narrative: cinema golshan of yazd

The Brain's Cutting-Room Floor: Segmentation of Narrative Cinema

Observers segment ongoing activity into meaningful events. Segmentation is a core component of perception that helps determine memory and guide planning. The current study tested the hypotheses that event segmentation is an automatic component of the perception of extended naturalistic activity, and that the identification of event boundaries in such activities results in part from processing c...

Reza Golshan

This paper addresses the performance targets and the technology components being studied by 3GPP for LTE-Advanced. The high level targets of LTE-Advanced are to meet or exceed the IMT-Advanced requirements set by ITU-R. A short history of the LTE standard is offered, along with a discussion of its standards and performance. The technology components considered for LTE-Advanced include extended ...

Traditional Content and Narrative Structure in the Hindi Commercial Cinema

The commercial Hindi cinema has been subjected to domestic and foreign criticism for its exceptionally formulaic and stereotypical feature productions. These productions, however, have their sources in the oral and written epics and the popular dramatic genres of traditional Indian culture. Content borrowed from the Ramayana, the Mahabharata, and other pan-Indian tales frequently enlarges and r...

Meaning and the Interactive Narrative: In the context of Object-Oriented Interactive Cinema

ideological and cultural orientations in translation of narrative text: the case of hajji baba of isfahan

در میان عواملی که ممکن است ذهن مترجم را هنگام ترجمه تحت تأثیر قرار دهند، می توان به مقوله انتقال ایدئولوژی از طریق متن یا گفتمان اشاره کرد. هدف از این تحقیق تجزیه و تحلیل جنبه های ایدئولوژیکی و فرهنگی متن مبدأ انگلیسی نوشته جیمز موریه تحت عنوان سرگذشت حاجی بابای اصفهانی ( 1823) و ترجمه فارسی میرزا حبیب اصفهانی(1880) بوده است.

Early cinema, late cinema: permutations of the public sphere

There tends to be a moment in the development of cultural practices when discourses of the recent past become history; they are no longer just outdated but, like bell-bottom jeans, mini-skirts and platform shoes, acquire historicity. This is what seems to have happened with film theory of the 1970s and early 1980s, particularly as it revolved around the notion of 'the spectator'. I am thinking ...