This article corrects misconceptions regarding the history of film stereo. I show that the technical and aesthetic innovations regularly credited to Dolby Stereo, to sound designers like Walter Murch, and to films like Apocalypse Now (1979) were not revolutions but extensions of surround-sound practices that Hollywood codified in prior decades. I…[Read more]

This article corrects misconceptions regarding the history of film stereo. I show that the technical and aesthetic innovations regularly credited to Dolby Stereo, to sound designers like Walter Murch, and to films like Apocalypse Now (1979) were not revolutions but extensions of surround-sound practices that Hollywood codified in prior decades. I…[Read more]

In the 1930s, the Academy of Motion Picture Arts and Sciences implemented a technical standard—known as Academy Mono, or the Academy Curve—that dramatically impaired the sound quality of motion pictures. This article accounts for why the major studios agreed to this restrictive standard. I argue that they adopted Academy Mono to curtail the pow…[Read more]

In the 1930s, the Academy of Motion Picture Arts and Sciences implemented a technical standard—known as Academy Mono, or the Academy Curve—that dramatically impaired the sound quality of motion pictures. This article accounts for why the major studios agreed to this restrictive standard. I argue that they adopted Academy Mono to curtail the pow…[Read more]

This article corrects misconceptions regarding the history of film stereo. I show that the technical and aesthetic innovations regularly credited to Dolby Stereo, to sound designers like Walter Murch, and to films like Apocalypse Now (1979) were not revolutions but extensions of surround-sound practices that Hollywood codified in prior decades. I…[Read more]

This article corrects misconceptions regarding the history of film stereo. I show that the technical and aesthetic innovations regularly credited to Dolby Stereo, to sound designers like Walter Murch, and to films like Apocalypse Now (1979) were not revolutions but extensions of surround-sound practices that Hollywood codified in prior decades. I…[Read more]

In the 1930s, the Academy of Motion Picture Arts and Sciences implemented a technical standard—known as Academy Mono, or the Academy Curve—that dramatically impaired the sound quality of motion pictures. This article accounts for why the major studios agreed to this restrictive standard. I argue that they adopted Academy Mono to curtail the pow…[Read more]

In the 1930s, the Academy of Motion Picture Arts and Sciences implemented a technical standard—known as Academy Mono, or the Academy Curve—that dramatically impaired the sound quality of motion pictures. This article accounts for why the major studios agreed to this restrictive standard. I argue that they adopted Academy Mono to curtail the pow…[Read more]

Using a qualitative method of research, the study investigated the increasing use of traditional medicine in Ghana, focusing on Afigya Kwabre South District. Traditional medicine has gone through various stages since time immemorial, especially with regard to how its patronage has evolved over time. The period ranges from the pre-colonial era,…[Read more]

This paper offers an articulation of a teaching methodology that I call Gamemaking in Education (GME). This educational approach emphasizes student gamemaking rather than gameplay. In this paper, I discuss what GME is, review some cases in which other educators have used what might be called GME in college classrooms, and situate GME as an…[Read more]

Una breve presentación con resultados de la tesis “Análisis geoespacial e hidrográfico del deterioro ambiental y su impacto en las enfermedades crónico degenerativas en la cuenca Atoyac-Zahuapan”, utilizados para la edición 186 de la Jornada del Campo: https://www.jornada.com.mx/2023/03/18/delcampo/index.html

En 1978, Monique Wittig afirmó que las lesbianas no son mujeres y, en este ensayo, las autoras plantean que las gordas tampoco lo son. El activismo gordo se apartó de ciertos movimientos del feminismo de la segunda ola al proponer la emancipación de «la gordura» —en general concebida como transtorno— de significados cómplices del orden social. L…[Read more]

Esta disciplina da área de concentração em Cinema e Audiovisual, oferecida regularmente pela Faculdade de Comunicação para o Bacharelado Interdisciplinar em Artes (IHAC-UFBA), assim como para quaisquer outros cursos e estudantes que tenham interesse, tem como objetivo: mapear o campo das teorias do cinema e do audiovisual, seus principais mome…[Read more]

Through the example of Barry Jenkins’ choices for Moonlight (2016), this chapter argues that pre-existing musical cues can link a film’s themes to other minority filmmaking traditions. The song at the center of this chapter, “Cucurrucucú Paloma,” exemplifies the kinds of cultural translations common in transnational queer cinema. It was orig…[Read more]

Through the example of Barry Jenkins’ choices for Moonlight (2016), this chapter argues that pre-existing musical cues can link a film’s themes to other minority filmmaking traditions. The song at the center of this chapter, “Cucurrucucú Paloma,” exemplifies the kinds of cultural translations common in transnational queer cinema. It was orig…[Read more]

The purpose of this study is to explore the relationship between posthumanism and sustainability and contribute to the interdisciplinary concept of posthuman sustainability. We conducted a scoping review of 45 peer-reviewed journal articles that met our inclusion criteria and employed co-occurrence analysis based on the clustering techniques of…[Read more]

The purpose of this study is to explore the relationship between posthumanism and sustainability and contribute to the interdisciplinary concept of posthuman sustainability. We conducted a scoping review of 45 peer-reviewed journal articles that met our inclusion criteria and employed co-occurrence analysis based on the clustering techniques of…[Read more]

This is a poem about fire.

This is a poem about fire.

If postmodernism renders the replicant Rachael legible as a glossy simulacrum, then #MeToo renders her brutally legible as a victim of sexual violence.