Film Camera Research Articles

Mantas Kvedaravičius’s Mariupolis (2016) and Šarūnas Bartas’s Frost (2017): Soft Advocacy for the Ukrainians in the Russo-Ukrainian War

This article examines the visual testimonies and evidence of the Russo-Ukrainian War in its initial phase, shortly after Russia annexed Crimea in 2014, in the films of two Lithuanian filmmakers, Šarūnas Bartas and Mantas Kvedaravičius, who took the stance of advocates and made their internationally acclaimed films, namely the mixed-genre feature Frost (2017, dir. Š. Bartas) and the documentary Mariupolis (2016, dir. M. Kvedaravičius), in war zones, when international media coverage of the ongoing military operations on Ukrainian territory was gradually decreasing, along with political and other support. In these films, viewers do not see the apparent warfare, the clashes between the Ukrainian army and Russian troops or separatist fighters. But they do see the testimonies of Ukrainians, captured on film and mobile phone cameras, and they see images of despair and anxiety, destroyed settlements and lives that prove that the war has been going on since 2014. The article explores what makes these films an instrument of soft advocacy for the Ukrainians in the war, drawing on the prevailing concepts of advocacy in film and media studies.

Discussion of y-matter

For more than 30 years, the author of this paper has discovered the existence of the matter unknown to people in the study of some special photos. This matter is extremely different from the matter known by modern science. The author of this paper temporarily names this matter y-matter. In contrast with y-matter, the matter known by modern science (macroscopic matter, microscopic matter) is called x- matter. In this paper, a number of photos are provided to show the existence of y-matter. In the photos, the objects composed of y-matter (y-objects) are seeable in the photos but were invisible to the naked eye when the photos were taken. In modern science, the substances that are invisible to the naked eye but can be photographed include x-rays, infrared rays, ultraviolet rays, etc. However, the y-objects shown in the photos in this paper do not belong to these substances. Y-objects can react chemically with the substances on the camera film, so y-objects are indeed made of matter. This paper then discusses some physical properties of y-matter. Y-objects have no static mass and no momentum. They have density and motion. The maximum speed of the movement can exceed the speed of light, etc. This article first uses photos to show the movement of a y-matter object. Then, this paper explores the relationship between y-matter and thinking. People can use thinking to move certain y-objects under certain conditions. The research in this article opens up the unknown world of matter, which will change human concepts and promote the epoch-making development of science and technology. The future research is to study the conditions under which y-objects can be photographed.

해부학적 카메라와 의학 이미지에 관한 이론적 고찰

This is an attempt to consider how, when physical optical apparatus penetrate the body, the visibility of internal body images, considered invisible, leads to the formation of a subject with a certain kind of ‘Optical Unconscious’ in humans. The internal body images refer to the “anatomical camera” based on medical devices such as X-rays, endoscopes, ultrasounds, CT/MRI/PET, and the “medical images” they represent. Unlike medical images that inevitably require interpretation, the emergence of internal body images, not easily accessible in everyday life, crossing the boundaries between film cameras and medical cameras, can be considered a symptomatic phenomenon. Even though the appearance of these images has become frequent on screens around the turn of the 2020s, they cannot simply be seen as new images. The reason is that the history of optical apparatus resonates with humans' desire to capture the body and movement. In terms of media archaeology, reviewing individual theories about scattered internal body images in the field of film history, and reconciling the discontinuity of anatomical cameras and medical images, reveal the affinity and complementarity of optical apparatus that were divided into science and art, while also gathering the origins of various apparatus that were concealed or unified in film history.

Blue Crush Cinema

This article discusses the settler-colonial femininity at work in two films that foreground the Pacific Ocean, Blue Crush (John Stockwell, 2002) and The Piano (Jane Campion, 1993). With these film readings it offers a critique of the feminist new materialist turn toward water. The feminist hydrological turn aims to amplify the oceanic sensorium’s potential to dissolve the always-already-illusory boundedness of Western subjectivity into a recognition of watery enmeshment, and it aligns, though does not often directly engage, with Indigenous Pacific and trans-Pacific anti-colonial hydropolitics. This article brings feminist hydrological writing into conversation with psychoanalysis and explains that blue crush cinema has the following elements and functions: (1) it tells of a settler woman with a powerful draw toward the water—here crush is polyvalent; (2) the ocean is at once literal and psychic; (3) the film camera allows water’s diffractive animacy to distort human form, a distortion that hydrological feminists associate with dissolving Western subjectivity, and that psychoanalytic theorist Julia Kristeva associates with “oceanic feeling”; but (4), in the end, the blue crush enables the settler woman to return to colonial work. This final function has critical implications for feminist readings of water, which, as this article’s central speculation goes, may work paradoxically to recuperate Western thought.

CULTURAL IDENTITY OF EMERGING FILMMAKERS: THE EXPERIENCE OF CENTRAL ASIAN STUDENT FILMS

This article explores the cultural impact of emerging filmmakers to Central Asian cinemathrough an analysis of their student films. The study aims to highlight the themes commonly used inCentral Asian student films and how they reflect the region’s cultural identity.Using a comparative analysis, this study examines a selection of student films from Central Asianfilm schools, analyzing the common themes and motifs present in the films. The results reveal that themost frequently used themes in Central Asian student films are cultural traditions, social issues, familydynamics, and gender roles.The analysis also indicates that these themes are depicted through a variety of film techniques,including framing, lighting, and camera angles, highlighting the influence of cultural values andaesthetics on the region’s filmmaking practices.The study concludes that Central Asian student films provide a unique insight into the region’scultural identity, as emerging filmmakers use their work to explore and represent their experiencesand perspectives. These films offer a platform for the expression of cultural values and ideas,highlighting the diversity and richness of the Central Asian region.The findings of this study contribute to the understanding of the cultural significance of emergingfilmmakers and the importance of cultural identity in worldwide cinematography. The articleemphasizes the need for continued support and recognition of Central Asian filmmakers and theirwork, providing a platform for the development and promotion of the region’s cultural identity.

VISUAL CULTURE OF DIRECTING AN AUTHORʾS FILM

The purpose of the article is to define the director's toolkit of frame design in the visual culture of the author's film. A comprehensive approach was used in the development of the topic, methods of systematization, comparison, verification, comparative and textual analysis were used. The analytical method and the method of figurative and stylistic analysis in their unity were directed to the consideration of the art history aspect of the problem. The articles and monographs of scientists who studied the peculiarities of the visual culture of screen arts were analyzed. The articles and monographs of scientists who studied the peculiarities of the visual culture of screen arts were analyzed. It has been found that the researchers are inclined to the opinion that the directors of author's films carry out experiments in the field of pictorial form. The relationship and mutual influence of photographic and audiovisual art is considered. It was found that images in screen arts are the result of collective work and have collective authorship. The features of the visual culture of the author's film are traced on the example of the films of Yuriy Illenko. It has been proven that the visual culture of an author's film directly depends on the worldview of the director. The characteristic features of an author's film are identified, the dominance of the attention of the directors-authors to the artists' specific view of the world, the creation of their own subjective picture of the world, the search for their own visual language, and the presentation of the author's screen form is substantiated. The visual culture of the author's film is analyzed and it is shown that the image, frame design is the main carrier of cinematic expressiveness. It is clarified that the system of expressive means and methods of visual culture of the author's film consists of: compositional construction of the shot; dynamics of motion of the film camera; filming angles; assembly steps; sound, light, color solutions; subject-material environment of the frame; mise-en-scеne; frame design. The scientific novelty of the research lies in the fact that the director's creativity is investigated in the context of the visual culture of frame design and became the subject of a special study for the first time; the appropriateness of using the system method in studying the features of the author's plastic film language has been proven; a comprehensive analysis was carried out and the features of frame design in the author's film work were revealed.

영화에서 연극으로의 매체 전환에 대한 방법론적 고찰

A Japanese drama 'Spirited Away: Live on Stage', which started performances in the spring of 2022, is extraordinary in that the general media transition is from stage to screen. This paper takes this work as an example and examines the phenomenon that appears when the medium is switched from film to play in a methodological way. To this end, it discusses the characteristics of the performing arts in the theatrical medium, which is distinct from the movie genre, and methodologically studies the phenomenon that appeared in the process of this work's conversion from film to play. As a result, the performing arts characteristics of the play are explained by interactivity with the audience, temporal and spatial transcendence based on it, and the tendency to use plots of conflict structures. On the contrary, the attributes arising from the film's camera editing are listed as storytelling methods that do not rely on interaction with the audience or conflict structure as well as spatio-temporal infinity. The results of this study are expected to have practical value in converging stage and film culture by reconsidering the difference between the performing media and camera editing technology.

An Exhaustive Review of Neutrosophic Logic in Addressing Image Processing Issues


 Since the importance of images in our lives and the advancements in computer data gathering methods, anyone can collect a large number of images, but most of them cannot be processed manually. Image processing therefore becomes appealing since various types of data may be represented and processed digitally. Image processing has become the most popular processing method, employed in security camera films, healthcare images, images from remote sensors, and naturalistic image/videos because of fast computers and processors. In order to raise cognitive function and speed up decision-making, image processing is crucial to many information access systems. Since ambiguity now permeates every part of the world, including images, discussing the neutrosophic logic forms the central idea of this discussion, as it is able to handle this ambiguity. To apply the neutrosophic logic, this requires converting the image into neutrosophic reasoning. When using neutrosophic reasoning for image retrieval, average recall and precision measures improve over other approaches. As the image processing field covers several tracks such as image segmentation, noise reduction, image classification, and others. Because there are so many research articles published in this field every year, we thought it would be appropriate to introduce a survey study on this subject. As a result, this study offers a comprehensive assessment of the literature on applying neutrosophic logic to image processing problems that have surfaced during the previous five years (2019–2023).

Barns berättelser i rörelse och förflyttning: Actionkameror i förskolans undervisning

Digital tools in preschool teaching are often presented as something threatening in the public debate, often in relation to health risks, such as sedentary behaviour. This article finds new ways to discuss this through an investigation of what conditions the use of mobile documentation technology in relation to both storytelling and movement in preschool education. We discuss how the physical and the digital can relate to each other in preschool teaching. With a particular focus on bodily aspects and storytelling, we explore new ways of approaching children’s perspectives with a point of departure in mobile digital documentation. Based on data material consisting of children's documentation of their immediate environment with the help of action cameras (that is, small digital film cameras that are applied to the body with the help of a helmet or harness). The bodily, pedagogical, and ethical consequences of combining the physical and the digital in preschool education are discussed. The data is analyzed with inspiration from a social anthropological perspective with a focus on the epistemological couplet emic/etic. The analyzes are characterized by what could be called an "epic" approach to the child filming and to each other during their movements in the surroundings of the preschool. The study offers an example of how movement can be staged in preschool education. To this end, the combination of physical and digital elements is deemed to be meritorious.

Handheld snapshot multi-spectral camera at tens-of-megapixel resolution

Multi-spectral imaging is a fundamental tool characterizing the constituent energy of scene radiation. However, current multi-spectral video cameras cannot scale up beyond megapixel resolution due to optical constraints and the complexity of the reconstruction algorithms. To circumvent the above issues, we propose a tens-of-megapixel handheld multi-spectral videography approach (THETA), with a proof-of-concept camera achieving 65-megapixel videography of 12 wavebands within visible light range. The high performance is brought by multiple designs: We propose an imaging scheme to fabricate a thin mask for encoding spatio-spectral data using a conventional film camera. Afterwards, a fiber optic plate is introduced for building a compact prototype supporting pixel-wise encoding with a large space-bandwidth product. Finally, a deep-network-based algorithm is adopted for large-scale multi-spectral data decoding, with the coding pattern specially designed to facilitate efficient coarse-to-fine model training. Experimentally, we demonstrate THETA’s advantageous and wide applications in outdoor imaging of large macroscopic scenes.

PERENCANAAN PUSAT SINEMATOGRAFI DI TENGGARONG DENGAN PENDEKATAN ARSITEKTUR METAFORA

Along with the development of the world of cinematography among young people in Tenggarong, where their activities include making films, short films, film screenings, and film competitions. However, there are no facilities or gathering places for them, so it is necessary to create a place or place that can provide facilities for the cinematographic community. The purpose of this research is to plan a Cinematography Center with a metaphorical architectural concept in the form of a building taken from the formation of a film camera, and to provide a forum for the activities of the cinematography community in Tenggarong including through production, training of various film works, exhibitions, various competitions and events. It is hoped that this plan will accommodate communities in Tenggarong who are interested in cinematography, both theoretically and practically, so that they can produce the best works that can compete nationally. By emphasizing the architectural style of concrete metaphors (tangible) in the planning of the building by taking the formation of a retro film camera that is transformed, it is hoped that it will be able to give the characteristics of a building that will be planned.

Imaging Tools for Noninvasive Hair Assessment.

Trichology tools historically have been limited in their ability to provide noninvasive detailed assessments of the hair and scalp. Recent advances in diagnostic and treatment monitoring technologies have begun to fill this gap. Global photography previously relied on a film camera and stereotactic imaging equipment but has been simplified by the advent of cameras that use software analysis and provide adjustable outlines to match facial features for the capture of standardized views. Reflectance confocal microscopy (RCM) and optical coherence tomography (OCT) both enable in vivo visualization of subcutaneous structures and provide new insight into the dynamic subclinical changes of alopecia. Recent efforts focus on training convolutional neural networks to quantify various hair parameters on OCT scans. When scalp biopsy is necessary, trichoscopy, RCM, and OCT can guide in selecting biopsy sites. Because of the growing clinical applications of these technologies, clinicians should be aware of the advantages and limitations of noninvasive hair-imaging tools.

Academy Awards On The Axıs Of Dıgıtalızated Cınema Cameras: An Evaluatıon Of The Competıtıon Movıes Selectıon

The digital revolution of cinema started with the post-production process and has changed all the dynamics of film production and distribution today and brought a new discipline. Festivals, awards and competitions, which are an area where films can introduce and highlight themselves, are also organizations that are directly affected by digitalized cinema, such as the creation of selections from the past to the present, the evaluation and rewarding of films. 
 This research aims to question the nomination preferences of the Academy Awards, where mostly the films produced by the mainstream American cinema from past to present, compete with the digital revolution, the preferences of the candidates fort he competition films and different geographies on the axis of digitalized cinema cameras. This descriptive field study uses the embedded theory method with a systematic pattern. Limitation is determined as the period between 2006-2023 at the Academy Awards. As a result, after 2010, it is revealed that a structural transformation has been experienced in which non-American mainstream cinema production, low-budget independent films competed and won awards in many categories, including the “Best Picture” award at the Academy Awards, and films produced for digital platforms could compete.

1000× Faster Camera and Machine Vision with Ordinary Devices

In digital cameras, we find a major limitation: the image and video form inherited from a film camera obstructs it from capturing the rapidly changing photonic world. Here, we present vidar, a bit sequence array where each bit represents whether the accumulation of photons has reached a threshold, to record and reconstruct the scene radiance at any moment. By employing only consumer-level CMOS sensors and integrated circuits, we have developed a vidar camera that is 1,000x faster than conventional cameras. By treating vidar as spike trains in biological vision, we have further developed a spiking neural network-based machine vision system that combines the speed of the machine and the mechanism of biological vision, achieving high-speed object detection and tracking 1,000x faster than human vision. We demonstrate the utility of the vidar camera and the super vision system in an assistant referee and target pointing system. Our study is expected to fundamentally revolutionize the image and video concepts and related industries, including photography, movies, and visual media, and to unseal a new spiking neural network-enabled speed-free machine vision era.

“If I Could Turn Back Time”: Occupational Dynamics, Technology Trajectories, and the Reemergence of the Analog Music Synthesizer

There are numerous examples of the reemergence of old technology, such as vinyl records and film cameras. Yet, the literature on technology trajectories has focused almost exclusively on linear models of technology progression, and we have little understanding of the processes that may instead drive reemergence. In fact, no prior research has examined how users’ occupational considerations may shape technology trajectories, despite a large literature on how occupations condition interactions with technological tools. This article sheds light on these processes through an inductive study of the music synthesizer industry’s shifts from analog to digital and back to analog technology. Leveraging more than 40 years of data, we trace the relationship between technological developments and synthesizer players’ occupational meaning. While synthesists initially embraced the ease of use and novelty of digital’s black-boxed preset sounds, widespread adoption of digital sounds ultimately undermined musicians’ occupational goal of distinctive creative expression. In response, synthesists articulated preferences for technology that afforded control, enabling them to use their expertise to create sounds, and that provided an embodied connection with the tool. Synthesists associated these affordances with analog rather than digital instruments, leading to renewed demand for analog and the reemergence of a formerly displaced technology. Our work integrates occupational considerations into the literature on technology trajectories, uncovers new mechanisms that can underlie technology reemergence, and extends the literature on occupations and technology.

Photographic Registers Are Latent Images

Anyone familiar with using a film camera will know how easy it is to talk of having taken a roll of photographs and the anticipation involved in waiting to have them developed. In a recent article, Dawn M. Wilson (2021) has argued that the idea that photographic images exist before development is irredeemably confused. Wilson’s aim is to show that single-stage accounts of photography are untenable. According to the single-stage account: Wilson argues against the single-stage account by arguing against latent photographic images. Concomitantly, she argues that the only viable account of photography is multi-stage: The key point of difference is that the multi-stage account does not postulate the existence of a photographic image of any kind prior to the information registered from the photographic event being processed. As natural as it is to speak of “undeveloped photographs,” according to Wilson this is a contradiction. In this discussion piece, I defend the single-stage account by arguing that Wilson’s rejection of latent photographic images is premised on an implausible view of what a latent photographic image is. Given a reasonable interpretation, the latent images described in the single-stage account just are the photographic registers described in the multi-stage account.

Mat Kilau Kebangkitan Pahlawan: A Cognitive Study Through Freytag’s Drama Structure

The popularity of film storylines that glorify heroes fighting for their nation has spread throughout Malaysia. This advancement has increased the income of the country's creative industry while also improving the talents of creative professionals. Due to the high level of competition, special effects, shooting techniques, and even storytelling processing are the primary factors employed in enhancing a film's success. Using Freytag's Pyramid, the film Mat Kilau is a case study to identify students' knowledge of the film's narrative and camera skills and techniques. Open-ended questionnaires were delivered to 37 students in free-form written responses to obtain a wealth of information about how the respondents think and relate to what they have learnt over the semester. The content analysis measures how often certain words, subjects, and ideas appear in a text. The approach turns qualitative input into quantitative data to draw accurate conclusions about what people thought of the movie. In this study, the data suggest that students pay more attention to sequences with many sound effects, different forms of camera tracking, and rapid shot changes. The selection of students who felt the best scene served as the film's Climax is observed.

Analyze the Status of Young Women in Patriarchal Societies Films through the Theories of Gaze——Shots of Gazes in "Thelma and Louise"

The Third Feminist Movement in America is the setting for the iconic feminist movie "Thelma and Louise." The third feminist movement at the time demanded the abolition of social gender norms, prejudices, and more while thinking outside of the traditional feminist paradigm. Hollywood movies must continuously examine the significance of women's existence from the standpoint of cinematic art because Hollywood is the primary source of feminism. Therefore, the focus of this essay is on how to use gaze theories, including male gaze theory and female gaze theory, to depict the status of women in patriarchal society films. The term "man gaze" describes how the camera confines women because males predominate the film industry and consequently make decisions based on their own values and interests. The female gaze is a way for women to reclaim the sovereignty of their bodies; it is a gaze on women from a female perspective. Through a series of analyses of film techniques and camera language, combined with the gaze theory proposed by Laura Mulvey, it can be hoped to discuss the current situation of contemporary women in a patriarchal society. Specifically, by analyzing the male gaze and female gaze in the film "Thelma & Louise", it can be hoped to illustrate the poor living conditions of women in a patriarchal society, where the male gaze can be seen everywhere in life.

Setting the Table for Friendship

Research Article| February 01 2023 Setting the Table for Friendship Janita Van Dyk Janita Van Dyk Janita Van Dyk is a PhD candidate in anthropology with a collaborative specialization in food studies at the University of Toronto, and serves as the reviews editor for Gastronomica. Her work examines how people use time and temporality to reimagine their relationships to food, place, and value in Northern Italy. She also researches past and present social theories of fungi in anthropology, as well as changes to Italian Canadian food retailing in Toronto. Search for other works by this author on: This Site PubMed Google Scholar Gastronomica (2023) 23 (1): 77–82. https://doi.org/10.1525/gfc.2023.23.1.77 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Janita Van Dyk; Setting the Table for Friendship. Gastronomica 1 February 2023; 23 (1): 77–82. doi: https://doi.org/10.1525/gfc.2023.23.1.77 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentGastronomica Search In the summer of 2022, I brought my beat-up film camera to the field. I imagined snapping photos of the lush Italian summer, the hues of gold- and orange-plastered buildings and terracotta roof tiles, the bustle of small-town life. My intended subjects were tables of food, glasses of wine, and fresh, steaming slices of bread against the backdrop of Bra, Italy, a small city where I had conducted fieldwork among students, activists, and producers associated with the Slow Food movement. I remembered Bra fondly—I had lived in the city for six months prior to the outbreak of the COVID-19 pandemic. I loved walking down the cobbled streets past businesses and restaurants with their warm interior lights casting out on the roadways in the winter evenings. I craved the persistent fumes of cigarette smoke and the clink of wine glasses when passing an enoteca. Even in the dead of winter, patio... You do not currently have access to this content.

Digital camera obscuras

A camera obscura is a darkened chamber in which an image of the scene outside the chamber is projected by a pinhole or other optic onto a screen within the chamber. Early obscuras used pinhole optics, but by the 16th century obscuras with lenses became popular as aids for drawing or painting scenes with the correct perspective. By the late 19th century, the screen had largely been replaced with photo-sensitive materials, and film cameras replaced obscuras. Over the last few decades, digital cameras using electronic sensors have replaced those using film. However, large projections can have significantly different properties from small projections, and it is very difficult to build a large digital image sensor. Thus, there is interest in using a small-sensor digital camera to photograph the large screen of a obscura. For example, it is relatively easy to obtain much shallower depth of field using a large screen, but a small sensor photographing the screen essentially copies that depth of field, so obscuras have often been used as “bokeh adapters” for small-sensor digital cameras. The current work is an experimentally-grounded exploration of the issues that arise in construction of digital camera obscuras, their use, and exposure control and postprocessing of digital images captured using a small sensor to photograph the image projected on an obscura’s screen.