Since the early days of film, critics and theorists have contested the value of formula, cliche, conventional imagery, and recurring narrative patterns of reduced complexity in cinema. Whether it's the high-noon showdown or the last-minute rescue, a lonely woman standing in the window or two lovers saying goodbye in the rain, many films rely on scenes of stereotype, and audiences have come to expect them. Outlining a comprehensive theory of film stereotype, a device as functionally important as it is problematic to a film's narrative, Jorg Schweinitz constructs a fascinating though overlooked critical history from the 1920s to today.
Drawing on theories of stereotype in linguistics, literary analysis, art history, and psychology, Schweinitz identifies the major facets of film stereotype and articulates the positions of theorists in response to the challenges posed by stereotype. He reviews the writing of Susan Sontag, Roland Barthes, Theodor W. Adorno, Rudolf Arnheim, Robert Musil, Bela Balazs, Hugo Munsterberg, and Edgar Morin, and he revives the work of less-prominent writers, such as Rene Fulop-Miller and Gilbert Cohen-Seat, tracing the evolution of the discourse into a postmodern celebration of the device. Through detailed readings of specific films, Schweinitz also maps the development of models for adapting and reflecting stereotype, from early irony (Alexander Granowski) and conscious rejection (Robert Rossellini) to critical deconstruction (Robert Altman in the 1970s) and celebratory transfiguration (Sergio Leone and the Coen brothers). Altogether a provocative spectacle, Schweinitz's history reveals the role of film stereotype in shaping processes of communication and recognition, as well as its function in growing media competence in audiences beyond cinema.
Appendix 164 3. A 3. A. 1 Approximate Estimation of Fundamental Matrix from General Matrix 164 3. A. 2 Estimation of Affine Transformation 165 4 RECOVERY OF EPIPOLAR GEOMETRY FROM LINE SEGMENTS OR LINES 167 Line Segments or Straight Lines 168 4. 1 4. 2 Solving Motion Using Line Segments Between Two Views 173 4. 2. 1 Overlap of Two Corresponding Line Segments 173 Estimating Motion by Maximizing Overlap 175 4. 2. 2 Implementation Details 4. 2. 3 176 Reconstructing 3D Line Segments 4. 2. 4 179 4. 2. 5 Experimental Results 180 4. 2. 6 Discussions 192 4. 3 Determining Epipolar Geometry of Three Views 194 4. 3. 1 Trifocal Constraints for Point Matches 194 4. 3. 2 Trifocal Constraints for Line Correspondences 199 4. 3. 3 Linear Estimation of K, L, and M Using Points and Lines 200 4. 3. 4 Determining Camera Projection Matrices 201 4. 3. 5 Image Transfer 203 4. 4 Summary 204 5 REDEFINING STEREO, MOTION AND OBJECT RECOGNITION VIA EPIPOLAR GEOMETRY 205 5. 1 Conventional Approaches to Stereo, Motion and Object Recognition 205 5. 1. 1 Stereo 205 5. 1. 2 Motion 206 5. 1. 3 Object Recognition 207 5. 2 Correspondence in Stereo, Motion and Object Recognition as 1D Search 209 5. 2. 1 Stereo Matching 209 xi Contents 5. 2. 2 Motion Correspondence and Segmentation 209 5. 2. 3 3D Object Recognition and Localization 210 Disparity and Spatial Disparity Space 210 5.
The Stereotypical, Dramatic Life of a Flower is a beautiful mess of poetry. This book of poetry allows the reader to join the author on a journey of a woman losing herself in the wrong men, and finding her self-worth in The One it was with all along. It is an honest and emotional journey of transcending the tragedies that life can bring.
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