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Hardened gated x-ray detectors use photographic film as the data recording medium due to its low sensitivity to the high-yield neutron environments at the National Ignition Facility (NIF). The photographic film is digitized with a Photometric Data Systems (PDS) microdensitometer, which measures the film's optical density. The PDS scanner is able to measure a dynamic range of 0–5 OD; however, raster scanning the film is time consuming and maintenance of the instrument is challenging due to legacy technology. Since film usage at NIF is expected to continue in the foreseeable future, a digitization platform that is faster and more maintainable would benefit the NIF's current and future operations. This work presents the characterization of the digital transitions (DT) atom, a CMOS camera-based digitization platform that records film data in a single image capture very quickly and has widely available user support. The preliminary results suggest that the DT atom is able to reconstruct exposures accurately enough to be a competitive alternative to the PDS Scanner. [ABSTRACT FROM AUTHOR]

Purpose: This paper argues that when incumbent firms counter disruptive threats head-on, they may fail to develop the required new skills. This paper aims to propose an adjacent strategy which proved useful to Fujifilm to counter disruption of its core business of manufacturing photographic film. Design/methodology/approach: The study uses an inductive methodology. Based on a detailed case study of Fujifilm, the study proposes two frameworks: for the conditions under which an adjacent strategy is likely to be fruitful and how firms can make the strategy work in their organizations. Findings: The study finds that an adjacent strategy can be useful to firms under specific circumstances. Not only will the strategy help to counter decline in the core business, but it will also open up new avenues of growth. The success of the strategy requires significant efforts in aligning the leadership and the organization, however. Practical implications: The frameworks proposed in the study can be useful to incumbent firms in many industries as they battle new disruptive business models and players. Originality/value: The study's key argument that incumbent firms can leverage skills from their core business is novel. The study also proposes frameworks that can help firms decide whether an adjacent strategy is appropriate for them and how they can implement it. [ABSTRACT FROM AUTHOR]

The aim of this study was to investigate the suitability of selected essential oils as more environmentally friendly, sustainable antimicrobial agents in photographic films for long‐term data storage. For this purpose, essential oils of oregano, thyme, and lemongrass were added in concentrations ranging from 0.4% to 4% to the gelatin comprising a protective layer for photographic microfilms. The emulsions were analyzed via UV‐Vis for their optical transparency, then tested for their antimicrobial efficacy against Bacillus subtilis, Staphylococcus hominis and Staphylococcus epidermidis. Thin coatings generated by spreading and drying the emulsions onto photographic film substrates were then characterized morphologically via SEM before and after standardized artificial aging procedures. It was found that oregano oil at a concentration of 0.4% maintained the optical and physical properties of the emulsion and proved highly effective against all tested bacteria. Thyme and lemongrass oil also exhibited some antimicrobial activity, however, were not able to inhibit the bacterial growth completely. At higher concentrations of the oils, the gelatin coatings cracked after artificial aging, which makes them unsuitable for the application. To conclude, selected essential oils like oregano oil can be used as an effective antimicrobial agent without compromising the quality of the photographic films. Practical Applications: The results of our research can be applied directly to the manufacturing of photographic films, specifically ones intended for long‐term data storage. Furthermore, many applications of gelatin or related materials which require antimicrobial activity, such as food packaging, could be enhanced by the addition of essential oils. [ABSTRACT FROM AUTHOR]

The impact of different annealing temperatures on the Bi-doped GeTe thin films were investigated. The thin films have been prepared by using physical vapor deposition techniques (PVD). The Bismuth (Bi) is doped GeTe with ratio of 5%. Different characterizations techniques have been used to study the different properties of thin films with several annealing temperatures. It has been found that the film thickness decreases as the annealing temperature increases. The XRD patterns show that as-deposited and annealed Bi-doped GeTe films at 150°C, 200C, and 250C were fully amorphous, while the film annealed at 100 C was crystalline. FESEM image shows that the structure is amorphous with no grain appearing for the crystallite GeTe compound. Whereas the annealed thin films at 100C are well-appeared crystallites of GeTe with an average size of (110.64 nm). The thin films are annealed at (150, 200, and 250)C which reveals that the crystallite or grain is increased. An increase in the annealing temperature has been found to cause a significant shift in the absorption edge toward an extended wavelength and an overall reduction in transmittance. At a wavelength of 1100 nm, the transmittance dropped from 65.25% for as-deposited thin films to 32.57% for annealed thin films at 250 °C. Furthermore, when the annealing temperature rises from 100°C to 250°C, the optical band gap reduces from 0.95 eV to 0.42 eV. [ABSTRACT FROM AUTHOR]

An essay is presented which offers a response to Dawn M. Wilson's article "Invisible Images and Indeterminacy: Why We Need a Multi-Stage Account of Photography," published in a 2021 issue of "The Journal of Aesthetics and Art Criticism." Topics discussed include the single-stage accounts of photography which involves the exposure of a photo-sensitive surface to light and the storage of a latent image on a photographic film, the arguments raised by Wilson against latent photographic images, the relationship between latent and patent images proposed by Wilson, and the role of tonal contrast in the development of photographs.

Copyright of Ámbitos: Revista de Estudios de Ciencias Sociales y Humanidades is the property of Asociacion de Estudios de Ciencias Sociales y Humanidades and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Even in a world that is saturated with the digital, we still seek out analogue objects. Drawing on concepts of postdigital aesthetics, we examine the use of analogue objects to escape the omnipresence of the digital realm. Based on consumer narratives from interview, archival, and netnographic data involving the use of analogue notebooks and film cameras, we derive the notion of postdigital consumption and analyse the 'digital' as a background object foregrounding the analogue. Our findings reveal ways in which consumers use these analogue objects to escape controlled consumption, to enchant their consumption with their labour, and to seek continuity and permanence, in navigating paradoxical relationships with the digital world. [ABSTRACT FROM AUTHOR]

Digital scans of analogue photographic film typically contain artefacts such as dust and scratches. Automated removal of these is an important part of preservation and dissemination of photographs of historical and cultural importance. While state‐of‐the‐art deep learning models have shown impressive results in general image inpainting and denoising, film artefact removal is an understudied problem. It has particularly challenging requirements, due to the complex nature of analogue damage, the high resolution of film scans, and potential ambiguities in the restoration. There are no publicly available high‐quality datasets of real‐world analogue film damage for training and evaluation, making quantitative studies impossible. We address the lack of ground‐truth data for evaluation by collecting a dataset of 4K damaged analogue film scans paired with manually‐restored versions produced by a human expert, allowing quantitative evaluation of restoration performance. We have made the dataset available at https://doi.org/10.6084/m9.figshare.21803304. We construct a larger synthetic dataset of damaged images with paired clean versions using a statistical model of artefact shape and occurrence learnt from real, heavily‐damaged images. We carefully validate the realism of the simulated damage via a human perceptual study, showing that even expert users find our synthetic damage indistinguishable from real. In addition, we demonstrate that training with our synthetically damaged dataset leads to improved artefact segmentation performance when compared to previously proposed synthetic analogue damage overlays. The synthetically damaged dataset can be found at https://doi.org/10.6084/m9.figshare.21815844, and the annotated authentic artefacts along with the resulting statistical damage model at https://github.com/daniela997/FilmDamageSimulator. Finally, we use these datasets to train and analyse the performance of eight state‐of‐the‐art image restoration methods on high‐resolution scans. We compare both methods which directly perform the restoration task on scans with artefacts, and methods which require a damage mask to be provided for the inpainting of artefacts. We modify the methods to process the inputs in a patch‐wise fashion to operate on original high resolution film scans. [ABSTRACT FROM AUTHOR]

Abstract Cellulose nitrate (CN) has been used in the past as support for photographic negatives and cinematographic films. This material is particularly unstable and can undergoes severe degradation due to thermal, photocatalytic and hydrolytic loss of nitro groups from the lateral chain. Thus, to prevent the disappearance of the movies, their scanning and digitalization become a priority. However, CN bases degradation may prevent the scanning of the films. The decrease in pH, for instance, lowers the viscosity of gelatin, which becomes softer. This causes the formation of gelatin residues which stick on the back of the superimposed frames inside the reels creating a deposit. Traditional approaches to clean gelatin residues from the surface of CN bases include the mechanical removal with scalpels and the use of organic solvents (such as isopropyl alcohol). However, these methods are either slow and ineffective or could potentially damage the degraded CN supports. To overcome these drawbacks, we have evaluated the performance of three choline chloride and betaine-based Deep Eutectic Solvent (DES) formulations as alternative for the removal of gelatine residues from CN supports. These solvents are inexpensive (when compared to traditional solvents), easy to prepare, green (non volatile, safe towards the operators and the environment, and potentially recyclable), non flammable and have been previously proposed for the extraction of proteinaceous materials, but their use for the restoration of photographic negatives or cinematographic films has not been reported yet. Selected areas over the frames of a real deteriorated CN cinematographic film were cleaned comparing the DES performances with the ones obtained using isopropyl alcohol as an example of a traditional method. In particular, the tested DES formulations showed superior cleaning power compared to isopropyl alcohol and, at the selected application times, resulted capable to remove the gelatin residues without affecting the CN film supports. Graphical abstract

Although one of the most popular practices in photography since the end of the 19th century, an increase in scholarly interest in family photo albums dates back to the early 1980s. Such collections of photos may reveal sociological and historical insights regarding specific cultures and times. They are, however, in most cases scattered among private homes and only available on paper or photographic film, thus making their collection and analysis by historians, socio-cultural anthropologists, and cultural theorists very cumbersome. Computer-based methodologies could aid such a process in various ways, speeding up the cataloging step, for example, with the use of modern computer vision techniques. We here investigate such an approach, introducing the design and development of a multimedia application that may automatically catalog vernacular pictures drawn from family photo albums. To this aim, we introduce the IMAGO dataset, which is composed of photos belonging to family albums assembled at the University of Bologna's Rimini campus since 2004. Exploiting the proposed application, IMAGO has offered the opportunity of experimenting with photos taken between the years 1845 and 2009. In particular, it has been possible to estimate their socio-historical content, i.e., the dates and contexts of the images, without resorting to any other sources of information. Exceeding our initial expectations, such an approach has revealed its merit not only in terms of performance but also in terms of the foreseeable implications for the benefit of socio-historical research. To the best of our knowledge, this contribution is among the few that move along this path at the intersection of socio-historical studies, multimedia computing, and artificial intelligence. [ABSTRACT FROM AUTHOR]

Research utilizing the sub-micron three-dimensional spatial resolution of nuclear emulsion detectors has been expanding in various fields, triggered by the development of automated emulsion scanning technology. This paper describes a new production system capable of supplying several thousand square meters of nuclear emulsion film per year. The development and introduction of improved emulsion gel, knife coating, and drying equipment have enabled the mass production of double-side coated nuclear emulsion films with thick emulsion layers suitable for full-area scanning and analysis. This system has played an essential role in numerous nuclear emulsion experiments. [ABSTRACT FROM AUTHOR]

Historical aerial photos are important historical records, and subsequently, they have been widely used in many fields to study the physical and human characteristics of a place. Unfortunately, most historical aerial photos remain un-digitized and un-georeferenced on aging photographic film rolls, which significantly limits their usefulness for research and practice. This article is dedicated to discussing a funded initiative focusing on digitizing, georeferencing, creating metadata, indexing, archiving, and web-publishing New Mexico's historical aerial photos. As part of this initiative, a web application was developed to enable online georeferencing to increase georeferencing productivity, bounding box display to present the ground coverage extent of each historical aerial photo, and spatial search to increase the discoverability and use of historical aerial photos. Based on a set of open standards and open source software and libraries, application programming interfaces for the aforementioned web application were also developed and freely shared with archival and record management organizations across the United States to enable them to develop similar web applications, and ultimately, promoting the access and use of historical aerial photos for various purposes. [ABSTRACT FROM AUTHOR]

Cellulose nitrate (CN) has been used in the past as support for photographic negatives and cinematographic films. This material is particularly unstable and can undergoes severe degradation due to thermal, photocatalytic and hydrolytic loss of nitro groups from the lateral chain. Thus, to prevent the disappearance of the movies, their scanning and digitalization become a priority. However, CN bases degradation may prevent the scanning of the films. The decrease in pH, for instance, lowers the viscosity of gelatin, which becomes softer. This causes the formation of gelatin residues which stick on the back of the superimposed frames inside the reels creating a deposit. Traditional approaches to clean gelatin residues from the surface of CN bases include the mechanical removal with scalpels and the use of organic solvents (such as isopropyl alcohol). However, these methods are either slow and ineffective or could potentially damage the degraded CN supports. To overcome these drawbacks, we have evaluated the performance of three choline chloride and betaine-based Deep Eutectic Solvent (DES) formulations as alternative for the removal of gelatine residues from CN supports. These solvents are inexpensive (when compared to traditional solvents), easy to prepare, green (non volatile, safe towards the operators and the environment, and potentially recyclable), non flammable and have been previously proposed for the extraction of proteinaceous materials, but their use for the restoration of photographic negatives or cinematographic films has not been reported yet. Selected areas over the frames of a real deteriorated CN cinematographic film were cleaned comparing the DES performances with the ones obtained using isopropyl alcohol as an example of a traditional method. In particular, the tested DES formulations showed superior cleaning power compared to isopropyl alcohol and, at the selected application times, resulted capable to remove the gelatin residues without affecting the CN film supports. [ABSTRACT FROM AUTHOR]

Modeling the microstructural evolution of irradiated materials requires knowledge of the migration energies of point defects, which results from energetic particle radiation. Herein, we measured the growth rate of self-interstitial atom (SIA) clusters in electron-irradiated α-iron at 275–320 K using in situ high-voltage electron microscopy. To improve the statistical accuracy of the measurement, we used photographic films and video data. This enabled analysis of a considerable amount of data by extracting several SIA clusters and tracking their size growth using image processing techniques. By fitting the temperature-dependent cluster growth rate to the Arrhenius relations derived using rate theory analysis, we obtained vacancy migration energy of 0.52 ± 0.03 eV. The validity of the estimation method was confirmed from the consistency of the dependence of the damage rate on the cluster growth rate using the applied rate theory analysis. We also investigated the possible roles of faster motion of tri-vacancies compared to those of mono- and di-vacancies, as demonstrated by first-principles calculations, on the obtained migration energy using a kinetic analysis model. In addition, the effects of impurities leading to decrease in the cluster growth rate were briefly discussed. [ABSTRACT FROM AUTHOR]

Three dimensional dunes of crescentic shape, called barchans, are commonly found on Earth and other planetary environments. In the great majority of cases, barchans are organized in large fields in which corridors of size‐selected barchans are observed, and where barchan‐barchan interactions play an important role in size regulation. Previous studies shed light on the interactions between barchans by making use of monodisperse particles, but dunes in nature consist, however, of polydisperse grains. In this paper, we investigate the binary interactions of barchans consisting of (a) bidisperse mixtures of grains and (b) different monodisperse grains (one type for each barchan). We performed experiments in a water channel where grains of different sizes were poured inside forming two barchans that interacted with each other while filmed by a camera, and we obtained their morphology from image processing. We observed that a transient stripe appears over the dunes in cases of bidisperse mixtures, that interaction patterns vary with concentrations, and that different interactions exist when each barchan consists of different monodisperse grains. Interestingly, we found the conditions for a collision in which the upstream barchan is larger than the downstream one, and we propose a timescale for the interactions of both monodisperse and bidisperse barchans. Our results represent a new step toward understanding complex barchanoid structures found on Earth, Mars, and other celestial bodies. Plain Language Summary: Barchans are crescent‐shaped dunes commonly found in dune fields on Earth and other planetary environments, and it has been shown that their sizes are highly influenced by barchan‐barchan interactions. The composition of the granular bed can affect the observed patterns and sizes, but had not been investigated until now. Because those interactions take long times to be completed in gaseous environments (estimated in decades and millennia for dunes on terrestrial and Martian deserts, respectively) when compared with the aquatic case (of the order of minutes), we performed experiments in a water channel where two species of grains (in terms of size) were poured inside, forming two barchans that interacted with each other. We found different structures, including a collision in which the upstream barchan is the largest, and propose a timescale for the interactions of barchans. The identification of such timescale represents a new step for predicting the duration of barchan‐barchan interactions and, more generally, scaling the evolution of dune fields on Earth, Mars, and other planetary environments. Key Points: Two‐species barchan‐barchan interactions vary with the relative concentrations of each speciesWe found configurations distinct from the one‐species case, including a collision in which the upstream barchan is the largestWe propose a timescale for the interactions of both monodisperse and bidisperse barchans [ABSTRACT FROM AUTHOR]

The Salt of the Earth (2014) gathers two filmmakers, Wim Wenders and Juliano Ribero, and a photographer, Sebastião Salgado, to document Salgado's career and personal environment, which are highly related to his work. This research sets out three specific objectives: to define how these filmmakers characterize Salgado's persona and photographic act, to determine how his images are inserted in the film narration, and to figure out the most common photographic marks and effects in the movie. Methodologically, we have used the qualitative version of content analysis using Phillippe Dubois' contributions concerning the formulas to incorporate photography into the cinema, Raymond Bellour's work on photography as a real object in film productions, and Vítor Magalhães's insights about high-speed photography applied to the film image. We conclude that the most recurrent photographic marks are the succession of photographs that make up the film narration, image freezes, and overlays. These effects initially combine images from the family archive to later focus on Salgado's photographic projects. [ABSTRACT FROM AUTHOR]

This document is a retraction note from the journal Naunyn-Schmiedeberg's Archives of Pharmacology. The article in question, titled "Dopamine receptors in human platelets," has been retracted by the Editor-in-Chief due to concerns about similarities between the western blot images in the article and another article by the same authors. The corresponding author claims that the similarities are due to the use of the same type of photographic film, but the Editor-in-Chief no longer has confidence in the data. Some of the authors disagree with the retraction. Springer Nature, the publisher, remains neutral in this matter. [Extracted from the article]

Flexographic printing has received tremendous attention in the printing field due to the advantages of short preparation processes and high printing efficiency. Its printing quality heavily depends on the preparation of the printing plate. However, plate clarity and plate softness are contradictory. This paper reports the development of a clear and soft self-plasticizing modified polyvinyl alcohol (m-PVA) coating that can be UV-cured at room temperature. Glycidyl methacrylate (GMA) was used to prepare unsaturated m-PVA (m-PVA-GMA) in an aqueous system. Meanwhile, the effects of acidic and alkaline environments on the grafted products have been further investigated, suggesting that they differ from those obtained via the dimethyl sulfoxide system. The structural comparison has demonstrated that the reactivity of GMA and m-PVA is higher in alkaline aqueous than in acidic conditions. When the unsaturation degree increases, the crystallization of PVA chain segments will be effectively destroyed. The photographic film, which can be directly photo-crosslinked, was prepared by m-PVA-GMA and washed away the uncrosslinked portion with water. The glass transition temperature (31.4 °C) of the photographic m-PVA-GMA film prepared under alkaline conditions is close to room temperature, and the crosslink density is as high as 3.01 × 103 mol m−3. More importantly, the elongation at break after water washing and the elastic recovery are 110.8 ± 5.3 % and 99 %, respectively. In addition, irradiating selected areas and then removing the non-irradiated portions with water could produce patterns. The m-PVA-GMA film prepared under alkaline conditions has outstanding development accuracy, much higher than the commercially available product nyloprint®. This direct UV-curable film with water-soluble and water-developable properties enables it to be a promising candidate in the fine flexographic printing industry, such as photoresists, electronic devices, and sensors. • Glycidyl methacrylate was grafted onto self-plasticized polyvinyl alcohol molecular chain. • After washing, the elastic recovery rate of the photosensitive film can be up to 99 %. • The modified UV curing film has clearer images than the commercial product. [ABSTRACT FROM AUTHOR]

Copyright of Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Abstract The white spots known as microbubbles that are formed in cellulose acetate film, significantly affects the texture of the image. However, the formation of microbubbles and their corresponding microstructure are poorly understood. In this paper, cellulose acetate microfilm from the Republic of China (AD 1912–1949) collected in the Second Historical Archives of China was chosen as a prototype to investigate the causes of microbubble disease for the first time. A comparative study was conducted between the film samples with and without microbubbles. Herein, the microstructural analyses including optical and SEM microscopy were conducted. The crystals in the microbubbles proved to be triphenyl phosphate as identified by NMR spectroscopy and SEM–EDX. Comparative properties of the film substrate with and without microbubbles were measured by TG, XRD and FT-IR spectroscopy. The results show that formation of microbubbles was generally accompanied with the vinegar syndrome and was produced between the protective and emulsion layers with the different types of shapes along the closed structure (the diameter of ~ 0.1–2 mm). The formed microbubble was filled with plasticizer. Based on the above-mentioned results, the possible formation process of microbubble was proposed in the present study. The results can provide support for the cause of microbubbles and basis for the conservation of photographic films.

This article considers Harold Johnson's (Hariwe) 2014–2016 research project on 'Dark City', an informal vertical settlement in inner-city Johannesburg, as offering a productive arts-orientated, interdisciplinary study of and proposal for planning and design interventions in informally occupied urban spaces. Hariwe used his architectural skills to 'reverse design' the building according to its daily use by residents. Collaborators Jono Wood and Dirk Chalmers followed a similar research process with 'Dark City', using their own modalities of photography and film. The three exhibited at the Circa Gallery in Rosebank, Johannesburg in 2016, constructing an immersive simulation of the 'Dark City' environment to set their drawings, photographs and films within. This article uses the lenses of performance and performativity to argue for the research and creative processes of The 'Dark City' project as slowing down time, layering spaces across time and location and creating a sensual, immersive experience. These three effects serve to bring into view and experience the circumstances of 'Dark City', the kinds of inequalities at work in Johannesburg that produce such spaces and to propose design responses for spatial justice. [ABSTRACT FROM AUTHOR]

Copyright of Estúdio (1647-6158) is the property of Revista Estudio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Filmed in New York City's Central Park, the 1968 experimental documentary Symbiopsychotaxiplasm: Take One involved three film crews who were each tasked with capturing different aspects of the film production process simultaneously. One crew filmed the actors conventionally while a second crew filmed the first crew, and a third crew filmed the reactions of innocent passersby who happened upon the entire spectacle. At the center of the action is the (purportedly) bumbling director, William Greaves, who appears on camera throughout the film struggling (perhaps ostensibly) to give his cast and crew adequate direction. The result of this complicated exercise in acting and documentary filmmaking is a series of technical failures caused by Greaves's incompetent direction in addition to various equipment issues. This article considers the political dimensions of these technical failures that constitute the film's aesthetics. It argues that these technical failures create space for surprising critiques of 1960s American racial and sexual politics. Through its close readings, the article highlights the film's often overlooked themes of sexuality and offers a more capacious understanding of the revolutionary possibilities of failure in documentary cinema aesthetics. [ABSTRACT FROM AUTHOR]

[Display omitted] • Monitoring the food safety by using the intelligent packages in markets can improve the public health. • A colorimetric sensor array was developed using pH indicators immobilized on triacetyl cellulose (TAC) membrane to monitor the chicken meat freshness in referigrator. • Color change due to chicken meat spoilage was sharp and could be read even by untrained people. A new transparent colorimetric sensor array is presented for naked eye monitoring of the chicken meat freshness. This sensor array consists of four sensors fabricated by using pH indicators, immobilized on triacetyl cellulose (TAC) membrane. The sensor array represented obvious color change when it was exposed to the volatile organic compounds emitted from the chicken meat after 20 h keeping at room temperature or after four days of storage in the refrigerator. Therefore, it could easily identify spoiled meat from the fresh one assisted by chemometrics data analysis. Also, the color change of sensors due to the spoilage was sharp enough that could be read even by untrained people, providing naked eye monitoring the chicken meat freshness. The TAC polymer represented high physical stability for industrial scale-up. In addition, the immobilized indicators represented good stability against color change in humid condition. This offered the potential for continuous monitoring of the meat spoilage as smart labeling in the markets. [ABSTRACT FROM AUTHOR]

Participatory research can change the view of children from research subjects to active partners. As active partners, children can be recognized as agents who can contribute to different steps of the research process. However, "participatory research" is an umbrella term that covers both the collection of data with children and children's participation in making decisions related to the research process. As such, it raises particular challenges for researchers. Based on a pragmatic ethics approach, we were inspired by the realist review methodology to synthesize the current literature, identify different strategies used to engage children aged 12 and below in participatory research, and analyze how they affect children's active participation and the ethical aspects related to each. Fifty-seven articles were retained for inclusion in the review. A variety of strategies were used to involve children in the research process, including discussion groups, training/capacity-building sessions, photography and filming, children as data collectors and questionnaires. The most prevalent ethical considerations identified were related to power dynamics and strategies to facilitate children's expression and foster the authenticity of children's voices. Researchers should address these ethical considerations to actively involve children within the research process and prevent tokenistic participation. Active inclusion of children in research could include co-identifying with them how they want to be involved in knowledge production (if they want to) from the beginning of a project. [ABSTRACT FROM AUTHOR]

Giant petrels Macronectes spp. are the largest avian predator-scavengers in the Southern Ocean and feed both by direct predation and by scavenging carrion. However, they are not considered to be predators of adult albatrosses. We report the first records of Southern Giant Petrels M. giganteus attacking and killing incubating Atlantic Yellow-nosed Albatrosses Thalassarche chlororhynchos on Gough Island. From 2017 to 2019, a total of 87 adult carcasses were found near nests within long-term monitoring areas. In 2019, 16 motion-activated cameras filmed 32 nests between September and January, during incubation up until chicks were no longer guarded by their parents. Camera footage revealed at least six different male Southern Giant Petrels independently attacking 11 incubating Atlantic Yellow-nosed Albatrosses, killing and feeding on 5 of those. We also recorded a Southern Giant Petrel attacking a brooding Atlantic Yellow-nosed Albatross and carrying its chick away. Of these camera-monitored nests breeding success was 18.75%, nest failure was due to parent mortality (n = 6), chick mortality (3) and nest abandonment (17), with giant petrels being confirmed or strongly suspected in at least 14 of 26 cases (54%). We observed these attacks in two out of 11 study areas, but it is uncertain whether this behaviour occurs elsewhere on Gough Island, or whether it is a novel hunting method learnt by a few individuals. However, if this behaviour spreads across albatross colonies, the resulting increase in adult mortality could have a significant impact on this endangered Atlantic Yellow-nosed Albatross population. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Changzhou University (Social Science Edition) is the property of Editorial Department of Journal of Changzhou University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article, I analyze the significance of camera movement in the films of Otto Preminger. Focusing in particular on his feminist melodrama Whirlpool (1950), I argue that it not only constitutes a radical feminist critique of the patriarchal subjugation of women, but that this is manifest in the mise-en-scène, specifically in Preminger's characteristically expressive camera movements. First, I establish the generic context of Whirlpool. Situated between the genres of film noir and melodrama, I argue that, alongside films such as Alfred Hitchcock's Rebecca (1940), George Cukor's Gaslight (1944), and Vincente Minnelli's Undercurrent (1946), Whirlpool is an exemplary "persecuted wife melodrama." Second, I establish the authorial context of Whirlpool. Beyond reuniting Preminger with his frequent female lead Gene Tierney, I argue that Whirlpool is a radicalization of their previous collaboration Laura (1944). In both films, the repression of the female voice and the suffering of the female protagonists at the hands of obsessive and controlling men are central thematic concerns. However, it is in Whirlpool that Preminger's feminist attunement is most pronounced, both in relation to the characterization of his heroine and the intricacy of his mise-en-scène. By virtue of detailed analyses of key scenes from the film, I demonstrate the aesthetic richness and the depths of meaning in Preminger's ultimate feminist masterwork. [ABSTRACT FROM AUTHOR]

Combining archival and ethnographic fieldwork, this piece reflects on the scope of film publicity through the author's conversations with the proprietor-editor of the oldest film magazine in Pakistan, The Nigar Weekly. Offering a larger view from post-colonial Karachi of political and national transitions, Nigar's brand of film commentary in the 1950s and 60s, reveled in connecting and cohabiting the multiple film centers in South Asia: Karachi, Lahore, Dhaka and Bombay. Foregrounding the muhajir background of its founders and its self-styled relationship with the film industry, the piece draws attention to a distinctive characteristic of the publication: its satirical visual content. The magazine while borrowing select content from a Bombay film magazine in its early years, vividly commented on issues such as film trade with India, censorship and public morality in Pakistan, cross-border film intimacies, film exhibition practices, and local production strategies. The cartoons, while directly connected to the written content, could also exaggerate and provoke as can be expected of visual satire. And it is in this less restrained feature of Nigar that a cautionary critique and a calculated celebration of the Pakistani cinema emerges. [ABSTRACT FROM AUTHOR]

Copyright of Écrans is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Elementary Education / Revija za Elementarno Izobraževanje is the property of University of Maribor, Faculty of Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Walter Benjamin's famous 1935 essay 'The Work of Art in the Age of Mechanical Reproduction' addresses the authenticity of a work of art as something beyond the merely material and technical. Benjamin constructs a broader notion of authenticity that includes 'the life of things' and is related to new techniques in artistic production. This broader sense of authenticity is used here to explore how it may help us to understand architecture in the age of digital reproduction. Two aspects of authenticity in Benjamin's article are discussed: process reproduction and image reproduction. In process reproduction, authenticity is transformed through the mediation of technical procedures. Benjamin's analysis of photography and film is a seminal version of how the digital age raises new questions through tools and techniques such as programs, coding and algorithms. The work of Kees Christiaanse in collaboration with Ludger Hovestadt provides an example of an increasingly algorithmic approach to urban planning. In image reproduction, the question of authenticity revolves around the increasing proliferation of images. In this context, the Wangjing soho complex by Zaha Hadid and its apparent imitation by a Chinese developer proves illuminating. These projects show aspects of the changing conditions of the digital age, in which new techniques of realization may transform current notions of authenticity. [ABSTRACT FROM AUTHOR]

Nowadays, the oblique and multi-view, large-overlap aerial photography and airborne LiDAR are the main sources to build the 3D scene model. However, most of our archived aerial photos are acquired by non-oblique, normal photography. Because of low resolution, low overlay and poor model texture, there were less relative research and application. With the development of pixel-level matching technology, especially the application of Semi-Global Matching (SGM) and Multi-View Stereo (MVS) algorithm, the normal (non-oblique, non-large overlap) aerial photos could also be explored to restore the dense Digital Surface Model (DSM) and 3D scene model. In this paper, the method of the 3D scene modelling with the non-oblique aerial photos are summarized into 4 steps consisting of Data preprocessing, Ground Control Points (GCPs) collection and aerial triangulation (AT), DSM extraction and editing, 3D modelling and visualization. For the archived non-oblique aerial photos, including the aerial photographic films, digital frame photos and push-broom aerial data, the key steps of the 3D modelling method with these non-oblique aerial photos are discussed. Based on the experiments, the method can effectively explore the archived normal aerial data for large range restoration, 3D restoration, time series change detection and etc., providing new valuable spatio-temporal data for the urban historical research. [ABSTRACT FROM AUTHOR]

During the 1930s, new photographic technologies and practices addressed the difficulties of dealing with different kinds of climate, in Britain and her colonies. This article draws on archival material associated with two brands of photographic film manufactured in England by Ilford Limited: Selochrome and Dufaycolor. It describes these films as involved in a process of 'worlding', and as part of a 'photography complex' which produces the tropics and the British seaside as testing grounds for photography. Worlding involves the harnessing of light and air, the recalibration of bodies, the redistribution of sensory experiences and the production of new materialities. [ABSTRACT FROM AUTHOR]

Copyright of Espacio, Tiempo y Educación is the property of Espacio, Tiempo y Educacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Scientific Annals of the "Stefan cel Mare" Academy of the Ministry of Internal Affairs of the Republic of Moldova / Revista Stiintifica a Academiei Stefan cel Mare is the property of Stefan cel Mare University, Ministry of Internal Affairs of the Republic of Moldova / Ministerul Afe and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Theatralia is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Many Laue x-ray diffraction systems using the Polaroid XR-7 Land Diffraction Cassette camera became inactive after production of the required high sensitivity Polaroid T-57 instant film ceased. This Tutorial reports on a low-cost solution using the readily available replacement film with push processing to increase the effective film speed. The use of this film in the polaroid camera is described along with film development and digitization. The orientation of single crystals with the obtained data and free software is explained. A simple method to prepare single crystals with surfaces perpendicular to a desired crystallographic orientation is described. The content of this Tutorial may prove beneficial for educational and research laboratories. [ABSTRACT FROM AUTHOR]

In the United States of America, police body-worn cameras (bodycams) were introduced to protect civilians against violence by law enforcement authorities. In the Netherlands, however, the same technology has been introduced to record and discipline the behavior of the growing number of citizens using their smartphone cameras to film the (mis)conduct of police. In answer to these citizens sousveilling the police and publishing their images on social media, the bodycam was introduced as an objective referee that also includes the perspective of the police officer. According to this view, the bodycam is a tool of equiveillance: a situation with a diversity of perspectives in which surveillance and sousveillance are in balance (Mann 2005). Various factors, however, hamper the equiveillant usage of bodycams in the Netherlands. Firstly, the attachment of the bodycam to the uniform of the officer leads to an imbalanced representation of perspectives. The police perspective is emphasized by the footage that is literally taken from their perspective, in which others are filmed slightly from below, making them look bigger and more overwhelming. Also, the police officers' movements create shaky footage with deceptive intensity that invokes the image of a hectic situation that calls for police action. Secondly, it is the officer who decides when to wear a camera and when to start and stop recording. This leaves the potential to not record any misconduct. Thirdly, access to the recorded images, whilst in theory open to police and citizens alike, is in practice exclusively for the police. Within the current regulatory framework, bodycams are thus not neutral reporters of interactions between civilians and the police. We will end our contribution to this Dialogue section with suggestions for the improvement of those rules and reflect on the question of whether bodycams can ever be objective referees. [ABSTRACT FROM AUTHOR]

The white spots known as microbubbles that are formed in cellulose acetate film, significantly affects the texture of the image. However, the formation of microbubbles and their corresponding microstructure are poorly understood. In this paper, cellulose acetate microfilm from the Republic of China (AD 1912–1949) collected in the Second Historical Archives of China was chosen as a prototype to investigate the causes of microbubble disease for the first time. A comparative study was conducted between the film samples with and without microbubbles. Herein, the microstructural analyses including optical and SEM microscopy were conducted. The crystals in the microbubbles proved to be triphenyl phosphate as identified by NMR spectroscopy and SEM–EDX. Comparative properties of the film substrate with and without microbubbles were measured by TG, XRD and FT-IR spectroscopy. The results show that formation of microbubbles was generally accompanied with the vinegar syndrome and was produced between the protective and emulsion layers with the different types of shapes along the closed structure (the diameter of ~ 0.1–2 mm). The formed microbubble was filled with plasticizer. Based on the above-mentioned results, the possible formation process of microbubble was proposed in the present study. The results can provide support for the cause of microbubbles and basis for the conservation of photographic films. [ABSTRACT FROM AUTHOR]