Relevant bibliographies by topics / Filmic media

Contents

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

Academic literature on the topic 'Filmic media'

Author: Grafiati
Published: 10 September 2021
Last updated: 12 February 2022

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Journal articles on the topic "Filmic media"

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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 (September 1, 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 of plot, communication, or complexity within a film. In keeping with these findings, this article represents an exploration of what we might call a meta-critical approach toward children's films.
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Lee, Laura. "Between frames." Alphaville: Journal of Film and Screen Media, no. 5 (August 1, 2013): 25–43. http://dx.doi.org/10.33178/alpha.5.02.

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This article explores how the appearance of composite media arrangements and the prominence of the cinematic mechanism in Japanese film are connected to a nostalgic preoccupation with the materiality of the filmic image, and to a new critical function for film-based cinema in the digital age. Many popular Japanese films from the early 2000s layer perceptually distinct media forms within the image. Manipulation of the interval between film frames—for example with stop-motion, slow-motion and time-lapse techniques—often overlays the insisted-upon interval between separate media forms at these sites of media layering. Exploiting cinema’s temporal interval in this way not only foregrounds the filmic mechanism, but it in effect stages the cinematic apparatus, displaying it at a medial remove as a spectacular site of difference. In other words, cinema itself becomes refracted through these hybrid media combinations, which paradoxically facilitate a renewed encounter with cinema by reawakening a sensuous attachment to it at the very instant that it appears to be under threat. This particular response to developments in digital technologies suggests how we might more generally conceive of cinema finding itself anew in the contemporary media landscape.
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Bort-Mir, Lorena. "Going Up Is Always Good: A Multimodal Analysis of Metaphors in a TV Ad with FILMIP, the Filmic Metaphor Identification Procedure." Complutense Journal of English Studies 28 (September 21, 2020): 177–89. http://dx.doi.org/10.5209/cjes.66959.

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Conceptual Metaphor Theory developed by Lakoff & Johnson (1980) suggested that we use metaphors to evaluate and communicate in our various environments. Although metaphors encompass a large variety of taxonomies, orientational metaphors are those that rely on spatial position to map concepts into other ones, referring to a relation of valence and verticality. Stated by Kövecses (2010) conceptual metaphors such orientational ones draw ‘upward’ and ‘downward’ spatial positions in which ‘upward’ is usually referred to as having positive connotations, whereby their opposites, ‘downwards’, are understood as negative. This paper seeks to unveil how the orientational metaphor good is up is employed in a filmic narrative of a language learning application for technological devices named Babbel. The present analysis is developed under the application of FILMIP (Filmic Metaphor Identification Procedure, Bort-Mir 2019). In the analyzed narrative, the orientational metaphor good is up is represented in the Babbel TV commercial (2018) as a tool for persuading customers that the best way of escalating positions at work is by learning new languages. This analysis demonstrates how orientational metaphors in multimodal media emerge as a convenient device for marketing campaigns in the context of social status improvement.
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EVANS, MEGAN. "Chinese Xiqu Performance and Moving-Image Media." Theatre Research International 34, no. 1 (March 2009): 21–36. http://dx.doi.org/10.1017/s0307883308004215.

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This article analyses various approaches to the transposition of Chinese xiqu performance into moving-image media in terms of preserving xiqu's aesthetic aims. Pre- and post-Cultural Revolution filmic examples, as well as contemporary television serials, are discussed. I argue that within a ‘cinema of attractions’ rather than a realist line of inquiry, ‘filmed theatre’ continues as a viable and valued stream of access to xiqu performance for contemporary audiences.
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구현경 and 홍재범. "A Study in Conversion of Media from Novel to Filmic Adaptations." Drama Research ll, no. 38 (October 2012): 5–36. http://dx.doi.org/10.15716/dr.2012..38.5.

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Sjö, Sofia, and Andreas Häger. "Filmic constructions of the (religious) other: Laestadians, abnormality, and hegemony in contemporary scandinavian cinema." Temenos - Nordic Journal of Comparative Religion 51, no. 1 (June 8, 2015): 25–44. http://dx.doi.org/10.33356/temenos.9477.

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Religious themes and characters have lately assumed center stage in a number of Scandinavian films. As with films from other parts of the world, so also in Scandinavian films a suspicion of certain religious traditions can be observed. In Scandinavian films this is not only true of traditionally foreign religions, but for some domestic religious groups as well, among them the Laestadian revival movement. In this article we analyze how this movement and its members are constructed as Other in four Scandinavian films. We theorize this ‘Othering’ with the help of Gramsci’s concept of hegemony and argue that the ‘othering’ of Laestadians helps present the contrasting views as ‘normal’ and unproblematic. In the final section of the article we discuss the findings from the perspective of media and religion in a post-secular society, arguing that the media are today central to our understanding of religion, but at the same time shape religion in accordance with their own logics. We suggest that what is needed in order to understand how religion and groups such as the Laestadian revival movement are constructed in the media is religious media literacy.
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Nwachukwu, Charles, and Onyebuchi Udochukwu Joel. "Jadesola Osiberu’s Isoken: A Filmic Postulation for Feminism." Studies in Media and Communication 7, no. 1 (May 29, 2019): 49. http://dx.doi.org/10.11114/smc.v7i1.4306.

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While other media of mass communication such as Television, Radio and Print have to contend, largely, with the expectations of informing, educating and entertaining, film ascends over all these to find a niche in “expressing”. Film, therefore, can set out for the singular purpose of expression. This study intends to analytically expose those indicators and determinants of feminism locked in within the film content of Isoken, a 2017 Nollywood movie produced and directed by Jadesola Osiberu. These components should lend evidence to the central argument in this paper that this particular film displays a strong tendency towards feminist sentiments.The Feminism Theory is, aptly, adopted to buttress the standpoint here. A theoretical study, it utilizes the qualitative research approach, relying on personal analysis and interpretation of the film. It found that a good number of elements exist within the film content to suggest that ISOKEN leans sufficiently towards feminism. These include Isoken's defiance of communal and family values, the predominantly female cast as well as the brazen usurpation of certain privileged roles that the Nigeria society had hitherto reserved for men, amongst others.The study concludes that both the scriptwriter and the director have succeeded in focusing on the female gender and putting forward female related issues. Wittingly or unwittingly, they have also ended up producing a film that is clearly within the sphere of feminism. Thus, this paper has added to the activity level in that particular aspect of knowledge, whilst also increasing available stock.
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Virginás, Andrea. "Television and Video Screens in Filmic Narratives: Medium Specificity, Noise and Frame-Work." Acta Universitatis Sapientiae, Film and Media Studies 17, no. 1 (October 1, 2019): 81–96. http://dx.doi.org/10.2478/ausfm-2019-0016.

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Abstract The paper discusses pertinent aspects of the screen as a device of framing and re-ordering. Television and video screens introduced in filmic diegesis are attributed three main functions (spatial, temporal, and topical re-ordering) and are related to the relationships Gerard Genette establishes between first-order narrative and metadiegetic levels (1987), as well as to Lars Elleström’s extracommunicational and intracommunicational actual and virtual spheres (2018). The visibility through noise of the televisual and of the video media is theorized based on Sybille Krämer’s media theory (2015) and three pre-digital arthouse films: Videodrome (David Cronenberg, 1984), Irma Vep (Olivier Assayas, 1996), and Lost Highway (David Lynch, 1997).1
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Vitols, Maruta Z., and Caitrin Lynch. "Back in the Saddle Again: Ethics, Visibility, and Aging on Screen." Anthropology & Aging 36, no. 1 (May 22, 2015): 11–19. http://dx.doi.org/10.5195/aa.2015.85.

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This paper engages with filmic portrayals of older adults in the U.S. in order to ask questions about the impacts of mass media on reproducing, critiquing, or interrogating mainstream values and assumptions about aging. The study considers the recent Hollywood works The Expendables (2010) and R.E.D. (2010), as well as the independent documentary Young@Heart (2007). We forefront questions of visibility, invisibility, and recognition both in terms of what experiences and realities are rendered visible or invisible by mass media, but also in terms of the subjective experiences of many older adults in the United States.
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Kesting, Marietta. "Performing history/ies with obsolete media." Alphaville: Journal of Film and Screen Media, no. 12 (February 10, 2017): 24–38. http://dx.doi.org/10.33178/alpha.12.02.

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The article addresses the tension between old (analogue) media and new (digital) media usage and their specific materialities by discussing the question of the preserving and re-telling of (subjective and national) history and histories. It analyses Pied Piper’s Voyage (2014), a photo-film of emerging South African artist Lebohang Kganye in the context of the South African photographic and filmic archive. In order to address the question of agentiality and transmission of memory through media this article interrogates the strategies of this piece, using a “hand-made” or analogue aesthetic in a high-definition video, and focuses on how the usage of obsolete media formats resonates both with the artists’ own subjective history and with the (chrono-)politics of representation and in/visibility in South Africa’s transnational history—including the often absent photo and film archive of black South Africans’ lives under apartheid and thus the negotiation of cultural memory in the present. It asks how media technology performs historicity: how can outdated formats invoke or announce pastness? Which different temporalities can they project? What desires and “atmospheres” may they create by staging or presenting “auratic” qualities?
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Dissertations / Theses on the topic "Filmic media"

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Loots, Lorraine. "A filmic adaptation of the Lorraine Loots's Ek is Suzie." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/11013.

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Includes bibliographical references (leaves 13-15).
The aim of the creative project was to adapt an autobiographical illustrated novel, Ek is Suzie, into a screenplay for a full-length feature film. Using a combination of live action and animation, the two main narratives play out parallel to one another – representing the past and present tense. The explication is intended to offer a reflection on the process of writing the screenplay, on filmic influences that shaped it and on the kinds of theory that illuminate what I was trying to accomplish. Thus, I investigate various creative and technical decisions made during the writing of the screenplay – dropping the novel’s narrator, the mixing of languages, the use of dream and, especially, the play between live action and animation. I note the debate on fidelity in adaptation especially as this debate applies to graphic novels and take special account of Marjane Satrapi’s Persepolis, not only because of its engagement with the process of adaptation, but also because of it seminal use of animation as a serious medium of communication, dealing with trauma and childhood. Other (popular) filmic influences are In America, My Left Foot and Garden State, dealing with the dominant themes in my screenplay – childhood trauma, self-discovery, friendship, family and love.
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Reed, Nannie Natisha. "'TAMING OF THE SHREW':DIALECTICS OF AFRICAN-AMERICAN WOMEN'S RAGE IN DOMINANT AMERICAN FILMIC DISCOURSE." Oxford, Ohio : Miami University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1145674408.

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Everette, Dennis W. "The Filthiest People Alive: Productions of Urban Spaces and Populations in the Films of John Waters." Miami University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=miami1325613384.

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Baker, Kenneth Rex III. "Lights, Camera, Creating Heroes in Action: Claus von Stauffenberg and the July 20th Conspirators in German and American Filmic Representations of the July 20th Plot." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1241204154.

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Olausson, Felicia. "En maskulinitetsstudie av tre Sune-filmer : Familjefilm och hegemonisk maktstruktur." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-64894.

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Studien är en kvalitativ analys av tre Sune-filmer och bidrar till att bredda kunskapen inom fältet maskulint genus i familjefilm. Till analysen används fyra olika teoretikers texter som stöd för att undersöka hur pojkskap/manlighet/maskulinitet skapas och upprätthålls i filmerna. Analysen är genomförd med hjälp av texter skrivna av Raewyn Connell, Maria Nikolajeva, Daniel Ekman och Magnus Öhrn. Resultatet visar att filmerna kanske inte är traditionellt maskulina, men dominerade av maskulina karaktärsdrag. Många av de maskulina karaktärsdragen som representeras i filmen återfinns i den teoretiska referensramen och det är även tydligt vad som är accepterad och inte accepterat för det manliga könet i filmerna.
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Ottosson, Towe, and Matilda Söderström. "Are you lost babygirl? : En semiotisk analys av det manliga våldet i filmen 365 Days." Thesis, Jönköping University, HLK, Medie- och kommunikationsvetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-51830.

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Hrušovský, Gustav. "Analýza marketingového mixu reklamní agentury FILIP Media." Master's thesis, Vysoká škola ekonomická v Praze, 2011. http://www.nusl.cz/ntk/nusl-112689.

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This dissertation aims at analysis of marketing mix of advertising agency. Besides main 4P (Product, Price, Place, Promotions) contains other 3P (Personnel, Process, Physical evidence), because the product of the agency are services. The dissertations includes also SWOT and BCG analysis, in which provides information about positive and negative aspects of work of the agency. The separate chapter is dedicated to outsourcing, on which the advertising agency FILIP Media concentrates.
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Teles, Paulo César da Silva 1965. "Filmes de media-metragem (1960-1990) : "abandonados no tempo"?" [s.n.], 2001. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285060.

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Orientador : Adilson Jose Ruiz
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-07-28T22:11:14Z (GMT). No. of bitstreams: 1 Teles_PauloCesardaSilva_M.pdf: 7927672 bytes, checksum: 317e795c63cff6829787695485975d0d (MD5) Previous issue date: 2001
Resumo: Este trabalho tem por objetivo resgatar e trazer à luz os chamados "filmes de média-metragem", sobretudo no período de 1960 a 1990. Período este no qual a conformação do cinema brasileiro, de um modo geral, é basicamente autoral. Trata-se de um conjunto de filmes que, em função principalmenteda sua duração, ficou à margem do circuito de exibição comercial e jamais teve sequer uma lei que o amparasse, ao contrário dos filmes de longa e curta-metragem e, no entanto, teve um aumento substancial de sua produção nos anos 70 e 80, mesmo após a promulgação das leis que amparavam apenas os longas e os curtas-metragens.Estes filmes destacam-setambém das produçõesjornalísticas e documentaispara a TV e dos famosos cine-jomais, assumindo uma face autoral, independente e institucional, levando com isso, um cinema diferenciado para um público diferenciado,um espectador mais ativo, consciente e reflexivo dentro de sua realidade conjuntural. Junto às principais cinematecas e acervos do Brasil, conseguimos levantar a quase totalidade das obras produzidas no período citado, onde foram por fim relacionadas e catalogadas desenvolvendo com isso um banco de dados, citando, além de alguns dados técnicos, as fontes de referência e consulta de cada um deles
Abstract: Not informed.
Mestrado
Mestre em Multimeios
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Johansson, Simon, and Simon Karlsson. "O, kunde vi nå åter till vår bas, nu när vi upptäckt vad vår rädsla är: en liten blåsa i Sveriges andes glas - Hur kollektiva rädslor uttrycks i samtida svenska science fiction filmer." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-81051.

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Sundman, Hanna, and Emelie Petrusson. ""Puny human!!! Will you worship me?" : En multimodal analys av den interaktiva filmen Bandersnatch." Thesis, Högskolan i Gävle, Media- och kommunikationsvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-29983.

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The purpose of this thesis was to analyse the interactive movie Bandersnatch, which is part of the media critical series Black Mirror. The main questions were focused on what Bandersnatch communicate about the power relationship between media and audience, the function of the interactive aspect, and media criticism. A multimodal method and film analysis were used to investigate this. The analysis and discussion were based on several media and communication theories regarding hegemony, mediatization and media criticism. The result showed that Bandersnatch communicate that the audience, and members of a mediatized society, are controlled by the media and the government and therefore does not have free will. This hegemony is upheld by the media that is used to create a false consciousness amongst the public. The interactive aspect of Bandersnatch reinforces this message. Although this is heavily communicated within the film, Black Mirror is not seeking actual reform of the hegemony which leaves the media criticism questionable.

Mats Hyvönen är examinator för den aktuella uppsatsen medan Per Vesterlund är examinator för hela kursen.

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Books on the topic "Filmic media"

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Sokołowski, Marek. Wokół zagadnień audiowizji: Szkice o filmie, telewizji, wideo. Olsztyn: Polskie Stowarzyszenie Filmu Nauk., 1996.

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Spencer-Hall, Alicia. Medieval Saints and Modern Screens. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462982277.

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This ground-breaking book brings theoretical perspectives from twenty-first century media, film, and cultural studies to medieval hagiography. Medieval Saints and Modern Screens stakes the claim for a provocative new methodological intervention: consideration of hagiography as media. More precisely, hagiography is most productively understood as cinematic media. Medieval mystical episodes are made intelligible to modern audiences through reference to the filmic - the language, form, and lived experience of cinema. Similarly, reference to the realm of the mystical affords a means to express the disconcerting physical and emotional effects of watching cinema. Moreover, cinematic spectatorship affords, at times, a (more or less) secular experience of visionary transcendence: an 'agape-ic encounter'. The medieval saint's visions of God are but one pole of a spectrum of visual experience which extends into our present multi-media moment. We too conjure godly visions: on our smartphones, on the silver screen, and on our TVs and laptops. This book places contemporary pop-culture media - such as blockbuster movie The Dark Knight, Kim Kardashian West's social media feeds, and the outputs of online role-players in Second Life - in dialogue with a corpus of thirteenth-century Latin biographies, 'Holy Women of Liège'. In these texts, holy women see God, and see God often. Their experiences fundamentally orient their life, and offer the women new routes to knowledge, agency, and belonging. For the holy visionaries of Liège, as with us modern 'seers', visions are physically intimate, ideologically overloaded spaces. Through theoretically informed close readings, Medieval Saints and Modern Screens reveals the interconnection of decidedly 'old' media - medieval textualities - and artefacts of our 'new media' ecology, which all serve as spaces in which altogether human concerns are brought before the contemporary culture's eyes.
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Voullième, Helmut. Gewalt in Filmen und TV-Spielen: Eine vergleichende Inhaltsanalyse. Düsseldorf: Livonia Verlag, 1992.

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History in the Media. Santa Barbara: ABC-CLIO, 2008.

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Fox, Broderick. Documentary media: History, theory, practice. Boston: Allyn & Bacon, 2010.

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French cinema: Critical concepts in cultural and media studies. Abingdon, Oxon: Routledge, 2013.

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Greifenstein, Sarah. Tempi der Bewegung – Modi des Gefühls. Berlin/Boston: De Gruyter, 2020.

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Media authorship. New York: Routledge, 2012.

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Remakes and remaking: Concepts - media - practices. Bielefeld: Transcript, 2015.

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Elsaesser, Thomas. Film History as Media Archaeology. NL Amsterdam: Amsterdam University Press, 2016. http://dx.doi.org/10.5117/9789462980570.

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Since cinema has entered the digital era, its very nature has come under renewed scrutiny. Countering the 'death of cinema' debate, Film History as Media Archaeology presents a robust argument for the cinema's current status as a new epistemological object, of interest to philosophers, while also examining the presence of moving images in the museum and art spaces as a challenge for art history. The current study is the fruit of some twenty years of research and writing at the interface of film history, media theory and media archaeology by one of the acknowledged pioneers of the 'new film history' and 'media archaeology'. It joins the efforts of other media scholars to locate cinema's historical emergence and subsequent transformations within the broader field of media change and interaction, as we experience them today.
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Book chapters on the topic "Filmic media"

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Sintobin, Tom, and Anke Tonnaer. "Tourists’ filmic representations on YouTube." In The Routledge Companion to Media and Tourism, 246–54. London; New York: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429430398-29.

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Profanter, Annemarie. "A Filmic Adventure: Women in Polygynous Marriages in Oman." In Arab Women and the Media in Changing Landscapes, 123–48. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-62794-6_8.

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Greiner, Rasmus. "Experience and Remembering." In Cinematic Histospheres, 151–81. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70590-9_7.

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AbstractThis chapter shows that forms of experience and memory are not mere effects but constitutive processes of histospheres. Accordingly, the first section explores the complex interrelationship between film, body, and memory. It argues that embodied memories make it possible to experience a film’s historical world as a physical reality, and add a bodily experiential dimension to the mise-en-histoire. Building on these considerations, the second section combines them with theories of media-generated memories: Histospheres draw not just on existing embodied memories and conceptions of history, but are actively involved in producing personal experiences with identity-forging potential. The third section examines the workings of reminiscence triggers, whereby filmic figurations link the film’s historical world to the spectator’s embodied memories and produce a kind of déjà vu effect.
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Virginás, Andrea. "Electronic Screens in Film Diegesis: Modality Modes and Qualifying Aspects of a Formation Enhanced by the Post-digital Era." In Beyond Media Borders, Volume 1, 141–73. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49679-1_4.

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Abstract The proliferation of television screens, video monitors and computer or mobile screens in film diegetic worlds is an apparently simple numeric increase of certain objects within the filmed space, conditioned by, and thus mirroring, contemporary technological changes. However, one should consider this intermediary screenic formation as a complex and versatile audiovisual and narrative method that could have emerged in this frequency only in our current post-digital era. This chapter argues that fine-tuning the model of media functioning presented in Elleström’s “The Modalities of Media” for this specific phenomenon enables a more precise description of the process along which the three presemiotic media modalities morph into the semiotic one. By presenting a systematic description of electronic screens in film diegetic worlds, and a general assessment of the intermedial processes at work, the chapter examines Euro-American films influenced by the video, respectively, the digital era and technology.
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Bowman, Paul. "Filming Culture." In Culture and the Media, 67–85. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-1-349-88348-6_5.

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Tseng, Chiao-I. "Truthfulness and Affect via Digital Mediation in Audiovisual Storytelling." In Beyond Media Borders, Volume 1, 175–95. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49679-1_5.

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Abstract This chapter investigates different ways in which the film techniques of digitally mediated images—such as found footage, diegetic camera, and computer screen—achieve story truthfulness and affective engagement in the viewer’s narrative interpretation process. The pursuit of truthful storytelling is to demonstrate objective facts, while mediated images in film are predominantly subjective. The chapter starts by reviewing the perennial paradox of two seemingly mutually exclusive narrative functions and then tackles the paradox by proposing a multi-leveled framework, synthesizing semiotic conceptualization and cognitive research findings. It also analyzes the various forms of digital mediated images in films over the last two decades and sheds light on how the functions of truthfulness and affective engagement can be closely intertwined rather than in conflict.
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Wildmann, Daniel. "German Television Crime Films and German Emotions." In Media and Minorities, 85–103. Theaterstraße 13, D-37073 Göttingen, Deutschland: Vandenhoeck & Ruprecht, 2016. http://dx.doi.org/10.13109/9783666300882.85.

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Hueth, Alan C. "Short films." In Scriptwriting for Film, Television, and New Media, 183–207. London ; New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429461361-8.

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Medoff, Norman J., and Barbara K. Kaye. "Feature Films." In Now Media: The Evolution of Electronic Communication, 367–90. 4th ed. Other titles: Electronic media Description: Fourth edition. | London; New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003020721-13.

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Hole, Kristin Lené, and Dijana Jelača. "From film to new media." In Film Feminisms, 307–49. London ; New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315618845-9.

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Conference papers on the topic "Filmic media"

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Pereira, Marcus Vinicius, and Agnaldo Arroio. "ANALYSIS OF SCIENCE VIDEOS PRODUCED BY BRAZILIAN MINISTRY OF EDUCATION." In Proceedings of the 2nd International Baltic Symposium on Science and Technology Education (BalticSTE2017). Scientia Socialis Ltd., 2017. http://dx.doi.org/10.33225/balticste/2017.92.

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It is presented an analysis of science videos produced by Ministry of Education of Brazil to prepare high school students for an exam. It was identified how these videos were produced under filmic analysis framework. They are long duration videos, more similar to TV programs, which incorporate popular Youtube videos to solve problems inset with the dialogue between a presenter (an actor) and a teacher. Also there is weak relation between the guest interviewed and the video subject. Keywords: media literacy, filmic analysis, science education, Youtube.
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Dhar, Lisa, Arturo Hale, Melinda Schnoes, Marcia Schilling, Howard Katz, Carol Boyd, Kevin Curtis, Michael Tackitt, William Wilson, and Adrian Hill. "Photopolymer media for holographic data storage." In Organic Thin Films. Washington, D.C.: OSA, 1999. http://dx.doi.org/10.1364/otf.1999.suc1.

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Oba, Kazutaka, Igor Chapurin, Stephan Robu, and Yeshaiahu Fainman. "Photochromic media with sensitivity in the visible spectra." In Organic Thin Films. Washington, D.C.: OSA, 1999. http://dx.doi.org/10.1364/otf.1999.sua2.

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Rubanovitch, M. G., Y. V. Vostryakov, V. P. Razinkin, V. A. Khrustalev, and S. J. Matvejev. "Simulation of electromagnetic processes in microwave film resistors." In Proceedings of the 4th IEEE-Russia Conference. 2003 Microwave Electronics: Measurements, Identification, Applications. MEMIA 2003. IEEE, 2003. http://dx.doi.org/10.1109/memia.2003.238602.

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Rubanovich, M. G., S. J. Matveev, V. A. Khrustalyov, V. P. Razinkin, and M. J. Vasilchic. "Calculation of a High Frequency Rectangular Film Resistor Inductance." In 2005 5th International Conference on Microwave Electronics: Measurement, Identification, Applications. IEEE, 2005. http://dx.doi.org/10.1109/memia.2005.247515.

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Sufa, Siska Armawati, Rusli Kustaman, Henri Subiakto, Ipit Zulfan, and Teguh Dwi Putranto. "Sidoarjo Film Festival 2019 as an Effort to Generate the Indonesian Film Industry." In 2nd International Media Conference 2019 (IMC 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200325.032.

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Indias, Johanna Mae M., Raphael A. Guerrero, Marina Scarpa, and Paolo Bettotti. "Functional nanocellulose films as fluorescent media." In Nanophotonics and Micro/Nano Optics IV, edited by Zhiping Zhou and Kazumi Wada. SPIE, 2018. http://dx.doi.org/10.1117/12.2502699.

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Yanagisawa, M., M. Kunimoto, and T. Homma. "HAMR Emulation on Carbon Overcoat and Lubricant for Near Field Transducer and Magnetic Media Using Surface-Enhanced Raman Sensors." In ASME 2017 Conference on Information Storage and Processing Systems collocated with the ASME 2017 International Technical Conference and Exhibition on Packaging and Integration of Electronic and Photonic Microsystems. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/isps2017-5431.

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A plasmonic sensor is used for emulation of near field transducer (NFT). Some overcoat films (thickness of 1nm) were coated on Au nanoparticles (NPs) on a convex quartz glass substrate (plasmonic sensor). Heating behavior of the films was examined by laser heating using novel Raman spectroscopic tools, i.e. surface-enhanced Raman scattering (SERS) with the plasmonic sensor, a continuous laser heating tool, in-situ observation of spectra and temperature with a high speed time-resolved measurement. The heating temperature of tetrahedral carbon (ta-C) film in He gas is lower than that in air. This is because the thermal conductivity of He is larger than air. Few spectral change of ta-C film (thickness of 1nm) on Au NP’s is observed except initial change in around 100 s at the temperature around 500 °C, which corresponds to the temperature of the carbon overcoat (COC) for the media temperature of 327 °C (600K, Currie temperature for CoPt alloy). Some carbide films, i.e. SiC, TiC, and WC, showed high heat resistance, that is, few spectral change was observed. It is found that lubricant is evaporated from the COC on magnetic media and transferred to the plasmonic sensor.
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B. Tatcho, Orville, and Ariel S. Barrias. "GAY ISSUES AND THEMES IN PHILIPPINE INDEPENDENT AND MAINSTREAM FILMS." In World Conference on Media and Mass Communication. TIIKM, 2016. http://dx.doi.org/10.17501/medcom.2016.1104.

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Deni Setiawan, Lukas, and Birgitta Bestari Puspita. "CLASSIFICATION OF CHILDREN SHORT FILMS FOR MOBILE MOVIE SCREENING BY BIOSCIL." In World Conference on Media and Mass Communication. The International Institute of Knowledge Management (TIIKM), 2019. http://dx.doi.org/10.17501/24246778.2019.5101.

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Reports on the topic "Filmic media"

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Caldwell, Michael. The Occurrences, References and Projected Attitudes About LGBT Lifestyles in Children's Media: A Content Analysis of Animated Films. Portland State University Library, January 2014. http://dx.doi.org/10.15760/honors.107.

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Mayer, S. T., and R. H. Muller. An in situ study of the anodic film formation of Cu, Ag, and Zn in alkaline media. Office of Scientific and Technical Information (OSTI), December 1989. http://dx.doi.org/10.2172/7020740.

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