Academic literature on the topic 'Authors in film'
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Journal articles on the topic "Authors in film"
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Editors. "RECOMMENDATIONS AUTHORS." Journal of Flm Arts and Film Studies 10, no. 2 (2018): 158–60. http://dx.doi.org/10.17816/vgik102158-160.
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The academic peer-reviewed journal "Vestnik VGIK" (Journal of Film Arts and Film Studies) is the leading scientific periodical of the All-Russian State Institute of cinematography named after S. A. Gerasimov. The decision of the Presidium of the Higher Attestation Commission of Russian Ministry of education "Vestnik VGIK" is included in the List of leading reviewed scientific journals and publications to publish basic scientific results of dissertations on competition of scientific degrees of doctor and candidate of Sciences to meet the requirements of WAC on the scientific field of "Art history","Philosophy of science".Recommendations for authors.
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Verevis, Constantine. "Remaking Film." Film Studies 4, no. 1 (2004): 87–103. http://dx.doi.org/10.7227/fs.4.6.
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What is film remaking? Which films are remakes of other films? How does remaking differ from other types of repetition, such as quotation, allusion, adaptation? How is remaking different from the cinemas ability to repeat and replay the same film through reissue, redistribution and re-viewing? These are questions which have seldom been asked, let alone satisfactorily answered. This article refers to books and essays dealing directly with ‘film remakes’ and the concept of ‘remaking film’, from Michael B. Druxman‘s Make It Again, Sam (1975) to Horton and McDougal‘s Play It Again, Sam (1998) and Forrest and Koo‘s’ Dead Ringers: The Remake in Theory and Practice (2002). In addition, this article draws upon Rick Altman‘s Film/Genre, developing from that book the idea that, although film remakes (like film genres) are often ‘located’ in either authors or texts or audiences, they are in fact not located in any single place but depend upon a network of historically variable relationships. Accordingly this discussion falls into three sections: the first, remaking as industrial category, deals with issues of production, including industry (commerce) and authors (intention); the second, remaking as textual category, considers texts (plots and structures) and taxonomies; and the third, remaking as critical category, deals with issues of reception, including audiences (recognition) and institutions (discourse).
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Shestak, Viktor, and Yulia Plutalovskaya. "History of international legal regulation of genetics." OOO "Zhurnal "Voprosy Istorii" 2020, no. 12-2 (2020): 118–23. http://dx.doi.org/10.31166/voprosyistorii202012statyi38.
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The authors analyze in retrospect the impact of the film industry on society. Crimes «inspired» by cinematography are considered, as well as crimes that became the basis for popular films. Both recently released films and other products of the film industry are analyzed, as well as works that are internationally recognized as “masterpieces” of cinema. The authors study the impact of the film industry on ordinary people, especially young people and people with an unstable psyche, and also consider such a phenomenon as «copycat crimes» and identify its possible causes.
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Klejsa, Konrad, and Krzysztof Jajko. "Film Canon – Film History – Film Education: Remarks on the Polish Film Museum’s Anniversary Poll." Panoptikum, no. 18 (December 29, 2017): 191–214. http://dx.doi.org/10.26881/pan.2017.18.12.
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In 2015, the Film Museum in Lodz, Department of History and Theory of Film at the University of Lodz and the Polish Filmmakers Association worked together on a project “12 films for 120 years of cinema”. Filmmakers and people professionally involved in film culture were asked to compile their 12 best films ever and their 12 best Polish films. The organisers received 279 responses which mentioned 1,348 films in total. After analysing the results, the lists of best movies were published as well as variant lists according to the respondents’ profession and age. The first part of the paper raises questions regarding aesthetic axiology (as far as culture-based text hierarchies are concerned) and social communication (which concerns the question of a canon: who establishes it and for what purpose?). In the second part of the article, the authors discuss the results of the poll, highlighting shortcomings of the project when compared to similar polls in the past.
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Kijaszek, Wojciech, Waldemar Oleszkiewicz, Adrian Zakrzewski, Sergiusz Patela, and Marek Tłaczała. "Investigation of optical properties of silicon oxynitride films deposited by RF PECVD method." Materials Science-Poland 34, no. 4 (2016): 868–71. http://dx.doi.org/10.1515/msp-2016-0111.
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AbstractIn this study, the authors deposited silicon oxynitride films by Radio Frequency Plasma Enhanced Chemical Vapour Deposition (RF PECVD) method. The research explores the relationship between the deposition process parameters and the optical properties of the deposited SiOxNy films. The optical constants of SiOxNy films were measured and calculated by spectroscopic ellipsometry method. Additionally, the authors investigated the possibility of controlling the deposited film composition by the flow ratio of different gaseous precursors: ammonia (NH3), diluted silane (2%SiH4/98%N2), nitrous oxide (N2O) and nitrogen (N2). The gas mixture introduced to the working chamber during the growth of the film has the influence on the Si–O and Si–N bonds formation and the ratio between these bonds determines the refractive index of the deposited film.
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Broad, Terence, and Mick Grierson. "Autoencoding Blade Runner: Reconstructing Films with Artificial Neural Networks." Leonardo 50, no. 4 (2017): 376–83. http://dx.doi.org/10.1162/leon_a_01455.
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In this paper, the authors explain how they created Blade Runner—Autoencoded, a film made by training an autoencoder—a type of generative neural network—to recreate frames from the film Blade Runner. The autoencoder is made to reinterpret every individual frame, reconstructing it based on its memory of the film. The result is a hazy, dreamlike version of the original film. The authors discuss how the project explores the aesthetic qualities of the disembodied gaze of the neural network and describe how the autoencoder is also capable of reinterpreting films it has not been trained on, transferring the visual style it has learned from watching Blade Runner (1982).
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Permana, Rangga Saptya Mohamad, Lilis Puspitasari, Sri Seti Indriani, and Hanny Hafiar. "STRATEGI KOMUNIKASI PEMASARAN FILM INDIE: MODEL PEMASARAN DAN DISTRIBUSI FILM INDIE INDONESIA." Journal of Urban Society's Arts 5, no. 2 (2019): 74–86. http://dx.doi.org/10.24821/jousa.v5i2.2120.
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AbstrakFilm independent atau yang lebih akrab disebut dengan film indie secara umum adalah film yang diproduksi di luar major label atau perusahaan/production house (PH) film besar. Karena tidak dipasarkan melalui jalur distributor komersial, maka para sineas film indie harus cerdas dan intuitif dalam mencari peluang-peluang untuk memasarkan karya mereka kepada khalayak luas. Hal inilah yang menarik minat penulis untuk melakukan riset mengenai strategi komunikasi pemasaran film indie Indonesia. Berdasarkan uraian tersebut, maka tujuan dari penelitian ini adalah untuk mengetahui strategi komunikasi pemasaran film indie Indonesia. Teknik wawancara, observasi, studi pustaka dan Focus Group Discussion (FGD) digunakan untuk mengumpulkan data-data riset yang dibutuhkan. Penulis telah melakukan wawancara dan FGD dengan beberapa produser, sutradara dan aktivis/pengkaji film indie di 3 kota besar di Indonesia (Yogyakarta, Jakarta dan Makassar). Hasil riset menunjukkan bahwa mayoritas para sineas film indie di Indonesia menjadikan festival-festival film (baik nasional maupun internasional) sebagai media pemasaran utama bagi karya-karya mereka. Selain menggunakan festival film sebagai ajang promosi, para sineas film indie Indonesia juga menggunakan beberapa media/cara lain, yaitu melalui ruang putar alternatif, media sosial, website yang memasarkan film-film alternatif, digital TV platform, roadshow, dan melalui press screening.Kata Kunci: Film; Indie; Komunikasi; Pemasaran AbstractMarketing Communication Strategy of Indie Film: Marketing Model and Distribution of Indonesia Indie Film. Independent films or more familiarly referred to indie films in general are films produced by non-major label or company/production house (PH). Since it is not marketed through a commercial distributor line, indie filmmakers must be smart and intuitive in searching for opportunities to promote their work to a wide audience. The authors interested to do research on the marketing communication strategy of Indonesia indie films. Based on the description, the purpose of this research in this article is to explore the marketing communication strategy of Indonesia indie films. The authors has conducted interviews and FGDs with several producers, directors and indie film activists/reviewers in three cities in Indonesia (Yogyakarta, Jakarta and Makassar). The research results show that Indonesian’s indie filmmakers utilises film festivals (both national and international) as the main marketing medium for their works. In addition, indie film producers also use alternative media, such as social media, websites, digital TV platforms, roadshows, and through press screening.Keywords: Film; Indie; Communication; Marketing
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Sun, Yi. "Adaptation and Adaptability: Multiple Authors and Studio Authorship in SoulMate." Adaptation 13, no. 1 (2019): 113–28. http://dx.doi.org/10.1093/adaptation/apz025.
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Abstract This article examines a China-Hong Kong co-produced film adaptation, SoulMate, within sociocultural, industrial, and organizational contexts. It argues that, first, the film adaptation’s authors are not limited to the agents who adapt the source material. The production company explores and exploits a variety of authors, including extrinsic names to the work, as symbolic resources to serve the discourse surrounding the film; and the adaptation status makes a special contribution to that process by multiplying authors and by generating cross-references. Second, film adaptation has a specific and significant bearing on the adaptability of production houses that encounter changing sociocultural and industrial environments. This article hopefully broadens the understanding of film adaptation in alternative historical periods and industrial contexts other than Hollywood with a simultaneous effort to propose new approaches to the study of Chinese-language film adaptation. It also attempts to expand the discourse of authorship in film adaptation studies and in film studies more generally by identifying filmmaking entities, in addition to directors, producers, and writers, as adaptive co-authors and non-conflicting stakeholders in the business of film adaptation.
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Maron, Marcin. "Filmowa neoawangarda i początki sztuki video." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 15, no. 2 (2018): 37. http://dx.doi.org/10.17951/l.2017.15.2.37.
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<p>Artykuł w syntetyczny sposób omawia najważniejsze zjawiska filmu eksperymentalnego w kontekście pojęcia i praktyki sztuki neoawangardowej od II połowy lat 60. do połowy lat 70. XX wieku. Na początku przypomniana została pierwsza i druga faza rozwoju filmu eksperymentalnego w związku z istnieniem tzw. Wielkiej Awangardy oraz z działalnością jej kontynuatorów po Ii wojnie światowej w USA. Nastepnie zdefiniowane zostało pojęcie neoawangardy w odniesieniu do ujęcia, które zparoponował Frank Popper. W dalszej części artykułu jego autor omawia zasady oraz najważniejsze przykłady filmów neoawangardowych m. in: film strukturalny, kino porzeszone, intermedia. Ważną częścią artykułu jest przedstawienie początków, idei oraz najważniejszych rodzajów sztuki video. W artykule omówione zostały filmy takich autorów jak m. in. Paul Sharits, Peter Kubelka, Peter Campus, Bill Viola i innych.</p><p> </p><strong>Film Neo-Avant-garde and the Beginnings of Video Art</strong><p>SUMMARY</p><p>The article comprehensively discusses the most important phenomena of experimental film in the context of the concept and practice of neo-avant-garde art from the latter half of the nineteen-sixties to the mid-nineteen-seventies. The paper begins by referring to the first and second phase of the development of experimental film in connection with the existence of the so-called Great Avant-garde and the activity of its continuators after World War Two in the USA. The text then defines the concept of neo-avant-garde in relation to the interpretation proposed by Frank Popper. The article then discusses the principles and the most important examples of neo-avant-garde films, inter alia structural film, widened cinema, or intermedia. An important part of the article is the presentation of the beginnings, idea and the major types of video art. The paper also discusses the films by such authors as inter alia Paul Sharits, Peter Kubelka, Peter Campus, Bill Viola, and others.</p>
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Šošková, Eva. "The Reincarnation of Animated Film." Slovenske divadlo /The Slovak Theatre 65, no. 4 (2017): 331–44. http://dx.doi.org/10.1515/sd-2017-0019.
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Abstract Throughout its entire history, Slovak animated film has had the form of figurative narrative art or craft. For this reason, the author of this study examines its post-1989 development through the prism of the body. Since the most visible change that has affected contemporary film aesthetics is the feminization of animated film in terms of authorship, the study primarily focuses on the ability of an animated body to represent gender and gender roles. It attempts to capture the most significant changes in the depiction of the body in authorial animated film before and after 1989, in more detail record the post-revolution changes in the body, and relate this to the changes in the institutional background of animated film. Animated bodies have developed from “ordinary people” from a dominant male point of view in socio-critical socialist production through female characters in interaction with clearly distinguished male characters in the films of female authors from the Academy of Performing Arts, the crisis of stereotypical masculinity in the production of male authors to independent women looking for their own identity inside themselves, without relating themselves to their male counterparts.
Dissertations / Theses on the topic "Authors in film"
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Govender, Dyalan. "The Author Figured in Film." Thesis, University of Sydney, 2009. https://hdl.handle.net/2123/23107.
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For all the critical attention paid to the author in literary theory and criticism, there has been no study of the film medium’s fascination with authors and authorship. Every year, Hollywood produces numerous films about poets, playwrights, novelists, and screenwriters. This thesis explores the narrative and cinematic potential of the author. In broad terms, it is an exercise in genre criticism, establishing the defining characteristics of films characterising authors. It is also a very specific type of genre criticism, taking a cognitivist approach that defines the author as a set of historically and socially established expectations and characteristics against which the characters in these films are measured. After establishing the phenomenological parameters and critical value of the cognitivist approach in Chapter 1,1 then take up Andrew Bennett’s outline of the author as a cultural concept, discussing its utility in dealing with films figuring authors and authorship. Chapters 3 to 8 explore a selection of the sub-genres of films containing authors, starting with characterisations of the author as a detective, then moving to films using and depicting writer’s.block, horrific characterisations of the author, characterisations of female authors, the biopic, and films characterising screenwriters in Hollywood. The work concludes with an analysis of Charlie Kaufman and Spike Jonze’s Adaptation (2002), whose broad exploration of authorship traverses more of these sub-genres than any other film, offering an opportunity to bring together the findings of Chapters 1 to 8. I focus on English language, feature length, narrative films released between 1927 and 2007. Rather than taking a chronological approach and tracing the history of the medium’s treatment of the author, I select films from various periods, identifying in them the defining characteristics of the genre. But more than this, the genre and its characteristics represent the persistent interpretive function of the author in face of the critical trend away from biographically based interpretation towards textual and semiotic analysis.
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Dean, Jennifer Watson Reckley Vallejos Alice Ruth. "Chicanisma in film and literature Chicana filmmakers and authors (re)discovering and (re)presenting history and culture through films and novellas /." Diss., UMK access, 2004.
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Thesis (M.A.)--College of Arts and Sciences. University of Missouri--Kansas City, 2004.<br>"A thesis in liberal studies." Typescript. Advisor: Alice Reckley-Vallejos. Vita. Title from "catalog record" of the print edition Description based on contents viewed Feb. 23, 2006. Includes bibliographical references (leaves 189-198). Online version of the print edition.
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Kumar, Priya Haryant. "Ruptured nations, collective memory & religious violence : mapping a secularist ethics in post-partition South Asian literature and film." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37904.
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This dissertation maps the emergence of a 'secularist ethics' in post-independence South Asian literature and film, an ethics which is a deeply felt poetic response to particular historical conjunctures marked by religio-nationalist conflict in the Indian subcontinent. It is my argument that literary and cultural productions, in striving to dream and envision a world free of violence, terror and religious intolerance, have some central contributions to make to contemporary intellectual and political debates on secularism. Through close readings of fictions by Salman Rushdie, Amitav Ghosh, Mukul Kesavan, Bapsi Sidhwa, Saadat Hasan Manto, Khwaja Ahmad Abbas, Rajinder Singh Bedi, Jamila Hashmi, Jyotirmoyee Devi, and Lalithambika Antherjanam, as well as films by M. S. Sathyu, Saeed Akhtar Mirza, Khalid Mohamed and Shyam Benegal, which are concerned to address the issue of peaceful co-existence between different religious communities and nations in the Indian subcontinent, I argue that literary and imaginative endeavors by way of their alternative secularist imaginaries enable us to begin to imagine the possibilities of more habitable futures. Significantly, the 'secularist' fictions and films I invite attention to in my project enable a revisioning of the secular in terms quite different from normative understandings of liberal secularism. Such a renewed secularism seeks to make visible the normalization and neutralization of majoritarian religious beliefs and practices as constitutive of the representative secular-nationalist self in post-Partition India; it also emerges, significantly, from a gendered critique of the deep-seated patriarchal norms underlying most religious communities. Responding to different moments of crisis, predominantly the Partition of India in 1947, the 1984 anti-Sikh riots, and the destruction of the Babri Masjid in 1992, the radical secularist poetics of these works call attention to the fundamentalist agenda of Hindu nationalism, the limit
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Setterwall, Klingert Amanda. "De inte alltför främmande : Författarideal, relationer och litterära system i fem svenska filmer." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-414868.
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Den här uppsatsen ingår i det forskningsfält som undersöker hur konstnärer skildras i fiktion. Specifikt handlar den om författarroller på film, ett område som beforskats i såväl Tyskland som den anglosaxiska världen (kända exempel är Kirsten Netzows Schriftstellerfilme(2005) samt antologin The Writer on Film (2013)) men knappt alls i Sverige. Den kretsar därför kring svensk film, samtidigt som den anknyter till det internationella fältet. Undersökningen baseras på kunskap om genrer i svensk film samt litteratursociologiska perspektiv. I det senare skiljer den sig från det mesta inom området, inte minst i ambitionen att undersöka sociala och professionella sammanhang kring författarroller på film. Efter inledande breda kapitel om historia och ideal kring författarroller följer undersökningens djupanalyser, vilka fokuserar på filmer inom det spann som kallas relationsfilm. Detta begrepp spänner över en stor del av svensk filmhistoria som kännetecknas av fokus på romantik, familje- och vänskapsrelationer och dessas spänningar, problem och utveckling. Som fallstudier har valts fem relationsfilmer från olika perioder i svensk filmhistoria: Thomas Graals bästa film (1917),En Kärleksnatt vid Öresund (1931),Vi tre debutera (1953),Känd från TV(2001) samt Kärlek Deluxe (2014).Samtliga dessa filmer har författare i bärande roller och skildrar samtidigt i någon mening händelser inom litteratursamhället, inte minst förlagsbranschen. Materialet undersöks utifrån fem perspektiv, baserade i kunskap från befintlig forskning: Omgivningar; Genrer, modus och troper; Drivkraft och processer; Relationer samtIdeal och sensmoral. I undersökningen diskuteras relationsfilmens konventioner såväl i relation till myter och traditioner kring författares kärleksliv som i anslutning till professionella relationer. Bland annat diskuteras tendensen att skildra litteratursamhället som en tudelad värld byggd på – till exempel - konkurrens mellan olika genrer, ”högt och lågt”, eller dolt och offentligt. En av flera centrala slutsatser är att författarfilmer generellt möjliggör en extra dimension av berättande inom berättelsen, ofta i form av en bok som produceras under handlingens gång, och som förstärker och speglar filmhandlingen. I just relationsfilmer blir detta ett ytterligare lager av den identifikation med författarpositionen som åskådaren bjuds in till. Författarna i dessa filmer är, sammantaget, vardagliga gestalter med allmänmänskliga problem och egenskaper, men ges samtidigt – genom myter om yrket, berättandekonventioner kring kreativitet och skildringar av branschrelationer - fler dimensioner som gör dem till attraktiva protagonister i breda filmgenrer. Uppsatsens titel syftar på just denna balans mellan spänning och vardaglighet, som Anders Marklund kallat ”inte alltför främmande”. Efter analyskapitlen och diskussionen följer också en skiss till en historik - utan minsta anspråk på fullständighet - över författare i svensk film.<br>This thesis connects to the research field studying how artists are portrayed in fiction. Specifically, it deals with representations of writers and authorship in film, an area explored both in Germany and in the English speaking world (notable examples are Kirsten NetzowsSchriftstellerfilmefrom 2005 and the anthology The Writer on Filmfrom 2013) but hardly at all in Sweden. This thesis evolves around Swedish film, while also connecting to the international field. The study is based in knowledge of genres in Swedish film in general as well as in literature sociology. In terms of the latter it differs from many contributions to the area, especially in the ambition to look at the social and professional contexts around the figure of the writer in film. The initial broad chapters on writer history and myths are followed by five film studies, focusing on one film each within the genre known as ”relationship film” (relationsfilm): films focused on the tensions, problems and developments of romantic relationships as well as those of family and friendship. (The concept itself encompasses a large part of Swedish film history). The five chosen case studies are relationship films from different eras of Swedish film history: Thomas Graals bästa film (1917),En Kärleksnatt vid Öresund (1931),Vi tre debutera (1953),Känd från TV(2001) and Kärlek Deluxe (2014).The films all feature writers as main or central characters while also depicting events within the world of literature, particularly the publishing industry. The analysis departs in five perspectives, based in existing research on the area: Environments (Omgivningar); Genres, modes and tropes(Genrer, modus och troper); Incentives and processes (Drivkraft och processer); Relations (Relationer) and Ideals and message (Ideal och sensmoral). The analysis discusses the conventions of relationship films in connection to myths surrounding the love lives of writers as well as to professional relationships in the book trade. One example is the tendency to depict the world of literature as a divided, dual world built on competition between things like different genres, ”highbrow and lowbrow” material or public versus hidden aspects of the creative process. One conclusion is that writer films in general enables an additional dimension of storytelling within the frame narrative, often in the shape of a book produced during the course of the film, which mirrors and strengthens the message and moral of the story. In relationship films in particular, this can serve to create an extra layer to the identification with the writer position into which the spectator is invited. Writers in these movies are, in general, everyday figures with common, relatable problems and characteristics, but at the same time – through myths about the profession and narrative conventions surrounding creativity - given additional dimensions which make them attractive as protagonists in popular film genres.The title of the thesis, which can roughly be translated as ”No total strangers”, is a paraphrase of the concept ”Inte alltför främmande” (”Not too strange”) by the Swedish movie and literature scholar Anders Marklund. It refers to a central feature of relationship films: the balance between making the central characters relatable and common, and at the same time interesting enough to provide some escapism. In this thesis, it refers to this balance in relation to fictional writers (and others in the book trade) in particular. In addition to the chapters of analysis and the discussion, I have also included a first draft – without any claims of completeness - for a history of writers in Swedish film.
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Hart, Hilary 1969. "Sentimental spectacles : the sentimental novel, natural language, and early film performance." Thesis, University of Oregon, 2004. http://hdl.handle.net/1794/297.
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Advisor: Mary E. Wood.
xii, 181 leaves : ill. ; 29 cm. Print copy also available for check out and consultation in the University of Oregon's library under the call number: PS374.S714 H37 2004.<br>The nineteenth-century American sentimental novel has only in the last twenty years received consideration from the academy as a legitimate literary tradition. During that time feminist scholars have argued that sentimental novels performed important cultural work and represent an important literary tradition. This dissertation contributes to the scholarship by placing the sentimental novel within a larger context of intellectual history as a tradition that draws upon theoretical sources and is a source itself for later cultural developments. In examining a variety of sentimental novels, I establish the moral sense philosophy as the theoretical basis of the sentimental novel's pathetic appeals and its theories of sociability and justice. The dissertation also addresses the aesthetic features of the sentimental novel and demonstrates again the tradition's connection to moral sense philosophy but within the context of the American elocution revolution. I look at natural language theory to render more legible the moments of emotional spectacle that are the signature of sentimental aesthetics. The second half of the dissertation demonstrates a connection between the sentimental novel and silent film. Both mediums rely on a common aesthetic storehouse for signifying emotions. The last two chapters of the dissertation compare silent film performance with emotional displays in the sentimental novel and in elocution and acting manuals. I also demonstrate that the films of D. W. Griffith, especially The Birth of a Nation, draw upon on the larger conventions of the sentimental novel.
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Souza, Allan Rocha de. "Os direitos culturais e as obras audiovisuais cinematográficas: entre a proteção e o acesso." Universidade do Estado do Rio de Janeiro, 2010. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=1726.
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Este trabalho consiste em analisar a legalidade da exibição pública da obra audiovisual cinematográfica, sem autorização ou pagamento aos titulares, em razão do direito fundamental de acesso à cultura. Faz-se necessário, para tal, verificar o conteúdo e identificar os efeitos dos direitos culturais, tanto no que se refere às políticas públicas de cultura quanto em face das relações inter-privadas. Preliminarmente, discutem-se os conceitos de culturas e suas aplicações no entendimento da sociedade contemporânea. São igualmente apontadas as fontes normativas dos direitos culturais no plano nacional e internacional. Questionam-se, do mesmo modo, os limites ao exercício patrimonial dos direitos autorais que, ao indicar suas bases constitucionais, aponta para a obrigatória extensividade da interpretação dos limites estabelecidos na legislação ordinária especial, em razão dos próprios direitos fundamentais. No desenvolvimento do trabalho, busca-se integrar os dados e reflexões sociais com o exame jurisprudencial e crítica doutrinária. Utilizam-se, complementariamente, os métodos de abordagem hipotético-dedutivos e indutivos, além do método de procedimento funcionalista. A ponderação entre o direito de acesso à cultura e o exercício dos direitos patrimoniais autorais é necessária para solucionar o aparente conflito entre estes direitos. O direito fundamental de acesso à cultura somente pode sofrer restrições que não se contraponham às suas finalidades. As limitações impostas aos direitos autorais devem ser condizentes com a regra dos três passos. As conclusões, que são resultado da ponderação entre os direitos patrimoniais do autor e de acesso à cultura, apontam para a existência de condições que permitem o equilíbrio destas posições jurídicas, preservando, ao máximo, seus respectivos conteúdos. Desta forma, conclui-se que as obras audiovisuais cinematográficas podem, de acordo com o ordenamento jurídico brasileiro, ser publicamente exibidas, sem necessidade de autorização prévia ou remuneração, desde que em caráter não-patrimonial e com o objetivo principal de efetivação dos direitos fundamental de acesso à cultura.<br>The present work consists of examining the legality of the public exhibition of a film, without authorization or payment to the right holders, on the basis that its exhibition is a fundamental right of access to culture. Accordingly it is necessary to verify the contents and identify the effects of the cultural rights, both in regard to public cultural policy and in the context of inter-private relationships. Preliminary, the concepts of cultures and its applications to the understanding of contemporary society will be explored. Next, the normative sources of cultural rights at the national and international levels are considered. Thus, the limits of the exercise of authors economic rights are questioned particularly when the constitutional basis of these fundamental rights point to the extensiveness of the interpretation of the limitations of the copyright legislation. In so doing the thesis seeks to integrate social data with the examination of case-law and critical discussions of the doctrine. Complementarily, it uses the hypothetical-deductive and inductive methods of approach, and the functionalist method of procedure. The balance between the right of access to culture and the exercise of authors economic rights is required to resolve the apparent conflict between these rights. The fundamental right of access to culture can only be restricted in situations that do not conflict with its purposes. The limitations to copyright should be consistent with the three steps rule'. The findings, which are the result of the balance between authors patrimonial rights and the cultural right of access, point to the existence of conditions that allow for equilibrium between these legal positions, while at the same time preserving its core content. Thus, it concludes that the feature films, in accordance with Brazilian legal system, may be publicly displayed without prior authorization or remuneration, provided that their public exhibition is on a non-patrimonial basis and for the primary purpose of applying the fundamental right of access to culture.
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Thouaille, Marie-Alix. "The single woman author on film : screening postfeminism." Thesis, University of East Anglia, 2018. https://ueaeprints.uea.ac.uk/68982/.
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This thesis theorises the single woman author as a recurrent and distinctive character in Anglo-American film in the period 1994-2018. Tracking the figure across genres and industrial provenances through detailed textual analysis, I uncover the shared meanings and feeling rules embedded within, produced by, and circulating through, this figure. In doing so, I identify four key interrelated representational tropes. Firstly, authorship and singleness signify as mutually constitutive identities indicative of postfeminist agency. Secondly, authorship functions as an autobiographical outlet enabling the expression of the heroine’s innate femininity, partly defusing anxieties about women’s professional labour. Thirdly, authorship facilitates the performance of relational labour promising to remedy the single woman’s disordered unmarried subjectivity. And, finally, the single woman author’s success is authorised by a male mentor in ways which authenticate or naturalise patriarchal authority. Through these tropes and their repetition, authoriality is imagined as an ideal form of labour for the single woman subject. Though both female singleness and female authorship are mobilised as signifiers of female agency with the potential to upend the traditionally gendered distribution of power, this thesis reveals how the single woman author has become a desirable postfeminist subjectivity precisely because she leaves undisturbed hierarchies of gender and power. This figure is therefore a site of contradiction, ambiguity, and ambivalence. As such, she is an ideal prism through which to chart shifts within postfeminism itself. The evolution of the above tropes in recent films accordingly suggests that the postfeminist sensibility has lately undergone an affective shift. Recent texts, this thesis concludes, demonstrate the filtering of feminist critiques of patriarchal structures into popular culture. However, at the same time, they are also suggestive of the continued resilience of postfeminism, and its ongoing ability to take feminism into account.
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Cottle, Brent. "Superfluous absence: The secret life of the author in twentieth-century literature and film." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/279822.
Full textAbstract:
Superfluous Absence examines how writers of fictional narratives imagine readers that might read their texts and use these imagined readers--and the voices they represent--as leavening agents for the fictions they produce. In this theory, writers do not appeal to these readers except as they function as language and its desire to be decoded--as they function as language's desire for itself. Ultimately, the texts of fiction reach real-life readers and Superfluous Absence traces how authors struggle with the leavening agent of the reader's voice when the reader's voice becomes an actual social presence in an actual historical moment. This struggle consists of writers trying to preserve a non-space, and readers try to turn this non-space into praxis and presence. In Superfluous Absence I trace this struggle in James Joyce's Finnegan's Wake, Samuel Beckett's trilogy of Molloy, Malone Dies, The Unnamable and Stephen King's Misery . I also explore what happens to this reading desire when it is translated into a visual format, as is so often the case in the twentieth-century when literature is adapted into film. The test case is Stanley Kubrick's 2001: A Space Odyssey, an appropriate choice as it is a movie that tries to eradicate the linguistic in favor of the purely visual. Finally, this project is not just an objective charting of the various locations and non-locations of the writer's voice in twentieth-century fiction and film, but is also a very subjective attempt on the part of this writer to understand the presence or non-presence of his authorial voice in acts of fiction. Therefore, the author of this dissertation frequently writes autobiographically and frequently turns his critical voice into the voice of fictional narration.
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Marshall, Matt, and n/a. "GHOST STORIES WITHOUT GHOSTS: A STUDY OF AUTHORSHIP IN THE FILM SCRIPT ?THE SEABORNE?" University of Canberra. n/a, 2008. http://erl.canberra.edu.au./public/adt-AUC20090106.150522.
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In 'The Crypt, the Haunted House of Cinema', Cholodenko argues that film is,
metaphorically speaking, a haunted house: an instance of the uncanny. This raises the
possibility the film script is also uncanny, from the Freudian notion of das Unheimliche,
the strangely familiar and familiarly strange - and thus also a haunted house. This
proposition engenders a search as self-reflexive practice for that which haunts the script'
an uncanny process to explore the uncanny. The search requires drawing on Barthes,
acting 'as dead' with that process' attendant contradictions and problematics' the most
likely ghost in the script being the writing self.
Establishing the characteristics of the writing self involves distinguishing that figure from
the author. This requires outlining the development of theories of the author from the
concept of authorial will, as per the argument of Hirsch, to the abnegation of the author as
a philosophical certainty. Barthes and Foucault call this abnegation the death of the
author. Rather than that marking the end of a particular branch of analysis, the death of
the author can be considered an opening to the writing practice. From this perspective,
the death of the author becomes a strategy in Foucault's game of writing, effecting the
obfuscation of the writing self, by placing a figure as dead, the author figure, within the
metaphorical topography of the text. Indeed, the author as dead is akin to a character in
the narrative but at a substratum level of the text. What places this dead figure within the
text is an uncanny writing self, a figure of transgression, brought into being in the
experience of Blanchot's essential solitude.
'The Seaborne' written by Matt Marshall, provides an example of a film script that
constitutes a haunted house, a site of the uncanny. In terms of the generic characteristics
of the film script as text type, its relative unimportance in relation to any subsequent film
based on the script becomes of itself a feature of the film script. This makes the film
script a site of negotiation and contestation between the implied author as hidden director
on the one hand and the implied reader as implied director on the other. This confirms
the film script as, using Sternberg's terminology, a blueprint text type. Examples of the
negotiation and relationship between hidden director and implied director are found in
analysis of 'The Seaborne' as are the tensions in the relationship between the
individualistic impulses of the hidden director and the mechanistic, formal requirements
of the text type as blueprint. These tensions are ameliorated by the hidden director who
is then effaced within the constructed layers of the film script text to allow interpretive
space for the implied director.
'The Seaborne' as representative of the film script text becomes the after-image of a
written text and the foreshadowing of a future filmic one. It therefore never finds
completion within its own construction process and its formation begins in templates that
accord with the Bakhtin's description of the epic, as is shown by comparing the
construction notes for 'The Seaborne' with Aristotlean dramatic requirements. But at the
same time there is present in 'The Seaborne' a Bakhtinian dialogism that points towards
the individual markers of a writing self. This writing self, referring to Kristeva, is a
figure of abjection. It transgresses itself and transgresses its own transgressions. It is a
ghost in a ghost story without ghosts.
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Magnéli, Johan. "Write or Perish : How Screenwriters Author their Careers." Thesis, Stockholms universitet, Institutionen för mediestudier, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-123092.
Full textAbstract:
The aim of the present study was to investigate how the impermanence of contract work affects working lives, self-perceptions and the career strategies of Swedish screenwriters of finding and keeping work. Furthermore, it also explored how screenwriters experience their abilities to exercise authorial leverage over media content. Introducing the concept of “career authoring” to cover different aspects of the professional lives of screenwriters such as managing a career, establishing authorship and contractual negotiations, the study was able to embrace various mind-sets and strategies for career success. Combining ethnographical studies and textual analyses the study was able to ascertain that the contingency of the Swedish film and television industries necessitates strategies to cultivate reputations, industrial visibility, consciously receive writing credits and conform to a traditional division of labour. Moreover, the study illuminated the importance of contractual negotiations for career success in terms of both retaining and wavering rights to their work. Strategies for exercise increased authorial leverage were not only confined to the script, but extended beyond the page, where the latter accentuated processes of reconfiguring traditional conceptions of screenwriters’ abilities to influence media content.
Books on the topic "Authors in film"
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Hussin, Hamzah Abdul Majid bin. Memoir Hamzah Hussin: Dari Keris Film ke Studio Merdeka. Penerbit Universiti Kebangsaan Malaysia, 1997.
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Kmecl, Matjaž. Poet: Scenarij za televizijski film o življenju in nehanju Franceta Prešerna. Prešernova Družba, 2000.
Find full textBook chapters on the topic "Authors in film"
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Verevis, Constantine. "Authors." In Film Remakes. Palgrave Macmillan US, 2005. http://dx.doi.org/10.1007/978-1-137-08168-1_3.
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Denisoff, Dennis. "Lady in Green with Novel: Demonizing Artists and Female Authors." In Sexual Visuality from Literature to Film 1850–1950. Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230287877_2.
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Thomson, Brian Lindsay. "Strategic Moves: Genres, Brands, Authors and The Third Man." In Graham Greene and the Politics of Popular Fiction and Film. Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230250871_8.
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Guneratne, Anthony R. "Six Authors in Search of a Text: The Shakespeares of Van Sant, Branagh, Godard, Pasolini, Greenaway, and Luhrmann." In Shakespeare, Film Studies, and the Visual Cultures of Modernity. Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230613737_6.
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Cocco, Federica, Marzia Fantauzzi, Bernhard Elsener, and Antonella Rossi. "How Surface Analysis Can Contribute to an Understanding of the Preventive Conservation of Brass Instruments." In Musikforschung der Hochschule der Künste Bern. Edition Argus, 2022. http://dx.doi.org/10.26045/kp64-6179-006.
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Historical brass instruments can suffer corrosion during and after playing due to the high degree of humidity inside – but the surface chemistry inside the tuning slides remains essentially unknown. Based on a series of previously published works of the present authors, this paper describes in a comprehensive way how ex-situ XPS surface analytical measurements can shed light on this topic. On freshly polished brass samples exposed to model solutions such as artificial saliva, a thick, polycrystalline surface film composed of copper-thiocyanate and zinc phosphate is formed, whereas in a phosphate buffer solution only a thin film composed of copper and zinc oxy-hydroxide and zinc phosphate is present. ‘As received’ brass samples from old instruments showed quite a thick surface film of copper and zinc oxy-hydroxide that protects the alloy beneath from corrosion. In combination with the in-situ electrochemical results, a first, tentative identification of the surface film inside the tuning slides can be offered.
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Geal, Robert. "The Dead Author and the Concealed Author." In Anamorphic Authorship in Canonical Film Adaptation. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-16496-6_4.
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Spicer, Andrew. "The Author as Author: Restoring the Screenwriter to British Film History." In The New Film History. Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1007/9780230206229_7.
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"CHAPTER 2 Authors." In Film Remakes. Edinburgh University Press, 2005. http://dx.doi.org/10.1515/9780748626250-005.
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hing-yuk wong, cindy. "grassroots authors." In authorship and film. Routledge, 2013. http://dx.doi.org/10.4324/9780203698976-11.
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"Authors cited." In Perturbatory Narration in Film. De Gruyter, 2017. http://dx.doi.org/10.1515/9783110566574-017.
Full textConference papers on the topic "Authors in film"
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Ueno, Ichiro, Kanji Hirose, Yusuke Kizaki, Yoshiaki Kisara, and Yoshizumi Fukuhara. "Precursor Film Formation Process Ahead Macroscopic Contact Line of Spreading Droplet on Smooth Substrate." In ASME 2009 Second International Conference on Micro/Nanoscale Heat and Mass Transfer. ASMEDC, 2009. http://dx.doi.org/10.1115/mnhmt2009-18314.
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The authors pay their special attention to formation process of wafer-thin liquid film, known as ‘precursor film,’ ahead moving macroscopic contact line of a droplet spreading on a solid substrate. The spreading droplet on the solid substrate is accompanied with the movement of a visible boundary line so-called ‘macroscopic contact line.’ Existing studies have indicated there exits a thin liquid film known as ‘precursor film’ ahead the macroscopic contact line of the droplet. The present author’s group has dedicated their special effort to detect the formation process of the precursor film by applying a convectional laser interferometry and a high-speed camera, and to evaluate the spreading rate of the precursor film. In the present study, existing length of the precursor film at a very early stage of the droplet spreading is evaluated by applying a Brewster-angle microscopy as well as the interferometer. The authors extend their attention to the advancing process of the precursor film on inclined substrate.
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Cecchi, G., L. Pantani, B. Radicati, A. Barbaro, and P. Mazzinghi. "Oil Film Detection and Characterization by Lidar Fluorosensors." In Laser and Optical Remote Sensing: Instrumentation and Techniques. Optica Publishing Group, 1987. http://dx.doi.org/10.1364/lors.1987.mc19.
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The use of lidar fluorosensors in the detection of oil films over the water surface is well known and laboratory and field experiments were done by different authors in the past years. A systematic analysis of fluorosensor performances in detection and characterization of oil films was carried out as a part of the IROE program of environmental remote sensing. The investigation concerned the definition of the best laser wavelengths, the measurement of film thickness, the identification of the minimum detectable film thickness, the identification of the oil which composes the film. The results of this analysis were the base of the development of IROE FLIDAR-2 hardware and software.
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Nguyen, Cuong Q., Perry L. Johnson, Bryan C. Bernier, Son H. Ho, and Jayanta S. Kapat. "Comparison of Film Effectiveness and Cooling Uniformity of Conical and Cylindrical-Shaped Film Hole With Coolant-Exit Temperature Correction." In ASME Turbo Expo 2010: Power for Land, Sea, and Air. ASMEDC, 2010. http://dx.doi.org/10.1115/gt2010-23732.
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Data from conical-shaped film cooling holes is extremely sparse in open literature, especially the cooling uniformity characteristic, an important criterion for evaluating any film cooling design. The authors will compare the performance of conical-shaped holes to cylindrical-shaped holes. Cylindrical-shaped holes are often considered a baseline in terms of film cooling effectiveness and cooling uniformity coefficient. The authors will study two coupons with conical-shaped holes, which have 3° and 6° diffusion angles, named CON3 and CON6 respectively. A conjugate heat transfer computational fluid dynamics model and an experimental wind tunnel will be used to study these coupons. The three configurations: cylindrical baseline, CON3, and CON6, have a single row of holes with an inlet metering diameter of 3mm, length-to-nominal diameter of 4.3, and an injection angle of 30°. In this study, the authors will also take into account the heat transfer into the coolant flow from the coolant channel. In other words, coolant temperature at the exit of the coolant hole will be different than that measured at the inlet, and the conjugate heat transfer model will be used to correct for this difference. For the numerical model, the realizable k-ε turbulent model will be applied with a second order of discretization and enhanced wall treatment to provide the highest accuracy available. Grid independent studies for both cylindrical-shaped film cooling holes and conical-shaped holes will be performed and the results will be compared to data in open literature as well as in-house experimental data. Results show that conical-shaped holes considerably outperform cylindrical-shaped holes in film cooling effectiveness at all blowing ratios. In terms of cooling uniformity, conical-shaped holes perform better than cylindrical-shaped holes for low and mid-range blowing ratios, but not at higher levels.
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Wang, Hua Sheng, and John W. Rose. "Film Condensation in Microchannels: Effect of Tube Inclination." In ASME 4th International Conference on Nanochannels, Microchannels, and Minichannels. ASMEDC, 2006. http://dx.doi.org/10.1115/icnmm2006-96049.
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A recent model for condensation in microchannels by the authors has been modified to investigate the effect of channel inclination. Provisional results are obtained for the case studied earlier for horizontal channels i.e. for R134a with saturated vapour at inlet and prescribed uniform wall temperature. Calculations give distributions around the channel perimeter of condensate film thickness and heat flux from which the mean (around the channel perimeter) heat flux and heat-transfer coefficient are found. Results are presented for square channels with side 0.5, 1.0 and 3.0 mm.
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Zaitsev, D. V., and O. A. Kabov. "Flow Patterns and CHF in a Locally Heated Liquid Film Shear-Driven in a Minichannel." In ASME 2010 8th International Conference on Nanochannels, Microchannels, and Minichannels collocated with 3rd Joint US-European Fluids Engineering Summer Meeting. ASMEDC, 2010. http://dx.doi.org/10.1115/fedsm-icnmm2010-31209.
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Thin and very thin (less than 10 μm) liquid films driven by a forced gas/vapor flow (stratified or annular flows), i.e. shear-driven liquid films in a narrow channel is a promising candidate for the thermal management of advanced semiconductor devices in earth and space applications. Development of such technology requires significant advances in fundamental research, since the stability of joint flow of locally heated liquid film and gas is a rather complex problem. The paper focuses on the recent progress that has been achieved by the authors through conducting experiments. Experiments with water in flat channels with height of H = 1.2–2.0 mm (mini-scale) show that a liquid film driven by the action of a gas flow is stable in a wide range of liquid/gas flow rates. Map of isothermal flow regime was plotted and the length of smooth region was measured. Even for sufficiently high gas flow rates an important thermocapillary effect on film dynamics occurs. Scenario of film rupture differs widely for different flow regimes. It is found that the critical heat flux for a shear driven film can be 10 times higher than that for a falling liquid film, and exceeds 400 W/cm2 in experiments with water for moderate liquid flow rates. This fact makes use of shear-driven liquid films promising in high heat flux chip cooling applications.
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Gehrer, Arno, Jakob Woisetschläger, and Herbert Jericha. "Blade Film Cooling by Underexpanded Transonic Jet Layers." In ASME 1997 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1997. http://dx.doi.org/10.1115/97-gt-246.
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The evolution of increasing turbine inlet temperature has led to the necessity of full-coverage film cooling for the first turbine vane and blade. A new approach using high speed wall jets for blade cooling has been proposed by the authors. In this paper a 2-D upwind-biased Navier-Stokes code is used to calculate the aerodynamic behaviour of these surface coolant jets in a linear cascade. Special emphasis is put on the investigation of the coolant flow around the leading edge. Various numerical results concerning the leading edge flow are presented in detail, showing a strong tendency of these jets to bend towards convex surfaces. Finally, Schlieren pictures taken at the Institute’s transonic cascade on a 140mm chord length blade are presented for comparison.
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Rahman, Mosfequr, and John E. Jackson. "Finite Element Approach to Model Displacement Control of Smart Beams Using Photostrictive Optical Actuators." In ASME 2009 International Mechanical Engineering Congress and Exposition. ASMEDC, 2009. http://dx.doi.org/10.1115/imece2009-10757.
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The objective of this research work is to investigate the displacement control of smart beams of different boundary conditions using photostrictive optical actuators. The authors have developed a computational method useful for design of systems incorporating thin film photostrictive actuators. The element has been implemented in an in-house finite element code. A finite element for static analysis of photostrictive thin films has already been developed and verified with analytical analysis approach of another author. Also the effect of different parameters such as actuator thickness, incident light intensity and convective heat transfer coefficient in the actuation of beam using the thin film photostrictive actuators has been investigated by the authors. In this current work, derived finite element for static analysis of photostrictive thin films has been used to investigate the application of photostrictive actuators for optimum displacement control of beam structure of various boundary conditions. Studies are performed on the effects of various actuator location and length on photoactuation. Photostrictive materials are ferrodielectric ceramics that have a photostrictive effect. The photostrictive effect arises from a superposition of the photovoltaic effect and the converse piezoelectric effect. Photostrictive materials are (Pb, La)(Zr, Ti) O3 ceramics doped with WO3, called PLZT, exhibit large photostriction under uniform illumination of high-energy light. Photostrictive actuators can directly convert photonic energy to mechanical motion. Photostrictive materials can produce strain as a result of irradiation from high-intensity light. Neither electric lead wires nor electric circuits are required. Thus, photostrictive actuators are relatively immune from electrical interference. They have potential use in numerous MEMS devices where actuation of microbeams is a common phenomenon.
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Scholl, Jonathan, Nick Darby, Josh Baur, et al. "Dielectric Film Thickness Measurement Via a Convolutional Neural Network for Integrated Circuit Delayering End Point Detection." In ISTFA 2021. ASM International, 2021. http://dx.doi.org/10.31399/asm.cp.istfa2021p0418.
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Abstract Integrated circuit (IC) delayering workflows are highly reliant on operator experience to determine processing end points. The current method of end point detection during IC delayering uses qualitative correlations between the thickness and color of dielectric films observed via optical microscopy. The goal of this work is to quantify this relationship using computer vision. As explained in the paper, the authors trained a convolutional neural network to estimate the thickness of dielectric films based on images and measurements recorded during processing. The trained vision model explained 39% of the variance in dielectric film thickness with a mean absolute error of approximately 47 nm. The paper describes the entire workflow, including verification testing, and addresses the primary sources of error.
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Kusterer, Karsten, Anas Elyas, Dieter Bohn, Takao Sugimoto, and Ryozo Tanaka. "Double-Jet Film-Cooling for Highly Efficient Film-Cooling With Low Blowing Ratios." In ASME Turbo Expo 2008: Power for Land, Sea, and Air. ASMEDC, 2008. http://dx.doi.org/10.1115/gt2008-50073.
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Further improvement of the thermal efficiency of modern gas turbines can be achieved by a further reduction of the cooling air amount. Therefore, it is necessary to increase the cooling effectiveness so that the available cooling air fulfils the cooling task even if the amount has been reduced. In particular, the cooling effort for the vanes and blades of the first stage in a modern gas turbine is very high. The task of the film-cooling is to protect the blade material from the hot gas attack to the surface. Unfortunately, aerodynamic mixing processes are enhanced by secondary vortices in the cooling jets and, thus, the film-cooling effectiveness is reduced shortly behind the cooling air ejection through the holes. By improvement of the hole positioning the negative interaction effects can be reduced. The Double-jet Film-cooling (DJFC) Technology invented by the authors is one method to reach a significant increase in film-cooling effectiveness by establishing an anti-kidney vortex pair in a combined jet from the two jets starting from cylindrical ejection holes. This has been shown by numerical investigations and application to an industrial gas turbine as reported in recent publications. Whereas the original design application has been for moderate and high blowing ratios, the present numerical investigation shows that the DJFC is also applicable for lower blowing ratios (0.5&lt;M&lt;1.0) with only slight modification of the geometry of the configuration. The anti-kidney vortex concept can also be established for the lower blowing ratios and, as a result, a very high film-cooling effectiveness is reached not only behind the ejection holes but also for a very long distance downstream (&gt; 30 hole diameters).
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Kodali, S., C. Zhang, T. Schaeffer, et al. "Conductive Thin Film Fail Detection in 20 nm and 14 nm Technologies." In ISTFA 2016. ASM International, 2016. http://dx.doi.org/10.31399/asm.cp.istfa2016p0249.
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Abstract Conductive thin film residues often referred to as puddles could be challenging fails to detect. A large extant film with no distinct boundaries would make the task more challenging for a comparison between good and bad region. Advanced node 20nm and 14nm technologies mandate use of several conductive thin films in the front end of line processes, and hence a potential for high defects during initial product development stage. Use of other electrical characterization techniques in combination with scanning electron microscopy inspection will be a very powerful tool to detect the root cause affirmatively. Cross-sectional images are necessary to understand the root cause of the fails for corrective actions. This work uses three cases of power supply shorts as a platform to demonstrate the idea, demonstrating a few situations where traditional techniques might reach its limits while the authors depend on additional characterization tools to confidently detect and confirm fails.
Reports on the topic "Authors in film"
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Bożek, Małgorzata. FILM PRODUCTION IN POLAND. STAGES: FROM AN IDEA TO THE SCREEN. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.50.11112.
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The Polish film system is characterized by a variety of forms. Michał Zabłocki, the author of the comprehensive study of the «Organization of the production of feature film in Poland», isolates two models of world cinema: a producer and a producer – director. The first one features the dominant role of the producer, which means the person who is responsible for the work of all the film departments – direction, cinematography, production management, scenography and costume design. The second one, the model which is still the most popular in Poland, assumes close cooperation between the producer and the director.
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Arnold, Zachary, Joanne Boisson, Lorenzo Bongiovanni, Daniel Chou, Carrie Peelman, and Ilya Rahkovsky. Using Machine Learning to Fill Gaps in Chinese AI Market Data. Center for Security and Emerging Technology, 2021. http://dx.doi.org/10.51593/20200064.
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In this proof-of-concept project, CSET and Amplyfi Ltd. used machine learning models and Chinese-language web data to identify Chinese companies active in artificial intelligence. Most of these companies were not labeled or described as AI-related in two high-quality commercial datasets. The authors' findings show that using structured data alone—even from the best providers—will yield an incomplete picture of the Chinese AI landscape.
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Reyes-Tagle, Gerardo, Roger Hosein, Aldo Musacchio, et al. Smoldering Embers: Do State-Owned Enterprises Threaten Fiscal Stability in the Caribbean? Edited by Gerardo Reyes-Tagle, Aldo Musacchio, Carolina Pan, and Yery Park. Inter-American Development Bank, 2022. http://dx.doi.org/10.18235/0004001.
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This book examines the role of state-owned enterprises (SOEs) in contributing to the fiscal instability of the Bahamas, Barbados, Guyana, Jamaica, Suriname, and Trinidad and Tobago (CCB6), with the aim of providing tangible guidance for policymakers seeking to address this issue. Using an original dataset of SOE performance in the Caribbean, the contributors focus on the fiscal implications of unchecked growth, poor oversight, and mismanagement of SOEs, with particular focus on commercial SOEs. The authors examine the historical, economic, and socio-political context of SOEs in the CCB6 and stress the need for simultaneous fiscal reform both at the federal and firm levels. The authors analyze the SOE sectors growth and performance to date, revealing entrenched challenges, specifically around incentives and accountability. The recommendations propose adaptations of accepted international best practices and lay out long-term objectives and the more feasible points of entry for fiscal reform.
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Mintii, I. S. Using Learning Content Management System Moodle in Kryvyi Rih State Pedagogical University educational process. [б. в.], 2020. http://dx.doi.org/10.31812/123456789/3866.
Full textAbstract:
The article analyzes the results of the survey of 75 lecturers on using learning content management system (LCMS) Moodle in the educational process. It is defined that more than 75% of the respondents use LCMS Moodle. The lecturers up to 30 or over 60 years old, with up to 3-year-work experience in Universities need methodic assistance. Textual e-learning resources are widely used in developed courses while video and audio are not used enough. LCMS Moodle is mostly used during exams or tests and student work, and using LCMS Moodle should be intensified in lectures, laboratory and practical classes. Among the most demanded resources are label, page, file, URL, book, assignment, attendance, glossary, quiz. Thus, the popularization of other resources is identified as one of the most important. An action plan how to improve LCMS Moodle usage: increasing the IT competencies of both teachers and students – planned long-term courses “IT in full-time (blended) learning”; seminars, consultations, (group and individual forms) both on general issues, and according to the specificity of the specialties; methodic handouts and recommendations; improving logistics; improving logistical support – ensuring constant access to the Internet, updating and equipping computer classrooms; creating of transparent, predictable and attractive for authors content of the regulatory framework.
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Navas-Alemán, Lizbeth. Innovation and Competitiveness in Mining Value Chains: The Case of Brazil. Inter-American Development Bank, 2021. http://dx.doi.org/10.18235/0003813.
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Mining companies have mirrored other large multinational companies in setting up global value chains (GVCs), sourcing their inputs and services from an ever-larger number of highly capable suppliers in developing countries, such as those in resource-rich Latin America. However, recent empirical studies on the mining GVC in that region suggest that even innovative local suppliers find it difficult to exploit their innovations in local and foreign markets. Using a conceptual framework that combines literature on innovation and GVCs, this study analyzed how global/regional- and firm-level factors interact to explain the acquisition of local suppliers capabilities within Brazils mining industry. The study explored these issues using original data gathered in 2019 and secondary sources from Brazil. The main findings are related to (i) strategies used by domestic suppliers to develop innovative solutions for leading mining companies, (ii) how health and safety concerns spurred innovation after the disasters in Mariana and Brumadinho, (iii) new-to-the-world innovation capabilities among Brazilian suppliers to the mining industry, and (iv) the main barriers to developing innovative practices among domestic suppliers. The authors propose public policies to support major mining companies in acquiring innovations from domestic suppliers to the mining industry. Opportunities such as a Copper Rush in Brazil that could foster further innovations in mining are discussed.
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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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Boys get Anorexia too. ACAMH, 2022. http://dx.doi.org/10.13056/acamh.18868.
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Eating disorders are more commonly associated with girls. Boys who develop these problems are often misdiagnosed. In this 6-minute film, Jenny Langley, author of ‘Boys Get Anorexia Too’ talks about her experience when her son developed an eating disorder.