Authors’ Biographies – Video Structure Meaning

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Mamber, S. (2002). Space-time mappings as database browsing tools. In: Dorai, C. and Venkatesh,
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the American Society for Information Science, 33, 308–10. DOI: 10.1002/asi.4630330510.
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O’Connor, B. C. (1985). Access to moving image documents: Background concepts and propos-
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O’Connor, B. (1991). Selecting key frames of moving image documents: A digital environment for
analysis and navigation. Microcomputers for Information Management, 8(2). 43
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Peritore, N. P. (1977). Descriptive phenomenology and lm: an introduction. Journal of the Univer-
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Pryluck, C. (1976). Sources of Meaning in Motion Pictures and Television. New York: Arno Press. 18,
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Pryluck, C., Teddlie, C., and Sands R. (1982). Meaning in lm/ video: order, time, and ambiguity.
Journal of Broadcasting, 26, 685–95. DOI: 10.1080/08838158209364037. 18
Rezendes, P. (1992). Tracking & the art of seeing : how to read animal tracks & signs. Charlotte, VT:
Camden House. 61
Salt, B. (2003). Film Style and Technology History and Analysis (2nd ed.), London: Starword. 43
Shannon, C. E. and Weaver, W. (1949). e Mathematical eory of Communication. Urbana, IL:
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Skare, R. and Lund, N. (2007). A Document (Re)turn: Contibutions from a Field in Transition. Frank-
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Tarkovsky, A. (1987). Sculpting in Time: Reections on the Cinema. Austin, TX: University of Texas
Press. 50
Vertov, D. (1984). Kino-eye: e writings of Dziga Vertov. Berkeley, CA: University of California
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Vertov, D. (2002). Man with the Movie Camera [Chelovek kino-apparatom (1929)] [motion pic-
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of California Press. 50, 60
Wittgenstein, L. (1953). Philosophical Investigations. New York: Macmillan. 40
Worth, S. (1981). Studying Visual Communication. Philadelphia: University of Pennsylvania Press,
1981. DOI: 10.9783/9781512809282. 18, 20, 21
Yamaguchi, K. and Kunii, T. L. (1982). PICCOLO logic for a picture database computer and its
implementation. IEEE Transactions on Computers, C-31, 1982, 983–96. DOI: 10.1109/
TC.1982.1675907. 19