scholarly journals Disability on Film: An Exploration of Film Codes’ Obstructiveness in City Lights and Children of a Lesser God

2021 ◽  
Vol 10 (3) ◽  
pp. 69-95
Author(s):  
Michael T. Smith
Keyword(s):  
Film Production ◽  
Deaf Students ◽  
Conventional Film ◽  
Sensory Disability

Looking at two films that center upon a sensory disability (Chaplin’s City Lights and Randa Haines’ Children of a Lesser God), I propose that despite many gestures of sensitivity, these films reinforce an othering of the non-normative subject through conventional film codes and conventions. For example, in Haines’ film, the protagonist James Leeds (William Hurt) delivers a lecture on facing his deaf students so that they can read his lips. However, this scene is shot with his back turned away from us (the viewer). Rather than presenting an instance of irony, moments like this reinforce notions of normativity. Specifically, it’s the mechanism(s) behind and within film production that reinforce problematic notions of “normality” while trying to trump them.

Use of digital microscopy in process control during the manufacture of rubber-modified thermoplastics

1996 ◽  
Vol 54 ◽  
pp. 616-617
Author(s):  
M. T. Dineen
Keyword(s):  
Ccd Camera ◽  
Operating Costs ◽  
Hard Copy ◽  
Production Plant ◽  
Digital Microscopy ◽  
Nih Image ◽  
Transmission Electron ◽  
Conventional Film ◽  
Product Loss ◽  
Image Collection

The production of rubber modified thermoplastics can exceed rates of 30,000 pounds per hour. If a production plant needs to equilibrate or has an upset, that means operating costs and lost revenue. Results of transmission electron microscopy (TEM) can be used for process adjustments to minimize product loss. Conventional TEM, however, is not a rapid turnaround technique. The TEM process was examined, and it was determined that 50% of the time it took to complete a polymer sample was related to film processing, even when using automated equipment. By replacing the conventional film portion of the process with a commercially available system to digitally acquire the TEM image, a production plant can have the same TEM image in the control room within 1.5 hours of sampling.A Hitachi H-600 TEM Operated at 100 kV with a tungsten filament was retrofitted with a SEMICAPS™ image collection and processing workstation and a KODAK MEGAPLUS™ charged coupled device (CCD) camera (Fig. 1). Media Cybernetics Image-Pro Plus software was included, and connections to a Phaser II SDX printer and the network were made. Network printers and other PC and Mac software (e.g. NIH Image) were available. By using digital acquisition and processing, the time it takes to produce a hard copy of a digital image is greatly reduced compared to the time it takes to process film.

Exploring the Potential Impact of Sentence-Level Comprehension and Sentence-Level Fluency on Deaf Students' Passage Comprehension

2020 ◽  
Vol 63 (7) ◽  
pp. 2281-2292
Author(s):  
Ying Zhao ◽  
Xinchun Wu ◽  
Hongjun Chen ◽  
Peng Sun ◽  
Ruibo Xie ◽  
...  
Keyword(s):  
Independent Predictor ◽  
Vocabulary Knowledge ◽  
Group Differences ◽  
Regression Analyses ◽  
Deaf Students ◽  
Mediating Role ◽  
Sentence Level ◽  
Mediating Mechanisms ◽  
Potential Impact ◽  
The Relationship

Purpose This exploratory study aimed to investigate the potential impact of sentence-level comprehension and sentence-level fluency on passage comprehension of deaf students in elementary school. Method A total of 159 deaf students, 65 students ( M age = 13.46 years) in Grades 3 and 4 and 94 students ( M age = 14.95 years) in Grades 5 and 6, were assessed for nonverbal intelligence, vocabulary knowledge, sentence-level comprehension, sentence-level fluency, and passage comprehension. Group differences were examined using t tests, whereas the predictive and mediating mechanisms were examined using regression modeling. Results The regression analyses showed that the effect of sentence-level comprehension on passage comprehension was not significant, whereas sentence-level fluency was an independent predictor in Grades 3–4. Sentence-level comprehension and fluency contributed significant variance to passage comprehension in Grades 5–6. Sentence-level fluency fully mediated the influence of sentence-level comprehension on passage comprehension in Grades 3–4, playing a partial mediating role in Grades 5–6. Conclusions The relative contributions of sentence-level comprehension and fluency to deaf students' passage comprehension varied, and sentence-level fluency mediated the relationship between sentence-level comprehension and passage comprehension.

From Film Practice to Data Process

2018 ◽  
Author(s):  
Sarah Atkinson
Keyword(s):  
Film Industry ◽  
Film Production ◽  
Profound Change ◽  
Data Process ◽  
Production Practices ◽  
Digital Film ◽  
Contemporary Britain

From Film Practice to Data Process critically examines the practices of independent digital feature filmmaking in contemporary Britain. The business of conventional feature filmmaking is like no other, in that it assembles a huge company of people from a range of disciplines on a temporary basis, all to engage in the collaborative endeavour of producing a unique, one-off piece of work. The book explicitly interrogates what is happening at the frontiers of contemporary ‘digital film’ production at a key transitional moment in 2012, when both the film industry and film-production practices were situated between the two distinct medium polarities of film and digital. With an in-depth case study of Sally Potter’s 2012 film Ginger & Rosa, drawing upon interviews with international film industry practitioners, From Film Practice to Data Process is an examination of film production in its totality, in a moment of profound change.

Cross-border Implications: Transnational Haunting, Gender and the Persistent Look of The Eye

2018 ◽  
Author(s):  
Enrique Ajuria Ibarra
Keyword(s):  
Southeast Asian ◽  
Horror Films ◽  
Film Production ◽  
Visual Preference ◽  
Female Protagonists ◽  
Cross Border ◽  
Film Series ◽  
Eastern Traditions

The Eye (Gin Gwai, 2002) and its two sequels (2004, 2005) deal with pan-Asian film production, gender, and identity. The films seem to embrace a transnational outlook that that fits a shared Southeast Asian cinematic and cultural agenda. Instead, they disclose tensions about Hong Kong’s identity, its relationship with other countries in the region, and its mixture of Western and Eastern traditions (Knee, 2009). As horror films, The Eye series feature transpositional hauntings framed by a visual preference for understanding reality and the supernatural that is complicated by the ghostly perceptions of their female protagonists. Thus, the issues explored in this film series rely on a haunting that presents textual manifestations of transposition, imposition, and alienation that further evidence its complicated pan-Asian look. This chapter examines the films’ privilege of vision as catalyst of a transnational, Asian Gothic horror aesthetic that addresses concepts of identity, gender, and subjectivity.

Producing Outside the Box: Creative Strategies in the Work of Betty E. Box, 1957–64

2020 ◽  
Vol 17 (3) ◽  
pp. 355-374
Author(s):  
John D. Ayres
Keyword(s):  
Second World War ◽  
Film Production ◽  
World War ◽  
E Box ◽  
Film Producer ◽  
British Cinema ◽  
Working Practices ◽  
Location Shooting ◽  
Second World

This article considers the working practices of British cinema's only major female film producer during the early-to-mid post-Second World War era, Betty E. Box (1915–99). Via reference to her extensive archive at the British Film Institute and the films Campbell's Kingdom (1957), The Wind Cannot Read (1958) and Hot Enough for June (1964), the article charts how Box initially envisaged multi-generational casting for roles that were eventually taken by long-term collaborator Dirk Bogarde. It considers the manner in which she approached the diplomatic complexities of location shooting, with particular focus on Ralph Thomas's military romance The Wind Cannot Read, the first British film to be shot in India for twenty years at the time of its production. The reasoning for Box's ongoing absence, as a female creative figure, from scholarship addressing British cinema, and film production more generally, will also be addressed.

Everyday Catastrophes: Gender, Labour and Power in Beckett's Theatre

2019 ◽  
Vol 28 (1) ◽  
pp. 19-34
Author(s):  
Trish McTighe
Keyword(s):  
Sexual Harassment ◽  
Entertainment Industry ◽  
Film Production ◽  
Social Hierarchies ◽  
The Everyday ◽  
The World ◽  
Public Consciousness ◽  
Gender Boundaries ◽  
The Invisible ◽  
Making Art

In an era of public consciousness about gendered inequalities in the world of work, as well as recent revelations of sexual harassment and abuse in theatre and film production, Beckett's Catastrophe (1982) bears striking resonances. This article will suggest that, through the figure of its Assistant, the play stages the gendered nature of the labour of making art, and, in her actions, shows the kind of complicit disgust familiar to many who work in the entertainment industry, especially women. In unpacking this idea, I conceptualise the distinction between the everyday and ‘the event’, as in, between modes of quotidian labour and the attention-grabbing moment of art, between the invisible foundations of representation and the spectacle of that representation. It is my thesis that this play stages exactly this tension and that deploying a discourse of maintenance art allows the play to be read in the context of the labour of theatre-making. Highlighting the Assistant's labour becomes a way of making visible the structures of authority that are invested in maintaining gender boundaries and showing how art is too often complicit in the maintenance of social hierarchies.

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