Audiovisual Department Research Articles

توظيف التعبيرات الفنية المستوحاة من معدات قسم السمعية والمرئية لتنمية رسومات طالبات معهد الفنون الجميلة

Our current research (The Employment of Artistic Expressions Inspired by Audiovisual Equipment to Develop the Drawings of Female Students at the Institute of Fine Arts) is divided into three chapters. Due to the importance of the topic, the problem was formulated through the following questions: To what extent do female students in the Audiovisual Department benefit from artistic expressions inspired by their specialization in developing their drawings? Additionally, to what extent does the subject of planning and colors contribute to improving the students' level and graduating them as art education teachers? The current study aims to reveal the impact of employing artistic expressions inspired by audiovisual equipment on the development of students' drawings and their artistic performance. The current study used a descriptive analytical approach in the research procedures and resulted in a set of findings that included the concept of work as being either realistic or expressive, as well as the artistic expressions and tools. The artistic expressions were represented by direct relationships influenced by the tools and equipment of the Audiovisual Department, as well as indirect relationships with the tools of the Audiovisual Department, but with a clear expressive significance. The results also addressed the development of students' drawings through form and content, which was generally verified in models (1, 2, 3, 4). As for color, the color ability used to express the idea and depict scenes was achieved according to each individual's expression. Regarding the diversity of equipment, the diversity in drawing the equipment was realized, and the results touched on the color values of the selected models.

Augmented Reality as an ontological tool to access televised audiovisual information: Value for the journalist and for the viewer

A theoretical development is presented of the access to audiovisual content for both journalists and viewers through the Web. This access is possible through virtual platforms using an ontological tool that displays the content through Augmented Reality in such a way that the relationships between and accesses to different ontological levels are carried out using visual elements, determining their value prior to download. Ontological relationships are established between traditional elements indexed in the audiovisual departments of television channels: persons, topics, and places, as well as other elements deriving from them. A brief description is given of the ontologies and their relationship with what is audiovisual, as well as experiences on television with Augmented Reality. The originality of the paper lies in the absence of previously proposed or developed experiences by any of the mass media

Sound and Politics: The Audio Archive of the Brazilian Chamber of Deputies

The Câmara dos Deputados, the lower house of Brazil’s National Congress, is a leader in the digitization and online dissemination of audiovisual recordings of legislative sessions. Its website hosts the Arquivo Sonoro, an initiative of the Câmara’s audiovisual department, which contains over 120,000 hours of recordings of speeches, votes, and committee meetings spanning over half a century. The Câmara also makes available online complete video of sessions dating back three years. This research note explores the methodological, historical, and pedagogical opportunities that these audiovisual sources offer scholars and educators. It employs as examples the research of a faculty member, a doctoral candidate, and three undergraduate students, all of whom are among the contributors to a digital humanities project that showcases this remarkable resource. By highlighting ambient noise, volume, emotion, body language, grammatical errors, regional or ethnic accents, and discrepancies with the written record, the authors demonstrate some of the ways that aurality and visuality can enrich and complicate humanities and social science research. They also reveal the multifaceted benefits of institutional support for the digitization of archival material and its free dissemination online to scholars and the public.

Automatic recognition of emotions in the description of motion pictures for television archives

The information departments of television networks are undergoing a continuous automation of their document processes. Under the framework of image description, there is the possibility of implementing Automatic Speech Recognition (ASR) techniques and images, which can be used to identify the various emotions that can be seen in images. Journalists require information from connoted information and that is also explicitly present through facial gestures and voice vibration, so audiovisual information departments must describe those elements or find automated tools to help the identification thereof. In this paper, we present the method and validity of automating the processes for extracting information from emotions using biometric techniques. For this, we have conducted a bibliographical review and visited television information centers to determine the requirements, to then capture the necessary changes in the mechanisms of system automation.

Ciberperiodismo audiovisual en España: del modelo televisivo a la construcción de una identidad propia

Este trabajo analiza 621 vídeos publicados durante dos semanas en las páginas principales o portadas de cinco cibermedios españoles (abc.es, elconfidencial.com, elmundo.es, elpais.com y lavanguardia.com). Los contenidos, los géneros, los formatos y las estructuras de esos vídeos presentan singularidades notables –tanto en la producción propia como, especialmente, en la externa– respecto a la producción audiovisual típica de los informativos en televisión. Además de los datos del trabajo de campo, este estudio aporta las reflexiones de los responsables de la sección audiovisual acerca de la función de los vídeos en los medios digitales.

LEGISLATIVE FRAMEWORK OF BROADCASTING IN ROMANIA AND IN THE EUROPEAN UNION

Romania’s adherence to the European Union implied the previous and entire acceptance of the Community acquis in force on 31st of December 1999. Our country didn’t request any period of transition or of derogation in this meaning, being among the first states from East Europe that regulated the audio-visual department, after the occidental model. In order to harmonize the Romanian legislation with the European standards, The National Council of the Audio-Visual Department adopted and transposed a whole range of acts and decisions that we will try to synthesize in our paper. In the adoption of the acquis, the NAC has to watch whether the adopted decisions are conform to the progress at European level. It is necessary to continue strengthening the administrative capacities of NAC to ensure a transparent and predictable implementation of the regulatory framework in the field of audiovisual policy. In Romania, the normative acts that regulate aspects concerning general advertising and promotional communication through television are: Advertising Act and the Broadcasting Act.

Availability and use of audiovisual resources in two selected tertiary institutions of Nigeria

This aim of this study was on availability and use of audiovisual resources in two selected tertiary institutions of Nigeria. The study discussed meaning of audiovisual resources, types of audiovisual available in the two institutions used. Survey method was adopted and instruments were observation checklist and oral interview. The population of the study are all registered students in the library. Findings showed that students are not allowed to use audiovisual resources most of the times and management of the both institutions have not done much in audiovisual department. Based on the findings the researchers proffer some solutions to both institutions and others in Nigeria.

Dojoji—A Lovers’ Duet; The Sentimental Plasterer; Nezumi, the Japanese Robin Hood (review)

DOJOJI--A LOVERS' DUET; THE SENTIMENTAL PLASTERER; NEZUMI, THE JAPANESE ROBIN HOOD. Cinema Kabuki: Marty Gross Film Productions, Toronto, Canada. Readers of a certain age will have no difficulty recalling the days, not that long ago, when access to top-quality films of Asian theatre performance was so rare that the few available examples were familiar to anyone who had an interest in the field. To be able to see films that were not to be found even in well-stocked audiovisual departments at major colleges and universities, one might have had to visit the countries of their origins to examine the archives of leading theatrical institutions. A few decades ago, the Association for Asian Performance even established a clearinghouse for the rental of Asian theatre films that were difficult to otherwise obtain. Those days, thankfully, are long gone. Researchers no longer have to view 16 mm films--remember all that fussing with threading film through spools, and the horror of seeing a burning frame when the film got stuck?--since video has replaced such old-fashioned technology. And video, first with tapes and then with DVDs, small in size and easy to duplicate, quickly became marketable, both to individual consumers and--most widely--to institutional consumers, from a variety of distributors. In the field of Japanese theatre, the most significant distributor of quality videos, mainly of kabuki (for which thirty-three videos are available), but with a growing library of other genres (as well as DVDs on Japanese culture and language), is Marty Gross, a Canadian, who has made available to the worldwide market a collection for which teachers, students, and theatre lovers in general owe him a debt of gratitude. Gross's extensive list of videos, and their prices, can be viewed at his Web site, martygrossfilms.com. Recently, he has expanded his operations to present public presentations of high definition videos, shot with multiple cameras and using six-channel sound, in regular movie theatres, under the rubric Cinema Kabuki. In 2009, Toronto filmgoers were offered one-time only screenings of five kabuki films, Triple Lion Dance, The Peony Lantern,, Dojoji--A Lovers' Duet, The Sentimental Plasterer, and Nezumi, the Japanese Robin Hood; the first two were show in both the fall and spring, and the latter three were added in the fall. Through Mr. Gross's kindness, I was able to view the latter trio and offer the following brief responses for those who may have the opportunity to see them should screenings become available outside Toronto, which Mr. Gross is hoping to facilitate. Each is recorded from an actual stage performance, with a full audience in attendance. They are not presently available for sale. Dojoji--A Lovers' Duet (Kyokanoko Musume Ninin Dojoji, usually shortened to Ninin Dojoji) is a dance play, most famous in the version generally titled Kyokanoko Musume Dojoji, or simply Musume Dojoji, and published in English as The Maiden at the Dojo Temple; it is one of many variations on the theme of a jealous maiden who visits the Dojo Temple, home of the handsome priest she believes abandoned her after promising to be her spouse, in order to wreak vengeance during the dedication of a huge bell. It is typical of kabuki for a popular subject to be given unusual twists in new versions, even when the traditional treatment remains a constant presence in the repertoire. Whereas Musume Dojoji features only a single maiden, in Ninin Dojoji there are two, offering a pair of skilled dancer-actors opportunities for complex choreography playing off their mirror images. The stars of this production, filmed at Tokyo's Kabuki-za, are the veteran Bando Tamasaburo V, kabuki's leading onnagata (female-role specialist), and the younger actor Onoe Kikunosuke V, son of the great Onoe Kikugoro VII. Subtitles, including occasional exposition, are by Mark Oshima. While Dojoji--A Lovers' Duet stands on its own as an example of classical Japanese dance (nihon buyo) at its best, those familiar with Musume Dojoji (a video of which is in the Marty Gross catalogue) will appreciate kabuki's brilliant proclivity for pouring new wine into old bottles. …

Pushing the Boundaries of Traditional Heritage Policy: maintaining long-term access to multimedia content

This paper will address the direction chosen by the Audiovisual Department of the Bibliotheque nationale de France (BnF) in order to maintain access to a comprehensive collection of multimedia and electronic documents. It will describe several experimental technical solutions for preservation, emphasizing the consequences of a requirement for future users to be able to use these documents for research purposes. These result in the use of emulation solutions as well as new practices of collection development policy with regard to the specific structure of information within a multimedia context

Art and the Moving Image

Designed to celebrate the Reina Sofia Museum's newly acquired collection of video, First Generation Art and Moving Image (1963-1986) is more than an exhibition--it is an experience. (1) There are thirty-two installations and wall projections along with a database of eighty videos that viewers can browse. exhibition and collection address the range of approaches artists used to explore the possibilities of this new time-based medium utilizing all of the entrances and exits on the third floor of the museum to channel the viewer through a historic survey that is international and inclusive, placing impressive works by lesser known artists next to those by household names. Both collection and exhibition are curated by Berta Sichel, director of the Audio Visual Department at the museum, which is located in Madrid. [ILLUSTRATION OMITTED] In the first room, the 1963 work by Wolf Vostell, 6-TV-De-Collage (reconstructed by Vostell in 1995), is paired with three works by Nam June Paik from the same year, when both artists were manipulating television signals. importance of their contributions to this very early phase is clearly recognized. Although Robert Whitman's 1953 installation The Bathroom Sink is a 16 mm film later transferred to video, it is included in this space to acknowledge his role in introducing the moving image to the art world. This sensitivity characterizes the exhibition. Each narrative is examined from multiple perspectives as if to question the very history it is presenting. It is a nonlinear journey through an explosion of ideas that are still fresh. Most of the works are from the 1970s, an era when popular culture and media culture were pivotal influences on artists who were seeking alternatives to high modernism. became a playground for video artists who manipulated the physical object and critiqued its content. Mary Lucier's Untitled Display System For Burned Vidicon Tubes (1975-77) uses monitors to display abstractions created by scarring the tubes while Eugenia Balcells's forty-eight channels of abstract images in TV Weave (1985) reduces broadcast television to a system of signs and symbols. Antoni Muntadas's Between Lines (1979) reinterprets the news by fragmenting the image, thus asking the viewer to question the information received. Dara Birnbaum's PM Magazine (1982) appropriates images, turning them into hyper media moments that ridicule their sources while seducing the viewer. David Hall's TV Interruptions appeared on Scottish television in 1971 unexplained and unexpected. large selection of works by women (twelve of the thirty-two installations) speaks to the vitality of feminism in challenging the status quo. In works by Marina Abramovic, Ana Bella Geiger, Joan Jonas, Ana Mendieta, Ulrike Rosenbach, Carolee Schneeman, and Hannah Wilke, the body is used in performance to define an emotional space as aggressive as it is urgent. These works, situated in close proximity to the minimalist approach of Gary Hill and Thierry Kuntzel, underline the gender politics of the era. In conjunction with the exhibition, there was a series of lectures on creating, collecting, and conserving video. There is also a catalog with eight essays, some of them reprints of seminal articles on video art. Primera Generacion, distinguished by impeccable research and an enlightening installation, presents an all too rare opportunity to experience the energy of a formative period whose ideas and influence are critical. I interviewed Sichel in Madrid in late January. I was curious how an institution begins a collection of historic works forty-five years into that history and how a curator's point of view expresses itself within that construct. PERRY BARD: Tell me about your background. When did you become interested in media? What were you looking at? BERTA SICHEL: In a way I was always interested in media because I have a BA in Journalism and a Master's degree in communications systems from the Federal University of Rio de Janeiro. …

Changing libraries, encountering the law

The technical and legal issues associated with digital material, originally the concern principally of audiovisual librarians, now impact upon library management in general. Three factors, occurring simultaneously, have driven the digital agenda for library managers: the high profile accorded to the accomplishment of mission; the ever-increasing complexity of copyright legislation; and the Internet which has served as a catalyst for deregulation and globalisation. The purpose of this short article is to explore both the opportunities and the obstacles posed by these factors across three core areas of digital collection management: conservation, access and development. I shall draw upon the Bibliothèque nationale de France (BnF) in this context. The BnF is a national library containing heritage collections, largely legal deposit and used for research purposes,. and also collections aimed at a far wider public.. The Audiovisual department is in charge of phonograms, videograms, multimedia and electronic documents. The collection was originally created in 1911 by the linguist Ferdinand Brunot of the Sorbonne University as 'Les Archives de la parole'. Subsequently the collection has been further developed mainly with published records, mostly as legal deposit. The collection now has over one million documents, in all kinds of technical devices and carriers. In France, three institutions share the audiovisual heritage collections: the BnF for documents, the Centre National de la Cinématographie (CNC) for film, and the Institut national de l'Audiovisuel for radio and television archives. In the BnF audiovisual collections are enlarged by legal deposit, by acquisitions and by donations. But whereas we own the carriers - a material property -, we do not own the intellectual property in the work. The protection of authors' rights and neighbouring rights are central to the actions we have to perform in order to accomplish our missions of conservation and giving access.

Interview with Marcello Pezzetti

Marcello Pezzetti is the director of the audio-visual department of the Centro Documentazione Ebraica Contemporanea (Contemporary Hebrew Documentation Center) of Milan. As a historian, he has specialized on Auschwitz and served as a consultant on films, including Roberto Benigni's La vita e bella (Life Is Beautiful) (1997) and Roberto Faenza's Jonah che visse nella balena (Jonah Who Lived in the Whale) (1993). Benigni contacted Pezzetti after seeing Ruggiero Gabbai's documentary film Memoria (1997) in which Pezzetti interviews Italian Auschwitz survivors. The following interview was conducted in Italian, 30June 1999, at Pezzetti's home in Italy. Pezzetti answers questions about his role as advisor on Benigni's film, which also stirred controversy in Italy. Pezzetti is currently preparing two volumes of transcriptions and historical analysis of all the interviews he conducted for the film Memoria. He has also issued a CD-ROM entitled Destinazione Auschwitz (Destination Auchwitz), which has been distributed throughout the Italian school system and will soon be translated into English. The CD-ROM is the culmination of Pezzetti's work as an archivist and historian. It is organized as a virtual tour of the camp with re-creations based on original architectural blue prints, maps, and survivor testimony. The CD's most startling innovation is a sort of virtual time travel, using a camera matching technique, in which black-and-white archival photos, including a number taken by the Nazis, can be compared with color photos of the same locations in the present-day camp.

The Audiovisual Programme of the Bibliothèque Nationale de France

The audiovisual collections of national libraries are in general relatively undeveloped, they are still largely dominated by collections of printed materials. However, a rapid development in audiovisual materials and multimedia is occurring, as evidenced recently by the extension in some countries of legal deposit to such materials. In France a law of 1992 distributed responsibility for audiovisual materials among three institutions, of which the Bibliothèque nationale de France is one, dealing with sound recordings, videotapes and multimedia, both multi- and single-carrier. The library's new building provides a special opportunity to completely rethink the means of conservation of audiovisual and multimedia collections and of access to the information they contain. One big issue is whether to organize the collections within a special department or in relevant subject departments according to their contents, since it is now theoretically possible to transmit the contents of any audiovisual document to any location within the library. The library has therefore been conceived so that in future all work areas can be equipped with multimedia workstations. The Audiovisual Department will, like other departments, have two reading rooms, one for the general public and one for researchers, and 450 workstations will be provided.

In flight or in plight? The current state of audio visual departments in Australian CAEs

<span>Given that the Commonwealth Government intends to maximise the number of students in tertiary education with a minimum increase in funding, this research aimed to review the effects of reduced Government funding on the services of Audio Visual Departments between 1980 and 1986. This study sets a "bench mark" on the current state of Audio Visual Departments. The scenario formed by the responses is not encouraging. Funding cuts, static or reduced staff profiles, aging equipment and an increased demand for resource production and training courses are just a few of the problems facing managers of the Audio Visual Departments.</span><p>If Audio Visual Departments are to provide effective and efficient services to meet the demands of their institution's academic and administrative staff, and the students, then there must be immediate "catch up" funding to allow managers to replace obsolete equipment built up over the last eight to twelve years. The effects of devaluation and inflation must be recognised and adjustments made with each funding grant to Colleges of Advanced Education. Most importantly, institution management must work with the Audio Visual Department's clients to determine the level of service required from the Department to effectively support training and development of competent graduating students within all disciplines.</p>

Reproduction of radiographs for 2 X 2 transparencies.

A range of slide films has been tested for use in photographing radiographs, together with variations in filtration and lighting. Kodak ‘Rapid Process’ copy film has some advantages in terms of absolute colour and immediacy of processing. However, overall, we believe that Agfachrome with a Wratten 81C filter is appropriate for doctors photographing radiographs in a hospital setting, while Kodak 5071 copy film with a Wratten 85B filter is best for routine use in the Audiovisual Department. The choice of fluorescent tube in the viewing box is of very great importance.

The developing role of a university audiovisual centre. The London experience.

The University of London was one of the last universities to set up an audiovisual department. It aimed to establish a new and specific professionalism rather than copy the ways of the broadcasters. The Audiovisual Centre has a multiplex existence, being just as prepared to give a small amount of assistance to someone else's production, as to produce a long series of elaborate television programmes.In the past 10 years over 1,000 teaching programmes have been made in video, film and tape-slide. Each year, 1,100 to 1,200 titles are distributed. This article describes the developing role of the Audiovisual Centre, and the lessons learned. Finally, its future role is seen as a widening of its sphere of activity to include the public sector, which is considered the most important development of the 1980s.

The School Media Center: A Conceptual Model

Objectives and Definitions. For the past three years as a student teacher supervisor I have persistently and systematically insisted that my students learn to utilize and synthesize media resources and methods into their instructional strategies. This orientation comes not only from a background in curriculum development and instructional design but also with experience and commitment to school library media centers. As I spoke with various school library media specialists, it became increasingly apparent that a cogent representation of the scientific relationship between educational technology and school library media education needed to be graphically outlined for the innovative library educators. In addressing library science educators, a primary goal is to provide a buffer for those students in school library media studies who will have to convince administrators of the viable and legitimate functions of the library media center and its staff. Some schools still operate with great literal and figurative distance between their audio-visual department and their school library. Ideally a library media center in the school brings materials and people

The Use of Audiovisual Materials in Science Teaching in the Arab Republic of Egypt

Abstract The Arab Republic of Egypt has long been interested in promoting the use of aids in schools and universities, especially in science teaching. The general Audiovisual Aids Department was established in 1956 to produce samples, models, posters and other media. Although these efforts were largely successful, some problems hindered the full development of educational technology. Lengthy school curricula, lack of good teacher preparation programmes, scarcity of funds, bureaucracy and the traditional system of examinations are among the major obstacles. The study conducted by the author showed that the heavy demand media makes on teachers’ time is the major problem, followed by overcrowded curricula, then examinations, the negative attitude of teachers towards media and finally the inadequate preparation of teachers. The author ends the article with a hope that efforts in the educational media field can be consolidated and co‐ ordinated in using and producing films, TV programmes and science and maths ...

DANCES OF SOUTHERN AFRICA. Produced and filmed by Gei Zantzinger, edited Conley Benfield, sound Ruth Zantzinger. 16 mm. colour, 53 minutes, commentary Dr. Hugh Tracey, interview with Andrew Tracey. Distributed through Pennsylvania State Psychological Cinema Register, Audio-Visual Department

DANCES OF SOUTHERN AFRICA. Produced and filmed by Gei Zantzinger, edited Conley Benfield, sound Ruth Zantzinger. 16 mm. colour, 53 minutes, commentary Dr. Hugh Tracey, interview with Andrew Tracey. Distributed through Pennsylvania State Psychological Cinema Register, Audio-Visual Department

Games in the English Class

AFTER attending several media workshops which were sponsored by my county and state audiovisual departments, I returned to my classroom enthusiastic and anxious to revitalize my seventhgrade English program. I was especially excited by many of the games which the workshop speakers had created and presented to the workshop participants. As an English teacher who believes that various strategies are necessary to motivate the uninterested student, I have used games with great success in Grades 7 through 12. These were games which I had discovered and/or adapted and imposed on the students because I felt that the games had value as catalysts. But then I decided to tap their creative and resourceful minds and to encourage them to develop some games related to the language arts. Since my students had been working in small groups of five or six, this plan was not difficult to implement. I explained that a group would have five class days in which to produce a game. At the end of the week the group was to present and explain the game to the class; then the game would be added to our class game cabinet so that it would be available to all students.