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Focusing on the precursors and contexts of ethnographic film, this text depicts the dynamic visual culture of the period as it collided with the emerging discipline of anthropology and the new technology of motion pictures.
To date, no text exists that focuses exclusively on the concept of postcolonial film as a framework for identifying films produced within and outside of various formerly colonized nations, nor is there a scholarly text that addresses pedagogical issues about and frameworks for teaching such films. This book borrows from and respects various forms of categorization - intercultural, global, third, and accented - while simultaneously seeking to make manifest an alternate space of signification. What feels like a mainstream approach is pedagogically necessary in terms of access, both financial and physical, to the films discussed herein, given that this text proposes models for teaching these works at the university and secondary levels. The focus of this work is therefore twofold: to provide the methodology to read and teach postcolonial film, and also to provide analyses in which scholars and teachers can explore the ways that the films examined herein work to further and complicate our understanding of «postcolonial» as a fraught and evolving theoretical stance.
Reconsidering the dynamics of perception Using cinema to explore the visual aspects of alterity, Randall Halle analyzes how we become cognizant of each other and how we perceive and judge another person in a visual field. Halle draws on insights from philosophy and recent developments in cognitive and neuroscience to argue that there is no pure "natural" sight. We always see in a particular way, from a particular vantage point, and through a specific apparatus, and Halle shows how human beings have used cinema to experiment with the apparatus of seeing for over a century. Visual alterity goes beyond seeing difference to being conscious of how one sees difference. Investigating the process allows us to move from mere perception to apperception, or conscious perception. Innovative and insightful, Visual Alterity merges film theory with philosophy and cutting-edge science to propose new ways of perceiving and knowing.
This book provides an evidence-based guide to working with visible difference in therapeutic practice. It explores how appearance problems intersect with other concerns causing mental health issues and provides clear guidance on treatment plans and related topics. Visible difference is a bigger cause of mental distress than is often realised. One in five people have an appearance that is considered ‘different’ to the normal population. The category of ‘visible difference’, previously described as ‘disfigurement’ or simply ‘disability’ captures a range of conditions with varying aetiology, severity, and extent. Differences in appearance can be the result of a birth anomaly, or be caused later in life through illness, physical trauma, or behaviour. Whatever the cause, visible difference can have a negative effect on how individuals are perceived and view themselves. This timely work arrives at a moment of rising professional interest, due to the growth of social media use and the focus this puts on appearance (“the amplification of appearance bias”), and also influenced by the implications new research. The author draws on these findings together with her own research and practice to examine best practice and key issues in addressing visible difference. Particular consideration is given to establishing a good working therapeutic relationship. Whether a trainee, a recently qualified therapist, or an experienced professional wanting to broaden their understanding, this is the ideal text for anyone wanting to better understand this growing area of therapeutic practice.
An engrossing guide to seeing—and communicating—more clearly from the groundbreaking course that helps FBI agents, cops, CEOs, ER docs, and others save money, reputations, and lives. How could looking at Monet’s water lily paintings help save your company millions? How can checking out people’s footwear foil a terrorist attack? How can your choice of adjective win an argument, calm your kid, or catch a thief? In her celebrated seminar, the Art of Perception, art historian Amy Herman has trained experts from many fields how to perceive and communicate better. By showing people how to look closely at images, she helps them hone their “visual intelligence,” a set of skills we all possess but few of us know how to use properly. She has spent more than a decade teaching doctors to observe patients instead of their charts, helping police officers separate facts from opinions when investigating a crime, and training professionals from the FBI, the State Department, Fortune 500 companies, and the military to recognize the most pertinent and useful information. Her lessons highlight far more than the physical objects you may be missing; they teach you how to recognize the talents, opportunities, and dangers that surround you every day. Whether you want to be more effective on the job, more empathetic toward your loved ones, or more alert to the trove of possibilities and threats all around us, this book will show you how to see what matters most to you more clearly than ever before. Please note: this ebook contains full-color art reproductions and photographs, and color is at times essential to the observation and analysis skills discussed in the text. For the best reading experience, this ebook should be viewed on a color device.
A provocative account of the philosophical problem of 'difference' in art history, Tintoretto's Difference offers a new reading of this pioneering 16th century painter, drawing upon the work of the 20th century philosopher Gilles Deleuze. Bringing together philosophical, art historical, art theoretical and art historiographical analysis, it is the first book-length study in English of Tintoretto for nearly two decades and the first in-depth exploration of the implications of Gilles Deleuze's philosophy for the understanding of early modern art and for the discipline of art history. With a focus on Deleuze's important concept of the diagram, Tintoretto's Difference positions the artist's work within a critical study of both art history's methods, concepts and modes of thought, and some of the fundamental dimensions of its scholarly practice: context, tradition, influence, and fact. Indicating potentials of the diagrammatic for art historical thinking across the registers of semiotics, aesthetics, and time, Tintoretto's Difference offers at once an innovative study of this seminal artist, an elaboration of Deleuze's philosophy of the diagram, and a new avenue for a philosophical art history.
Colour and appearance perceptions are very complex psychological phenomena. Written by one of the foremost authorities in the field, this major two-volume work addresses the key topics required to understand the issues and manage colour effectively. Principles of colour appearance and measurement Volume 2 addresses the visual measurement of colour, methods of comparing colours, and the management of colour in industry. Volume 2 begins with an overview of the visual measurement of colour. Chapter 1 discusses means of colour communication and various visual attributes of colour. Chapter 2 then focuses on several popular colour order systems, and chapter 3 discusses various colour difference formulae and their use in colour comparison and control. Subsequent chapters review instrumental colorant formulation, metamerism, chromatic adaptation and colour constancy, methods of shade sorting and digital colour reproduction. - Addresses the means of colour communication and the various attributes of colour - Examines colour order systems and the methods of colour comparison - Reviews the management of colour in industry
This volume does much more than survey modern advanced color processing. Starting with a historical perspective on ways we have classified color, it sets out the latest numerical techniques for analyzing and processing colors, the leading edge in our search to accurately record and print what we see. The human eye perceives only a fraction of available light wavelengths, yet we live in a multicolor world of myriad shining hues. Colors rich in metaphorical associations make us “purple with rage” or “green with envy” and cause us to “see red.” Defining colors has been the work of centuries, culminating in today’s complex mathematical coding that nonetheless remains a work in progress: only recently have we possessed the computing capacity to process the algebraic matrices that reproduce color more accurately. With chapters on dihedral color and image spectrometers, this book provides technicians and researchers with the knowledge they need to grasp the intricacies of today’s color imaging.
This text introduces the basic concepts and techniques in VIR. In doing so, it develops a foundation for further research and study. Divided into two parts, the first part describes the fundamental principles. A chapter is devoted to each of the main features of VIR, such as colour, texture and shape-based search. There is coverage of search techniques for time-based image sequences or videos, and an overview of how to combine all the basic features described and integrate them into the search process. The second part looks at advanced topics such as multimedia query. This book is essential reading for researchers in VIR, and final-year undergraduate and postgraduate students on courses such as Multimedia Information Retrieval, Multimedia Databases, and others.