The movies and the masses erupted on the world stage together. In a few decades around the turn of the twentieth century, millions of persons who rarely could afford a night at the theater and had never voted in an election became regular paying customers at movie palaces and proud members of new political parties. The question of how to represent these new masses fascinated and plagued politicians and filmmakers alike. Michael Tratner examines the representations of masses-the crowd scenes-in Hollywood films from The Birth of a Nation through such popular love stories as Gone with the Wind, The Sound of Music, and Dr. Zhivago. He then contrasts these with similar scenes in early Soviet and Nazi films. What emerges is a political debate being carried out in filmic style. In both sets of films, the crowd is represented as a seething cauldron of emotions

Group and Crowd Behavior for Computer Vision provides a multidisciplinary perspective on how to solve the problem of group and crowd analysis and modeling, combining insights from the social sciences with technological ideas in computer vision and pattern recognition. The book answers many unresolved issues in group and crowd behavior, with Part One providing an introduction to the problems of analyzing groups and crowds that stresses that they should not be considered as completely diverse entities, but as an aggregation of people. Part Two focuses on features and representations with the aim of recognizing the presence of groups and crowds in image and video data. It discusses low level processing methods to individuate when and where a group or crowd is placed in the scene, spanning from the use of people detectors toward more ad-hoc strategies to individuate group and crowd formations. Part Three discusses methods for analyzing the behavior of groups and the crowd once they have been detected, showing how to extract semantic information, predicting/tracking the movement of a group, the formation or disaggregation of a group/crowd and the identification of different kinds of groups/crowds depending on their behavior. The final section focuses on identifying and promoting datasets for group/crowd analysis and modeling, presenting and discussing metrics for evaluating the pros and cons of the various models and methods. This book gives computer vision researcher techniques for segmentation and grouping, tracking and reasoning for solving group and crowd modeling and analysis, as well as more general problems in computer vision and machine learning. - Presents the first book to cover the topic of modeling and analysis of groups in computer vision - Discusses the topics of group and crowd modeling from a cross-disciplinary perspective, using social science anthropological theories translated into computer vision algorithms - Focuses on group and crowd analysis metrics - Discusses real industrial systems dealing with the problem of analyzing groups and crowds

Recent times have seen growing interest in crowd simulation, particularly in the commercial sector where it is used in the fields of security, defence, entertainment and the movie industry. This book focuses closely on methods and techniques for crowd simulation, filling the gap in the professional literature. The topics covered in this comprehensive survey include Modelling of Populations; Virtual Human Animation; Behavioural Animation of Crowds; Crowd Rendering and Populated Environments.

No detailed description available for "Shakespeare's Bad Quartos".

A career-spanning anthology of essays on politics and culture by the best-selling author of The Flamethrowers includes entries discussing a Palestinian refugee camp, an illegal Baja Peninsula motorcycle race, and the 1970s Fiat factory wildcat strikes.

This new collection views Russian music through the Greek triad ofÊÒthe Good, the True, and the BeautifulÓ to investigateÊhow the idea of "nation" embeds itself in the public discourse about music and other arts with results at times invigorating, at times corrupting. In our divided, postÐCold War, and now postÐ9/11 world, Russian music, formerly a quiet corner on the margins of musicology, has become a site of noisy contention. Richard Taruskin assesses the political and cultural stakes that attach to it in the era of Pussy Riot and renewed international tensions, before turning to individual cases from the nineteenth century to the present. Much ofÊthe volume is devoted to the resolutely cosmopolitan but inveterately Russian Igor Stravinsky, one of the major forces in the music of the twentieth century and subject of particular interest to composers and music theorists all over the world. Taruskin here revisits him for the first time since the 1990s, when everything changed for Russia and its cultural products. Other essays are devoted to the cultural and social policies of the Soviet Union and their effect on the music produced there as those policies swung away from Communist internationalism to traditional Russian nationalism; to the musicians of the Russian postrevolutionary diaspora; andÊto the tension between the compelling artistic quality of works such as StravinskyÕs Sacre du Printemps or ProkofieffÕs Zdravitsa and the antihumanistic or totalitarian messages they convey. Russian Music at Home and Abroad addresses these concerns in a personal and critical way, characteristically demonstrating TaruskinÕs authority and ability toÊbring living history out of the shadows.

“Delightful and anti-reverential”—Sunday Times (London) With an encyclopedic knowledge of opera and a delightful dash of irreverence, Sir Denis Forman throws open the world of opera—its structure, composers, conductors, and artists—in this hugely informative guide. A Night at the Opera dissects the eighty-three most popular operas recorded on compact disc, from Cilea's Adriana Lecouvreur to Mozart's Die Zauberflöte. For each opera, Sir Denis details the plot and cast of characters, awarding stars to parts that are “worth looking out for,” “really good,” or, occasionally, “stunning.” He goes on to tell the history of each opera and its early reception. Finally, each work is graded from alpha to gamma (although the Ring cycle gets an “X”), and Sir Denis has no qualms about voicing his opinion: the first act of Fidelio is “a bit of a mess,” while the last scene of Don Giovanni “towers above the comic finales of Figaro and Così and whether or not [it] is Mozart's greatest opera, it is certainly his most powerful finale.” The guide also presents brief biographies of the great composers, conductors, and singers. A glossary of musical terms is included, as well as Operatica, or the essential elements of opera, from the proper place and style of the audience's applause (and boos) to the use of subtitles. A Night at the Opera is for connoisseurs and neophytes alike. It will entertain and inform, delight and (perhaps) infuriate, providing a subject for lively debate and ready reference for years to come.