Thinking with FIlm images in Dawson City: Frozen Time

Although most title sequences of Ken Russell's films consist of superimpositions of a static text on film images, the elaborate title sequence to Altered States (1981) was specially designed by Richard Greenberg, who had already acquired a reputation for his innovative typography thanks to his work on Superman (1978) and Alien (1979). Greenberg continued these typographic experiments in Altered States. Although both the film and its title sequence were not personal projects for Russell, a close analysis of the title sequence reveals that it functions as a small narrative unit in its own right, facilitating the transition of the spectator from the outside world of the cinema to the inside world of filmic fiction and functioning as a prospective mise-en-abyme and matrix of all the subsequent narrative representations and sequences of the film to come. By focusing on this aspect of the film, the article indicates how the title sequence to Altered States is tightly interwoven with the aesthetic and thematic structure of the film, even though Russell himself may have had less control over its design than other parts of the film.

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Redefining Censorship

European Judaism ◽

10.3167/ej.2018.510219 ◽

2018 ◽

Vol 51 (2) ◽

pp. 134-142

Author(s):

Esther B. Schupak

Keyword(s):

United States ◽

Twentieth Century ◽

Emotional Valence ◽

The United States ◽

Educational Choice ◽

Merchant Of Venice ◽

The Past ◽

The Merchant Of Venice ◽

Film Images ◽

History Of

Abstract Because of its potential for fostering antisemitic stereotypes, in the twentieth century The Merchant of Venice has a history of being subject to censorship in secondary schools in the United States. While in the past it has often been argued that the play can be used to teach tolerance and to fight societal evils such as xenophobia, racism and antisemitism, I argue that this is no longer the case due to the proliferation of performance methods in the classroom, and the resultant emphasis on watching film and stage productions. Because images – particularly film images – carry such strong emotional valence, they have the capacity to subsume other pedagogical aspects of this drama in their emotional power and memorability. I therefore question whether the debate over teaching this play is truly a question of ‘censorship’, or simply educational choice.

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Immediate Hospital-Wide Access to X-Ray Film Images

Radiology ◽

10.1148/92.2.225 ◽

1969 ◽

Vol 92 (2) ◽

pp. 225-230 ◽

Cited By ~ 1

Author(s):

Earl R. Miller ◽

Edward M. McCurry

Keyword(s):

X Ray ◽

Film Images ◽

Wide Access

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Automatic segmentation and classification of seven-segment display digits on auroral images

Geoscientific Instrumentation Methods and Data Systems ◽

10.5194/gi-5-305-2016 ◽

2016 ◽

Vol 5 (2) ◽

pp. 305-314 ◽

Cited By ~ 2

Author(s):

Tuomas Savolainen ◽

Daniel Keith Whiter ◽

Noora Partamies

Keyword(s):

Automatic Segmentation ◽

Scientific Information ◽

Spherical Mirror ◽

Automatic Method ◽

Time Period ◽

Film Images ◽

Fully Automatic ◽

Night Sky

Abstract. In this paper we describe a new and fully automatic method for segmenting and classifying digits in seven-segment displays. The method is applied to a dataset consisting of about 7 million auroral all-sky images taken during the time period of 1973–1997 at camera stations centred around Sodankylä observatory in northern Finland. In each image there is a clock display for the date and time together with the reflection of the whole night sky through a spherical mirror. The digitised film images of the night sky contain valuable scientific information but are impractical to use without an automatic method for extracting the date–time from the display. We describe the implementation and the results of such a method in detail in this paper.

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Historia żółtej ciżemki – architectural space seen through the child’s eye

Images The International Journal of European Film Performing Arts and Audiovisual Communication ◽

10.14746/i.2017.31.02 ◽

2019 ◽

Vol 22 (31) ◽

pp. 13-20

Author(s):

Barbara Świt-Jankowska

Keyword(s):

Architectural Education ◽

Architectural Space ◽

Film Image ◽

Film Images ◽

The Status

This article focuses on the interdependencies between the film images and architectural education of the youngest. The author has attempted to define what sort of background preconditions the film image to gain the status of a source for psychoeducation, with particular emphasis placed on spatial education. The article includes a case study of Sylwester Chęciński’s film: Historia żółtej ciżemki [The Story of a Yellow Crakow] (1962).

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Dating Early and Middle (Reid) Pleistocene Glaciations in Central Yukon by Tephrochronology

Quaternary Research ◽

10.1006/qres.2001.2274 ◽

2001 ◽

Vol 56 (3) ◽

pp. 335-348 ◽

Cited By ~ 53

Author(s):

John A. Westgate ◽

Shari J. Preece ◽

Duane G. Froese ◽

Robert C. Walter ◽

Amanjit S. Sandhu ◽

...

Keyword(s):

Gulf Of Alaska ◽

Supporting Evidence ◽

Pleistocene Glaciations ◽

Late Cenozoic ◽

Aeolian Sand ◽

Oxygen Isotope Stage ◽

Aleutian Arc ◽

Dawson City ◽

Cordilleran Ice Sheet ◽

Tephra Beds

AbstractThe late Cenozoic deposits of central Yukon contain numerous distal tephra beds, derived from vents in the Wrangell Mountains and Aleutian arc–Alaska Peninsula region. We use a few of these tephra beds to gain a better understanding on the timing of extensive Pleistocene glaciations that affected this area. Exposures at Fort Selkirk show that the Cordilleran Ice Sheet advanced close to the outer limit of glaciation about 1.5 myr ago. At the Midnight Dome Terrace, near Dawson City, exposed outwash gravel, aeolian sand, and loess, related to valley glaciers in the adjacent Ogilvie Mountains, are of the same age. Reid glacial deposits at Ash Bend on the Stewart River are older than oxygen isotope stage (OIS) 6 and likely of OIS 8 age, that is, about 250,000 yr B.P. Supporting evidence for this chronology comes from major peaks in the rates of terrigeneous sediment input into the Gulf of Alaska at 1.5 and 0.25 myr B.P.

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Computer Simulation Of Radiographic Screen-Film Images

10.1117/12.975380 ◽

1986 ◽

Cited By ~ 3

Author(s):

Richard V. Metter ◽

Peter L. Dillon ◽

Kenneth E. Huff ◽

Majid Rabbani

Keyword(s):

Computer Simulation ◽

Film Images

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“Merely to see and touch it”: On Service, McCrae, and Literary Tourism in Canada

Journal of Canadian Studies ◽

10.3138/jcs-2020-0048 ◽

2021 ◽

pp. e20200048

Author(s):

Robert Zacharias

Keyword(s):

Recent Work ◽

First World War ◽

Gold Rush ◽

World War ◽

Literary Tourism ◽

The First World War ◽

Tangible Evidence ◽

Critical Error ◽

Dawson City ◽

First World

Long dismissed as a “critical error” ( Booth 2016 ) and still capable of inciting “embarrassment palpable” ( Watson 2006 ) among scholars otherwise happy to emphasize the material contexts that inform the circulation of texts, literary tourism has recently become the focus of serious academic inquiry. Recent work has begun to disaggregate the various forms of literary tourist sites ( Fawcett and Cormack 2001 ), but continues to have a methodological gap surrounding the specifically literary aspects of the practice itself, and—with the notable exception of Green Gables (Squire 1992; Devereux 2001 )—has left Canada predictably unexamined. This essay begins with a brief introduction to literary tourism in Canada before moving into a comparative analysis of two National Historic Sites associated with Canadian literary authors: the Robert Service cabin in Dawson City, Yukon, and the John McCrae House in Guelph, Ontario. The sites offer a compelling comparison as the former homes of two of the best-known Canadian poets of the early twentieth century whose works have become popularly synonymous with two of Canada’s most heavily mythologized eras. The enduring popularity of poems like “The Cremation of Sam McGee” reflect not only Service’s central role in mythologizing Canada’s north but also a strategic “cultural commoditization” of the area’s gold rush heritage ( Jarvenpa 1994 ; Grace 2001 ), while McCrae’s “In Flanders Fields” retains its status not only as the “most popular poem” of the First World War in Canada and beyond ( Fussell 2000 ), but as also as a primary example of the ideological function of Great War literature within Canada ( Holmes 2005 ; Gordon 2014 ). Although the two author houses may initially appear a study in contrasts, I draw on recent work in literary tourist studies to argue they are linked in their function as “materialized fictions” ( Hendrix 2008 ), or concrete interpretative frames that aim to offer tangible evidence of the Canadian myths their former inhabitants helped to fashion.

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