1,720,997 research outputs found
Kellaway Family, Leon, Sylvia, Cecil, [l. to r.] Alex [i.e. Alec, front] [picture] /
No full textCondition: Good.; "Kellaway Family Cecil Leon Sylvia Alex"--Handwritten inscription on verso, (names written behind corresponding image). "Phil Ward Commercial Photographer, 296 Pitt St. Sydney"--Photographer's stamp on verso (Phil Ward's Pitt St. studio operated 1934-1946); Part of the Lady Viola Tait collection.; Also available in an electronic version via the Internet at: http://nla.gov.au/nla.pic-an24231712
Exterior view of David Pratten house, Pymble, New South Wales, 1934, 1 [picture] /
No full textTitle from acquitions documentation.; Part of: Eric Milton Nicholls collection.; Condition: Good.; Also available in an electronic version via the Internet at: http://nla.gov.au/nla.pic-vn3821830; Also available as a photograph: Exterior view of David A. Pratten Esq. residence, Telegraph Road, Pymble, New South Wales [1], PIC/9929/1900 LOC Album 1092/24 ; PIC/9929/1820 LOC Album 1092/16; Purchased from Marie and Glynn Nicholls, 2006.; Vernon inventory, Pt. IV /2 Group A b.
Reg Lewis and the Prince Edward Orchestra standing in front of the stage at the Prince Edward Theatre, Sydney, ca. 1947 [picture] /
No full textTitle devised by cataloguer based on information from acquisitions documentation.; Title of orchestra derived from information in newspaper clipping Tempo : the Australian musical news magazine, Sydney, October 1946. The Orchestra was also known as the Prince Edward Show band and the Prince Edwardians--Information from acquisitions documentation.; Inscriptions: "Photo by Phil Ward 293? Pitt Street"--Stamp on verso.; Condition: Silvering.; Also available in electronic version via the Internet at: http://nla.gov.au/nla.pic-vn4600696; Donated by Terry O'Brien, 2009. Group portrait from L to R: Doug Burgess, Rex Stevenson, Johnny wade, Col Anderson, Reg Lewis, Neville Thomas--Information from acquisitions documentation
Exterior view of Eric Pratten house, Pymble, New South Wales, 1934, 4 [picture] /
No full textTitle from acquisitions documentation.; Part of: Eric Milton Nicholls collection.; Condition: Good.; Also available in an electronic version via the Internet at: http://nla.gov.au/nla.pic-vn3821903; Purchased from Marie and Glynn Nicholls, 2006.; Vernon inventory, Pt. IV /2 Group A b
Exterior view of Eric Pratten house, Pymble, New South Wales, 1934, 3 [picture] /
No full textTitle from acquitions documentation.; Part of: Eric Milton Nicholls collection.; Condition: Chipped lower right corner.; Also available in an electronic version via the Internet at: http://nla.gov.au/nla.pic-vn3821817; Also available as a photograph: Exterior view of completed Eric Pratten residence, Pymble, New South Wales, PIC/9929/1818 LOC Album 1092/16, PIC/9929/3273 LOC Album 1092/26; PIC/9929/3274 LOC Album 1092/26; Purchased from Marie and Glynn Nicholls, 2006.; Vernon inventory, Pt. IV /2 Group A b.
Reg Lewis and the Prince Edward Orchestra onstage surrounded with columns and topped with a trompe-l'oeil vase at the Prince Edward Theatre, Sydney, ca. 1947 [picture] /
No full textTitle from devised by cataloguer based on information from acquisitions documentation.; Title of orchestra derived from information in newspaper clipping Tempo : the Australian musical news magazine, Sydney, October 1946. The Orchestra was also known as the Prince Edward Show band and the Prince Edwardians--Information from acquisitions documentation.; Inscriptions: "Photo by Phil Ward 293? Pitt Street"--Stamp on verso.; Condition: Silvering, yellowing and crease lower left corner.; Also available in electronic version via the Internet at: http://nla.gov.au/nla.pic-vn4600708. Photograph of band musicians L to R: George Taylor, [?], Reg Lewis, [?], Harry Willis, Johnny Wade, [?], Neville Thomas, Neil Thurgate, Rex Stevenson, Jack Hansen, [?], Colin Bergerson, Doug Burgess--Information from acquisition documentation
Exterior view of Eric Pratten house, Pymble, New South Wales, 1934, 1 [picture] /
No full textTitle from acquisitions documentation.; Part of: Eric Milton Nicholls collection.; Condition: Chipped top right corner.; Also available in an electronic version via the Internet at: http://nla.gov.au/nla.pic-vn3821679; Also available as a photograph: Exterior view of completed Eric Pratten residence, Pymble, New South Wales, PIC/9929/1972 LOC Album 1092/18.; Purchased from Marie and Glynn Nicholls, 2006.; Vernon inventory, Pt, IV /2 Group A b
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
Get PDF“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
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