Film House Research Articles

From Transparency to Opacity

Since 2015, Cheikh Ndiaye has been painting the most famous theaters between Abidjan, Côte d’Ivoire, and Dakar, Senegal, including their emblematic names: the Mansour, Liberté, VOG, Vox, ABC, Rio, the Medina, and Le Paris, et cetera. The artist’s obsessive paintings are without decorative or exotic intention. All of these movie houses stand, as if they were clichés of one another, as “realistic” representations of the chaos left behind by a foreclosed socialist utopia or a neo-liberal trash dump site; they interpellate the viewer/spectator. Cheikh Ndiaye’s paintings of old movie theaters are intriguing for more than one reason. They are as fascinating for the visual information they reveal as they are for what each painting seems to be hiding, or for the opacity it claims for itself. This essay provides a Glissantian reading of Ndiaye’s movie-theater paintings, not as transparent and nostalgic representations of iconic film houses, but as refigurations of landscape paintings. As Glissant puts it, landscape (le paysage) is not only a character on equal footing with the human and nonhuman species that occupy it in literature, paintings, and film; it has also become clear, for environmental and cultural reasons, that ignoring it risks undermining these art forms. Like Glissant, Ndiaye is revisiting the landscapes of closed movie-theaters for the purpose of reinvesting them with a new aesthetics, and a new way of visualizing the environment.

Effects of Mixed Application of Ethylenediamine-N,N'-disuccinic Acid and Fertilizer on the Growth of Watermelon and Soil Properties of Plastic Film House

Effects of Mixed Application of Ethylenediamine-N,N'-disuccinic Acid and Fertilizer on the Growth of Watermelon and Soil Properties of Plastic Film House

LAGOS CINEMA AUDIENCE AND FILM CONTENT PREFERENCES: A USES AND GRATIFICATION APPROACH

Digitalized film houses are located in some parts of Lagos but that does not mean that all film viewers go as far as watching film content in cinemas and film theatres. Some are satisfied with viewing film on portable devices and on television. There is the need to know the cinema going members of the Lagos film audience as well as their film content preferences. Literature review dwelt on the theory, concept and context of Uses and Gratification. The theory thus becomes the underpinning force in this work. The Descriptive Survey research design was adopted, using structured questionnaires to elicit useful data from a sample population determined purposively. Items in the instrument were framed to garner information on key demographics of respondents, cinema going habits as well as their film content preferences. Collection of data was essentially primary and was directly undertaken by the investigator in the immediate pre-Covid 19 environment.Modern day digital cinema houses in Maryland, Ikeja, Surulere, Lagos Island and Victoria Island provided hubs for the clusters of respondents used in the study.Data was analyzed with the use of simple descriptive statistics, while presentation was in tables, frequencies and percentages. Results and findings would reveal that the cinema going film audience in Lagos comprise mainly young persons aged 18 to 40 who are students of tertiary institutions and employees in organizations around the city. These persons reside mostly on the Islands, Lagos Mainland and Ikeja, in that order. Furthermore, film content preferences range from Storyline, to Moral Lesson, to the quality of Acting, in that order. The research has succeeded in answering two burning questions as far as film viewing and cinema going in Lagos is concerned.

Effects of DTPA, HEDTA, and EDDS on the Growth of Watermelon and Chemical Properties of Plastic Film House Soil

A chelating agent helps crops to reuse as nutrients by mobilizing salts from the soil. This study was conducted to evaluate the effects of Diethylenetriamine pentaacetic acid (DTPA), N-(2-hydroxyethyl)-ethylene diaminetriacetic acid (HEDTA), and Ethylene diamine disuccininc acid (EDDS) for improving plant growth and reusing accumulated nutrients in soils of plastic film house. Two experiments were carried out of follows: i) For the incubation test, the availability of nutrients were examined for soils treated with distilled water, 1 mM of DTPA, HEDTA and EDDS solutions. ii) In the pot test, the impacts of watermelon growth response were examined by adding 0.5, 1, and 5 mM of chelating agent to soil. In incubation test, application of chelating agents increased the availability of soil nutrients in the following order : DTPA ≒ HEDTA > EDDS > distilled water. However, biomass of watermelon in pot test, tended to be highest in EDDS 1 mM. The absorption amount of N, P, and K of crop in EDDS 1 mM was similar to that of NPK treatment and K, Ca, Mg, and Fe tended to be high. Soil Electrical conductivity (EC) of 1 mM EDDS showed a 66% decrease compared to no treatment. These results showed that EDDS could be improved the watermelon growth. Further research is needed to evaluate the effects of EDDS for plant growth on field scale.Difference in watermelon biomass by chelating agents (DTPA, HEDTA, and EDDS) and their concentrations (0.5, 1, and 5 mM) treated in salt-accumulated soil under pot scale (†Duncan’s multiple range test (p < 0.05), ‡Relative biomass percent of other treatments compared to NPK).

Determination of Application Rates of Nitrogen Fertilizer for ‘Shiranuhi’ Mandarin in Plastic Film Houses Using Soil Electrical Conductivity

In this study, we developed an equation to determine nitrogen fertilizer rates for ‘Shiranuhi’ mandarin [(Citrus unshiu × C. sinensis) × C. reticulata] growing soils in plastic film houses to prevent salt accumulation and maintain optimum nutrient levels. We analyzed the amount of applied fertilizers, soil chemical properties, and yields from 45 farms that vary in salt concentrations on Jeju Island, Korea. The results revealed that the average soil chemical property values, such as electrical conductivity (EC), available P2O5, and exchangeable cations (K+, Ca2+, and Mg2+), were higher than the acceptable range, except for pH and organic matter. The results showed that higher amounts of nitrogen and phosphorus were applied through fertilizer application rates (N 327 kg ha-1, P2O5 294 kg ha-1, and K2O 236 kg ha-1) than the standard amount and rate of fertilizer for the cultivation of ‘Shiranuhi’ mandarin. The EC values and NO3-N concentration in the soils had a close correlation (r = 0.96, p < 0.001). The yields did not differ with the amounts of the applied fertilizers while there was a significant negative correlation with EC values (r = -0.455, p < 0.01) and the concentration of NO3-N (r = -0.476, p < 0.01) in the soils. Our results demonstrated that the NO3-N concentration in the soil of plastic film houses has a substantial effect on the soil EC value. Soil EC levels may determine the recommended nitrogen fertilizer rates depending on each tree’s age.Recommended application rates of nitrogen (N) fertilizer according to the soil electrical conductivity (EC) levels depending on ‘Shiranuhi’ mandarin tree ages in the cultivated soils of plastic film houses on Jeju Island. Tree ages (years) N recommendation equation† EC (dS m-1) 0.5 1.0 2.0 4.0 Recommended rates of N fertilizer (kg ha-1) 1 - 5 Y = - 1.6273X + 18.065 17.3 16.4 14.8 11.6 6 - 10 Y = - 8.1363X + 90.323 86.3 82.2 74.1 57.8 11 - 15 Y = - 16.273X + 180.65 173 164 148 116 16 - 20 Y = - 24.409X + 270.97 259 247 222 173 21≤ Y = - 32.545X + 361.29 345 329 296 231 †Y: Recommended rates of N fertilizer (kg ha-1); X: Soil EC value.

Screening House: film and material representations of the Cold War’s anxieties

In 1955 Charles and Ray Eames gathered more than three hundred photographs of their Case Study House #8 in the Pacific Palisades to produce the experimental film House: After Five Years of Living. The film is a visual exploration in which craft and found objects contrast with the mass-produced industrial structure of their house, but also a constant tension between the frantic acceleration of its images and moments of slow pace.Proceeding from a close reading of House: After Five Years of Living, this article analyses its film and editing technique to proposes how domesticity becomes a screen. This means, an ideological surface promoting the cultural, social, and economic changes of the Cold War period, while simultaneously screening out (obscuring) its anxieties, preoccupations, and fears in its mode of visual representation. In the film, the Case study House #8 exposes and covers, promotes and disguises, veiling some preoccupations and motivations while exhibiting an alternative reality.

Characteristics of Distribution and Decomposition of Organic Matter in Soils Cultivated with Various Fruits and Vegetables in Plastic Film House Fields

Characteristics of Distribution and Decomposition of Organic Matter in Soils Cultivated with Various Fruits and Vegetables in Plastic Film House Fields

Indigenous Cinema, the camera ashore, and House Made of Dawn

ABSTRACT This article explores the complexities of film authorship in relation to the 1972 film House Made of Dawn. Produced and directed by Richardson Morse, a non-Indigenous director, House Made of Dawn occupies a somewhat awkward position within scholarship on Indigenous Cinema. Using the film as a case study, this paper draws on Barry Barclay’s idea of Indigenous Cinema as the camera in the hands of Indigenous filmmakers to unpack notions of film authorship. The paper suggests that the answer to the question of who holds the camera is not always a simple one by drawing on interviews between Joanna Hearne and key figures in the filmmaking team of House Made of Dawn. In particular, this article argues that determinations of authorship must also consider the film’s source text by Kiowa author N. Scott Momaday as well as the input of lead actor Larry Littlebird. Failure to consider these forms of authorship serves to undermine Indigenous approaches to storytelling in favour of a Western model and subsequently undermines the input of the Indigenous authors of the film.

Piercing the Screen of the Dispositif: Interrogating the Ideological Effects of the Perspectival Image

In the exhibition, ‘Piercing the Screen of the Dispositif’, held at the Tent Gallery at the Edinburgh College of Art in October 2017, images of the film House: After Five Years of Living – made by Charles and Ray Eames in 1955 – were extracted, dissected and spatialised. Using Jean Louis Baudry’s concept of the dispositif in film studies, and Jacques Lacan’s notion of the image/screen, this essay provides an analytical critique of the Eameses’ film and their representation of the domestic interior through the screen. The aim is to extrapolate and identify, through design-based research, some of the components in the configuration of Baudry’s dispositif. Through drawings and the construction of a physical structure, the exhibition proposed an alternative architectonic assemblage of such components, suggesting new subjective and material consequences in the process. In this sense, in this essay, the use of drawings and models acts as an analytical instrument in which the specificity of the studied medium (in this case, film) is suspended, unpacked, and deconstructed to re-construct an apparatus that proposes an alternative ‘disposition’ of its images. As an extension, it also proposes the representation of a domestic interior that is not simply constrained to a visual experience, but which expands as a visual landscape and a spatial performance within the gallery space.

The Reproduction of Caruso

AbstractFew figures loom larger in the early history of recorded sound than Enrico Caruso. Man and voice are ubiquitous in the making of gramophone markets, and conspicuous, too, as means of scholarly explanation by which a sound medium was born. In sound studies, Caruso has become a cipher for ‘audile technique’ (Jonathan Sterne's coinage), the bodily practices by which listeners came to engage musical media as something for their ears alone. This article inquires after what made Caruso a reproducible person. It portrays him as a singer celebrity deeply involved in his own reproduction through the media of caricature, sculpture, film and opera house. Through analysis of Caruso's productions for New York's Italian diaspora and farther afield, it argues that an ensemble of media meant he was reproduced beyond familiar, cosmopolitan circuits of operatic celebrity. Finally, it shows how politics of celebrity reproduction were transformed following Caruso's death, through the writing of history, into new imaginations and techniques for listening.

Film House of Hummingbird Staring Ethical Violence in the Family and Society

Film House of Hummingbird Staring Ethical Violence in the Family and Society

Comparative Analysis on Facility, Environment, Growth of Cut Flower, and Management Performance in Conventional and Smart Farm of &lt;i&gt;Chrysanthemum&lt;/i&gt; ‘Baekma’

We analyzed and compared the facility status, cultivation environment, growth of flowers, and management performance of a conventional farm and a smart farm in which Chrysanthemum ‘Baekma’ was grown. The conventional farm consisted of cultivation with soil culture in a plastic film greenhouse, whereas the smart farm consisted of hydroponic cultivation in a glass greenhouse. The smart farm was equipped with sensors for measuring solar radiation, temperature, humidity, CO2, wind speed, rainfall, and pH and electrical conductivity (EC) of the nutrient solution, and was managed in real time using computers and mobile phone applications. In contrast, the conventional farm had neither sensors for environmental measurement nor pH and EC sensors for fertigation, and all systems were operated manually. The day and night temperatures in the plastic film house of the conventional farm were lower than the optimum growth temperature of Chrysanthemum ‘Baekma’. The soil EC of the conventional farm was found to be high (3.2 dS･m-1) indicating that it was not suitable for the growth of cut flowers, whereas the smart farm was properly managed at 1.1 dS･m-1. With respect to the cultivation method, no soil disinfection was performed at the conventional farm, whereas disinfection using hydrogen peroxide was performed at the smart farm. Although there were no other significant differences in cultivation methods, symptoms of damage by mites were seen at the conventional farm. The plant growth, such as length of cut flowers, flower diameter, fresh weight, and chlorophyll content were improved in the smart farm compared with the conventional farm. In terms of management performance (based on an area of 1,000 m2), the net income was -419,000 won for the conventional farm and 4,484,000 won for the smart farm, and the yield and sales price were 22% and 52% higher in smart farm than in the conventional farm, respectively. The results of this study indicate that the differences in the plant growth as well as management performance can be attributed to precise plant growth regulation by the automated facilities at the smart farm.

Changes in Soil Chemical Properties of Strawberry, Watermelon, and Tomato-Grown Plastic Film Houses from 2010 to 2019

Changes in Soil Chemical Properties of Strawberry, Watermelon, and Tomato-Grown Plastic Film Houses from 2010 to 2019

Effects of Nutrient and Water Supply During Fruit Development on Metabolite Composition in Tomato Fruits (Solanum lycopersicum L.) Grown in Magnesium Excess Soils.

Tomato cultivation in the greenhouse or field may experience high surplus salts, including magnesium (Mg2+), which may result in differences in the growth and metabolite composition of fruits. This study hypothesized that decreasing the supply of nutrients and/or water would enhance tomato fruit quality in soils with excess Mg2+ that are frequently encountered in the field and aimed to find better supply conditions. For tomato plants cultivated in plastic pots using a plastic film house soil, the fertilizer supply varied in either the nitrogen (N) or potassium (K) concentration, which were either 0.1 (lowest) or 0.75 times (lower) than the standard fertilizer concentrations. Water was supplied either at 30 (sufficient) or 80 kPa (limited) of the soil water potential. Lycopene content on a dry-weight basis (mg/kg) was enhanced by the combination of lowest N supply and sufficient water supply. However, this enhancement was not occurred by the combination of the lowest N supply and limited water supply. Sugars and organic acids were decreased by limiting the water supply. Therefore, we carefully suggest that an adjustment of nitrogen with sufficient watering could be one of strategies to enhance fruit quality in excess Mg2+ soils.

Effects of Different Application Rates of Organic Compound Fertilizer on Young Squash Growth and Soil Chemical Properties under Plastic Film House

To determine the replacement ratio of organic compound (OC) for basal application of inorganic fertilizers, the effects of different rate of OC on young squash (Cucurbita moschata) plant growth and soil chemical properties of plastic film house were investigated. The OC were applied at 50% (OC50+N50), 100% (OC100), and 150% (OC150) as the basal amount of inorganic nitrogen fertilizer recommended by soil fertility test, and the treatment were compared with inorganic NPK and PK treatment. The yield of young squash in OC150 treatment was similar to NPK treatment and higher than PK. In OC50+N50, OC100, and OC150 treatments, nitrate concentration and electrical conductivity (EC) were similar to NPK treatment. Relative nitrogen use efficiency of young squash ranged 17~37%. These results suggest that OC application as the basal dressing at the 150% level could be best rate to minimize nutrient accumulation of soil and to ensure the yield of young squash. Further study is required to evaluate effect of long-term application of OC on soil sustainability and young squash productivity. Changes of young squash yield according to replacement ratio of basal amount of nitrogen fertilizer with organic compound (OC) fertilizer. N, P, K, and OC mean nitrogen, phosphate, potash fertilizer, and organic compound, respectively. Treatment Fresh fruit weight Relative yield index† kg/10a % PK 8,607b† 96.0 NPK 8,960ab 100.0 OC50+N50 8,980ab 100.2 OC100 9,013ab 100.7 OC150 9,350a 104.5 †DMRT (p < 0.05). †Relative yield of other treatments to NPK treatment.

War is (not) Our Home. Andrei Konchalovsky’s House of Fools (Dom Durakov, 2002) as a Russian Literary and Cultural Archive

The article focuses on the film House of Fools (Dom Durakov, 2002) of Andrei Konchalovsky, who is one of the most recognized contemporary Russian directors. The selected work is analyzed from the point of view of its intertextual relationships with Russian literary texts and cultural phenomena. The motif of the train, the paradigm of jurodivyj and the reference to the artistic worlds of acclaimed Russian writers (Anton Chekhov, Fyodor Dostoyevsky, Leo Tolstoy, Ivan Vyrypaev) are among the main parallels which are discussed in the publication. The eclectic nature of the film allows treating it as a cultural archive founded on the storage capacity of the cultural memory. In the context of war, the sphere of art and the imagined can be seen as the most stable reality.

Oregonscape

OREGONSCAPE THE GRAND OPENING of the Fox Theatre, located at Southwest Broadway and Taylor streets, took place on August 12, 1954. According to the Oregonian the following day, some 6,000 “local cinema cognoscenti” crowded the streets along with Portland Mayor Fred Peterson, Oregon Gov. Paul Patterson, and notable national musicians and actors. The stars were all “delighted with Portland hospitality and weather” and they enjoyed a reception at the Benson Hotel after the premiere. Unspooling on the big screen that evening was the 1954 western Broken Lance. Filmed in CinemaScope, the feature starred Spencer Tracy as cattle baron Matthew Devereaux. The film would go on to win an Oscar for Best Story for Philip Yordan — based on his own script for the film House of Strangers (1949). Originally opened in 1910 as the Helig, the theatre was originally used as an opera house — including a notable production of Zandonai’s Conchita starring soprano Tarquinia Tarquini in 1912. By the early 1930s it was renamed the Mayfair under the J.J. Parker chain of theatres. It operated as the Mayfair until 1953, when it was closed for renovations before re-opening as the Fox Theatre in the summer of 1954. The Fox Theater stopped regular film programming in 1990 and was demolished in 1997. The original free-standing ticket booth of the Fox, as well as other memorabilia from the theatre, are part of the museum collection at the Oregon Historical Society. — Matthew Cowan, OHS Moving Images and Photography Archivist Photograph by Dave Falconer, Falconer Collection, OHS Research Library, Org. Lot 148, Box 1. ...

Evaluation of Replacement Ratio of Mixed Oilcake for Basal Application of Inorganic Fertilizers in Watermelon Cultivation at the Plastic Film House Soil

The objective of this study was analyzed the replacement ratio of mixed oil cakes(MC) for basal application of inorganic fertilizers. The fields were selected the plastic film house soils for watermelon cultivation. The MC were applied at 50(MC50+N50), 100(MC100), and 150(MC 150) % level of the basal amount of nitrogen fertilizer in soil testing recommendation. And these were compared to NPK treatment and -N(PK) treatment except nitrogen as inorganic fertilizer. The yields of watermelon in MC50+N50, MC100, and MC150 were similar to NPK treatment, but sugar contents as watermelon quality in MC50+N50, MC100, and MC150 were higher than NPK. In MC100 and MC150 treatments, nitrate nitrogen and electrical conductivity were lower than MC50+N50 treatment. Relative nitrogen efficiency of watermelon ranged 109 - 128%. These results suggest that MC application with the 100 - 150% level of nitrogen input as the basal dressing could be best to prevent a nutrient accumulation of soil and to increase the yield and commercial quality for watermelon. Changes in watermelon yield according to replacement ratio of basal amount of nitrogen fertilizer. ( ) mean relative yield of watermelon to NPK treatment. N, P, K, and MC mean nitrogen, phosphate, potash fertilizers, and mixed oil cakes, respectively. Treatment Fruit weight (g plant-1) Sugar contents (Brix) Weight of leaf, stem, and fruit (ton ha-1) -N (PK) 5,312(78)b† 10.0b 45.1b NPK 6,768(100)a 10.1b 58.0a MC 50+N50 6,866(101)a 11.1a 58.6a MC 100 6,963(103)a 11.5a 61.1a MC 150 6,960(103)a 11.7a 63.7a † Numbers with the same letter within a column are not significantly differed (Duncan's test, p < 0.05).

자근발생이 부지화 감귤나무의 수체 생육과 뿌리내 양분함량에 미치는 영향

자근발생이 부지화 감귤나무의 수체 생육과 뿌리내 양분함량에 미치는 영향

억새 처리에 따른 시설수박 생육과 토양 특성에 미치는 영향

Effects of Soil Improvement and Growth of Watermelon on Plastic Film House by Soil Treatment of <italic>Miscanthus sinensis</italic>-Nitrogen mineralization,Plastic film house,Silver grass(<italic>Miscanthus sinensis</italic>),Soil aggregation,Watermelon