MEDIA AUDIENCES
MA option
Autumn Term 2002
Convenor / tutor:
Thomas Austin: EH room 226; tel x. 2549; email: fcfal office hour: Weds 2.30 - 3.30
seminar: Weds 11:30
Group e-mail address: maudiences@https://www.doczj.com/doc/254226092.html,
INTRODUCTION
This course aims to give you an opportunity to do several things-.
1) to explore and evaluate the broad tradition of critical research into media audiences which has developed over the past two decades, and which has been
based largely in Anglo-American media studies and cultural studies, and has
begun to take root in some areas of film studies.
2) to consider, through an exploration of this tradition, how we should
understand the nature of media texts, and in particular how meanings, uses
(dis)pleasures and responses are produced in the complex interactions between audiences and texts in specific social settings.
3) to have the chance -- and to develop the skills to be able -- to carry out a
small piece of original audience research. The key methods encountered on the course are qualitative: interviews, semi-structured focus group discussions,
open-ended questionnaires, respondents' letters, participant observation, etc.
See more on assessment below.
Due to my own expertise and research interests, the course has a bias towards
work on audiences for film, television and video. I have, however, listed
approaches to a wider range of media audiences in the general reading section below, and you may of course choose to raise for discussion further audience
studies which are not included in this document.
I am keen to take advantage of the fact that you come from a range of different geographical and intellectual backgrounds. My own knowledge is built on British
and American traditions of audience research. It will be interesting and helpful if
we can incorporate important contributions from other traditions wherever
possible.
2
ASSESSMENT
This option follows the pattern of MA courses generally, in asking you to write a
5,000 word paper, with the title / question to be agreed in advance with your
tutor. The deadline for submission is the beginning of the spring term (exact date
to be confirmed.) For information on writing term papers, see the CulCom purple guide.
Anyone planning to use this course as a basis for their dissertation is welcome to undertake an essay or case study which is preparatory for that subsequent work (grounded in the key concerns of the course). Your dissertation may extend and develop ideas you began to consider in a term essay, but it must be substantially
new written work. The responsibility for avoiding substantial overlap is your own. Individual tutorials will be held to discuss your plans towards the end of the term.
And in the week 10 seminar you will each be asked to present a short review of literature which you plan to draw on in your term paper.
TEACHING AND LEARNING
When undertaking reading and preparation for each week's seminar, the
following questions are worth asking, in relation to the purpose, process and mechanics of critical audience research:
= What is the purpose of each piece of research? What questions does it ask?
How do these inflect the way it is designed, carried out, and evaluated?
= What theoretical frameworks are mobilised or interrogated?
= What methods and methodologies are deployed in the research? What suppositions are embodied in the research as a result of this?
= What claims does the research make about the nature of the medium / media
being consumed / used? How do these claims relate to other kinds of claim
about the nature of these media (eg: production histories, industry rhetorics,
textual analyses, audiences' self-reports, etc)?
= What conclusion does the work come to? What are its apparent consequences
and implications, and for whom? What contribution to (whose) knowledge does
the research make?
3
SEMINAR PRESENTATIONS
In most weeks one or two of you will make a presentation (to be allocated in
week one). The purposes of this exercise are:
(i) to apply and / or evaluate the critical studies and theories raised in set reading;
(ii) to initiate a seminar debate on issues based on the week's set topic.
To achieve these aims, you will be asked to combine a presentation based on
your own research and reading, with a number of carefully selected points raised
for your audience to discuss. Note that you can pause to ask questions during
your presentation. Wherever your questions are placed, they should not be
simply tagged on as an afterthought.
You will be expect ed to evaluate and critique the reading you have done; to
illustrate and apply the critical arguments proposed; and to initiate further debate
(you may use video clips, etc, if relevant). In other words, do not simply
regurgitate your reading.
You should provide a handout to illustrate key points of your argument, and
questions for further discussion. Make your presentation audience-friendly by
making eye contact and speaking from brief notes or bullet points, rather than
reading out a closely written text.
Your presentation will be judged according to the following criteria:
* content and understanding; * structure * presentational skills * steps taken to stimulate debate
All seminar members, (not just the presenter(s)) will be expected to critique,
evaluate and test out reading, and to relate it to any 'off-list' reading and
arguments, whenever appropriate.
You will be able to talk with your tutor in advance about preparations for your presentation. For more on seminar topics, see the week-by week guide below.
4
INTRODUCTORY READING
Each of these books offers something different, but all are good points from
which to start thinking about key debates about media audiences, their relations
to media texts, and the contexts in which they encounter them.
* Thomas Austin (2002) Hollywood, Hype and Audiences: Selling and Watching Popular Film in the 1990s (Manchester University Press) - esp. chs 1 and 2
* David Buckingham (1993) (ed.) Reading Audiences: Young People and the
Media (Manchester University Press)
* Shaun Moores (1993) Interpreting Audiences: The Ethnography of Media Consumption (Sage)
GENERAL READING LIST
(1) OVERVIEWS, ANTHOLOGIES, CONSIDERATIONS OF METHOD, ETC:
Pertti Alasuutari (1999) (ed) Rethinking the Media Audience London: Sage
len Ang (1991) Desperately Seeking the Audience, New York, London:
Routledge
Ien Ang (1989) "Wanted. Audiences. On the politics of empirical audience studies", in Ellen Seiter, Hans Borchers, Gabriele Kreutzner and Eva-Maria
Warth, (eds) Remote Control: Television, Audiences and Cultural Power,
London: Routledge
Martin Barker (1998) "Film audience research: making a virtue out of a necessity"
Iris 26
Martin Barker (forthcoming, October 2002) article on reception studies, title tbc,
Scope (https://www.doczj.com/doc/254226092.html,/film/journal/)
Martin Barker and Juian Petley (1997) (2001) (eds) (1st and 2nd eds) Ill Effects:
the Media-Violence Debate London: Routledge
Charlotte Brunsdon (2000) The Feminist, the Housewife, and the Soap Opera
Oxford: Oxford University Press
Will Brooker and Deborah Jermyn (eds) (2002 forthcoming) The Audience
Studies Reader London: Routledge
5
David Buckingham (1993) (ed) Reading Audiences: Young People and the
Media, Manchester: Manchester University Press
John Corner (1991) "Meaning, Genre and Context: The Problematics of 'Public Knowledge' in the New Audience Studies", in James Curran and Michael
Gurevitch (eds) Mass Media and Society, London: Edward Arnold
John Corner (1995) "Media Studies and the 'Knowledge Problem"', Screen 36-.2 (Summer)
John Corner (1 996) "Reappraising Reception-. Aims, Concepts and Methods" in James Curran and Michael Gurevitch (eds) Mass Media and Society, 2nd edition, London: Arnold
John Corner (2000) " 'Influence':The Contested Core of Media Research" in
James Curran and Michael Gurevitch (eds) Mass Media and Society, 3rd edition, London: Arnold
Jon Cruz and Justin Lewis, (1994) (eds) Viewing, Reading, Listening: Audiences
and Cultural Reception, Boulder: Westview Press
John Fiske (1987) "British Cultural Studies and Television", in Robert C. Allen,
(ed.) Channels of Discourse: Television and Contemporary Criticism, Chapel Hill: University of North Carolina Press
John Fiske (1989) "Moments of Television: neither the text nor the audience", in
Ellen Seiter, Hans Borchers, Gabriele Kreutzner and Eva-Maria Warth, (eds)
Remote Control: Television, Audiences and Cultural Power, London: Routledge
Ann Gray (1999) "Audience and reception research in retrospect: the trouble with audiences", in Pertti Alasuutari (ed) Rethinking the Media Audience London:
Sage
Jostein Gripsrud (1998) "Film audiences" in John Hill and Pamela Church Gibson (eds) The Oxford Guide to Film Studies Oxford: Oxford University Press
James Hay, Lawrence Grossberg and Ellen Wartella (1996) (eds) The Audience
and its Landscape Boulder: Westview Press
Simon Hardy (1998) The Author, His Woman and Her Lover: Soft-Core
Pornography and Heterosexual Men London: Cassell
Anders Hansen et al (1998) Mass Communications Research Methods Basingstoke: Macmillan
Joke Hermes (1993) "Media, meaning and everyday life" Cultural Studies 7
6
Matt Hills (2002) Fan Cultures, London: Routledge (see esp. pp. 71-89 on autoethnography; final chapter on internet research into fandom)
Ina Rae Hark (2001) (ed) Exhibition: The Film Reader London: Routledge
Steve Jones (1999) (ed) Doing Internet Research: Critical Issues and Methods
for Examining the Net London: Sage
Jenny Kitzinger (1999) "A sociology of media power, key issues in audience
reception research" in Greg Philo (ed) Message Received: Glasgow Media
Group Research 1993-1998 Harlow: Longman
Barbara Klinger (1988) "In Retrospect: Film Studies Today" Yale Journal of
Criticism 2: 1
Barbara Klinger (1989) "Digressions at the cinema: reception and mass culture", Cinema Journal 28:4
Barbara Klinger (1997) "Film history terminable and interminable: discovering the
past in reception studies" Screen 38:2
Sonia Livingstone (1998) "Audience Research at the Crossroads", European
Journal of Cultural Studies 1:2
Shaun Moores (1993) Interpreting Audiences: The Ethnography of Media Consumption London: Sage
David L. Morgan (1988) Focus Groups as Qualitative Research London: Sage
David Morley (1989) "Changing Paradigms in Audience Studies", in Ellen Seiter,
Hans Borchers, Gabriele Kreutzner and Eva-Maria Warth (eds) Remote Control: Television, Audiences and Cultural Power, London: Routledge
David Morley (1 992) Television, Audiences and Cultural Studies London-.
Routiedge
Greg Philo (1999) (ed) Message Received: Glasgow Media Group Research
1993-1998 Harlow: Longman
Janice Radway (1988) "Reception Study: Ethnography and the problems of
dispersed audiences and nomadic subjects", Cultural Studies, 2:3.
Kim Christian Schroder (1994) "Audience semiotics, interpretive communities
and the 'ethnographic turn' in media research" Media Culture and Society, 16:2.
7
Ellen Seiter, Hans Borchers, Gabriele Kreutzner and Eva-Maria Warth (1989)
(eds) Remote Control: Television, Audiences and Cultural Power, London:
Routledge
Beverley Skeggs (1995) (ed) Feminist Cultural Theory: Process and Production Manchester: Manchester University Press
Janet Staiger (1986) "The Handmaiden of Villainy: Methods and Problems in
Studying the Historical Reception of Film", Wide Angle, 8:1
Janet Staiger (1 992) Interpreting Films: Studies in the Historical Reception of American Cinema, Princeton: Princeton University Press
Janet Staiger (1993) "Taboos and Totems: Cultural Meanings of The Silence of
the Lambs', in Jim Collins, Hilary Radner and Ava Preacher Collins, (eds) Film
Theory Goes to the Movies, New York: Routledge (also rpt. in the following)
Janet Staiger (2000) Perverse Spectators: The Practices of Film Reception New
York and London: New York University Press
Janet Staiger and Martin Barker (2000) "Traces of Interpretations: Janet Staiger
and Martin Barker in Conversation" Framework online at
https://www.doczj.com/doc/254226092.html,/42ismb. Htm
Melvyn Stokes and Richard Maltby (eds) (1999) American Movie Audiences:
From the Turn of the Century to the Early Sound Era London: BFI
Melvyn Stokes and Richard Maltby (eds) (1999) Identifying Hollywood's
Audiences: Cultural Identity and the Movies London: BFI
Melvyn Stokes and Richard Maltby (eds) (2001) Hollywood Spectatorship:
Changing Perceptions of Cinema Audiences London: BFI
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(2) SPECIFIC AUDIENCE AND RECEPTION STUDIES
Roger Aden et al (1995) “ ‘Dreams Are Born on Places Like This’: The Process of Interpretive Community Formation at the Field of Dreams Site”, Communication Quarterly 43:4 (Fall)
len Ang (1985) Watching 'Dallas': Soap opera and the Melodramatic Imagination
New York: Methuen
Bruce Austin (1989) Immediate Seating: A Look at Movie Audiences Belmont: Wadsworth
Thomas Austin (1999) " 'Desperate to see it" straight men watching Basic
Instinct", in Melvyn Stokes and Richard Maltby (eds) Identifying Hollywood's Audiences: Cultural Identity and the Movies London: BFI
Thomas Austin (2002) Hollywood, Hype and Audiences: Selling and Watching
Popular Film in the 1990s (Manchester: Manchester University Press)
Camille Bacon-Smith and Tyrone Yarborough (1991) "Batman: The
ethnography",in Roberta Pearson and Uricchio (eds) The Many Lives of the
Batman: Critical Approaches to a Superhero and His Media London: BFI
Martin Barker (1997) "Taking the extreme case : understanding a fascist fan of
Judge Dredd", in Deborah Cartmell, I Q Hunter and Imelda Whelehan (eds)
Trash Aesthetics: Popular Culture and its Audience London: Pluto Press
Martin Barker and Kate Brooks (1998) Knowing Audiences: Judge Dredd, Its
Friends, Fans and Foes Luton: University of Luton Press
Martin Barker, Jane Arthurs and Ramaswami Harindranath (2002) The Crash Controversy: Censorship Campaigns and Film Reception London: Wallflower
Press
Jacqueline Bobo (1995) Black Women as Cultural Readers New York: Columbia University Press
Sarah Bragg (2001) “Perverse and Improper Pedagogies: The Case of Freddy’s Fingers and Russell’s Head”, The Velvet Light Trap 48:3 (Fall)
David Buckingham (1993) Children Talking Television Brighton: Falmer Press
David Buckingham (1996) Moving Images: Understanding Children's Emotional Reactions to Television Manchester: Manchester University Press
9
David Buckingham (1987) Public Secrets.- Eastenders and its Audience London:
BFI
Daniel Cavicchi (1998) Tramps Like Us: Music and Meaning among Springsteen
Fans New York and Oxford: Oxford University Press
Brigid Cherry (1999) "Refusing to refuse to look: female viewers of the horror
film', in Melvyn Stokes and Richard Maltby (eds) Identifying Hollywood's
Audiences: Cultural Identity and the Movies London: BFI
Maire Messenger Davies and Roberta Pearson (January 2003 forthcoming)
“Stardom and Distinction: Patrick Stewart and Arthur Miller: A study of theatre
and film audiences in New York City”, in Thomas Austin and Martin Barker (eds) Contemporary Hollywood Stardom London: Arnold
Una Dinsmore-Tuli (2000) "The pleasures of 'home cinema', or watching movies
on telly: an audience study of cinephiliac VCR use" Screen 41:3 (Autumn)
Una Dinsmore (1998) "Chaos, order and plastic boxes," in Christine Geraghty
and David Lusted (eds) The Television Studies Book London: Arnold
David Docherty, David Morrison and Michael Tracey (1987) The Last Picture
Show? Britain's Changing Film Audiences London, British Film Institute
Cynthia Erb (1998) Tracking King Kong : a Hollywood icon in world culture
Detroit: Wayne State University Press
John Fiske (1990) "Ethnosemiotics: some personal and theoretical reflections", Cultural Studies 4:1
John Gabriel (1996) "What do you do when minority means you? Falling Down
and the construction of whiteness", Screen 37:2
David Gauntlet and Annette Hill (1999) TV Living London: Routledge
Marie Gillespie (1995) Television, Ethnicity and Cultural Change London:
Routledge
Ann Gray (1987) "Behind Closed Doors: video recorders in the home", in Helen
Baehr and Gillian Dyer (eds) Boxed In: Women and Television, London: Pandora
Ann Gray (1992) Video Playtime: the Gendering of a Leisure Technology
London: Routledge
Jostein Gripsrud (1995) The Dynasty Years: Hollywood Television and Critical
Media Studies London: Routledge
10
Sue Harper and Vincent Porter (1996) "Moved to Tears: weeping in the cinema in postwar Britain", Screen 37:2 (Summer)
Leo Handel (1950) Hollywood Looks at Its Audience: A Report of Film Audience Research Urbana: University of Illinois Press
Tim Healey and Karen Ross (2002) ‘Growing old invisibly: older viewers talk television’, Media Culture and Society 24
Joke Hermes (1995) Reading Women's Magazines Cambridge: Polity Press
Annette Hill (1995) Shocking Entertainment London: John Libbey Media
Dorothy Hobson (1982) Crossroads: Drama of a Soap Opera London: Methuen
Robert Hodge and David Tripp (1986) Children and Television: A Semiotic
Approach Cambridge: Polity Press
Ian Huffer (January 2003 forthcoming) ‘What interest does a fat Stallone have for
an action fan?’: Male film audiences and the structuring of stardom”, in Thomas
Austin and Martin Barker (eds) Contemporary Hollywood Stardom London:
Arnold
Peter Jackson, Kate Brooks and Nick Stevenson (1999) "Making sense of men's lifestyle magazines" Society and Space 17
Mark Jancovich and Lucy Faire, with Sarah Stubbings (January 2003
forthcoming) The Place of the Audience: Cultural Geographies of Film
Consumption London: BFI
Henry Jenkins (1992) Textual Poachers: Television Fans and Participatory
Cultures London: Routledge
Henry Jenkins (2002) "Coming Up: Ambushed on Donaghue" (counters claimed
effects on video game users) available at https://www.doczj.com/doc/254226092.html,
Garth Jowett, I.C. Jarvie and K. Fuller (1996) Children and the Movies: Media Influence and the Payne Fund Controversy Cambridge: Cambridge University
Press
Journal of Popular British Cinema (1999) vol. 2 (themed edition on audiences
and reception)
Russell King and Nancy Wood (2001) (eds) Media and migration :constructions
of mobility and difference London: Routledge
11
Barbara Klinger (1994) Melodrama and Meaning: History, Culture and the Films
of Douglas Sirk Bloomington: Indiana University Press
Annette Kuhn (1995) Family Secrets: Acts of Memory and Imagination London:
Verso
Joanne Lacey (January 2003 forthcoming) ‘A Galaxy of Stars to Guarantee Ratings’: Made-for-Television Movies and the Female Star System”, in Thomas
Austin and Martin Barker (eds) Contemporary Hollywood Stardom London:
Arnold
Tamar Liebes and Elihu Katz (1993) The Export of Meaning: Cross-cultural
Readings of Dallas Cambridge: Polity Press
Anne Massey and Mike Hammond (1999) " 'It was true! How can you laugh?'
History and memory in the reception of Titanic in Britain and Southampton", in
Kevin S. Sandier and Gaylyn Studlar (eds) Titanic: Anatomy of a Blockbuster
New Brunswick, NJ: Rutgers University Press
David Morley (1986) Family Television: Cultural Power and Domestic Leisure London: Comedia
David Morley (1980) The 'Nationwide' Audience: Structure and Decoding
London: British Film Institute
Melanie Nash (1999) " ‘Beavis is just Confused’: Ideologies, Intertexts,
Audiences", The Velvet Light Trap 43:1 (Spring)
Andrea Press (1991) Women Watching Television Philadelphia: University of Pennsylvania Press
Janice Radway, (1984) Reading the Romance: Women, Patriarchy, and Popular Literature Chapel Hill: University of North Carolina
Janice Radway, (1994)"Romance and the Work of Fantasy: Struggles Over
Feminine Sexuality and Subjectivity at Century's End", in Jon Cruz and Justin
Lewis (eds) Viewing, Reading, Listening: Audiences and Cultural Reception
Boulder: Westview Press
Jeffrey Richards and Dorothy Sheridan (1 987) (eds) Mass Observation at the
Movies London: RKP
Philip Schlesinger, R. Emerson Dobash, Russell P Dobash and C. Kay Weaver (1992) Women Viewing Violence London: British Film Institute
12
Ellen Seiter (1999) Television and New Media Audiences Oxford: Oxford
University Press
Eric Smoodin (1996) "'This business of America": fan mail, film reception and
Meet John Doe', Screen 37:2
Lakshmi Srinivas (2002) ‘The active audience: spectatorship, social relations and
the experience of cinema in India’, Media Culture and Society 24
Jackie Stacey (1994) Star Gazing: Hollywood Cinema and Female Spectatorship London: Routledge
Larry Nathan Strelitz (2002) ‘Media consumption and identity formation: the case
of “homeland” viewers’ Media Culture and Society 24
Helen Taylor (1989) Scarlett's Women: Gone With The Wind and its Female
Fans London: Virago
John Tulloch and Henry Jenkins (1995) Science Fiction Audiences: Watching
Doctor Who and Star Trek London: Routledge
Valerie Walkerdine (1986) "Video replay: families, films and fantasy", in V.
Burgin, J. Donald and C. Kaplan, (eds) Formations of Fantasy, London: Methuen
Linda Williams (2000) 'Discipline and fun: Psycho and postmodern cinema', in Christine Geraghty and Linda Williams (eds) in Reinventing Film Studies London: Arnold
? The Mass Observation archive, housed at the university library, contains a range of social history material dating back to 1937, including recent
information on cinema and television, based on two directives issued in the
last four years. It is available online at:
https://www.doczj.com/doc/254226092.html,/library/massobs/
? See also a range of periodicals in the library, plus film and media related websites such as:
Framework = https://www.doczj.com/doc/254226092.html,/
Intensities: The Journal of Cult Media = www.cu https://www.doczj.com/doc/254226092.html,
Scope = https://www.doczj.com/doc/254226092.html,/film/journal/
13
THE COURSE WEEK BY WEEK
Week 1: Introduction:
In this introductory session we shall consider the question: why study media audiences?
I will also be asking you about your previous encounters with audience studies, whether sponsored by the academy, industry or policy-making bodies.
Week 2: Cultural Studies: The encoding / decoding model:
This week we focus on Stuart Hall's influential model of the encoding and
decoding of media texts. We examine (1) the application of the model in David
Morley's work on viewers of the British television programme Nationwide; and (2)
how Hall's paradigm has been debated and critiqued by a range of
commentators, including Hall himself. What are the purposes, implications and
uses of the model? Do you agree with any of the criticisms made of it?
Reading:
* Stuart Hall (1973, 1980) "Encoding/ Decoding", in Stuart Hall, Dorothy Hobson, Andrew Lowe, and Paul Willis, (eds) Culture, Media Language: Working Papers
in Cultural Studies, 1972-79, London: Hutchinson; also in Simon During (1993)
(ed) The Cultural Studies Reader London and New York: Routledge
* Stuart Hall (1994) "Reflections upon the Encoding/Decoding Model-. An
Interview with Stuart Hall", in Jon Cruz and Justin Lewis (eds) Viewing, Reading, Listening: Audiences and Cultural Reception, Boulder: Westview Press
* Mark Jancovich (1992) David Morley, "The Nationwide Studies", in Martin
Barker and Anne Beezer (eds) Reading into Cultural Studies London and New
York: Routledge
* Shaun Moores (1993) Interpreting Audiences: The Ethnography of Media Consumption London: Sage, ch 2
David Morley (1980) The 'Nationwide' Audience: Structure and Decoding,
London: British Film Institute (esp. ch 4, afterword, chs 5,6)
David Morley (1981) "The 'Nationwide' Audience: A Critical Postscript", Screen Education, 39 (Summer) (rpt as ch 4 in the following)
David Morley (1992) Television, Audiences and Cultural Studies, London:
Routledge (esp. ch 1, 3, 4, 8)
14
Janet Staiger (1992) Interpreting Films: Studies in the Historical Reception of American Cinema, Princeton: Princeton University Press, ch 3
Week 3: Film Studies - from 'the spectator' to audiences
This session considers the gradual and rather halting move towards audience research made within some areas of film studies during the 1980s and 1990s. Several overviews of this shift -- which was influenced by the tradition of
audience research developed within British cultural studies since 1980 -- are
listed below. To provide a common focus for our investigation, please also read
the different approaches to the erotic thriller Basic Instinct developed by Julianne Pidduck and by myself.
What are the purposes and methods of each inquiry? What assumptions
underpin, and what implications derive from, each argument? What key differences, and possible points of connection, emerge from the two accounts?
Set viewing: Basic Instinct (video available to borrow from EH 145)
Reading:
* Thomas Austin (2002) Hollywood, Hype and Audiences: Selling and Watching Popular Film in the 1990s Manchester: Manchester University Press, ch 3
* Barbara Klinger (1988) "In Retrospect: Film Studies Today" Yale Journal of
Criticism 2: 1
Shaun Moores (1993) Interpreting Audiences: The Ethnography of Media Consumption London: Sage, ch 2
Laura Mulvey (1975) "Visual Pleasure and Narrative Cinema" Screen 16:3,
reprinted in various collections, including Mulvey, Visual and Other Pleasures;
Rosen (1986) (ed) Narrative/ Apparatus/ Ideology; Hollows, Hutchings and
Jancovich (2000) (eds) The Film Studies Reader
* Julianne Pidduck (1995) "The 1990s Hollywood Fatal Femme: (Dis)figuring feminism, family, irony, violence" Cineaste 38
* Jackie Stacey (1994) Star Gazing: Hollywood Cinema and Female
Spectatorship London: Routledge, esp. ch 2
Jackie Stacey (1993) "Textual obsessions: methodology, history and researching female spectatorship" Screen 34.-3 (Autumn)
15
Week 4: Audiences and Identity 1: Videos, gender, class, and taste:
The statement that media users will differ in their responses to any given media
form or text has become a banal truism of audience studies. As len Ang has suggested, a cultural studies approach to audiences needs to go one step further
and to "be oriented toward a detailed understanding of how and why varieties in experience occur".
This week (and in subsequent sessions) we consider some important ways of approaching the patterning of such "significant' differences -- via notions of social identity such as class, gender, sexuality, and taste.
Set viewing: Rocky II (video available to borrow from EH 145)
Reading:
John Fiske and Robert Dawson (1996) "Audiencing violence: watching homeless
men watch Die Hard', in James Hay, Lawrence Grossberg and Ellen Wartella
(eds) The Audience and its Landscape Boulder: Westview Press
* Ann Gray (1987) "Behind Closed Doors: video recorders in the home", in Helen
Baehr and Gillian Dyer, eds., Boxed In: Women and Television,
London: Pandora
* Ann Gray (1992) Video Playtime: the Gendering of a Leisure Technology,
London: Routledge
* Valerie Walkerdine (1986) "Video replay: families, films and fantasy', in V.
Burgin, J. Donald and C. Kaplan, (eds) Formations of Fantasy London: Methuen.
Week 5: Audiences and Identity 2:
Gender and sexuality and / in media consumption:
Liesbet van Zoonen, among others, has argued that an epistemological dilemma confronts any assumption that gender (or other facets of social identity, such as sexuality) is an a priori characteristic that fully precedes the moment of media consumption. How might this insight productively inform / problematise investigations of the significance of gender in media use?
Reading:
* len Ang and Joke Hermes (1991) "Gender and / in Media Consumption", in
James Curran and Michael Gurevitch (eds) Mass Media and Society, London:
Edward Arnold
16
Thomas Austin (2002) Hollywood, Hype and Audiences: Selling and Watching
Popular Film in the 1990s (Manchester University Press) - chapter 3
Ann Gray (1987) "Behind Closed Doors: video recorders in the home", in Helen
Baehr and Gillian Dyer (eds) Boxed In: Women and Television, London: Pandora
Ann Gray (1992) Video Playtime: the Gendering of a Leisure Technology,
London: Routledge
Tamsin Wilton (1995) On not being Lady Macbeth: some (troubled) thoughts on lesbian spectatorship" in Tamsin Wilton (ed) lmmortal Invisible: Lesbians and the Moving Image, London: Routledge
* Linda Williams (2000) 'Discipline and fun: Psycho and postmodern cinema', in Christine Geraghty and Linda Williams (eds) in Reinventing Film Studies London: Arnold
* Liesbet van Zoonen (1994) Feminist Media Studies, London: Sage, esp. ch 7, 8
Dolf Zillman and James B Weaver III (1996) "Gender socialization theory of
reactions to horror", in James B Weaver III and Ron Tamborini (eds) Horror
Films: Current Research on Audience Preferences and Reactions Mahwah
NJ: Lawrence Eribaum Associates
Week 6: "Audiencing":
Research methods and the discursive construction of audiences
Just as media users and consumers may partially construct, perform or project elements of social identity through their choices of, and reactions to, media forms
and texts, they may also construct identities via the research scenario itself. Furthermore, the research process may be seen to 'produce' aspects of the
audience it claims to find. The readings below offer a number of perspectives on
the call for self-reflexivity in audience research.
Reading:
len Ang (1989) "Wanted. Audiences. On the politics of empirical audience studies", in Ellen Seiter, Hans Borchers, Gabriele Kreutzner and Eva-Maria
Warth, (eds) Remote Control: Television, Audiences and Cultural Power,
London: Routledge
Ien Ang (1985) Watching 'Dallas': Soap Opera and the Melodramatic Imagination
New York: Methuen, 1985
17
David Buckingham (1993) "Boys' talk: television and the policing of masculinity,"
in Buckingham (ed) Reading Audiences: Young People and the Media,
Manchester: Manchester University Press
David Buckingham (1991) "What are words worth? Interpreting children's talk
about televisi o n", Cultural Studies, 5:2 (May)
John Corner (1995) "Media Studies and the 'Knowledge Problem"', Screen 36:2 (Summer)
Ellen Seiter (1990) "Making Distinctions in TV Audience Research: Case Study of
a Troubling Interview", Cultural Studies, 4:1 (January)
Jackie Stacey (1994) " Hollywood Memories", Screen, 35:4 (Winter)
Jackie Stacey (1994) Star Gazing: Hollywood Cinema and Female Spectatorship London: Routiedge, ch 3
Liz Stanley (1995) "Women have servants and men never never eat: issues in
reading gender, using the case study of Mass-Observation's 1937 day diaries"
Women's History Review 4:1
Week 7: Reading week
Week 8: "Everyday life":
If people encounter and consume the media as an 'ensemble' of overlapping and
often contingent experiences, how can this complexity be adequately
conceptualised and addressed in audience research? Should researchers switch
from investigating audience-text relations towards ethnographies of the rhythms
and patterns of 'everyday life'? Is this question itself problematic?
Reading:
* Herman Bausinger (1984) "Media, technology and daily life", Media, Culture, Society, 6:4 (October)
John Corner (1991) "Meaning, Genre and Context: The Problematics of 'Public Knowledge' in the New Audience Studies", in James Curran and Michael
Gurevitch (eds) Mass Media and Society, London: Edward Arnold
Kirsten Drotner (1994) "Ethnographic enigmas: the 'everyday' in recent media studies" Cultural Studies 8
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David Gauntlet and Annette Hill (1 999) TV Living London: Routledge
Joke Hermes (1 993) "Media, meaning and everyday life" Cultural Studies 7
Kim Christian Schroder (1994) "Audience semiotics, interpretive communities
and the 'ethnographic turn' in media research" Media Culture and Society, 16:2.
* Janice Radway, (1988) "Reception Study: Ethnography and the problems of dispersed audiences and nomadic subjects", Cultural Studies, 2:3.
Week 9: Fans: a special case?
From being denigrated as dysfunctional and antisocial, fans have been
recuperated in several recent studies as 'v anguard' audiences, characterised as
active and creative. In part, the burgeoning interest in fandom has taken place
within a larger critical shift towards popular culture as a 'legitimate' object of
study. But it also raises important questions about how to define audience
'activity', and where this attention to fans leaves 'non-fan' audiences.
Reading:
* Martin Barker (1993) "The Bill Clinton fan syndrome [review of Jenkins and
Lewis] Media, Culture and Society 15
Una Dinsmore-Tuli (2000) "The pleasures of 'home cinema', or watching movies
on telly: an audience study of cinephiliac VCR use" Screen 41:3 (Autumn)
Una Dinsmore (1998) "Chaos, order and plastic boxes," in Christine Geraghty
and David Lusted (eds) The Television Studies Book London: Arnold
John Fiske (I 992) "The Cultural Economy of Fandom" in Lisa Lewis (ed) The
Adoring Audience London: Routledge
Jostein Gripsrud (1989) "'High Culture' Revisited", Cultural Studies, 3:2
Matt Hills (2002) Fan Cultures London: Routledge
* Henry Jenkins (1992) Textual Poachers: television fans and participatory
culture New York: Routledge
* Joli Jensen (1992) "Fandom as pathology: the consequences of characterization" in Lisa Lewis (ed) The Adoring Audience London: Routledge
Virginia Nightingale (1996) Studying Audiences: The Shock of the Real London: Routledge
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Week 10: Presentations:
You will each be asked to give a short presentation, based on a review of
relevant critical literature undertaken as preliminary research for your term paper.
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Wiki ●基本概念：Wiki源自夏威夷语的“WikiWiki”，本意是“快点快点”，翻译为 维客、围纪、快纪、共笔、维基等。Wiki是一种在网络上开放、可供多人协同创作的超文本系统，由沃德-坎宁安于1995年首先开发，他将Wiki定义为“一种允许一群用户通过简单的标记语言来创建和连接一组网页的社会计算机”。 ●基本功能：Wiki包含一套能简易制作、修改HTML网页的系统，它允许 任何造访他的人快速轻易的添加、删除、编辑所有内容。 ●Wiki引擎： ?概念：就是Wiki软件，用来架设Wiki网站的软件 ?常用Wiki引擎介绍： ◆ASP的WiKi程序。ASP的WiKi程序总体感觉比较弱，或许开放的WiKi更喜欢开放的linux系统吧 1，Operator Wiki 0.3 语言环境：ASP+ACCESS 官方主页：https://www.doczj.com/doc/254226092.html,/projects/operatorwiki/ 演示：https://www.doczj.com/doc/254226092.html,/maxzone/operatorwiki/wiki.asp 下载：https://www.doczj.com/doc/254226092.html,/codepubcom/2006/4/8/operatorwik03.rar 介绍：免费开源的国产WIKI程序，ASP+JavaScript写的Wiki 引擎，支持多语言、ACL，综合各种WIKI 的功能。 Operator Wiki 升级日志0.3:. * 完整的用户权限 * 支持ACL 进行权限控制 * 修正了一个标记冲突问题 * 修正登录问题 * 源代码采用Tab 代替空格，进一步缩小体积，主程序目前仅34.4K * 更良好的多语言支持 * 修正数十个关于表格和列表的问题 2，OpenWiki 中文版Build20060328 语言环境：ASP+ACCESS/SQLServer 官方主页：https://www.doczj.com/doc/254226092.html,/ 演示：https://www.doczj.com/doc/254226092.html,/yow/ 下载：https://www.doczj.com/doc/254226092.html,/codepubcom/2006/4/8/openviki_yow.rar 介绍：国外的一个ASP Wiki程序，3d-gis汉化。 3, JsWiki - 开源ASP WIKI程序 语言环境：ASP 官方主页：https://www.doczj.com/doc/254226092.html,/projects/jswiki/ 演示：https://www.doczj.com/doc/254226092.html,/ 下载：https://www.doczj.com/doc/254226092.html,/codepubcom/2006/2/10/jswiki.rar
常用的8种数字滤波算法 摘要：分析了采用数字滤波消除随机干扰的优点，详细论述了微机控制系统中常用的8种数字滤波算法，并讨论了各种数字滤波算法的适用范围。 关键词：数字滤波；控制系统；随机干扰；数字滤波算法 1 引言 在微机控制系统的模拟输入信号中，一般均含有各种噪声和干扰，他们来自被测信号源本身、传感器、外界干扰等。为了进行准确测量和控制，必须消除被测信号中的噪声和干扰。噪声有2大类：一类为周期性的，其典型代表为50 Hz 的工频干扰，对于这类信号，采用积分时间等于20 ms整倍数的双积分A/D转换器，可有效地消除其影响；另一类为非周期的不规则随机信号，对于随机干扰，可以用数字滤波方法予以削弱或滤除。所谓数字滤波，就是通过一定的计算或判断程序减少干扰信号在有用信号中的比重，因此他实际上是一个程序滤波。 数字滤波器克服了模拟滤波器的许多不足，他与模拟滤波器相比有以下优点： (1)数字滤波器是用软件实现的，不需要增加硬设备，因而可靠性高、稳定性好，不存在阻抗匹配问题。 (2)模拟滤波器通常是各通道专用，而数字滤波器则可多通道共享，从而降低了成本。 (3)数字滤波器可以对频率很低(如0.01 Hz)的信号进行滤波，而模拟滤波器由于受电容容量的限制，频率不可能太低。 (4)数字滤波器可以根据信号的不同，采用不同的滤波方法或滤波参数，具有灵活、方便、功能强的特点。 2 常用数字滤波算法 数字滤波器是将一组输入数字序列进行一定的运算而转换成另一组输出数字序列的装置。设数字滤波器的输入为X(n)，输出为Y(n)，则输入序列和输出序列之间的关系可用差分方程式表示为： 其中：输入信号X(n)可以是模拟信号经采样和A/D变换后得到的数字序列，也
南昌大学实验报告 学生姓名：洪僡婕学号：6100411159 专业班级：数媒111班 实验类型：■验证□综合□设计□创新实验日期： 4.29 实验成绩：一、实验项目名称 数字图像处理 二、实验目的 实现快速中值滤波算法 三、实验内容 用VC++实现中值滤波的快速算法 四、主要仪器设备及耗材 PC机一台 五、实验步骤 // ImageProcessingDoc.cpp : implementation of the CImageProcessingDoc class// #include "stdafx.h" #include "ImageProcessing.h" #include "ImageProcessingDoc.h" #include "GreyRatio.h" #include
题目中值滤波算法的滤波效果分析报告 学院：信息科学与技术学院 专业：控制科学与工程 学生：X X 指导教师：XXX 2014 年12月07日
1、中值滤波算法原理 中值滤波是一种对干扰脉冲和点状噪声有良好抑制作用，而对图像边缘能较好保持的非线性图像增强技术。中值滤波的基本原理是把数字图像或数字序列中一点的值用该点的一个邻域中各点值的中值代替，让周围的像素值接近的真实值，从而消除孤立的噪声点。常用的中值滤波有线状、圆形、十字形、圆环形等形状；常用的中值滤波有3x3、5x5等区域。图像为二维信号，中值滤波的窗口形状和尺寸对滤波器效果影响很大，不同图像内容和不同应用要求往往选用不同的窗口形状和尺寸。 2、滤波效果分析 本文基于Matlab编程实现对含有噪声的图像进行中值滤波处理，中值滤波的基本步骤分为： （1）将滤波模板（含有若干个点的滑动窗口）在图像中遍历，并将模板中心与图中某个像素位置重合； （2）读取模板中各对应像素的灰度值； （3）将这些灰度值从小到大排列； （4）取这一列数据的中间数据，将其赋给对应模板中心位置的像素。如果窗口中元素为奇数，中值取元素按灰度值大小排序后的中间元素灰度值。如果窗口中元素为偶数，中值取元素按灰度值大小排序后，中间两个元素灰度的平均值。中间值代替该点的像素值。 调用Matlab中的中值滤波函数medfilt2()对添加噪声的图像进行滤波处理，分别添加高斯白噪声和椒盐噪声，分别使用3x3、5x5的窗口对添加噪声的图像进行滤波，其运行结果如下： 图2.1 原始图像
在原图像中添加0.002的高斯白噪声与椒盐噪声，噪声图像如图2.2所示。 图2.2 噪声图像 使用3x3、5x5的滤波窗口对高斯白噪声图像进行滤波处理，其结果如图2.3所示。 图2.3 白噪声图像滤波效果 使用3x3、5x5的滤波窗口对椒盐噪声图像进行滤波处理，其结果如图2.4所示。 图2.4 椒盐噪声图像滤波效果
中值滤波算法 本文提出一种中值滤波算法，该算法充分地利用相邻两次中值滤波窗口内数据的相关性。中值滤波算法在运算过程中通过对有序序列快速的对半查找和内插操作，重构有序序列，占L面得到各中值算法很大地提高了运算效率-计算机模拟寝明该方法是有效的。 在数字信号处理中，经常会遇到对信号数据作平滑处理。局部平均滤波是常用的一种算法，若是对具有随机脉冲噪声的信号进行处理，虽然脉冲噪声有所衰减，但它对滤波结果仍有显著的影响。中值滤波却是对窗内数据进行大小的排序，取结果的中间项对应的值，这样脉冲噪声就不起作用，不影响中值结果 所以，中值滤波在有随机脉冲噪声的情况下，能较好地保护原始信号。 中值滤波的主要运算就是对窗口内的信号数据序列进行排序。文[4]提出的二维中值滤波快速算法，只适用于幅度量化级为极其有限的数据(如：数字图象处理中的象素幅度，若是用单字节(8位二进制存贮单元)存放，共有28=256个灰度级)，原因是要给每个量化级设置一个作为计数器的存贮单元。文[5—8]的方法也是针对于幅度量化级为有限的数据。若是数据为任意大小或精度的浮点数，则以上的方法不适用，通常采用每次对窗内数据排序并 输出相应的中值。假设原始信号数据序列的长度为 ，表示为{ (O)，x(1)，?，x(M-1)}，窗口长度为2^r+1，表示为{ (O)， (1)，?， (2Ⅳ)}，共需要 一2N次对长度为2N+l的窗内数据序列分别进行排序。要进行排序，就必须对序列中数据元索做比较和交换．数据元素问的比较次数是影响排序速度的一个重要因素。一般认为，对 个元素进行排序时，所需的比较次数在理论上的最小值为 0(n|og。n) 当原始信号数据序列较长或窗口较大时，用 这种传统中值滤波方法是十分费时的。文[9]提出把相邻两次的中值滤波合并为一次进行，只做一次排序。从而，总的排序次数减少一半，运算时间节省约一半本文提出一种中值滤波的快速算法，避免了反复对无序序列排序，而只对有序序列进行数据元素的快速查找和内插，实现中值滤波． 中值滤波的快速算法 本文提出的中值滤波的快速算法的基本思想是：原始数据序列上中值滤波的滑窗在移动过程中，当前窗只要删除其最早的元素，加入窗后的新元素，即成为下一窗的内容。下一窗的中值滤波实现可利用上次中值滤波的排序结果，新元素的插人位置用有序序列快速查找算法求得，新元素插人与最早的元素删除的实现采用独特的数据结构，将是新元素覆盖最早的元素，即是插人兼并了删除。 设置(2N+1)个连续存贮单元(存放浮点数){ (。)t (1)，?， (2Ⅳ)}组成的循环序列用来存放窗内的数据元素 按照先进先出的原则，后来的数据元素总是替换当前最早存放的数据元素。设置(2／'／+1)个连续存贮单元(存放整数){ (。)， (1)，? ，s(2N)}顺序存放的是，若上述窗内元素从小至大排序后，顺序的元素在Ⅳ 序列中的下标值，即满足 ( (。))≤w(s(1))≤ ?≤ w( (2Ⅳ))。设置(2Ⅳ+1)个连续存贮单元(存放整数){a(0)，n(1)，?，a(ZN)}分别存放s序列中存有其下标的存贮单元的下标值，即满足 (。(f))， =O，1，?2N。可以这样认为，把Ⅳ 序列和n序列中具有同一下标的两个存贮单元当作独立结构单元，s序列中一存贮单元指向上述某一结构单元，这个结构单元中的。存贮单元值表示了这个结构单元指向该s存贮单元。下面实现中值滤波的快速算法。首先，令Ⅳ 序列中的存贮单元值全为零，s序列和n序列中的存贮单元分别存放各自的下标值，即 (f)=0， (f)=f，n(f)=f，f=O，1 。,2N。另外，设置下标 =0． 第一步，求当前准备进入窗的数据元素x(ra)在s序列中的内插位置，用对半查找算法实现脚，如图1所示。在图1中，有序序列对半查找的区问下界为工，上界为h，中部为 ，通过比较 (s(1))与待查量 (m)，若不相等，则调整L或h，使下次查找的区问比前次的减少一半。输出的 反映
常见成语解析及成语故事 换骨夺胎 【注音】huàn gǔ duó tāi 【成语故事】换骨夺胎原是道家传说吃了金丹换去凡骨凡胎后成仙。古代文人借用以前古文的意思用自己的语言去表达，黄庭坚认为这是换骨法，深入研究古文的原意进一步加以刻划形容，这叫夺胎法。也有人说不蹈古人一言一句，用夺胎换骨法可以点铁成金。 【出处】然不易其意而造其语，谓之换骨法；窥入其意而形容之，谓之夺胎法。宋·释惠洪《冷斋夜话·换骨夺胎法》 【解释】比喻诗文活用古人之意，推陈出新。 【用法】作谓语、定语；用于诗文等 【相近词】脱胎换骨、夺胎换骨 【成语举例】他临摹古画有换骨夺胎之妙，当然能够乱真。 提名道姓 【拼音】tí míng dào xìng 【成语故事】王夫人、薛宝钗、林黛玉等在贾母房内聊天，有人汇报史湘云来了，众人迎接，大观园内又多了一位金钗。贾宝玉跑来看史湘云，一见十分快乐，亲热的叫她的名字。王夫人要他不要提名道姓，她们在一起又玩个昏天黑地。 【出处】这里老太太才说这一个，他又来提名道姓的了。清·曹雪芹《红楼梦》第31回
【释义】提、道：说。直呼别人姓名，对人不够尊敬。 【用法】作谓语、宾语；指直呼别人姓名 【相近词】指名道姓、习题名道姓 【反义词】含沙射影 【成语例句】 ◎你得喝醉哟，不然哪里敢！既醉，则挑鼻子弄眼，没必要提名道姓，而以散文诗冷嘲，继以热骂：头发烫得像鸡窝，能孵小鸡么？曲线美，直线美又几个钱一斤？老子的钱是容易挣得？哼！诸如此类，无须管层次清楚与否，但求气势畅利。 ◎设若要摆，也不应该提名道姓。 随遇而安 【注音】：suí yùér ān 【释义】：随：顺从；遇：遭遇。指能顺应环境，在任何境遇中都能满足。 【出处】：清·刘献廷《广阳杂记》一：“随寓而安，斯真隐矣。”清·文康《儿女英雄传》第24回：“吾生有涯，浩劫无涯，倒莫如随遇而安。” 【用法】：偏正式；作谓语、宾语、定语、状语；含褒义；指能顺应环境 【示例】：不过能够～——即有船坐船云云——则比起幻想太多的人们来，可以稍为安稳，能够敷衍下去而已。（鲁迅《两地书》六）【近义词】：与世无争、随俗浮沉
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机械与电子工程学院信号分析与处理 课程设计报告 题目：图像信号的中值滤波 题号：1-14 小组成员：赵鑫、陈超、尹庆宇 班级：15电科1班 字数：4040 完成日期:2018年6月29日
目录 1引言 (1) 1.1设计目的 (1) 1.2章节组织 (1) 2设计原理 (1) 2.1中值滤波的基本原理 (1) 2.2中值滤波的特点 (2) 2.2.1对某些输入信号中值滤波的不变性 (2) 2.2.2中值滤波去噪声性能 (2) 2.2.3中值滤波的频谱特性 (2) 3设计内容 (2) 3.1中值滤波算法分析 (2) 3.2中值滤波在图像处理中的MATLAB实现 (3) 4设计结果分析 (5) 4.1中值滤波与均值滤波的比较 (5) 4.2中值滤波与均值滤波的进一步讨论 (6) 4.2.1中值滤波输出方差 (6) 4.2.2均值滤波输出方差 (8) 4.3结果分析 (8) 5总结 (8) 6参考文献 (9)
1引言 1.1设计目的 1.熟悉MA TLAB的使用方法包括函数、原理和方法的应用。 2.增强在通信系统设计方面的动手能力与自学能力。 3.进一步熟悉图像中值滤波的原理和方法。 4.比较中值滤波同其它滤波的实现效果 1.2章节组织 报告共分六章。第一章为引言，主要介绍本课程的设计目的；第二章为设计原理，给出了图像的中值滤波的基本原理；第三章为设计内容，给出了中值滤波的算法实现；第四章为设计结果分析，比较中值滤波同其它滤波的实现效果；第五章为总结，对报告的要点进行了总结；第六章为参考文献，给出了报告的主要参考资料。 2设计原理 2.1中值滤波的基本原理 中值滤波是一种比较常见的非线性信号处理技术，它以排序理论为基础,能够有效地抑制噪声。这种领域运算和卷积类似,它主要是排序领域中的像素,接下来再选择排序后的数据组中的中间值作为最终输出的像素值。其基本原理为：首先针对以一个像素为中心点的具体领域进行研究，领域也被称为窗口，可以是方形，十字形，圆形或其他类似的形状，然后对领域中的每个像素值按照灰度值的大小进行排序，最后再将这组数的中值作为中心点像素灰度的真值进行输出。序列中值的具体定义如下： 若x1,x2,…,xn为一组序列，先把这组序列按大小排序为xi1≤xi2≤xi3…≤xin，则该序 列的中值y为 实现时一般取一长度为L=2n+1的滤波窗口,n为正整数。将窗口在数据上滑动,中值滤波输出就是窗口正中所对的像素值用窗口内各像素的中值代替,
快速中值滤波及c语言实现 学生姓名：刘勇学号：6100410218 专业班级：数媒101 【摘要】本文讨论了用c语言在微机上实现中值滤波及快速算法，在程序设计的过程中充分考虑到程序运行的时间复杂度和空间复杂度的问题．解决了由于图像太大而内存不够的问题，运用对程序运行时的方法，得出在PENTIUM-S100MHz 上中值滤渡的一般算法运行4．23秒．而快速算法运行2 58秒。 【关键词】c语言；中值滤波；快速算法 1 引言 中值滤波是涂基发明的一种非线性信号处理技术，对抑制图像的噪声非常有效，在二维形式下，中值滤渡器是一个古有奇数个像素的滑动窗口，窗口正中的象素的灰度值用窗口内各个象素的中值代替窗口的中值为窗口中象素按大小顺序排列后处于中间位置的象素；本文讨论中值滤的一般算法并比较其运算速度。 2 用C语言实现算法的若干问题 在设计算法编制程序的时候，我们充分考虑到程序运行的时间复杂度和空间复杂度问题，在解决问 题的前提下，使算法尽量简单，使程序运行占有的空间尽量的小，这样来减少不必要的时问浪费和空间浪费，从而太大的提高程序执行的效率。 首先考虑到的内存问题。由于在本文算法中用的图像是512+512 8bit，这就存在一个内存不够大一整幅图像不能一次性调入的问题。为了解受此问题，可以只开辟一个3"512的缓冲区n，将原图像采用分批调入缓冲区，使内存不够的问题得到了圆满的解决。 另外为了对中值滤波的快速算法和普通算法进行精确的比较，采用对程序运行计时的方法，并精确计算每个算法运行的时间，使得出的结论更可靠。 3 中值滤波算法的C语言程序实现 本算法采用对开辟的3*512的缓冲区从左到右依次形成一个3*3的窗口．然后将此3*3的窗口放 人一个一维数组中，调用求中值子函数．通过排序得出中值，当此中值不等于窗口中间位置的象素时．用此中值来代替窗VI中间位置的象素灰度值．若此缓冲区处理完毕后，将缓冲区的第一行存入新建的文件中，将第二、第三行分别向上移动一行，若存人新建的文件中的行数小于或等于511(即这样处理的行 数小于或等于511)，则从原文件中调入一行作为缓冲区第三行，按上述方法进行直到处理的总行数等于511为止，最后，将缓冲区的第二、三行存人新建的文件，程序流程框图如图1 4 中值滤波快速算法的C语言程序实现 本算法充分利用了上一次处理的结果．采用迭代，逐次逼近的方法得到本次的中值，在一行处理完毕后转人下一行也采用走S型的方法．这样除第一个窗口采用了一伏排序得到中值外，其它的窗口都利 用上伏的窗口的象素删除无用的3个象素后再加人新的3个象素，利用迭代的方
关集合名词用法的几个语法要点 ■family(家庭)，team(队)，class(班)，audience(听众)等，其用法特点为：若视为整体，表示单数意义；若考虑其个体成员，表示复数意义。比较： This class consists of 45 pupils. 这个班由45个学生组成。 This class are reading English now. 这个班的学生在读英语。 ■cattle(牛，牲畜)，people(人)，police(警察)等，其用法特点为：只有单数形式, 但却表示复数意义，用作主语时谓语用复数；不与 a(n) 连用，但可与the连用(表示总括意义和特指)： People will laugh at you. 人们会笑你的。 The police are looking for him. 警察在找他。 Many cattle were killed for this. 就因为这个原因宰了不少牲畜。 【注】表示牲畜的头数，用单位词 head(单复数同形)：three head of cattle (3头牛)，twenty (head of ) cattle (20头牛)。 ■goods(货物), clothes(衣服)等，其用法特点是：只有复数形式(当然也表示复数意义，用作主语时谓语也用复数)，但通常不与数词连用： Such clothes are very expensive. 那样的衣服很贵。 To whom do these goods belong? 这些货是谁的？ ■baggage / luggage(行李), clothing(衣服), furniture(家具), machinery(机器), poetry(诗), scenery(风景), jewelry(珠宝), equipment(设备)等, 其用法特点为：是不可数名词，只用单数形式，不用不定冠词(当然更不能用数词)，没有复数形式： Our clothing protects us from [against] the cold. 我们的衣服可以御寒。 Have you checked all your baggage? 你所有行李都托运了吗? 【注】machinery, poetry, jewelry, scenery等相应的个体可数名词是 machine, poem, jewel, scene等。如：a poem / a piece of poetry(一首诗)，many machines / much machinery / many pieces of machinery(许多机器)。 ■补充说明几个特殊的集合名词： ①hair(头发，毛发)：指全部头发或毛发时，为集合名词(不可数)；指几根头发或毛发时，为个体名词(可数)：
五个字的成语故事分享 导读：本文五个字的成语故事分享，仅供参考，如果觉得很不错，欢迎点评和分享。 售胝足之药 【成语故事】从前有人在市场上卖治脚茧药，在门上挂“供御”的招牌，人们讥笑他不诚实。皇帝知道后，派人传唤他，并把他投入监狱。他遇大赦而回家，就又重操旧业，在招牌上面增加“曾经宣唤”4字，以此来招徕顾客。 【出处】昔人有以胝足之药售于市者，辄揭扁于门曰：‘供御。’《厅史》 【解释】胝：手掌或脚掌上的老茧。指卖狗皮膏药骗人。 【用法】作谓语、宾语;指卖狗皮膏药 覆巢无完卵 【成语故事】东汉末年，北海相孔融反对曹操率50万大军征讨刘备与孙权，御史大夫向来与孔融不合，在曹操面前添油加醋，恶意挑拨。曹操大怒，命人逮捕孔融全家，孔融的孩子无动于衷，也不逃跑，说：“大人，岂见覆巢之下复有完卵乎?” 【出处】大人，岂见覆巢之下复有完卵乎?南朝·宋·刘义庆《世说新语·言语》 【解释】复：翻倒。翻倒的鸟窝里不会有完好的卵。比喻灭门大祸，无一幸免。又比喻整体毁灭，个体也不能幸存。
【用法】作定语、分句;比喻整体毁灭，个体不能幸存 【近义词】覆巢破卵 【成语示列】你是知道覆巢无完卵的结局的。 民以食为天 【成语故事】楚汉相争时期，刘邦与项羽在颖阳一带打仗，由于没有后援，刘邦准备放弃敖山粮仓，找谋士郦食其商量。郦食其认为称王要依赖百姓，百姓又依赖粮食。要想赢得战争，必须占据敖仓，才能稳住军心。刘邦赞同并奋勇作战取得了胜利。 【典故】天：比喻赖以生存的最重要的东西。人民以粮食为自己生活所系。指民食的重要。 【释义】天：比喻赖以生存的最重要的东西。人民以粮食为自己生活所系。指民食的重要。 【用法】作宾语、定语;指粮食的重要性 【近义词】国以粮为本 【成语举例】 ◎民以食为天，吃饱肚子是大别山人祖祖辈辈的梦想："谁让我们吃饱饭，就选谁当县长。" ◎解放几十年来农业还没有从根本上过关的历史教训和现实状况都告诉我们：国以民为本、民以食为天。 ◎民以食为天，国以农为本，这是我国的基本国情，要实现跨世纪的宏伟目标，解决好农业问题至关重要.
Wiki站点支持面向社群的协作式写作，每个人都可以发表自己的见解，或者对共同维护的主题进行扩展。Wiki同时也包括一组支持这种写作的辅助工具，可以在Web的基础上对Wiki页面的文本进行创建，更改和发布，比做网页和更新网页简单方便得多。下面我们来配置Wiki服务器。 一、安装Linux系统 要配置Wiki服务器我们首先要安装一个Linux系统，在系统中配置LAMP环境，这里我们使CentOS系统，装系统我们就不多说了，简单安装一个系统，但是要把编译环境安装好。 二、配置LAMP环境 主要软件包， 1.httpd- 2.2.17.tar.gz 2.mysql-5.0.20a.tar.gz(这个版本是已编译好的压缩包，解压后稍做配置即可使用) 3.php-5.2.17.tarr.gz 安装php所需的软件包（其中libxml2是安装php5必须的.） 1.libxml2-(version).tar.gz 2.libxslt-(version).tar.gz 3.curl-(version).tar.gz GD库所需要软件包（有人说PHP源码包里自带了GD2.0.28和zlib，只要安装GD的三个支持包：jpg,png和freetype，但是我们还是下载） 1.gd-(version).tar.gz 2.freetype-(version).tar.gz 3.jpegsrc.v6b.tar.gz 4.libpng-(version).tar.gz 5.zlib-1.2.3.tar.gz 以上软件的版本自行决定，不一定是越高越好 将下载好的软件都传到LINUX服务器上 1、安装MySQL 解压MySQL原码包 解压后进入到解压出的文件夹中 为保证数据安全我们在安装系统时做一个分区专门用来存储数据 上图中的/data就是专门用来存放数据的，我样把数据库也安装到该分区中
数据处理中的几种常用数字滤波算法 王庆河王庆山 (济钢集团计量管理处，济南250101) (济钢集团中厚板厂，济南250101) 摘要随着数字化技术的发展，数字滤波技术成为数字化仪表和计算机在数据采集中的关键性技术，本文对常用的几种数字滤波算法的原理进行描述，并给出必要的数学模型。 关键词：数据采样噪声滤波移动滤波 一、引言 在仪表自动化工作中，经常需要对大量的数据进行处理，这些数据往往是一个时间序列或空间序列，这时常会用到数字滤波技术对数据进行预处理。数字滤波是指利用数学的方法对原始数据进行处理，去掉原始数据中掺杂的噪声数据，获得最具有代表性的数据集合。 数据采样是一种通过间接方法取得事物状态的技术如将事物的温度、压力、流量等属性通过一定的转换技术将其转换为电信号，然后再将电信号转换为数字化的数据。在多次转换中由于转换技术客观原因或主观原因造成采样数据中掺杂少量的噪声数据，影响了最终数据的准确性。 为了防止噪声对数据结果的影响，除了采用更加科学的采样技术外，我们还要采用一些必要的技术手段对原始数据进行整理、统计，数字滤波技术是最基本的处理方法，它可以剔除数据中的噪声，提高数据的代表性。 二、几种常用的数据处理方法 在实际应用中我们所用的数据滤波方法很多，在计算机应用高度普及的今天更有许多新的方法出现，如逻辑判断滤波、中值滤波、均值滤波、加权平均 2中值滤波 中值滤波是对采样序列按大小排滤波、众数滤波、一阶滞后滤波、移动滤波、复合滤波 等。 假设我们采用前端仪表采集了一组采样周期为1s的温度数据的时间序列 T0为第0s 采集的温度值，Ti为第is采集的温度值。下面介绍如何应用几种不同滤波算法来计算结果温度T。 1.程序判断滤波 当采样信号由于随机干扰、误检测或变送器不稳定引起严重失真时，可采用程序判断滤波算法，该算法的基本原理是根据生产经验，确定出相邻采样输入信号可能的最大偏差△T,若超过此偏差值，则表明该输入信号是干扰信号，应该去掉，若小于偏差值则作为此次采样值。 (1)限幅滤波 限幅滤波是把两次相邻的采集值进行相减，取其差值的绝对值△T作为比较依据，如果小于或等于△T,则取此次采样值,如果大于△T,则取前次采样值，如式(1)所示：
常用集体名词的用法 1. family(家庭)，team(队)，class(班)，audience(听众)等 其用法特点为：若视为整体，表示单数意义；若考虑其个体成员，表示复数意义。比较： This class consists of 45 pupils. 这个班由45个学生组成。 This class are studying English now. 这个班的学生在学习英语。 2. cattle(牛，牲畜)，people(人)，police(警察)等 其用法特点为：只有单数形式, 但却表示复数意义，用作主语时谓语用复数；不与 a(n) 连用，但可与the连用(表示总括意义和特指)。如： People will laugh at you. 人们会笑你的。 The police are looking for him. 警察在找他。 For these many cattle were killed. 就因为这个原因宰了不少牲畜。 注：表示牲畜的头数，用单位词 head(单复数同形)。如：three head of cattle 3头牛，twenty (head of )cattle 20头牛。
3. goods(货物), clothes(衣服)等 其用法特点是：只有复数形式(当然也表示复数意义，用作主语时谓语也用复数)，但通常不与数词连用。如：Such clothes are very expensive. 那样的衣服很贵。 To whom do these goods belong? 这些书是谁的？ 4. baggage / luggage(行李), clothing(衣服), furniture(家具), machinery(机器), poetry(诗), scenery(风景), jewelry(珠宝)，equipment(设备)，information(信息)等 其用法特点为：是不可数名词，只用单数形式，不用不定冠词 (当然更不能用数词)，没有复数形式。如：Our clothing protects us from [against] the cold. 我们的衣服可以御寒。 Have you checked all your baggage? 你所有行李都托运了吗? 特别提醒：machinery, poetry, jewelry, scenery 相应的个体可数名词是 machine, poem, jewel, scene。如：a poem / a piece of poetry 一首诗，many machines / much machinery / many pieces of machinery 许多机器。
第二十一课时，成语故事（文言文版）阅读 教学目标： 1，了解成语，学习感悟其中的道理 2，积累文言文实词及虚词的用法。 3，掌握文言文常见语法现象。 课堂笔记： 成语故事（文言文版）阅读 引婴投江 有过于江上者，见人方（）引婴儿而欲投之江中。婴儿啼。人问其故，曰：“此其父善游！” 其父虽善游，其子岂（）遽善游哉？以此任物，亦必悖矣。 刻舟求剑 楚人有涉( )江者，其剑自舟中坠于水。遽( )契其舟，曰：“是( )吾剑之所从坠。”舟止，从其所契者入水求之。 舟已行矣，而剑不行。求剑若此，不亦惑乎！
叶公好龙 叶公好龙，室中雕文( )尽以为龙。于是天龙闻而下之，窥头于牖( )，拖尾于堂。叶公见之，弃而还走( )，失其魂魄，五神无主。 是( )叶公非好龙也，夫似龙而非龙也。 郑人买履 郑人有且置履( )者，先自度( )而置之其坐，至之市而忘操( )之，已得履，乃曰:“吾忘持度。”反( )归取之。及反，市罢( )，遂不得履。 人曰：“何不试之以足？”曰：“宁信度，无自信也。” 自相矛盾 楚人有卖盾与矛者，誉( )之曰：“吾盾之坚，物莫能陷( )也。”又誉其矛曰：“吾矛之利，于物无不陷也。”或曰：“以子( )之矛，陷子之盾，何如？”其人弗能应也。 夫不可陷之盾与无不陷之矛，不可同世而立。 守株待兔 宋人有耕者。田中有株。兔走（）触株，折颈而死。因释其耒（）而守株，冀（）复得兔。兔不可得得，而身为宋国笑。 拔苗助长 宋人有悯（）其苗之不长而揠（）之者，芒芒然（）归，谓其人曰：“今日病矣！予助苗长矣。”其子趋（）而往视之，苗则槁矣。 天下之不助苗长者（）寡矣。助之长者，揠苗者也。非徒（）无益，而又害之。 滥（）竽充数 齐宣王使人吹竽，必（）三百人。南郭处士请为王吹竽。宣王悦之，廪（）食以数百人。宣王死，湣王立。好一一听之。处士逃。 涸辙之鲋
Mediawiki使用手册 第一部分构建环境 1、装IIS 一般精简版XP系统中的Windows组件中没有安装IIS，因而需要再控制面板--添加/删除Windows组件中勾上IIS，然后根据提示进行安装（可以在网上搜到IIS5.0和IIS6.0的安装程序） 2、装PHP（公司服务器上安装的版本为5.3.3） （1）装fcgisetup_1.5_rt （2）装PHP--在安装过程中出现Web Server Setup界面时选择IIS FastCGI 3、装Mysql（公司服务器上安装的版本为5.1） （1）在安装过程中，选择自定义安装 （2）在对Mysql进行配置时，选Detailed Configuration--Developer Machine--Multifunctional Database--选择存储的路径--Decision Support (DSS)/OLAP--勾上Enable TCP/IP Networking和Enable Strict Mode--勾选Best Support For Multilingualism--填写Service Name，勾上Include Bin Directory in Windows PATH--填写并确认密码--点击执行--结束 第二部分数据库的导入导出 1、从PC机上导出你目前完成的数据库 在电脑运行中输入cmd进入命令界面输入：Mysqldump -u 根用户名（目前设置为root）-p 原数据库名称（目前设置为wikidb）>导出文件名（目前设置为wikidb.sql） 点击回车即将当前PC机上的数据库成功导出到当前路径下，文件名为wikidb.sql 2、在需要PC机上导入数据库 （1）在电脑运行中输入cmd进入命令界面输入：mysql -u 根用户名-p 点击回车，输入密码（当前设置为123） 点击回车，出现mysql> 依次输入create database wikidb; use wikidb; source 存放导出数据库文件的路径\导出数据库名（例如：source d:\wikidb.sql） 此时导入结束，可以输入show tables 查看导入是否成功
几种中值滤波去噪方法分析 在数字图像的转换、存储和传输等过程中，经常性由于电子设备工作环境的不稳定，由于设备中含有一些污染物等原因，导致数字图像中一些像素点的灰度值发生非常大的变化，变得非常小或者非常大；而且大气环境很容易干扰无线数据传输，从而让传输信号混入噪声，接收到的无线信号恢复成传输过来的数字图像较原图像相比也会有很大的不同。在这些过程中，椒盐噪声很容易就会对数字图像造成感染。客户满意的数字图像尽可能少或者没有受到椒盐噪声的污染。所以我们需要去噪处理。 在现阶段处理椒盐噪声方面的研究成果方面，因为中值滤波有其非线性的特性，对比其他线性滤波方法可以取得更好的效果，同切同时还可以更好的保留图像的边缘信息。很多学者在研究通过中值滤波消除椒盐噪声的影响，希望可以得到更好的去噪效果。 第一节标准中值滤波方法 标准中值滤波是把这个窗口内的像素点按灰度值大小进行排列，把灰度值的平均值当作标准值。 我们以一个8位的图像作为例子，因为椒盐噪声会让受影响的像素点灰度值改为亮点，即灰度值为255；或者暗点，即灰度值为0。我们在排序的时候，把收到污染的像素点的灰度值大小排列出来，取中间值为所有噪点值，那么就可以消除噪声污染对这个点的影响。其具体步骤如下： ①把窗口在图像中滑动，然后让窗口中心与某一像素点重合 ②记录下窗口中所有像素点的灰度值 ③将这些灰度值从小到大排序 ④记录下该灰度值序列中间的值 ⑤将所记录下的中间值替代窗口中心像素点的灰度值 因为中值滤波的输出灰度值大小是由窗口的中值大小所决定的，所以中值滤
波对于窗口内脉冲噪声远远没有均值滤波敏感。因此相对于均值滤波，中值滤波可以在有效去除脉冲噪声的同时，减小更多的模糊图像。由于由于中值滤波所采用的窗口大小会直接决定去噪效果和图像模糊程度，而且图像去噪后的用途也就决定了窗口的形式。以5*5窗口为例，常见的形状如图2.1所示： 图 2.1 常见的尺寸为5*5的中值滤波窗口 尽管标准中值滤波方法称得上是现在市面上的一种最简单有效的去除椒盐噪声的方法。但是它判断像素点是否被噪声影响的机制不明确，尽管采用该方法时已经对所有像素点进行了一次滤波操作，还是会在一定程序上对图像的边缘、细节信息产生破坏。 第二节带权值的中值滤波方法 Brownrigg提出了一种改进的中值滤波方法：带权值的中值滤波方法。这个滤波的步骤和SM基本一样，不同的地方在于：WM在排序取中值的时候要在
1. audience是集合名词，用作主语时，其谓语可用单数(视为整体)或复数(视为个体)。如：The audience is [are] listening attentively. 听众都在聚精会神地听着。 The audience was [were] enjoying every minute of the performance. 观众对演出非常欣赏。The audience is [are] always very excited by a wonderful goal. 一个精彩的进球总会使观众们非常激动。 2. 由于audience 是集合名词，所以an audience 不是指“一个观众”，而是指某一群观众、某一个场次观众、某一方面的观众等。如： She has never spoken to such a big audience before. 她以前从未向这么多人讲过话。 He loves holding forth on any subject once he has an audience. 不管是什么问题，只要有人听，他就爱大发议论。 同样地，audiences 也不是指“多个观众”，而是指多群观众，多个场次观众，多个方面的观众等。 Entertaining audiences is the purpose of movies. 娱乐观众是电影的目的。 The show had to be taken off because of poor audiences. 因观众太少而取消演出。 She has addressed audiences all over the country. 她曾向全国各地的听众演讲。 另外，audience作为集合名词，原则上不能用它表示个体，但every audience是例外，当要强调每一名观众时，可以这样用。如： The pianist made a conquest of every audience for which she played. 这位钢琴家以她的演奏征服了每一位听众。 3. 形容听(观)众人数之多或少，通常用big, large, huge, mass, vast, wide 以及small, thin等形容词修饰，但是不用many, few修饰。如： There was a large audience of young people at the pop concert. 流行音乐演奏会上有大量青年听众。 Her lecture had a crowded audience. 她的演讲挤满了听众。 The speaker had a small (thin) but attentive audience. 这位演讲者的听众不多(很少)，但很专心。 She felt nervous at having to sing before so large an audience [such a large audience]. 要在那么多观众面前唱歌她感到很紧张。 4.要具体表示观众的数量，可参考以下表达： There were at least three hundred people in the audience. 观众至少有300人。 The series has attracted an audience of more than 10 million. 这个系列片吸引了1,000多万观众收看。 An audience of millions watched the royal wedding on TV. 数以百万计的人们在电视上观看皇家婚礼。 不过，偶尔它也可直接受数字(通常为较大的数字)的修饰。如： Three thousand audience crowded the concert hall. 3,000名听众挤满了音乐大厅。 5.主要指收音机的“听众”，音乐会的“听众”，电视的“观众”，戏曲的“观众”等，若指看比赛(如足球赛)的“观众”，则用spectator。