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Journal articles on the topic 'Critical film studies'

Author: Grafiati

Published: 10 December 2022

Last updated: 31 July 2025

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1

Cabrini, Leonardo. "Italian Studies: Film Studies." Year’s Work in Modern Language Studies 84, no. 1 (2024): 364–73. http://dx.doi.org/10.1163/22224297-08401009.

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Chaplin, Felicity. "Francophone and French Studies: Film Studies." Year’s Work in Modern Language Studies 84, no. 1 (2024): 93–109. http://dx.doi.org/10.1163/22224297-08401027.

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Chaplin, Felicity. "Francophone and French Studies: Film Studies." Year’s Work in Modern Language Studies 85, no. 1 (2025): 90–107. https://doi.org/10.1163/22224297-08501036.

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Silva, Cecilia. "Critical reviews of a film." Comunicar 10, no. 19 (2002): 92–96. http://dx.doi.org/10.3916/c19-2002-16.

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This paper presents the use of a film, «Camila», in a class-group of Spanish as a foreign language. In order to explore the deep links between language practice and social context, the author uses a personal method that discovers them, using two elements El presente trabajo aborda las definiciones de conceptos-fuerza y esquemas de conocimiento, y describe su aplicación en el análisis de un filme «Camila» en la clase de Español como lengua extranjera en una Universidad de Estudios Extranjeros en Japón. A lo largo de la experiencia, 82 estudiantes, divididos en cinco grupos, desglosaron esta pel

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Wasson, Haidee. "Formatting Film Studies." Film Studies 12, no. 1 (2015): 57–61. http://dx.doi.org/10.7227/fs.12.0007.

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Film studies is currently undergoing a needed and healthy expansion of methodologies and critical approaches, including media, cultural and technology studies. This is crucial not just for examining cinemas present but also its past. Using format theory, this article opens up our understanding of what cinema has been, rather than what it should have been. It does this by documenting the minor technological footprint of movie theatres when compared to the expansive one consisting of 8mm and 16mm small-gauge projectors. In the United States by 1980, these portable devices,outnumbered commercial

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Gu, Zhewen. "A Critical Analysis of the Masculinity in Creation of the Gods : Kingdom of Storms." Communications in Humanities Research 20, no. 1 (2023): 81–87. http://dx.doi.org/10.54254/2753-7064/20/20231296.

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Researchers in the field of film studies have identified that masculinity plays a significant role in all aspects of film narratives, encompassing character development, plot Within the realm of film studies, scholars have discerned the pervasive presence of masculinity as a pivotal element across various facets of cinematic narratives. This encompassing influence extends to character evolution, the trajectory of the plot, and the thematic exploration of films. The following discussion takes the film Creation of the Gods I: Kingdom of Storms as a focal point, a cinematic adaptation rooted in C

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Sheng, K. C., S. J. Lee, Y. H. Shen, et al. "Raman studies of reactive DC-magnetron sputtered thin films of YBaCuO on MgO." Journal of Materials Research 4, no. 6 (1989): 1312–19. http://dx.doi.org/10.1557/jmr.1989.1312.

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Raman spectroscopy was employed to study Y–Ba–Cu–O films prepared by multilayer, reactive sputtering from separate Y, Cu, and Ba0.5Cu0.5 targets. A set of films having the composition YxBa2CuyOz with 0.7 < x < 1.8 and 2.8 < y < 3.5 and critical temperature with zero resistance, Tc(R = 0), ranging from 25 to 90 K was studied with the Raman technique. The correlation between Raman data and critical temperature, Tc, was investigated. This technique provides important information concerning the film crystallinity, homogencity, and impurity content (including other phases) which is usef

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Felando, Cynthia. "Editor’s Introduction." Short Film Studies 12, no. 2 (2022): 131–32. http://dx.doi.org/10.1386/sfs_00074_2.

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This introduction summarizes the collection of essays in Short Film Studies, Issue 12.2, with attention to the films, filmmakers, short film themes and critical/theoretical approaches used for analyses.

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Debnath, Kunal, and Nagendra Kumar. "Postmodern Elements in Katsuhiro Ōtomo’s Akira (1988)." Humanities & Social Sciences Reviews 10, no. 1 (2022): 55–61. http://dx.doi.org/10.18510/hssr.2022.1017.

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Purpose of the Study: This research paper intends to unravel and examine the postmodern elements in Katsuhiro Ōtomo’s anime film Akira (1988). This paper aims to analyze and critically study the postmodern elements as evident in the film and add more knowledge to the existing critical studies available on the film. Methodology: The primary text for this research is Katsuhiro Ōtomo’s anime film Akira (1988). Close textual analysis has been applied to analyze the text in view of the characteristics of postmodernism. The text is read in terms of postmodernism’s traits. Main Findings:

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Koven, Mikel J. "Folklore Studies and Popular Film and Television: A Necessary Critical Survey." Journal of American Folklore 116, no. 460 (2003): 176–95. http://dx.doi.org/10.2307/4137897.

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Abstract The study of folklore and popular film and television, although frequently ignored by folkloristics and film scholars alike, has produced a number of articles and paradigms which not only inform its own study, but also other disciplines. This current study is a much-needed critical survey of the existing academic literature on the relationship between contemporary folkloristics and popular film and television.

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Fujisawa, N., M. V. Swain, N. L. James, R. N. Tarrant, J. C. Woodard, and D. R. McKenzie. "Nanoindentation studies of brittle thin films on a titanium alloy substrate." Journal of Materials Research 17, no. 4 (2002): 861–70. http://dx.doi.org/10.1557/jmr.2002.0125.

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The mechanical properties of a range of tribological mitigating and biocompatible films deposited on a titanium alloy substrate have been investigated using nanoindentation. For a range of carbon films investigated, the ratio of hardness to modulus was almost constant at around 0.1. The onset of film–substrate interactions of a coated system upon progressive loading could be determined as the depth of penetration at which the slope of the force versus depth curve deviated from that of an analytically derived “bulk film” system that incorporated the indenter tip effect on the contact area. For

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Et.al, Poonam Pichanot. "Portrayal of Women from Stereotype to Empowered in Film Studies." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 3 (2021): 3282–87. http://dx.doi.org/10.17762/turcomat.v12i3.1577.

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Nowadays, without films, we can't really imagine contemporary India society. Although this is Unable to conceptualize a film without a 'story.' A film must 'tell' and 'show' Story, unravelling layer by layer, introducing the magic of the silver narrative on the screen. The stories rooted in culture are praised by the viewer. More so, if they are widely acknowledged in oral or written form, right from the beginning, there has been an indelible connection between literature and films. The policy begins with depictions of women protagonists in mainstream Bollywood films. This topic is considered

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Armendariz-Hernandez, Alejandra. "The Japanese Cinema Book – FUJIKI Hideaki & Alastair PHILLIPS (eds)." Artists, Aesthetics, and Artworks from, and in conversation with, Japan - Part 2, no. 9 (December 20, 2020): 95–101. http://dx.doi.org/10.32926/2020.9.r.arm.cinem.

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Japanese film studies is an academic discipline and research community focusing on the multifaceted aspects of Japanese cinema. Deeply interdisciplinary, it employs theories, critical approaches and methods from different fields such as film studies and cultural studies to understand Japanese films as works of art, cultural products and social practices. What makes a film “Japanese”, and even what is a film, are far from easy questions, particularly in the globalised, transnational and digitalised world in which we now live, but nevertheless are issues that define the disciple and its historio

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Beck, Magali Sperling. "Current critical perspectives in literature, film, and cultural studies." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 70, no. 1 (2017): 11. http://dx.doi.org/10.5007/2175-8026.2017v70n1p11.

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Corseuil, Anelise Reich, and Magali Sperling Beck. "Mapping Critical Journeys in Literature, Film, and Cultural Studies." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 72, no. 1 (2019): 9–14. http://dx.doi.org/10.5007/2175-8026.2019v72n1p9.

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Simic, Marina, and Milos Nicic. "From alienation to irony: Critical film studies and kynical subversion in Serbian film." Bulletin de l'Institut etnographique 70, no. 2 (2022): 177–98. http://dx.doi.org/10.2298/gei2202177s.

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In this paper, we will discuss two issues. First, the relation between political theory and film studies is discussed as the basis for the emergence of critical film studies and its contemporary transformation. Second, we consider the kynical subversion and ironic appropriation as a set of frameworks for understanding the social reality and politics in the Yugoslav Black Wave cinema as well as in the movies of the contemporary Serbian cinematography. New forms of popular appropriations of cinematographic heritage show the ways through which both the very movies and critical film studies have d

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Aveyard, Karina, and Albert Moran. "Cinema-Going, Audiences and Exhibition." Media International Australia 139, no. 1 (2011): 73–79. http://dx.doi.org/10.1177/1329878x1113900110.

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This special issue of Media International Australia represents an effort to progress critical understanding of the broader social and economic formations that shape the circulation and consumption of films. The collection provides a range of diverse and compelling insights into the processes of film circulation and viewing, both within the home and at the cinema. Accordingly, these articles address important questions such as: Why do audiences seek out film content? How are films accessed and by whom? What place does film have in popular social memory? How does the site of consumption shape th

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Afifulloh, M., and Nurvita Wijayanti. "Body Size on Cinema: A Critical Discourse Analysis on Contemporary Indonesian Cinema." Studies in Media and Communication 11, no. 1 (2022): 25. http://dx.doi.org/10.11114/smc.v11i1.5790.

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This article discusses how a fat body in a film is used as a metaphor for a deviant, dangerous, and irresponsible personality through the various narratives occupied by the characters in the film. This research is qualitative research with the main data source is Imperfect film released in 2020. The approach used is a combination of film studies and Sara Mills' critical discourse analysis. The results of the study show that although Imperfect promotes gender equality in society, the narrative that is built still position fat bodies and black skin as non-ideal, especially for woman. Furthermore

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Sumbogo, Tri Adi, and Nina Mutmainnah. "Filmmaking and Critical Pedagogy Amongst Youth as Cultural Empowerment in Banyumas, Indonesia." IKAT: The Indonesian Journal of Southeast Asian Studies 5, no. 2 (2022): 113. http://dx.doi.org/10.22146/ikat.v5i2.71556.

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The local film community run by cultural activists typically conducts several film practices, such as film production, distribution, and exhibition independently. In post-New Order Indonesia, the Banyumas subculture has become an alternative site of struggle for producing critical films against mainstream and commercial films. This study questions how Banyumas cultural activists develop critical learning and nurture an awareness-raising process for local students through filmmaking and how Banyumas’ local film production forms a new culture enacting social change. The authors adopt a qualitati

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Brown, Adam. "Book Review: Fantasy Film: A Critical Introduction." Media International Australia 144, no. 1 (2012): 186–87. http://dx.doi.org/10.1177/1329878x1214400144.

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Strong, Catherine. "Book Review: Teen Film: A Critical Introduction." Media International Australia 147, no. 1 (2013): 161–62. http://dx.doi.org/10.1177/1329878x1314700121.

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Radkiewicz, Małgorzata. "Sexuality, Feminism and Polish Cinema in Maria Kornatowska’s "Eros i film"." Panoptikum, no. 23 (August 24, 2020): 117–30. http://dx.doi.org/10.26881/pan.2020.23.09.

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The text addresses the issue of feminist film criticism in Poland in the 1980s, represented by the book by Maria Kornatowska Eros i film [Eros and Film, 1986]. In her analysis Kornatowska focused mostly on Polish cinema, examined through a feminist and psychoanalytic lens. As a film critic, she followed international cinematic offerings and the latest trends in film studies, which is why she decided to fill the gap in Polish writings on gender and sexuality in cinema, and share her knowledge and ideas on the relationship between Eros and Film. The purpose of the text on Kornatowska’s book was

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Verhoeven, Deb. "Visualising data in digital cinema studies." Alphaville: Journal of Film and Screen Media, no. 11 (August 17, 2016): 92–104. http://dx.doi.org/10.33178/alpha.11.06.

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This article examines the critical role visualisation plays for digital cinema studies and proposes that cinema studies has an equally critical role to play in evaluating and developing visualisation methods. The article reflects on work undertaken in the Kinomatics Project, a multidisciplinary study that explores, analyses and visualises the industrial geometry of motion pictures and which is one of the first ‚Äúbig data‚Äù studies of contemporary cultural diffusion. Its examination of global film flow rests on a large dataset of showtime information comprising more than 330 million records t

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Dhaenens, Frederik. "How queer is ‘pink’ programming? On the representational politics of an identity-based film program at Film Fest Gent." Sexualities 21, no. 5-6 (2017): 793–808. http://dx.doi.org/10.1177/1363460717699780.

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International film festivals (IFFs) are increasingly taking an interest in offering programs that target LGBT audiences. Since this practice can be understood as an emancipatory and commercial strategy, this article examines the implications of this ambiguity within an IFF’s politics of representation. Drawing on the results from a textual and contextual analysis of the films and programming strategies of the 2014 Film Fest Gent in Belgium, this article argues that an IFF has the potential to engage in moderately queer programming. By offering an identity-based program that makes room for alte

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Kawasaki, Masashi, та Masashi Nantoh. "Crystal Growth and Atomic-Level Characterization of YBa2Cu3O7–δ Epitaxial Films". MRS Bulletin 19, № 9 (1994): 33–38. http://dx.doi.org/10.1557/s0883769400047965.

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Epitaxial thin-film growth of high-critical-temperature (Tc) superconductors has been intensively studied not only because it is one of the key technologies for electronic application but also because it provides suitable specimens for elucidating the superconducting mechanism. For simply making thick (>100 nm) epitaxial films, various deposition techniques such as sputtering, pulsed laser deposition (PLD), evaporation, including molecular beam epitaxy (MBE), and chemical vapor deposition (CVD) have been verified as applicable. For instance, high-quality YBa2Cu3O7–δ (YBCO) films, in terms o

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Modisane, Litheko. "Experiments in cinematic biography: Ken Gampu’s early life in the cinema." Journal of African Cinemas 12, no. 2-3 (2020): 119–35. http://dx.doi.org/10.1386/jac_00032_1.

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Contemporary scholarship on South African film is yet to address the participation of Black actors in film production, exhibition and publicity. The actors’ interpretive roles in the films, their memories and experiences, and the contradictions of their participation in colonial films and beyond, form part of an unexplored and hidden archive in South African film scholarship. This article focuses on Ken Gampu’s early life in the cinema by reflecting on his participation in two films: a western The Hellions and the drama Dingaka. Gampu was a well-known South African actor and also the first Bla

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Matsuda, J., K. Nakaoka, T. Izumi, Y. Yamada, and Y. Shiohara. "Transmission electron microscopic studies on growth mechanism of YBa2Cu3O7−y films formed by advanced trifluoroacetates metalorganic deposition process." Journal of Materials Research 23, no. 12 (2008): 3353–62. http://dx.doi.org/10.1557/jmr.2008.0398.

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Microstructure evolution of YBa2Cu3O7−y (YBCO) films during the two heat-treatments in the advanced trifluoroacetates metalorganic deposition (TFA-MOD) process has been investigated by means of transmission electron microscopy. In the calcination process, precursor films including nanopores were formed through the shrinkage of the film after a remarkable increase of the thickness due to the thermal decomposition of metalorganic salts in the starting solution. During the crystallization process, the densification and shrinkage of the film occurred after agglomeration of nanopores and coarsening

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Varmazi, Eleni, and Funda Kaya. "Debates about the generic ontology of film noir." Catalan Journal of Communication & Cultural Studies 12, no. 1 (2020): 145–52. http://dx.doi.org/10.1386/cjcs_00019_1.

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This viewpoint discusses the various definitions given to classic film noir in order to show how the concept of film noir is difficult to demarcate as a genre, remaining a debatable subject among theoreticians. On a broader level, it might be argued that these discussions are linked with the intertextuality, the dynamism and the hybridity of film genres. One can also argue that film noir stands as one of the preliminary examples of such hybridity in the history of Western narrative cinema. Such a debate is also connected to film noir’s deviance from Hollywood conventions. While inhabiting elem

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Marini, Anna Marta, and Sorcha Ní Fhlainn. "Vampire and Monster Narratives: An Interview with Sorcha Ní Fhlainn." REDEN. Revista Española de Estudios Norteamericanos 3, no. 2 (2022): 145–58. http://dx.doi.org/10.37536/reden.2022.3.1825.

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 Sorcha Ní Fhlainn is a senior lecturer in film studies and American studies at Manchester Metropolitan University. She specializes in gothic studies, horror cinema, popular culture, and American studies indeed. Her work is focused in particular on vampire and monster narratives. She has published a long list of essays and several books, among which the collections Our Monster Skin: Blurring the Boundaries Between Monsters and Humanity(2010), The Worlds of Back to the Future: Critical Essays on the Films (2010), Clive Barker: Dark Imaginer (2017), and her monograph Postmodern Vampires in

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Field, Allyson Nadia, and Hayley O’Malley. "Histories and Futures of Black Feminist Film Curation." Feminist Media Histories 10, no. 2-3 (2024): 87–113. http://dx.doi.org/10.1525/fmh.2024.10.2-3.87.

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Highlighting past and present film curatorial and programming projects by Black women, the roundtable conversation printed here featured Ina Archer, Cheryl Chisholm, Monica Freeman, Jennifer Lawson, O.Funmilayo Makarah, and Yvonne Welbon. Moderated by Allyson Nadia Field and Hayley O’Malley, the conversation began at the 2023 Sojourner Truth Festival of the Arts in Chicago and offered an occasion for curators of Black feminist film and media work to reflect on their careers and the labor involved in connecting films with audiences. Even as Black feminist media has gained more critical and popu

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Hook, Genine. "Towards a Decolonising Pedagogy: Understanding Australian Indigenous Studies through Critical Whiteness Theory and Film Pedagogy." Australian Journal of Indigenous Education 41, no. 2 (2012): 110–19. http://dx.doi.org/10.1017/jie.2012.27.

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This article explores student and teacher engagement with Australian Indigenous Studies. In this article I identify key themes in the film September (2007) that demonstrate how the film can be used as a catalyst for student learning and discussion. Critical whiteness theory provides a framework to explore three themes, the invisibility of whiteness, the reachability of whiteness and the cultural interface. Critical whiteness theory identifies the way in which non-Indigenous people centralise and normalise whiteness within colonised societies, and particularly considers how white privilege is m

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Brown, Adam. "Book Review: Science Fiction Film: A Critical Introduction." Media International Australia 144, no. 1 (2012): 177–78. http://dx.doi.org/10.1177/1329878x1214400135.

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Ginsberg, Terri. "Towards a Critical Pedagogy of Holocaust and Film." Review of Education, Pedagogy, and Cultural Studies 26, no. 1 (2004): 47–59. http://dx.doi.org/10.1080/10714410490423631.

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DUCKETT, VICTORIA. "Women on the Margins of Early French Cinema: Three Case Studies." Australian Journal of French Studies 62, no. 1 (2025): 55–67. https://doi.org/10.3828/ajfs.2025.06.

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This article explores the question of margins in early French cinema by considering three related case studies: Sarah Bernhardt, Réjane and Mistinguett. These three actresses emerged from the social, cultural and creative margins of late-nineteenth-century Paris to become entrepreneurial performers who pioneered new ways of engaging with film. Bernhardt used the spiralling tendrils of the art nouveau aesthetic to position the female body at the apex of serpentine expression. Réjane, a comic actress raised by a single mother, instead achieved fame through parody. Bringing the female working cla

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Ma, Qing. "X-ray Scattering Studies of amorphous thin film materials." Acta Crystallographica Section A Foundations and Advances 70, a1 (2014): C859. http://dx.doi.org/10.1107/s2053273314091402.

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In light of advances in detector technology, we revisit wide angle x-ray scattering techniques and their application to amorphous thin films that are of technological importance. For thin film materials the asymmetrical reflection geometry is employed to avoid the substrate signals. Incident x-ray angles are typically set close to the critical angles. There are various complications related to this geometry, in particular, raw scattering patterns being distorted. In addition, because these materials are typically weak scatterers due to disorder, increased data collection efficiency is always d

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du Plooy, Belinda. "Sacred Subtexts: Depictions of Girls as Christ Figure and Holy Fool in the Films Moana and Whale Rider." Feminist Theology 30, no. 1 (2021): 85–103. http://dx.doi.org/10.1177/09667350211031152.

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Christ figures and holy fools are familiar religious symbols often repeated and adapted in film making. They have historically most often been depicted as male, and among the slowly growing body of female filmic christ figures, they are usually depicted as adult White women. In this article, I consider two films, Niki Caro’s Whale Rider and Disney’s Moana, in which young Indigenous girls are depicted within this trope. I engage in close reading of the films, in relation to Anton Karl Kozlovic’s theoretical framework for structural characteristics of the filmic christ figure, as I focus my disc

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Cuelenaere, Eduard. "Towards an Integrative Methodological Approach of Film Remake Studies." Adaptation 13, no. 2 (2020): 210–23. http://dx.doi.org/10.1093/adaptation/apz033.

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Abstract This article argues that, after decades of pointing towards the importance of including production and reception research into the study of film remakes, we should actually start addressing production and reception methodologies and investigate why this is necessary for the sustainability and future development of the field. I argue that a lot can be learned from the insights coming from the existing methodologies that are being used in, that is, format studies, (critical) media industry studies, (audiovisual) translation studies, and more recently the study of cultural transduction.

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Teves, Stephanie Nohelani. "A Critical Reading of Aloha and Visual Sovereignty in Ke Kulana He Māhū." International Journal of Critical Indigenous Studies 7, no. 1 (2014): 1–17. http://dx.doi.org/10.5204/ijcis.v7i1.119.

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Native Studies and Queer Studies have begun creating linkages that interrogate the normalization of heterosexuality within Native communities and the ways that settler colonialism has been unquestioned in Queer Studies scholarship. This article adds to this body of scholarship by performing a critical re-reading of the film, Ke Kulana He Māhū (2001), a film about the history of sexuality in Hawaiʻi and the role of māhūs in modern day Hawaiian culture. The film engages the struggles for lesbian, gay, bisexual and transgender (LGBT) rights in Hawaiʻi throughout the 1990s, but, curiously, it obsc

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Zhang, Junchen. "Audiovisual Translation:A Critical Review on Sino-western Perspectives of Film Subtitle Translation." International Journal of Comparative Literature and Translation Studies 6, no. 1 (2018): 58. http://dx.doi.org/10.7575/aiac.ijclts.v.6n.1p.58.

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The paper argues the development of audiovisual translation (mainly focuses on the strand of film subtitle translation) in the West and China. Firstly, the paper discusses film translation from the perspective of the West and critically reviews the achievements produced by western researchers. Secondly, the paper analyzes film translation from Chinese perspective and outlines its change and development in Mainland China. Thirdly, some major issues exited in film translation such as cultural problems, technical issues and translation strategies are analyzed. And in the fourth part, the paper ta

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Kandhal, Prithvi S., Kee Y. Foo, and Rajib B. Mallick. "Critical Review of Voids in Mineral Aggregate Requirements in Superpave." Transportation Research Record: Journal of the Transportation Research Board 1609, no. 1 (1998): 21–27. http://dx.doi.org/10.3141/1609-03.

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Reports of increased difficulties in meeting the minimum voids in mineral aggregate (VMA) requirements have surfaced with the recent use of Superpave volumetric mix design. The low VMA of Superpave mixes generally can be contributed to the increased compactive effort by the Superpave gyratory compactor. This has led to the increased use of coarser asphalt mixes (gradations near the lower control points). However, the minimum VMA requirements in Superpave volumetric mix design for these coarse mixes are the same as those developed for the dense mixes designed by the Marshall method. Literature

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Klejsa, Konrad, and Anna Miller-Klejsa. "Almost as good as Soviet cinema: Reception of Italian neorealism in Poland: 1946‐56." Journal of Italian Cinema & Media Studies 9, no. 3 (2021): 367–84. http://dx.doi.org/10.1386/jicms_00082_1.

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With the onset of the Cold War, the cinema culture in the People’s Republic of Poland underwent rigorous transformation. One of its aspects was the new film import schema: most of the international sources dried up to be replaced, for the most part, by films from the Communist Bloc. However, Italian films constituted an important exception. This article investigates the critical reception of Italian neorealist films in Poland in the first decade after the war, focusing mainly on reviews published in Film, the most relevant Polish magazine dedicated to cinema culture. The first part of the arti

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McCallum, Robyn. "Palimpsestuous IntertextualitiesAdaptations for Young Audiences: Critical Challenges, Future Directions." International Research in Children's Literature 9, no. 2 (2016): 197–214. http://dx.doi.org/10.3366/ircl.2016.0202.

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Historically, literary sources have always provided a rich resource for film narratives, meaning that the history of cinema is closely intertwined with the history of film adaptation. Children's literature in particular has been a favoured source of represented narratives. Some of the earliest film adaptations were of children's texts, many of which have been readapted multiple times. Adaptation studies has been a growth area of scholarly research and debate for at least five decades. However, despite the close imbrication of the film industry and children's literature since the early twentiet

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Kümmerling-Meibauer, Bettina. "Paratexts in Children's Films and the Concept of Meta-filmic Awareness." Journal of Educational Media, Memory, and Society 5, no. 2 (2013): 108–23. http://dx.doi.org/10.3167/jemms.2013.050208.

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This article demonstrates, on the basis of recent research in film studies and media literacy, that filmic paratexts play a significant role in contemporary children's films. It shows that paratexts effectively comment on feature films by, for example, anticipating the film's plot and characters in the opening credits, and by pursuing the film plot in the end titles. Thorough analysis of children's films reveals that paratexts stimulate the child viewer to develop a competency that might be characterized as “meta-filmic awareness”, which is the capacity to distinguish between different levels

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Leotta, Alfio. "From Conan the Barbarian to Gunan il guerriero: Re-contextualizing spaghetti sword and sorcery." Journal of Italian Cinema & Media Studies 9, no. 2 (2021): 225–43. http://dx.doi.org/10.1386/jicms_00063_1.

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The release of Conan the Barbarian (1982) played a crucial role in the emergence of the sword and sorcery film, a subgenre of fantasy cinema featuring muscular heroes in violent conflict with wizards and other supernatural creatures. Italian genre filmmakers attempted to capitalize on the international popularity of sword and sorcery by quickly producing a number of low-budget films, which emulated the stylistic and narrative features of Conan. Over a period of six years, between 1982 and 1987, the Italian film industry produced almost two dozen sword and sorcery films, which achieved mixed re

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Sawadogo, Boukary. "FESPACO and critical discourse on African cinema." Journal of African Cinemas 14, no. 1 (2022): 35–47. http://dx.doi.org/10.1386/jac_00060_1.

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The Pan-African Film and Television Festival of Ouagadougou (FESPACO) celebrated its golden jubilee at its 26th edition in 2019. This marks a time for reflection and assessment of the future of the festival. The 50th anniversary also represents a key juncture for scholars and practitioners to rethink curatorial practice in Africa to enable film festivals to function also as a medium of production and dissemination of critical discourse on African screen media. FESPACO has a longstanding tradition of continually producing archives of knowledge about African cinema. The study of the relationship

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Sari, Artanti Puspita. "Conflicting Opinions and Emotions in Students’ Responses to Feminist Resistance in the Film Photocopier." IJLECR - INTERNATIONAL JOURNAL OF LANGUAGE EDUCATION AND CULTURE REVIEW 9, no. 2 (2023): 12–23. http://dx.doi.org/10.21009/ijlecr.v9i2.39760.

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The film Photocopier depicts how its main character, a victim of sexual harassment, exercised her feminist resistance toward hegemonic and patriarchal power in society. Studies have been conducted in the past to examine feminist resistance in this film and a few other films. Yet, none have looked closely into students' responses to feminist resistance in those films. Engaging students in responding to film contents is important because films have the potential to provoke students’ critical thinking and emotions toward various issues in society, such as issues related to the victimization of wo

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Cooke, Paul. "A Critical History of German Film." Journal of Contemporary European Studies 21, no. 1 (2013): 137–38. http://dx.doi.org/10.1080/14782804.2013.766454.

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Chen, Tze-Chiun, Tingkai Li, Xubai Zhang, and Seshu B. Desu. "Structure Development Studies of SrBi2(Ta1−xNbx)2O9 Thin Films." Journal of Materials Research 12, no. 8 (1997): 2165–74. http://dx.doi.org/10.1557/jmr.1997.0290.

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In this research, two tasks were pursued: (1) determination of the onset temperature of ferroelectric hysteresis properties of SrBi2Ta2O9 thin films by structure development study, and (2) low temperature processing for thin film fabrication. For task (1), a nondestructive optical method using spectroscopic ellipsometry was utilized for characterizing the structure development of SrBi2Ta2O9 thin films. The optical constants and film thickness were measured as a function of annealing temperature by spectroscopic ellipsometry. By observing the changes in refractive indices and film thickness, th

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Jung, Sungwook, I. O. Parm, Kyung Soo Jang, et al. "Fabrication of Nanostructure and Formation of Nanocrystal for Non-Volatile Memory." Journal of Nanoscience and Nanotechnology 6, no. 11 (2006): 3652–56. http://dx.doi.org/10.1166/jnn.2006.075.

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In this work, we have demonstrated that the nanocrystal created by combining the self-assembled block copolymer thin film with regular semiconductor processing can be applicable to non-volatile memory device with increased charge storage capacity over planar structures. Self-assembled block copolymer thin film for nanostructures with critical dimensions below photolithographic resolution limits has been used during all experiments. Nanoporous thin film from PS-b-PMMA diblock copolymer thin film with selective removal of PMMA domains was used to fabricate nanostructure and nanocrystal. We have

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Brown, William. "The Colour of Film-Philosophy." Film-Philosophy 27, no. 2 (2023): 197–221. http://dx.doi.org/10.3366/film.2023.0226.

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This article draws upon the work of Sylvia Wynter and W.E.B. Du Bois in order to propose that film-philosophy has historically not paid due attention to race. Drawing upon the former’s concept of “the sociogenic principle”, as well as the latter’s theories of “the colour line” and “double-consciousness”, the article argues that modernity has been constructed coterminously with whiteness, as well as a “photographic/cinematographic” logic whereby Blackness is cast into a “negative” realm. That is, while modernity might be white, more specifically it is antiblack. For film-philosophy ethically to

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