Thesis (M.S.)--University of Wisconsin--Madison, 1963. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [80]-85)

Thesis (Ph. D.)--Ohio State University, 2005. / Title from first page of PDF file. Includes bibliographical references (p. 221-234).

Thesis (Ph. D.)--Ohio State University, 2005. / Available online via OhioLINK's ETD Center; full text release delayed at author's request until 2010 Nov 30

Thesis (M.S.)--Mechanical Engineering, Georgia Institute of Technology, 2007. / William Singhose, Committee Co-Chair ; Stephen Sprigle, Committee Co-Chair ; Harvey Lipkin, Committee Member.

Thesis (Ph. D.)--Department of Music, Stanford University, 2008. / Includes bibliographical references (leaves 143-151).

This Master´s Thesis deals with the principle of the work and wide range of use of the Motion Control rigs use. It familiarizes readers with the types of rigs and their technical aspects which might affect any shooting. In this work I try to explain my all gathered experiences from my six months working internship in London at the world leading motion control company Mark Roberts Motion Control Ltd. This company (althought it is not the only one motion control rig company in the world) has given me the wide view due to its complex production starting with the motion control rigs and ending with its software. Thanks to being on quite a lot of filming sets where these righ were used I try to explain and recapitulate all my practical experiences from this specialized and technical challengingly part of cinematography which is not quite usual.

This thesis describes a numerical simulation and some flow visualization of vortex shedding from sharp edges in normal oscillatory flow. The modelling of vortex shedding from sharp edges has been done using a discrete vortex method; the separated shear layer issuing from the separation point is represented by a system of discrete two dimensional vortices. In Chapter Two, a finite wedge is modelled by considering the flow near the edge as the inner region of an oscillatory flow around an infinite wedge. This can be done if the Keulegan-Carpenter number is low, i.e. if the vortex hedding takes place mostly in the vicinity of the edge and is independent of shedding from any other edge(s). The mathematical formulation of this problem, although based on the combination of recent work of other researchers, represents a somewhat different approach when examined in detail. Each new vortex, called the nascent vortex, is introduced into the flow at a position not fixed in advance. Its position is dependent on the edge angle, the time step used in the numerical simulation and the influence of all the other vortices in the field. The expression describing the position of the nascent vortex can be derived as a natural development of the formulation. Therefore, it is not necessary to use empirical formulae to define the initial position of the nascent vortex and/or to fix this position for all time throughout the numerical simulation. Lamb vortices are used in the present study to delay the onset of instability in the numerical calculations. This results in very stable computations. Numerical modelling results concerning vortex induced forces are presented in Chapter Three. These results are then compared to those obtained numerically and experimentally by other researchers. Flow visualization experiments of vortex shedding from finite sharp wedges in an oscillatory flow are described in Chapter Four. The flow was produced using a sloshing tank, and visualized by hydrogen bubbles produced by the electrolysis of water. All results were recorded on video tape and photographs of flow visualizations have been produced through the use of a mirco-computer based frame grabber. The kinematics of the numerical modelling are compared to those obtained from flow visualizations. An application of the model to the roll decay of a simplified geometry of a single chine west coast trawler is presented in Chapter Five. No firm conclusions regarding the accuracy of the numerical prediction of roll decay can be drawn due to the gross simplification of the vessel section. However, the results do indicate that, with the absence of other forms of roll damping, vortex induced forces alone was able to cause roll extinction in the vessel. Therefore, it can be said that the prediction of roll extinction given by the present model is of an acceptable order of magnitude when compared to experimental roll decay results from previous work done in this department. / Applied Science, Faculty of / Mechanical Engineering, Department of / Graduate

Lukacs has addressed the problem of how to portray the complete human self in relation to nineteenth-century European literature. Between the aesthetics of naturalism and psychologism, realism, he argues, represents a "true, solution-bringing third way." Naturalism fails to portray the complete human self because it depicts social being at the expense of private being; similarly but conversely, psychologism fails because it depicts private being at the expense of social being. Realism represents a solution to the problem because it renders both the social and private being of characters. Although Lukacs arrives at a notion of realism based on close readings of novels by Balzac and Tolstoy, I believe his approach can contribute to our understanding of aesthetics in the modern European cinema. Implicit in Lukacs's approach is the dialectical triad of thesis, antithesis and synthesis; naturalism and psychologism are synthesized to produce realism. I adopt the form but not the content of this triplicity in order to argue that various realisms in the modern European cinema--the "neo-neorealisms" of Fellini and Pasolini, the "spiritual realism" of Bresson, the "theatrical realisms" of Godard and Fassbinder, and the "neorealistic expressionism" of Herzog--are the result of syntheses between various objective and subjective aesthetics. There is not just a realism, as Lukacs implies; nor is realism necessarily a synthesis of naturalism and psychologism. Rather, I argue that there are multiple, historically-contingent realisms, all of which are the result of syntheses between objective and subjective aesthetics--whatever those aesthetics might be. In addition, I argue that filmmakers in the modern European cinema are motivated to employ "both/and" as opposed to "either/or" aesthetics for the same reason as their nineteenth-century literary counterparts: they are striving to portray the complete human self. And yet, they are undertaking this task at a time when the notion of a complete human self is no longer theoretically tenable. Thus, in addition to considering how each filmmaker portrays (or attempts to portray) the complete human self (even if only from the standpoint of irony or nostalgia), I also consider why the notion of a complete human self is (still) compelling.

This dissertation examines the space of U.S. film criticism between 1996 and 2006 and the effects of shifting taste hierarchies and diffusion of cultural authority of critics during this time. I argue that the taste hierarchies which marked much of U.S. culture in the twentieth century - such as highbrow, middlebrow, and lowbrow - are increasingly amorphous due to transformations in art, society, and cultural evaluation since the 1960s. Film, which has always straddled high/low categories, continues to be at the center of these alterations. In the 1960s and onwards, understandings of art and mass culture became more pluralistic and views of criticism as a respected social utility declined. These changes in attitude were coupled with an increased reliance by the public on more communal and consumer-oriented forms of authority, such as box-office figures and polls. As notions of art (and film as art) were democratized, film criticism was decentralized, which contributed to the erosion in the cultural authority of film critics. I trace these permutations between 1996-2006, a time which was marked by continually renegotiated ideas of taste and an industrial increase in niche marketing and subcultural appropriation. In addition, U.S. film culture began to feel the effects of a long-simmering splintering into three distinct, often insular, and sometimes antagonistic discourses: the film industry, journalistic film reviewers, and academic critics. First, the project assesses film criticism's shifting role in the increasingly mutable bounds of cultural taste hierarchies, then details changes in the how the industry dealt with critics, and the perceived gap between the tastes of the public and that of critics. The study then examines examined how the internet engendered a democratization of film criticism by fostering a new generation of non-professional fan-critics who challenged professional critical hierarchies, while also opening up new avenues of distribution to and communication with readers for professional critics. Finally, the dissertation discusses issues of contemporary canon-making in popular and academic fields, and their impact on the idea of a collective film history.

This study examines the film collection and exhibition programs of American art museums. Patterns of inclusion and development have been identified in order to determine the present and potential contribution of the art museum to film collection, exhibition and study in this country. Using the "grounded theory" method advocated by Glaser and Strauss, the research was divided into three stages. The first stage consisted of a survey of American art museums. Museum personnel were asked if their institutions included film as part of overall programming. If they replied affirmatively, they were asked to answer further questions designed to define the nature and scope of the film programs. During stage two, the survey response was analyzed on the interactive computer using software developed by Paul Blakely of California State University, Los Angeles. Results of the initial bi-variate analysis indicated that the following descriptive museum categories could be considered factors in a museum's decision to include film in its programming: (1) dominant time period of collection; (2) dominant geographic origins of collection; (3) type of museum; (4) governing authority; (5) population of the community in which the museum is located. Stage three consisted of interviews with personnel from ten art museums located across the United States that reflected aspects of the above variables. Interviews were guided by hypotheses developed from the information gathered from the museum survey, preliminary interviews with museum personnel and readings in museum history. It became apparent during the research that the art museum is an institution highly suitable for the establishment and development of film collection and exhibition programs. Many such programs now exist. A few of these programs are national in scope. Many are oriented towards servicing the needs of their geographic region or local community. Some programs have been developed to utilize film as a resource to teach about art and artists, others collect and/or exhibit film for its value as art. Many factors are operant in the decision to establish a film program. The general nature and chartered purpose of the individual museum is important. General attitudes towards film affect the decision. Specific community support and the contributions of individuals are crucial. Once a program is established, its growth and development are dependent on the needs and purposes of the parent museum and the interest and support of its audience. Also operant are the interests and concerns of the individuals running the film program. Another factor is the amount and kind of exposure to film that is provided by other institutions in the community. The general trends and tendencies of the particular era in which a program is established also have an effect on its development. These various factors coalesce in the establishment and development of film programs in art museums in the United States. This study reaches the following conclusions: (1) Art museum film programs contribute significantly to film exhibition in the United States. (2) Only a few art museums have developed into major film archives. Most of the film acquisition programs in art museums are geared to the development of "working collections" to support exhibition. (3) Film study on an advanced level is supported by only a few museums. (4) Finally, museum film programs are fairly recent phenomena and in the elementary stages of development. Further growth will depend on the ability of individual programs to unite in a cooperative effort to share information and resources in the pursuit of mutually significant goals.