In recent years, high-resolution video has developed rapidly and widescreen smart devices have become popular. We present an Android application called WeWatch that enables high-resolution video to be shared across tw...In recent years, high-resolution video has developed rapidly and widescreen smart devices have become popular. We present an Android application called WeWatch that enables high-resolution video to be shared across two mobile devices when they are close to each other. This concept has its inspiration in machine-to-machine connections in the Internet of Things （loT）. We ensure that the two parts of the video are the same size over both screens and are synchronous. Further, a user can play, pause, or stop the video by moving one device a certain distance from the other. We decide on appropriate distances through experimentation. We implemented WeWatch on Android operating system and then optimize Watch so battery consumption is reduced. The user experience provided by WeWatch was evaluated by students through a questionnaire, and the reviews indicated that WeWatch does improve the viewing experience.展开更多
Speculative-fiction stories, in print, often depict families being wrenched apart by overwhelming new forces to which the children are better able to adapt then older generations. In making speculative-fiction movies,...Speculative-fiction stories, in print, often depict families being wrenched apart by overwhelming new forces to which the children are better able to adapt then older generations. In making speculative-fiction movies, however, Hollywood typically offers a more hopeful, comforting image of a family, at the beginning somewhat less than perfect, being restored as a result of those same forces. This paper concentrates on The Spiderwick Chronicles （2003-2004） by Tony DiTerlizzi and Holly Black, Susan Cooper＇s novel The Dark is Rising （1973）, and Lewis Padgett＇s story ＂Mimsy were the Borogoves＂ and the recent movies based （more or less loosely） thereon, Mark Waters＇ The Spiderwick Chronicles （2007）, David Cunningham＇s The Seeker （2007）, and Bob Shaye＇s The Last Mimzy （2007）, showing how the differences between the movies and the print-stories they are based on reflect an attempt on the part of the movie-makers to reaffirm and reinforce the family bonds that are to some extent sundered in the original stories展开更多
The term transnational originated in the historical field when, in the late 1990s, lan Tyrrell wrote a seminal essay entitled ＂What is Transnational History？＂ and changed the course of the academic discipline, clai...The term transnational originated in the historical field when, in the late 1990s, lan Tyrrell wrote a seminal essay entitled ＂What is Transnational History？＂ and changed the course of the academic discipline, claiming that studying the history of a nation from inside its borders was outmoded because the study of history concerns the movements of peoples, ideas, technologies, and institutions across national boundaries. The study of cross-national influences and the focus on the relationship between nation and factors beyond the nation spilled over into many other fields, especially into cinematic studies. Today transnational refers to the impossibility of assigning a fixed national identity to much cinema, to the dissolution of any stable connection between film＇s place of production and the nationality of its makers and performers. Because there is a lot of critical debate about what constitutes national and transnational cinema, the study of international remakes is a promising method to map the field with some accuracy. This essay will analyze the journey from Hammett＇s novel to Kurosawa＇s film and then to Leone＇s western, and will demonstrate how the process of adaptation functions and what happens to a ＂text＂ when it becomes tmnsnational and polysemic. Because Leone is the creator of the Italian western, the one who initiated the cycle that was copied many times over for a decade, we must look at A Fistful of Dollars as a prototype, a movie that when dissected can shed light on the national-transnational dichotomy of the spaghetti western. However, before studying the prototype, we must look at the complex history of the origin of the first spaghetti western, taking into account that A Fistful of Dollars was ＂transcoded＂ by Leone from Kurosawa＇s Yojimbo （1961） that derived his script from Dashiell Hammett＇s RedHarvest （1929）.展开更多
基金supported by the National Natural Science Funds of China under Grant No.61300034the National High-Tech Research&Development Program of China("863"Program)under Grant No.2012AA011103+1 种基金the Key Science and Technology Program of Anhui Province under Grant No.1206c0805039,a start-up fund for Huangshan Mountain Scholars(Outstanding Young Talents Program of Hefei University of Technology)under Grant No.405-037070
文摘In recent years, high-resolution video has developed rapidly and widescreen smart devices have become popular. We present an Android application called WeWatch that enables high-resolution video to be shared across two mobile devices when they are close to each other. This concept has its inspiration in machine-to-machine connections in the Internet of Things （loT）. We ensure that the two parts of the video are the same size over both screens and are synchronous. Further, a user can play, pause, or stop the video by moving one device a certain distance from the other. We decide on appropriate distances through experimentation. We implemented WeWatch on Android operating system and then optimize Watch so battery consumption is reduced. The user experience provided by WeWatch was evaluated by students through a questionnaire, and the reviews indicated that WeWatch does improve the viewing experience.
文摘Speculative-fiction stories, in print, often depict families being wrenched apart by overwhelming new forces to which the children are better able to adapt then older generations. In making speculative-fiction movies, however, Hollywood typically offers a more hopeful, comforting image of a family, at the beginning somewhat less than perfect, being restored as a result of those same forces. This paper concentrates on The Spiderwick Chronicles （2003-2004） by Tony DiTerlizzi and Holly Black, Susan Cooper＇s novel The Dark is Rising （1973）, and Lewis Padgett＇s story ＂Mimsy were the Borogoves＂ and the recent movies based （more or less loosely） thereon, Mark Waters＇ The Spiderwick Chronicles （2007）, David Cunningham＇s The Seeker （2007）, and Bob Shaye＇s The Last Mimzy （2007）, showing how the differences between the movies and the print-stories they are based on reflect an attempt on the part of the movie-makers to reaffirm and reinforce the family bonds that are to some extent sundered in the original stories
文摘The term transnational originated in the historical field when, in the late 1990s, lan Tyrrell wrote a seminal essay entitled ＂What is Transnational History？＂ and changed the course of the academic discipline, claiming that studying the history of a nation from inside its borders was outmoded because the study of history concerns the movements of peoples, ideas, technologies, and institutions across national boundaries. The study of cross-national influences and the focus on the relationship between nation and factors beyond the nation spilled over into many other fields, especially into cinematic studies. Today transnational refers to the impossibility of assigning a fixed national identity to much cinema, to the dissolution of any stable connection between film＇s place of production and the nationality of its makers and performers. Because there is a lot of critical debate about what constitutes national and transnational cinema, the study of international remakes is a promising method to map the field with some accuracy. This essay will analyze the journey from Hammett＇s novel to Kurosawa＇s film and then to Leone＇s western, and will demonstrate how the process of adaptation functions and what happens to a ＂text＂ when it becomes tmnsnational and polysemic. Because Leone is the creator of the Italian western, the one who initiated the cycle that was copied many times over for a decade, we must look at A Fistful of Dollars as a prototype, a movie that when dissected can shed light on the national-transnational dichotomy of the spaghetti western. However, before studying the prototype, we must look at the complex history of the origin of the first spaghetti western, taking into account that A Fistful of Dollars was ＂transcoded＂ by Leone from Kurosawa＇s Yojimbo （1961） that derived his script from Dashiell Hammett＇s RedHarvest （1929）.
