Introduction: Late Hammer

2021 ◽  
Vol 36 (3) ◽  
pp. 84-87
Author(s):  
Patricia White
Keyword(s):  
Terminal Cancer ◽  
Film Culture ◽  
Camera Obscura ◽  
Feminist Film ◽  
Set Up

Abstract This introduction to a dossier of short pieces on Barbara Hammer locates the work of the late filmmaker in the context of feminist film culture and the journal Camera Obscura. It briefly reviews several phases of the artist's career before focusing on the output of the last decade of the filmmaker's life. Diagnosed with terminal cancer, Hammer made work dealing with her body; gave footage she shot over the years to several filmmakers to finish as they wished; set up a grant for lesbian experimental filmmakers; and collaborated with curators, archivists, and her partner, Florrie Burke, to shape her own legacy. Pieces by the collaborators who contributed to this dossier are introduced.

Allegory, Realism, and Vermeer's Use of the Camera Obscura

2005 ◽  
Vol 10 (2) ◽  
pp. 287-314
Author(s):  
Philip Steadman
Keyword(s):  
Subject Matter ◽  
Symbolic Meaning ◽  
Camera Obscura ◽  
Genre Painting ◽  
Johannes Vermeer ◽  
Optical Images ◽  
Set Up ◽  
Dutch Painter ◽  
Extreme Care

AbstractCritics of the proposal that the Dutch painter Johannes Vermeer used the camera obscura extensively in making his pictures of domestic scenes have argued that this cannot be the case, since his compositions are not 'photographic snapshots' but are very finely judged and balanced; his subject matter draws on the traditional motifs of Dutch genre painting; and the pictures are filled with complex allegorical and symbolic meaning. In this paper it is argued that all these are indeed characteristics of Vermeer's oeuvre, but that the artist produced them through the transcription of optical images of tableaux, set up by arranging real furniture and other 'props' with extreme care, in an actual room in his mother-in-law's house.

“Light Filtering through Those Shutters”: Joyless Streets, Mnemic Symbols, and the Beginnings of Feminist Film Criticism

2019 ◽  
Vol 34 (3) ◽  
pp. 63-95
Author(s):  
Jenelle Troxell
Keyword(s):  
World War I ◽  
Trauma Theory ◽  
Film Criticism ◽  
Film Culture ◽  
World War ◽  
Civilian Population ◽  
Feminist Film ◽  
Origin Myth

This article examines the origin myth of the feminist film journal Close Up, namely, an excursion by its founders Bryher and H.D. to see G. W. Pabst’s Die freudlose Gasse (The Joyless Street, 1925) in a small cinema in Montreux, Switzerland. Throughout the essay, I use Joyless Street as a case study to analyze the ways in which theories of trauma can be effectively brought to bear on melodramas of the post–World War I era and, in the process, demonstrate the appeal Pabst’s works held for the Close Up editors, who shared his interest in trauma, psychoanalysis, and healing. By analyzing Joyless Street through the lens of Close Up, I demonstrate how Bryher and H.D. anticipate the development of trauma theory, which emerged in the early 1990s. Unlike traditional, often totalizing, applications of psychoanalysis (which emphasize notions of spectator desire and lack), the Close Up writers’ engagement of psychoanalysis focuses on issues of history, memory, and the response of spectators to historically specific situations. Their theory further suggests that in addition to surrogate fantasy fulfillment, film—in its recurring representation of trauma—might aid in mastering shared cultural symptoms, which women often experienced in isolation. Through their sustained analysis of film melodrama, the Close Up writers demonstrate that the war, beyond its devastating effects on combatants, also impacted the (female) civilian population—resulting in Close Up’s call for a critical film culture that speaks to that experience.

scholarly journals Jill Craigie, Post-war British Film Culture and the British Film Academy

2021 ◽  
Vol 18 (4) ◽  
pp. 404-422 ◽  
Author(s):  
Yvonne Tasker
Keyword(s):  
Print Media ◽  
Film History ◽  
Film Culture ◽  
Film And Television ◽  
Film Maker ◽  
The Status ◽  
Feminist Film ◽  
The 1950S ◽  
Post War ◽  
Management Council

This article seeks to locate the socialist feminist film-maker Jill Craigie in the British film culture of the post-war period. Long regarded in scholarly accounts as something of an outsider, a woman who was effectively shut out of the industry during the 1950s, this article seeks to position Craigie rather differently. While acknowledging the obstacles she undoubtedly faced, it details aspects of her achievements and her visibility in the British film culture of the immediate post-war period. Craigie's politically driven documentaries and realist film practice accorded with prevailing discourses of ‘quality’ and she acquired the status of what would today be termed a media personality who worked across film, radio, television and print media. Considering Craigie as a figure embedded in the British film establishment, this article gives particular emphasis to her role in the British Film Academy (BFA), arguing that the significance of this practitioner-led organisation has yet to be fully recognised in British film history. The argument draws on archives held at the British Academy of Film and Television Arts (BAFTA) to begin a discussion of how the BFA, and Craigie as the first woman to be elected to its Management Council, played its part in the development of British film culture.

Film Culture: Camera Obscura

Screen ◽  
1977 ◽  
Vol 18 (2) ◽  
pp. 123-128
Author(s):  
A. Kuhn
Keyword(s):  
Film Culture ◽  
Camera Obscura

The Effects of Drying Techniques on Clay-Rich Soil Texture

1974 ◽  
Vol 32 ◽  
pp. 466-467
Author(s):  
T. G. Naymik
Keyword(s):  
Critical Point ◽  
Liquid Nitrogen ◽  
Liquid Nitrogen Temperature ◽  
Drying Methods ◽  
Air Drying ◽  
Freeze Dried ◽  
Critical Point Drying ◽  
Set Up ◽  
The Relationship ◽  
Quartz Grains

Three techniques were incorporated for drying clay-rich specimens: air-drying, freeze-drying and critical point drying. In air-drying, the specimens were set out for several days to dry or were placed in an oven (80°F) for several hours. The freeze-dried specimens were frozen by immersion in liquid nitrogen or in isopentane at near liquid nitrogen temperature and then were immediately placed in the freeze-dry vacuum chamber. The critical point specimens were molded in agar immediately after sampling. When the agar had set up the dehydration series, water-alcohol-amyl acetate-CO2 was carried out. The objectives were to compare the fabric plasmas (clays and precipitates), fabricskeletons (quartz grains) and the relationship between them for each drying technique. The three drying methods are not only applicable to the study of treated soils, but can be incorporated into all SEM clay soil studies.

Evaluation of Freezing Methods by Low Temperature X-Ray Diffraction

1977 ◽  
Vol 35 ◽  
pp. 330-333
Author(s):  
T. Gulik-Krzywicki ◽  
M.J. Costello
Keyword(s):  
Biological Materials ◽  
Molecular Organization ◽  
X Ray Diffraction ◽  
Glass Capillary ◽  
X Ray ◽  
Rate Dependent ◽  
Before And After ◽  
Freeze Etching ◽  
Diffraction Patterns ◽  
Set Up

Freeze-etching electron microscopy is currently one of the best methods for studying molecular organization of biological materials. Its application, however, is still limited by our imprecise knowledge about the perturbations of the original organization which may occur during quenching and fracturing of the samples and during the replication of fractured surfaces. Although it is well known that the preservation of the molecular organization of biological materials is critically dependent on the rate of freezing of the samples, little information is presently available concerning the nature and the extent of freezing-rate dependent perturbations of the original organizations. In order to obtain this information, we have developed a method based on the comparison of x-ray diffraction patterns of samples before and after freezing, prior to fracturing and replication.Our experimental set-up is shown in Fig. 1. The sample to be quenched is placed on its holder which is then mounted on a small metal holder (O) fixed on a glass capillary (p), whose position is controlled by a micromanipulator.

Eels Under Standing Wave Conditions

1982 ◽  
Vol 40 ◽  
pp. 492-495
Author(s):  
O.L. Krivanek ◽  
J. TaftØ
Keyword(s):  
Standing Wave ◽  
Wave Conditions ◽  
Set Up ◽  
A Site ◽  
Complex Crystal

It is well known that a standing electron wavefield can be set up in a crystal such that its intensity peaks at the atomic sites or between the sites or in the case of more complex crystal, at one or another type of a site. The effect is usually referred to as channelling but this term is not entirely appropriate; by analogy with the more established particle channelling, electrons would have to be described as channelling either through the channels or through the channel walls, depending on the diffraction conditions.

Low-Loss Images in a Stem/Tem Microscope

1976 ◽  
Vol 34 ◽  
pp. 496-497 ◽  
Author(s):  
David C. Joy ◽  
Dennis M. Maher
Keyword(s):  
High Resolution ◽  
Surface Topography ◽  
Beam Direction ◽  
Low Loss ◽  
Specimen Holder ◽  
Glancing Angle ◽  
High Resolution Images ◽  
Set Up ◽  
Conventional Manner ◽  
Objective Type

High-resolution images of the surface topography of solid specimens can be obtained using the low-loss technique of Wells. If the specimen is placed inside a lens of the condenser/objective type, then it has been shown that the lens itself can be used to collect and filter the low-loss electrons. Since the probeforming lenses in TEM instruments fitted with scanning attachments are of this type, low-loss imaging should be possible.High-resolution, low-loss images have been obtained in a JEOL JEM 100B fitted with a scanning attachment and a thermal, fieldemission gun. No modifications were made to the instrument, but a wedge-shaped, specimen holder was made to fit the side-entry, goniometer stage. Thus the specimen is oriented initially at a glancing angle of about 30° to the beam direction. The instrument is set up in the conventional manner for STEM operation with all the lenses, including the projector, excited.

UHV-TEM studies of laser-induced damage

1991 ◽  
Vol 49 ◽  
pp. 632-633
Author(s):  
T.S. Savage ◽  
R. Ai ◽  
D. Dunn ◽  
L.D. Marks
Keyword(s):  
Surface Science ◽  
Rapid Heating ◽  
Local Heating ◽  
Routine Practice ◽  
Transmission Electron ◽  
Northwestern University ◽  
Laser Induced Damage ◽  
Set Up ◽  
Focusing Lens ◽  
Diffusion Of Impurities

The use of lasers for surface annealing, heating and/or damage has become a routine practice in the study of materials. Lasers have been closely looked at as an annealing technique for silicon and other semiconductors. They allow for local heating from a beam which can be focused and tuned to different wavelengths for specific tasks. Pulsed dye lasers allow for short, quick bursts which can allow the sample to be rapidly heated and quenched. This short, rapid heating period may be important for cases where diffusion of impurities or dopants may not be desirable.At Northwestern University, a Candela SLL - 250 pulsed dye laser, with a maximum power of 1 Joule/pulse over 350 - 400 nanoseconds, has been set up in conjunction with a Hitachi UHV-H9000 transmission electron microscope. The laser beam is introduced into the surface science chamber through a series of mirrors, a focusing lens and a six inch quartz window.

A simple way for producing holographic filters suitable for image improvement

1978 ◽  
Vol 36 (1) ◽  
pp. 226-227
Author(s):  
K.-H. Herrmann ◽  
E. Reuber ◽  
P. Schiske
Keyword(s):  
Transfer Functions ◽  
Diffraction Order ◽  
Lateral Position ◽  
Simple Method ◽  
Spatial Frequencies ◽  
Resolution Electron ◽  
Wiener Filters ◽  
Image Improvement ◽  
Optical Reconstruction ◽  
Set Up

Aposteriori deblurring of high resolution electron micrographs of weak phase objects can be performed by holographic filters [1,2] which are arranged in the Fourier domain of a light-optical reconstruction set-up. According to the diffraction efficiency and the lateral position of the grating structure, the filters permit adjustment of the amplitudes and phases of the spatial frequencies in the image which is obtained in the first diffraction order.In the case of bright field imaging with axial illumination, the Contrast Transfer Functions (CTF) are oscillating, but real. For different imageforming conditions and several signal-to-noise ratios an extensive set of Wiener-filters should be available. A simple method of producing such filters by only photographic and mechanical means will be described here.A transparent master grating with 6.25 lines/mm and 160 mm diameter was produced by a high precision computer plotter. It is photographed through a rotating mask, plotted by a standard plotter.

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