On-screen Presentation Research Articles

Determinants Of Rating/Share Of Indonesian Television News In The Online Era (The Case Of Mnctv Indonesia)

The purpose of this study is to identify a plan for sustaining and growing MNCTV news stations' share and rating. This television news station has been around for around 27 years and is still going strong. Despite the fact that the generation at this news station has shifted, this is inextricably linked to the outstanding program rating/share and has a tendency to remain steady. Descriptive qualitative research methodology is used to gather detailed information about the chief editor and three executives involved in news programs. The findings demonstrated that from pre-production to post-production, the editorial team holds regular meetings. Reporters with specialized knowledge of the issue being covered are provided access to all of the materials reviewed during the editorial meeting. Additionally, they stay up to date with technology advancements to improve the screen. To improve the on-screen presentation, news anchors are frequently swapped out for younger, more intelligent candidates. As the times change, news is also posted to official social media profiles on platforms like YouTube, Instagram, and TikTok.

Identifying a Clinical Informatics or Electronic Health Record Expert Witness for Medical Professional Liability Cases.

The health care field is experiencing widespread electronic health record (EHR) adoption. New medical professional liability (i.e., malpractice) cases will likely involve the review of data extracted from EHRs as well as EHR workflows, audit logs, and even the potential role of the EHR in causing harm. Reviewing printed versions of a patient's EHRs can be difficult due to differences in printed versus on-screen presentations, redundancies, and the way printouts are often grouped by document or information type rather than chronologically. Simply recreating an accurate timeline often requires experts with training and experience in designing, developing, using, and reviewing EHRs and audit logs. Additional expertise is required if questions arise about data's meaning, completeness, accuracy, and timeliness or ways that the EHR's user interface or automated clinical decision support tools may have contributed to alleged events. Such experts often come from the sociotechnical field of clinical informatics that studies the design, development, implementation, use, and evaluation of information and communications technology, specifically, EHRs. Identifying well-qualified EHR experts to aid a legal team is challenging. Based on literature review and experience reviewing cases, we identified seven criteria to help in this assessment. The criteria are education in clinical informatics; clinical informatics knowledge; experience with EHR design, development, implementation, and use; communication skills; academic publications on clinical informatics; clinical informatics certification; and membership in informatics-related professional organizations. While none of these criteria are essential, understanding the breadth and depth of an individual's qualifications in each of these areas can help identify a high-quality, clinical informatics expert witness.

(Not)visible in Bulgarian Cinema – to the Topic of Roma and On-screen Presentations

Film panoramas and specialized lectures related to the topic of Roma representation in the screen arts are of particular importance to the Bulgarian cultural field and society, but unfortunately they are rarely realized. The visual language’s instrumentarium could be different when try to articulate the image of the largest ethnic group in the Balkans. All autours must touch carefully the Roma filmtopics and sub-narratives in the frame area: on the one hand, they must achieve authentic representations and to demonstrate clear understanding, but on the other hand the risk of drowning in well knows stereotypes still exist. This article makes the first approach to the wide field of inisibility/ visibility of Roma in the field of Bulgarian screen arts. In our post-totalitarian cinema, the Gypsy Ethnicity affects the various types of films, their formats and genres. In the beginning (just after 1989 until the Millennium), there was a saturation and domination in documentary cinema, followed by the outflow of the subject. In that in recent years there has been an activation of the feature forms (long – and shortlength), made by new, young directors, who are trying to construct positive messages and images. An important focus is that Roma representatives (directors, screenwriters, actors etc.) are timidly included in the national cinema process. In general, however, the picture of presence is somehow marginal unfortunately.Bulgarian new cinema can fully reveal ethno-cultural differences and similarities, bring to the fore both the accordance and contrasts in the intercultural meeting. And in particular – properly and credible to paint the colorful, peculiar and distinctive world of the Roma ethnicity. Last but not least, the audiovisual arts could provoke a social change in the perception of the Other. The image of the Gypsies as a "internal foreigner", however, is gradually transformed. The research texts from the large humanity and social disciplines, and especially Film Studies, appropriatelly focusses on the diverse discussion fields in which cinema artifacts function: social anxiety, poverty, marginalization, sexualization, trauma and victimization during the Holocaust, children’s worlds and Roma childhood problems.

A retrospective analysis of discharge summaries from a tertiary care hospital medical oncology unit: To assess compliance with documentation of recommended discharge summary components.

BackgroundDischarge summaries are essential for health transition between inpatient hospital teams and outpatient general practices. The patient's outcome is dependent on the quality and timeliness of discharge summaries.AimA retrospective analysis was carried out to assess the compliance with recommended documentation of 697 electronic discharge summaries (eDSs) of oncology inpatients discharged in 2018 from the Canberra Hospital according to the National Guidelines of On‐Screen Presentation of Discharge Summaries.Methods and resultsIndividual medical records were identified and screened for the recommended eDS components according to the National Guidelines. Out of the 17 recommended components, nine components were included in all discharge summaries, two components in more than 99% and two components in 95–96% of discharge summaries. The most frequently omitted components include “information provided to the patient,” “ceased medicine” and “procedures,” and these were omitted in 8, 38 and 82% of discharge summaries, respectively.ConclusionOverall, most discharge summaries adhered to the national guidelines quite well by including most of the recommended components. However, the discharge summary quality is still inadequate in some domains.

AVA-anisotropy: spreadsheets program to model the variation of P-wave reflectivity with angle in VTI, HTI, and orthorhombic media

Spreadsheet-based programming has become a worldwide computational tool and a powerful platform for executing scientific calculations in different engineering disciplines. The inherent advantage of spreadsheets exists in integrated storage and the ability to manipulate matrices along with wide-ranging mathematical calculations, plotting, and diagrammatic presentation. This paper presents a user-friendly and interactive spreadsheet program “AVA-anisotropy” to characterize the primary P-wave amplitude versus incident angle (AVA) responses in vertically transverse isotropic (VTI), horizontally transverse isotropic (HTI), and orthorhombic media. The set of Ruger’s equations for isotropic, VTI, HTI, and orthorhombic media are solved to describe the seismic energy partitioning at an anisotropic interface. The spreadsheet program has three main sections: basic concepts, data input, and AVA modeling for anisotropic media. The interactive data input and on-screen mathematical and graphic presentation of the spreadsheet enables the students to have an in-depth examination of the effects of changing input data and the resulting model. This greatly helps them in understanding the energy partitioning in anisotropic medium.

Virtually renovating the Trauma Film Paradigm: Comparing virtual reality with on-screen presentation of an analogue trauma

Due to the unpredictable nature of traumatic events, prospective research into trauma relies upon laboratory methods utilising distressing film scenes to act as a trauma analogue measuring vulnerability factors and testing interventions applied to posttraumatic stress disorder (PTSD). This is the first study to test whether Virtual Reality (VR) provides a more effective trauma analogue than traditional on-screen presentation by direct comparison of the same real-life trauma film. Participants viewed footage of a staged car accident either presented in VR (N = 31) or on-screen (OS) (N = 30). Both groups recorded sense of presence, pre- and post-film mood and state anxiety. After the film, some participants (VR: n = 18; OS: n = 12) reported involuntary intrusions of the film and recorded the emotionality of these. VR presentation evoked a greater sense of presence, yet both VR and OS presentation elicited negative mood and involuntary intrusions. Although intrusions were more vivid in the VR condition, there were no significant differences in frequency or distress. However, a greater sense of presence, regardless of medium, was predictive of increased emotional reaction to the film and greater intrusion frequency and distress. Therefore, implementing a VR paradigm could be directly beneficial for TFP research concerning sense of presence or vividness of intrusions. The association between enhanced sense of presence and stress response suggests that an effective trauma analogue should be immersive, and VR presentation is a useful medium to elicit a greater sense of immersion.

Magic Folk Tales in Intersemiotic Translation

The present paper examines intersemiotic translation of magic folk tales. Research objective is to show the structural identity of the surface structure which can be described as a sequence of plot elements (“functions”) of fairy-tale characters; in semiotic terms it is explained by the existence of a universal matrix defining the law of genre. The authors go on to the cognitive-culturological aspect of fairy tales in terms of N. Chomsky. This research paper has clearly shown that “functions” of the surface structures correspond to plans, scenarios and frames of the deep structures, which differ in British and Russian magic fairy folk tales (wonder folk tales). Numbers and proper names are the main permanent elements of fairy tale narrative: on the level of the surface structures they connect the universal matrix of a fairy tale discourse organizing space and rhythm and at the level of the deep structures - they help to understand the main features of the national character. The study is based on 13 fairy-tale film corpus, under the common theme “Beauty and the Beast”, film adaptations of the fairy tales “La Belle et la Bête” by J.-M. Leprens de Beaumont (1757) and “The Scarlet Flower” by S.T. Aksakov (1858). Hence, the analysis of the latter based on the works of R. Jacobson and W. Eco and understood by the authors as a kind of intersemiotic translation / interpretation that, on the one hand, proves universality of the proposed algorithm for studying fairy discourse in synchrony and diachrony. On the other hand, it plays the most important role in intersemiotic translation of diachronic aspect because it deals with changing the “integral model of reality”, which is reflected, in particular, in changing the on-screen presentation / interpretation of certain aspects of the fairy-tale narrative. Finally, it is worth pointing out that the conclusions can be used to study plurality of film adaptation as a form of intersemiotic translation.

Effect of typeface, letter case and position on recognition of short words presented on-screen

ABSTRACTIn television broadcasting, there are no general rules about the implementation of various short inscriptions that accompany video image and provide additional information for the viewer. Therefore, we wanted to study what combination of typeface, letter case and position should be used for an on-screen presentation when fast recognition of a text is required. The present study investigated the minimum time required for recognising three-letter words presented in bold style on the screen in different experimental conditions. The typeface Georgia showed better legibility than Verdana, Calibri, Trebuchet and Swiss 721. Upper case letters were recognised faster compared to sentence and lower case letters. The recognition times were shorter for upper on-screen positions compared to the lower ones. The resulting combinations of text properties that are processed faster thus seem more appropriate for the on-screen use (especially for television broadcasts).

Get the London look: Anna Neagle as the emblem of British fashion and femininity in Maytime in Mayfair

Abstract In the years following the Second World War, Britain experienced a prolonged period of austerity and an increase in rationing – a measure that had a direct effect on fashion. This was not always reflected on screen: during the war years, Margaret Lockwood, Patricia Roc et al. showed off sumptuous gowns in a succession of popular Gainsborough Studio period films. In 1946, Lockwood and her co-star James Mason were two of the biggest box-office stars in Britain. By 1947, however, Mason had left for America, and while Lockwood was still popular, her more subversive on-screen female sexuality was being displaced by a return to more traditional modes of femininity, as embodied by Anna Neagle. 1947 also saw the birth of the New Look and the golden age of couture, both in Paris and London. These aspects of British fashion and British femininity come together in Herbert Wilcox’s romantic comedy Maytime in Mayfair (1949). Set around the fashion boutiques of Mayfair, the film showcases designs by the leading houses of the day: Hardy Amies, Norman Hartnell, Worth and others. The luxury displayed on-screen would have been beyond the reach of most of the audience: however, the film works to promote the image of British fashion design for both a domestic and international market, while simultaneously presenting an image of resilient but glamorous British womanhood through Neagle’s star persona and on-screen presentation. This article examines the construction of ideas of British femininity on the post-war years through the mediation of stardom and fashion-on-film.

The Management of E-Books in Academic Libraries and its Challenges

E-books are commonly perceived as offering great potential for learner support but also as struggling to compete with print due to poor on-screen presentation, restrictive licencing and limited range of titles offered. The experience of a group of Irish university libraries shows that, with the right combination of product and subjects, e-books can thrive among students and faculty, while librarians can create more dynamic, relevant and flexible collections than for print. Subscription management is demanding for libraries, however, and licencing issues remain highly problematic, representing a formidable obstacle to full exploitation.

The archaeological aesthetic in ancient world documentary

This article investigates the role of archaeology in the visual and discursive economies of ancient world documentary with reference to recent output from the BBC. By identifying and examining four primary modes – archaeology ‘as evidence’, ‘in performance’, ‘in action’ and ‘dramatized’ – it demonstrates how the on-screen presentation of ancient sites, monuments and artefacts, and the practices of archaeological investigation and excavation generate historical knowledge, and authorize it. Fundamental to this is the resonance between documentary representations of the past and viewers’ experiences of antiquity through archaeology in other television programmes and alternative media and contexts: for example tourism and film. Knowledge gleaned through one cultural encounter with the ancient world encourages or conditions the viewer to accept the historical facts presented on screen. By analysing the rhetorics of a distinctive and understudied strand of history programming, this study demonstrates its place within the construction of historical knowledge in contemporary society. This allows a fresh consideration of the merits of historical documentary on television.

A full face bright red money shot: Incision, wounding and film spectatorship in Marina de Van's Dans ma peau

Through an analysis of Merleau-Ponty's concept of ‘flesh’, I wish to suggest that this term offers a potential site for the reconsideration of the phenomenological situation of the film viewer. I will do this through an analysis of Marina de Van's film Dans ma peau (2002), a film which addresses the individual spectator directly in the intimacy of the viewing experience and, moreover, interrogates that individual relation of embodied viewer to film. Distancing myself from previous scholarship on this film, I suggest that Dans ma peau stages an explicit reflection not (or not only) on the creative process of filmmaking but, rather, on the embodied, fleshy, phenomenological viewing experience of the audience. However, if the onscreen presentation of the body in Dans ma peau seems to offer the body up as an object to be cut open, the wounding that takes place in the film is of a different kind entirely. Drawing on Deleuze's concept of the wound, I will suggest that in the diegesis of the film and the relation instigated between film and spectator, we witness the construction of a relational matrix constituted by the sensations and intensities that flow across a body which is nothing but the embodiment of a wound that pre-exists it. This, I will suggest, has important ramifications for any phenomenological theory of cinematic spectatorship based on the philosophy of Merleau-Ponty in which flesh is coterminous with dehiscence.

Principles for Constructing Good Clicker Questions: Going beyond Rote Learning and Stimulating Active Engagement with Course Content

Clickers are also referred to as classroom response systems. They are small-handheld electronic devices that resemble a television remote control, used by students to respond to questions posed by instructors. Typically, questions are provided to students using electronic on-screen presentations. Results of students' responses can be immediately displayed. This display of students' responses allows instructors to gauge the level of understanding of their students, and allows students to reflect on their knowledge of the concept at hand. This gives instructors and students immediate feedback regarding students' knowledge. The use of clickers engages students to actively participate in class sessions. Using a classroom response system makes students accountable, and requires them to respond to questions posed during class. This article will describe tips and techniques to assist instructors to develop effective questions that can be used in conjunction with classroom response systems. The development of effective questions determines the outcome of whether or not the use of a classroom response system is a useful teaching tool. At first impression, one might think that having students respond to multiple-choice questions inspires a rote-learning environment. If instructors take the time and put forth effort to fully consider the best ways to implement clicker driven questions that target higher levels of learning, then classroom response systems can become a very effective learning tool.

Men's Soaps

In this paper I argue that the Discovery Channel's reality-based automotive show American Chopper produces a recuperative blue-collar masculinity that attenuates the putative losses suffered by working-class men under the postindustrial service economy of the contemporary United States. In its on-screen presentation of blue-collar work, American Chopper valorizes a form of working-class manual labor at precisely the moment when such labor has all but disappeared in the United States. In its presentation of a world of masculine labor and fraternal affect, American Chopper constructs a nostalgic world of blue-collar work in which the skilled manual laborer—always understood to be male—still reigns supreme, untroubled by the supposed defeats suffered by hegemonic masculinity in the post-civil rights era. By celebrating neoliberal consumer capital and the traditional consumption of the American dream as coterminous discourses of celebrity identity, the show elides the still vast gaps in opportunity and remuneration in the contemporary United States.

Extending clinical information systems design in the ICU

Miller and Sanderson (2003b) presented promising results for a prototype clinical information design developed according to Ecological Interface Design principles, but the size of the prototype made it impractical for onscreen display. This paper replicates the previous study using an onscreen presentation of the original EID divided according to functional systems. As in the original study, nurses' ability to detect patient change events was enhanced using the onscreen EID. However, there are differences between doctors' performance using the original and using the onscreen EID. Unlike the original participants, doctors were better able to agree about physiological systems failure, but also unlike the original participants, showed no significant differences in their ability to agree about the patients' current diagnostic state using the onscreen EID or conventional charts. This later ability is clinically more important. It was concluded that while dividing the original EID had no appreciable effect on nurses and enhanced some abilities among doctors, this was at the expense of more clinically significant abilities. It may be necessary to rethink the appropriateness of limited real-estate, office style computer terminals in intensive care units.

A program for assessing body image disturbance using adjustable partial image distortion

Body image disturbance has been one of the most widely studied areas in the literature on eating disorders. Some of the tasks designed to assess it have been used to estimate the sizes of specific parts of the body, whereas others have served to make estimations of overall body size. In recent years, the introduction of innovative computing procedures has allowed the two approaches to be combined and has made their application more straightforward. The program we describe here (Body Image Assessment Software, or BIAS) evaluates body image distortions and body dissatisfaction via the on-screen presentation of a scale image, the different components of which can be modified by the patient. The program was developed using Microsoft Access 2000 and Visual Basic for applications. It can be run on any computer with Windows and Microsoft Access 2000 or Microsoft Access 2000 RunTime, which makes it particularly easy to use and enables direct analysis of the recorded data through the use of applications such as SPSS.

Interactive Programs for a Multilingual Environment

Teaching in an environment in which more than one language is spoken is becoming increasingly common. Instructional software must be prepared to meet the needs of teachers in bilingual and multi-lingual environments. Many software developers have taken the approach of preparing multiple versions of their materials. One version is completed for each spoken language in which the material is presented. Because instruction with computer technology can be interactive, creating a new version for each language is not necessary. Instead, one can create an instructional program which is able to change the language of the on-screen presentation with a simple keystroke. By structuring the computer program to allow for this type of multi-lingual interaction additional languages can be added easily. We have experimented with two approaches. Each has advantages and disadvantages, but both offer easy changing of the on-screen language of presentation by the user.