To Change Reels

With the end of apartheid, South African cinema is at a turning point in its history. But how can we speak of a national cinema when so far only an elite minority has participated in it? How can filmmakers draw upon the past as they take South Africa into a new artistic era? This collection offers an unprecedented look at a film industry that has excluded its country's black majority, in both representation and production-and that now must overcome collusion between racist ideology and film form. Until recently, filmmakers could work only within a culture that reluctantly took black South Africans into account. Therefore, to explore what South African cinema has been and could become, the authors do not limit their discussion to film production but approach cinema as a manifestation of cultural history. How has the purpose of cinema been viewed at different times in South Africa, by different governments and social groups? What is the relation between film and a sense of nationhood in South Africa? What has happened when whites aim to make "black" films? How has film been viewed in relation to the notion of leisure in South Africa? Such questions lead to a consideration not only of films made by South Africans in South Africa but also of an unfolding film culture within a series of stages that have yet to give rise to a national cinema.

Despite incredible political upheavals and a minimal national history of film production, movies such as Come Back, Africa (1959), uDeliwe (1975), and Fools (1998) have taken on an iconic status within South African culture. In this much-needed study, author Litheko Modisane delves into the public critical engagements around old 'renegade' films and newer ones, revealing instructive details both in the production and the public lives of South African movies oriented around black social experiences. This illuminates the complex nature of cinema in modern public life, enriching established methodologies by expanding the cultural and conceptual boundaries of film as a phenomenon of textual circulation.

Ten years ago, a technological revolution swept through cinemas around the world, as analogue projectors were replaced with digital equipment. It was not just the plastic medium of film that was removed from projection boxes during this transformation; most cinemas took this opportunity to also evict the human projectionists who were hitherto in charge of screenings. Projectionists had been hidden from the sight of audiences for most of the history of photographic moving image projection, and their redundancies went largely unnoticed and unremarked upon. This book focuses attention on what has been happening behind film spectators' heads for the past 130 years, and attempts to write the history of cinema in Britain from the perspective of its habitually overlooked and undervalued projectionists, beginning in the silent era and continuing to the present day. Drawing upon extensive archival research and lengthy interviews with former projectionists, it documents the key facets and challenges of their work, and how these evolved in response to previous waves of significant technological change. It evaluates how projectionists helped to design and maintain key aesthetic characteristics of the 20th century big screen experience. It shows how the institution of cinema in Britain has been historically underpinned by the harsh exploitation of projectionists by many employers, detailing inadequate wage levels and poor working conditions that formerly provoked government investigation, and explaining why these problems were never successfully ameliorated by trade unions. It also charts in depth the recent fateful transition to digital projection, delineating how and why projectionists were so swiftly and ruthlessly consigned to the past, and assessing whether this form of entertainment should be considered diminished by their super session.

South African film culture, like so much of its public life, has undergone a tremendous transformation during its first decade of democracy. Filmmakers, once in exile, banned, or severely restricted, have returned home; subjects once outlawed by the apparatchiks of apartheid are now fair game; and a new crop of insurgent filmmakers are coming to the fore. This extraordinary volume presents twenty-five in-depth interviews with established and emerging South African filmmakers, collected and edited by Audrey Thomas McCluskey. The interviews capture the filmmakers’ spirit, energy, and ambition as they attempt to give birth to a film culture that reflects the heart and aspirations of their diverse and emergent nation. The collection includes a biographical profile of each filmmaker, as well an introductory essay by McCluskey, pointing to the themes, as well as creative differences and similarities, among the filmmakers.

Fieldwork deals with the practical, mechanical, ethical, and theoretical aspects of collecting data. Jackson discusses how fieldworkers define their role, how they relate to others in the field, and how they go about recording for later use what occurred in their presence. This treatment offers an abundance of useful information to those who do folklore fieldwork as well as those who work in any of the other social sciences or humanities. An appendix relates the author's own experiences while documenting Texas's death row.

Additive Manufacturing of Aerospace Composite Structures: Fabrication and Reliability introduces the reader to the current state of technologies involved in processing and design of polymer-reinforced fiber composites using additive manufacturing's automated fiber placement methods, through ten seminal SAE International papers. Currently, the material layup strategy in terms of process selection and manufacturability is usually not prioritized in the design phase. Engineers do not have a good way to see how their design choices can affect the manufacturing process beyond their initial structural-level considerations. The result is typically a large amount of experimental testing necessary to qualify the materials and structures typified in the classical building-block approach. Such an environment makes mistakes difficult to solve and, should redesign be required, obtaining reliable information is hard to piece together. Additive Manufacturing of Aerospace Composite Structures: Fabrication and Reliability approaches the question of quality in these structures from a hands-on, solution-driven perspective.

Discover how the explosions in data analytics, AI, and digital communication are benefiting sports and sports fans around the world In Sports and Technology Have The Power To Change The World: Driving Positive Change Through The Use of Data and AI, the Director of Microsoft Sports, Jon Flynn, delivers an insightful new take on the transformative power of sport and its ability to unite people, break down barriers, and generate positive change. The author explains the critical role that technology has played in growing the impact of sporting events and enabling social change while fostering community improvement. In the book, you’ll explore many of the ways in which sports, enabled by new tech, have made significant contributions to society and promoted individual development, health, and wellbeing. You’ll also find: Discussions of green technologies and climate and sustainability initiatives linked to sport, with a case study about the 2022 Beijing Winter Olympics Explorations of the impact of advanced data analytics, with a case study focusing on the 2013 NBA Final matchup between the Miami Heat and the San Antonio Spurs How sport scientists are optimizing player performance Perfect for anyone interested in the intersection of sport, society, and technology, Sports and Technology Have The Power To Change The World is an easy to read and endlessly fascinating look at how the unique combination of athletics and tech makes the world a better place.