On the Original Construction of the Film-Image System in Chinese Films Based on the Concept of Film-Drama

2015 ◽  
Vol 2 (1) ◽  
pp. 35
Author(s):  
Qiao Jieqiong
2020 ◽  
Vol 64 (3) ◽  
pp. 30401-1-30401-14 ◽  
Author(s):  
Chih-Hsien Hsia ◽  
Ting-Yu Lin ◽  
Jen-Shiun Chiang

Abstract In recent years, the preservation of handwritten historical documents and scripts archived by digitized images has been gradually emphasized. However, the selection of different thicknesses of the paper for printing or writing is likely to make the content of the back page seep into the front page. In order to solve this, a cost-efficient document image system is proposed. In this system, the authors use Adaptive Directional Lifting-Based Discrete Wavelet Transform to transform image data from spatial domain to frequency domain and perform on high and low frequencies, respectively. For low frequencies, the authors use local threshold to remove most background information. For high frequencies, they use modified Least Mean Square training algorithm to produce a unique weighted mask and perform convolution on original frequency, respectively. Afterward, Inverse Adaptive Directional Lifting-Based Discrete Wavelet Transform is performed to reconstruct the four subband images to a resulting image with original size. Finally, a global binarization method, Otsu’s method, is applied to transform a gray scale image to a binary image as the output result. The results show that the difference in operation time of this work between a personal computer (PC) and Raspberry Pi is little. Therefore, the proposed cost-efficient document image system which performed on Raspberry Pi embedded platform has the same performance and obtains the same results as those performed on a PC.


2010 ◽  
Vol 17 (4) ◽  
pp. 305-323 ◽  
Author(s):  
Zhiwei Xiao

AbstractNo serious study has been published on how Chinese filmmakers have portrayed the United States and the American people over the last century. The number of such films is not large. That fact stands in sharp contrast not only to the number of "China pictures" produced in the United States, which is not surprising, but also in contrast to the major role played by Chinese print media. This essay surveys the history of Chinese cinematic images of America from the early twentieth century to the new millennium and notes the shifts from mostly positive portrayal in the pre-1949 Chinese films, to universal condemnation during the Mao years and to a more nuanced, complex, and multi-colored presentation of the last few decades.


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