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The Introduction by Wickham and Watts does an excellent job of outlining the importance of Douglas as an inspirational film-maker: "Arguably the greatest ever from Scotland" (1). For this new work, I Bill Douglas: A Film Artist i , the editors Amelia Watts (who completed her PhD on Douglas at the University of Exeter) and Phil Wickham (Curator of the Bill Douglas Cinema Museum, which is located there) have carefully selected a range of film scholars and practitioners to reappraise Douglas's career and legacy. [Extracted from the article]

We examine how different occupational communities that are embedded in organizations exercise control processes to achieve emergent coordination as they create complex products together. We compare two types of organizations, equipment manufacturing and film production, and find that although occupational control was important for emergent coordination in both settings, this relationship varied according to two aspects of occupational embeddedness: organizational acknowledgment of occupational control and occupational interdependence. In the equipment manufacturing setting, occupational control was latent: the communities visibly conformed to organizational control processes while exercising occupational control behind the scenes to coordinate emergently. In the film setting, the organization granted the occupational community significant latitude over its tasks, which enabled members to coordinate emergently to solve problems the majority of the time. We propose that these two aspects of occupational embeddedness must be analyzed together with occupational control processes to explain how integration unfolds in knowledge-based settings in ways that organizational control processes are ill-equipped to manage. [ABSTRACT FROM AUTHOR]

This paper proposes the role of an emerging job role within the virtual reality (VR) film production crew. This role we call the Embodiment Director, involves assisting the VR Film Director in the accomplishment of true immersive film experiences through the use of game engines and VR peripherals. The Embodiment Director will manage the inception of haptics and stimuli technologies that allow for the embodiment of humans within a virtual environment, and they must guarantee precise synchronicity between physical and virtual counterparts, while overseeing the safety use of software and hardware during the entire production process of the VR film experiences. This paper offers a contemporary review of the key creative roles within traditional and virtual film production, in order to generate a concise and valid argument for the role of the Embodiment Director supported by autoethnography. [ABSTRACT FROM AUTHOR]

Besides a pure location policy, film subsidies are often justified with a contribution to artistic film quality and the diversity of the film supply. Selection committees deciding on film grants consist, to a large extent, of industry veterans who tend to prefer projects that seem familiar to them. In this study, we have drawn on the concepts of homophily and network theory to systematically study the impact of film subsidies in two empirical studies conducted in Germany. First, we had conducted interviews with film producers about their experiences while applying for a film grant and how this has changed over time. The results suggest an inter-organizational isomorphism resulting from a reproduction of norms and judgements. One mechanism at work here might be newcomers' adjustments and the self-affirmation of veteran producers. Second, we had conducted a network analysis to assess how being connected to others, particularly members of a funding committee, affects a grant sum for a film. The more a film crew is connected to other industry professionals, the higher the amount of funding received; the presence of a former, current or future committee member on a film crew also enhances the sum. We conclude that the way German film funding is designed does not promote innovation or diversity as policy goals but serves as a means of self-reproduction of industry standards. [ABSTRACT FROM AUTHOR]

Copyright of Śląskie Studia Polonistyczne is the property of Wydawnictwo Uniwersytetu Slaskiego 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.)

Italian horror found footage Road to L. - Il mistero di Lovecraft (2005) and mockumentary H.P. Lovecraft - Ipotesi di un viaggio in Italia (2004) revolve around the fictional discovery of a letter by the American supernatural writer, documenting a putative journey to Italy. The films envisage the conception of the HPL mythos stories following the writer's imagined encounters with the gloomy geography, folklore, and cryptic creatures from the Italian river Po delta. Ipotesi is a mockumentary focusing on the fabricated manuscript. Road to L. is Ipotesi's Blair Witch-inspired "backstage", revolving a found VHS and documenting a film crew's Italian journey on the tracks of HPL. The study discusses horror found footage as a sub-set of risemantisation practices characterised by features, such the diegetic camera and a make-believe register, that aim to bridge over regionalist landscape and "folklore" representations and global horror tropes, depicting the Po Delta region as resonating with the accursed geographies of Lovecraftian literature. The films represent examples of how make-believe found footage and mocku-horror formulas have been used to repurpose regional themes to align with global popular canons to attract national and international audiences. [ABSTRACT FROM AUTHOR]

The article analyses a case of prosecution for human smuggling. Three film crew members accompanied a Syrian refugee boy from Greece to Sweden, while recording the journey in a documentary that was screened on Swedish public television in 2015. Despite widespread recognition, they were prosecuted and found guilty of human smuggling by all the levels of the Swedish judiciary. Using a variety of materials – text and visual data, observations and interviews – we follow the case as it moves across different arenas: the media, the court and in activism. The analysis is inspired by and further develops de Genova's notion of the border as spectacle. What conditions for acting and speaking structure the arenas, and how and from which positions can the border spectacle be contested? The motion across these arenas offers an opportunity to disclose the operation of the borders as a regime that controls people's mobility and solidarity in unequal ways. [ABSTRACT FROM AUTHOR]

Research has often underestimated the pervasive and global occurrence of informality because studies largely define informality as illegal economic practices. This study adopts a multidimensional view of informality to explain how and why firms habitually improvise even when they do not experience unexpected or extreme eventualities. We addressed this concern through a comparative ethnographic study of three film production crews in the Nigerian movie industry. Our findings unravel the multiple dimensions of informality and define habitual improvization. We build a theoretical model that traces the organizing principles of informality and how they affect the modes of implementation and outcomes of habitual improvization. Finally, we offer an agenda for future theoretical and empirical research on informality and organizational improvization. [ABSTRACT FROM AUTHOR]

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]

The article illustrates the way in which leadership styles influence the performance level of the film crew and implicitly, freedom of expression, sense of security, cohesion. This relationship is part of a wider social context, whose influence acts both on the leader and crew performance. With the advent of globalization and increased consumption of film products in digital and traditional environments as well as the evolution of research in this field, the importance of the phenomenon of leadership in film crews has increased considerably. Consequently, nowadays, leadership is the key to the success of each film crew individual but also of the team they belong to, because in cinema, there is an interdependent relationship between the quality of the final product and the individual contribution of each member of the film crew. [ABSTRACT FROM AUTHOR]

Featured Application: This work can be applied for media production with aerial cameras. The system supports media crew to film outdoor events with an autonomous fleet of drones. This paper proposes a set of director tools for autonomous media production with a team of drones. There is a clear trend toward using drones for media production, and the director is the person in charge of the whole system from a production perspective. Many applications, mainly outdoors, can benefit from the use of multiple drones to achieve multi-view or concurrent shots. However, there is a burden associated with managing all aspects in the system, such as ensuring safety, accounting for drone battery levels, navigating drones, etc. Even though there exist methods for autonomous mission planning with teams of drones, a media director is not necessarily familiar with them and their language. We contribute to close this gap between media crew and autonomous multi-drone systems, allowing the director to focus on the artistic part. In particular, we propose a novel language for cinematography mission description and a procedure to translate those missions into plans that can be executed by autonomous drones. We also present our director's Dashboard, a graphical tool allowing the director to describe missions for media production easily. Our tools have been integrated into a real team of drones for media production and we show results of example missions. [ABSTRACT FROM AUTHOR]

Organizations increasingly face surprises with regularity, yet little is known about how they develop the responses to unexpected events that enable their work to continue. We compare ethnographic data from two types of organizations that regularly deal with surprises, a police SWAT team and film production crews. We find that individuals engage in organizational bricolage, restructuring their activities by role shifting, reorganizing routines, and reassembling the work. Organizational bricolage depends on the sociocognitive resources that group members develop by drafting agreement on the work, reinforcing and elaborating task activities, and building cross-member expertise. [ABSTRACT FROM AUTHOR]

Copyright of ABEI Journal: The Brazilian Journal of Irish Studies is the property of Associacao Brasileira de Estudos Irlandeses 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.)

Introduction. Norovirus is one of the most common causes of acute gastroenteritis in the world. The aim of this study was to describe characteristics of an outbreak of norovirus infection and present all the steps of an outbreak investigation. Material and Methods. A retrospective cohort study was conducted among all individuals who ate food from the same restaurant. All the exposed persons filled out an adapted questionnaire that is routinely used in patients with food poisoning. Results. This paper presents a norovirus outbreak among film crew members and measures taken to control the epidemic. Gastroenteritis was diagnosed in 20 exposed persons. In most patients, symptoms lasted 1 - 3 days, and every third patient sought medical attention. The predominant clinical manifestations were vomiting and diarrhea. The food that probably caused the infection were sandwiches with ham, cheese and lettuce and microbiological analysis confirmed that the outbreak was caused by norovirus. Conclusion. Although the source of this outbreak remains unclear, the results of environmental investigation of the restaurant showed several irregularities in the kitchen that may have caused norovirus transmission. [ABSTRACT FROM AUTHOR]

The article focuses on argument made on the term "found footage" refers not only to material physically discovered but also to footage acquired from any source outside the intended production. The use of found footage can serve as a means of disrupting and reimagining existing narratives, offering a means of critique and reinvention. It mentions various found footage which includes truly on the streets, 'Sicherheits' and acceleration.

An interview with photographer and cinematographer Babette Mangolte is presented. When asked on how she met filmmaker Chantel Akerman, she states that they met at the Jerusalem Film Festival in July 1971. Mangolte's collaboration with Akerman on her 1970s New York films is mentioned. She also explains how she got involved with Richard Foreman’s plays.

An interview with Claire Atherton, who worked with filmmaker Chantal Akerman for 30 years, is presented. When asked on her relationship with Akerman since the beginning, she states that she works at the Centre Audiovisuel Simone de Beauvoir, whose purpose was producing and archiving women's films. Atherton mentions the principle of video editing. She also explains the connection she makes with the technical aspect of U-matic.

A media archaeology project reveals how film crews worked together. By reuniting analogue equipment with the professionals who used to use it, the ADAPT project is able to unpack the professional routines and relationships of both people and technology that are at the core of television production. This detailed study of a film crew setting up 16mm equipment reveals the constraints and affordances that defined analogue television material. To study working practices in a historical setting also reveals that there is an absent area in contemporary production studies: the work of 'content acquisition'. [ABSTRACT FROM AUTHOR]