SCMS

Mothlight (1963) is an amazing example of what one can do with the medium of the moving image. Stan Brakhage glued bits of moth wings (together with grass, leaves, and other pieces of nature) in between strips of splicing tape, and then ran the result through an optical printer to create a 16mm print. The ensuing film is a fluttering display of moth wings and nature dancing about on the screen. But there is more that this film brings to light than the questions and issues of whether Brakhage was an apolitical filmmaker or not, the importance of children, the display of death in his films, film as document, and so on, that have pervaded discussions of the director's works. In Mothlight, something is cast apart from dead moths/nature and becomes a new part functioning on the screen. This occurrence in Mothlight is vastly similar to what Jacques Lacan calls the " lamella, " the mythic feature which is separated from and yet survives without its origin body. By combining this idea of the lamella – which Lacan uses to describe the libido – with André Bazin's notions about the photographic/cinematic image as index, I argue that the cinema functions in the same way as the lamella/libido and can be seen as an organ of a body or, to use

The cement is one of the most demanding binding material in cement infrastructure industry since from its discovery it became very popular due its bonding and durable nature. The raw material required for production of cement is mine everyday, due to increase in demand of cement raw material they are in verge of exhaust which has an direct impact on price of cement and Indian economy. The use supplementary cementitious material (SCMs) like Fly ash and Calcite can be the innovative approach to develop concrete without any side effect on its properties. Fly ash is a waste generated from thermal power station which contain high amount of SiO2 and Calcite which is reach in CaCO3, experimental investigation shows that, it enhances the physical and mechanical properties of concrete.

The global trade in media commodities involves an entire secondary mechanism intended to port, acclimatise, and make palatable foreign content to a local audience. This process, known as ‘localization,’ is typically associated with linguistic conversion but can involve other forms of adaptation such as editing or replacing portions of both sound and image with content specifically tailored to local tastes and customs, a process referred to as ‘culturalization.’ The industry lore on which localization and culturalization training programmes rely presents the work of adaptation as an unstable and bewildering terrain requiring constant learning and flexibility. A form of “industrial reflexivity,” this genre of knowledge transfers onto the field of cultural production the temperament of post-industrial, post-national working practices, emerging as “part of both corporate macrostrategies and human microstrategies” for balancing acts of power within the global cultural industries (Caldwell 34). Though this kind of industry lore attempts to remain faithful to easily verifiable real-world facts regarding language and culture, my presentation demonstrates that it introduces a new cultural geography in which creative work is positioned as in constant need of correction and tutelage. How do the actors involved in global media trade think? What cultural differences do they imagine, so that they may overcome them? Following the ethnographic turn in critical screen industry studies and production cultures present in the recent work Meyer, Perren, Holt, Deuze, Hesmondhalgh, Tinic, Straubhaar, Acland, Banks, and others, I will examine how a global media cultural compass is fashioned to create a need for expert navigators, which in turn influences production environments and shapes the experience of media. Alongside examples from my own post-production studio work, I will analyse the discursive strategies employed by various popular industry sources to identify how they conjure up and present the work of localization and adaptation. The highly specialized professional expertise these sources offer is analysed as a para-governmentality tool, a “psy-technology,” aiming to shape and control “industries, practices, and subjects . . . . in ambiguous and chaotic ways” (Conor 122).