Relevant bibliographies by topics / 1980s Film

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic '1980s Film'

Author: Grafiati
Published: 4 June 2021
Last updated: 19 February 2022

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Journal articles on the topic "1980s Film"

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Weiner, Nathaniel. "Resistance through realism: Youth subculture films in 1970s (and 1980s) Britain." European Journal of Cultural Studies 21, no. 2 (2015): 165–88. http://dx.doi.org/10.1177/1367549415603376.

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Film scholars have argued that the British social realist films of the late 1950s and early 1960s reflect the concerns articulated by British cultural studies during the same period. This article looks at how the social realist films of the 1970s and early 1980s similarly reflect the concerns of British cultural studies scholarship produced by the University of Birmingham’s Centre for Contemporary Cultural Studies during the 1970s. It argues that the Centre for Contemporary Cultural Studies’ approach to stylised working-class youth subcultures is echoed in the portrayal of youth subcultures in the social realist films Pressure (1976), Bloody Kids (1979), Babylon (1980) and Made in Britain (1982). This article explores the ways in which these films show us both the strengths and weaknesses of the Centre for Contemporary Cultural Studies’ work on subcultures.
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Rushton, Richard. "A Deleuzian Imaginary: The Films of Jean Renoir." Deleuze Studies 5, no. 2 (2011): 241–60. http://dx.doi.org/10.3366/dls.2011.0019.

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This article contrasts the notion of a Deleuzian imaginary with that articulated by various film theorists during the 1970s and 1980s. Deleuze offers us, I argue, a way to conceive of the imaginary in the cinema in a positive way; that is, as something which opens up new expressions of the real. By contrast, for film theorists of the 1970s and 1980s, the imaginary was primarily conceived as a negative concept, as something which offered merely escapes or fraudulent distortions of the real. A Deleuzian imaginary for the cinema can be articulated, I argue, by way of the films of Jean Renoir.
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Nakajima, Seio. "Studies of Chinese Cinema in Japan." Journal of Chinese Film Studies 1, no. 1 (2021): 167–86. http://dx.doi.org/10.1515/jcfs-2021-0001.

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Abstract Japanese interests in Chinese cinema go as far back as to the 1910s, when film magazines reported on the situation of Chinese cinema. Discussions of Chinese cinema began to flourish in the 1920s, when intellectuals wrote travelogue essays on Chinese cinema, particularly on Shanghai cinema. In the mid-1930s, more serious analytical discourses were presented by a number of influential contemporary intellectuals, and that trend continued until the end of WWII. Post-War confusion in Japan, as well as political turmoil in China, dampened academic interests of Japanese scholars on Chinese cinema somewhat, but since the re-discovery of Chinese cinema in the early 1980s with the emergence of the Fifth Generation, academic discussions on Chinese cinema resumed and flourished in the 1980s and the 1990s. In the past decade or so, interesting new trends in studies of Chinese cinema in Japan are emerging that include more transnational and comparative approaches, focusing not only on film text but the context of production, distribution, and exhibition. Moreover, scholars from outside of the disciplines of literature and film studies—such as cultural studies, history, and sociology—have begun to contribute to rigorous discussions of Chinese cinema in Japan.
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Turitsyn, Valeriy Nikolaevich, and Valery Nikolayevich Turitsyn. "Aki Kaurismaki: Two Films in Close-up(to the history of "New Finnish Cinema")." Journal of Flm Arts and Film Studies 2, no. 1 (2010): 27–40. http://dx.doi.org/10.17816/vgik2127-40.

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Since the French "nouvelle vague" of the late 1950s the world cinema has experienced a succession of "waves" which first rolled around some European countries and by blowing up cinematic traditions to this or that extent, led to the birth of the so-called "new cinema" (e.g. in Czechoslovakia or in Germany in the 1960s - 1970s). In Finland the similar process in its local variant occurred in the 1980s. For the most part it was connected with the Kaurismaki brothers' films, primarily with the works of the younger brother, Aki. By the early 1990s he became one of the renowned masters of not only Finnish but the "new European cinema". This article doesn't aspire to give a full detailed analysis of Aki Kaurismaki's film career. Instead, by concentrating on two "polar" films made by this original director, it presents an attempt to line out the range of his creative work and some characteristics of his poetics
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Awwal, Arpana. "From Villain to Hero: Masculinity and Political Aesthetics in the Films of Bangladeshi Action Star Joshim." BioScope: South Asian Screen Studies 9, no. 1 (2018): 24–45. http://dx.doi.org/10.1177/0974927618767277.

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In this article, I trace the growth of the action film genre in Bangladesh in the 1970s and 1980s, at a time when new technologies such as video cassette recorder (VCR) were emerging in the market and national politics was wrestling with the competing notions of masculinity, leadership and heroism. I look at the emergence of the Bangladeshi action star Joshim within the context of South Asian trans-regional cinema and its changing tropes of masculinity. I argue that anxiety over new technologies, changes within Bangladesh’s political regime and its leadership, including state censorship, and shifts in the representation of heroic masculinity within national imagery—from a socialist model associated with Sheikh Mujibur Rahman to the modern, energetic and globally inflected masculinity of Ziaur Rahman—were intertwined. These changes, I contend, are reflected in the transition in Joshim’s roles from the primarily villainous characters of his early films to an action hero from the 1980s onwards. The article examines Joshim’s role in the film Muhammad Ali (Motaleb Hossain, 1986b), as an example of a glocalised action film. Its sources include articles and letters printed in Purbani and Chitrali, the most widely read Bangladeshi film magazines of the 1970s and 1980s.
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Myerson, Sasha. "Global cyberpunk." Science Fiction Film & Television 13, no. 3 (2020): 363–86. http://dx.doi.org/10.3828/sfftv.2020.21.

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This article examines the connections between 1960s student protests, particularly the occupation of the University of Tokyo in 1968-9, and 1980s cyberpunk film in Japan. I argue that these films, while critical of the student movement, aim to reclaim and transform the utopian spirit that motivated them. Using the global 1960s framework, I situate Japanese cyberpunk film within the wider debates of this decade, particularly those concerning personal liberation and affluence. Using Tom Moylan’s concept of the critical dystopia, I demonstrate that utopian thinking does not disappear after 1968 in Japan but undergoes metamorphosis in these films.
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Dwyer, Michael D. "The same old songs in Reagan-era teen film." Alphaville: Journal of Film and Screen Media, no. 3 (August 8, 2012): 5–18. http://dx.doi.org/10.33178/alpha.3.01.

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This article examines the recontextualization of 1950s rock in the form of “Oldies” in teen films of the 1970s and 1980s. Specifically, the article highlights the peculiar phenomenon of scenes featuring teenagers lip-synching to oldies songs in films like Risky Business (1983), Pretty in Pink (1986), Ferris Bueller's Day Off (1986), and Adventures in Babysitting (1987).In these scenes, like in the cover versions of rhythm and blues records popularized by white artists in the fifties, white teens embody black cultural forms, “covering” over the racial and sexual politics that characterized rock and roll's emergence. The transformation of rock 'n' roll from “race music” to the safe alternative for white bourgeois males in the face of new wave, punk, disco and hip hop, reflected in the establishment of oldies radio formats and revival tours, was aided and abetted by oldies soundtracks to Hollywood film.
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Kalenichenko, Mariya Vladimirovna. "The works of Leningrad popular science film studio “Lennauchfilm” in the 1970s – 1980s." Культура и искусство, no. 4 (April 2021): 19–29. http://dx.doi.org/10.7256/2454-0625.2021.4.35584.

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This article is dedicated to examination of works of the film directors of the Leningrad popular science film studio “Lennauchfilm” in the 1970s – 1980s. Based on the archival documents presented in the Central Archive of Literature and Art of Saint Petersburg, the author analyzes the work of the film studio: carries out classification of filmography by formal-semantic criterion, as well as determines the key processes typical to this time period. The following main trends are highlighted: natural science, technical-propagandistic, historical-revolutionary, military-patriotic, social life, history of art and culture. Special attention is given to the films that cover the topics, which have not previously been included in the field of popular science cinematography. The novelty of this research lies in classification of the thematic trends of the Leningrad film studio as an integral artistic system, as well as in comparison of the plots of popular science film texts by each direction over the two decades. As a result, the author identified the main trends, which broadened the thematic field in the work of the studio, as well as fundamentally changed the representations on the goals and tasks of popular science cinematography. The key object of popular science cinematography is being shifted during the Perestroika period. Emphasis is place not on science and technological achievements, but human and society. Film directors through their works conveyed the attitude of society towards science, raising the questions of transformation of ethics and morality in the context of scientific and technological revolution. The idea of the harm of scientific achievements and responsibility of the scholars before society is being advanced. Without any doubt, the works of the Leningrad film directors broadened the ideological-artistic range by offering the own vision of specificity of the Soviet popular science cinematography.
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Monk, Claire. "EMI and the ‘Pre-heritage’ Period Film." Journal of British Cinema and Television 18, no. 1 (2021): 50–76. http://dx.doi.org/10.3366/jbctv.2021.0555.

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First coined in the UK in the early 1990s as a new label for an ostensibly new, post-1979 kind and cycle of period cinema, the ‘heritage film’ is now firmly established as a widely used term and category in academic film studies. Although the heritage film’s defining features, ideological character and ontological coherence would remain debated, its status as a ‘new’ category hinges, self-evidently, on the presumption that the films of post-1979 culturally English heritage cinema marked a new departure and were clearly distinct from their pre-Thatcher-era precursors. Yet, paradoxically, the British period/costume films of the preceding decade, the 1970s, have attracted almost no scholarly attention, and none which connects them with the post-1979 British heritage film, nor the 1980s cultural and industry conditions said to have fostered these productions with those of the 1970s. This article pursues these questions through the prism of Britain’s largest film production and distribution entity throughout 1970–86, EMI, and EMI’s place as a significant and sustained, but little-acknowledged, force in British period film production throughout that time. In so doing, the article establishes the case for studying ‘pre-heritage’ period cinema. EMI’s period film output included early proto-heritage films but also ventured notably wider. This field of production is examined within the broader terrain of 1970s British and American period cinema and within wider 1970s UK cinema box-office patterns and cultural trends, attending to commercial logics as well as to genre and the films' positioning in relation to the later heritage film debates.
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Brown, Callum G., and Ealasaid Munro. "The Curse: Film and the Churches in the Western Isles 1945 to 1980." Northern Scotland 11, no. 1 (2020): 60–79. http://dx.doi.org/10.3366/nor.2020.0205.

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Focusing on the Isle of Lewis in the Outer Hebrides, this article looks at the interaction between religious culture and film between the 1940s and 1980s. Its first main feature is an examination of the causes of the closure of the Playhouse cinema in Stornoway in 1977–79 and the role of the Calvinist churches and the local authorities in this and other film censorship. It identifies a growing vigour on the part of some churchmen, notably of the Free Presbyterian Church, and the role of one of them in publicly imposing ‘a curse’ upon the manager of the Playhouse for daring to schedule the film ‘Jesus Christ Superstar’ with its ‘blasphemous’ depiction of Jesus Christ. It notes the increasing attempts of local politicians in the 1950s, 60s and 70s to impose stricter religious formulae through statutory powers, especially after the creation of the separate Western Isles Council in the mid 1970s. The article explores church and lay attitudes to cinema through oral testimony, the tensions between urban and rural with Lewis, and the wider social, cultural, linguistic and demographic contexts in which both opposition to, and tolerance of, cinema need to be understood in an island less estranged from modern media than might be supposed.
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Dissertations / Theses on the topic "1980s Film"

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Ghai, Tara. "Fantasy films of the 1980s." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3551.

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Fantasy films have been a part of cinema since the very beginnings of the medium. Although fantasy films can be found in every decade of the last century, the genre only became persistently successful from the late 1970s onwards. Perhaps the relatively recent prominence of fantasy goes some way to explain why the genre lacks the academic discourse that other film genres have encouraged. Another reason why fantasy has evaded considerable discussion as a genre could be because of the difficulty in defining it. Fantasy can encompass numerous types of films, and features an array of different thematic and visual styles. Previous studies examining fantasy either fail to consider the mode as a genre, or only consider a limited array of films. Using Tzvetan Todorov’s assessment of The Fantastic as a framework, this thesis examines fantasy films from the late 1970s to the early 1990s. I reassert fantasy’s position as a genre rather than a mode or impulse. Analysing a wide range of films from this period, this thesis outlines the preoccupations of the genre and identifies the various cycles and sub-genres encompassed by the term ‘fantasy’. These categories include those that concern the style of film and those that concern the intended audience. Deconstructing the fantasy genre in these sub-genres makes it more manageable to appraise the genre as a whole. Consistent patterns emerge in the examination of these films, ranging from archetypal characters to a fixation with subversion. The 1980s was a critical time for fantasy cinema as it was the first sustained period of frequent successful films. Fantasy was the most commercially successful genre of the decade; Hollywood’s output in this period still reverberates in today’s industry. Thus, the fantasy genre is most worthy of the critical discussion afforded to other genres.
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Khoo, Gaik Cheng. "Gender, modernity and the nation in Malaysian literature and film, 1980s and 1990s." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ48666.pdf.

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Goode, Ian. "Voices of inheritance : aspects of British film and television in the 1980s and 1990s." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/35838/.

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During the 1990s the notion of the heritage film has become a taken for granted category of British cinema. Rather than dispute the merits of particular films that lie within this genre I question the construction of the relation between the idea of heritage and contemporary British film and television. Using the critical literature established by the contending cultural histories that address the rise of heritage in British culture, I highlight other, frequently personal and national engagements with inherited pasts. The concentration upon inheritance lends a greater emphasis to what is passed on from the past and endures in the present. The modes of articulating these inherited pasts are formally distinctive and constructed out of the vocabulary of documentary and fiction. The corpus of texts begins with the apparently radical avant garde film-making of Derek Jannan and moves through the work of the Black Audio Film Collective to the apparently conservative television documentaries of Alan Bennett. These key voices are then situated in relation to the hegemonic definition of heritage and current debates concerning British film and television. The persisting opposition which defined British cinema during the 1980s posits an unofficial cinema characterized by dissent and urban decay against an official cinema represented by the heritage film. My corpus of texts challenges this opposition. The different engagements with inherited pasts take place from different speaking positions and represent a diminishing publicly funded tradition of film and television production. The range of positions from margins to centre reveal that there was a contestation of the cultural sources which are aggregated into the construction of heritage during the 1980s and 1990s.
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de, los Reyes Vanessa. "From Conformity to Protest: The Evolution of Latinos in American Popular Culture, 1930s-1980s." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1505205872234436.

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Oliveira, Sandra Cristina Reis Marques de. "Representations of American youth in Hollywood film in the 1980s." Master's thesis, Universidade de Aveiro, 2008. http://hdl.handle.net/10773/2762.

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Mestrado em Estudos Ingleses<br>O presente trabalho propõe-se examinar diferentes representações da adolescência no cinema de Hollywood, particularmente na década de 80. Esta dissertação inicia a sua análise debruçando-se sobre as representações da adolescência no cinema de Hollywood, no período após a II Guerra Mundial, numa tentativa de determinar alguns acontecimento que afectaram a forma como essas representações evoluíram até ao final da década de 80. Finalmente, uma reflexão sobre os aspectos mais relevantes das representações da adolescência no cinema na época conservadora de Ronald Reagan. ABSTRACT: This present study aims to examine different representations of American youth in Hollywood film, particularly in the 1980s. This dissertation begins with an examination of some representations of American youth after World War II in an attempt to investigate the trends which affected its representations and how they have evolved from then until the end of the 1980s. Finally, it offers some detailed reflections on depictions of adolescence in Hollywood film during the Reagan years.
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Price, Thomas. "A Cauldron of Chaos and Cultivation: Rediscovering Disney Animation of the 1980s." Chapman University Digital Commons, 2019. https://digitalcommons.chapman.edu/film_studies_theses/7.

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This thesis examines the four transitional Disney animated features of the 1980s The Fox and the Hound (1981), The Black Cauldron (1985), The Great Mouse Detective (1986), and Oliver and Company (1988)— in order to reassess the significance of this period in Disney history. The Walt Disney Studio is internationally hailed for its animated features produced over the last eight decades, however, the animated films released in the 1980s have been ignored and neglected due to the negative evaluations of scholars and historians who favor Walt’s era and the 1990s renaissance period. A closer examination of the films reveals that Disney was not in a dark age but one of experimentation, excisement, and exploration in contrast to the perceived notions. Each film contributed to Disney animation’s return including a generational shift in creativity, application of computer animation, casting a celebrity as a voice-artist, and the use of theme songs and popular singers. These contributions were technically, thematically, and aesthetically important in reframing Disney’s animated products for future audiences leading to the 1990s successes beginning with The Little Mermaid.
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Maltezos, Chris Steve. "The Return of the 1950s Nuclear Family in Films of the 1980s." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3230.

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Abstract In the 1980s the cinematic nuclear family flourished again after the self-explorative 1960s and turbulent 1970s. This thesis explores the portrayal of the idealized American family in film between the 1950s and 1980s. The 1955 film Rebel Without a Cause reflects the 1950s cinematic family model. My investigation includes the role of the father figure and the bonds in intergenerational relationships. During the early 1980s, films such Ordinary People and ET: The Extraterrestrial reflect the need to reevaluate the 1950s ideal nuclear family. My examination of these films continues to include the importance of the father figure and bonds between child and parents along with contemporary elements such as the use of psychiatry and rise of single-parent households. These movies' redefined portrayals of the idealized nuclear family represent the shifting dynamics of modern society in terms of single-parent households and highlighted importance of intergenerational relationships.
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Kempton-Jones, Jessica. "“Tell me about it, Stud”: Queering the Dancing Male Body in Musical and Dance Films of the 1970s and 1980s." Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/33830.

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Heterosexuality is coded on-screen in many musical films from the last century as a “celebratory ideal.” 1 This thesis explores the queer possibilities of the so-called heterosexual male in three films spanning a decade from 1977 with Badham's Saturday Night Fever and Grease (Kleiser, 1978), to 1987's Dirty Dancing (Ardolino). Each of the films I have examined foreground heterosexual romance. However, by looking at the male body in these films I have argued for the ways in which the male, dancing body works against these films' assertion of a narrative heterosexuality. I have shown how these films can be read as queer by the way they highlight the performativity of the male body, and through their camp aestheticism which complicates normative ideas about desire, sexuality and gender. I interrogate claims emerging from work in musical genre theory, which describes the musical as “the most heterosexist of all the Hollywood filmic forms.”2 By examining existing theory on the role of the camp sensibility within musical film I argue that there are ways that the musical films analysed dismiss their narrative heteronormativity and instead mark themselves as queer. The films do this by aligning the performativity of dance with the queer discourse that uses as its cornerstone the notion of the performativity of gender and sexuality. I have argued that these films portray an embattled masculinity coming to the fore within society (and cinema) in the 1970s, into the 1980s. The chapters in this thesis are organised according to the analyses' of the three films. The chapters explore themes of camp aesthetics by understanding camp's tendency to disrupt the clear disparities between ‘being and seeming'.
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Atakav, Atil. "The representation of women in Turkish cinema in the 1980s." Thesis, Southampton Solent University, 2009. http://ssudl.solent.ac.uk/774/.

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This thesis examines the relationship between feminism and cinema in the context of the women's movement and women's films of the 1980s. In focusing on the nature and implications of the representation of women constructed in Turkish cinema and the issues addressed by the women's movement, it argues that there are connections to be made on an analytical and theoretical level between the two sets of practices. The thesis argues that the enforced depoliticisation introduced after the coup (on 12th September 1980) by the incoming military government is responsible for uniting feminism and film. First, the feminist movement was able to flourish precisely because it was not perceived as political or politically significant. In a parallel move in the films of the 1980s there was an increased tendency to focus on women's issues and lives in order to avoid the overtly political. Secondly, women's films of the 1980s do not merely reflect a unitary patriarchal logic but are also sites of power relations and political processes through which gender hierarchies are both created and contested. The films of the 1980s empower women by dealing with women's issues and representing them as strong characters; however, at the same time they marginalise and objectify women with their cinematic style. turkish cinema reveals powerful cross-currents producing complex and often contradictory effects, acting both to reinforce and to mitigate against the manifestations of male dominance in different narratives and contexts. However despite these complexities, gender asymmetry in Turkish society is produced, represented and reproduced through filmic texts. There has been very little scholarly work done on the representation of women in Turkish cinema in the 1980s. The existing resources not onlylack focus on the shifts in the representation of women within socio-political context, but also fail to make a strong link between feminism and cinema. Moreover, in resources under scrutiny there is no sustained focus on mise-en-scene. The aim of this thesis is to fill this gap and explain the changes in the cultural, the social and the political, while linking feminism and cinema by examining films using close textual analysis.
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Collins, Ryan William. "It's All Coming Back to You: 1980s Retro Film Culture and the Masculinity of Cult." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011874/.

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The 1980s is a formative decade in American history. America sought to reestablish itself as a global power and to reassert the dominant ideology of white, patriarchal capitalism. Likewise, media producers in the 1980s sought to reassert the dominance of the white, male, muscled body in filmic representations. The identity politics of the 1980s and the depictions of the white, muscled body once prominent in the 1980s have been the site of conservative nostalgia for a young, male-dominated, cult audience that is a subset of a larger cultural trend known as retro film culture. This thesis provides historical context behind the populist 1980s B-action films from Cannon Group, Inc that celebrate violent masculinity in filmic representations with white, male action heroes. Equally important is the revival of VHS collecting and how this 1980s-inspired subculture reinforces white, patriarchal capitalism through the cult films they valorize and their capitalistic trading practices despite their claims of oppositionality against mainstream taste and Hollywood films. Lastly, this thesis reveals how a new cycle of contemporary films primarily produced outside of Hollywood reasserts and celebrates the dominance of the white, male, muscled body in filmic representations despite a postmodern and hyperconscious exterior. Overall, I argue how these areas of nostalgia are distinct, yet not unrelated, because they reassert white, patriarchal capitalism through the revival of conservative nostalgia for the 1980s.
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Books on the topic "1980s Film"

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Goode, Ian. Voices of inheritance: Aspects of British film and television in the 1980s and 1990s. typescript, 2000.

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Myers, David A. Bleeding battlers from Ironbark: Australian myths in fiction & film, 1890s-1980s. Capricornia Institute Publications, 1987.

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Beyond auteurism: New directions in authorial film practices in France, Italy and Spain since the 1980s. Intellect, 2008.

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Beeler, Stanley W. Dance, drugs, and escape: The club scene in literature, film, and television since the late 1980s. McFarland & Co., 2007.

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Betrock, Alan. From exploitation to sexploitation: Four decades of adult film posters 1930s-1960s from the collection of Eric Brad Panelle. Shake Books, 1992.

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Buckland, Warren, and Daniel Fairfax, eds. Conversations with Christian Metz. Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789089648259.

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From 1968 to 1991 the acclaimed film theorist Christian Metz wrote several remarkable books on film theory: Essais sur la signifi cation au cinéma, tome1 et 2; Langage et cinéma; Le signifiant imaginaire; and L’Enonciation impersonnelle. These books set the agenda of academic film studies during its formative period. Metz’s ideas were taken up, digested, refined,reinterpreted, criticized and sometimes dismissed, but rarely ignored. This volume collects and translates into English for the first time a series of interviews with Metz, who offers readable summaries,elaborations, and explanations of his sometimes complex and demanding theories of film. He speaks informally of the most fundamental concepts that constitute the heart of film theory as an academic discipline — concepts borrowed from linguistics, semiotics, rhetoric, narratology, and psychoanalysis. Within the colloquial language of the interview, we witness Metz’s initial formation and development of his film theory. The interviewers act as curious readers who pose probing questions to Metz about his books, and seek clarification and elaboration of his key concepts. We also discover the contents of his unpublished manuscript on jokes, his relation to Roland Barthes, and the social networks operative in the French intellectual community during the 1970s and 1980s.
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Burman, Powell Jane, and Berthelsen Lori Goldman, eds. Now playing: Hand-painted poster art from the 1910s through the 1950s. Angel City Press, 2007.

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Hollywood's detectives: Crime series in the 1930s and 1940s from the whodunnit to hard-boiled noir. Palgrave Macmillan, 2012.

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Atomy věčnosti: Český krátký film 30. až 50. let = Atoms of eternity : Czech short films in the 1930s-1950s. NFA, 2014.

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Spyscreen: Espionage on film and TV from the 1930s to the 1960s. Oxford University Press, 2003.

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Book chapters on the topic "1980s Film"

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Forshaw, Barry. "Sex Moves Centre Stage: The 1980s and 1990s." In Sex and Film. Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137390066_16.

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Kendrick, James. "Slasher Films and Gore in the 1980s." In A Companion to the Horror Film. John Wiley & Sons, Inc, 2014. http://dx.doi.org/10.1002/9781118883648.ch18.

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Gallagher, Mark. "1980s Hong Kong Television and Early Film Efforts." In Tony Leung Chiu-Wai. British Film Institute, 2017. http://dx.doi.org/10.1057/978-1-84457-783-5_2.

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Grunzke, Andrew L. "Student Bodies: The School as Locus of Trauma in American Horror Films of the 1970s and 1980s." In Educational Institutions in Horror Film. Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137469205_4.

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Grunzke, Andrew L. "Final Exams and Greek Tragedies: Colleges and Universities in American Horror Films of the 1970s and 1980s." In Educational Institutions in Horror Film. Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137469205_5.

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Kraszewski, Jon. "The 1980s Action Film and the Politics of Urban Expulsions." In A Companion to the Action Film. John Wiley & Sons, Inc., 2019. http://dx.doi.org/10.1002/9781119100744.ch17.

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Cowie, Elizabeth. "Underworld USA: Psychoanalysis and Film Theory in the 1980s." In Psychoanalysis and Cultural Theory: Thresholds. Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-21170-8_8.

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Hewitt, Leah D. "Love Stories, Real/Cinematic Heroines, the Postmoderns: The 1980s and Beyond." In Remembering the Occupation in French Film. Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230612105_6.

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Grunzke, Andrew L. "Survival Training: Summer Camp as Educational Institution in Slasher Films of the 1980s." In Educational Institutions in Horror Film. Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137469205_6.

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Locke, Brian. "The Orientalist Buddy Film in the 1980s and 1990s: Flash Gordon (1980), Lethal Weapon (1987–1998), Rising Sun (1993)." In Racial Stigma on the Hollywood Screen from World War II to the Present. Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230101678_5.

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Conference papers on the topic "1980s Film"

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Winter, Renee. "Intertwining spheres." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.4.20.

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Public audiovisual archives like the Österreichische Mediathek (Austrian National Audiovisual Archive) have long been concerned with documenting the political as well as the cultural public sphere. National and international efforts have worked to collect and preserve historic film documents from the private sphere. An ongoing Österreichische Mediathek project addresses a source typically viewed as marginal: private video sources from the 1980s and 1990s. The challenges are not only to develop a collection and archiving strategy for a type of content on which there is little to no scientific research but also to master the technical challenges of archiving such materials for the long term. This paper examines the development and the workflow of the project and goes on to consider the historical functions of home videos and their qualities as historical sources.
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Jiang, Jiahui. "An Analysis of the Film Dialogue in the View of the Pragmatic Principles -- A Case Study of Love in the 1980s." In 3rd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/iccessh-18.2018.170.

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Lei, Shuting, Xin Zhao, Xiaoming Yu, et al. "Ultrafast Laser Applications in Manufacturing Processes: A State of the Art Review." In ASME 2019 14th International Manufacturing Science and Engineering Conference. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/msec2019-2968.

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Abstract With the invention of chirped pulse amplification for lasers in the mid-1980s, high power ultrafast lasers entered into the world as a disruptive tool, with potential impact on a broad range of application areas. Since then, ultrafast lasers have revolutionized laser-matter interaction and unleashed their potential applications in manufacturing processes. With unprecedented short pulse duration and high laser intensity, focused optical energy can be delivered to precisely defined material locations on a time scale much faster than thermal diffusion to the surrounding area. This unique characteristic has fundamentally changed the way laser interacts with matter and enabled numerous manufacturing innovations over the past few decades. In this paper, an overview of ultrafast laser technology with an emphasis on femtosecond laser is provided first, including its development, type, working principle, and characteristics. Then ultrafast laser applications in manufacturing processes are reviewed, with a focus on micro/nano machining, surface structuring, thin film scribing, machining in bulk of materials, additive manufacturing, bio manufacturing, super high resolution machining, and numerical simulation. Both fundamental studies and process development are covered in this review. Insights gained on ultrafast laser interaction with matter through both theoretical and numerical research are summarized. Manufacturing process innovations targeting various application areas are described. Industrial applications of ultrafast laser based manufacturing processes are illustrated. Finally, future research directions in ultrafast laser based manufacturing processes are discussed.
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Erawati, Meri, I. Ketut Surajaya, and Linda Sunarti. "National Film (Indonesia) 1970-1990s: Sex in Film, Censorship in Film and Power in Film." In Proceedings of the 1st International Conference on Social Sciences and Interdisciplinary Studies (ICSSIS 2018). Atlantis Press, 2019. http://dx.doi.org/10.2991/icssis-18.2019.70.

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Liu, Di. "The First Wave: Chinese Film Music in the 1930s." In 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.125.

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Robinson, Katrina, and Beth Jorgensen. "From blindness to sight environmental epistemology in 1990s Disney films." In 2013 IEEE International Professional Communication Conference (IPCC 2013). IEEE, 2013. http://dx.doi.org/10.1109/ipcc.2013.6623913.

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Wang, Yilan. "The Dialogue Strategy Between Left-wing Filmmakers and Film Audience in the 1930s — Focusing on the Construction of Audience by Film Critics of “Morning Paper·Daily Film”." In 2020 International Conference on Language, Communication and Culture Studies (ICLCCS 2020). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210313.068.

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Pyle, Terry, and Dan Aldrich. "Garrett’s Turboshaft Engines and Technologies for the 1990s." In ASME 1990 International Gas Turbine and Aeroengine Congress and Exposition. American Society of Mechanical Engineers, 1990. http://dx.doi.org/10.1115/90-gt-204.

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Garrett Engine Division of Allied-Signal Aerospace, Inc., which supplies small-to-medium size gas turbine propulsion engines to the fixed-wing aviation market, is expanding its product line to include the small-to-medium turboshaft engine for the rotary wing (helicopter) aviation market. The recent win of the T800-LHT-800 down-select formed a firm foundation for this expansion. Garrett is developing the T800 in a partnership with the Allison Gas Turbine Division of General Motors Corporation, under the company name of Light Helicopter Turbine Engine Company (LHTEC). The T800 turboshaft engine (1300-shp, 1000-kW class), which has superior performance in this power class (10 to 30 percent better specific fuel consumption and power-to-weight than current production turboshaft engines), is designed to power the U.S. Army’s LHX light attack helicopter. Garrett is pursuing complementary technologies focused on serving a full spectrum of turboshaft engine requirements for the 1990s and beyond. Garrett is also teamed with General Electric Aircraft Engines (GEAE), for the Joint Turbine Advanced Gas Generator (JTAGG) demonstrator program. JTAGG supports the Integrated High Performance Turbine Engine Technology (IHPTET) initiative of doubling propulsion system capabilities by the year 2003. New technologies incorporated in the T800, and emerging technologies and concepts applicable to future turboshafts, are discussed.
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Ekkad, Srinath, and Je-Chin Han. "A Review of Hole Geometry and Coolant Density Effect on Film Cooling." In ASME 2013 Heat Transfer Summer Conference collocated with the ASME 2013 7th International Conference on Energy Sustainability and the ASME 2013 11th International Conference on Fuel Cell Science, Engineering and Technology. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/ht2013-17250.

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Improved film cooling hole geometries and effect of coolant density on film cooling have been a focus since the 1970s. One of the first studies on modifying hole exit to improve film cooling effectiveness and quantifying coolant density effect was from Prof. Goldstein’s group [1]. This paper traces the development and implementation of hole exit geometries as well as coolant density study from this landmark paper and its impact on future studies of advanced hole geometries under realistic engine-like coolant to mainstream density ratio conditions. This work is not intended to be a comprehensive review of the literature. It is aimed at providing an overview of the influence of ref. [1] over the past 4 decades.
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Pasch, James, Michael Popp, and Samim Anghaie. "Flow Regime Analysis of Forced Flow Boiling Hydrogen Subjected to High Heat Flux." In ASME 2005 Summer Heat Transfer Conference collocated with the ASME 2005 Pacific Rim Technical Conference and Exhibition on Integration and Packaging of MEMS, NEMS, and Electronic Systems. ASMEDC, 2005. http://dx.doi.org/10.1115/ht2005-72453.

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This paper presents an analysis of forced flow two-phase hydrogen heat transfer data for the purpose of interpreting the various flow regimes of inverted annular flow. Hydrogen heat transfer data available from an early 1960s NASA experimental investigation were used for the analysis. The data was evaluated in light of a heat transfer characteristics map and related flow pattern map which were established by more recent work on inverted flow film boiling of freon R113. It was shown that the hydrogen data exhibit the same three flow patterns as found in the R113 data. This may allow the use of film boiling heat transfer models developed for such fluids to be used for hydrogen film boiling heat transfer predictions.
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Reports on the topic "1980s Film"

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Griliches, Zvi. Productivity, R&d, and Basic Research at the Firm Level in the 1970s. National Bureau of Economic Research, 1985. http://dx.doi.org/10.3386/w1547.

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Mobley, Erin M., Diana J. Moke, Joel Milam, et al. Disparities and Barriers to Pediatric Cancer Survivorship Care. Agency for Healthcare Research and Quality (AHRQ), 2021. http://dx.doi.org/10.23970/ahrqepctb39.

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Objectives. Survival rates for pediatric cancer have dramatically increased since the 1970s, and the population of childhood cancer survivors (CCS) exceeds 500,000 in the United States. Cancer during childhood and related treatments lead to long-term health problems, many of which are poorly understood. These problems can be amplified by suboptimal survivorship care. This report provides an overview of the existing evidence and forthcoming research relevant to disparities and barriers for pediatric cancer survivorship care, outlines pending questions, and offers guidance for future research. Data sources. This Technical Brief reviews published peer-reviewed literature, grey literature, and Key Informant interviews to answer five Guiding Questions regarding disparities in the care of pediatric survivors, barriers to cancer survivorship care, proposed strategies, evaluated interventions, and future directions. Review methods. We searched research databases, research registries, and published reviews for ongoing and published studies in CCS to October 2020. We used the authors’ definition of CCS; where not specified, CCS included those diagnosed with any cancer prior to age 21. The grey literature search included relevant professional and nonprofit organizational websites and guideline clearinghouses. Key Informants provided content expertise regarding published and ongoing research, and recommended approaches to fill identified gaps. Results. In total, 110 studies met inclusion criteria. We identified 26 studies that assessed disparities in survivorship care for CCS. Key Informants discussed subgroups of CCS by race or ethnicity, sex, socioeconomic status, and insurance coverage that may experience disparities in survivorship care, and these were supported in the published literature. Key Informants indicated that major barriers to care are providers (e.g., insufficient knowledge), the health system (e.g., availability of services), and payers (e.g., network adequacy); we identified 47 studies that assessed a large range of barriers to survivorship care. Sixteen organizations have outlined strategies to address pediatric survivorship care. Our searches identified only 27 published studies that evaluated interventions to alleviate disparities and reduce barriers to care. These predominantly assessed approaches that targeted patients. We found only eight ongoing studies that evaluated strategies to address disparities and barriers. Conclusions. While research has addressed disparities and barriers to survivorship care for childhood cancer survivors, evidence-based interventions to address these disparities and barriers to care are sparse. Additional research is also needed to examine less frequently studied disparities and barriers and to evaluate ameliorative strategies in order to improve the survivorship care for CCS.
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Potentiometic surface, 1980, and water-level changes, 1969-80, in the unconfined valley-fill aquifers of the San Luis Basin, Colorado and New Mexico. US Geological Survey, 1985. http://dx.doi.org/10.3133/ha683.

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