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Books on the topic 'Conventional films'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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1

Lundeen, Robert Curtis. A Comparison of two conventional intraoral films and three screen/film systems for the radiographic detection of proximal surface dental caries. Lundeen], 1986.

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2

Baer, Hester. German Cinema in the Age of Neoliberalism. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463727334.

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This book presents a new history of German film from 1980-2010, a period that witnessed rapid transformations, including intensified globalization, a restructured world economy, geopolitical realignment, and technological change, all of which have affected cinema in fundamental ways. Rethinking the conventional periodization of German film history, Baer posits 1980-rather than 1989-as a crucial turning point for German cinema's embrace of a new market orientation and move away from the state-sponsored film culture that characterized both DEFA and the New German Cinema. Reading films from East,

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3

Holbrook, Culbert David, ed. Behind the scenes of the National Party Convention film: Hinter den Kulissen des Reichsparteitag-Films. International Historic Films, Inc., 2010.

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4

R, Wasserman Steven, O'Brien Jacqueline Wasserman, and Applebaum Edmond L, eds. Learning independently: A directory of approximately 4,000 self-instruction resources, including correspondence courses, programmed learning products, audio and videocassettes, films and filmstrips, games and simulations, multi-media kits, and conventional learning materials such as books intended for non-formal education. 3rd ed. Gale Research Co., 1987.

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5

R, Wasserman Steven, O'Brien Jacqueline Wasserman, and Applebaum Edmond L, eds. Learning independently: A directory of approximately 4,000 self-instruction resources, including correspondence courses, programmed learning products, audio and videocassettes, films and filmstrips, games and simulations, multi-media kits, and conventional learning materials such as books intended for non-formal education. 3rd ed. Gale Research Co., 1987.

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6

International Symposium on Microelectronics (1996 Minneapolis, Minnesota). 1996 International Symposium on Microelectronics: 8-10 October, 1996, Minneapolis Convention Center, Minneapolis, Minnesota. ISHM-The Microelectronics Society, 1996.

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7

International Symposium on Microelectronics (1997 Philadelphia, Pennsylvania). 1997 International Symposium on Microelectronics: Proceedings : October 14-16, 1997, Pennsylvania Convention Center, Philadelphia, Pennsylvania. IMAPS--International Microelectronics and Packaging Society, 1997.

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8

International Symposium on Microelectronics. (1993 Dallas, Tex.). 1993 International Symposium on Microelectronics: Proceedings : 9-11 November, 1993, Dallas Convention Center, Dallas, Texas. The Society, 1993.

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9

International Symposium on Microelectronics (1995 Los Angeles, California). 1995 International Symposium on Microelectronics: 24-26 October, 1995, Los Angeles Convention Center, Los Angeles, California. ISHM-The Microelectronics Society, 1995.

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10

International, Symposium on Microelectronics (1995 Los Angeles California). 1995 International Symposium on Microelectronics: Proceedings : 24-26 October, 1995, Los Angeles Convention Center, Los Angeles, California. ISHM-The Microelectronics Society, 1995.

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11

Crisp, C. G. Genre, myth, and convention in the French cinema, 1929-1939. Indiana University Press, 2002.

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12

International Symposium on Microelectronics (1998 San Diego, Calif.). Proceedings 1998 International Symposium on Microelectronics: November 1-4, 1998, San Diego Convention Center, San Diego, California. IMAPS ... in cooperation with SPIE--the International Society for Optical Engineering, 1998.

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13

International Symposium on Microelectronics (2003 Boston, Mass.). Proceedings 2003: International Symposium on Microelectronics : IMAPS : November 18-20, 2003, Hynes Convention Center, Boston, MA. IMAPS, 2003.

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14

Electroless Nickel '95 Conference (1995 Fort Mitchell, Ky.). Electroless Nickel '95, November 6-8, 1995, the Drawbridge Estate & Convention Center, Ft. Mitchell, Kentucky (Greater Cincinnati Airport area): Proceedings. Gardner Publications, 1995.

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15

W, Roman John, International Microelectronics and Packaging Society, and Society of Photo-optical Instrumentation Engineers., eds. Proceedings 2000: International Symposium on Microelectronics : September 20-22, 2000, Hynes Convention Center, Boston, Massachusetts. IMAPS, 2000.

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16

Che Halin, Dewi Suriyani, Alias Mohd, Nur Izzati Muhammad Nadzri, et al. THIN FILMS TECHNOLOGY. 2024th ed. PENERBIT UNIVERSITI MALAYSIA PERLIS, 2024. http://dx.doi.org/10.58915/bk2023.011.

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This book provides an insights of the thin film development focusing on the Thin Films Technology: Materials, Characterisation and Applications. The detail topics are divided into five topics ranging from the materials, the techniques and fundamental core of characterisation and the applications towards the future technology. The conventional alloy and bulk samples are well used in different industries, which shows its capabilities to improve properties of a material. However, the ability of the thin films with the same material of the bulk surpasses these properties with and extraordinary and

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17

McGuiness, C. L., R. K. Smith, M. E. Anderson, P. S. Weiss, and D. L. Allara. Nanolithography using molecular films and processing. Edited by A. V. Narlikar and Y. Y. Fu. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199533060.013.23.

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This article focuses on the use of molecular films as building blocks for nanolithography. More specifically, it reviews efforts aimed at utilizing organic molecular assemblies in overcoming the limitations of lithography, including self-patterning and directed patterning. It considers the methods of patterning self-assembled organic monolayer films through soft-lithographic methods such as microcontact printing and nanoimprint lithography, through direct ‘write’ or ‘machine’ processes with a nanometer-sized tip and through exposure to electron or photon beams. It also discusses efforts to pat

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18

Horlock, Douglas. The Films of Delmer Daves. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496838841.001.0001.

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Although Delmer Daves was a prolific director and screenwriter during Hollywood’s ‘Golden Age,’ there has been little serious analysis of his work. Regarded as a director of non-reflective action movies, author and director Bertrand Tavernier concluded that he was the most forgotten of American directors. More recent publications which consider his better known films have initiated more sustained appreciation of Daves as a film-maker, but to date, no scholarly monograph has examined his full body of work. This comprehensive study considers all his films, as well as screenplays written for othe

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19

Hudson, Dale. “Making” Americans from Foreigners. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423083.003.0003.

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Although conventional studies look to the earliest surviving vampire film, Prana-Films’ Nosferatu (1922) as source for visual codes and narrative conventions in Hollywood vampire media, this chapter locates them in segregation comedies, immigration romances, and miscegenation melodramas. These films establish conventions that facilitate or inhibit foreigners being americanized. Since citizenship for women was derivative from fathers or husbands, foreign women were considered less threatening. Consequently, male immigrants in Edison Company shorts (1895–1896), industrial and state recruitment f

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20

Neilan, Chris. Beyond the Monoplot. Bloomsbury Publishing Inc, 2025. https://doi.org/10.5040/9798765107553.

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This book provides a toolkit for unconventional practice—a comprehensive list of unconventional story shapes and the meanings they create, with accompanying case studies, including: one-act structure; two-act structure; passive protagonists; untimely death of the protagonist, and more. Formed from Aristotelian principles and a three-act shape brought to Hollywood by Broadway playwrights after the advent of sync sound, Conventional Monoplot has come to dominate screen storytelling practice throughout the Western world. For the experimental, rule-suspicious, unconventional screenwriter, alternat

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21

Jutz, Gabriele. Audiovisual Aesthetics in Contemporary Experimental Film. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.10.

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This chapter maps the territory of the contemporary audiovisual cinematic avant-garde, which arose at the very moment of celluloid’s passage from mass use to obsolescence. It presents films that bear witness to the avant-garde’s ongoing interest in the formal organization of sound/image relationships. If one of the main concerns of sound in conventional film is to “naturalize” the image, experimental film is interested instead in ananti-naturalistic use of sound. Films without sound or even without images (which still can be called “films”), the use of audiovisual polysemy, asynchronous, or ev

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22

Grindon, Leger. Hollywood Romantic Comedy: Conventions, History, Controversies. Wiley & Sons, Incorporated, John, 2011.

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23

Grindon, Leger. Hollywood Romantic Comedy: Conventions, History, Controversies. Wiley & Sons, Limited, John, 2012.

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24

Grindon, Leger. Hollywood Romantic Comedy: Conventions, History, Controversies. Wiley & Sons, Incorporated, John, 2011.

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25

Walker, Elsie. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190495909.003.0002.

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The introduction cites numerous critical responses to Michael Haneke that wrongly assume his emotional coldness and misanthropic outlook. Though his films are notorious for subjecting us to harsh experiences of violence, this book establishes a moral forerunner to Haneke: Bertolt Brecht. Like Brecht, Haneke allows for the audience’s emotional reactions, while also prompting their active engagement with a view to progressive change. More particularly, he defamiliarizes conventional uses of film sound to engage our hearts and imaginations, much as Brecht disrupted mainstream theatrical forms of

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26

Walker, Michael. Modern Ghost Melodramas What Lies Beneath. Amsterdam University Press B.V., 2017. http://dx.doi.org/10.5040/9789048561285.

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The popular and critical successes of films like The Sixth Sense and The Ring and its sequels in the late 1990s led to an impressive international explosion of scary films dealing with ghosts. This book takes a close look at a number of those films from different countries, including the United States, Japan, South Korea, Spain, and Great Britain. Making a crucial distinction between these atmospheric films and conventional horror, Michael Walker argues that they are most productively seen as ghost melodramas, which opens them up to a powerful range of analytic tools from the study of melodram

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27

Wiebe, Heather. Mobilizing Music in Wartime British Film. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197631713.001.0001.

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Abstract Mobilizing Music in Wartime British Film traces a preoccupation with art music and total war that animates 1940s British films. From acclaimed films such as The Red Shoes and Brief Encounter to experimental documentaries, colonial propaganda films, and largely forgotten melodramas, music was persistently given a central role in the action. These films are driven by questions around the efficacy of art music, not just in the conventional sense of uplift or morale-building, but as a sonic force acting on bodies, minds, and materials—as a resource to be mobilized or demobilized. Their el

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28

Koresky, Michael. Bathed in the Fading Light. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038617.003.0001.

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This chapter examines the film career of British director Terence Davies. The cinema of Davies is one of contradictions—between beauty and ugliness, the real and the artificial, progression and tradition, motion and stasis. These opposites reflect a certain struggle, for the filmmaker and his characters, to make sense of a confusing and sometimes violent world. For Davies, this struggle constitutes a reckoning with his past, a highly personal account of a fractured childhood; for the viewer it has resulted in one of the richest, most idiosyncratic, and arrestingly experimental bodies of work p

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29

Baumgartner, Michael. Metafilm Music in Jean-Luc Godard's Cinema. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190497156.001.0001.

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Abstract This monograph explores the underresearched use of music in Jean-Luc Godard’s films and video essays from the early 1960s to the late 1990s. While Godard is largely hailed as a leading innovator of visual montage, unique storytelling style, and groundbreaking cinematography, his achievements as a leading pioneer in sculpting complex soundtracks altering the familiar relationship between sound and image have been mainly overlooked. On these soundtracks, music assumes the unique role of metafilm music. Metafilm music self-consciously refers to its own role as film music and disrupts the

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30

Townsend, Sylvia. Bumpy Road. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496804143.001.0001.

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In meticulous detail, the book describes the filming, release, and influence of the 1971 film Two-Lane Blacktop. In 1970 the urbane producer Michael Laughlin asked the hippy filmmaker Monte Hellman to direct a script called Two-Lane Blacktop. The cult author Rudy Wurlitzer rewrote the script, the story of two scruffy hot rodders who pick up a girl hitchhiker and race their classic ’55 Chevy against a rich guy’s “factory –made hot rod,” a ’70 GTO Judge. In three of the four lead roles Hellman cast nonactors – the rock stars James Taylor and Dennis Wilson, and the director’s girlfriend, Laurie B

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31

Hattnher, Álvaro. Zombies Are Everywhere. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.21.

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Inverting the conventional vector in adaptations (literature to film) restores to life texts that, on occasion or for some audiences, might be dead. Chapter 21 demonstrates the ways zombie apocalypse narratives in different media function as constant adaptations created from a collective hypotext formed by the films in George Romero’s Living Dead hexalogy. To embrace this inversion and the myriad possibilities it unleashes within the set of the existing textual architectures requires the extension and transformation of the very concept of adaptation. This transformation involves both a greater

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32

Block, Geoffrey. From Screen to Stage. Edited by Robert Gordon. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195391374.013.0016.

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Stephen Sondheim, in collaboration first with director Hal Prince and librettist Hugh Wheeler and later with director–librettist James Lapine, adapted two films to the musical stage. The first isA Little Night Music(1973), a musical based on Ingmar Bergman’s comic Swedish film masterpieceSmiles of a Summer Night(1955); the second isPassion(1994), described by Sondheim as “the world’s only epistolary musical,” based on the Italian filmPassione d’Amore(1981), adapted by director Ettore Scola from Iginio Ugo Tarchetti’s epistolary novelFosca(1869). InNight MusicSondheim offers a musical counterpa

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33

Convention Files: Annual Convention; 1968 10 Items. Creative Media Partners, LLC, 2021.

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34

Brode, Douglas, and Shea T. Brode. Twenty-First-Century Western. Lexington Books, 2019. https://doi.org/10.5040/9781978733459.

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Focusing on twenty-first century Western films, including all major releases since the turn of the century, the essays in this volume cover a broad range of aesthetic and thematic aspects explored in these films, including gender and race. As diverse contributors focus on the individual subgenres of the traditional Western (the gunfighter, the Cavalry vs. Native American conflict, the role of women in Westerns, etc.), they share an understanding of the twenty-first century Western may be understood as a genre in itself. They argue that the films discussed here reimagine certain aspects of the

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35

Saxton, Libby. No Power Without an Image. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474463157.001.0001.

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No Power Without an Image is the first detailed study of what filmic images can tell us about iconic photographs. Previous scholarship on iconic images, including the proliferation of recent writings on the subject, has typically centred on, or at least paid special attention to, the medium of photography. Yet the publications that helped create some of the most familiar such icons were deeply influenced by cinema, privileging dynamic photographs and layouts and juxtaposing photojournalism with film stills and film frames. Photojournalistic icons, moreover, often coexist as film or video seque

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36

The Hollywood romantic comedy: Conventions, history, controversies. Wiley-Blackwell, 2011.

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37

Umland, Samuel J. Tim Burton Encyclopedia. The Rowman & Littlefield Publishing Group, Inc., 2015. https://doi.org/10.5040/9798881831448.

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Tim Burton is one of the most inventive filmmakers in the world. From his early work as an animator for Disney studios to his distinctive takes on iconic characters like Batman and Alice in Wonderland, Burton’s skewed vision of the world has informed all of his films. Imbuing his films with a comically dark tone, Burton provides a twisted slant on conventional storytelling. In The Tim Burton Encyclopedia, Samuel J. Umland looks at all aspects of this idiosyncratic storyteller’s films, which frequently display childlike wonder and a macabre humor. Entries in this volume focus on Burton’s artist

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38

Keegan, Cáel M. Lana and Lilly Wachowski. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252042126.001.0001.

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This book analyzes the filmmaking careers of Lana and Lilly Wachowski as the world’s most influential transgender media producers. Situated at the intersection of trans* studies and black feminist film studies, it argues that the Wachowskis’ cinema has been co-constitutive with the historical appearance of transgender, tracing how their work invents a trans* aesthetics of sensation that has disrupted conventional schemas of race, gender, space, and time. Offering new readings of the Wachowskis’ films and television, it illustrates the previously unsensed presence of transgender in the subtext

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39

Lindenfeld, Laura, and Fabio Parasecoli. Feasting Our Eyes. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231172516.001.0001.

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Big Night (1996), Ratatouille (2007), and Julie and Julia (2009) are more than films about food—they serve a political purpose. In the kitchen, around the table, and in the dining room, these films use cooking and eating to explore such themes as ideological pluralism, ethnic and racial acceptance, gender equality, and class flexibility—but not as progressively as you might think. Feasting Our Eyes takes a second look at these and other modern American food films to emphasize their conventional approaches to nation, gender, race, sexuality, and social status. Devoured visually and emotionally,

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40

Berliner, Todd. Genre and Ideology in Starship Troopers. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658748.003.0009.

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Whereas chapter 8 demonstrates how ideology can complicate a film’s artistic design, chapter 9 shows how a film’s artistic design can complicate its ideology. Starship Troopers illustrates the commercial risks, and the aesthetic excitement, of a Hollywood film whose formal properties muddle up its ideological content. The film’s unconventional use of genre devices leads to ideological complexities that pose challenges for spectators trying to make sense of the film’s form and meaning. Starship Troopers employs the conventions of the Hollywood war film and the war film satire in ways that make

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41

Massachusetts State Cio Industrial Un. Convention Files: Massachusetts State CIO Convention; 1957 47 Items. Creative Media Partners, LLC, 2021.

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42

Lund, Joshua. Werner Herzog. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043178.001.0001.

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Werner Herzog is the first book-length study of Werner Herzog’s American (in the hemispheric sense) work. It is also the first sustained, book-length study on the question of the political in Herzog’s work. Finally, as part of a series on contemporary directors, it introduces Herzog’s films through the arc of his long career, about 60 films (and counting) over nearly 60 years. The approach is materialist and postcolonial, with systematic attention paid to the historical impulses surrounding the films, both in terms of their history of representation (the stories that the films tell) and their

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43

Cooper, L. Andrew. Dario Argento. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037092.003.0001.

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This book explores the extreme violence that pervades Dario Argento's films, and particularly the ways in which they push the limits of visual and auditory experience by offending, confusing, sickening, and baffling the viewers. It looks at Argento's approach to his work over more than four decades of filmmaking, and his commitment to innovation that is evident in two closely related genres whose disturbing violence reaches previously unrecorded levels of pain, suffering, and mental anguish: crime thriller and supernatural horror. From his directorial debut, The Bird with the Crystal Plumage (

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44

Jordan, Randolph. Acoustical Properties. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.44.

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One of the defining thematic preoccupations in the fiction filmmaking of Philippe Grandrieux, one of the leading figures in French Art Cinema, is that of the politics of property. InSombre, La Vie Nouvelle, andUn Lac, the relationship dynamics between a woman and a variety of agents competing to claim her are mapped out in the overlap between different registers of space. This overlap opens up complex dynamics between differing spatial practices that are evident within Grandrieux’s narratives and the stylistics with which he shapes them, breaking down conventional understanding of the distance

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45

Boerboom, Samuel, and Beth E. Bonnstetter, eds. Political Mel Brooks. The Rowman & Littlefield Publishing Group, 2019. https://doi.org/10.5040/9781978735385.

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The Political Mel Brooks analyzes both Mel Brooks’s more popular films and his lesser known work to explore how his use of parody and satire, his keen sense of the history of Jewish comedic conventions, and his deep awareness of social issues encompasses a political project that, while often implicit, nonetheless speaks to the enduring political and social impact of his films. Brooks’s work often employs a nuanced political style that acts as a social commentary against those in power and in favor of oppressed and misunderstood persons. This volume emphasizes Brooks’s political legacy and his

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46

Rafter, Nicole, and Michelle Brown, eds. The Oxford Encyclopedia of Crime, Media, and Popular Culture. Oxford University Press, 2018. http://dx.doi.org/10.1093/acref/9780190494674.001.0001.

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Over 120 scholarly articlesCrime and punishment fascinate. Overwhelming in their media dominance, they present us with our most popular television programs, films, novels, art works, video games, podcasts, social media streams and hashtags. This encyclopedia, a massive and unprecedented undertaking, offers a foundational space for understanding the cultural life and imaginative force and power of crime and punishment. Across five areas foundational to the study of crime and media, leading scholars from five continents engage cutting edge scholarship in order to provide definitive overviews of

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47

Sawhney, Rashmi. Revising the Colonial Past, Undoing “National” Histories. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0012.

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This chapter investigates the historical imagination of 1980s Indian women filmmakers seeking “companionship” with generations of women enduring or resisting convention in India's colonial past. Leveraging the emergence in the 1980s of an Indian women's cinema—and reflecting on the cinematic construction of gender debates in colonial India through its films, the chapter highlights the challenges they pose to establishing “national” narratives of gender or film history. Three films about gender and reform in late-nineteenth and early-twentieth-century colonial India are discussed: Phaniyamma (P

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48

Weisenfeld, Judith. Race, Religion, and Documentary Film. Edited by Paul Harvey and Kathryn Gin Lum. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190221171.013.2.

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This chapter uses Ingagi and The Silent Enemy, both independent films released in 1930, to examine the intersections of race and religion in the context of American documentary film conventions. The filmmakers claimed documentary status for their films, despite the fact that both were largely scripted and contained staged representations. Many audience members and critics nevertheless took their representations of the religious practices of Africans and Native Americans to be truthful and invested in the films’ authenticity because their visual codes, narratives, and advertising confirmed acce

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49

Hill, Matthew B. Unconventional Warriors. ABC-CLIO, LLC, 2018. http://dx.doi.org/10.5040/9798216029045.

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Tracing the “American Guerrilla” narrative through more than one hundred years of film and television, this book shows how the conventions and politics of this narrative influence Americans to see themselves as warriors, both on screen and in history. American guerrillas fight small-scale battles that, despite their implications for large-scale American victories, often go untold. This book evaluates those stories to illumine the ways in which film and television have created, reinforced, and circulated an “American Guerrilla” fantasy—a mythic narrative in which Americans, despite having the m

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50

Geis, Deborah R. Culinary Cinema. Lexington Books, 2025. https://doi.org/10.5040/9781978748545.

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In this book, Deborah Geis offers a new approach to the evolving genre of culinary films that center on the acts of eating and cooking through close analyses of ten different films. These films range from the classics, like Big Night (1996) and Babette’s Feast (1987) to later box-office hits, like Chef (2014) and to films that deserve a second look, like East Side Sushi (2014), Burnt (2015), and Mid-August Lunch (2008). Throughout these analyses, the book focuses on tropes including the “big dinner” as it connects to intercultural and transcultural communities; the self-destructive perfectioni

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