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Among today’s leading filmmakers, none brings to the screen such a deep awareness of how power is channeled from First to Third World societies, or exhibits such great human sensitivity, as Raoul Peck. Collected here for the first time are Peck’s three early feature and documentary screenplays as well as his seminal film Lumumba. In this collection of screenplays are Raoul Peck’s award-winning pair of films that cemented the director’s place in the internationalist cinema canon—the documentary Lumumba: Death of Prophet and the 2000 feature film Lumumba—about the life and assassination of Republic of Congo Prime Minister Patrice Lumumba. Also included are Raoul Peck’s first feature, Haitian Corner—set during the last, violent breaths of Haiti’s Duvalier regime—which asserted a Haitian Creole identity in Brooklyn in the 1980s, and The Man by the Shore, the first Haitian film ever to be screened in theaters in the United States and the first Caribbean film ever entered into competition at the Cannes Film Festival. Each film presented includes introductions by the author, production stills, storyboards, and poster art.
For many centuries, Hindus have taken it for granted that the religious images they place in temples and home shrines for purposes of worship are alive. Hindu priests bring them to life through a complex ritual "establishment" that invokes the god or goddess into material support. Priests and devotees then maintain the enlivened image as a divine person through ongoing liturgical activity: they must awaken it in the morning, bathe it, dress it, feed it, entertain it, praise it, and eventually put it to bed at night. In this linked series of case studies of Hindu religious objects, Richard Davis argues that in some sense these believers are correct: through ongoing interactions with humans, religious objects are brought to life. Davis draws largely on reader-response literary theory and anthropological approaches to the study of objects in society in order to trace the biographies of Indian religious images over many centuries. He shows that Hindu priests and worshipers are not the only ones to enliven images. Bringing with them differing religious assumptions, political agendas, and economic motivations, others may animate the very same objects as icons of sovereignty, as polytheistic "idols," as "devils," as potentially lucrative commodities, as objects of sculptural art, or as symbols for a whole range of new meanings never foreseen by the images' makers or original worshipers.
What is Reverse Image Search Reverse image search is a content-based image retrieval (CBIR) query technique that involves providing the CBIR system with a sample image that it will then base its search upon; in terms of information retrieval, the sample image is very useful. In particular, reverse image search is characterized by a lack of search terms. This effectively removes the need for a user to guess at keywords or terms that may or may not return a correct result. Reverse image search also allows users to discover content that is related to a specific sample image or the popularity of an image, and to discover manipulated versions and derivative works. How you will benefit (I) Insights, and validations about the following topics: Chapter 1: Reverse image search Chapter 2: Web crawler Chapter 3: Image retrieval Chapter 4: Recommender system Chapter 5: Document retrieval Chapter 6: Content-based image retrieval Chapter 7: Automatic image annotation Chapter 8: Inverted index Chapter 9: Google Images Chapter 10: Social search (II) Answering the public top questions about reverse image search. (III) Real world examples for the usage of reverse image search in many fields. Who this book is for Professionals, undergraduate and graduate students, enthusiasts, hobbyists, and those who want to go beyond basic knowledge or information for any kind of Reverse Image Search.
What Is Image Retrieval A computer system that is used for browsing, searching, and retrieving images from a vast collection of digital images is called an image retrieval system (sometimes abbreviated as IRMS). In order for image retrieval to be carried out over the annotation words, the majority of the conventional and widespread methods currently in use include the addition of information to the images themselves. This metadata can take the form of captioning, keywords, titles, or descriptions. Annotating images manually is a significant investment of time, effort, and money; as a result, a significant amount of effort and research has been put into developing automatic image annotation methods. In addition, the proliferation of social web apps as well as the semantic web has been a driving force behind the development of a number of picture annotation tools that are web-based. How You Will Benefit (I) Insights, and validations about the following topics: Chapter 1: Image retrieval Chapter 2: Information retrieval Chapter 3: MPEG-7 Chapter 4: Content-based image retrieval Chapter 5: Automatic image annotation Chapter 6: Image organizer Chapter 7: Google Images Chapter 8: Image meta search Chapter 9: Metadata Chapter 10: Reverse image search (II) Answering the public top questions about image retrieval. (III) Real world examples for the usage of image retrieval in many fields. (IV) 17 appendices to explain, briefly, 266 emerging technologies in each industry to have 360-degree full understanding of image retrieval' technologies. Who This Book Is For Professionals, undergraduate and graduate students, enthusiasts, hobbyists, and those who want to go beyond basic knowledge or information for any kind of image retrieval.
As the inaugural volume in the Docalogue series, this book models a new form for the discussion of documentary film. James Baldwin’s writing is intensely relevant to contemporary politics and culture, and Peck’s strategies for representing him and conveying his work in I Am Not Your Negro (2016) raise important questions about how documentary can bring the work of a complex thinker like Baldwin to a broader public. By combining five distinct perspectives on a single documentary film, this book offers different critical approaches to the same media object, acting both as an intensive scholarly treatment of a film and as a guide for how to analyze, theorize, and contextualize a documentary. Undergraduate and graduate students as well as scholars of film and media studies, communication studies, African American studies, and gender and sexuality studies will find this book extremely useful in understanding the significance of this film and the ways in which it offers insight into not only Baldwin and his writings but also wider historical and contemporary realities.
Powerful and often controversial, news pictures promise to make the world at once immediate and knowable. Yet while many great writers and thinkers have evaluated photographs of atrocity and crisis, few have sought to set these images in a broader context by defining the rich and diverse history of news pictures in their many forms. For the first time, this volume defines what counts as a news picture, how pictures are selected and distributed, where they are seen and how we critique and value them. Presenting the best new thinking on this fascinating topic, this book considers the news picture over time, from the dawn of the illustrated press in the nineteenth century, through photojournalism’s heyday and the rise of broadcast news and newsreels in the twentieth century and into today’s digital platforms. It examines the many kinds of images: sport, fashion, society, celebrity, war, catastrophe and exoticism; and many mediums, including photography, painting, wood engraving, film and video. Packed with the best research and full colour-illustrations throughout, this book will appeal to students and readers interested in how news and history are key sources of our rich visual culture.
The Mass Image situates the creation of the first photographically illustrated magazines within the social relations of the emerging popular culture of late Victorian London. It demonstrates how photomechanical reproduction allowed the illustrated press to envisage modern life on a much more intense scale than ever before.
All cultures make, and break, images. Striking Images, Iconoclasms Past and Present explores how and why people have made and modified images and other cultural material from pre-history into the 21st century. With its impressive chronological sweep and disciplinary breadth, this is the first book about iconoclasm (the breaking of images) and the transformation of broader sets of signs that includes contributions from archaeologists, curators, and museum conservators as well as historians of art, literature and religious studies. The chapters examine themes critical to the study of iconoclasm: violence, punishment, memory, intentionality, ruins and relics and their survival. The conclusion shows how cross-disciplinary debate amongst the contributors informed Tate Britain?s 'Art under Attack' exhibition (2013) and addresses the challenges iconoclasm presents to the modern museum. By juxtaposing objects and places usually considered in isolation, Striking Images raises provocative questions about our understandings of cross-cultural differences and the value of representational objects from the broken swords of pre-historical bog graves to the Bamiyan Buddhas and contemporary art. Are any such objects ever ?finished?, or are they simply subject to constant transformation? In dialogue with each other, the essays consider this question and expand the field of iconoclasm - and cultural - studies.
The successes and failures of an industry that claims to protect and promote our online identities What does privacy mean in the digital era? As technology increasingly blurs the boundary between public and private, questions about who controls our data become harder and harder to answer. Our every web view, click, and online purchase can be sold to anyone to store and use as they wish. At the same time, our online reputation has become an important part of our identity—a form of cultural currency. The Identity Trade examines the relationship between online visibility and privacy, and the politics of identity and self-presentation in the digital age. In doing so, Nora Draper looks at the revealing two-decade history of efforts by the consumer privacy industry to give individuals control over their digital image through the sale of privacy protection and reputation management as a service. Through in-depth interviews with industry experts, as well as analysis of media coverage, promotional materials, and government policies, Draper examines how companies have turned the protection and promotion of digital information into a business. Along the way, she also provides insight into how these companies have responded to and shaped the ways we think about image and reputation in the digital age. Tracking the successes and failures of companies claiming to control our digital ephemera, Draper takes us inside an industry that has commodified strategies of information control. This book is a discerning overview of the debate around who controls our data, who buys and sells it, and the consequences of treating privacy as a consumer good.