Masks

In wedding and event videography videographers have many opportunities to express their creativity, and one of them is by the use of masks. Masks can "cut" parts of a video out so that other video or images can show through. Masks are generally created by using the Pen Tool, the tool in the After Effects.

A classic mask-making techniques with new and exciting ideas from contemporary artists is presented. Italian born Maurizio Cattelan, who often combines sculpture and performance, is one of them. His artwork shows his sense of humor. The artist has made an oversize, stylized mask of the artist Pablo Picasso.

The masks, that was sculpted by Julie Taymor, and was used in a new rock musical "Spider-Man : Turn Off the Dark," are presented. Taylor focuses her creative imagination on creating masks for an army of supervillains known as Sinister Six. The villains costumes were designed by Eiko Ishioka.

From cavemen to astronauts, humans have worn masks for protection, as a disguise, or as a means of transforming themselves physically. Byrne looks at and discuses several different types of masks.

SARS has been called the first global epidemic of the 21st century and has been the cause of a massive and varied public health response in many countries of the world. This report describes observations made by two authors on a journey from Manchester in the United Kingdom to Chiang Mai in Thailand during the peak of global transmission. The public response to SARS, particularly characterised by the wearing of face masks, seemed to outstrip official guidance. Though of uncertain protective benefit, the wearing of masks may have contributed to the awareness of the collective and personal responsibility in combating infectious disease. Active and empowered involvement of the general public in implementing and cooperating with public health control measures supported by national and international authorities has clearly helped to bring SARS under control. The public health significance of such potent symbols as the face mask may be considered in strategies to tackle other emerging infections.

Engraved masks are a widespread late prehistoric and early historic southeastern art form. Variability of shape and decoration indicate regional stylistic expressions of a similar theme. The exclusive use of shell masks in male contexts is found to characterize all areas where they have been recovered. Our interpretation of the symbolism of the masks suggests that they functioned in a warfare and perhaps a hunting related role.

Facemasks are recommended for diseases transmitted through droplets and respirators for respiratory aerosols, yet recommendations and terminology vary between guidelines. The concepts of droplet and airborne transmission that are entrenched in clinical practice have recently been shown to be more complex than previously thought. Several randomised clinical trials of facemasks have been conducted in community and healthcare settings, using widely varying interventions, including mixed interventions (such as masks and handwashing), and diverse outcomes. Of the nine trials of facemasks identified in community settings, in all but one, facemasks were used for respiratory protection of well people. They found that facemasks and facemasks plus hand hygiene may prevent infection in community settings, subject to early use and compliance.

This article begins to develop an understanding of surgical mask-wearing in Japan, now a routine practice against a range of health threats. Their usage and associated meanings are explored through surveys conducted in Tokyo with both mask wearers and non-mask wearers. It contests commonly held cultural views of the practice as a fixed and distinctively Japanese collective courtesy to others. A historical analysis suggests that an originally collective, targeted and science-based response to public health threats has dispersed into a generalised practice lacking a clear end or purpose. Developed as part of the biomedical response to the Spanish flu of 1919, the practice resonated with folk assumptions as making a barrier between purity and pollution. But mask-wearing became socially embedded as a general protective practice only from the 1990s through a combination of commercial, corporate and political pressures that responsibilised individual health protection. These developments are usefully understood amidst the uncertainty created by Japan's 'second modernity' and the fracturing of her post-war order. Mask-wearing is only one form of a wider culture of risk; a self-protective risk ritual rather than a selfless collective practice.

This essay concerns the ejumba, a horned initiation mask made of woven fiber, found in the Casamance region of southwestern Senegal and in adjacent Guine-Bissau.

The paper by Syed et al,1 provides observations on the use of face masks by members of the public for protection against the severe acute respiratory syndrome (SARS) coronavirus (CoV). The authors’ raise an important question as to whether masks are effective in preventing disease. The type of masks used can generally be categorised as either surgical or paper and are suggested to offer similar protection. For healthcare workers, it has been shown2 that masks do not provide adequate protection against SARS CoV. However, protection for healthcare workers is somewhat different than that for those of the general public, especially those not directly exposed to droplet transmission on a “continuous” basis from an infected perdon. The finding of a possible dose-response3 for exposure and infection to SARS CoV lessens the chance of infection through droplet transmission by the general public, especially when some personal protection is afforded. When masks are used along with other hygiene practices, risk of infection, excluding close contact with an infected person, like a family member, can be minimised.

The study examines the semiotics of Igbo mask head gears through semiotic perspective that treats masks as icons and indexes of identity. The study employs a qualitative research design and descriptive approach. Oral interview and focus group discussion were employed in data collection. The study was anchored on semiotic theory as espoused by Pierce and Ferdinand de Saussure. The findings of the study reveal that Igbo mask head gears are symbolic in their representation. The signification of the carved figures on Igbo mask head gears are culture specific. They portray Igbo culture, their belief system and philosophy of life.

Masks play an especially important role in African traditions. Mask makers often hold an honored place in society because of their finely honed sculpting skills and knowledge of cultural traditions. People of the various cultures wear masks for religious ceremonies, to initiate rites of passage, and for celebrations. Though masks serve important cultural purposes, each one is a unique work of art. Here, how the carved masks of Africa reveal the craftsmanship of its people are discussed.

Throughout the much larger eastern region, masquerades were used to impose authority, oil the wheels of trade, and give material substance to spiritual belief. Therefore in a region where masking served political, aesthetic, and economic ends and the density of both population and trade networks made almost anything commodifiable, masks traveled. Much of the way in which these exchanges took place is buried in local histories and one of the aims of this group of essays is to demonstrate the recurrences and variations of the material objects and ensembles which were, and are, simultaneously commodities of a special kind, things possessing ritual and political power, and aesthetic expressions of authority and its transgression.

The visual and choreographic parallels between Japanese and Balinese mask traditions are striking, and, though the exact interrelationship between masks of these two cultures cannot be proven with historically verifiable data, juxtaposition of the similar genres is useful for understanding mask dance. The masks discussed are the dog/lions Shishi (Japan) and Barong (Bali), the witch-like Hannya (Japan) and Rangda (Bali), and the sacred old men Okina (Japan) and Sidha Karya (Bali). Possible links include cultural diffusion and patterns of human perception. However, the visual language in which these mask characters are expressed and the mythology that delineates them probably comes from Indian Tantric models.

In the developed ‘western’ society, masks are consistently used in Drama Education, though it is usually through the specific knowledge of Drama and Theatre practice that they are contextualised. Drawing upon cultural understandings of the past and present, anthropology offers a context for masks and drama demonstrating that the purpose for masks in society supports the wider educational benefits, beyond the academic, for child development in formal education. This paper explores many of the historical and present day occidental usages of masks beyond a pragmatic purpose, as well as the educational application of masks and reframes the potential for schools to engage with anthropological concepts in a crowed curriculum. Key words: Masks, cultural identity, drama, education.

The ceremonial masks of the Dogon people of Mali are discussed in relation to Dogon cosmogony. In performance, the masks or "imina" bring to life "ancestors" that may be human, animal or vegetal.

Report of the conference on The Greek Theatre Mask in Ancient and Modern Performance, held at the Noh Studio at Royal Holloway, University of London, on 2021 April 2002.

In this article I focus on the performance practices of one of Sumatra's little-known mask varieties, that of sakura theatre, performed in the southernmost province of Lampung. I also draw attention to four other Sumatran mask types, namely, those used in funeral ceremonies of the Karo Batak in North Sumatra, mak yong theatre of Bintan, gobang ritual of the Anambas islands, and mendu theatre of Natuna. In order to gain a greater understanding of the Sumatran mask images and to illuminate their use in performance, I first trace the history of Sumatran mask design, sourcing relevant iconographical and archeological data dating back to the migrations to the island in the Dongson era (500- 1000 bce) and the subsequent Hindu-Buddhist period (first to fourteenth centuries ce). The masks' facial features and their functions in Lampung personify animals, gods, demons, and humans and resemble carvings of supernatural beings on Buddhist temple remains throughout Sumatra.

In the text, the word «mask» is treated in a broad sense, like that in the Spanish Golden Age, i.e., not only as an object, but as a peculiar type of disguise, as appearance. The article makes a distinction between «carnival mask», expression of freedom and happiness, and "social mask", which assumes current standards of the system. There are masks that are present in the political life and served to legitimize power, masks in religious life, showing the connection between the festive and the sacred. Both types of mask will also be present in the theatre, and both complement each other.

In this paper, I attempt to trace the history of a single genre of masking throughout the larger region to try and tease out the history of warrior masquerade traditions as an example of such cultural dynamics. I do so through the lens of one locality, the historically important center of the Aro people in Arochukwu in current Abia State of Nigeria. While historical perspective is crucial to the understanding of the present, a synchronic view of the way masking performances are done today provides important clues as to that history.

This study was designed to examine college students' perceptions of themselves when wearing Halloween costumes. Students from two colleges were surveyed over a 5-yr. period (1978-1982). The sample included 805 womem and 448 men, for a total of 1,253 respondents. Analysis indicates significant associations between the perceptions of one's role and identity at Halloween and dressing in costume. College women were less likely than men to disguise their identity. The women were also less likely than the men to believe they had new identities with their costumes or to believe they could play different roles at Halloween.

This paper analyses Veja, the information magazine with the largest circulation in Brazil, through an approach that establishes links between the text of the publication and other texts circulating in different media and social groups, trying to identify possible narratives that would be constructed by reading gests. In October 2011, the magazine issued a cover containing a list of 10 reasons to feel indignation/ outrage about corruption, next to the Guy Fawkes mask known by the comic and the film V for Vendetta and for its appropriation by social movements. We build then a map of meanings attached to the mask and the feeling of indignation/outrage that will be confronted with the representations and reading contracts normally proposed by Veja.

In this paper I will discuss several problems concerning the question of identity in anonymous computer-mediated communication. Internet should enable the individual to discover new viewpoints of his/her own personality. The potential of virtual reality lies actually in the very process of redefinition.

In the 1970s, secular Day of the Dead celebrations were initiated in the United States as a way to communicate messages of Chicano identity. As the US Latino community became more ethnically diverse in the 1980s and 1990s, new Latino populations participated in these public festivities, creating pan-Latino celebrations. At the same time, non-Latinos began to embrace Day of the Dead as an alternative way to remember the departed. The observance of the holiday in new ways and by new groups of people has sparked negotiations around ownership and meaning, illustrating that hybridity and authenticity are complexly related rather than oppositional concepts.

Identity in adolescents is an ever-growing concern and pre-occupation within formal education, with a need to identify factors that can positively impact upon adolescent development. Identity and understanding of the human condition has been apparent from earliest records of Homo sapiens. One of the earliest recorded exploration and understanding of this is through ritual ceremony and the role that mask has played in allowing people to explore what it means to us through adopting the ＂other＂. It therefore stands to reason that if masks have and still do allow individuals to explore identity and place in life, there may be an impact upon adolescents who use masks within their formal drama education. This paper explores: The concepts of identity having a correspondence to mask usage; The potential for masks to support the individual to disassociate from the self; and the sense of being.. If we wish to support adolescent development and self awareness, at the core of drama curricula we need.

This paper studies two specific examples of the rap artist persona as resistance strategy, and builds upon several theories of hip-hop identity and resistance. Using Tricia Rose's concept of rap music as hidden transcript, and Russell A. Potter's idea of rap's postmodern play-as-resistance, I argue that certain hip-hop acts intentionally split or obscure their artist identities to subvert material conditions for the rap performer, and to negotiate their own position within the conflicting standards of authenticity and marketability put forth by the ghetto and recording industry.

The Internet is portrayed in a growing number of studies as a social environment, which facilitates experimentation with one's identity. The unique nature of this medium allows its users to attain an intimacy of sorts while also providing anonymity The Internet serves as a textual mask that hides one's identity thus, granting users the freedom to reveal new sides of themselves. The purpose of this exploratory study was to understand why women create secret identities and how they use them in chat rooms and online-role-playing games. In this context, the term "secret identities" refers to hidden aspects of one's personality, sides that are not evident to others. In addition, the study examined identity exploration in a developmental context. The study focused on women in the early adulthood stage in order to see whether the need to create secret identities was related to the negotiation of developmental tasks.

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