6,616 research outputs found
Parks Johnson interviews Lt. Commander J.W. Golinken from the United States Navy Inshore Patrol, Tompkinsville, New York, August 22, 1941
No full textParks Johnson interviews Lt. Commander J.W. Golinken from the United States Navy Inshore Patrol in Tompkinsville, New York on August 22, 1941. Episode number 403, Navy Inshore Patrol, Pier 6, Tompkinsville, Photo credits: NBC Photo
Parks Johnson and Wally Butterworth present the gift of an ambulance during the premiere of "A Yank in the R.A.F.", from the Roxy Theatre, New York, New York, September 26, 1941
No full textEpisode number 413. Pictures "Yank in the RAF", Roxy Theater, Photo credits: NBC Photo; Ted Stone; Pictured: Captain Alan Burden, Ray Sullivan, Wally Butterworth, Parks Johnson
G. Bennet Larson portrait for NBC.
No full textPhoto of G. Bennet Larson for NBC (National Broadcasting Company), Salt Lake City, Utah
[Photograph 2012.201.B0360.0692]
No full textPhotograph used for a story in the Daily Oklahoman newspaper. Caption: "Linda Lavin (right) stars as a courageous Jewish woman who saves 100 abandoned children from poverty and prejudice in a post-World War II Poland in "Lena: My 100 Children," a compelling fact-based World Premiere drama to be telecast on NBC Monday Night at the Movies, Nov. 23. Vicky Wauchope (left) portrays one of the children.
Photo-performance: A study of the performativity of butoh dance photography
No full textThis thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.This thesis analyses the detailed performativity and the intuitive act of
photographing the Japanese dance form Butoh. It argues that the photographer’s embodied experience constitutes an ‘inner’ performance and introduces new terms: the
photo-performance and the photo-actor. The author argues that the photo-performance,
similarly to Butoh dance, manifests itself not only in physically apparent (visually
perceived) movements but also within the multi-modal pre-reflective consciousness of
the reciprocal interaction between the photo-actor and a Butoh dancer.Butoh has been widely photographed since it began in 1959 in Japan. However studies formalising the relationship between dancers and photographers have been largely absent in academic research so far. Butoh photographers such as Nourit Masson-Sekine (1988, 2006, 2008) or Maja Sandberg (2003) suggest that their photographic act places them closer to the performers than the rest of the audience and, as a result, they become part of the dance itself. However, Butoh dancers including Yoshito Ohno (1938
- ) and Tatsumi Hijikata (1928 – 1986) amongst others, express their concerns as to
whether photographs can capture the essence of their art. This thesis confronts the
tensions between the fields of dance and photography by elucidating the performative
dimension of dance photography.This thesis brings the qualities of the Butoh photographer’s performative act to the forefront by using interdisciplinary methods to attain an intersubjective knowledge of the nature of the photographer’s experience. The methods include: a practical research presented in a form of case studies of the photographic projects carried out by the author in London with various Butoh dancers; an analysis of the structure of the photographer’s subjective experience through the use of first-person methodologies (an
explicitation interview); an analysis of theories of theatre represented by Tadeusz
Kantor (1915 – 199) and Jerzy Grotowski (1933 – 1999) whose work helps to develop
the notion of a performative body; and a description of the photo-performance aesthetic and the performative potential of photographic documents informed by cognitive
phenomenology. This thesis argues that drawing attention to the performativity of
Butoh photography would contribute greatly to the pedagogical aspects of photography
and performing arts
[Photograph 2012.201.B0360.0186]
No full textPhotograph used for a story in the Daily Oklahoman newspaper. Caption: "John Larroquetee, Jean Kasem and Orson Bean.
Anchoring effects in the development of false childhood memories
No full textWhen people receive descriptions or doctored photos of events that never happened, they often come to remember those events. But if people receive both a description and a doctored photo, does the order in which they receive the information matter? We asked people to consider a description and a doctored photograph of a childhood hot air balloon ride, and we varied which medium they saw first. People who saw a description first reported more false images and memories than people who saw a photo first, a result that fits with an anchoring account of false childhood memories
Kenny Baker, actor and radio entertainer
No full textKenny Baker, actor and radio entertainerTo order a reproduction, inquire about permissions, or for information about prices see:
http://www.lib.washington.edu/specialcollections/services/reproduction/reproduction
Please cite the Order NumberScanned at 600ppi with an Epson 20000 flatbed scanner. Image then rotated, cropped, level-adjusted, and sharpened using Photoshop CS3. Converted to a JPEG2000 image upon ingest into CONTENTdm
Interactive infographics and news values
No full textThis is an Author's Accepted Manuscript of an article published in Digital Journalism [PUBLICATION DETAILS], copyright @ Taylor & Francis, available online at http://www.tandfonline.com/10.1080/21670811.2013.841368.This study is concerned with the news values and working practices that inform the creation of interactive infographics in UK online news. The author draws upon organisational theory in journalism studies, and considers how conventional journalistic news values compare with best practice as espoused in different literatures within this field. A series of open-ended, depth interviews with visual news journalists from the UK national media were undertaken, along with a short-term observation case study at a national online news publisher. Journalistic and organisational norms are found to shape the selection, production, and treatment of interactive graphics, and a degree of variation is found to exist amongst practitioners as to definitions of quality in this field. Some news stories are considered to be better suited to rendering in interactive form than others. The availability of “big data” does not drive decision-making in itself, but some numbers are considered more newsworthy than others. Budgetary constraint drives practice and limits potential in this field. Risk aversion, embodied in various forms; from the use of templates, to a perceived need to avoid audience complaint, is found to dampen experimentation. Detailed audience research was found to inform the choice of methods used in data visualisation at one national news producer. This warrants further investigation as to how audiences engage with news interactives, and what the framing of news in certain (preferred) data visualisation formats means in terms of how news is understood
Photo of the author Charles Dickens
No full textPhoto of the author Charles Dickens. Picture is of Dickens
as a young_man and is from a portrait by Daniel Maclise.To order a reproduction, inquire about permissions, or for information about prices see:
http://www.lib.washington.edu/specialcollections/services/reproduction/reproduction
Please cite the Order NumberScanned at 600ppi with an Epson 20000 flatbed scanner. Image then rotated, cropped, level-adjusted, and sharpened using Photoshop CS3. Converted to a JPEG2000 image upon ingest into CONTENTdm
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