PennTags Feed for /tag/and

Transferred illusions : digital technology and the forms of print / Marilyn Deegan and Kathryn Sutherland. 2009

Impact of the Hawthorne Effect in a Longitudinal Clinical Study The Case of Anesthesia

De Amici,D . "Impact of the Hawthorne Effect in a Longitudinal Clinical Study The Case of Anesthesia" Controlled clinical trials [0197-2456] 21.2 (2000). 103-.

Perinatal Depression: A Randomized Controlled Trial of an Antenatal Education Intervention for Primiparas.

Hayes . "Perinatal Depression: A Randomized Controlled Trial of an Antenatal Education Intervention for Primiparas." Obstetrical [0029-7828] 56.10 (2001). 597-599.

The theory and practice of movie psychiatry -- Schneider 144 (8): 996 -- Am J Psychiatry

Schneider, Irving, M.D. "The Theory and Practice of Movie Psychiatry." The American Journal of Psychiatry 144.8 (1987): 996-1002. This article explores the depiction of psychiatry in the movie and how it has been a source of concern to many in the profession over the years. They feel that a false picture of the work of a psychiatrist has been illustrated to the public. In fact, psychiatry in the movies has developed its own characteristics, which only occasionally intersect with those of the real-life profession. In this paper, Schneider outlines theories of the invented profession of movie psychiatry.

"I'll explain to you about dreams so you don't think it is hooey. The secret of who you are and what has made you run away from yourself-these secrets are buried in your brain, but you don't want to look at them. The human being very often doesn't want to know the truth about himself because he thinks it will make him sick; so he makes himself sicker trying to forget. You follow me?... Here's where dreams come in. They tell you what you are trying to hide, but they tell it to you all mixed up like pieces of a puzzle that don't fit. The problem of the analyst is to examine this puzzle and put the pieces together in the right place and find out what the devil you are trying to say to yourself."

The above quote from the movie by Dr. Alex (addressed to Ballentine), shows how method of criminal detection and psychoanalytic method are related. The truth behind Edwardes murder is buried beneath an accumulation of alibis, false tracks, confusing recollections, and the analyst-detective patiently tries to get to the bottom of the case. Throughout the history of film, the psychoanalyst has been a solver of mysteries, often criminal mysteries, as the murder in Spellbound, but just as often personal ones.

Morality and Entertainment: The Origins of the Motion Picture Production Code

Citation: Stephen, Vaughn. "Morality and Entertainment: The Origins of the Motion Picture Production Code." The Journal of American History 77 (1990): 39-65.

This article explains why the MPPC was adopted. It illustrates the illicit behaviors of those in Hollywood and why the heads in Tinsil Town felt the need to put their feet down on free expresssion in film. Actors such as Fatty Arbuckle were involved in controversies that were thought to have a significant impact on movie audiences. This morally reprehensible behavior potrayed both on and off screen supposedly caused the corruption of Americans. Therefore, William Hayes decided that there needed to be regulation of Hollywood to prevent any further contamination of yourh in America.

The introduction of the Hays Code directly affected the production of The Outlaw. Howard Hughes fought throughout the production of this film to keep certain scenes that were deemed inappropriate by the production code. In particular scene in question was where Jane Russell wears a dress that reveals too much of her bustline. Per the code, this scene needed to be cut out if the movie was to receive the seal of approval from the MPAA. However, Hughes fought to keep the scene in the movie and eventually came to an agreement about how much of Jane Russell's breast would be shown.

Feminism and Film - Google Book Search

Tearing Fashion Design Protection Apart at the Seams

Fashion designs in the United States are widely unprotected by intellectual property rights. Knockoff designers often recreate the couture creations of major design houses without paying royalties and without the labor involved in imagining the high-end fashion designs. Though recently multiple bills have been introduced into Congress that would grant three years of protection for the actual designs, many argue that this protection is actually damaging to the industry that thrives on competitive creativity. On the one hand, no protective measures for fashion design would be extensive enough to completely prohibit design piracy. The damage caused by a fashion copyright law would far outweigh any possible benefits for the fashion industry and all other industries with intellectual property.

This article is extremely useful as evidence for my thesis in that it provides both support and opposition for the fashion copyright argument, concluding that protection of something as abstract as a fashion design would ultimately be detrimental. The article extends the same reasoning to other industries that also do not have intellectual property protection, concluding that applying copyright law to one industry would inhibit creativity in other industries as well, which adds an extra layer of depth to the argument that supports my overarching thesis.

Journal of Transportation and Statistics

Journal of Transportation and Statistics
All but the most recent issue are freely available.

Patents and Trademarks websites

WP3BudgetsandOrgModels1.pdf (application/pdf Object)

By Sabrina Pape and Barbara Jones for Vassar/CLIR symposium

Business and Industry

Business and Industry
Business & Industry is a database containing information on public and private companies, industries, markets, and products. It covers the manufacturing and services industries and is international in scope. B&I provides Industry overviews, forecasts, trends, market size and more.

Google Books

Book digitization project including mainly public domain works held by major library systems around the world. The great majority of works available in full text were published before 1923.

YorkSpace: Item 10315/1250

Denton, William. "FRBR and the History of Cataloging."

Chapter 4 in Understanding FRBR: What It Is and How It Will Affect Our Retrieval, edited by Taylor, Arlene G.

An explanation of where FRBR (Functional Requirements for Bibliographic Records) comes from, given by a look at the work of librarians such as Panizzi, Cutter, Ranganathan, and Lubzetsky, and an examination of four themes in the history of library cataloging: the use of axioms to explain the purpose of catalogs, the importance of user needs, the idea of the "work," and standardization and internationalization.

JSTOR: Annual Review of Sociology, Vol. 23, (1997 ), pp. 385-409

The author, Cerulo, goes on a discovery that questions the formation of one's personal identity based on social interactions within a community. He speaks of the influence of society and social organizations in molding a sense of self. Through a study of social psychology that has transferred its subject from individuals to groups, and by addressing technology as a catalyst that has changed the concept of ‘I' from a physical co-presence to cyberspace identities, the author covers vast grounds to explore the meaning of identity. His theory also speaks of gender and age within a social structure that deeply influence a persons identity, and he goes on to further argue the importance rituals and symbols play to form an entity.

The characters in the movie have personalities that have been profoundly influenced by the caste system they grew up in, as well as their immediate families. The movie is an exploration of their personalities, and tends to draw audiences in as we go on a journey along with these characters. The protagonist, Apu, is a young boy whose identity is a loose combination of facets seen in his sister Durga, as well as in his father. Durga and her father on the other hand, seem to have personalities that match their neighbor's; this alludes to the idea of identity existing in accordance with one's social surroundings. This further goes to show the importance generated by a community on one's personal identity. Durga's overpowering sense of self, along with her father's unusually quiet persona translate beautifully onto Apu, showing the importance of age, and gender in shaping one's identity.

Celluloid jukebox : popular music and the movies since the 50s / edited by Jonathan Romney and Adrian Wootton.

. Celluloid jukebox : popular music and the movies since the 50s / edited by Jonathan Romney and Adrian Wootton. 0851705065 (cased) series London : British Film Institute, 1995.
Call#: Van Pelt Library ML2075 .C455 1995

Celluloid Jukebox, edited by Jonathan Romney and Adrian Wootton, is a collection of essays from famous filmmakers and musicians all regarding the relationship of popular music and film since the 1950’s. In this book, many essays make stark remarks on the influence of A Hard Day’s Night in the connection between pop music and film. Andy Medhurst’s essay, for example, entitled “It Sort of Happened Here: The Strange, Brief Life of the British Pop Film”, on numerous occasions makes the claim that “the film which irrevocably sundered that connection [between pop music and film] was A Hard Day’s Night,” and that “the kind of static on-stage set-piece that was one of the many causalities of the new approach [was] pioneered by A Hard Day’s Night.” The section of the book, however, that is most supportive of my thesis is the final section of interviews, which asked a number of famous filmmakers what their favorite pop movies are. In response to this question, Cameron Crowe, Amos Poe, and Allison Anders all claimed A Hard Day’s Night.
Allison Anders, a producer of many notable films such as Martin Scorsese’s Grace of the Heart, is quoted as saying, “the very first intoxicated experience of music and movies working together, needless to say, [was] A Hard Day’s Night.” She then went on to say, “when I went to see the movie, I didn’t see the movie itself until I saw it for maybe the tenth time because we were screaming through the whole thing. So it was like seeing a concert with all the little girls.” This quote supports my thesis that A Hard Day’s Night was the first film to successfully unite the pop cultures of film and music in a way that no film previously had, and that it in fact is the first true rock and roll film. Anders’ response to the film, like so many others’, was because of the novelty of the style of this production. A Hard Day’s Night really was like watching a concert for an hour and a half on the silver-screen, and therefore was indeed a rock and roll film. It was different than any other films that came before it, and it forever changed the way music and film interacted. This book, Celluloid Jukebox, gives a great inside understanding of A Hard Day’s Night’s influence on music’s role in film. It speaks of all the films to the present that have used pop music in a similar fashion to the 1964 Beatles’ comedy, and therefore is a great source for my thesis.