Relevant bibliographies by topics / Film Four

Contents

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

Academic literature on the topic 'Film Four'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Film Four.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Film Four"

1

Ağın, Besna. "An Analysis on Ambivalence in Cinema: “The Last Tycoon” Elia Kazan." Etkileşim 2, no. 4 (2019): 220–35. http://dx.doi.org/10.32739/etkilesim.2019.4.71.

Full text
Abstract:
Involved in filmmaking more than four decades, Elia Kazan had been a witness and an influence for significant change in the American film industry. His final phase includes four films, respectively, America America, The Arrangement, The Visitors and The Last Tycoon which are his most neglected films in film studies, compared to his previous successful films such as On the Waterfront, A Streetcar Named Desire, East of Eden and Splendor in the Grass. This study has focused on one of his late films for mainly two reasons; to fill the gap in the literature and present an analyses of Kazan’s most structurally different film regarding its narrative complexities with the concept of realism. Realism is one of the key concepts to study Kazan in the research field, but distinctively, I have tried to find the realism within the mise-en-scène and ambivalence in the narrative.
APA, Harvard, Vancouver, ISO, and other styles
2

Chen, Jialiang. "A Comparative Study of English and Chinese Film Title Translation——from the Perspective of "Four Values"." International Linguistics Research 3, no. 4 (2020): p120. http://dx.doi.org/10.30560/ilr.v3n4p120.

Full text
Abstract:
With the deepening of cultural exchanges between China and western countries, interaction and dissemination of film works have become a common trend. A film title is the "eye" of a film; therefore, concerning the differences between English and Chinese languages, film title translation should not only convey necessary information about the films to the corresponding audience in the target language, but also arouse the interest of the audience to achieve a satisfactory box office. Based on the theories of functional equivalence and communicative translation, and especially the evaluation standard of film title translation—the realization of "four values", the thesis makes a comparative analysis of English and Chinese in film title translation and evaluates it with evidence from the successful experience of C-E (Chinese to English) and E-C (English to Chinese) film title translation from 2016 to 2019 in order to provide references for C-E film title translation under three translating techniques, thus promoting the value of title translation and the entrance of Chinese films to international markets.
APA, Harvard, Vancouver, ISO, and other styles
3

Panta, GP, and DP Subedi. "Electrical characterization of aluminum (Al) thin films measured by using four- point probe method." Kathmandu University Journal of Science, Engineering and Technology 8, no. 2 (2013): 31–36. http://dx.doi.org/10.3126/kuset.v8i2.7322.

Full text
Abstract:
This paper reports the results of electrical characterization of aluminum thin films. Uniform Al thin films were deposited by physical vapor deposition (PVD) technique on glass substrates. The electrical resistivity of the films as a function of film thickness was studied. These parameters have been measured by four-point probe method. The electrical resistivity was obtained by the measurement of current (in mA) and voltage in (mV) through the probe. The results showed that resistivity of the film decreases linearly with the film thickness in the range of the thickness studied in this work. Kathmandu University Journal of Science, Engineering and Technology Vol. 8, No. II, December, 2012, 31-36 DOI: http://dx.doi.org/10.3126/kuset.v8i2.7322
APA, Harvard, Vancouver, ISO, and other styles
4

Woodward, Ashley. "Dispositif, Matter, Affect, and the Real: Four Fundamental Concepts of Lyotard's Film-Philosophy." Film-Philosophy 23, no. 3 (2019): 303–23. http://dx.doi.org/10.3366/film.2019.0118.

Full text
Abstract:
Jean-François Lyotard's work remains a largely untapped resource for film-philosophy. This article surveys four fundamental concepts which indicate the fecundity of this work for current studies and debates. While Lyotard was generally associated with the “theory” of the 1980s which privileged language, signs, and cultural representations, much of his work in fact resonates more strongly with the new materialisms and realisms currently taking centre stage. The concepts examined here indicate the relevance of Lyotard's work in four related contemporary contexts: the renewed interest in the dispositif, new materialism, the affective turn, and speculative realism. The concept of the dispositif (or apparatus) is being rehabilitated in the contemporary context because it shows a way beyond the limiting notion of mise en scène which has dominated approaches to film, and Lyotard's prevalent use of this concept feeds into this renewal. While matter is not an explicit theme in Lyotard's writings on film, it is nevertheless one at the heart of his aesthetics, and it may be extended for application to film. Affect was an important theme for Lyotard in many contexts, including his approaches to film, where it appears to subvert film's “seductive” (ideological) effects. Finally, the Real emerges as a central concept in Lyotard's last essay on cinema, where, perhaps surprisingly, it intimates something close to a speculative realist aesthetics. Each of the fundamental concepts of Lyotard's film-philosophy are introduced in the context of the current fields and debates to which they are relevant, and are discussed with filmic examples, including Michael Snow's La Région centrale (1971), Roberto Rossellini's Stromboli (Stromboli, terra di Dio, 1950), Francis Ford Coppola's Apocalypse Now (1979), and neo-realist cinema.
APA, Harvard, Vancouver, ISO, and other styles
5

Roger Troendle, G., Karen B. Troendle, and Edmund Cavazos. "Film thickness of four disclosing media." Journal of Prosthetic Dentistry 65, no. 6 (1991): 856–57. http://dx.doi.org/10.1016/s0022-3913(05)80028-9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Huertas Martín, Victor. "Theatrum Mundi and site in four television Shakespeare films." Cahiers Élisabéthains: A Journal of English Renaissance Studies 99, no. 1 (2019): 76–88. http://dx.doi.org/10.1177/0184767819837548.

Full text
Abstract:
This article explores metatheatricality and site specificity in four Shakespeare television films produced by Illuminations Media: Gregory Doran’s Macbeth (2001), Hamlet (2009) and Julius Caesar (2012), and Rupert Goold’s Macbeth (2010). Drawing on metatheatrical theory applied to the screen and recent criticism on site-specific theatre, I explore the films as self-referential and self-conscious works embedded in environments that oppose the artifice of drama to the ‘reality’ of normative television film. Shakespeare’s aesthetic metaphor, presented in self-contained theatrical worlds, does not depict autonomous fictions but is disrupted by outside ‘reality’.
APA, Harvard, Vancouver, ISO, and other styles
7

KIFFLI, SUDIRMAN, and NURUL AFINI ROSLIN MOHD SAUFI. "ELEMEN-ELEMEN ADAPTASI DALAM FILEM TOMBIRUO: PENUNGGU RIMBA (TPR)." International Journal of Creative Future and Heritage (TENIAT) 9, no. 1 (2021): 109–25. http://dx.doi.org/10.47252/teniat.v9i1.402.

Full text
Abstract:
Abstrak Penghasilan filem adaptasi adalah salah satu kaedah dalam memastikan kesinambungan karya-karya sastera agar sentiasa berkembang dalam pelbagai medium. Menerusi kajian ini, penelitian diberikan terhadap aspek-aspek adaptasi yang terdapat dalam penghasilan filem Tombiruo: Penunggu Rimba yang diadaptasi daripada novel Tombiruo Penunggu Rimba karya Ramlee Awang Murshid. Sebagai sebuah filem adaptasi yang masih baharu, kajian dan penyelidikan mengenai filem Tombiruo Penunggu Rimba (TPR) masih belum banyak dianalisis. Oleh hal yang sedemikian, penelitian telah dilakukan ke atas filem TPR dengan menerapkan pendekatan daripada Linda Hutcheon (2006). Empat aspek yang menjadi fokus kajian ini ialah (1) sumber dan cara adaptasi, (2) tujuan adaptasi, (3) kumpulan atau penonton sasaran dan (4) konteks. Dapatan kajian menunjukkan keempat-empat elemen berkenaan diterapkan dengan baik di dalam penghasilan filem adaptasi TPR oleh pihak pembikin filem. Keadaan ini dikukuhkan dengan pelbagai peristiwa dan situasi seperti dipaparkan di dalam filem berkenaan yang secara tidak langsung memberikan kesan yang amat mendalam kepada khalayak yang menonton filem ini. Kesemua elemen adaptasi ini boleh membantu pihak pembikin filem untuk menghasilkan sebuah filem adaptasi dengan lebih baik. Abstract The production of adaptation films is one of the methods in ensuring the continuity of literary works so that they are constantly evolving in various mediums. Through this study, research focuses on the aspects of adaptation found in the production of the film Tombiruo: Penunggu Rimba (TPR) adapted from the novel with the same title by Ramlee Awang Murshid. As an adaptation film that is still considered as new, the TPR film has not been much analyzed. As such, a study was conducted on TPR film by applying the approach introduced by Linda Hutcheon (2006). This study focuses on four aspects namely (1) source and method of adaptation, (2) purpose of adaptation, (3) target group or audience and (4) context. The results show that the four aspects are well applied in the production of TPR by the filmmakers. This situation is reinforced by various events and situations as shown in the film itself which indirectly gives a very profound effect to the audience watching this film. All these elements of adaptation can help the filmmaker to produce a better adaptation film.
APA, Harvard, Vancouver, ISO, and other styles
8

Liang, Wei, Yu Feng Jin, and Jin Wen Zhang. "The Nano Tungsten Thin Film and its Contacting Property with Aluminium Electrodes." Advanced Materials Research 1082 (December 2014): 455–58. http://dx.doi.org/10.4028/www.scientific.net/amr.1082.455.

Full text
Abstract:
In this paper we report nanothickness tungsten (W) thin films with nanoscale thickness prepared by DC magnetron sputtering. Three kinds of samples were realized using micromachining technology, including two-wire and four-wire terminal configurations and only Al electrodes. Using four-wire terminal method, we studied on the electrical property of W film and the contacting resistance between W film and Al electrode. The results show that our as-deposited W film is β-W crystal structure and exhibits good resistive property. Al formed a good ohmic contact with W films. Both the resistivity of W film and the contacting resistance declined nearly linearly with the thickness increasing.
APA, Harvard, Vancouver, ISO, and other styles
9

van Erp, Judith. "Anti-cartel thrillers as a new film genre: How regulator-produced films portray and problematize cartels and communicate deterrence." Crime, Media, Culture: An International Journal 14, no. 2 (2017): 229–46. http://dx.doi.org/10.1177/1741659016685377.

Full text
Abstract:
This article directs the ‘visual turn’ in criminology to corporate crime, a topic that has been understudied by cultural criminologists. A recent trend of corporate crime movies suggests that film can compellingly critique economic crime and unethical business cultures. This article studies how law enforcement agencies, particularly competition authorities, have connected with this trend by using film in their communicative strategy. This article introduces the emerging genre of anti-cartel enforcement thrillers: regulator-produced realistic docudramas in which fictional cartels are exposed and punished. These films’ narratives about cartel enforcement are reconstructed by studying how the films portray cartels, perpetrators and their motives, and the regulator. An analysis of four films produced in four jurisdictions demonstrates that the films deter only to the extent that the local legal and political-economic context allows: the British film reflects that country’s neoliberal ‘pro-business’ climate, while the Swedish film depicts businesses as socially responsible and the Dutch film is pragmatic rather than moralistic. Only the Australian film is explicitly punitive in its narrative as well as its imaginary, and exemplifies the persuasive potential of film in enforcement.
APA, Harvard, Vancouver, ISO, and other styles
10

Shemer, Yaron. "Thematics and Hermeneutics in Four Recently Published Books on Middle Eastern/Arab Cinema." Review of Middle East Studies 50, no. 1 (2016): 58–66. http://dx.doi.org/10.1017/rms.2016.68.

Full text
Abstract:
Along with the periodic irreverence towards Area Studies by its disciplinary counterparts, there has also been some discomfort within the narrow confines of Film Studies for scholarship that focuses on individual national or regional cinemas. And yet, the growing interest in the cinema of the Middle East (North Africa included) is unquestionable. The four books reviewed here are part of this trend; dozens of other publications on Middle Eastern cinema have been authored in English alone in the new millennium. Explanations for this (re)ignited interest go beyond the obvious political currents in the Middle East and include, inter alia, the increasingly common practice of co-productions, mainly between Europe and the Maghreb, where the terms of the co-production often result in availing Middle Eastern films to international markets and in the inclusion of these films in prestigious film festivals worldwide. The launching of new international film festivals in the Arab world/Middle East furthers the cinematic dialogue between this region and the rest of the world. Concurrently, even a cursory survey will point to the significant surge in courses on Arab/Middle Eastern cinema since the early 2000s in institutions of higher education in the United States and beyond.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Film Four"

1

Nwonka, Clive James. "Has the fire burnt out? : New Labour and the end of British social realism." Thesis, Brunel University, 2014. http://bura.brunel.ac.uk/handle/2438/9058.

Full text
Abstract:
This thesis is a retrospective analysis of British social realism. It combines conventional academic research with professional screenwriting practice in the genre. By definition, at its advent Social Realism employed documentary realist devices to explore the inequalities of society with the objective of stimulating socio-political debate about this imbalance and thus social reform. However, contemporary forms of social realism have emerged much more depoliticised, drawing on similar subject matter but using decontextualised narrative strategies. The commitment to truth now seems to consist of an aesthetic, as opposed to a sociological imperative.
APA, Harvard, Vancouver, ISO, and other styles
2

Christie, Laura Mary. "Domain processes of four magnetic thin film systems." Thesis, University of Glasgow, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300660.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Erlich, Jane. "Victor Sjoestroem : four films 1913-1919." Thesis, Royal College of Art, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.328287.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Christie, Elizabeth, and elizabeth christie@unisa edu au. "Explosions in the Narrative: Action films with Lacan." Flinders University. Screen Studies, 2006. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20071121.092301.

Full text
Abstract:
Since the late seventies, the violence, speed and spectacle associated with the genres of war films, Westerns and the spectacular melodramas of early cinema have developed into a distinct genre of its own – the action film. With the development of the stylistic language at the core of this generic universe came derogatory generalisations and a tendency to categorise simplistically. To overcome these simplifications, this thesis explores the shifts in generic language to distinguish its subtleties and complexities of logic. Overwhelmingly the genre is considered masculine, but the purpose of this thesis is to explore the logic of this masculinity and analyse the effect of the feminine upon it. Beginning with overviews of the theoretical attempts to grasp the concept of genre that focus primarily on the limitations of the view of their having distinct boundaries, the theory that genre theory has failed is investigated. Leaving this view of boundaries through an exploration of symbolic universes that have translucent boundaries, the filmic movement of genre passes back and forth through the theoretical frameworks. The intention is not to analyse the overall concept of genre, but to focus on the symbolic universe and the language intrinsic to action films. The rules of action cannot be simply transposed onto other generic categories but stand-alone. Genre theory does not fail if approached from a perspective of discourse analysis focusing on the development of symbolic universes. Using Jacques Lacan’s theory of the four discourses, and focusing primarily on the oppositions of the Master’s and the Analyst’s discourse, the question moves from the listing of conventions as the markers of the boundaries of genre, to exploring why the combination of certain conventions and signifiers coming together created the genre. Through Lacanian discourse analysis it becomes apparent that the generally acknowledged logic of masculine and feminine are limited. The masculine is the ‘norm’ that appears to need no explanation, but the feminine has transgressed the norm and shown the construction of fantasy inherent in the genre. This has led to post-action films that are ambiguous both in their generic structure and symbolic language.
APA, Harvard, Vancouver, ISO, and other styles
5

Egues, Magdalena. "Memory [Architecture] Film: Four Cinematic Events in the City." Thesis, Virginia Tech, 2007. http://hdl.handle.net/10919/31491.

Full text
Abstract:
Cities involve several systems that work together as a network of urban relationships. These systems are in balance, and they work as a whole that articulates urban life. <p> But what makes a city memorable and special are its events: those magical situations where the uniformity of the experience stops and something unique arise. <p> Those are the moments where our memory is deeply engraved by a particular situation that will come back in our dreams and imaginative processes as an agent image. <p> Four urban events â a space for film edition and writing, an urban stage, a footage archive and park, and a projection space- whose locations have been determined by a Cartesian game dictated by the Plan of Washington DC; and one common discipline, Film, will be the main focus of this research and a way of understanding the relations among Memory and its spaces, Architecture and Film in the City.<p> Each event will respond to the particularities of its context by understanding first the sites and their relation with the city. These sites will be located in the four quadrants of Washington DC- NE, SE, SW and NW- and they will be consider as different communities that, by keeping their own idiosyncrasy, create one city. <p> The question of urban scale as well as the concept of detail as part of an architectural cosmology will be present throughout the process of the thesis by the alternation of micro and macro analysis of each stage of the research. The question of scale will be present as well when comparing the four projects with their differences in shape and size. <p> Characterization and monstrosity as architectural concepts will be incorporated into the project too, by understanding the role of Architecture in the city and what it wants to show or â monstrareâ to its inhabitants.<br>Master of Architecture
APA, Harvard, Vancouver, ISO, and other styles
6

Berger, Aurore. "The transparitions of time in space in four fiction films by Knut Erik Jensen." Thesis, Stockholm University, Department of Cinema Studies, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-1122.

Full text
Abstract:
<p>Knut Erik Jensen’s oeuvre is often described from a typical Norwegian point of view. The corpus of films studied is restricted to his documentary production and to the breakthrough of Stella Polaris in 1993. But as I discovered Knut Erik Jensen through his posterior fiction films, I had to focus on this under esteemed production, even if I remain convinced that the dichotomy between the documentary and fiction films is not very pertinent. As Passing Darkness had blurred my reading of Gilles Deleuze’s books dedicated to cinema, I started to focus on both this film and Deleuze’s philosophical approach. I linked then Knut Erik Jensen’s films to other filmmakers who in my sense had the same concerns.</p><p>As history is first a matter of geography, I based the reflection on the works by Alain Resnais, Jean-Daniel Pollet and the texts by Jean Epstein. But as the study went on, I realized that a classical study could not validate Jensen’s aesthetic as the alchemical concerns of both Jean Epstein, Edgar Morin or Gilles Deleuze were dealing with either a source or a result. Living at the era of the networks and influenced by some seminars in France regarding the figure and the networks inside the image, I focused on the philosopher stone in order to find an alternative to the crystal image and other postulates. Using some previous knowledge regarding the alchemy, I used the cycle of the azoth in the sea, one of the main characters in Jensen’s aesthetic as being a way to consider the loss of the source and of the result. Instead of opposing time, space and then a questioning of the space/time continuum, I refuted the organic regime (which has been dead for about forty years in film) to focus on the mineral one (through the crystal image and other reflections) and the gaseous one (the development of the transparitions).</p>
APA, Harvard, Vancouver, ISO, and other styles
7

Quinn, Anthony Leo. "Juliet : a role in four movies." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/10580.

Full text
Abstract:
Over a period of sixty years, between 1936 and 1996, there were numerous filmed versions of Shakespeare’s Romeo and Juliet, but four in particular were made for and obtained a worldwide commercial release. George Cukor’s lavish production of 1936 with Norma Shearer as Juliet was the first feature length, big budget, ‘talkie’ of Shakespeare’s play to be made by a major studio and aimed at the cinema going public. Shearer remains, to this day, the only actress of the modern age who was a major film star when cast in the role of Juliet. In direct contrast to this, Renato Castellani’s Anglo Italian neo-realist, retrospective 1954 adaptation featured an unknown Susan Shentall, who had never acted before filming and, on completion of the film, retired and never acted again. Franco Zeffirrelli’s sweeping 1968 production with Olivia Hussey as Juliet was a worldwide commercial success and is still revered by many as being the authoritative film experience of the play. Baz Luhrmann’s1996 version, with Claire Danes playing opposite Leonardo DiCaprio, was initially decried as an affront to Shakespeare’s masterpiece and the director was accused of sacrificing the text for a highly stylised and bombastic shallow content. It is only recently that this film has been viewed by critics and academics alike in a more sympathetic and positive manner. These films, taken individually, present to us a particular performance of the ‘Juliet’ of Shakespeare’s text; but in addition to this they allow us a comparative study of the portrayal of Juliet as a celluloid reflection of the idealised woman shaped by the progressive demands of the contemporary phallocentric society in the western world. Patricia White examined this reflection theory in Feminism and Film and, in turn, referred to the studies of Molly Haskell and Marjorie Rosen in the early 1970s, and quoted them on the basis that film ‘reflects social reality, that depictions of women in film mirror how society treats women, that these depictions are distortions of how women ‘“really are” and what they “really want” ’(White 118). The theory explores the supposition that women are repeatedly and systematically portrayed in a catalogue of images that compels the viewer to see and accept them in a typology of roles which, according to White, reinforces the phallocentric ideology of women as an array of ‘virgins, vamps, victims, suffering mothers, child women and sex kittens’(White 118). A question that therefore arises and which is central to this thesis is how, specifically, has Juliet been portrayed in film? Has the Juliet of the screen been nothing more than an object of visual stimulation, an object of the scopophilic gaze and male sexual fantasy? If this is the case, how does this vary in each of the filmed versions listed? We must also consider how Juliet exists in relation to other characters in the play beyond her direct involvement with Romeo. Juliet’s role is pivotal within the play even though she does not have the most lines. She has a direct influence on Mercutio and his relationship to Romeo, even though Juliet and Mercutio fail to exchange a single line of dialogue in the entire play. Juliet’s relationship with Romeo is altered dramatically in the aftermath of Mercutio’s death. Juliet’s life is also influenced by her relationships with others such as the Nurse and Friar Laurence, each of whom will abandon her at some point in the play. How are these relationships played and interpreted in each of the films in question? One cannot write extensively of Juliet if one limits oneself to writing exclusively of her. Each of these characters and how they are portrayed needs also to be examined. So too must the directors, all male, be examined in some detail. How much do they alter the Juliet of Shakespeare’s text and for what purpose?
APA, Harvard, Vancouver, ISO, and other styles
8

Taylor, Kate Elizabeth. "Filming the body : somatechnics in the work of four female film-makers." Thesis, University of Exeter, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.439807.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Martino, Mariarita. "An analysis of scopophilia in an intersemiotic context : four Italian film adaptations." Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/49036/.

Full text
Abstract:
The thesis contributes to the current debate in the fields of adaptation studies and intersemiotic translation. Recent critical stances invite the re-evaluation of the traditional hierarchy which subordinates the target text to its original, and promote a description-oriented textual analysis of a key issue which is common to the texts involved in the adaptation process. By considering the relationship between literature and cinema, the present thesis explores scopophilia, or the love for looking at sexually stimulating scenes, as a key issue in the textual analysis of intersemiotic translation in four significant novels adapted to Italian cinema. Specifically, to put them in the order of the chapters, the thesis analyses scopophilia in Alberto Moravia’s L’uomo che guarda (1985) and the Italian translation of Jun’ichirō Tanizaki’s novel La chiave (1956), two literary works adapted to cinema by the Italian director of erotic cinema Tinto Brass (in 1994 and 1983 respectively), and Pier Paolo Pasolini’s Teorema (1968) and Giovanni Boccaccio’s Decameron (c. 1350-53), adapted for the screen by Pasolini himself (in 1968 and 1971 respectively). The case studies tackle issues related to adaptation of novels to films, but also issues concerned with the erotic, control and discovery, as well as other psychoanalytic notions which are related to scopophilia (e.g. sexual fetishism, Oedipus complex).
APA, Harvard, Vancouver, ISO, and other styles
10

Graour, Kristina. "Then it happened; The four degrees of narrative separation : exploring the process of adaptation through biolographical texts." Master's thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/13252.

Full text
Abstract:
Includes bibliographical references.<br>To write critically about any given text is very different to writing critically about the process of that text’s creation. Given that this essay will deal closely with representations of the self, perhaps it is not out of place for me to open with an autobiographical confession: while I greatly enjoy the former, relishing opportunities to analyse both literary and filmic texts, I have no such fond feelings for the latter, especially when the situation calls for a critical analysis of my own writing process. The task seems to intrude on a sacred space that I imagine most writers value greatly, a time when what will eventually become the ‘finished product’ is still in formation, is still incomplete. Due to the very nature of the process, it is a time when everything is still in flux, when ideas are still seeking their final form. Therefore, subjecting this tenuous process to critical examination seems somewhat like a betrayal of its nature, a desire to fix in meaning that which has no such absolute meaning. As a result, I have strategically avoided such undertakings in the past as much as possible. It then comes as a surprise to me that after completing the screenplay for Then It Happened, I have the desire to do just that. The reason, I believe, is revealing. It is not the aforementioned final product (the screenplay) that has inspired the ideas that will be discussed in this essay, but the process of creating it, for it is the process that brought me into contact with the three incarnations of the biographical narrative that will be discussed below: autobiography, biography and the biopic (in the form of both the screenplay and the final film). If I have done my job as a storyteller relatively well, then – hopefully – upon reading the screenplay, the reader will receive it as one coherent narrative, with a unity of purpose and style. They will not see it as a collage, composed out of several key sources, namely, Frank Capra’s autobiography The Name Above the Title, Joseph McBride’s biography of Capra, The Catastrophe of Success, as well as six other biographies of the key players: Harry Cohn, Robert Riskin, Clark Gable and Claudette Colbert. The reader might – again, hopefully – glean the sense that a significant amount of research has gone into the screenplay, and from this might infer that multiple sources have been used, but the story should not feel in any way disjointed or 2 fragmented. The purpose of this essay, then, will be precisely to take this story apart and to reveal the collage. In this critical analysis of my writing process, I would like to reverse that very process: instead of stitching together the information gathered through my research, attempting to make the connections invisible, I will magnify those very seams and examine the act of their creation. For I believe that these seams can inform the way that we think about the processes of writing, reading, adaptation as well as the intimate connections between the three, ultimately revealing the importance of narrative in our lives. I will begin, in sections one and two, by examining the forms of autobiography and biography in their own right as well as in their relationships to one another. These sections of the essay will be used to establish a foundation on which the discussion of key questions may be based – questions about subjectivity, interpretation, adaptation and fidelity. Then, in sections three and four, I will look more closely at my own writing process and its intersection with the autobiographical and biographical writings of others. Here I will examine the biopic genre and connect it with reflections on theories of adaptation, furthering this discussion by exploring alternate ways in which both my screenplay, as well as biopics in general, may be read in relation to the contested issue of fidelity.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Film Four"

1

Film on Four (Television program) and Channel Four (Great Britain), eds. Film on Four 1982/1991: A survey. BFI, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

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

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

The directors: Take four. Allworth Press, 2003.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Story, Tim. Fantastic four. Twentieth Century Fox Home Entertainment, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Rohmer, Eric. Hitchcock: The first forty-four films. Roundhouse Publishing, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Brown, A. J. E. The conservation of four German film posters from the 1920s. Camberwell College of Arts), 1990.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

101 pieces of me: Four seconds of film changed her life for ever. Walker Books, 2015.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Going to the movies: A personal journey through four decades of modern film. Dell Pub., 2001.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Tōkyō Kokuritsu Kindai Bijutsukan Firumu Sentā., ed. Firumu Ākaivu no 4-tsu no shigoto: Kokusai Eiga Shinpojūmu (Tōkyō, 1990-nen) kiroku = Four tasks of Film Archives : records of the International Film Symposium, (Tokyo, 1990). Tōkyō Kokuritsu Kindai Bijutsukan Firumu Sentā, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Laurent, Bouzereau, ed. The complete making of Indiana Jones: The definitive story behind all four films. Del Rey, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Film Four"

1

Hepworth, Rose. "Wanting More: Gender, Space and Desire in Darling and Four in the Morning." In London on Film. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64979-5_8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Novak, Phillip. "The Work of Film Studies: An Analysis of Four Journals." In Interpretation and Film Studies. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44739-7_5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Ladegaard, Jakob. "Laughing Matters: Four Marxist Takes on Film Comedy." In Marx at the Movies. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137378613_6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Lu, Sheldon H. "Genealogies of Four Critical Paradigms in Chinese-Language Film Studies." In Sinophone Cinemas. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137311207_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Boehmer, Elleke. "Foreword." In FILLM Studies in Languages and Literatures. John Benjamins Publishing Company, 2019. http://dx.doi.org/10.1075/fillm.12.for.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Greenberg, Jeff, and Alisabeth Ayars. "A Terror Management Analysis of Films from Four Genres: The Matrix, Life is Beautiful, Iron Man 2, and Ikiru." In Death in Classic and Contemporary Film. Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137276896_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Matey, J. R. "Measurement of Superconducting Transition Temperatures of Thin Films of YBa2Cu3O7 by Four-Terminal Resistance and Magnetic Susceptibility." In Science and Technology of Thin Film Superconductors. Springer US, 1989. http://dx.doi.org/10.1007/978-1-4684-5658-5_50.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Yamamoto, Hisashi, Toshio Kikuchi, and Nobuharu Ohsako. "Development of a Four-Source EB Gun for High-Tc Superconductor Film Deposition." In Advances in Superconductivity III. Springer Japan, 1991. http://dx.doi.org/10.1007/978-4-431-68141-0_209.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Baltuska, A., R. Gadonas, A. Pugzlys, et al. "Degenerate Four Wave Mixing in J-Aggregates of Pseudoisocyanine in Solution and Langmuir-Blodgett Film." In Ultrafast Processes in Spectroscopy. Springer US, 1996. http://dx.doi.org/10.1007/978-1-4615-5897-2_103.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

"FOUR Black Maybe." In Film Blackness. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822373889-006.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Film Four"

1

Pang, Zhen, Ben-He Jiang, Huanjun Qi, and Yuejin Ma. "Four-unit composite thin film IR detector." In Photonics China '96, edited by William G. D. Frederick, Junhong Su, and Marc Wigdor. SPIE, 1996. http://dx.doi.org/10.1117/12.252114.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Choudhary, Sumita, Rahul Narula, and Subhashis Gangopadhyay. "Thin Cu film resistivity using four probe techniques: Effect of film thickness and geometrical shapes." In 2ND INTERNATIONAL CONFERENCE ON CONDENSED MATTER AND APPLIED PHYSICS (ICC 2017). Author(s), 2018. http://dx.doi.org/10.1063/1.5032990.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Ventosinos, F., S. Park, P. G. O'Brien, N. P. Kherani, and E. V. Johnson. "Four-wire thin-film silicon devices: Towards high efficiency." In 2015 IEEE 42nd Photovoltaic Specialists Conference (PVSC). IEEE, 2015. http://dx.doi.org/10.1109/pvsc.2015.7355680.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Eastwick, Carol, Keno Huebner, Barry Azzopardi, Kathy Simmons, Colin Young, and Richard Morrison. "Film Flow Around Bearing Chamber Support Structures." In ASME Turbo Expo 2005: Power for Land, Sea, and Air. ASMEDC, 2005. http://dx.doi.org/10.1115/gt2005-68905.

Full text
Abstract:
Cooling of aero-engine bearing chamber walls is achieved by the through-flow of thin oil films, which are typically only a few millimeters thick. Support structures and other features disrupt both air and oil motion within such chambers, leading to localized variations in the oil film thickness, causing variation in local heat transfer coefficients. An experimental study has been undertaken to establish the range of conditions under which dry-out occurs upstream and downstream of an obstruction. In addition film thickness measurements around the obstruction have been taken at a set air flow rate for four different liquid flow rates. A regime map of liquid vs. air Reynolds numbers has been created showing where stable and fluctuating type I and II dry-outs occur.
APA, Harvard, Vancouver, ISO, and other styles
5

Rhee, Dong Ho, Youn Seok Lee, and Hyung Hee Cho. "Film Cooling Effectiveness and Heat Transfer of Rectangular-Shaped Film Cooling Holes." In ASME Turbo Expo 2002: Power for Land, Sea, and Air. ASMEDC, 2002. http://dx.doi.org/10.1115/gt2002-30168.

Full text
Abstract:
An experimental study has been conducted to measure the local film-cooling effectiveness and the heat transfer coefficient for a single row of rectangular-shaped holes. The holes have a 35° inclination angle with 3 hole diameter spacing of rectangular cross-sections. Four different cooling hole shapes such as a straight rectangular hole, a rectangular hole with laterally expanded exit, a circular hole and a two-dimensional slot are tested. The rectangular cross-section has the aspect ratio of 2 at the hole inlet with the hydraulic diameter of 10 mm. The area ratio of the exit to the hole inlet is 1.8 for the rectangular hole with expanded exit, which is similar to a two-dimensional slot. A thermochromic liquid crystals technique is applied to determine adiabatic film cooling effectiveness values and heat transfer coefficients on the test surface. Both film cooling effectiveness and heat transfer coefficient are measured for various blowing rates and compared with the results of the cylindrical holes and the two-dimensional slot. The flow patterns inside and downstream of holes are calculated numerically by a commercial package. The results show that the rectangular holes provide better performance than the cylindrical holes. For the rectangular holes with laterally expanded exit, the penetration of jet is reduced significantly, and the higher and more uniform cooling performance is obtained even at relatively high blowing rates. The reason is that the rectangular hole with expanded exit reduces momentum of coolant and promotes the lateral spreading like a two-dimensional slot.
APA, Harvard, Vancouver, ISO, and other styles
6

Beard, David V., Deniese M. Parrish, and Daniel Stevenson. "Cost analysis of film image management and four PACS systems." In Medical Imaging '90, Newport Beach, 4-9 Feb 90, edited by Samuel J. Dwyer III and R. Gilbert Jost. SPIE, 1990. http://dx.doi.org/10.1117/12.18938.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Gao, Zhihong, Diganta Narzary, and Je-Chin Han. "Turbine Blade Platform Film Cooling With Typical Stator-Rotor Purge Flow and Discrete-Hole Film Cooling." In ASME Turbo Expo 2008: Power for Land, Sea, and Air. ASMEDC, 2008. http://dx.doi.org/10.1115/gt2008-50286.

Full text
Abstract:
This paper is focused on the effect of film hole configurations on platform film cooling. The platform is cooled by purge flow from a simulated stator-rotor seal combined with discrete-hole film cooling within the blade passage. The cylindrical holes and laidback fan-shaped holes are assessed in terms of film cooling effectiveness and total pressure loss. Lined up with the freestream streamwise direction, the film holes are arranged on the platform with two different layouts. In one layout, the film cooling holes are divided into two rows and more concentrated on the pressure side of the passage. In the other layout, the film cooling holes are divided into four rows and loosely distributed on the platform. Four film cooling hole configurations are investigated totally. Testing was done in a five-blade cascade with medium high Mach number condition (0.27 and 0.44 at the inlet and the exit, respectively). The detailed film cooling effectiveness distributions on the platform was obtained using pressure sensitive paint (PSP) technique. Results show that the combined cooling scheme (slot purge flow cooling combined with discrete hole film cooling) is able to provide full film coverage on the platform. The shaped holes present higher film cooling effectiveness and wider film coverage than the cylindrical holes, particularly at higher blowing ratios. The hole layout affects the local film cooling effectiveness. The shaped holes also show the advantage over the cylindrical holes with lower total pressure loss.
APA, Harvard, Vancouver, ISO, and other styles
8

Mhetras, Shantanu, Je-Chin Han, and Ron Rudolph. "Film-Cooling Effectiveness From Shaped Film Cooling Holes for a Gas Turbine Blade." In ASME Turbo Expo 2008: Power for Land, Sea, and Air. ASMEDC, 2008. http://dx.doi.org/10.1115/gt2008-50916.

Full text
Abstract:
The effect of film cooling holes placed along the span of a fully-cooled high pressure turbine blade in a stationary, linear cascade on film cooling effectiveness is studied using the Pressure Sensitive Paint (PSP) technique. Six rows of compound angled shaped film cooling holes are provided on the pressure side while four such rows are provided on the suction side of the blade. The holes have a laidback and fan-shaped diffusing cross-section. Another three rows of holes are drilled on the leading edge to capture the effect of showerhead film coolant injection. The film cooling hole arrangement simulates a typical film cooled blade design used in stage 1 rotor blades for gas turbines used for power generation. A minimum blowing ratio is defined for each film hole row and tests are performed for 1.0x, 1.33x, 1.67x, 2.0x and 2.67x of this minimum value. Tests are performed for an inlet Mach number of 0.36 with a corresponding exit Mach number of 0.51. The flow remains subsonic in the throat region. The corresponding free stream Reynolds number, based on the axial chord length and the exit velocity, is 1.3 million. Turbulence intensity level at the cascade inlet is 5% with an integral length scale of around 5cm. Results show that varying blowing ratios can have a significant impact on film-cooling effectiveness distribution. Large spanwise variations in effectiveness distributions are also observed. Results also show that the effectiveness magnitudes from superposition of effectiveness data from individual rows are comparable with that from full coverage film cooling.
APA, Harvard, Vancouver, ISO, and other styles
9

Natsui, Greg, Zachary Little, Jay Kapat, Anthony Socotch, Anquan Wang, and Jason E. Dees. "Adiabatic Film Cooling Effectiveness Measurements Throughout Multi-Row Film Cooling Arrays." In ASME Turbo Expo 2016: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/gt2016-56183.

Full text
Abstract:
Adiabatic film cooling effectiveness measurements are obtained using pressure-sensitive paint (PSP) on a flat film cooled surface. The effects of blowing ratio and hole spacing are investigated for four multi-row arrays comprised of 8 rows containing 52 holes of 3.8 mm diameter with 20° inclination angles and hole length-to-diameter ratio of 11.2. The four arrays investigated have two different hole-to-hole spacings composed of cylindrical and diffuser holes. For the first case, lateral and streamwise pitches are 7.5 times the diameter. For the second case, pitch-to-diameter ratio is 14 in lateral direction and 10 in the streamwise direction. The holes are in a staggered arrangement. Adiabatic effectiveness measurements are taken for a blowing ratio range of 0.3 to 1.2 and a density ratio of 1.5, with CO2 injected as the coolant. A thorough boundary layer analysis is presented, and data was taken using hotwire anemometry with air injection, with boundary layer and turbulence measurements taken at multiple locations in order to characterize the boundary layer. Local effectiveness, laterally averaged effectiveness, boundary layer thickness, momentum thickness, turbulence intensity and turbulence length scale are presented. For the cylindrical holes, at the first row of injection, the film jets are still attached at a blowing ratio of 0.3. By a blowing ratio of 0.5, the jet is observed to lift off, and then impinge back onto the test surface. At a blowing ratio of 1.2, the jets lift off, but reattach much further downstream, spreading the coolant further along the test surface. A thorough uncertainty analysis has been conducted in order to fully understand the presented measurements and any shortcomings of the measurement technique. The maximum uncertainty of effectiveness and blowing ratio is 0.02 counts of effectiveness and 3 percent respectively.
APA, Harvard, Vancouver, ISO, and other styles
10

Gao, Ting, Mingxiang Wang, and Huaisheng Wang. "TCAD Analysis on Suppression of Hot-Carrier Degradation of the Four-terminal Poly-Si TFTs." In 2018 9th International Conference on Computer Aided Design for Thin-Film Transistors (CAD-TFT). IEEE, 2018. http://dx.doi.org/10.1109/cad-tft.2018.8608106.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Film Four"

1

Smith, B. K., G. LaVigne, J. J. Sniegowski, and C. D. Brown. Thin teflon-like films for MEMS: Film properties and reliability studies. Office of Scientific and Technical Information (OSTI), 1998. http://dx.doi.org/10.2172/656699.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Dye, R. C., R. E. Hermes, M. G. Martinez, and N. M. Peachey. Inorganic-organic composite nanoengineered films using self-assembled monolayers for directed zeolite film growth. Office of Scientific and Technical Information (OSTI), 1997. http://dx.doi.org/10.2172/534511.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Dean, David M. Flexible Ultra Moisture Barrier Film for Thin-Film Photovoltaic Applications. Office of Scientific and Technical Information (OSTI), 2012. http://dx.doi.org/10.2172/1057661.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Shannon, Robert R. Center for Thin Film Studies. Defense Technical Information Center, 1988. http://dx.doi.org/10.21236/ada202742.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Hoffheins, B. S., and R. J. Lauf. New materials for thick-film electronics. Office of Scientific and Technical Information (OSTI), 1990. http://dx.doi.org/10.2172/6564672.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Zweibel, K. Terawatt Challenge for Thin-Film PV. Office of Scientific and Technical Information (OSTI), 2005. http://dx.doi.org/10.2172/15020000.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
8

Menon, Rajesh. Novel photon management for thin-film photovoltaics. Office of Scientific and Technical Information (OSTI), 2016. http://dx.doi.org/10.2172/1331873.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Kreider, Kenneth G. Thin film thermocouples for high temperature measurement. National Institute of Standards and Technology, 1989. http://dx.doi.org/10.6028/nist.ir.89-4087.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Potter, Jr, and Barrett G. Optoelectronic Nanocomposite Materials for Thin Film Photovoltaics. Defense Technical Information Center, 2012. http://dx.doi.org/10.21236/ada562250.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Film Four' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography