Statistical Style Analysis of Motion Pictures

1974 ◽  
Vol 28 (1) ◽  
pp. 13-22 ◽  
Author(s):  
Barry Salt
1974 ◽  
Vol 28 (1) ◽  
pp. 13-22 ◽  
Author(s):  
Barry Salt

2015 ◽  
Vol 2015 ◽  
pp. 1-8
Author(s):  
Marek Jóźwiak ◽  
Brian Po-Jung Chen ◽  
Bartosz Musielak ◽  
Jacek Fabiszak ◽  
Andrzej Grzegorzewski

This study presents how motion pictures illustrate a person with cerebral palsy (CP), the social impact from the media, and the possibility of cerebral palsy education by using motion pictures. 937 motion pictures were reviewed in this study. With the criteria of nondocumentary movies, possibility of disability classification, and availability, the total number of motion pictures about CP was reduced to 34. The geographical distribution of movie number ever produced is as follows: North America 12, Europe 11, India 2, East Asia 6, and Australia 3. The CP incidences of different motor types in real world and in movies, respectively, are 78–86%, 65% (Spastic); 1.5–6%, 9% (Dyskinetic); 6.5–9%, 26% (Mixed); 3%, 0% (Ataxic); 3-4%, 0% (Hypotonic). The CP incidences of different Gross Motor Function Classification System (GMFCS) levels in real world and in movies, respectively, are 40–51%, 47% (Level I + II); 14–19%, 12% (Level III); 34–41%, 41% (Level IV + V). Comparisons of incidence between the real world and the movies are surprisingly matching. Motion pictures honestly reflect the general public’s point of view to CP patients in our real world. With precise selection and medical professional explanations, motion pictures can play the suitable role making CP understood more clearly.


PEDIATRICS ◽  
1966 ◽  
Vol 37 (1) ◽  
pp. 177-181

DESCENDED from the kymograph and odograph, the motion picture camera was conceived by E. J. Marey, whose attempts to study the locomotion of animals led first, in 1882, to his fusil photographique, a device making twelve consecutive exposures on a circular glass photographic plate in one second, and then to the chambre chronophotographique, the prototype of the modern cinema camera, in which a several meter strip of light sensitive paper moved intermittently across the lens of a camera at a controlled rate. This device was used for the further study of the locomotion of animals. During approximately the same period and working on a different tack, E. Muybridge, in association with Leland Stanford, the founder of Stanford University, isolated the components of movement in the gait of a race horse by consecutive photographs taken by a row of several cameras. This led to a studio in which similar multiple exposures, the consecutive rate of which could be controlled, were made of moving humans and animals. While the major activity in motion pictures soon became entertainment, the scientific use continued to be centered on that which had intrigued Marey and Muybridge: the analysis of motion. Gilbreth, in 1913, applied the motion picture to the analysis of the components of work to facilitate industrial management; Frisch, in 1926, investigated the communication of bees through examination of cinema sequences of their dance, and Wassink, in 1928, similarly studied abnormalities of walking. As equipment became more sophisticated, the use of high-speed cameras made analysis of more and more complex and rapidly moving processes practicable.


1992 ◽  
Author(s):  
Richard Riding ◽  
Eugene Sadler-Smith

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