Andrew W. Fitzgibbon, Geoff Cross, and Andrew Zisserman
- Published in print:
- 2005
- Published Online:
- January 2012
- ISBN:
- 9780197262962
- eISBN:
- 9780191734533
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197262962.003.0007
- Subject:
- Archaeology, Archaeological Methodology and Techniques
Digital representation of an artefact is necessary in order to measure, admire and analyse such ancient pieces. For the purpose of storing, recoding and transmitting information, digital photographs ...
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Digital representation of an artefact is necessary in order to measure, admire and analyse such ancient pieces. For the purpose of storing, recoding and transmitting information, digital photographs may be enough. However, in the examination purposes of an artefact, a 3D presentation is invaluable as it allows the object viewpoint to be modified freely and 3D measurements to be taken on object features. This chapter describes the system by which 3D models from photographs can be acquired, without the need for the calibration of system geometry such as the camera focal length, relative motion of the camera and object, and the relative positions of the camera and object. This system instead computes the representation of all possible objects and camera configurations which are consistent with the given image. The first section discusses how tracking points observed in 2D images allows for the computation of the relative camera and object geometry. The second section discusses the construction of a triangulated 3D model from the object projections. The third section discusses the refinement of the model based on surface texture.Less
Digital representation of an artefact is necessary in order to measure, admire and analyse such ancient pieces. For the purpose of storing, recoding and transmitting information, digital photographs may be enough. However, in the examination purposes of an artefact, a 3D presentation is invaluable as it allows the object viewpoint to be modified freely and 3D measurements to be taken on object features. This chapter describes the system by which 3D models from photographs can be acquired, without the need for the calibration of system geometry such as the camera focal length, relative motion of the camera and object, and the relative positions of the camera and object. This system instead computes the representation of all possible objects and camera configurations which are consistent with the given image. The first section discusses how tracking points observed in 2D images allows for the computation of the relative camera and object geometry. The second section discusses the construction of a triangulated 3D model from the object projections. The third section discusses the refinement of the model based on surface texture.
Zeynep Devrim Gürsel
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780520286368
- eISBN:
- 9780520961616
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520286368.001.0001
- Subject:
- Society and Culture, Media Studies
How does a photograph become a news image? An ethnography of the labor behind international news images, this book ruptures the self-evidence of the journalistic photograph by revealing the many ...
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How does a photograph become a news image? An ethnography of the labor behind international news images, this book ruptures the self-evidence of the journalistic photograph by revealing the many factors determining how news audiences are shown people, events, and the world. News images, this book argues, function as formative fictions—fictional insofar as these images are constructed and culturally mediated, and formative because their public presence and circulation have real consequences in the world. Set against the backdrop of the War on Terror and based on fieldwork conducted at photojournalism's centers of power, the book offers an intimate look at an industry in crisis. At the turn of the 21st century, image brokers—the people who manage the distribution and restriction of news images—found the core technologies of their craft, the status of images, and their own professional standing all changing rapidly with the digitalization of the infrastructures of representation. From corporate sales meetings to wire service desks, newsrooms to photography workshops and festivals, the book investigates how news images are produced and how worldviews are reproduced in the process.Less
How does a photograph become a news image? An ethnography of the labor behind international news images, this book ruptures the self-evidence of the journalistic photograph by revealing the many factors determining how news audiences are shown people, events, and the world. News images, this book argues, function as formative fictions—fictional insofar as these images are constructed and culturally mediated, and formative because their public presence and circulation have real consequences in the world. Set against the backdrop of the War on Terror and based on fieldwork conducted at photojournalism's centers of power, the book offers an intimate look at an industry in crisis. At the turn of the 21st century, image brokers—the people who manage the distribution and restriction of news images—found the core technologies of their craft, the status of images, and their own professional standing all changing rapidly with the digitalization of the infrastructures of representation. From corporate sales meetings to wire service desks, newsrooms to photography workshops and festivals, the book investigates how news images are produced and how worldviews are reproduced in the process.
Nicholas S. Hopkins and Sohair R. Mehanna (eds)
- Published in print:
- 2011
- Published Online:
- September 2011
- ISBN:
- 9789774164019
- eISBN:
- 9781617970382
- Item type:
- book
- Publisher:
- American University in Cairo Press
- DOI:
- 10.5743/cairo/9789774164019.001.0001
- Subject:
- Political Science, International Relations and Politics
This is a retrospective look at a major investigation of the culture of a displaced people. In the 1960s, the construction of the Aswan High Dam occasioned the forced displacement of a large part of ...
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This is a retrospective look at a major investigation of the culture of a displaced people. In the 1960s, the construction of the Aswan High Dam occasioned the forced displacement of a large part of the Nubian population. Beginning in 1960, anthropologists at the American University in Cairo's Social Research Center undertook a survey of the Nubians to be moved and those already outside their historic homeland. The goal was to record and analyze Nubian culture and social organization, to create a record for the future, and to preserve a body of information on which scholars and officials could draw. This book chronicles the research carried out by an international team with the cooperation of many Nubians. Gathered here into one volume are chapters, which are reprinted, that provide a valuable resource of research data on the Nubian project, as well as photographs taken during the field study that document ways of life that have long since disappeared.Less
This is a retrospective look at a major investigation of the culture of a displaced people. In the 1960s, the construction of the Aswan High Dam occasioned the forced displacement of a large part of the Nubian population. Beginning in 1960, anthropologists at the American University in Cairo's Social Research Center undertook a survey of the Nubians to be moved and those already outside their historic homeland. The goal was to record and analyze Nubian culture and social organization, to create a record for the future, and to preserve a body of information on which scholars and officials could draw. This book chronicles the research carried out by an international team with the cooperation of many Nubians. Gathered here into one volume are chapters, which are reprinted, that provide a valuable resource of research data on the Nubian project, as well as photographs taken during the field study that document ways of life that have long since disappeared.
Heather Sharkey
- Published in print:
- 2003
- Published Online:
- March 2012
- ISBN:
- 9780520235588
- eISBN:
- 9780520929364
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520235588.001.0001
- Subject:
- History, Middle East History
Histories written in the aftermath of empire have often featured conquerors and peasant rebels but have said little about the vast staffs of locally recruited clerks, technicians, teachers, and ...
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Histories written in the aftermath of empire have often featured conquerors and peasant rebels but have said little about the vast staffs of locally recruited clerks, technicians, teachers, and medics who made colonialism work day to day. Even as these workers maintained the colonial state, they dreamed of displacing imperial power. This book examines the history of the Anglo-Egyptian Sudan (1898–1956) and the Republic of Sudan that followed in order to understand how colonialism worked on the ground, affected local cultures, influenced the rise of nationalism, and shaped the postcolonial nation-state. Relying on a rich cache of Sudanese Arabic literary sources—including poetry, essays, and memoirs, as well as colonial documents and photographs—it examines colonialism from the viewpoint of those who lived and worked in its midst. By integrating the case of Sudan with material on other countries, particularly India, the book has broad comparative appeal. The author shows that colonial legacies—such as inflexible borders, atomized multi-ethnic populations, and autocratic governing structures—have persisted, hobbling postcolonial nation-states. Thus countries like Sudan are still living with colonialism, struggling to achieve consensus and stability within borders that a fallen empire has left behind.Less
Histories written in the aftermath of empire have often featured conquerors and peasant rebels but have said little about the vast staffs of locally recruited clerks, technicians, teachers, and medics who made colonialism work day to day. Even as these workers maintained the colonial state, they dreamed of displacing imperial power. This book examines the history of the Anglo-Egyptian Sudan (1898–1956) and the Republic of Sudan that followed in order to understand how colonialism worked on the ground, affected local cultures, influenced the rise of nationalism, and shaped the postcolonial nation-state. Relying on a rich cache of Sudanese Arabic literary sources—including poetry, essays, and memoirs, as well as colonial documents and photographs—it examines colonialism from the viewpoint of those who lived and worked in its midst. By integrating the case of Sudan with material on other countries, particularly India, the book has broad comparative appeal. The author shows that colonial legacies—such as inflexible borders, atomized multi-ethnic populations, and autocratic governing structures—have persisted, hobbling postcolonial nation-states. Thus countries like Sudan are still living with colonialism, struggling to achieve consensus and stability within borders that a fallen empire has left behind.
John Daverio
- Published in print:
- 2002
- Published Online:
- May 2008
- ISBN:
- 9780195132960
- eISBN:
- 9780199867059
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195132960.003.0006
- Subject:
- Music, History, Western
The practice of cryptography as a viable medium for Schumann's and Brahms' aural embodiments of Clara has been ruled out. Thus, how they attempted to capture the image of Clara in tone remains ...
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The practice of cryptography as a viable medium for Schumann's and Brahms' aural embodiments of Clara has been ruled out. Thus, how they attempted to capture the image of Clara in tone remains unknown. The fan is presented as a symbol of the bittersweet mixture of imagination and remembrance implicit in the erotic experience. The photograph — a gateway to the “optical unconscious” is also identified as a symbol of revelation. And since the photograph and the fan alike are receptacles for deeply buried memories, this family of motifs embraces the totality of relations between the lover and the object of his or her affections. What we hear in the opening movement of Schumann's Fantasie (Op. 17) and the Adagio of Brahms's D-minor Piano Concerto — to name only two of the better-known “Clara” pieces — is an attempt to imbue the musical surface with the quality of a consciousness gripped by a deep preoccupation with a beloved object, an endeavor that lends to so many of the works of Schumann and Brahms the texture of a folded and unfolding fan. This chapter furthers explores the significance of this metaphor and its attendant motifs for an understanding of Schumann's and Brahms's embodiment of Clara in tone.Less
The practice of cryptography as a viable medium for Schumann's and Brahms' aural embodiments of Clara has been ruled out. Thus, how they attempted to capture the image of Clara in tone remains unknown. The fan is presented as a symbol of the bittersweet mixture of imagination and remembrance implicit in the erotic experience. The photograph — a gateway to the “optical unconscious” is also identified as a symbol of revelation. And since the photograph and the fan alike are receptacles for deeply buried memories, this family of motifs embraces the totality of relations between the lover and the object of his or her affections. What we hear in the opening movement of Schumann's Fantasie (Op. 17) and the Adagio of Brahms's D-minor Piano Concerto — to name only two of the better-known “Clara” pieces — is an attempt to imbue the musical surface with the quality of a consciousness gripped by a deep preoccupation with a beloved object, an endeavor that lends to so many of the works of Schumann and Brahms the texture of a folded and unfolding fan. This chapter furthers explores the significance of this metaphor and its attendant motifs for an understanding of Schumann's and Brahms's embodiment of Clara in tone.
Max Saunders
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199579761
- eISBN:
- 9780191722882
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199579761.003.0012
- Subject:
- Literature, 19th-century Literature and Romanticism, 20th-century Literature and Modernism
This chapter focuses on the British modernist whose work represents the most sustained fictionalising engagement with biography. It recounts changes in biographical theory in Woolf's lifetime; ...
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This chapter focuses on the British modernist whose work represents the most sustained fictionalising engagement with biography. It recounts changes in biographical theory in Woolf's lifetime; especially her father's Dictionary of National Biography; the influence of Freud on Bloomsbury; Woolf's own critical discussions of biography; and New Criticism's antagonism to biographical interpretation; though it also draws on recent biographical criticism of Woolf. It discusses Jacob's Room and Flush, but concentrates on Orlando, arguing that it draws on the notions of imaginary and composite portraits discussed earlier. Whereas Orlando is often read as a ‘debunking’ of an obtuse biographer‐narrator, it shows how Woolf's aims are much more complex. First, the book's historical range is alert to the historical development of biography; and that the narrator is no more fixed than Orlando, but transforms with each epoch. Second, towards the ending the narrator begins to sound curiously like Lytton Strachey, himself the arch‐debunker of Victorian biographical piety. Thus Orlando is read as both example and parody of what Woolf called ‘The New Biography’. The chapter reads Woolf in parallel with Harold Nicolson's The Development of English Biography, and also his book Some People—a text whose imaginary (self)portraiture provoked her discussion of ‘The New Biography’ as well as contributing to the conception of Orlando.Less
This chapter focuses on the British modernist whose work represents the most sustained fictionalising engagement with biography. It recounts changes in biographical theory in Woolf's lifetime; especially her father's Dictionary of National Biography; the influence of Freud on Bloomsbury; Woolf's own critical discussions of biography; and New Criticism's antagonism to biographical interpretation; though it also draws on recent biographical criticism of Woolf. It discusses Jacob's Room and Flush, but concentrates on Orlando, arguing that it draws on the notions of imaginary and composite portraits discussed earlier. Whereas Orlando is often read as a ‘debunking’ of an obtuse biographer‐narrator, it shows how Woolf's aims are much more complex. First, the book's historical range is alert to the historical development of biography; and that the narrator is no more fixed than Orlando, but transforms with each epoch. Second, towards the ending the narrator begins to sound curiously like Lytton Strachey, himself the arch‐debunker of Victorian biographical piety. Thus Orlando is read as both example and parody of what Woolf called ‘The New Biography’. The chapter reads Woolf in parallel with Harold Nicolson's The Development of English Biography, and also his book Some People—a text whose imaginary (self)portraiture provoked her discussion of ‘The New Biography’ as well as contributing to the conception of Orlando.
Steve Reich and Beryl Korot
- Published in print:
- 2004
- Published Online:
- October 2011
- ISBN:
- 9780195151152
- eISBN:
- 9780199850044
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195151152.003.0062
- Subject:
- Music, History, American
This chapter presents Reich's thoughts about Three Tales. Three Tales is a new kind of musical theater in which historical film and video footage, videotaped interviews, photographs, text, and ...
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This chapter presents Reich's thoughts about Three Tales. Three Tales is a new kind of musical theater in which historical film and video footage, videotaped interviews, photographs, text, and specially constructed stills are created on the computer, transferred to videotape, and projected on one large 32-foot screen. Sixteen musicians and singers take their place onstage below the screen. The completed work runs about 65 minutes.Less
This chapter presents Reich's thoughts about Three Tales. Three Tales is a new kind of musical theater in which historical film and video footage, videotaped interviews, photographs, text, and specially constructed stills are created on the computer, transferred to videotape, and projected on one large 32-foot screen. Sixteen musicians and singers take their place onstage below the screen. The completed work runs about 65 minutes.
Max Saunders
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199579761
- eISBN:
- 9780191722882
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199579761.003.0006
- Subject:
- Literature, 19th-century Literature and Romanticism, 20th-century Literature and Modernism
This chapter examines the converse displacement to that considered in Chapters 3 and Chapter 4, looking instead at cases where fiction‐writers colonize the forms of life‐writing, producing a variety ...
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This chapter examines the converse displacement to that considered in Chapters 3 and Chapter 4, looking instead at cases where fiction‐writers colonize the forms of life‐writing, producing a variety of fake diaries, journals, biographies, and autobiographies. It takes a different approach to most of the other chapters, consisting of brief accounts of many works rather than sustained readings of a few. A taxonomy of modern engagements with life‐writing is proposed. The chapter moves on to discuss Galton's notion of ‘composite portraiture’ as a way of thinking about the surprisingly pervasive form of the portrait‐collection. The main examples are from Ford, Stefan Zweig, George Eliot, Hesketh Pearson, Gertrude Stein, Max Beerbohm and Arthur Symons; Isherwood and Joyce's Dubliners also figure. Where Chapters 3 and Chapter 4 focused on books with a single central subjectivity, this chapter looks at texts of multiple subjectivities. It concludes with a discussion of the argument that multiple works — an entire oeuvre — should be read as autobiography.Less
This chapter examines the converse displacement to that considered in Chapters 3 and Chapter 4, looking instead at cases where fiction‐writers colonize the forms of life‐writing, producing a variety of fake diaries, journals, biographies, and autobiographies. It takes a different approach to most of the other chapters, consisting of brief accounts of many works rather than sustained readings of a few. A taxonomy of modern engagements with life‐writing is proposed. The chapter moves on to discuss Galton's notion of ‘composite portraiture’ as a way of thinking about the surprisingly pervasive form of the portrait‐collection. The main examples are from Ford, Stefan Zweig, George Eliot, Hesketh Pearson, Gertrude Stein, Max Beerbohm and Arthur Symons; Isherwood and Joyce's Dubliners also figure. Where Chapters 3 and Chapter 4 focused on books with a single central subjectivity, this chapter looks at texts of multiple subjectivities. It concludes with a discussion of the argument that multiple works — an entire oeuvre — should be read as autobiography.
Paul Martin Lester
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780195370805
- eISBN:
- 9780199776610
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195370805.003.0023
- Subject:
- Philosophy, Moral Philosophy
Photographs have long been known to spark more emotional responses than stories. This chapter uses a picture taken during a tragic news situation as an example of journalistic wrongdoing. Violence ...
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Photographs have long been known to spark more emotional responses than stories. This chapter uses a picture taken during a tragic news situation as an example of journalistic wrongdoing. Violence and tragedy are staples of U.S. journalism because many readers are attracted to gruesome stories and photographs. “If it bleeds, it leads” is an undesirable rule of thumb. This chapter uses a five-step systematic moral analysis to determine if the image's use can be justified despite the assumed harm to the woman in the photograph.Less
Photographs have long been known to spark more emotional responses than stories. This chapter uses a picture taken during a tragic news situation as an example of journalistic wrongdoing. Violence and tragedy are staples of U.S. journalism because many readers are attracted to gruesome stories and photographs. “If it bleeds, it leads” is an undesirable rule of thumb. This chapter uses a five-step systematic moral analysis to determine if the image's use can be justified despite the assumed harm to the woman in the photograph.
Catharine Abell
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780199585960
- eISBN:
- 9780191723490
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199585960.003.0004
- Subject:
- Philosophy, Aesthetics, Philosophy of Mind
There is a variety of epistemic roles to which photographs are better suited than non‐photographic pictures. Photographs provide more compelling evidence of the existence of the scenes they depict ...
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There is a variety of epistemic roles to which photographs are better suited than non‐photographic pictures. Photographs provide more compelling evidence of the existence of the scenes they depict than non‐photographic pictures. They are also better sources of information about features of those scenes that are easily overlooked. This chapter examines several different attempts to explain the distinctive epistemic value of photographs, and argues that none is adequate. It then proposes an alternative explanation of their epistemic value. The chapter argues that photographs play the epistemic roles they do because they are typically rich sources of depictively encoded information about the scenes they depict, and reliable depictive representations of those scenes. It then explains why photographs differ from non‐photographic pictures in both respects.Less
There is a variety of epistemic roles to which photographs are better suited than non‐photographic pictures. Photographs provide more compelling evidence of the existence of the scenes they depict than non‐photographic pictures. They are also better sources of information about features of those scenes that are easily overlooked. This chapter examines several different attempts to explain the distinctive epistemic value of photographs, and argues that none is adequate. It then proposes an alternative explanation of their epistemic value. The chapter argues that photographs play the epistemic roles they do because they are typically rich sources of depictively encoded information about the scenes they depict, and reliable depictive representations of those scenes. It then explains why photographs differ from non‐photographic pictures in both respects.
Amos Morris-Reich
- Published in print:
- 2016
- Published Online:
- May 2016
- ISBN:
- 9780226320748
- eISBN:
- 9780226320915
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226320915.003.0003
- Subject:
- History, History of Science, Technology, and Medicine
Chapter Two shifts perspective from an investigation of various photographic methods and techniques to close analysis of the actual roles of photographs in scientific argumentation. Focusing on the ...
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Chapter Two shifts perspective from an investigation of various photographic methods and techniques to close analysis of the actual roles of photographs in scientific argumentation. Focusing on the single most influential racial definition of Jews between the 1880s and the 1920s- the idea of the Jews as a mixed race people- the chapter analyzes the role photographs played in the scientific economy of this idea. In this vein, the chapter traces a genealogy from Felix von Luschan, through Maurice Fishberg, to Sigmund Feist. The analysis reveals a transformation in the use of photographs, from illustrations of an argument in the 1890s to the gradual emergence of serialized photographs in the 1910s. It shows that, in the transformation of the racial photograph from icon to matrix, photographs were more thoroughly integrated into scientific demonstration. The chapter agues that this transformation destabilized definitions of both “type” and “race”. The chronologically ordered narrative is interrupted by two excurses that intersect the immediate subjects of the chapter. The first focuses on the interaction between Felix von Luschan and Hermann Struck, and explores the exchange between art and science. The second reflects on the relationship between the archive and the imagination in the history of race and photography. Less
Chapter Two shifts perspective from an investigation of various photographic methods and techniques to close analysis of the actual roles of photographs in scientific argumentation. Focusing on the single most influential racial definition of Jews between the 1880s and the 1920s- the idea of the Jews as a mixed race people- the chapter analyzes the role photographs played in the scientific economy of this idea. In this vein, the chapter traces a genealogy from Felix von Luschan, through Maurice Fishberg, to Sigmund Feist. The analysis reveals a transformation in the use of photographs, from illustrations of an argument in the 1890s to the gradual emergence of serialized photographs in the 1910s. It shows that, in the transformation of the racial photograph from icon to matrix, photographs were more thoroughly integrated into scientific demonstration. The chapter agues that this transformation destabilized definitions of both “type” and “race”. The chronologically ordered narrative is interrupted by two excurses that intersect the immediate subjects of the chapter. The first focuses on the interaction between Felix von Luschan and Hermann Struck, and explores the exchange between art and science. The second reflects on the relationship between the archive and the imagination in the history of race and photography.
Norman F. Ramsey
- Published in print:
- 1986
- Published Online:
- September 2007
- ISBN:
- 9780198520214
- eISBN:
- 9780191706325
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198520214.003.0001
- Subject:
- Physics, Atomic, Laser, and Optical Physics
A brief history of molecular beams is given along with a detailed description of a typical molecular beam experiment. Schematic diagrams and a photograph are provided. As an illustration the results ...
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A brief history of molecular beams is given along with a detailed description of a typical molecular beam experiment. Schematic diagrams and a photograph are provided. As an illustration the results of an experiment measuring the radio-frequency spectrum of H2 are given. This measurement gives a value of proton magnetic moment, a measurement of the separation of the two protons in the molecule, and a limitation on the possibility of an additional tensor force between two protons. Other very different molecular beam experiments are also described.Less
A brief history of molecular beams is given along with a detailed description of a typical molecular beam experiment. Schematic diagrams and a photograph are provided. As an illustration the results of an experiment measuring the radio-frequency spectrum of H2 are given. This measurement gives a value of proton magnetic moment, a measurement of the separation of the two protons in the molecule, and a limitation on the possibility of an additional tensor force between two protons. Other very different molecular beam experiments are also described.
Jason Jacobs
- Published in print:
- 2000
- Published Online:
- October 2011
- ISBN:
- 9780198742340
- eISBN:
- 9780191695018
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198742340.003.0002
- Subject:
- Literature, Film, Media, and Cultural Studies
The chapter presents an account of photographed stage play as a form of television drama during the period 1936–39. The idea of the ‘photographed stage play’ seemed static, boring, and relayed, with ...
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The chapter presents an account of photographed stage play as a form of television drama during the period 1936–39. The idea of the ‘photographed stage play’ seemed static, boring, and relayed, with due reverence to the performance or to the television audience. There were two ideologies surrounding this form of television drama, firstly the idea that fewer rehearsals were needed, as the actors would be familiar with their lines, so they could save time and space, secondly, outside broadcasts (OBs) of live stage performances transmitted by television cameras from the theatre. The weekly alternation between Baird and EMI television systems had a significant impact on the length and type of programmes that could be seen until late 1936. Once the Baird system was shut down, there was some standardization in the schedules, as the EMI-Marconi system was both more mobile and more flexible, as it could deploy multiple cameras. The relationship between the words and pictures in terms of family relations during the pre-war period, and the relation between television and other media expressed explicitly in terms of the ‘family of media’ in the post-war years is exemplified in this chapter.Less
The chapter presents an account of photographed stage play as a form of television drama during the period 1936–39. The idea of the ‘photographed stage play’ seemed static, boring, and relayed, with due reverence to the performance or to the television audience. There were two ideologies surrounding this form of television drama, firstly the idea that fewer rehearsals were needed, as the actors would be familiar with their lines, so they could save time and space, secondly, outside broadcasts (OBs) of live stage performances transmitted by television cameras from the theatre. The weekly alternation between Baird and EMI television systems had a significant impact on the length and type of programmes that could be seen until late 1936. Once the Baird system was shut down, there was some standardization in the schedules, as the EMI-Marconi system was both more mobile and more flexible, as it could deploy multiple cameras. The relationship between the words and pictures in terms of family relations during the pre-war period, and the relation between television and other media expressed explicitly in terms of the ‘family of media’ in the post-war years is exemplified in this chapter.
Erhart Graefe
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9789774167249
- eISBN:
- 9781617976780
- Item type:
- chapter
- Publisher:
- American University in Cairo Press
- DOI:
- 10.5743/cairo/9789774167249.003.0006
- Subject:
- Archaeology, Historical Archaeology
This chapter discusses the reconstruction work on the fragments of the Stundenritual (Ritual of the Hours of the Day) in the tomb of Karakhamun. Research was carried out in August 2013 and continued ...
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This chapter discusses the reconstruction work on the fragments of the Stundenritual (Ritual of the Hours of the Day) in the tomb of Karakhamun. Research was carried out in August 2013 and continued in May 2014. In 2013, it had been possible to document in digital photographs about 300 fragments put in a sandbox—a time-consuming process because fragments of different sizes, weights, and depths had to be adjusted with a level in both directions and the camera as well. In May 2014, the author made a (successful) test with another method for documenting the fragments: using a scanner. The preliminary reconstructions have progressed, especially for the Third, Seventh, and Eighth Hours. The reconstruction of the Eighth Hour of the Day, for instance, has improved considerably.Less
This chapter discusses the reconstruction work on the fragments of the Stundenritual (Ritual of the Hours of the Day) in the tomb of Karakhamun. Research was carried out in August 2013 and continued in May 2014. In 2013, it had been possible to document in digital photographs about 300 fragments put in a sandbox—a time-consuming process because fragments of different sizes, weights, and depths had to be adjusted with a level in both directions and the camera as well. In May 2014, the author made a (successful) test with another method for documenting the fragments: using a scanner. The preliminary reconstructions have progressed, especially for the Third, Seventh, and Eighth Hours. The reconstruction of the Eighth Hour of the Day, for instance, has improved considerably.
Gareth Wood
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199651337
- eISBN:
- 9780191741180
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199651337.003.0005
- Subject:
- Literature, European Literature, 20th-century and Contemporary Literature
This chapter argues for an interpretation of Marías's novel Negra espalda del tiempo (NET) as a Shandean autobiography. It argues that Marías consciously echoes Sterne's masterful literary precedent, ...
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This chapter argues for an interpretation of Marías's novel Negra espalda del tiempo (NET) as a Shandean autobiography. It argues that Marías consciously echoes Sterne's masterful literary precedent, both in terms of his consistent claims to having been influenced by his translation work on Tristram Shandy and the specific acts of homage that punctuate Marías's novel. Among the latter are the awareness both Tristram Shandy and the autobiographical narrator of NET display that the task of life-writing will always ultimately be in vain, the habit of resorting to visual prompts (black and blank pages, photographs, etc.) as a means of eluding the pitfalls of language, and a playful sense of the personal foibles that determine their world view and artistic predilections. This chapter also draws on Julian Barnes's essay ‘Justin: A Small Major Character’.Less
This chapter argues for an interpretation of Marías's novel Negra espalda del tiempo (NET) as a Shandean autobiography. It argues that Marías consciously echoes Sterne's masterful literary precedent, both in terms of his consistent claims to having been influenced by his translation work on Tristram Shandy and the specific acts of homage that punctuate Marías's novel. Among the latter are the awareness both Tristram Shandy and the autobiographical narrator of NET display that the task of life-writing will always ultimately be in vain, the habit of resorting to visual prompts (black and blank pages, photographs, etc.) as a means of eluding the pitfalls of language, and a playful sense of the personal foibles that determine their world view and artistic predilections. This chapter also draws on Julian Barnes's essay ‘Justin: A Small Major Character’.
Cara A. Finnegan
- Published in print:
- 2015
- Published Online:
- April 2017
- ISBN:
- 9780252039263
- eISBN:
- 9780252097317
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252039263.001.0001
- Subject:
- History, Cultural History
Photography became a dominant medium in cultural life starting in the late nineteenth century. As it happened, viewers increasingly used their reactions to photographs to comment on and debate public ...
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Photography became a dominant medium in cultural life starting in the late nineteenth century. As it happened, viewers increasingly used their reactions to photographs to comment on and debate public issues as vital as war, national identity, and citizenship. This book analyzes a wealth of newspaper and magazine articles, letters to the editor, trial testimony, books, and speeches produced by viewers in response to specific photos they encountered in public. From the portrait of a young Abraham Lincoln to images of child laborers and Depression-era hardship, the book treats the photograph as a locus for viewer engagement and constructs a history of photography's viewers that shows how Americans used words about images to participate in the politics of their day. As the book shows, encounters with photography helped viewers negotiate the emergent anxieties and crises of U.S. public life not only through persuasion but also action.Less
Photography became a dominant medium in cultural life starting in the late nineteenth century. As it happened, viewers increasingly used their reactions to photographs to comment on and debate public issues as vital as war, national identity, and citizenship. This book analyzes a wealth of newspaper and magazine articles, letters to the editor, trial testimony, books, and speeches produced by viewers in response to specific photos they encountered in public. From the portrait of a young Abraham Lincoln to images of child laborers and Depression-era hardship, the book treats the photograph as a locus for viewer engagement and constructs a history of photography's viewers that shows how Americans used words about images to participate in the politics of their day. As the book shows, encounters with photography helped viewers negotiate the emergent anxieties and crises of U.S. public life not only through persuasion but also action.
Marah Gubar
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780195336252
- eISBN:
- 9780199868490
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195336252.003.0004
- Subject:
- Literature, 19th-century and Victorian Literature
In his famous photographs of children and in the Alice books, Lewis Carroll often displays a surprising willingness to jettison the solitary Child of Nature paradigm and explore instead the complex ...
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In his famous photographs of children and in the Alice books, Lewis Carroll often displays a surprising willingness to jettison the solitary Child of Nature paradigm and explore instead the complex relationship that links children to adults, himself to his beloved child friends. Rather than single-mindedly insisting that a firm barrier separates young from old, Carroll frequently blurs this line, characterizing the child not as an untouched Other, but as a collaborator enmeshed in a complicated relationship with the adults who surround her. As in the case of the female children’s authors studied in Chapter 1, his work reveals a keen awareness of the fact that children are always already involved with (and influenced by) adults. But whereas they seem comfortably certain that children can nevertheless develop into creative agents who help shape their own life stories, Carroll remains unsure. He hopes that children can function as empowered collaborators, but—like Stevenson—he fears that the power imbalance inherent in the adult-child relationship ensures that all adults can offer children is a fraudulent illusion of reciprocity. Even his own cherished brand of nonsense literature, he suggests, can function as a form of coercion that pushy adults foist upon profoundly uninterested children.Less
In his famous photographs of children and in the Alice books, Lewis Carroll often displays a surprising willingness to jettison the solitary Child of Nature paradigm and explore instead the complex relationship that links children to adults, himself to his beloved child friends. Rather than single-mindedly insisting that a firm barrier separates young from old, Carroll frequently blurs this line, characterizing the child not as an untouched Other, but as a collaborator enmeshed in a complicated relationship with the adults who surround her. As in the case of the female children’s authors studied in Chapter 1, his work reveals a keen awareness of the fact that children are always already involved with (and influenced by) adults. But whereas they seem comfortably certain that children can nevertheless develop into creative agents who help shape their own life stories, Carroll remains unsure. He hopes that children can function as empowered collaborators, but—like Stevenson—he fears that the power imbalance inherent in the adult-child relationship ensures that all adults can offer children is a fraudulent illusion of reciprocity. Even his own cherished brand of nonsense literature, he suggests, can function as a form of coercion that pushy adults foist upon profoundly uninterested children.
Lois K. Geller
- Published in print:
- 2002
- Published Online:
- October 2011
- ISBN:
- 9780195158694
- eISBN:
- 9780199849420
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195158694.003.0008
- Subject:
- Business and Management, Strategy
One of the most complex parts of the entire Direct Marketing process is the delivery of the product to the customer the way it was promised (through written copy or photographs) and on time. This ...
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One of the most complex parts of the entire Direct Marketing process is the delivery of the product to the customer the way it was promised (through written copy or photographs) and on time. This chapter discusses and follows an order from beginning to end—from the moment a customer calls or writes an order to the moment the item is delivered to his or her door.Less
One of the most complex parts of the entire Direct Marketing process is the delivery of the product to the customer the way it was promised (through written copy or photographs) and on time. This chapter discusses and follows an order from beginning to end—from the moment a customer calls or writes an order to the moment the item is delivered to his or her door.
Lawrence W. Levine
- Published in print:
- 1993
- Published Online:
- October 2011
- ISBN:
- 9780195082975
- eISBN:
- 9780199854035
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195082975.003.0013
- Subject:
- History, Cultural History
The chapter discusses the impact of photographs as compared to isolated shots. The series of pictures taken were among the best-known representations of the Depression. Photographic images do not ...
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The chapter discusses the impact of photographs as compared to isolated shots. The series of pictures taken were among the best-known representations of the Depression. Photographic images do not lie, though the truth that they communicate is elusive and incomplete. This is beguiling because these photographs seem to act as the quintessential objective document which makes a greater claim on credibility. Photographs are a source that needs to be interpreted and supplemented by other evidence. They behave much like other sources historians depend on. The process of visual documentation is not simple. The photographer's own needs and perceptions influence those of their subjects. It is a medium that gives an opportunity to explore the past's hidden dimensions.Less
The chapter discusses the impact of photographs as compared to isolated shots. The series of pictures taken were among the best-known representations of the Depression. Photographic images do not lie, though the truth that they communicate is elusive and incomplete. This is beguiling because these photographs seem to act as the quintessential objective document which makes a greater claim on credibility. Photographs are a source that needs to be interpreted and supplemented by other evidence. They behave much like other sources historians depend on. The process of visual documentation is not simple. The photographer's own needs and perceptions influence those of their subjects. It is a medium that gives an opportunity to explore the past's hidden dimensions.
Robin Small
- Published in print:
- 2005
- Published Online:
- July 2005
- ISBN:
- 9780199278077
- eISBN:
- 9780191602702
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0199278075.003.0008
- Subject:
- Philosophy, History of Philosophy
Dramatic events during the autumn of 1882 resulted in the ending of Nietzsche and Rée’s friendship. Their meeting with the young Lou Salomé led to the formation of an unconventional ‘trinity’, with ...
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Dramatic events during the autumn of 1882 resulted in the ending of Nietzsche and Rée’s friendship. Their meeting with the young Lou Salomé led to the formation of an unconventional ‘trinity’, with ambitious plans for a shared life of study and work. But the three-way relationship was made unstable by an unacknowledged rivalry between the two men for Lou’s loyalty, and the intrigues of Nietzsche’s conventional and possessive sister Elisabeth. The tense situation ended in painful estrangement, and a wounded Nietzsche retreated to the Italian Riviera, where he began a new kind of writing with Thus Spake Zarathustra.Less
Dramatic events during the autumn of 1882 resulted in the ending of Nietzsche and Rée’s friendship. Their meeting with the young Lou Salomé led to the formation of an unconventional ‘trinity’, with ambitious plans for a shared life of study and work. But the three-way relationship was made unstable by an unacknowledged rivalry between the two men for Lou’s loyalty, and the intrigues of Nietzsche’s conventional and possessive sister Elisabeth. The tense situation ended in painful estrangement, and a wounded Nietzsche retreated to the Italian Riviera, where he began a new kind of writing with Thus Spake Zarathustra.
