359,994 research outputs found
Camera machine. Leo Marks, Michael Powell and Peeping Tom
No full textCamera / Machine is built on an audio interview with ‘Peeping Tom’ [1960] scriptwriter Leo Marks. In the interview Marks discusses Michael Powell and their working relationship before, during and after 1960’s ‘Peeping Tom’. Mark’s interview was candid, at times salacious, and at times funny but what really interested me was his discussion of the working relationship between writer and director.
The exploration of this relationship is at the heart of the film and provides a platform for academic investigation into the collaborative process between the film’s director and its scriptwriter. Marks is candid about his influence on the final version of the film, stating that Powell ‘didn’t object to an author putting in the shots as the author saw them…’ This assertion openly problematises the traditional accepted authority of the director as visual storyteller and when juxtaposed with Marks reputation for paranoia and his suspicion that his words might be used inappropriately or out of context, presents Marks as a questionable and possibly unreliable narrator. Using both archive and footage shoot specifically for the project, the film challenges traditional spectator expectations through its structure, its audio/visual composition and its editing strategy. Through the nature of the original audio recording, the use of an unexplained note taking ‘tape operative’ and a considered and abstracted image, viewers are encouraged to ‘lean into’ the film to fully grasp the significance and implications of Mark’s words and the insights offered through the connections presented. The film is designed to ask for active participation through a pro-active engagement with the material articulating the significance of the writer/director dichotomy and the reliability or not of a paranoid narrator
Well-known trade mark protection: confusion in EU and Japan
No full textIn this thesis concerning the protection of well-known trade marks against confusion in the European Community Trade Mark (CTM) and Japanese trademark systems, the author critically considers the difficulties in comprehensively defining ‘well-known trade mark’ in the relevant international trade mark instruments. After critical analysis of various definitions of both ‘trade mark’ and ‘well-known trade mark’, she undertakes a comparison of the definitions of the parallel concepts of ‘trade mark of repute’ and ‘syuchi-syohyo’, and also undertakes an assessment as to the extent to which these trade marks are protected against confusion and kondo in the CTM and Japanese systems, respectively. It is concluded that the protection of well- known trade marks against confusion in the CTM and Japan cannot be said to be completely clear, and the author identifies some areas for legal refor
Shifting Patterns in Marks and Registration: France, the United States and United Kingdom, 1870-1970
No full textThis paper looks at trademarks and brands, beyond the conventional interests of marketing and law, as a way to explaining the evolution of international business and economies in general. It shows that the perspective defended by many scholars such as Chandler (1990), Wilkins (1991, 1994) and Koehn’ (2001), about the Anglo-Saxon countries, and in particular the United States, leading the transition to modern trade-marks is narrow in its focus. Instead of the United States standing out as historically on the leading edge of innovation in the law and practice of trade marking, it appears from several directions to have been on the trailing edge. France and Britain have a more enduring interest in trademarking. The paper also looks at one particular subset of trade mark registration data – non durable consumer goods. These, and in particular food, are the dominant sectors in the three countries in terms of trademarking, reflecting the character of the sectors where imagery associated with the products is so central in competition. The paper relies on original data from three countries, France, the United Kingdom and the United States, in particular trade mark registrations, and the analysis spans for a period of one hundred years period 1870-1970.trade marks, brands, international business history, intellectual property rights, trademark law
An exploration of the effects of group summative assessment marking on higher education students’ overall marks
No full textGroupwork and group summative assessment (GSA) are important learning, teaching and assessment methods used by many educational institutions, not just universities. The differences between the marks that HEI students were awarded for their own independent individual summative assessment (IISA) work and their GSA marks were explored.
The study topic presented itself while the author was contemplating studying for a first degree, when it became apparent that group working and group summative assessment was included in summative assessment methods used in the chosen programme.
Three data sources were from UK undergraduates and graduates, and one was from Australian PG students. Module marks data were collected from over 4000 HE students. They were divided into eighteen faculty/year data sets from four HEI sources.
A systematic difference was found between the distributions of GSA and IISA marks, supporting Lejk et al. (1999). Lower IISA ability students scored higher in GSA modules than in IISA modules. Higher IISA ability students scored lower in GSA modules.
In addition, the mean GSA mark was higher than the mean IISA mark. The standard deviation of the GSA marks was lower than the SD of the IISA marks. Both of these findings support Downie (2001). The relationship was found to vary between the data sets, modules, assessment items and especially between faculties.
The results and conclusions from this study will empower stakeholders, enabling them to be better informed in their choice of first-degree study programmes. They will also allow the use and impact of GSA to be more transparent and better understood, leading to further research and improvement in practice
Bolʹšoj vsemirnyj nastolʹnyj atlas Marksa 62 glavnych i 148 dopolnitel'nych kart na 53 tabl. in folio ; ... i s alfav. ukazatelem ...
No full textArticulation marks in string playing: Bach interpretation articulation marks in primary sources of J. S. Bach
No full textEs una traducción de: Articulation marks in string playing. "Bach interpretation articulation marks in primary sources of J. S. Bach" (1990). Cambridge University Press; págs. 35-46.Ramón Silles (traductor)
Jo Marks Kadis; September 11, 1934 - August 9, 2022
No full textJo Marks Kadis was born September 11, 1934 and raised in Port Jervis, NY before moving to Palo Alto, CA in the late 60's. Jo Kadis passed away in her home in Palo Alto from complications of diabetes on August 9, 2022
Diffusive author(s), cohesive author: Analysis of S/N (1994)
No full textThis study indicates the ways in which various aspects of the author(s) are brought forth in Dumb type’s performance art, the S/N production. Previous research has suggested a non-hierarchical organization of Dumb type and the absence of a “privileged author” in Dumb type’s collaborative work, S/N. However, the results that I have investigated from member’s interviews on the creative process of S/N along with my analysis of the recorded images of S/N, indicate a different aspect of the author(s). First, S/N was created through, so to speak, the collective ideas of the members of Dumb type. Further, S/N has at least nine quotations from previous performances, installations, and printed writings, besides the work-in-progress technique. Explicating one of the “author functions” as given by Michel Foucault, each text has plural subjects of the author. However, it has been revealed from members’ interviews that Teiji Furuhashi had a decision-making role in selecting the members’ ideas within the performance. Since then, S/N has had plural subjects of creation; however, Furuhashi is one of the subjects of creation along with the “privileged author.” S/N has plural authors (diffusive authors) yet at the same time, it has a “privileged author,” Teiji Furuhashi (cohesive author)
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