URBAN SPACES OF AMERICAN INDIANS IN THE EXILES

Released in 1961, The Exiles is a low‐budget docudrama that chronicles the lives of three American Indians over a period of twelve hours in a downtown Los Angeles neighborhood in the late 1950s. Contemporary neorealist filmmaking appears to have influenced the film, whereas itsg narrative is ethnographic in form. An examination of the film and its dialogue reveals the ways in which American Indians who recently migrated from their reservation to the city have socially constructed the urban spaces within the framework of the physical setting provided to them. The nature of the engagements of the male and female protagonists with the sites and with other American Indians in this small urban sphere provides substantive clues to the nature and level of their respective transitions into the realm of the white‐dominated society of Los Angeles and beyond.     

At home and abroad with cine enthusiasts: Regional amateur filmmaking and visualizing the Mediterranean, ca. 1928–1962.

After the appearance of a portable Kodak cine camera in 1923, home moving making grew steadily in popularity in the years leading up to and following World War II. Cine enthusiasts, particularly in the pre-war period, tended to be male, white and middle class, although exceptions exist, and they tended to travel with their cameras much as earlier generations had documented their experiences in written and artistic form. Despite their amateur status, they were often very professional in their approach to cinematography and they produced material for a range of domestic and public audiences on varied topics and in different genres. Specialist publications and the rapid growth of local amateur film societies fostered the rise of an active non-professional film movement; the result is a highly distinctive although neglected component of film history. With reference to materials held at the North West Film Archives in Manchester, England, this discussion considers the rise of non-professional filmmaking at the regional level during the decades before and after the second world war. Making and showing home movies is placed within various socio-cultural contexts. The imagery discloses much about visual practice, including filmmakers' perceptions and their relationships with different kinds of subject matter. The making of holiday footage, in Mediterranean settings, and its subsequent screening in domestic or public places, connects with broader issues of visualization, social practice and leisure-related consumption. This revised version was published online in August 2006 with corrections to the Cover Date.     

Urban geography as pretext: Sociocultural landscapes of Kuala Lumpur in independent Malaysian films

Current independent filmmaking in Malaysia has the potential to be an alternative and viable space for creative and political expression, relative to mainstream national cinema (Malay cinema) and to the state. I focus on alternative imagery and sociocultural mappings of Kuala Lumpur in three ‘indie’ films. All three films contain documentary elements capturing social geographies of the city not represented in mainstream Malay cinema, or even if represented not subjected to a critical gaze by the filmmaker. The Big Durian centres on the perspectives of the city's urban middle class of all ethnicities; Bukak Api portrays the daily struggles of Malay transsexual sex workers in Chow Kit, a predominantly working‐class Chinese neighbourhood and red light district; and 18? highlights the opinions of the nongovernmental organization community, bohemians, artists, anarchists and media activists mostly in the cosmopolitan suburb of Bangsar. These representations of the Malaysian urban landscape are pretexts for and politicize the national landscape through a discussion of ethnicity and race politics, sexuality, and the lack of space for freedom of creative expression and critical thinking.     

数字近景摄影测量在山地矿区变形监测中的应用

本文以近景摄影测量理论和变形监测理论为基础,在现有条件下通过理论设计与现场实验的方法测定数据,通过对数据进行处理并对几期数据进行比较得出变形区在试验时间内的相对变形值,经过理论分析和对数据处理的结果分析得出用非量测相机监测变形的精度和可行性,力求在大变形体的变形监测方法上有新的突破,以期寻求一种经济、快速、高效、安全、高精度监测矿区采动损害的新途径。