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Abstract only
Roger Singleton-Turner

This chapter is not about great movie stunts, though these often use a number of cameras so that expensive and destructive effects do not need to be repeated. Each camera runs independently for the entire take, so all the angles are fully covered, but they are not linked through a vision mixer or switcher. Frankly, a multi-camera studio is not the ideal place to try to shoot major action sequences. Multi-camera studios are great for speech-based content and fine, contained detail – demonstrations and the like. They are also great for a range of music

in Cue and Cut
Privacy, liability and interception
Christopher T. Marsden

DPI can look into the content of the message sent over the Internet. To use a real-world example, using DPI is akin to a third party opening an envelope sent by surface mail, and reading its contents before it reaches its intended destination … it is not clear that examination of content is

in Network neutrality
Roger Singleton-Turner

television. There is more to it than that: factors like the positioning of the cameras, the framing of shots, the angles, the cutting points and the cutting rate can make the audience feel more (or less) involved with what is going on. On well-written and directed studio dramas, I have often felt that the camera and sound crews, the Vision Mixer and the Director as well as the actors are all taking part in the same performance, rather than merely observing. I’ll come back to drama later. Multimedia formats This book focuses on multi-camera video content suitable for

in Cue and Cut
Andrew Klevan

formal relationships are created: by the inscription on the urinal; by the urinal’s pristine cleanliness in relation to an imagined and customary dirtiness (the absent presence of a urine pool); and 20 Aesthetic evaluation and film It is important not to fall prey to a popular misconception – that the previous paragraph might also seem to be promoting – that aesthetics is equivalent to Formalism: an adherence to form at the expense of content (for example, subject matter). Nor is it equivalent to Aestheticism if this is taken to mean an exaggerated devotion to

in Aesthetic evaluation and film
Michael Breen, Michael Courtney, Iain Mcmenamin, Eoin O’Malley, and Kevin Rafter

in two national daily newspapers, the Irish Independent and the Irish Times. Third, we use content analysis data from the 2016 general election to explore the impact of commercialisation on eleven media sources in print and broadcast formats. In the latter discussion, we pay particular attention to coverage of the 2016 election in the Irish editions of British newspapers. Many of our findings do not conform to established ideas about commercialism identified in other international studies and challenge how the idea of commercialisation is considered in discussions

in Resilient reporting
Ian Aitken

central concerns of the Ontology . These themes, which will now be explored one by one, comprise (a) ‘manipulation’ (b) ‘technical reason’ (c) ‘shock’ (d) ‘resistance to manipulation from the ground up’ (e) ‘form and content’ (f ) ‘authorship’ (g) ‘the aesthetic categories of Stimmung and indefinite objectivity’, and (h) ‘totality

in Lukácsian film theory and cinema
Torbjörn Tännsjö

tests. If the conclusions we derive (to the effect that certain actions are right or wrong) are morally acceptable, if they are in line with the content of our considered moral intuitions, then we may say that the moral conjecture in question explains the conclusions (it explains morally the rightness or wrongness of these actions). We then tend to speak of the content of our conjecture as a true representation of a moral law. This is parallel to when, in science, we tend to speak of our inductively supported hypotheses as descriptive of laws of nature. If a certain

in From reason to practice in bioethics
Stephen Benedict Dyson

individuals, taking full note of their gravity. I do, nonetheless, hope to show that the task of studying significant individuals can be accomplished systematically. Politicians leave thousands of clues as to their worldview and style each day, through the words they speak. Indeed, few love to talk as much as the politician. I introduce techniques through which we can measure the individual characteristics of these verbally effusive individuals through careful content analysis of the words they speak, and thereby begin to organize the chaotic and idiosyncratic nature of the

in The Blair identity
From theory to advocacy
Andrea Boggio and Cesare P. R. Romano

10 Freedom of research and the right to science: from theory to advocacy Andrea Boggio and Cesare P. R. Romano Although the right to science, which includes both the right of scientists to do research and the right of everyone to benefit from that research, was recognised internationally as early as 1948, it is arguably the least known, discussed and enforced international human right. As a result, its binding normative content is not settled and needs to be better clarified and specified. Progress at the conceptual level has been made in the last few years but

in The freedom of scientific research
Derricke, paratext, and poetic reception
Denna J. Iammarino

conventions in unconventional ways. 8 Derricke is seemingly no different as he praises his dedicatee, Sir Philip Sidney, his protagonist, Sir Henry Sidney, his readers in Ireland, and his ‘good and gentle’ and ‘well disposed reader[s]’ in England, supposedly. 9 Yet, the paratextual structure of Derricke’s poem is far from predictable; arguably its abundance of letters to the reader and dedications suggests that Derricke is concerned with keeping the predictable readings of his content at the forefront of his reader’s mind

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne