scholarly journals Light Catcher

2020 ◽  
Vol 5 (1) ◽  
pp. 90-95
Author(s):  
Mark Durden
Keyword(s):  
Focal Point ◽  
Relative Order ◽  
House Paint ◽  
Black And White ◽  
Short Films ◽  
White Film ◽  
Childhood Home ◽  
Family Home ◽  
Material Form ◽  
Made In

Among his remarkable performance-based short films made in the garden of his family home, two films show the artist holding a mirror to both catch and reflect sunlight back to the camera and viewer. Such performances provide a fitting allegory for his relationship to the medium of photography. As a photographer Peter Finnemore is someone who catches and plays with light. Light is key to the pictures made in his home place in rural mid Wales, Gwendraeth House. The photographs relay the intimacy he has with his childhood home, which has been in his family for generations. Finnemore has been photographing his home for thirty years and his pictures are full of hints and suggestions, traces of those who live and lived there. With people’s passing, he is now its sole occupant and the house has become more and more a portrait of his own imagining, his dream space. Finnemore photographs feelingly and describes his home as “a dreaming centre to divine and survey the spaces between darkness and stars”. Working with black and white film and the chemical-based printing process his richly toned prints explore the opposition and gradations between non-light and light, negative and positive, with all their symbolic implications. Like film, the house and its rooms are seen as receptive and responsive spaces. In Dream Traces a partly decorated wall above a bed is animated both by the gestural traces of darker paint upon it and lighter rectangular areas where posters and pictures were once attached. The wall is not blank but a field of different energy forces, the slow photographic effect of the darkening of the wall around the absent pictures against the more immediate brushmarks of house paint at its edges. The wall is also suggestive of an awakening state, the sense of something not fully coming into consciousness. This is in contrast to the relative order and geometry introduced by the wooden bars of the bedstead and the clarity of the singing and piercing detail of the white dot at the centre of an eye, painted on glass. This Greek mati, used to ward off evil, becomes the focal point of this picture and cue to many objects and elements in his pictures that are felt to be imbued with energies and powers beyond their material form. [...]

Charming but Villain

2021 ◽  
pp. 104-111
Author(s):  
Lale Kabadayı
Keyword(s):  
Black And White ◽  
White Film ◽  
Turkish Cinema ◽  
The Two Cultures ◽  
History Of ◽  
The Difference ◽  
Relationship Of ◽  
First Time ◽  
The Relationship ◽  
Made In

In the history of cinema, bad girl/boy characters are less common than other villain characters. However, these characters have a lot of influence on the audience. The Bad Seed movies, which are important book adaptations, are remarkable for the evil done by a charming, pretty little girl. The audience watched the story of this eight-year-old-girl for the first time with the adaptation made in 1956. The book was adapted as a television movie in the US both in 1985 and 2018. However, it was made in Turkey, too. This adaptation was shot in 1963 by director Nevzat Pesen. This black-and-white film is considered one of the best thriller-horror films of Turkish Cinema. In this study, the relationship of the little girl with evil will be examined in terms of differences in US and Turkish adaptations. Thus, the difference between the two cultures regarding the relationship between child and villainy will be evaluated from the point of cinema.

scholarly journals Not Quite Cricket: “Civilization on Trial in South Africa”: A Note on the First “Protest Film” Made in Southern Africa

2005 ◽  
Vol 32 ◽  
pp. 457-466 ◽  
Author(s):  
Rob Gordon
Keyword(s):  
South Africa ◽  
South African ◽  
Southern Africa ◽  
South African Government ◽  
The South ◽  
African Government ◽  
Black And White ◽  
White Film ◽  
Made In

Michael Scott, the long-term Gandhi-esque opponent of the South African government, was a man of many talents and one of his ignored skills was using a cine-camera. Between 1946 and 1948 as he worked in Tobruk squatter settlement near Johannesburg and environs and traveled to Namibia, in addition to his powerful writing, he also filmed scenes he encountered. The purpose of this note is to share the delight of viewing “Civilization on Trial in South Africa.” It is, as far as I can ascertain, the first “protest” film made in South Africa, yet is not mentioned in the standard histories of film in southern Africa (Cancel 2004, Davis, 1996, Botha/van Aswegen 1992, Tomaselli 1988). While working on another project I fortuitously came across a copy in the Smithsonian Film Archives that I had copied and have deposited in the Namibian Archives.The Smithsonian catalog dates this 24-minute edited black and white film to ca. 1950, and believes that it was shot between 1946 and 1952, prior to the implementation of the Group Areas Act, although it seems likely that shooting was completed earlier, before Scott was declared a Prohibited Immigrant in the late 1940s. Certainly, reading the documents on Scott's travels to Namibia, it seems likely that portions of his film was shot before 1948. In his autobiography, A Time to Speak, Scott mentioned showing the film in 1949 (Scott 1958:248). The Smithsonian obtained the film from the late Colin Turnbull, an Oxford educated Africanist anthropologist (J. Homiak, personal comment).

Superior 2X2 Slides

1975 ◽  
Vol 33 ◽  
pp. 158-159
Author(s):  
Harry Schaefer ◽  
Bruce Wetzel
Keyword(s):  
New York ◽  
High Resolution ◽  
Black And White ◽  
Fine Grain ◽  
White Film

High resolution 24mm X 36mm positive transparencies can be made from original black and white negatives produced by SEM, TEM, and photomicrography with ease, convenience, and little expense. The resulting 2in X 2in slides are superior to 3¼in X 4in lantern slides for storage, transport, and sturdiness, and projection equipment is more readily available. By mating a 35mm camera directly to an enlarger lens board (Fig. 1), one combines many advantages of both. The negative is positioned and illuminated with the enlarger and then focussed and photographed with the camera on a fine grain black and white film.Specifically, a Durst Laborator 138 S 5in by 7in enlarger with 240/200 condensers and a 500 watt Opale bulb (Ehrenreich Photo-Optical Industries, Inc., New York, NY) is rotated to the horizontal and adjusted for comfortable eye level viewing.

scholarly journals The HrpG/HrpX Regulon of Xanthomonads—An Insight to the Complexity of Regulation of Virulence Traits in Phytopathogenic Bacteria

2021 ◽  
Vol 9 (1) ◽  
pp. 187
Author(s):  
Doron Teper ◽  
Sheo Shankar Pandey ◽  
Nian Wang
Keyword(s):  
Regulatory Network ◽  
Regulatory Networks ◽  
Focal Point ◽  
Genetic Regulation ◽  
Transcriptional Regulators ◽  
Secretion System ◽  
In Planta ◽  
Type 3 Secretion System ◽  
Type 3 ◽  
Made In

Bacteria of the genus Xanthomonas cause a wide variety of economically important diseases in most crops. The virulence of the majority of Xanthomonas spp. is dependent on secretion and translocation of effectors by the type 3 secretion system (T3SS) that is controlled by two master transcriptional regulators HrpG and HrpX. Since their discovery in the 1990s, the two regulators were the focal point of many studies aiming to decipher the regulatory network that controls pathogenicity in Xanthomonas bacteria. HrpG controls the expression of HrpX, which subsequently controls the expression of T3SS apparatus genes and effectors. The HrpG/HrpX regulon is activated in planta and subjected to tight metabolic and genetic regulation. In this review, we cover the advances made in understanding the regulatory networks that control and are controlled by the HrpG/HrpX regulon and their conservation between different Xanthomonas spp.

scholarly journals SOIL MAPPING ACCURACY FROM BLACK AND WHITE, COLOR, AND INFRARED AERIAL PHOTOGRAPHY

1971 ◽  
Vol 51 (3) ◽  
pp. 461-469 ◽  
Author(s):  
K. W. G. VALENTINE ◽  
T. M. LORD ◽  
W. WATT ◽  
A. L. BEDWANY
Keyword(s):  
Aerial Photography ◽  
Soil Mapping ◽  
Photographic Film ◽  
Soil Maps ◽  
Mapping Accuracy ◽  
Color Film ◽  
Black And White ◽  
White Film ◽  
Soil Surveys ◽  
Terrain Features

The accuracy obtainable from four types of aerial photographic film in the mapping and description of soil and terrain features was measured. Black and white film gave a soil mapping accuracy of 72% and was just as good as the color or infrared films for the description of specific terrain features in mountain lands. The accuracy of the soil map in the mountain lands and the description of terrain features in an alluvial valley increased to over 80% with the color film. Infrared film, both color and black and white, gave slightly more accurate soil maps in the valley. The use of a film like Kodak Special Ektachrome MS Aerographic Type SO-151 is recommended for future soil surveys. Black and white prints and color prints and transparencies can all be obtained from the same roll of this film type.

Preserving Color Television Programs on Black-and-White Film by Electronic Video Recording

SMPTE Journal ◽  
1978 ◽  
Vol 87 (1) ◽  
pp. 9-15 ◽  
Author(s):  
Akiji Maekawa ◽  
Hiroshi Iino ◽  
Takashi Shigesawa ◽  
Tadakazu Tsutada
Keyword(s):  
Video Recording ◽  
Television Programs ◽  
Black And White ◽  
White Film ◽  
Color Television

scholarly journals Visualizing Acoustic Space

2008 ◽  
Vol 17 (3) ◽  
pp. 45-56 ◽  
Author(s):  
Gascia Ouzounian
Keyword(s):  
Media Studies ◽  
Music Composition ◽  
Visual Space ◽  
Le Corbusier ◽  
Black And White ◽  
White Film ◽  
Spatial Composition ◽  
Acoustic Space

Abstract This article explores concepts of acoustic space in postwar media studies, architecture, and spatial music composition. A common link between these areas was the characterization of acoustic space as indeterminate, chaotic, and sensual, a category defined in opposition to a definite, ordered, and rationalized visual space. These conceptual polarities were vividly evoked in an iconic sound-and-light installation, the Philips Pavilion at the 1958 Brussels World Fair. Designed by Le Corbusier, the Philips Pavilion also featured a black-and-white film, color projections, hanging sculptures, and Edgard Varèse’s Poème électronique, a spatial composition distributed over hundreds of loudspeakers and multiple sound routes. Typically remembered as a sequence of abstract sound geometries, the author argues that Poème électronique was instead an allegorical work that told a “story of all humankind.” This narrative was expressed through a series of conceptual binaries that juxtaposed such categories as primitive/enlightened, female/male, racialized/white, and sensual/ rational– contrasts that were framed within the larger dialectic between acoustic and visual space.

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