bluuebunny/crossref_metadata_2025_split huggingface dataset:
In the Trenches, On the Screen
Authors: Kelly Andrew 
Published: November 2011

AbstractWith 8.5 million dead and 20 million injured, there was nothing great about the Great War except the scale of destruction and despair. The defeat of Germany led only to bitter memories, dead and injured relatives and friends, promises betrayed, and, above all else, disillusion. Disillusion is part of what Samuel Hynes calls the “Myth of the War” — “not a falsification of reality, but an imaginative version of it, the story of the war that has evolved, and has come to be expected as true.” This “generation of innocent young men,” heads full of lofty ideals about “Honor, Glory, and England, went off to war to make the world safe for democracy.” He added that “They were slaughtered in stupid battles planned by stupid generals. Those who survived were shocked, disillusioned and embittered by their war experiences, and saw that their real enemies were not the Germans, but the old men at home who had lied to them,” and concluded: “They rejected the values of the society that had sent them to war, and in doing so separated their own generation from the past and from their cultural inheritance” (1992, x).
Hollywood and Spanish‐Speaking Audiences
Authors: Jarvinen Lisa 
Published: November 2011

AbstractIn March of 1930, as the United States settled into a worsening economic recession,Varietytrumpeted another threat to the well‐being of American film studios. “U.S. MAY LOSE EUROPE” marched in bold across six columns as the headline article for foreign film news (1930b, 11). Although the United States had dominated the global film trade since the end of World War I, the introduction of synchronized sound to the commercial cinema in the late 1920s and with it the addition of spoken language to film created new problems for the international circulation of movies. The brief intertitles commonly used in silent films to convey dialogue or other information were easily (and economically) translated and replaced. Synchronized sound offered less flexibility. American film studios faced a world fragmented by language. In the words of one US newspaper, the talkies were “Babel tower all over again” (New York Times1930, 21). The ominously titledVarietyarticle warned that “the supremacy of American pictures is threatened abroad by the lack of suitable dialog versions in foreign tongues” (1930b, 11). Hollywood would, in fact, retain its advantage in international markets — yet those markets changed with the transition to sound. The American film industry developed solutions, made compromises and accommodations in response to the addition of spoken language to film; yet these never fully contained the disruption caused by the greater linguistic and cultural specificity of synchronized sound.
The Hollywood A‐Production Western
Authors: Stoehr Kevin L. 
Published: November 2011

Abstract
Film scholars have long recognized a familiar distinction established by the studios between large‐scale A‐Westerns and their usually less costly B‐Western counterparts. There is certainly no necessary correlation between financial investment and cinematic quality, as superb small‐budget films and atrocious big‐budget movies have demonstrated. But higher production values can indeed often attract better performers, accomplished directors and their crews, and more thoughtfully designed scripts.
There's No Place Like Home
Authors: Garcia Desirée J. 
Published: November 2011

AbstractCommenting to theNew York Timesin 1959, MGM producer Arthur Freed emphasized the importance of portraying the past, with its associations of tranquility, grace, and charm, in the making of successful musical films, saying that “the period musical can capture a charm that many people long for today. It lets us enjoy, for a while, a more easy [sic] and more gracious way of life than exists in our now everyday life.”1
Friz Freleng's Jazz
Authors: Gabbard Krin 
Published: November 2011

AbstractShort, animated films probably ought not to be the principal source for a history of jazz and black music. But we can learn a great deal from the Merrie Melodies and Looney Tunes that Isadore “Friz” Freleng (1906–1995) directed for Warner Bros. from the 1930s through the 1950s.1These cartoons provide a thorough history of popular understandings of jazz during specific eras, even if we strongly reject these understandings today. In Freleng'sClean Pasturesfrom 1937, jazz is portrayed as a popular music for “primitive” African‐Americans even as they are turning into urbanized economic subjects. In 1944, in hisGoldilocks and the Jivin' Bears, Freleng anticipates the difficult “art music” later known as bebop by casting jazz as an outsider music for devotees playing mostly for themselves. The “Afterword” to this essay follows this trajectory into the 1950s, when Freleng'sPizzicato PussycatandThe Three Little Bopspresent jazz as a thoroughly commoditized mainstream music for white suburbanites. Before considering these cartoons in detail, I will sketch the early history of animated features at Warner Bros. and the men who created them. Placing the jazzy cartoons in a larger context reveals how intimately they were involved with the development of popular attitudes toward jazz during these decades. Indeed, the cartoons shown in movie theaters throughout the 1930s and 1940s reflect and refract American culture every bit as much as the Hollywood feature films that so perfectly fit Althusser's concept of “ideological state apparatuses.” But because the cartoons almost always featured wall‐to‐wall musical soundtracks, they are an even better guide to the construction of popular music and jazz than the feature films could ever be.
Cold War Thrillers
Authors: Palmer R. Barton 
Published: November 2011

Abstract
The United States, so Kennan advised, should in response devote its main energies toward resolving such explosive domestic issues as institutionalized racism and class inequality. The object was to improve the image of the nation abroad and reassure the American people in a time of growing uncertainty. Here was a public relations project of epic proportions that the Hollywood film industry soon found itself engaging, if unofficially and of its own accord. No call for action issued from Washington, but none was needed. Studio heads, as well as the independent producers then beginning to shape decisively the industry's product, were eager to turn out films that dramatized that stance. A cinematic series — the Cold War thriller in its various forms — was the result. Whether these films contributed to the “diplomatic victory” Kennan hoped for is a question that is impossible to answer. Cold War thrillers were often embarrassingly chauvinistic and obviously propagandistic, but they regularly proved at least moderately successful with audiences. In treating those films released during the years 1945–1965, I will place a special emphasis on lesser‐known releases that are most useful for illuminating the politics of the period, both national and cinematic.
American Underground Film
Authors: Rapfogel Jared 
Published: November 2011

Abstract
The first step in introducing the vast, but often neglected, topic of American Underground Cinema is to clarify what is meant by “underground.” In the field of noncommercial, independent cinema, descriptive terms and definitions are endlessly debated, as cases are made for and against labeling various (and inevitably ambiguous and overlapping) categories of films as “avant‐garde,” “experimental,” “nonnarrative,” and so on. “Underground” is very much a part of this disputed flock, a term that is sometimes understood as more or less synonymous with “avant‐garde” or “experimental,” and at other times applied to films that push the boundaries of sex, violence, or simply good taste. In still other contexts “underground” is used more precisely to identify a specific period in the history of noncommercial American filmmaking, from the late 1950s to the mid‐1960s — a period that saw an explosion of personal, independently made and produced films; the formation of cohesive communities of independent filmmakers; and the establishment of structures for the exhibition, distribution, and promotion of these films. This period, one of social and cultural transformation and upheaval throughout America, saw the alternative cinema coalesce into a vigorous movement, achieving an unprecedented cultural prominence.
Black Representation in Independent Cinema
Authors: Lykidis Alex 
Published: November 2011

AbstractAfter World War II, black independent film production waned as black political leaders advocated integration over cultural nationalism, placing utmost importance not on the creation of a viable alternative space for black film culture but rather on improving the level of black participation and the accuracy of black representation in Hollywood cinema. The coordinated actions of the National Association for the Advancement of Colored People (NAACP) and other Civil Rights groups induced Hollywood to incorporate black actors, directors, producers and musicians such as Harry Belafonte and Quincy Jones into the industry, which weakened the pool of talent available for black independents (Cripps 1978, 48). Gladstone Yearwood notes that “as the Civil Rights movement made gains during the 1950s and early 1960s and increasing attention was given to bringing blacks into the mainstream film industry, the black independent film movement underwent a hiatus” (2000, 41).1Some postwar black independent films, such as Pierre Chenal'sNative Son(1951), starring and written by Richard Wright, and Anthony Harvey'sDutchman(1967), based on a screenplay by Amiri Baraka, were made outside of the United States and failed to garner the significant attention or support of domestic audiences (Cripps 1978, 47–48). Important black independent documentary filmmakers such as William Greaves and St. Clair Bourne did emerge during this period, but most documentaries about the Civil Rights and Black Power eras were made by white filmmakers, many of whom worked for radical newsreel organizations (Snead 1995, 372).
Cinema Direct and Indirect
Authors: Warren Charles 
Published: November 2011

Abstract

“Direct cinema” is a name preferred by certain American filmmakers emerging around 1960, for work they were doing in documentary under new principles and using new techniques. The technical breakthrough was the development of new lightweight equipment that allowed a crew as small as two persons, or even one, to move about freely and relatively unobtrusively, filming in 16 mm with synchronous sound recording. The new determination, or basic approach, was to attend to the world with a new flexibility and even modesty, following what might unfold, walking with the handheld camera and keeping it and the recorder running as long as appropriate, reframing and refocusing without stopping, not planning, not setting up shots, not setting out to teach a moral or make an argument, but just to take an interest, to become
involved
as an observer and to register, record, and relay. Anticipated in part by the Free Cinema movement in Great Britain of the 1950s, direct cinema practitioners in the United States — as Erik Barnouw says of the British — “often poked into places society was inclined to ignore or keep hidden,” and they liked to let the material stand with some ambiguity, leaving conclusions to viewers (1983, 231).
“The Rise of a Film Generation”
Authors: Zryd Michael 
Published: November 2011

AbstractIn 1967, film critic Stanley Kauffmann reflected on “the end of a decade that had seen the rise of a Film Generation around the country” (1968, 274). Yet, this rise of a Film Generation happened at a time when the theatrical box office suffered its lowest attendance: In 1971, the smallest number of tickets was sold in American film history — 16 million per week (Cook 2002, 14). How do we make sense of this apparent contradiction between the decline in theatrical film‐going and the rise of a “Film Generation”?
The Queer 1990s
Authors: Bronski Michael 
Published: November 2011

AbstractThe 1990s are unique in the history of lesbian‐gay‐bisexual‐transgender (LGBT) cinema in that they saw the release of an unusually large number of LGBT‐themed films — more than 75, including Hollywood productions, independent productions, and British and European films released in the United States. This output spans a wide range of themes, genres, and artistic and narrative approaches and, as will be argued below, it reflects a spectrum of political perspectives. This cinematic embarrassment of riches makes perfect sense when viewed against the background of the decade's extraordinarily vibrant political and social developments. In retrospect, the 1990s were clearly a pivotal period for LGBT politics and artistic endeavor.
Computer Animation
Authors: Wells Paul 
Published: November 2011

AbstractCoppola was right. Computer animation, merely one aspect of the “communications revolution” is now a mainstream cinema practice. In the hands of Pixar Animation, DreamWorks SKG, Blue Sky, and a myriad of other studios,1it has evolved from a marginal, experimental approach to film production to become the core aspect of much contemporary moving image construction. Cinema has always been a highly synthetic medium, of course, but computer animation in all its guises has enabled a much greater degree of “constructedness” in the cinematic image, promp ting claims that animation is not so much a variant, or “second cousin” of film, but the essential condition of film itself.2While such a perspective encourages a radical reinterpretation of film form in its own right, it is important in the first instance to establish how the computer became an intrinsic part of film production and to trace the ways in which computer animation has influenced the vocabulary of film from visual effects to feature‐length animated stories. Prompted by the extraordinarily prescient comments Francis Ford Coppola made at the 1979 Oscar ceremony, this discussion, therefore, seeks to advance an informal history of computer animation within the American context, a task that necessitates defining its place and presence in American film before commenting on its own conditions as a film form and a mode of production in the contemporary era.
The Biggest Independent Pictures Ever Made
Authors: Connor J. D. 
Published: November 2011

Abstract

In place of the de rigueur defense of independent film, Schamus contended that the IFP should defend independent expression more generally — fighting the extension of the conglomerates, supporting local distribution networks around the world, working to repeal parts of the Telecommunications Act of 1996. If this speech was the theory, the integration of Good Machine into Universal and the launching of
Hulk
were the practice.
The End of Cinema (As We Know It)
Authors: Lewis Jon 
Published: November 2011

Abstract
In 1963, the French filmmaker Jean‐Luc Godard famously remarked, “I await the end of cinema with optimism.” What Godard so anxiously awaited was a departure from a certain dominant form of narrative moviemaking: a final, formal alternative to the sort of story‐films endemic to Hollywood's classical, invisible style. In the near future, Godard proposed, we might find a medium that could speak in a different sort of visual and aural shorthand; still celluloid, still moving pictures essentially, but such a complete formal departure from the 70‐year tradition of “cinema” that we would need to call it something else. Godard no doubt appreciated that his comment was provocative, if only because in 1963 an end to cinema as a medium was difficult to imagine.
The effect of composition and the level of crosslinking of the poly(methylmethacrylate) phase on the properties of natural rubber‐poly(methylmethacrylate) semi‐2 interpenetrating polymer networks
Authors: Jayasuriya M. M. , Hourston D. J. 
Published: November 2011

AbstractThe effects of the PMMA content and the cross‐linker level in the poly(methylmethacrylate) component on the dynamic and physico‐mechanical properties of semi‐2 interpenetrating polymer networks based on natural rubber and poly(methylmethacrylate) were determined. The miscibility of the components in these semi‐2 interpenetrating polymer networks was determined using the loss tangent data, obtained from dynamic mechanical thermal analysis and the interphase contents were calculated from modulated scanning calorimetric data. Some component mixing in these semi‐2 interpenetrating polymer networks was evident from these modulated differential scanning calorimetric and dynamic mechanical thermal analysis data. The degree of component mixing increased with cross‐linker level in the PMMA phase. The PMMA content in the semi‐2 IPNs has a significant effect on the tensile and hysteresis behavior of these semi‐2 interpenetrating polymer networks. © 2011 Wiley Periodicals, Inc. J Appl Polym Sci, 2012
Cognitive behavioral therapy for the treatment of juvenile fibromyalgia: A multisite, single‐blind, randomized, controlled clinical trial
Authors: Kashikar‐Zuck Susmita , Ting Tracy V. , Arnold Lesley M. , Bean Judy , Powers Scott W. , Graham T. Brent , Passo Murray H. , Schikler Kenneth N. , Hashkes Philip J. , Spalding Steven , Lynch‐Jordan Anne M. , Banez Gerard , Richards Margaret M. , Lovell Daniel J. 
Published: November 2011

AbstractObjectiveJuvenile fibromyalgia syndrome (FMS) is a chronic musculoskeletal pain disorder in children and adolescents for which there are no evidence‐based treatments. The objective of this multisite, single‐blind, randomized clinical trial was to test whether cognitive–behavioral therapy (CBT) was superior to fibromyalgia (FM) education in reducing functional disability, pain, and symptoms of depression in juvenile FMS.MethodsParticipants were 114 adolescents (ages 11–18 years) with juvenile FMS. After receiving stable medications for 8 weeks, patients were randomized to either CBT or FM education and received 8 weekly individual sessions with a therapist and 2 booster sessions. Assessments were conducted at baseline, immediately following the 8‐week treatment phase, and at 6‐month followup.ResultsThe majority of patients (87.7%) completed the trial per protocol. Intent‐to‐treat analyses showed that patients in both groups had significant reductions in functional disability, pain, and symptoms of depression at the end of the study, and CBT was significantly superior to FM education in reducing the primary outcome of functional disability (mean baseline to end‐of‐treatment difference between groups 5.39 [95% confidence interval 1.57, 9.22]). Reduction in symptoms of depression was clinically significant for both groups, with mean scores in the range of normal/nondepressed by the end of the study. Reduction in pain was not clinically significant for either group (<30% decrease in pain). There were no study‐related adverse events.ConclusionIn this controlled trial, CBT was found to be a safe and effective treatment for reducing functional disability and symptoms of depression in adolescents with juvenile FMS.
Dynamic Pulse‐Frequency Modulation in Objects Control with Delay
Authors: Aitchanov B. Kh. , Kurmanov B. K. , Umarov T. F. 
Published: November 2011

AbstractThis paper describes the development of the method of building mathematical models of dynamic pulse‐frequency systems of automatic control of objects with random parameters and delay in the class of stochastic functional series of Voltaire and differential equations of Ito. In order to obtain mathematical descriptions of the system we have used homogenous models equivalent and majorizing processes in which are identical with the processes of the real stochastic dynamic pulse‐frequency system of control of objects with delay. Obtained mathematical models of stochastic dynamic pulse‐frequency systems of automatic control of objects with delay in the class of functional series of Voltaire and differential equations of Ito represent a further development of methods of description of “input‐output” systems and “state space” and serve as a basis for developing methods of analysis and synthesis of the given class of automatic control systems.
Role of the long head of the biceps brachii muscle in axial humeral rotation control
Authors: Eshuis Rienk , De Gast Arthur 
Published: November 2011

AbstractThis anatomical and biomechanical study focuses on the specific influence of the long head of biceps brachii muscle in controlling axial humeral rotation. The tendon of the long head of the biceps brachii (biceps tendon) is shown to either facilitate or restrict axial humeral rotation. Its effect on axial humeral rotation is strongly related to firstly the amount of biceps tendon load, secondly glenohumeral scapular plane elevation, and thirdly the rotatory position of the humerus. At 0° glenohumeral elevation, biceps tendon load caused an increase of internal humeral rotation, from 0° at 2.25 N biceps tendon load to 23° at 82.25 N. Under 45° glenohumeral elevation, biceps tendon load can restrict and facilitate as well internal and external axial humeral rotation, increasing the rotatory range of motion. Above 45° glenohumeral elevation biceps tendon load restricts internal and external axial humeral rotation, increasing actively joint stability by increasing torsional rigidity. These findings on the function of the biceps tendon could have consequences for the clinical interpretation. In the elevated arm position, extreme rotation loads the long head of the biceps tendon and may turn out to biceps or bicepslabrum complex injuries. Clin. Anat. 25:737–745, 2012. © 2011 Wiley Periodicals, Inc.
Incidence of periprocedural myocardial infarction following stent implantation: Comparison between first‐ and second‐generation drug‐eluting stents
Authors: Tandjung Kenneth , Basalus Mounir W.Z. , Muurman Esther , Louwerenburg Hans W. , van Houwelingen K. Gert , Stoel Martin G. , de Man Frits H.A.F. , Jansen Hanneke , Huisman Jennifer , Linssen Gerard C.M. , Droste Herman T. , Nienhuis Mark B. , von Birgelen Clemens 
Published: November 2011

AbstractBackground: First‐ and second‐generation drug‐eluting stents (DES) differ in coating materials, which may influence the incidence of periprocedural myocardial infarction (PMI). Objective: To compare the incidence of PMI between first‐ and second‐generation DES, using the current Academic Research Consortium (ARC) definition of PMI. Methods: We assessed 800 patients treated with first‐ (Taxus Liberté or Endeavor) or second‐generation DES (Xience V or Resolute). Each DES group consisted of 200 consecutive patients, who were treated during the transition from first‐ to second‐generation DES. Routine peri‐interventional assessment of cardiac biomarkers was performed to compare the incidence of PMI between DES groups according to the updated definition by the ARC: 2x upper reference limit of creatine kinase (CK), confirmed by CK‐MB elevation. Results: In 800 patients, a total of 1,522 DES (363 Taxus; 385 Endeavor; 382 Xience V; 392 Resolute) were implanted to treat 1,232 lesions. Patient characteristics did not differ between groups. In patients receiving second‐generation DES, more multivessel percutaneous coronary interventions were performed (P = 0.01). The overall incidence of PMI was 4.75%. Between first‐ and second‐generation DES, there was no significant difference in PMI (5.5% vs. 4.0%; P = 0.29). In a multivariate analysis, only the total number of stents implanted (P < 0.001) and presentation with acute coronary syndrome (P = 0.02) were independent predictors of PMI. Conclusion: Using the revised ARC definition, we found no significant difference in PMI between first‐ and second‐generation DES. Overall, PMI occurred in 4.75%, which is 58% lower than with use of the historical PMI definition. © 2011 Wiley Periodicals, Inc.