D HFR quantifiably alters viewers’ viewing experience in terms of improving perceptions of realism and immersion. The research draws from a mixture of qualitative and quantitative methods, including an online survey of 650 respondents across multiple countries and 39 Skype and email follow-up interviews. The responses to and interpretations of a self-selected audience formed the basis of understanding whether these technological advancements have created a more perceptually realistic and immersive cinematic experience.
The findings from this research indicate that these new technologies were a challenge to many of the expectations of Hobbit viewers. Despite general approval of the nature of these technologies and their possibilities for enhancing the aesthetic experience of cinema, key segments of the audience were clearly disenchanted with these innovations, especially in comparison with their experience of Jackson’s earlier Lord of the Rings trilogy (2001-2003) and other CGI-based and 3D cinema. Respondents outlined problems in the interplay between the different imaging techniques, which generated jarring visual artefacts. They critiqued scenes where the filmmakers failed to seamlessly meld the technologies effectively, and many reported being frustrated at interruptions to their efforts to immerse themselves in the film’s narrative. Furthermore, my findings suggest that ultimately, the 3D HFR technologies and the aesthetic presented were subsidiary issues to the narrative surrounding the Middle-earth world that emotionally resonates with the majority of respondents. This does not mean that these interviewees found 3D HFR technology to have clashed with the narrative, but that the film ultimately stood as a return to their Middle-earth world. These 3 responses are consistent with those noted by Michelle et al. (2015), who found that existing fan communities of Tolkien and the Lord of the Rings trilogy had complex reactions to the use of 3D HFR technologies and their impact on The Hobbit films. These findings suggest a mixed future for similar efforts to advance cinematic aesthetics through new technologies
Professor Peter Singer speaking at the National Press Club Canberra, 11 February 2009 [picture] /
No full textTitle devised by cataloguer based on information from acquisitions documentation.; Part of the collection: Humanitarian author Professor Peter Singer at the National Press Club, Canberra, 11 February 2009.; Acquired in digital format; access copy available online.; Mode of access: Internet via World Wide Web.; Photographed by a staff member of the National Library of Australia, 2009
A necessary fiction: The ritualisation of stakeholder practices in New Zealand cinema
No full textThis thesis argues that stability of the concept ‘national cinema’ is located in the discursive positioning of individual films in such a way that they are connected to a national ‘common ground’, one which is ritually accessed via engagement with media such as cinema. This positioning, however, is not quantifiable and may not be identified as arising from any particular production practice, dimension of popularity, theme, style, characteristic of production personnel, and so on. By synthesising the work of several theorists and applying this synthesis to a selection of films, a framework of ideas (around the ritualised ‘flagging’ of the national via the expression of stakeholder interests) is applied to cinema in New Zealand. In particular, an ideoscape is ultimately mapped as a result of applying this framework of ideas. The normative assumptions of national cinema are examined in this way and found to be lacking despite the weight that the term ‘national cinema’ continues to have
The cultivation of (difficult) surfaces or “I know that’s a tree”
No full textTo coincide with the exhibition Real Painting at the Castlefield Gallery in Manchester Craig Staff, author of After Modernist Painting: The History of a Contemporary Practice (2013), offered his response to the exhibition, considering it in relation to painting’s histories, theories and philosophies. From connections with the Renaissance and modernism, he will venture towards the means by which we might begin to think about, if not understand the works that make up Real Painting
Bringing Hidden Organizations Out of the Shadows: Introduction to the Special Issue
No full textThis introduction to the special issue describes hidden organizations, offers several reasons for the lack of research on these collectives, and explains how this collection of articles helps move us forward in efforts to empirically study hidden organizations. After providing background information on the history of this special issue, the five articles published here are described in terms of the type of collective examined, the theories and methods used, and the key research questions addressed. Three observations about the published pieces are made: being hidden requires communicative effort; hiddenness is usefully understood in terms of identity management; and any discussion of hidden organizations raises ethical considerations. The piece closes with acknowledgements and a call for continued conceptual/theoretical and empirical research into hidden organizations.This is an introduction to a special issue on Hidden Organizations edited by the author. Published online before print: July 19, 2015
First person - Craig Keenan
No full textABSTRACT
First Person is a series of interviews with the first authors of a selection of papers published in Disease Models & Mechanisms, helping early-career researchers promote themselves alongside their papers. Craig Keenan is first author on ‘Post-traumatic osteoarthritis development is not modified by postnatal chondrocyte deletion of Ccn2’, published in DMM. Craig conducted the research described in this article while a postdoctoral research associate in Dr Blandine Poulet's lab at the University of Liverpool, Liverpool, UK. He is now a lecturer in vertebrate physiology in the lab of Dr Jason Kirby at Liverpool John Moores University, Liverpool, UK, investigating the roles of cartilage and bone in the pathogenesis of degenerative joint disease.</jats:p
Lee Durkee in Conversation with Tin House Publisher Craig Popelars
No full textIn this session, hosted by Square Books, Lee Durkee, author of The Last Taxi Driver, talks about writing, driving a cab, UFOs, Bigfoot, and Shakespeare with Tin House publisher Craig Popelars
Whittier House donor letter and list from Frederick P. Craig
No full textWhittier House scrapbooks document Whittier House programs, events, and anniversary celebrations through newspaper clippings, lecture fliers, newsletters, event programs, and ticket stubs. Newspaper clippings are primarily from the Jersey Journal. There is also Whittier House fundraising materials, including pamphlets, appeal letters, brochures, and postcards. The Whittier House Social Settlement, the first settlement house in New Jersey, was established in Jersey City, N.J. (Hudson County) in 1894. Founded by Cornelia Foster Bradford, who would remain with the organization as headworker until 1926, Whittier House was based on the settlement house, Toynbee Hall, in England. Whittier House provided various recreational and educational programs, along with much needed social services, for the immigrant populations of Jersey City. Many of these successful services were used as models for large-scale social reform movements through the state. In 1935, the Whittier House was taken over by the Boys' Club of Jersey City
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