1,720,970 research outputs found
Brakhage and the Birth of Silence
Full text linkDiscussions of “silent cinema” have generally focused on films made during the silent era (1894–1929). Even after the spread of synchronized sound, however, several experimental filmmakers created films without soundtracks, purely visual experiences that challenged cinema’s status as a multisensory medium. This article gives close attention to Stan Brakhage’s 1959 film Window Water Baby Moving as a way of outlining some of the effects of cinematic silence, such as aesthetic ambiguity and a heightened awareness of cinema’s visual rhythms.This article is published as Remes, Justin. "Brakhage and the Birth of Silence." JCMS: Journal of Cinema and Media Studies 58, no. 2 (2019): 71-90. DOI: 10.1353/cj.2019.0003. Posted with permission.</p
Synthetic Cinema: The 21st-Century Movie Machine
No full textIn a 2019 interview with Empire magazine, Martin Scorsese started a cultural firestorm when he shared his thoughts on Marvel movies: "I don't see them. I tried, you know? But that's not cinema. Honestly, the closest I can think of them, as well-made as they are, with actors doing the best they can under the circumstances, is theme parks. It isn't the cinema of human beings trying to convey emotional, psychological experiences to another human being."This article is published as Remes,Justin, Synthetic Cinema: The 21st Century Movie Machine by Wheeler Winston Dixon (Cham, Switzerland: Palgrave MacMillan, 2019), Millennium Film Journal 71/72, 52–53. https://millenniumfilmjournal.com/product/mfj-71-72/ . Posted with permission
The Stuff That Dreams Are Made Of: A Conversation with Peter Tscherkassky.
No full textMan Ray once said, "My dream would be not to need a camera at all and to work directly on film using chemical processes." In the 20th century, a number of avant-gardists--like Joseph Cornell, Bruce Conner, and Naomi Uman -- made Man Rays dream a reality by creating cameraless films. These artists often made films not by shooting original footage, but by modifying and manipulating pre-existing footage. In fact, Uman literally used "chemical processes" to transform found footage: to create removed (1999), for example, she applied nail polish and bleach to an old pornographic film.This article is published as Remes, Justin, The Stuff That Dreams Are Made Of: A Conversation with Peter Tscherkassky,” Millennium Film Journal 77, 79–83. https://millenniumfilmjournal.com/product/mfj-77-rifts/ . Posted with permission
Ten Skies
No full textClouds play a key role in a number of experimental film and video works, such as Peter Gidal's Clouds (1969), Yoko Ono's Apotheosis (1970), and Cory Arcangel's Super Mario Clouds (2002). One of the most compelling works in this tradition is James Benning's Ten Skies (2004), a film that comprises ten static shots of the sky, each of which is ten minutes in length. When a friend of mine learned that Erika Balsom would be writing a monograph on Ten Skies, he was intrigued, asking, "How is she going to write an entire book about such a simple film?" But is Ten Skies as simple as its synopsis would suggest? Not according to Balsom. As she puts it, "There are films that present themselves as complex objects but which are in fact quite simple... And then there are films - rarer altogether - that appear simple but harbor tremendous complexity." Yes, the premise of Benning's film is simple (ten skies, ten minutes each), but this structure masks a deeper complexity: asynchronous sound-image relationships, intertextual references to other works in Benning's oeuvre, intimations of environmental catastrophe.This article is published as Remes, Justin, Ten Skies by Erika Balsom (Victoria, Australia; Fireflies Press, 2021). Millennium Film Journal 75, 36–37. https://millenniumfilmjournal.com/product/mfj-75-boundaries/. Posted with permission
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
- …
