A Theoretical Analysis of Alternative Fiction Film Production Workshop Model - Part 1: Focusing on the Frame of a Moving Image

The 1990s marked the beginning of a period of unprecedented film production activity in Scotland, part of the wider outpouring of artistic expression – notably in literature, theatre and painting – that occurred in the aftermath of the 1979 Scottish Assembly debacle and which came to constitute a kind of cultural devolution in the absence of political self-determination. The ‘new Scottish cinema’ provided a steady stream of films like Rob Roy (1995), Trainspotting (1996), Small Faces (1996), Regeneration (1997), My Name is Joe (1998), Mrs Brown (1998), Orphans (1998) and Ratcatcher (1999). These were underpinned by a fledging infrastructure that included significant new sources of finance for feature development and production, short film schemes designed to develop new talent and encouragement and assistance for incoming international productions. Therefore, it is all the more disappointing that since the achievement of political devolution in 1999, this creative energy and excitement has largely dissipated with the result that there is now less funding available for Scottish film-making than in the period before the return of a parliament and executive to Edinburgh. This article explores the implications of this ‘cultural eclipse’, exploring the power of the moving image to contribute in powerful ways to national projection and identity and charting the ways in which cinematic representations of Scotland have changed and developed before considering some of the reasons why the creative energy of the 1990s was subsequently dissipated. This state of affairs is contrasted with the success of film and television in Denmark, another small European nation that has adopted a markedly more enlightened approach to policy-making and institution-building.

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Onstage/Onscreen

Rock Star/Movie Star ◽

10.1093/oso/9780190888404.003.0004 ◽

2020 ◽

pp. 96-134

Author(s):

Landon Palmer

Keyword(s):

Film Production ◽

Sound Recording ◽

Moving Image ◽

Music Festival ◽

Nonfiction Film ◽

Film Studios ◽

Direct Cinema ◽

Image Representations ◽

The 1960S ◽

Case Basis

The link between alternative film production and rock culture continued in the subgenre of the music festival documentary, which came into being through the direct cinema documentary movement. The transition from the recording studio to the live stage was a defining one for rock culture at the end of the 1960s, and the aesthetics of presenting dynamic concert performances—communicated widely by audio and moving image representations of concerts—displayed ideals of rock authenticity. Exploring four feature documentary projects organized around the countercultural space of the rock festival, my third chapter demonstrates how emergent means of nonfiction film production shaped the onscreen spectacle of a rock musician performing live onstage. Through concert documentaries, a rock star no longer had to go to the studio lot to appear onscreen; instead, their stage labor could be preserved and extended through new camera and sound recording technologies. However, while the technologies (and filmmakers’ philosophies) that informed direct cinema seemed to offer a uniquely uncompromised means for representing rock culture onscreen, the production histories of concert documentaries also reveal how rock stars’ control over their own representation was not distributed equally, ranging from the option of refusing to be filmed to the power to determine whether a film project even saw the light of day. Produced in the absence of major film studios, arrangements of power between filmmakers, rock stars, and festival organizers existed on a case-by-case basis, and rock stars operated on a spectrum between observed subjects and controlling gatekeepers of moving image depictions of their performances.

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Girl Head

10.5422/fordham/9780823289554.001.0001 ◽

2020 ◽

Author(s):

Genevieve Yue

Keyword(s):

Sexual Difference ◽

Media History ◽

Material Object ◽

Experimental Film ◽

Film Production ◽

Early Cinema ◽

Moving Image ◽

Film Image ◽

Common Motif ◽

Feminist Film

For decades, feminist film analysis has been focused on issues of representation: images of women in film. But what are the feminist implications of the material object underlying that image, the filmstrip itself? What does feminist analysis have to offer in understanding the film image before it enters the realm of representation? In Girl Head: Feminism and Film Materiality, Genevieve Yue explores how gender and sexual difference have been deeply embedded within film materiality. Though the industrial practices she examines are typically hidden from view, they are no less gendered than the images projected onscreen. In rich archival and technical detail, Yue examines three sites of technical film production: the film laboratory, editing practices, and the film archive. Within each site, she locates a common motif, the vanishing female body, which is transformed into material to be used in the making of a film. Yue develops a theory of gender and film materiality through readings of narrative film, early cinema, experimental film, and moving image art. In this original work of feminist media history, Girl Head shows how gender has had a surprising and persistent role in film production processes, well before the image ever appears onscreen.

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Microdiffraction Patterns of Small Metallic Particles II; Theoretical Analysis

Proceedings, annual meeting, Electron Microscopy Society of America ◽

10.1017/s0424820100055680 ◽

1982 ◽

Vol 40 ◽

pp. 668-669

Author(s):

A. Gómez ◽

P. Schabes-Retchkiman ◽

M. José-Yacamán ◽

T. Ocaña

Keyword(s):

Experimental Data ◽

Electron Diffraction ◽

Theoretical Analysis ◽

Size Range ◽

Dynamical Theory ◽

Metallic Particles ◽

Splitting Effect

The splitting effect that is observed in microdiffraction pat-terns of small metallic particles in the size range 50-500 Å can be understood using the dynamical theory of electron diffraction for the case of a crystal containing a finite wedge. For the experimental data we refer to part I of this work in these proceedings.

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Theoretical analysis of a monopole antenna with conducting flat disk above the earth

Electronics and Communications in Japan (Part I Communications) ◽

10.1002/ecja.1021.abs ◽

2001 ◽

Vol 84 (7) ◽

pp. 27-36

Author(s):

Aki Yuasa ◽

Daisuke Itatsu ◽

Naoki Inagaki ◽

Nobuyoshi Kikuma

Keyword(s):

Theoretical Analysis ◽

Monopole Antenna ◽

The Earth ◽

Flat Disk

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Context Aversion, Pavlovian Conditioning, and the Psychological Side Effects of Chemotherapy

European Psychologist ◽

10.1027/1016-9040.2.118 ◽

1997 ◽

Vol 2 (2) ◽

pp. 118-124

Author(s):

Geoffrey Hall

Keyword(s):

Animal Model ◽

Side Effects ◽

Theoretical Analysis ◽

Conditioned Response ◽

Behavioral Strategies ◽

Contextual Cues ◽

Anticipatory Nausea ◽

Laboratory Rats ◽

Anticipatory Nausea And Vomiting ◽

Parallel Case

Patients who have undergone several sessions of chemotherapy for cancer will sometimes develop anticipatory nausea and vomiting (ANV), these unpleasant side effects occurring as the patients return to the clinic for a further session of treatment. Pavlov's analysis of learning allows that previously neutral cues, such as those that characterize a given place or context, can become associated with events that occur in that context. ANV could thus constitute an example of a conditioned response elicited by the contextual cues of the clinic. In order to investigate this proposal we have begun an experimental analysis of a parallel case in which laboratory rats are given a nausea-inducing treatment in a novel context. We have developed a robust procedure for assessing the acquisition of context aversion in rats given such training, a procedure that shows promise as a possible animal model of ANV. Theoretical analysis of the conditioning processes involved in the formation of context aversions in animals suggests possible behavioral strategies that might be used in the alleviation of ANV, and we report a preliminary experimental test of one of these.

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