Tough Guys and Wise-Guys: Masculinities and star Images in the action cinema

2012 ◽  
pp. 92-109
Keyword(s):  
1965 ◽  
Vol 5 ◽  
pp. 109-111
Author(s):  
Frederick R. West

There are certain visual double stars which, when close to a node of their relative orbit, should have enough radial velocity difference (10-20 km/s) that the spectra of the two component stars will appear resolved on high-dispersion spectrograms (5 Å/mm or less) obtainable by use of modern coudé and solar spectrographs on bright stars. Both star images are then recorded simultaneously on the spectrograph slit, so that two stellar components will appear on each spectrogram.


2021 ◽  
Vol 11 (9) ◽  
pp. 3763
Author(s):  
Yunlong Zou ◽  
Jinyu Zhao ◽  
Yuanhao Wu ◽  
Bin Wang

Space object recognition in high Earth orbits (between 2000 km and 36,000 km) is affected by moonlight and clouds, resulting in some bright or saturated image areas and uneven image backgrounds. It is difficult to separate dim objects from complex backgrounds with gray thresholding methods alone. In this paper, we present a segmentation method of star images with complex backgrounds based on correlation between space objects and one-dimensional (1D) Gaussian morphology, and the focus is shifted from gray thresholding to correlation thresholding. We build 1D Gaussian functions with five consecutive column data of an image as a group based on minimum mean square error rules, and the correlation coefficients between the column data and functions are used to extract objects and stars. Then, lateral correlation is repeated around the identified objects and stars to ensure their complete outlines, and false alarms are removed by setting two values, the standard deviation and the ratio of mean square error and variance. We analyze the selection process of each thresholding, and experimental results demonstrate that our proposed correlation segmentation method has obvious advantages in complex backgrounds, which is attractive for object detection and tracking on a cloudy and bright moonlit night.


2014 ◽  
Vol 496-500 ◽  
pp. 1834-1839
Author(s):  
Zhe Wang ◽  
Zhe Yan ◽  
Wei Tan

The near-band IR star images segmentation and recognition is key technique in day time star navigation. Due to the scene of near-band IR star imaging relative small and stellar with high star grade are limited. Pertinence and dynamic grey level threshold is necessary for image processing arithmetic. In order to enhance near-band IR star images segmentation and recognition in real-time, this paper present the process of partial histogram grey level threshold and improve for actually near-band IR star images with scene of no more than 1.5°×1.5°. It can reduce the calculation of near-band IR star images with adjustable threshold. And get rid of disturbance of small imaging square stars and noise points.


Author(s):  
Alanna Thain

Canadian animator Norman McLaren claims that “animation is not the art of drawings that move but the art of movements that are drawn; what happens between each frame is much more important than what exists on each frame; animation is therefore the art of manipulating the invisible interstices that lie between the frames.” That has remained the default definition of animation since he first proposed it. Between the frames lie the alchemical transformations of animation and live-action cinema that exceed the still, photographed images. McLaren’s emphasis on the in-between may explain why his work involves stop-motion animation and was so strongly influenced by dance. Through consideration of McLaren’s collaborations with dancers in Ballet Adagio and Pas de Deux, but especially the aberrant movement and nonhuman dance of his A Chairy Tale, McLaren’s ability to animate change itself links dance’s potential for animation and animation’s ability to bring to screendance new potentials of the body.


Author(s):  
Martyn Conterio

Mad Max (1979) is a freak picture. Too classy and well-crafted to be lumped in with low-budget Ozploitation titles, yet completely unlike other films made during the 1970s Australian New Wave, George Miller's directorial debut is a singular piece of action cinema, one that had a major cultural impact and spawned a movie icon in Max Rockatansky (played by Mel Gibson). This monograph examines the film's considerable formal qualities in detail, including Miller's theory of cinema as “visual rock 'n' roll” and his marriage of classical Hollywood editing and Soviet-style montage. George Miller is arguably the single most important filmmaker in Australia's history, bringing a commercial and artistic vision to the screen few of his compatriots have ever managed before or since. Taking in everything from the film's extremely controversial critical reception to its legacy today via a string of sequels and the creation of an entire subgenre—postapocalyptic action—this book is for film students and fans alike.


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