Moving Image

Media" Thomas Elsaesser situates industrial films within a broader research agenda concerned with non-fiction film and provides a series of theoretical handles that may prove useful in future research. In "Record, Rhetoric, Rationalization: Industrial Organization and Film" Vinzenz Hediger and Patrick Vonderau propose a framework of analysis that differentiates between the film medium's specific organizational functions. And finally, in "Vernacular Archiving," a conversation with Patrick Vonderau, Rick Prelinger discusses some of the issues involved in the archiving of industrial and other "ephemeral" films, as he proposes to call them. Section II, "Visuality and Efficiency," brings together a series of case studies that discuss issues of knowledge, visuality, and efficient industrial organization, with most of the six contributions focusing on early cinema and paracinematic visual practices such as the slide show. In "Early Industrial Moving Pictures in Germany," film historian Martin Loiperdinger provides a survey of the representation of industrial production in early German cinema. In "Layers of Cheese: Generic Overlap in Early Non-Fiction Films on Production Processes," Frank Kessler and Eef Masson discuss process films in terms of their strategies of address and visual representation, demonstrating the extent to which the visual vernacular of the industrial film was formed outside organizational discourse in popular film forms, only to be imported into the rhetoric of industrial organization later on. Scott Curtis proposes a new perspective on the workstudy films of Frank Gilbreth in "Images of Efficiency," highlighting their formal strategies as part of the discourses of contemporary management theory rather than taking the films and their claims of improved efficiency at face value. In " 'What Hollywood Is to America, the Corporate Film Is to Switzerland': Remarks on Industrial Film as Utility Film," Yvonne Zimmermann proposes a post-auteurist approach to industrial films, arguing from the wealth of such material in Swiss film archives. Gérard Leblanc discusses the complex web of relationships that condition the work of the industrial filmmaker in "Poussières: Writing the Real vs. the Documentary Real," taking a film by Georges Franju on the prevention of health hazards in postwar France as his example. In "Thermodynamic Kitsch: Visuality, Computing, and Industrial Organization in German Industrial Films, /," Vinzenz Hediger discusses the introduction of computing technology in German industrial production and its representation in industrial films, arguing that computing technologies induce a specific crisis of visibility in the representational strategies of industrial films. Section III, "Films and Factories," comprises case studies of the use of film in specific corporations. In "Touring as a Cultural Technique: Visitor Films and Autostadt Wolfsburg," Patrick Vonderau discusses film and the visual strategies of the guided tour of Volkswagen's main factory in Wolfsburg, Germany, and proposes an analysis of the factory visit as a specifically modern "cultural 14 Vinzenz Hediger and Patrick Vonderau media use, from telephone to film, were intricately intertwined in this model city built in the Moravian countryside in the s. In "A Modern Medium for a Modern Message: Norsk Jernverk, -, Through the Camera Lens," Bjørn Sørenssen discusses the Norwegian mining and steel town Mo i Rana, a key example of state planning in the postwar era and a prestige project whose changing fortunes can be traced through the film work devoted to the project. And finally, in "Harbor, Architecture, Film: Rotterdam, -," a study of an early case of city branding, Floris Paalman shows how film played a major role in providing the port city of Rotterdam with a modernist self-image and implementation of the relevant architectural policies. Concluding the volume, the last section of our book combines an essay by historian and archivist Ralf Stremmel on potential future avenues of industrial film research with an annotated international bibliography of industrial film scholarship by Anna Heymer and Patrick Vonderau. Finally, one omission in this volume needs to be addressed: The collection does not include an essay on Sovjet industrial films or from a socialist country. Being at the stage that it is, this area has as yet to be addressed in industrial film research. While we purposely wanted to avoid an auteurist approach to industrial rhetoric in classical Sovjet cinema, few if any scholars at this point have developed a sustained interest in the archival holdings of industrial films in the former Sovjet republics and former socialist countries of central Europe beyond the auteurist canon. At least judging from the case of the National Film Archive in Prague, these holdings are considerable and promise to be rewarding for future research. For the English translations and revisions of the manuscript, our gratitude goes to David Hendrickson and especially to Steve Wilder for his many helpful suggestions. Translations were made possible through a generous grant from the Alfried Krupp von Bohlen und Halbach foundation. . Quoted in Mancur Olson, The Rise and Decline of Nations: Economic Growth, Stagflation, and Social Rigidities (New Haven and London: Yale University Press, ), p. . . But how exciting such scholarship can be. See, for instance, Edward Dimendberg's detailed analysis of Alain Resnais' Le chant du styrène, which, for reasons of space, could not be reprinted here but should be consulted by the interested reader. Edward Dimendberg, "'These Are Not Exercises in Style': Le Chant du Styrène," October,  (Spring ), pp. -. ment uses of the cinematic apparatus over the past hundred years. The Amsterdam project has been inventorying some of these non-entertainment histories of the moving image under what I have called the three S/M practices of the cinematic machine: surveillance and military applications, surgery and medicine, and sensoring and monitoring. I recently edited a book on Harun Farocki, where notably the first S/M practice, i.e., surveillance and military uses, is being extensively thematized.  Farocki, an increasingly well-known German media artist and theorist, hasin addition to his recent installations relating to the notion of surveillance (Ich glaubte, Gefangene zu sehen, Die Schöpfer der Einkaufswelten)a long and exemplary filmography dealing with industrial films, training films, procedurals, test films, and aerial reconnaissance photography.  A colleague of mine, Jose van Dijck, has written on surgery and medicine, in a study called The Transparent Body ().  Together with Lev Manovich I am also working on a project dealing with Augmented Space and Intelligent Surfaces, which will look at embedded information in our built urban and domestic environment, that is, the increasing presence of sensors and interactive devices which passively register our presence or provide information when actively accessed.  Although none of these media archaeologies or S/M practices is specifically focused on the industrial film, I see our endeavor in this direction to offer potentially interesting insights and fruitful cross-referencing with scholars and archivists working on the industrial film. Another line of inquiry that has already obliged me to engage with the industrial film proper comes out of a four-year funded doctoral research project I set up for some  Ph.D. candidates, called Cinema Europe. Of the various subprojects, at least three are directly relevant to our topic. One is concerned with Architecture, Urbanism and Cinematic City in Europe. Floris Paalman's doctoral thesis is centered on the mediatization of Rotterdam over the past  to  years. Here, hitherto barely identified and virtually anonymous creators of the photographic and cinematic iconography of the city such as Andor von Barsy are given their due, e.g., for industrial films featuring the harbor, bridges across the Maas, and other public works. However, the point is not to unearth forgotten "auteurs" of the art of cinema, but to make a city the central reference point, indeed the veritable "auteur" of a body of work that crosses the media (film, photography, audio records) and genres (documentary, fiction, training, industrial, advertising), while providing something like a living memory and neural network for a major European city's changing self-image and media self-presen-20

The consideration about film documents has evolutioned during the almost one hundred and twenty years of history of film: from being considerated as a mere merchandise which once used could be thrown out to be considerated part of a documentary, cultural and historical heritage whose preservation will have a vital importance as a memory of humanity for future generations. During this long way, which we will go across on the present research, some people (cinephiles, collectors, film producers and archives professionals) defended that documentary value, working and proposing projects until they achieved the creation of public film archives and of the international federation which coordinates them even today (FIAF), as well as that public organizations officially recognise that value from 1980. Remembering their recognitions, worries and projects, we want to pay a necessary homage with this work to all those people, at an opportune moment characterized by big cutbacks to film archives by governments. We must not allow those efforts fall into a dangerous oblivion which causes a new wave of massive destruction of film heritage, similar to the ones at the beginnings of the twenties, thirthies and fifties of the twentieth century. /
La consideracion que se ha tenido sobre los documentos filmicos ha evolucionado a lo largo de los casi ciento veinte anos de historia del cine, pasando estos de ser considerados mera mercancia que una vez usada podia desecharse a considerarse parte de un patrimonio documental, cultural e historico cuya preservacion tendra una importancia vital como memoria de la Humanidad para las futuras generaciones. En este dificultoso camino, que recorreremos en el presente articulo, algunas personas (cinefilos amantes del cine, coleccionistas, productores y otros profesionales del cine y de los archivos) reivindicaron ese valor documental, trabajando y proponiendo proyectos concretos hasta lograr que se creasen filmotecas publicas y la Federacion Internacional de Archivos Filmicos (FIAF) que aun hoy las coordina, asi como que los organismos publicos reconociesen oficialmente dicho valor a partir de 1980. Recordando sus reivindicaciones, preocupaciones y proyectos, queremos rendir un necesario homenaje con la presente investigacion a todas estas personas, en un momento oportuno de grandes recortes economicos a las filmotecas por parte de los gobiernos, para que aquellos esfuerzos no caigan en un peligroso olvido que nos haga volver a presenciar una nueva oleada de destruccion masiva del patrimonio cinematografico, similar a las sufridas a comienzos de los anos veinte, treinta y cincuenta del siglo XX.

Film-cultural processes of change in today’s network society, especially that of relocation, draw attention to an increasingly personalized and active film experience. Against this background, a transdisciplinary, application-oriented film-psychological approach is proposed here that is situational, processual–dynamic, and affective–integrative. It is oriented toward the aesthetic experience of recipients of audiovisual artworks. Based on movement and vitality, affective–integrative film psychology investigates the intertwining of the affect dramaturgy, dynamic affectivity, and performance of the recipients. The so-called film-psychological experience matrix is presented as an original field of research.

In design, sensual experience, where the sense of touch is coupled with vision, plays an important role in building designers’ internal knowledge. Therefore, many design schools put emphasis on perceptually grounded experience, especially in the first year curriculum. Foundation of perceptually ground experience as formal educational concept goes back to Bauhaus, which is one of the most important teachings of Bauhaus that still influences today's design education. However, in contemporary practice, especially with the use of the computers, perceptual grounded experience in design studios highly decimated and mostly limited with visual experience. Moreover, tactile experience has often been neglected in comparison to visual experience both in design practice and research. With this regard, this study analyses tactile experience in design based on the teachings of Moholy-Nagy. Educational approach of Moholy-Nagy on tactility will be elaborated within the perspective of grounded and embodied cognition. This paper aims to contribute to the understanding of tactile experience in design within the frame of embodied perspective. Keywords: embodied cognition, tactile experience, design education, Bauhaus, Moholy-Nagy.

The moving image production process has a structure that depends on the universal rules of physical science, is sensitive to technological innovations and focuses on the viewer experience. Digitalisation processes in the fields of series and films open the doors to many innovations, directing production companies to the field and aiming to bring the viewing experience to the highest level. Virtual production technology is also recognised as one of the groundbreaking innovations in moving image production. The concept of virtual production is used to encompass innovative production models such as the creation of virtual universes for the realisation of productions, the use of backgrounds consisting of LED screens, and the possibility of real-time rendering. Virtual production technology offers real-time rendering with the inclusion of game engines such as Unity and Unreal Engine in the moving image production process, blurring the boundaries between the production and post-production stages. In addition to the global developments in virtual production technology, production companies in Turkey are also making pioneering initiatives by focusing on this issue. In this study, the development process of virtual production in the world is explained, and the Prince TV series, which is one of the first productions in Turkey using this technology, is analysed technically by using the content analysis method. It has been concluded that the virtual production technology used in the series makes significant contributions to the production process in terms of actor management, image management, art management, removes time and space dependency, and maximises the actor experience. It is predicted that this technology will become accessible to independent producers in time and can be integrated into all stages of moving image production.
Keywords: Virtual Production, Moving Image, Real-Time Render, Prince Series

Introduction
Given the rapid process of industrialization, expansion of agriculture, increased reliance on fossil fuels, and the intensification of climatic conditions, air quality has rapidly deteriorated in recent years. One of the most important issues and challenges facing the world today is air pollution, particularly PM2.5 pollution. This problem has evolved into one of the most complex and serious dilemmas affecting the lives of people worldwide. Exposure to high levels of air pollution has negative health implications. The present study aims to measure the willingness to pay of Mashhad city residents for the improvement of PM2.5 pollution and identify the factors influencing this willingness to pay.

Materials and Methods
This study used contingent valuation and the multiple-bound discrete choice model to calculate individuals' willingness to pay. The research focused on the certainty level of "definitely yes" and generated 13 different proposals ranging from 10,000 Toman to 200,000 Toman. The ordered logit regression model was employed to analyze the factors influencing the willingness of Mashhad citizens to pay for air quality improvement. The study collected 343 questionnaires from Mashhad city residents, considering variables such as education level, age, gender, marital status, family size, presence of children, chronic respiratory diseases and individuals' income. The dependent variable was the public's willingness to pay for improving air quality regarding PM2.5.

Results and Discussion
The study found that a significant portion of respondents were willing to pay for air quality improvement. About 22.45% were willing to pay less than 10,000 Toman, 60.06% were willing to pay between 45,000 and 58,000 Toman, 5.83% were willing to pay between 95,000 and 120,000 Toman, and 11.66% were willing to pay between 155,000 and 200,000 Toman. The average willingness to pay for PM2.5 pollutant improvement in Mashhad was estimated to be 55,488 Toman. Education, age, respiratory diseases, income, and family size were found to affect willingness to pay.


Conclusion 
Improving air quality and reducing pollution requires costly efforts and collaboration from society. This research examines individuals' willingness to financially contribute to air quality enhancement. Factors influencing their willingness to pay are also studied. Based on the findings, it is recommended that the government and municipal authorities impose taxes and levies on polluting sectors, considering the calculated value of air pollution and its sources. Educational programs tailored to diverse educational backgrounds, along with technology and social media, can raise environmental awareness among youth. Developing cost-effective public transportation systems and providing discounts for low-income individuals can also help reduce pollution. Financial programs and incentives for cleaner resources are another solution for improving air quality.

Since the mid-20th century, artificial intelligence technologies, which have their roots in neuroscience and the discovery of neural networks, have created a rapidly growing competitive field on a global scale. Systems based on artificial intelligence technology are used today in important areas affecting individuals and society such as health, finance, trade, education, media, industrial production, energy, cyber security. Artificial intelligence companies receive significant funding from the world's leading corporations and governments. At the same time, machine learning based on big data is gaining increasing importance. The ethical issues associated with the negative uses of artificial intelligence, alongside its benefits, remain a topic of debate. However, the transformative potential of these technologies calls for a collective consensus rather than distancing from the field. The research aims to discuss the potential of artificial intelligence in moving image production by considering this reality. In humanity's artificial intelligence adventure, which started with the question 'Can machines think?', this research focuses on the question 'Can artificial intelligence produce professional, hyper-realistic scenes?' and analyses the outputs of three platforms operating in the field. Within the scope of the research, Runway, Luma Dream Machine, Imagine Art platforms were asked to produce moving images including two realistic and futuristic scenarios. The moving images produced were subjected to content analysis and analysed under the categories and subcategories determined. Despite certain errors, it has been observed that artificial intelligence technologies are poised to reshape the expertise-driven process of moving image production in a short time. Key areas of expertise in the industry are likely to be replaced by AI-based technologies. It is concluded that in the near future, artificial intelligence technologies can be used as an alternative to conventional production mechanisms such as script writing, scene design, visual effects, which require great cost, and will play an important role in moving image production.

In the past period of development, the genre of audiovisual arts, in its evolution of transmission and interpretation of auditory images and landscapes, has overcome a huge distance from silent sound space to the most complex phonographic concepts of contemporary composition and sound engineering practices. At the same time, paradoxically, the phenomenon of silence as a powerful conceptual instrumentum of artistic influence has once again become relevant on the horizons of consideration. However, the image of silence, silence, in modern audiovisual art, acquires com-pletely different, new facets. The peculiarity of the approach to formulating a theoretical basis for analyzing the phenomenon of silence as a tool of phonographic art is that none of the existing def-initions of silence properly reflects the essence of this phenomenon. The absence of internal mean-ing makes the phenomenon of silence a vessel for the projection of content, reflecting our own in-terpretation of it, in which we are guided by the contextual (static time point of the form) and con-tinual (developing, changing over time) principles. At the same time, the perception of silence itself can be interpreted into a system of independent meanings that are not tied to the nature of the text of the audiovisual opus. It is precisely the fact that silence carries meaning without specific refer-ence to semantic symbols or objects that makes it a most complex tool that characterizes the nega-tive aspect of phonographic symbolism.

This thesis identifies approaches to film-making which stimulate a
relationship of active involvement between the cinematic image and the
viewer through the evocation of tactility and embodied memory, thus
inviting the viewer’s whole body into the experiencing of the moving image.
I do this specifically by defining and exploring, in theory and practice, the
concept of tangible territory which, I propose, emerges from the encounter
between the viewer’s embodied self and the moving image work.

Background: Meeting with health care gets short before and after the operation. The difficulty at the day surgery is that preparation and information take place in close proximity to the operation. Health professionals must not only take care of the child during the medical visit, but also of the accompanying parent, too. Parents' participation in the perioperative care, sometimes unable to attend. Aim: This study aims to investigate how parental involvement in the perioperative a process can be facilitated. Method: A qualitative design based on observations and interviews with semi structured questions with open answers. Results: The results conveyed involvement in the child's perioperative process in diverse ways and to a different depth. This is highlighted in the theme Allowed with the under themes Security and Being accepted. However, the theme Exclusion with the under-theme Rejection revealed a non-caring approach where no caring relation could be established. Quotes from the transcribed material are used to highlight the results. Conclusion: The study's findings confirm earlier studies in the perspective that information is of central importance in enabling parents to be involved in the perioperative process. The results showed that parents' involvement in the perioperative process is a prerequisite for creating safety in the child and reducing concerns in connection with the operation. Parental involvement may be hindered by a conventional approach that does not include the child's perspective.

The Moody Institute of Science (MIS) was founded in 1945 by the Moody Bible Institute and Irwin A. Moon as an evangelical group that used science demonstrations to preach to the masses. A California pastor who had been using science experiments in his sermons since the early 1930s, Moon believed that the marvels of science provided visible evidence of a divine plan of creation. In the late 1940s, MIS-with Moon as their director-began producing a series of technologically innovative, often riveting, and always religiously motivated science and social studies films. As James Gilbert in Redeeming Culture and Heather Hendershot in Shaking the World for Jesus demonstrate, these films provided a religious interpretation for science, offering their viewers-in the church as well as in the American military, the public school system, and industry-a glimpse of a natural world so complex that it could only be explained, according to the films' narrators, through the existence of a higher power or an intelligent designer. 1 In fact, MIS's first films-like The God of Creation (1946) and God of the Atom (1947)-were conceived of precisely as "Sermons from Science," a concept Moon developed in the late 1930s while conducting live scientific-evangelical demonstrations, the most famous of which included running a million volts of electricity through his body. 2 Although Gilbert and Hendershot both offer compelling and useful histories of MIS and of Moon's career as a technologically savvy Christian filmmaker, much of the MIS film catalog remains unexplored and the nature of MIS's infiltration of the midcentury secular classroom has been especially obfuscated. 3 The Moody Bible Institute still circulates some of Moon's films in video format, largely for use in home-schooling environments, and it is these films that have been the primary focus of previous scholarship, largely, we suspect, due to the difficulty, until recently, of accessing reference copies of the vast majority of MIS's educational films that were marketed to mainstream educators in the 1950s and beyond. 4 Although their specific impact on recent ideological and litigious battles over the teaching of evolution and the introduction of intelligent design into the classroom may be difficult to surmise, evidence certainly attests to the staggeringly wide circulation of MIS films in the postwar era of across-the-board escalation in classroom film usage. 5 Gilbert notes that MIS records for 1947 and 1948 indicate an audience of 2.5 million for its three circulating films. 6 In 1950 Ken Hughes, writing for The Chaplain, comments that "here and abroad, almost a million people during one short year crowded into high schools, universities, and military bases as well as churches to glimpse the [MIS] films," and Hendershot claims that "by 1956, MIS films were used in 389 school systems in 46 states." 7

The Moody Institute of Science (MIS) was founded in 1945 by the Moody Bible Institute and Irwin A. Moon as an evangelical group that used science demonstrations to preach to the masses. A California pastor who had been using science experiments in his sermons since the early 1930s, Moon believed that the marvels of science provided visible evidence of a divine plan of creation. In the late 1940s, MIS-with Moon as their director-began producing a series of technologically innovative, often riveting, and always religiously motivated science and social studies films. As James Gilbert in Redeeming Culture and Heather Hendershot in Shaking the World for Jesus demonstrate, these films provided a religious interpretation for science, offering their viewers-in the church as well as in the American military, the public school system, and industry-a glimpse of a natural world so complex that it could only be explained, according to the films' narrators, through the existence of a higher power or an intelligent designer. 1 In fact, MIS's first films-like The God of Creation (1946) and God of the Atom (1947)-were conceived of precisely as "Sermons from Science," a concept Moon developed in the late 1930s while conducting live scientific-evangelical demonstrations, the most famous of which included running a million volts of electricity through his body. 2 Although Gilbert and Hendershot both offer compelling and useful histories of MIS and of Moon's career as a technologically savvy Christian filmmaker, much of the MIS film catalog remains unexplored and the nature of MIS's infiltration of the midcentury secular classroom has been especially obfuscated. 3 The Moody Bible Institute still circulates some of Moon's films in video format, largely for use in home-schooling environments, and it is these films that have been the primary focus of previous scholarship, largely, we suspect, due to the difficulty, until recently, of accessing reference copies of the vast majority of MIS's educational films that were marketed to mainstream educators in the 1950s and beyond. 4 Although their specific impact on recent ideological and litigious battles over the teaching of evolution and the introduction of intelligent design into the classroom may be difficult to surmise, evidence certainly attests to the staggeringly wide circulation of MIS films in the postwar era of across-the-board escalation in classroom film usage. 5 Gilbert notes that MIS records for 1947 and 1948 indicate an audience of 2.5 million for its three circulating films. 6 In 1950 Ken Hughes, writing for The Chaplain, comments that "here and abroad, almost a million people during one short year crowded into high schools, universities, and military bases as well as churches to glimpse the [MIS] films," and Hendershot claims that "by 1956, MIS films were used in 389 school systems in 46 states." 7

Where does knowledge begin? Let's take the example of a mountain. For a subarctic Norwegian, what could be a more mundane view than that of a mountain that you see every day. Still, steady, seemingly unmoving. Can a local, not famous, mountain top, not very tall, hold the key to a major ecological insight in an "age of unreason"? Can it hold the key to an understanding of the embodied situatedness and technological formation of knowledge, and how these factors are co-constitutive? In our time, as fictions are built upon fictions. theory upon theory, there is a need to touch ground again. As the editors state in this issue's questionnaire, there is a need to re-address "the fundamental question of access to knowledge and our ability to know." As an artist researcher who uses the camera as means to think, a mountain is the perfect object. It is an object of stillness and motion, of different time scales, an entanglement of materials and meaning. 1 A mountain may have significant meaning for those who live in the area-emotional, symbolic-yet it has a materiality that stretches back millions of years in time. It is a popular motif for amateur photographers, and thoroughly mapped by cartography, satellites, and the like. Mountains are technologically mediated at the same time as having persisted throughout all human history as familiar features. A mountain is an excellent example of Karen Barad's point that matter and meaning "are inextricably fused together," and that "no event can tear them apart." 2 This is the case with Klotinden, The Claw Peak, an old, ragged mountain peak in the north of Norway, a local landmark, 671 m tall, which resembles an animal claw, a point of orientation for nearby villages, which has persisted though time, at least seemingly so for generations of humans residing at its foot.

The aim of this research is to establish a dialogue between moving image devices, considered as precursors of cinema, and the representation of space in order to evaluate the physical orientations of inventors who transformed their spatial searches into cinematic organisation. This study examines the experimental environment created by cinema art for space through moving image devices. It is focused on two research questions: 'The integration of space representation in pre-cinema moving image devices' and 'The effect of space representation on visual narrative in pre-cinema moving image devices'. The study employed a qualitative research design and the literature review method to answer the research questions. The research data was analysed using descriptive content analysis. Based on the analysis, it can be inferred that pre-cinema moving image devices invented between 1558-1834 utilised figurative representations in visual narratives. The representation of space was first introduced in the visual narratives of the Stereoscope, invented by Wheatstone in 1838. Moving image devices invented between 1880-1895 established a strong relationship with the representation of space. However, the fact that the research was collected from fourteen different moving image devices invented in 1558 and later is considered to be one of the major methodological limitations of this study. The limited sample size weakens the possibility of generalising the findings and negatively affects the external validity of the research. In order to overcome the problem of low external validity and to ensure that the data obtained from the study can represent the study population, it is recommended that new studies be planned that include different pre-cinema moving image devices.

Queen (1951). 4 Film reviewers praised Latuko for its authentic, color footage and synchronous sound, claiming it represented "a novel African document" 5 and a "dizzying antidote to most ordinary film fare." 6 AMNH officials were optimistic and hoped profits from Latuko would help offset their annual budget deficit. 7 However, full frontal male nudity in the film led to a commercial ban of the film in several East Coast states (New York, Virginia, Maryland, and Massachusetts) and contributed to a nationwide debate over film censorship during the early 1950s.

Released in 1995, Telephones was the precursor to a lot of Christian Marclay's video collages, such as Video Quartet (2002), Crossfire (2007),
The Clock (2010), 48 War Movies (2019), Subtitled (2019) and Doors (2022). Scenes were sampled from movies rented at video stores in VHS format and edited into a seven-minute-long montage. The structure of the video is simple; the cut-up scenes follow the course of a phone conversation from beginning to end. This reveals a clash of technologies, behavioural patterns, sound effects and cultural references associated with audio and visual communication, expressed through various dramatic genres that characterise our collective memory of cinema.

Oddly enough, almost thirty years later, its relevance seems to have grown rather than diminished, largely because it emerged at the very moment that cell phones made their initial appearance into popular consumerist culture and digital technology was overtaking analogue film. In collaboration with Ivorypress, Marclay wanted to see how such a moving image work
could be translated into a book format. The fragmentary and chance quality, which is at the heart of any collage process, is exemplified here by allowing the reader to mix and match images. The present publication emerged out of a conversation between Marclay and Yuval Etgar, held during the 2020 lockdown — befittingly, over the phone.

This on-line article 'Challenge to Fascism: Glasgow's May Day' (1938) is about Helen Biggar's (1909- 1953) final film. The article gives a full synopsis of the film and looks at Biggar's upbringing to explain why she was one of the few early women filmmakers in Scotland to be making films with an overtly political message. The article was published on May Day 2016.

Escucha este silencio. Es una reflexión personal sobre el antes y el después, la percepción, la naturaleza, el tiempo y la complejidad que encierran los términos observar y representar. La profundidad de la luz de invierno conteniendo todos los colores; desde el gris pálido de las ramas casi marchitas, a ese amarillo intenso que paradójicamente las devora y embellece. Resiliencia de los árboles. Equivocarse, volver atrás, rebrotar. Equivocarse, volver atrás, rebrotar. Lo transitorio y la fugacidad del tiempo. Ese tiempo ausente que se nos escapa entre dos imágenes, dos instantes congelados entre los que se elimina conscientemente otro momento. Propongo la interrupción como un espacio de silencio; elemento híbrido que posibilita el palpitar de esas huellas de luz que se ordenan y desestructuran en el recorrido de las series fotográficas. La pausa. La elipsis como elemento que define ese preciso instante de captura de una imagen en intervalos formales de tiempo. Cada observador, compl...

This paper investigates CASTING, Yiyun Kang's site-specific projection mapping installation at the Victoria and Albert Museum in London, U.K., and the acquisition of the piece by the V&A in the following year. It identifies how CASTING developed distinctive properties in the field of projected moving-image installation artworks and how these novel characteristics were reflected in the acquisition by the V&A.

This practice-based research investigates how projection mapping develops a distinctive relationship between screen, moving image, and space in projected moving-image art. Despite projection mapping’s growing popularity, little in-depth research has been conducted on this medium. This lack of research and the superficial nature of many projects have led artists and researchers to regard the medium as a mere technique that serves only to decorate three-dimensional surfaces. Rather than view projection mapping simply as a digital technique, my research situates it in the continuum of projected moving-image installation artwork. To do this, I examine projection mapping’s screen, narrative, and surrounding space—the constituents of all projected moving-image installation art—through the lenses of surface and depth. In addition to considering cinematic frames, I analyse these traits through artistic lenses such as painting, site-specific art, and architecture to investigate how projectio...

This paper investigates CASTING, Yiyun Kang's site-specific projection mapping installation at the Victoria and Albert Museum in London, U.K., and the acquisition of the piece by the V&A in the following year. It identifies how CASTING developed distinctive properties in the field of projected moving-image installation artworks and how these novel characteristics were reflected in the acquisition by the V&A.

The occasion of this special issue on experimental moving images allows us to conduct an experiment of our own. As we have learned, there is a large and diverse community of scholars, makers, archivists, technicians, programmers, and enthusiasts invested in this subject. No matter how we tried to shape the issue, however, we were aware that important perspectives were being left out and that critical questions remained unanswered, sometimes even unasked. For this reason, we reached out to a group of people whose names kept coming up in our countless conversations on the topic and asked for short musings on whatever topically relevant subject they felt like opining about. Our questions were basic: what worries you about the place this material occupies in the archive? How do we move this discussion (and our practices) into the twenty-first century? Our primary hope was to see if points of overlap and divergence, conversation and debate, might occur on their own. The following eight short responses are the result. We find the section especially fascinating and insightful. These are think pieces in every sense, and we thank this group for responding to our somewhat unorthodox call with such useful ruminations.

My first undergraduate filmmaking class circa 1968 at Harvard had fifteen students; fourteen of them were men-boys, reallyand I was the one female. It was the only film production class at the entire university. The professor, Robert Gardner, was very much a man, an old-fashioned gentleman artist, a documentarian, alternately gallant to or oblivious of me-as was the general wont in those bygone days between older men and their female students, at least when no lechery was involved. Though hardly shy, I barely spoke, so sure was I that a mere question of mine would reveal the depth of my stupidity when it came to cameras. At the time, I probably thought that the gap in my comfort zone in the world-the mechanical and electronic-was genetic: women were inherent Luddites. We shot on Bolexes and edited on Movieolas. Since I was unable to speak in the class, I sat by the Charles River with the manuals, the camera, and the light meter for hours, trying out everything without peer surveillance. Student strikes against the war in Vietnam were key features of my film education. You often didn't finish editing because you would not cross the picket line by the middle of spring semester (1968-70) to enter

Tekst był publikowany w: "ArtPapier" 2007, nr 18(90).

Obaj artyści nie są debiutantami na weneckim Biennale, imprezie uznawanej przez jednych za najważniejsze miejsce konfrontacji współczesnych artystów, a przez innych za przykład całkowitej komercjalizacji i urynkowienia sztuki. Bill Viola w roku 1995 reprezentował Stany Zjednoczone na 46 Biennale, prezentując jedną ze swoich pierwszych instalacji wideo "Buried Secrets". Lech Majewski w roku 2001 został zaproszony przez organizatorów weneckiego Biennale, by pokazać zrealizowany w roku 1997 "Pokój saren" filmową "wersję" opery autobiograficznej, pokazywanej wcześniej i później między innymi w Muzeach Sztuki Nowoczesnej w Buenos Aires (2000) i Nowym Jorku (2002) oraz w paryskiej Galerie Nationale du Jeu de Paume (2004). O ile jednak Viola (notabene tylko dwa lata starszy od Majewskiego, bo urodzony w roku 1951) jest dziś powszechnie uznawany za jednego z najważniejszych współczesnych artystów i już nie tylko standardowo wpisywany w kontekst szeroko rozumianej sztuki wideo czy wideoinstalacji, to twórczość Majewskiego, zwłaszcza w kraju rodzinnym, jest traktowana co najmniej z dużą rezerwą.

Background: Meeting with health care gets short before and after the operation. The difficulty at the day surgery is that preparation and information take place in close proximity to the operation. Health professionals must not only take care of the child during the medical visit, but also of the accompanying parent, too. Parents' participation in the perioperative care, sometimes unable to attend. Aim: This study aims to investigate how parental involvement in the perioperative a process can be facilitated. Method: A qualitative design based on observations and interviews with semi structured questions with open answers. Results: The results conveyed involvement in the child's perioperative process in diverse ways and to a different depth. This is highlighted in the theme Allowed with the under themes Security and Being accepted. However, the theme Exclusion with the under-theme Rejection revealed a non-caring approach where no caring relation could be established. Quotes from the transcribed material are used to highlight the results. Conclusion: The study's findings confirm earlier studies in the perspective that information is of central importance in enabling parents to be involved in the perioperative process. The results showed that parents' involvement in the perioperative process is a prerequisite for creating safety in the child and reducing concerns in connection with the operation. Parental involvement may be hindered by a conventional approach that does not include the child's perspective.

Text seznamuje s okolnostmi zavádění barevné televize v Československu. Zabývá se nejen technickou a organizační stránkou celého projektu, ale také estetickými nároky, které s sebou tato nová zobrazovací forma přinesla. Popularizační studie vznikla jako součást Projektu teoretická a historické analýzy televizní tvorby, díky němuž se Česká televize věnuje soustavně historickému výzkumu a odborné reflexi televize od roku 2017.

The text introduces the circumstances of the introduction of color television in Czechoslovakia. It deals not only with the technical and organizational side of the entire project, but also with the aesthetic demands that this new display form brought with it. The study was created as part of the Project Theoretical and Historical Analysis of Television Production, thanks to which Czech Television has been consistently engaged in historical research and professional reflection on television since 2017.

The discipline of film studies has, since the late 1960s and early 1970s, been a burgeoning academic and intellectual field of inquiry. This article seeks to provide a map of the local and international flows of Australian film theory and criticism. By tracing some key critical positions, personnel and institutions, it provides an account of the state of contemporary Australian film studies. The article falls into three parts. The first reflects upon the establishment of academic film studies in Australia, beginning with the 1970s and 1980s importation of screen theory. The second attends to a late 1980s and early 1990s recognition of the historical and cultural specificity of film (and television), and the associated turn to historical film studies. The third part looks at the institutionalisation of the discipline, to attend to some of the intellectual and pragmatic considerations shaping Australian film studies through the 1990s and beyond.

This pamphlet was done for the the online symposium THE DANCE OF DISORDER which took place in Nov 2020. The symposium was done in the frame of the artistic research project Nonknowledge, Laughter and the Moving Image, led by Annika Larsson and funded by the Swedish Research Council and done in collaboration with The Royal Institute of Arts in Stockholm and the HFBK-Hochschule für Bildende Künste Hamburg.

This pamphlet was made in the frame of "The Sleep Over Experiment", a non public event which took place over the course of a night where 20 artists, researchers, writers and students were invited to participate in a series of openly choreographed acts, conversations, performances, sounds and moving images. The event was made in collaboration with the
Index Foundation and Iaspis, the Swedish Arts Grants Committee’s International Programme for Visual and Applied Artists, HFBK
Hamburg and RIA Stockholm.

E.I The Blob (2018 -) is a noise making interactive “image-organism” sensitive to sound and touch,created to explore new ways of thinking, being and acting with the Moving Image. It plays a central role in the artistic research project Non-knowledge, Laughter & The Moving Image" where has allowed us to rethink our relation to the moving image and to see it as an “intra-active” vibrant body.

В статье рассматриваются некоторые положения и выводы книги Стива Нолана «Фильм, Лакан и предмет религии: психоаналитический подход к анализу религиозного фильма», посвященной обзору концепций ряда североамериканских авторов, которые проводили свои исследования в области религии и киноискусства. В основной части книги автор излагает свой взгляд на проблему взаимоотношения кино и религии. Делает он это, обращаясь к терминологии и теоретической системе французского психоаналитика и философа- структуралиста Жака Лакана. По мнению Нолана, труды ученых, исследовавших вопрос религии и кино, не лишены определенных недостатков. Большинство авторов являлись представителями тех или иных христианских конфессий, поэтому считали долгом развивать свою аналитику в рамках теологического подхода. В таких работах исследование ограничено догматическим мировоззрением. В то же время Нолан подчеркивает новизну и смелость некоторых идей. Сам он выступает за междисциплинарный подход, при котором ученый должен быть теоретически подготовленным не только в теологии и науках о религии, но и в киноведении. Также он считает, что главным объектом такого исследования должен быть зритель и его восприятие образов на экране. Нолан применяет лакановские термины: «Другой», «нарратив» и «идеологическая реальность» как к кинематографу, так и к богослужению, указывая на общие закономерности в этих явлениях. Таким образом, он дает пример междисциплинарного недогматического подхода. Благодаря следованию принципу методологического агностицизма и обращению к феноменологии, социологии и психологии религии, такой подход можно классифицировать как религиоведческий

Актуальность темы обусловлена тем, что изучение бессознательной деятельности человеческой психики и его роли в культурном развитии человечества много лет остаётся в авангарде психологической науки в связи со специфической ролью, которую, как убедительно показано в работах представителей психоаналитического направления, играют бессознательные процессы во всей психической жизни человека. Современные тенденции к интеграции различных областей знания и синтезу искусств способствуют активному развитию и ассимиляции психоанализа современной наукой. В статье доказано влияние психоаналитической концепции на произведения киноискусства на примере массово популярных фильмов.

Термин «экранный документ» был введен С. Дробашенко [1986], в научной традиции актуальность его использования подтверждена работами Г. Прожико [2004]. Введен термин для обозначения широкого пласта экранной культуры, куда входит самая разнообразная продукция творчестваот кинохроники до телефильма, объединенная одной авторской задачейстремлением представить в кадре факт осмысленной действительности, это особый способ фиксации событий подлинной, реальной жизни. Данная дефиниция не несет на себе нагрузки терминологических споров или жанровых конвенций, как, к примеру, определение понятия «документальное кино».

K základům interdisciplinární teorie tradice, jejíž vypracování je cílem mezinárodního projektu Centra ekumenické teologie TF JU v Českých Budějovicích, je jistě nutná i solidní teorie dějin jako teorie časoprostoru, v němž se traditum traduje. Bohužel i pro historickou vědu platí to, co bylo diagnostikováno a kritizováno jako příznačný rys současné vědy, totiž nechuť k tvorbě teorie a sebeomezení na hledání stále speciálnějších a detailnějších nuancí. 1 V historiografii se toto pojí ještě s obvyklou skepsí současných historiků k universálním "dějinám lidstva" a možnosti poznání obecných zákonitostí dějin. Přesto se setkáváme s pokusy navrhnout abstraktní interpretační modely aspoň pro určité speciální oblasti jako například událost a průběh reformace. Zdá se, že by stálo za to prozkoumat možnost jejich zobecnění i na jiné oblasti a komplexy témat. V této práci chceme představit interpretační model teorie reformace (reformationstheoretisches Erklärungsmodell), navržený Berndtem Hammem. 2 Domníváme se, že tento model by mohl být užitečný i pro teorii tradice. Hammův návrh je prostý-uvést do bádání o reformaci model emergence, který je již dávno využíván v jiných vědních disciplinách, a sice právě v oněch rychle se rozvíjejících jako je kognitivní věda nebo různé teorie komplexních systémů. Po stručném představení navrhovaného modelu na základě jednoho Hammova textu bychom chtěli kriticky posoudit jeho pokus (konkrétně: precizovat jeho pozici a položit mu několik otázek) 3 a konečně zvážit, jak by bylo možné tento model aplikovat a rozvinout v teorii tradice.

Celebrating Women and Reflecting on the COVID 19 Lockdown Experience; Empowering Voices through a Micro Film Festival



In this paper I present a report, on how we organized and brought to life a micro film festival with the intention of amplifying the voices of women aged 18 - 25. The festival took place in the aftermath of the COVID 19 lockdown from 2019 to 2020 aiming to shed light on the roles women play in society both inside and outside their homes. With an all female jury, our goal was not to showcase the work of emerging female filmmakers but also to provide a platform for stories that address the unique challenges faced by women during the pandemic.

The report explores our communication and promotional efforts to highlight themes such as empowerment, resilience and the diverse responsibilities shouldered by women. Through strategies we aimed to create an identity for our festival that would resonate with our target audience while emphasizing the importance of supporting women in the film industry.

The journey described in this report showcases our endeavours to elevate narratives of women across contexts. From traditional, to contemporary. By showcasing movies that delve into the experiences of women during the COVID 19 lockdown the festival aimed to participate in a wider societal conversation, about gender roles, representation and the evolving dynamics of womens responsibilities.

This report provides insights into the festivals aspects, such as film selection, promotional campaigns and audience engagement. It offers an understanding of the challenges faced and triumphs achieved in creating a platform dedicated to amplifying womens voices. The report highlights the festivals commitment to promoting diversity and inclusivity within the film industry. Explores its broader impact on how society perceives and expects from women.

In summary this paper not outlines the practicalities involved in curating and promoting a film festival but also underscores its vital mission to empower young women through cinema. By harnessing the power of storytelling this festival aimed to ignite conversations, challenge stereotypes and contribute towards an fair portrayal of women in both film industry and society, as a whole.

En este artículo se plantean los elementos clave de las estrategias de educación en el cine llevadas a cabo por el Instituto Británico del Cine (BFI) en las escuelas británicas durante los veinticinco últimos años de la era analógica. Desde siempre, el BFI se ha implicado de forma activa en el diseño de los planes de estudio de cine, así como en todo lo que de algún modo suscitó preocupación entre los educadores, como fue el caso de la apuesta, de un lado, por el uso instrumental del cine para apoyar el plan curricular y el aprendizaje de las cualidades intrínsecas y distintivas del cine como mediador y, de otro lado, la apuesta por su función ideológica en la sociedad. También se aborda en este artículo la cuestión de si el cine en sí mismo constituye un área de estudio o si sería más adecuado incluirlo en el ámbito de la televisión como parte de los medios de imagen en movimiento. El BFI ha desempeñado un papel crucial en la investigación de estos interrogantes, así como en la demostración y ejemplificación de la enseñanza del cine destinada a los jóvenes. No obstante, las continuas vicisitudes que han surgido en este tiempo han orientado las perspectivas educativas en diferentes direcciones. La tesis central de este artículo es demostrar que la educación en el cine, aplicable a todos los medios de comunicación en general, debe ser un derecho accesible a todos los estudiantes, y no quedar reducido a una minoría o presentado como una posible opción. Los proyectos clave que se detallan a continuación en este artículo orientan sobre algunos procedimientos destinados a que las instituciones culturales subvencionadas con dinero público puedan intervenir en la política educativa y en su implantación.