bluuebunny/crossref_metadata_2025_split huggingface dataset:
1930s Documentary and Visual Culture
Authors: Rabinowitz Paula 
Published: November 2011

Abstract

In the 1870s and 1880s, illustrated newspapers and journals in London, Paris, New York, and Chicago circulated black‐and‐white images to accompany serialized fiction by Charles Dickens, George Eliot, Victor Hugo, and the sensational pulp writer Eugène Sue in France, whose novel
Les Mystères de Paris
inspired George W. M. Reynolds's
Mysteries of London
series. These woodcuts, engravings, and drawings, by artists such as Luke Samuel Fildes and Hubert von Herkomer in Britain and Felix Régamey in France, brought both the news and the tales to life through intricately detailed characterizations. These visual artists and many others like them roamed the streets of cities in England, France, the United States, and even South Africa, recording the “Heads of the People,” as one series was called, who were found in the various trades and industries, haunting medical clinics, and in poor houses. Men were shown slaving in gold mines or coal pits, for example, or working on a chain gang in prison stripes; women were shown bent over looms or gathered on street corners in search of a trick. Only a generation before, exposés of London's poor or the conditions of the working class in England by Henry Mayhew and Frederick Engels offered language as the sole means to convey the horrific destitution caused by industrialization in Britain. But by the 1870s, visual images accompanying prose helped to democratize the circulation of ideas about social reform from a narrow base of socialist or at least socially minded intellectuals to a wider working‐class public who, though they might not be fully literate, could respond to the immediacy of an image.
Landscapes of Fantasy, Gardens of Deceit
Authors: Wulff Hans Jürgen 
Published: November 2011

AbstractThe adventure film is one of film history's most expansive and heterogeneous genres. At its core is the exoticist adventure tale that frequently references and romanticizes the era of colonialism, but the genre also intersects with several partially overlapping subgenres, such as the medieval knight's tale, the pirate story and the high seas adventure, tales from the Arabian Nights, the swords‐and‐sandals epic, the cloak‐and‐dagger story, and the travelogue and discovery tale. The adventure film's themes and motives are drawn from popular adventure literature that peaked between the late eighteenth and late nineteenth centuries and frequently adopted a serial mode. The writings of authors such as Alexandre Dumas, Sir Walter Scott, H. Rider Haggard, Jules Verne, and, later, Jack London, Joseph Conrad, and Rudyard Kipling paved the way for the genre's cinematic success, though the literary motif of theaventiure2harks back to the legends of medieval knighthood. Likewise, the figure of the adventurer who sets out to distant shores to save the Holy Land, to conquer the Americas for the Spanish crown, or to liberate the Americas from the crown, who may be marooned on a distant island or become ruler of the jungle, has older roots and appears in many guises. But it was not until the nineteenth century that the specific tropes to which the genre has closely adhered — and which, it seems, still shape the stories of twentieth‐century adventurers — began to crystallize. These adventurers may discover the North Pole, fight bounty hunters amidst the Pyramids or wildlife poachers in the jungle, run a plantation in colonial Indochina, fly postal planes across the Andes, or ferry passengers and cargo across treacherous South Pacific waters.
Queering the (New) Deal
Authors: Lugowski David M. 
Published: November 2011

AbstractAn extraordinary scene takes place near the beginning ofThe Strange Love of Molly Louvain(1932), directed by Warner Bros. ace Michael Curtiz. A small‐time confidence trickster and his cronies are sitting inside a hotel lobby, staring out a window, betting on whether the next person passing will be a man or a woman. The con is on a winning streak, but when a man passing by tips his cigarette by flicking his wrist, the gang pauses before one says, “It's a man!” They try again; this time it's a woman, but the con protests his loss: “No, women in pants don't count.”
Classical Cel Animation, World War
II
, and
Bambi
Authors: Thompson Kirsten Moana 
Published: November 2011

Abstract

The word animation derives from
anima
, meaning “breath” or “soul,” and
animare
, “to give life to.” Animation creates the
illusion of life
, and it does this through movement. There are two distinguishing characteristics: First, the image is photographed on film frame by frame, and second, in consequence the illusion of motion is
created
cinematically rather than recorded. In animation, a special camera is used that can photograph one frame at a time. Between exposures, the animator incrementally moves an object: It may be cels, puppets, clay, sand, or paper cutouts, but the basic principle is that the illusion of motion is constructed
cinematically
. That is, rather than photographing something that is already moving, movement is created
in the camera
through stop‐motion photography, or the photographing of an object frame by frame (Solomon 1994, 5, 9–12).
The Politics of
Force of Evil
Authors: Brinckmann Christine Noll 
Published: November 2011

Abstract

Force of Evil
was the first film Abraham Polonsky directed, and it is not without structural flaws. It is, however, a rare work of art in that it is poetic, popular, and political at the same time. Unlike other political art in which the balance between message and aesthetic form is usually uneven and the difficulties the artist had in creating an imaginative framework around his or her statement can be felt throughout,
Force of Evil
shows no seams. Although revealing the corruption of the capitalist system, the information it gives cannot be subtracted from its fictional, emotional impact, and although its effect on the viewer is agitational, there is no proposition for practical action.
Hollywood at the Margins
Authors: Guest Haden 
Published: November 2011

Abstract

Three of the more distinctive and original visual stylists of the postwar American cinema — Samuel Fuller (1912–1997), Phil Karlson (1908–1985), and Joseph H. Lewis (1907–2000) — it is revealing and important to note — similarly began at the lowest rungs of the hierarchical Hollywood studio system, crafting formulaic “B” pictures for Poverty Row studios during the mid to late 1930s. This shared experience in Depression‐era genre filmmaking had a more profound and shaping influence upon the subsequent course of the three filmmakers' careers than is typically recognized or understood. Early and successful tenures within studio departments focused specifically on story construction — with Fuller working through much of the 1930s as a successful and highly sought‐after screenwriter and both Karlson and Lewis as editors — helped shape the kind of intensely visual and rigorously structured storytelling defined by their best‐known films (Fuller 2002, 87–105; Fuller et al. 1986, 63–68; McCarthy & Thompson 1975, 328–330; Nevins 1998, 6–21). Moreover, the deep understanding of narrative structure and popular genres these directors gained from their apprentice years informed the bold reinvention of genre formulas that became an important signature of their finest work, from Fuller's proto‐feminist Western
Forty Guns
(1957) to Karlson's minimalist heist film
Kansas City Confidential
(1952), to Lewis's psychosexually overripe crime films
Gun Crazy
(1950) and
The Big Combo
(1955). The similar experiences of the three directors working with the extremely limited budgets and tight schedules typical of studio era B production also proved invaluable to the control and relative creative autonomy they were all able to forge for themselves in the 1940s and 1950s as they successfully navigated between studio and independently produced projects.
Comedy and the Dismantling of the Hollywood Western
Authors: Podlesney Teresa 
Published: November 2011

AbstractIn the 1960s, the Western genre was systematically dismantled from within, not by the cynicism of the Italian Western cycle, nor by the revisionist politics of anti‐Westerns, but by the spate, indeed, the rash, of Western comedies, many of them directed by Hollywood Western veterans such as John Sturges (Sergeants 3, 1962;The Hallelujah Trail, 1965), Andrew McLaglen (McLintock!, 1963;The Ballad of Josie, 1967), and Burt Kennedy (The Rounders, 1965;The War Wagon, 1967;Support Your Local Sheriff, 1969). Hollywood's 1960s comedy Westerns are often protracted rituals of debasement in which Western characters, contexts, and stars agonizingly perform their schtick in a dollar‐store “studio” mise‐en‐scène that is constantly upstaged and rendered additionally tatty by stunningly photographed Western locations. In the 1960s comedy Westerns, it is as if the little moments played for humor in John Ford's films — the drunken antics of Sergeant Quincannon inShe Wore a Yellow Ribbon(1949), the fistfight that postpones the wedding inThe Searchers(1956), the Dodge City sequence inCheyenne Autumn(1964) — have metastasized, threatening the maturity and integrity of the host genre.
Seismic Shifts in the American Film Industry
Authors: Schatz Thomas 
Published: November 2011

AbstractThe commonplace assumption that the American film industry entered a new era in the mid‐1970s, a period generally referred to as the New Hollywood, has given way more recently to the view that the industry entered yet another phase in the 1990s and 2000s — variously termed Conglomerate Hollywood, Convergent Hollywood, and Global Hollywood, epithets that well indicate the dominant forces at work in contemporary cinema. These views are quite compatible and in fact are crucially interrelated, in that the trends toward conglomeration, convergence, and globalization — and other key trends as well — took root in the burgeoning New Hollywood, as the industry reversed three decades of deep decline and entered a period of sustained growth, economic resurgence, and structural transformation that continues to this day. This recovery has involved an array of social, economic, technological, and aesthetic forces that have evolved and interacted in different ways over time, resulting in three distinct phases of industry development since the late 1970s — phases that are implicit in the organization of this volume, with separate sections focusing on the late 1970s and 1980s, the 1990s, and the 2000s.
Black Crossover Cinema
Authors: Harris Keith 
Published: November 2011

Abstract

The mid‐1980s witnessed the emergence of what scholars have come to call the New Black Cinema. This broad category encompasses a range of trends and subcycles, including black noirs, the gangsta film, the ghetto action film, ghetto centric noirs, the black gangster film, new jack cinema, and films that are sometimes grouped under the category rapsloitation. With such obvious overlap it is difficult to insist upon hard and fast distinctions. Despite the interchangeability of categories, a number of films have distinguished themselves with mainstream audiences and earned sufficient critical recognition to now be thought of as “black crossover cinema.” For the purpose of this essay, I have chosen to isolate an exploitative cycle and an essential strain of Black Crossover Cinema — the popular hood film.
1
Mainstream Documentary since 1999
Authors: Aufderheide Patricia 
Published: November 2011

AbstractFrom the 1930s to the 1990s, documentary was a rather dowdy cinematic category; to many, it even represented a subordinate cinematic form. “Is it a movie or a documentary?” was an entirely expectable question. That all changed by the end of the 1990s. The first decade of the twenty‐first century was one of unprecedented burgeoning of documentary production and consumption that entailed a great increase in output and some qualitative advances. While televisual documentary came to be associated with certain factory values that reflected the TV industry's vast need for programming, theatrical documentary came in this period to be seen as a much more individually crafted, courageous, human‐scale response against social injustice and the abuse of power. Hence, the era also raised questions about the social role of documentary, including the responsibility of filmmakers to serve the public's informational needs and to honor traditional journalistic goals, such as accuracy.
“
A
sia” as Global Hollywood Commodity
Authors: Chan Kenneth 
Published: November 2011

Abstract

Beginning in the mid‐1990s and gathering particular force in the first decade of the new millennium, an “Asian Invasion” — as some critics have described it — emerged in Hollywood.
1
The fact that this multivolume history of American cinema devotes an entire chapter to the subject of Hollywood's relationship to Asia specifically within the context of American film's contemporary history (1999 to the present) testifies to the significance of this cross‐cultural phenomenon. But this temporal historicist bracketing of Hollywood and Asia as a recent cultural occurrence offers a convenient disjunctive moment to reflect on the discursive and material continuities
and
discontinuities that have characterized this fraught relationship. I speak of continuity in a sense that, materially, American film has always had an intimate connection to Asia in terms of both film production and market distribution since the very beginning of cinema's technological emergence,
2
a point that reinforces the notion of film as a transnational capitalist commodity, with global Hollywood as a prime instance (Miller et al. 2001). The developed film industries of China, India, Japan, and Hong Kong, for instance, have often confronted Hollywood competition reactively, thereby inflecting the aesthetic and technological development of these national cinemas, while innovations emerging from Asia, in turn, have helped reconfigure and challenge cinematic culture in Hollywood.
3
Or, as Bliss Cua Lim more effectively puts it, “Hollywood … pillages from its rivals, a conspicuous instance of national‐regional counterflows, in which the centre imitates its cinematic elsewheres, lest we forget that film is truly global” (2007, 124). On the discursive front, Hollywood has also deployed, throughout its history, “Asia” as a representational category of cultural otherness invoking, for example, fears of the “yellow peril” which, according to Gina Marchetti, “combines racist terror of alien cultures, sexual anxieties, and the belief that the West will be overpowered and enveloped by the irresistible, dark, occult forces of the East” (1993, 2). Historically, these fears were visually embodied in the Orientalist stereotypes of the evil Fu Manchu, Flash Gordon's arch nemesis Ming the Merciless, and the voluptuous prostitute Suzie Wong. While these figurations have now deservedly been relegated to Hollywood's overtly racist historical past (and a relatively recent past at that), their discursive underpinnings persist today, often in a liberal multiculturalist guise. In briefly registering these continuities, I am not only making the obvious but necessary contextual point that the contemporary Asian invasion, as we are witnessing it so far, does not occur in a historical and discursive vacuum, but also bringing in the notion that these continuities suffer elision — a convenient historical amnesia — in Hollywood's current politically correct propensity to embrace exotic ethnic cultures, now in the spirit of liberal multiculturalism, in order to sustain its global hegemony.
American Film After 9/11
Authors: Prince Stephen 
Published: November 2011

AbstractThe airplane attacks on 9/11 were among the most photographed events in history. Bin Laden and al‐Qaeda had counted on this. They wanted and needed a media event to increase their reputation and following, and the September 2001 attacks gave it to them. While there were three principal locations involved — the Pentagon, struck by American Airlines Flight 77; the field in Pennsylvania where United Airlines Flight 93 crashed after an onboard struggle between the hijackers and passengers; and the north and south towers of the World Trade Center, struck by American 11 and by United 175 — it was the Trade Center that furnished the most iconic imagery and was the most photographed. The long interval — 102 minutes — between the strike on the north tower and its collapse (the south tower fell first) provided opportunity for onlookers to make an extensive photographic and video record. Images of fireballs exploding out of the tower, of massive belching clouds of smoke, of the jumpers, the collapse, and the monstrous cloud of ash, dust, and vaporized body parts descending on Manhattan seared the national consciousness. These images provide an enduring record of what happened, and they were candid, spontaneous pictures of tragedy and death unfolding before hundreds of cameras.
Formation of Embryoid Bodies with Controlled Sizes and Maintained Pluripotency in Three‐Dimensional Inverse Opal Scaffolds
Authors: Zhang Yu , Xia Younan 
Published: November 2011

AbstractEmbryoid bodies (EBs) are aggregates of cells derived from embryonic stem (ES) cells, which can serve as a good model system to investigate molecular and cellular interactions in the earliest stages of embryo development. Current methods for producing EBs mainly rely on the use of hanging drops or suspensions in non‐tissue culture treated plates, microwells, and spinner flasks. The capability of these methods is limited in terms of size uniformity and distribution as well as scalability. Here, a new platform based on three‐dimensional alginate inverse opal scaffolds with uniform pores is presented, where uniform EBs with controllable sizes could be produced in the pores and then recovered after disintegration of the scaffolds. The size of the EBs could be readily controlled by varying the culture time and/or by using scaffolds with different pore sizes. The EBs maintained their viability and undifferentiated state, and they were able to differentiate into specific lineages upon stimulation.
Composition and Bandgap‐Graded Semiconductor Alloy Nanowires
Authors: Zhuang Xiujuan , Ning C. Z. , Pan Anlian 
Published: November 2011

AbstractSemiconductor alloy nanowires with spatially graded compositions (and bandgaps) provide a new material platform for many new multifunctional optoelectronic devices, such as broadly tunable lasers, multispectral photodetectors, broad‐band light emitting diodes (LEDs) and high‐efficiency solar cells. In this review, we will summarize the recent progress on composition graded semiconductor alloy nanowires with bandgaps graded in a wide range. Depending on different growth methods and material systems, two typical nanowire composition grading approaches will be presented in detail, including composition graded alloy nanowires along a single substrate and those along single nanowires. Furthermore, selected examples of applications of these composition graded semiconductor nanowires will be presented and discussed, including tunable nanolasers, multi‐terminal on‐nanowire photodetectors, full‐spectrum solar cells, and white‐light LEDs. Finally, we will make some concluding remarks with future perspectives including opportunities and challenges in this research area.
Influence of the filler material on the thermal stability of one‐component moisture‐curing polyurethane adhesives
Authors: Clauß Sebastian , Dijkstra Dirk J. , Gabriel Joseph , Karbach Alexander , Matner Mathias , Meckel Walter , Niemz Peter 
Published: November 2011

AbstractFiller materials are part and parcel for the adjustment of adhesives, in particular, their rheological and mechanical properties. Furthermore, the thermal stability of adhesives can be positively influenced by the addition of an expedient filler, with inorganic types common practice in most cases. In this study, one‐component moisture‐curing polyurethane adhesives for engineered wood products based on isocyanate prepolymers with different polymer‐filled polyether polyols were investigated with regard to the filler's potential to increase the thermal stability of bonded wood joints. The property changes due to the addition of fillers were determined by means of mechanical tests on bonded wood joints and on pure adhesive films at different temperatures up to 200°C. Additional analyses by atomic force and environmental scanning electron microscopy advanced the understanding of the effects of the filler. The tested organic fillers, styrene acrylonitrile, a polyurea dispersion, and polyamide, caused increases in the cohesive strength and stiffness over the whole temperature range. However, the selected filler type was hardly important with regard to the tensile shear strength of the bonded wood joints at high temperatures, although the tensile strength and Young's modulus of the adhesive films differed over a wide range. Prepolymers with a lower initial strength and stiffness resulted in worse cohesion, in particular, at high temperatures. This disadvantage, however, could be compensated by means of the filler material. Ultimately, the addition of filler material resulted in optimized adhesive properties only in a well‐balanced combination with the prepolymer used. © 2011 Wiley Periodicals, Inc. J Appl Polym Sci, 2012
Synthesis and Antimicrobial Evaluation of New Pyrano[4,3‐b]pyran and Pyrano[3,2‐c]chromene Derivatives Bearing a 2‐Thiophenoxyquinoline Nucleus
Authors: Makawana Jigar A. , Patel Manish P. , Patel Ranjan G. 
Published: November 2011

AbstractA new series of pyrano[4,3‐b]pyran 4a–i and pyrano[3,2‐c]chromene 6a–r derivatives bearing a 2‐thiophenoxyquinoline nucleus were synthesized by reaction of 2‐(4‐(un)‐substituted thiophenoxy)quinoline‐3‐carbaldehydes 2a–i with 6‐methyl‐4‐hydroxypyran‐2‐one 3 and 4‐hydroxy‐6‐(un)‐substituted‐2H‐chromen‐2‐one 5a–b respectively and malononitrile at room temperature in the presence of KOH as a basic catalyst. All the compounds were screened against three Gram‐positive bacteria (Streptococcus pneumoniae, Bacillus subtilis, Clostridium tetani), three Gram‐negative bacteria (Salmonella typhi, Escherichia coli, Vibrio cholerae) and two fungi (Candida albicans, Aspergillus fumigatus) using the broth microdilution MIC (minimum inhibitory concentration) method. Upon antimicrobial screening, it was observed that the majority of the compounds were found to be active against Bacillus subtilis, Clostridium tetani and Candida albicans as compared to standard drugs.