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1
Hurley, Alice Garbarini. "New Film Explores Migraine." Brain & Life 14, no. 6 (2018): 8–9. http://dx.doi.org/10.1097/01.nnn.0000550474.29498.cf.
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Kaur, Harmanpreet. "At Home in the World: Co-productions and Indian Alternative Cinema." BioScope: South Asian Screen Studies 11, no. 2 (December 2020): 123–45. http://dx.doi.org/10.1177/0974927620983941.
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Several Indian filmmakers and production houses making ‘alternative’ and ‘independent films’ have sought to develop co-production deals with European film funds, international film festivals, film markets and sales agents. Their bid is to build a profile with art house and ‘specialty cinema’ audiences in Europe, Asia and the USA, while also seeking to impact the Indian domestic market. This article analyses the assembling of such productions, and their aesthetic form, including a reflection on charges that their adaptation to international distribution requires a conformity to what is acceptable and intelligible to ‘international audiences’. It also explores how alternative films oriented to international art cinema affect the understanding of what constitutes ‘national cinemas’. The article explores these themes through two films, Qissa (2013) and The Lunchbox (2012).
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Griffith, Frank, and David Machin. "Communicating the ideas and attitudes of spying in film music: A social semiotic approach." Sign Systems Studies 42, no. 1 (May 26, 2014): 72–97. http://dx.doi.org/10.12697/sss.2014.42.1.04.
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Taking the example of two 1960s popular spy films this paper explores how social semiotics can make a contribution to the analysis of film music. Following other scholars who have sought to create inventories of sound meanings to help us break down the way that music communicates, this paper explores how we can draw on the principles of Hallidayan functional grammar to present an inventory of meaning potentials in sound. This provides one useful way to describe the semiotic resources available to composers to allow them to communicate quite specific ideas, attitudes and identities through combinations of different sounds and sound qualities, by presenting them as systems of meaning rather than as lists of connotations. Here we apply this to the different uses of music and sound in Dr No and The Ipcress Files which allows us to show how we can reveal different ideologies of spying.
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Deleyto, Celestino, and María del Mar Azcona. "The texture of the age: Digital construction of unbounded Space in Birdman (Iñárritu 2014)." Studies in Spanish & Latin American Cinemas 18, no. 1 (March 1, 2021): 73–88. http://dx.doi.org/10.1386/slac_00037_1.
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Like some of Alejandro González Iñárritu’s previous films, Birdman or (The Unexpected Virtue of Ignorance) (Iñárritu 2014) is an exploration of the place of individuals in the midst of various global forces, in this case, technological, social and cultural globalization. The film’s most relevant formal feature, the digitally created ‘long take’, also partakes of the director’s well-known penchant for technological and formal experimentation when telling a story. In Birdman, cinematic form is closely related to its thematic concerns, particularly the impact of technology on global processes. This article explores the confluence between form – digital cinema – and content in Birdman. It looks at the global virtual space created by the internet and social networks and how they affect our sense of being in the world. To this end, the film exploits the possibilities and connotations of the apparently uninterrupted single take that comprises most of the duration of the film and of the composited, digital-realistic space thus created.
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Bakina, T. V. "The Birth of a Hollywood Spectacle: Visual Expression and Narrative Functions of Costumes in Cecil B. DeMille’s Silent Films." Art & Culture Studies, no. 2 (June 2021): 252–85. http://dx.doi.org/10.51678/2226-0072-2021-2-252-285.
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The article explores the functions of film costumes in the works of Cecil B. DeMille, the American film director, whose pictures of the late 1910s and early 1920s are notable for their artistic achievements in the field of set and costume design. On the material of certain films from his “matrimonial cycle”, the author analyses the narrative and spectacular functions of costumes, while making an emphasis on the director’s role in the development of the artistic uniqueness and visual extravagance of Hollywood films of this period. The films of this cycle display some key strategies in film costume function- ing and design methods that would be adopted by the Hollywood film industry to become the new production standard in this field.
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Zeng, Zhaodong. "The Relationships in Novels from the Perspective of Literary Ethics—Taking the Film Lolita as an Example." Theory and Practice in Language Studies 9, no. 9 (September 1, 2019): 1140. http://dx.doi.org/10.17507/tpls.0909.10.
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Vladimir Vladimirovich Nabokov is an outstanding and productive Russian-Amercian writer. As the epitome work of the writer, Lolita must be the most controversial novel without doubt. This novel has been adapted into two versions of films: 1962 version and 1997 version. This paper will analyze the 1997 version of Lolita directed by Adrian Lyne. Most critics have mainly conducted the analysis of the film form the perspective of ethnics, postmodernism, narrative strategy, time as well as the image of death. However, there are few, if any, researches done from the perspective of literary ethics to dig into the relationships in the film. With the integration of ethics methods and literary research methods, literary ethics serves as a major new criticism approach and is mainly employed to conduct the analysis of literature. With the ethical factors unveiled in Lolita, this paper seeks to analyze three relationships: human beings and society, human beings and self, ethics and truth. The paper interprets the film Lolita from the perspective of literary ethics, explores the relationships in the film, exploits Vladimir Vladimirovich Nabokov’ s pursuit of truth, kindness and beauty, and also hopes to provide a new direction for later research on the film Lolita.
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White, Jerry. "Cold War Contexts: Pawlikowski in Film, Television, and European History." Film Quarterly 72, no. 3 (2019): 44–51. http://dx.doi.org/10.1525/fq.2019.72.3.44.
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Jerry White compares Paweł Pawlikowski's new film Zimna wojna (Cold War, 2018) to Karpo Godina's classic Slovenian film Rdeči boogie ali Kaj ti je deklica (Red Boogie, 1982), discussing the narrative and thematic continuities between the two films in the context of Cold War history and cinema. White also explores Pawlikowski's prior incarnation as a British documentary filmmaker named Paul to suggest a curious evolution; that in returning to his native Poland in his most recent films (Cold War and Ida), Pawlikowski has gone astray, abandoning the authenticity of his early British films such as Last Resort for a muddled romantic vision.
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Kijaszek, Wojciech, Waldemar Oleszkiewicz, Adrian Zakrzewski, Sergiusz Patela, and Marek Tłaczała. "Investigation of optical properties of silicon oxynitride films deposited by RF PECVD method." Materials Science-Poland 34, no. 4 (December 1, 2016): 868–71. http://dx.doi.org/10.1515/msp-2016-0111.
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AbstractIn this study, the authors deposited silicon oxynitride films by Radio Frequency Plasma Enhanced Chemical Vapour Deposition (RF PECVD) method. The research explores the relationship between the deposition process parameters and the optical properties of the deposited SiOxNy films. The optical constants of SiOxNy films were measured and calculated by spectroscopic ellipsometry method. Additionally, the authors investigated the possibility of controlling the deposited film composition by the flow ratio of different gaseous precursors: ammonia (NH3), diluted silane (2%SiH4/98%N2), nitrous oxide (N2O) and nitrogen (N2). The gas mixture introduced to the working chamber during the growth of the film has the influence on the Si–O and Si–N bonds formation and the ratio between these bonds determines the refractive index of the deposited film.
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O'Rourke, Chris. "Exploiting Ambiguity: Murder! and the Meanings of Cross-Dressing in Interwar British Cinema." Journal of British Cinema and Television 17, no. 3 (July 2020): 289–312. http://dx.doi.org/10.3366/jbctv.2020.0530.
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The crime film Murder! (1930), directed by Alfred Hitchcock for British International Pictures and based on the novel Enter Sir John (1929) by Clemence Dane and Helen Simpson, has long been cited in debates about the treatment of queer sexuality in Hitchcock's films. Central to these debates is the character of Handel Fane and the depiction of his cross-dressed appearances as a theatre and circus performer, which many critics have understood as a coded reference to homosexuality. This article explores such critical interpretations by situating Murder! more firmly in its historical context. In particular, it examines Fane's cross-dressed performances in relation to other cultural representations of men's cross-dressing in interwar Britain. These include examples from other British and American films, stories in the popular press and the publicity surrounding the aerial performer and female impersonator Barbette (Vander Clyde). The article argues that Murder! reflects and exploits a broader fascination with gender ambiguity in British popular culture, and that it anticipates the more insistent vilification of queer men in the decades after the Second World War.
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Gaustad, Terje. "Sweetening the Deal." Nordicom Review 30, no. 2 (November 1, 2009): 179–97. http://dx.doi.org/10.1515/nor-2017-0158.
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Abstract Various forms of public funding are used to encourage national film production, and one important quality of such funding is its ability to attract complementary private financing and thus maximize the resources available for national film. When the Norwegian government restructured its film support system in 2001, it was an explicit goal to attract more private investments into national films. Yet three years later, the government observed that while many national films now could show a healthy return on their private capital of more than 50 percent, there seemed to be a notable lack of participation from the traditional investment community in the financing of these films. The present article explores the economic reasons for the lack of involvement by applying project financing and transaction cost perspectives to a microanalysis of the financing and performance of all Norwegian films released theatrically in 2005.
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Gillespie, David C. "The Sounds of Music: Soundtrack and Song in Soviet Film." Slavic Review 62, no. 3 (2003): 473–90. http://dx.doi.org/10.2307/3185802.
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In this article, David C. Gillespie explores the deliberate foregrounding of music and song in Soviet film. He begins with a discussion of the structural and organizing roles of music and song in early Soviet sound films, including tiiose by Sergei Eizenshtein, Grigorii Aleksandrov, Ivan Pyr'ev, and Aleksandr Ivanovskii. Gillespie then focuses on the emphasis on urban song in some of the most popular films of the stagnation years, such as The White Sun of the Desert (1969) and Moscow Does Not Believe in Tears (1979), adding considerably to the appreciation of these films. To conclude, he analyzes folk music in films about village life, especially those directed by Vasilii Shukshin, and explores the role of music in constructing a mythical and nationalistic discourse.
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Hao, Ning Mei, Dong Zhi Zhang, Bo Kai Xia, Kai Wang, and Chun Yue Wan. "Preparation Mechanism of Electrostatic Self-Assembled Polyelectrolyte Film Using Quartz Crystal Microbalance." Advanced Materials Research 499 (April 2012): 63–66. http://dx.doi.org/10.4028/www.scientific.net/amr.499.63.
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Electrostatic layer-by-layer (LbL) self-assembly is widely used in sequential adsorption of nanometer-thick monolayers of oppositely charged polyelectrolytes to form a multi-layer film with molecular-level control over the architecture. To offer functional material for the potential application, this paper exploits PDDA and PSS as polycation and polyanion for LbL self-assembly to fabricate polyelectrolyte nanocomposite films. The preparation and film-growing mechanism is investigated under the influences of multi-factor such as polyelectrolyte concentration, ionic strength, and assembling duration using quartz crystal microbalance (QCM). The research results indicate the formation mechanism of multi-layer PDDA/PSS films and offer fundamental basis for the optimum preparation of polyelectrolyte films.
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Sand, Stine Agnete. "How to Succeed with Film Production in the Regions?" Nordicom Review 38, no. 1 (June 15, 2017): 113–25. http://dx.doi.org/10.1515/nor-2016-0035.
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Abstract This article explores what two regional film production companies in Norway do to survive and succeed with their goals. The production of feature films in Norway is largely an Oslo-based effort, but despite this reality, there are companies in the regions that produce feature films. The analysis draws on semi-structured interviews with eight employees in two companies. Mer Film has in relatively short time managed to attract talented directors and establish networks with international, critically acclaimed production companies. Filmbin was one of the first film companies in Norway who committed themselves to the production of films for children. The article shows that success must be related to context and that reputation, talent development and choice of genre, geographical location, networking and social capital, risk diversification, entrepreneurship, organizational culture and leadership, are essential factors for the companies.
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Denisova, Irina V. "The Influence of the Painting Tradition on Derek Jarman’s Films." Journal of Flm Arts and Film Studies 8, no. 3 (September 15, 2016): 84–94. http://dx.doi.org/10.17816/vgik8384-94.
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The article aims at revealing intertextual references to paintings woven into feature films by the British director Derek Jarman (1942-1994). The author explores various manifestations of intertextuality from direct citations to reminiscences, which allow to emphasize the continuity of film-directors work, the connection of its aesthetics, composition, film mood with the original fine art source paintings. The target is to enhance the emotional impact on the viewer. The concept of intertextuality has undergone significant changes since its introduction to the research usage by the poststructuralist French theorist Julia Kristeva. This term has gone beyond the literary discourse and has begun to be used in the analysis of all the semiotic formations to describe the interaction of both verbal and non-verbal texts. In this regard, it is important to analyze and reveal the intertextual references to paintings woven into feature films made by a British director Derek Jarman whose works are insufficiently explored in Russia. Intertextuality is a characteristic feature of Jarmans creative style that seeks to blur the clear distinction between painting and cinema. Analysing the influence of such artists as Michelangelo Merisi da Caravaggio, Piero della Francesca, William Turner, Ford Madox Brown, Thomas Eakins and Francis Bacon on Jarman, the author reveals the interconnection between the directors aesthetics, composition, mood, light and shade frame modeling and the original paintings. Derek Jarman uses a variety of intertextual references from direct citations to reminiscences affecting the visual associative row of the audience and their film perception, emphasizing the continuity of his work. The intertextual references seek to enhance the emotional impact on the viewers, to recreate the mood of the epoch and its atmosphere, to aggravate the tragedy of the situation. The metaphors and allusions greatly expand the spatial and temporal characteristics of Jarmans films. Numerous intertransitions from one semiotic system to another fill his films with inner dialogue and strengthen semantic polyphony of meaning.
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Tabernero, Carlos, Isabel Jiménez-Lucena, and Jorge Molero-Mesa. "Colonial scientific-medical documentary films and the legitimization of an ideal state in post-war Spain." História, Ciências, Saúde-Manguinhos 24, no. 2 (December 8, 2016): 349–69. http://dx.doi.org/10.1590/s0104-59702016005000025.
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Abstract This paper explores the role of film and medical-health practices and discourses in the building and legitimating strategies of Franco’s fascist regime in Spain. The analysis of five medical-colonial documentary films produced during the 1940s explores the relationship between mass media communication practices and techno-scientific knowledge production, circulation and management processes. These films portray a non-problematic colonial space where social order is articulated through scientific-medical practices and discourses that match the regime’s need to consolidate and legitimize itself while asserting the inclusion-exclusion dynamics involved in the definition of social prototypes through processes of medicalization.
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Karim, Lanja Najmalddin. "Kurdish National Identity in the films of Yilmaz Guney and Bahmani Ghobadi." Journal of University of Human Development 7, no. 3 (August 18, 2021): 69–73. http://dx.doi.org/10.21928/juhd.v7n3y2021.pp69-73.
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this essay explores the conceptualization of Kurdish identity in the works of Kurdish film makers, namely Bahmani Ghobadi and Yikmaz Guney, whose films established a unified Kurdish National Cinema beyond the borders and statelessness in a transnational space. This essay delineates the ways Kurdishness is expressed in the cinematic techniques of the two Kurdish film makers who used similar subtle techniques to incorporate their Kurdish identity into the films they made. The Kurds, as one of the largest stateless ethnic group in the Middle East have suffered violent oppression, state perpetuated discrimination, and exclusion. This essay draws on Hannah Arendt’s The Origins of Totalitarianism, and Philip Rosen’s essay in Theorizing National Cinema to explore how Yalmiz Guney and Bahmani Ghobadi presented the national identity of the characters to mark the films with a sense of Kurdishness. This essay further explores the construction of national identity and personhood specifically in Guney’s Yol and Ghobadi’s Turtles Can Fly to show how stateless people can easily become a subject of dehumanization by different nation states.
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Monakhova, Margarita Olegovna. "The Reflection of Ethno-Cultural Stereotypes in Film Art." Journal of Flm Arts and Film Studies 4, no. 1 (February 15, 2012): 114–18. http://dx.doi.org/10.17816/vgik41114-118.
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The article explores the principles and peculiarities of the cinematic language reflecting ethno-cultural stereotypes in recent Russian films. The diversity of expressive means used in modern Russian film art makes it possible to represent the ethno-cultural stereotype from different angles. Films that show visual stereotypes of the lifestyle in Poland creating a settled idea of Polish national identity are cited as an example.
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Wang, Haizhou. "The Historical Roots and Cultural Core of the Chinese Film School." Journal of Chinese Film Studies 1, no. 1 (March 12, 2021): 101–13. http://dx.doi.org/10.1515/jcfs-2021-2010.
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Abstract Chinese cinema has its own unique features, created through nationally distinct methods. Once revealed, these methods make possible the construction of a unique “Chinese film school.” This article explores the historical development of Chinese film arts in order to uncover general trends along its winding path. While being open to the world, the Chinese film school ultimately returns to traditions in Chinese art as a method to construct a unique theory of Chinese film. This methodology has enabled Chinese films to reflect wider developments in world cinema, while also maintaining distinctive Chinese cultural characteristics.
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Menendez-Otero, Carlos. "Cowboys and kings: The coming of age film in 1990s Irish cinema." CINEJ Cinema Journal 5, no. 1 (February 17, 2016): 5–33. http://dx.doi.org/10.5195/cinej.2015.123.
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The article explores why in the 1990s many Irish filmmakers chose precisely a coming of age narrative to attempt to take the international box office by storm, and assesses some of the films that resulted from the attempt. First, it discusses the cultural roots and generic conventions of the Hollywood teen film, especially the rites of passage it has reified and its idealization of small-town, mid-century America. Second, it studies the economic and cultural reasons behind the (over)production of coming of age films in Ireland over the 1990s. Finally, we tackle how these films alternatively deviate from and rely on the conventions of the Hollywood coming of age film to meet investor demands and engage global audiences with Irish concerns.
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Chen, Huan, Yifan Zuo, Rob Law, and Mu Zhang. "Improving the Tourist’s Perception of the Tourist Destinations Image: An Analysis of Chinese Kung Fu Film and Television." Sustainability 13, no. 7 (April 1, 2021): 3875. http://dx.doi.org/10.3390/su13073875.
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Cultural media, film, and television works can increase the popularity of the image of tourist destinations, thereby promoting the sustainable development of the tourism industry and obtaining economic benefits. This study takes Chinese kung fu film and television as examples to explore the mechanism of audience participation in the perception of tourist destinations. It further explores the mediating effect of cultural contact. The study took the image perception of tourist destinations as the dependent variable and audience participation as the independent variable. A total of 331 subjects were surveyed, and a multi-layer regression model was established to test the rationality and validity of the hypothetical theoretical model. The research results show that audience participation in martial arts films and television tourism can directly and indirectly affect the audience’s perception of martial arts culture. At the same time, the viewer can achieve contact with martial arts culture through film and television, accordingly forming his or her perception of the destination. In other words, film and television audience participation can bring more cultural contact to the audience. In turn, cultural contact can enhance the image perception of tourist destinations and play an important intermediary role in the process of audience participation by enhancing the perception of tourist destinations. By confirming the variable relationship in Wushu film and television tourism, this research fills the gap between the two aspects, which contributes to promoting the two-way interaction between Wushu film and television works and tourism marketing and achieving the long-term sustainable development of tourism destinations.
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Hashimoto, Masaaki, and Yoshihiro Taguchi. "Design and Fabrication of a Kirigami-Inspired Electrothermal MEMS Scanner with Large Displacement." Micromachines 11, no. 4 (March 30, 2020): 362. http://dx.doi.org/10.3390/mi11040362.
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Large-displacement microelectromechanical system (MEMS) scanners are in high demand for a wide variety of optical applications. Kirigami, a traditional Japanese art of paper cutting and folding, is a promising engineering method for creating out-of-plane structures. This paper explores the feasibility and potential of a kirigami-inspired electrothermal MEMS scanner, which achieves large vertical displacement by out-of-plane film actuation. The proposed scanner is composed of film materials suitable for electrothermal self-reconfigurable folding and unfolding, and microscale film cuttings are strategically placed to generate large displacement. The freestanding electrothermal kirigami film with a 2 mm diameter and high fill factor is completely fabricated by careful stress control in the MEMS process. A 200 μm vertical displacement with 131 mW and a 20 Hz responsive frequency is experimentally demonstrated as a unique function of electrothermal kirigami film. The proposed design, fabrication process, and experimental test validate the proposed scanner’s feasibility and potential for large-displacement scanning with a high fill factor.
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Smith, Adrian. "The Language of Love: Swedish Sex Education in 1970s London." Film Studies 18, no. 1 (2018): 34–51. http://dx.doi.org/10.7227/fs.18.0003.
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In 1974 the British Board of Film Censors refused to grant a certificate to the Swedish documentary More About the Language of Love (Mera ur Kärlekens språk, 1970, Torgny Wickman, Sweden: Swedish Film Production), due to its explicit sexual content. Nevertheless, the Greater London Council granted the film an ‘X’ certificate so that it could be shown legally in cinemas throughout the capital. This article details the trial against the cinema manager and owners, after the film was seized by police under the charge of obscenity, and explores the impact on British arguments around film censorship, revealing a range of attitudes towards sex and pornography. Drawing on archival records of the trial, the widespread press coverage as well as participants’ subsequent reflections, the article builds upon Elisabet Björklund’s work on Swedish sex education films and Eric Schaefer’s scholarship on Sweden’s ‘sexy nation’ reputation to argue that the Swedish films’ transnational distribution complicated tensions between educational and exploitative intentions in a particularly British culture war over censorship.
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Putra, Gesang Manggala Nugraha, and Trisnavia Elma Kharisa. "ARE ALL WOMEN FEMINISTS? A CRITICAL VIEW ON LADY BIRD (2017) FILM." Lire Journal (Journal of Linguistics and Literature) 4, no. 1 (March 16, 2020): 1–15. http://dx.doi.org/10.33019/lire.v4i1.56.
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Introduction: In the study of film as media, there is a growing tendency on labelling films with female leads and female production crews as feminist films. Objective: This study aims to test such claim in the film Lady Bird (2017). Method: To do so, the study employs Feminist Identity Development Model by Downing and Roush to look at the main lead of the film, along with analyses on the film’s narrative and cinematographic aspects. Findings: The study finds that the female lead fails to undergo all the five stages of Feminist Identity Development Model. The study further explores that her advancement through the stages is being held back by her dependence to her family and those around her. Conclusion: The study, then, suggests some further inquiries on the interrelatedness of age and feminism.
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Marks, Laura U. "Loving a Disappearing Image." Cinémas 8, no. 1-2 (October 26, 2007): 93–111. http://dx.doi.org/10.7202/024744ar.
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ABSTRACTThe author explores how a viewer identifies with a decaying or disintegrating film or videotape, given that cinema is, in effect, dying even as we watch it. She discusses several experimental films and videos that take as their subject the disintegration of film, often erotic film. A psychoanalytic model of melancholia is posited for this identificatory process, but it is found to be unsatisfactory since it is premised on the maintenance of the ego's coherence. Instead a model of devotional melancholia is posited for how one might love a disappearing image.
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Brennan, Daniel. "Jiří Menzel’s treatment of sacrifice." Ethics & Bioethics 9, no. 3-4 (December 1, 2019): 208–20. http://dx.doi.org/10.2478/ebce-2019-0018.
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Abstract The paper explores the philosophical treatment of sacrifice in four of Jiří Menzel’s films of the 1960’s, Closely observed trains (Ostře sledované vlaky), Capricious summer (Rozmarné léto), Mr Balthazar’s death (Smrt pana Baltazara), his short film contribution to the anthology film of the New Wave, Pearls of the deep (Perličky na dně), and Larks on a string (Skřivánci na niti). The paper argues that Menzel problematizes romanticized versions of messianic sacrifice as they all too easily disregard the moral significance of mundane relations. By analysing the treatment of sacrifice in each of these films, the paper makes a case for the significance of Menzel’s treatment of sacrifice for current philosophical debates.
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Chera, Godknows, and Urther Rwafa. "MANIFESTATIONS OF POWER AND RESISTENCE: AN EXPLORATION OF QUENTIN TARANTINO'S DJANGO UNCHAINED (2012) AND STEVE MCQUEEN'S 12 YEARS A SLAVE." Imbizo 7, no. 1 (March 27, 2017): 15–39. http://dx.doi.org/10.25159/2078-9785/1768.
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 This article explores the manifestations of power and resistance in films using Django Unchained (2012), directed by Quentin Tarantino, and 12 Years a Slave (2013), directed by Steve McQueen, as case studies. The research findings suggest that films are texts and terrains that are used to address class structures politically, socially, economically and culturally. Dominant classes use film to produce and reproduce ideologies of power and resistance. The films under scrutiny reflect an aspect of control, whereby conservative superior classes exercise the power to mistreat those who are viewed as ‘second-class citizens’. The argument of this article is that film images are mirrors of the ‘real’ world, where ideological domination is either achieved or resisted. The article deploys eclectic theories like semiotics, Marxism, critical discourse analysis, language interpretation and thematic analysis to analyse the selected films. It is hoped that the approach of these theories will help to investigate the manifestations of power and resistance in filmsÂ
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MEDINA, RAQUEL. "From the medicalisation of dementia to the politics of memory and identity in three Spanish documentary films: Bicicleta, cullera, poma, Las voces de la memoria and Bucarest: la memòria perduda." Ageing and Society 34, no. 10 (June 27, 2013): 1688–710. http://dx.doi.org/10.1017/s0144686x1300041x.
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ABSTRACTThis paper explores how the concept of Alzheimer's disease (AD) is constructed through Spanish media and documentary films and how it is represented. The article analyses three documentary films and the cultural and social contexts in and from which they emerged: Solé's Bucarest: la memòria perduda [Bucharest: Memory Lost] (2007), Bosch's Bicicleta, cullera, poma [Bicycle, Spoon, Apple] (2010) and Fabrá, Peris and Badia's Las voces de la memoria [Memory's Voices] (2011). The three documentary films approach AD from different perspectives, creating well-structured discourses of what AD represents for contemporary Spanish society, from medicalisation of AD to issues of personhood and citizenship. These three films are studied from an interdisciplinary perspective, in an effort to strengthen the links between ageing and dementia studies and cultural studies. Examining documentary film representations of AD from these perspectives enables semiotic analyses beyond the aesthetic perspectives of film studies, and the exploration of the articulation of knowledge and power in discourses about AD in contemporary Spain.
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Broad, Terence, and Mick Grierson. "Autoencoding Blade Runner: Reconstructing Films with Artificial Neural Networks." Leonardo 50, no. 4 (August 2017): 376–83. http://dx.doi.org/10.1162/leon_a_01455.
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In this paper, the authors explain how they created Blade Runner—Autoencoded, a film made by training an autoencoder—a type of generative neural network—to recreate frames from the film Blade Runner. The autoencoder is made to reinterpret every individual frame, reconstructing it based on its memory of the film. The result is a hazy, dreamlike version of the original film. The authors discuss how the project explores the aesthetic qualities of the disembodied gaze of the neural network and describe how the autoencoder is also capable of reinterpreting films it has not been trained on, transferring the visual style it has learned from watching Blade Runner (1982).
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Sattelmacher, Anja. "“Self-testimony of a Past Present”: Reuses of Historical Film Documents." NTM Zeitschrift für Geschichte der Wissenschaften, Technik und Medizin 29, no. 2 (May 12, 2021): 143–70. http://dx.doi.org/10.1007/s00048-021-00300-z.
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AbstractHas the history of film digitization ever been incorporated in questions of evidence and knowledge production? The digitization of thousands of films from the former Institute for Scientific Film (IWF) that is currently underway gives an occasion to think about the provenance and reuses of filmic images as well as the ways in which they claim to produce scientific (or in this case, historical) evidence. In the years between 1956 and 1960, the German Social Democrat, historian and filmmaker Friedrich “Fritz” Terveen initiated a film series that used historical found film footage in order to educate university students about contemporary history. The first small series of films was entitled Airship Aviation in Germany which consisted of four short films using found footage of zeppelin flights, of which the earliest images stem from around 1904 and the latest from 1937, the moment of the “Hindenburg disaster.” This article explores how Terveen sought to shape the political landscape of history teaching in the new Federal Republic of Germany by first setting up nation-wide visual archives to host historical film documents, and secondly by seeking to improve the political education of a new generation of young Germans with the aid of the moving image.
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Brown, Geoff. "‘Dead as the wooden battleship’: The Fate of Silent British Features in the Transition to Sound." Journal of British Cinema and Television 17, no. 2 (April 2020): 151–71. http://dx.doi.org/10.3366/jbctv.2020.0517.
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Dead as the wooden battleship, dead as the magic lantern: such were the similes used in 1929 by some in the British film industry to describe the fate of silent cinema in the new talkie era. Other voices predicted a lingering half-life. Either way, most film companies faced a common problem: what to do in 1929 with their stock of silent films which were completed but unreleased. Foregrounding the activities of British International Pictures, Gainsborough Pictures and the distributors Equity British, this article explores the aesthetic, practical and technical problems in exhibiting and sonically titivating silent product as the industry adjusted to sound technology. Topics include the problems generated by the Cinematograph Films Act 1927; the damage caused by awkwardly dubbed voices; the perils of management divisions; the re-release of older silent films; audience and critical dissatisfaction; and the output of young film-makers such as John F. Argyle, who made his last silent feature, The Final Reckoning, in September 1931. British silent cinema's death, it turns out, was neither quick nor painless.
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Koblenkova, Diana Viktorovna, and Diana Viktorovna Koblenkova. "Swedish Cinematograph at the beginning of the XXI century. The problem of national style." Journal of Flm Arts and Film Studies 2, no. 1 (January 15, 2010): 106–18. http://dx.doi.org/10.17816/vgik21106-118.
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This article explores the major tendencies of Swedish Cinematography at the beginning of the XXI century. It focuses on analyzing the peculiarities in the Swedish film genre, which was formed during the silent cinema era, however remained dominant until recently. The peculiarities in contemporary Swedish drama are considered to be an original synthesis of two contradictory tendencies of the 1950s and '60s: these are represented by the psycho-philosophical films by I. Bergman and the Socialogical films by B.Viderberg. The article gives a list of key topics in modern films and outlines the peculiarities of their given genres
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Cornford, Stephen. "Digital Economy Action: Composition by Participatory Piracy." Leonardo Music Journal 21 (December 2011): 9–10. http://dx.doi.org/10.1162/lmj_a_00051.
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The author discusses the inspiration and design of an as-yet-unrealized composition in which participants serve in the roles of composer, performer and consumer all at the same time. Provoked by the passage of a law restricting sharing and distribution of music files, he explores the potential for file sharing as a compositional process.
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Wook-Dong, Kim. "Lost in translation." Babel. Revue internationale de la traduction / International Journal of Translation 63, no. 5 (December 31, 2017): 729–45. http://dx.doi.org/10.1075/babel.00006.woo.
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Abstract This paper explores how translation of foreign film titles has been carried out in South Korea since foreign films first arrived in Korea following its emancipation from Japanese colonial rule. With reference to audiovisual translation in general and film or screen translation in particular, this paper discusses the extent of the mistakes made by Korean translators due to a lack of thorough contextual knowledge of the source language and culture. Most Korean translations of foreign films result in strange, surreal, and at best funny adaptations. Discussion regarding “bad,” total, or almost total mistranslations focuses on (1) words with multiple meanings (homonyms and heteronyms); (2) slang and colloquial expressions; (3) words with culturally specific features; and (4) proper nouns and common nouns. This paper concludes that in an era of globalization, film title translation in Korea increasingly shows a trend towards transliteration rather than translation – either literal or liberal.
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Lindner, Andrew M., and Ziggy Schulting. "How Movies with a Female Presence Fare with Critics." Socius: Sociological Research for a Dynamic World 3 (January 1, 2017): 237802311772763. http://dx.doi.org/10.1177/2378023117727636.
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This study explores one potential mechanism contributing to the persistent underrepresentation of women in film by considering whether movie critics reward or penalize films with an independent female presence. Drawing on a sample of widely distributed movies from 2000 to 2009 (n = 975), we test whether films that pass the Bechdel Test (two or more named women speak to each other about something other than a man) have higher or lower Metacritic scores net of control variables, including arthouse production label, genre, production budget, including a top star, and being a sequel. The results indicate that the mere inclusion or absence of an independent female presence has no effect on a film’s composite critical evaluation. These findings suggest that while critical reviews are not a major factor contributing to women’s exclusion from film, movie critics as a whole do not advocate for films with an independent female presence.
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Werenskjold, Rolf. "German pressure: Spy films and political censorship in Norway, 1914–40." Journal of Scandinavian Cinema 9, no. 3 (September 1, 2019): 365–89. http://dx.doi.org/10.1386/jsca_00009_1.
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This article explores the relationship between spy films, political censorship and Norwegian foreign policy during the period from 1914 to 1940. Espionage was a popular topic in Norway during this era, both in the news media and as a theme in fictional dramas. Based on a survey of the vetting of 57 spy films, both silent and sound, by the state censorship board, the article focuses on the Norwegian government’s hidden role in political film censorship throughout the period. While Norway’s Constitution and film censorship statutes provided no legal foundation for political censorship, there is nonetheless ample evidence that it took place. The article concludes with an in-depth analysis of the process of banning the US film Confessions of a Nazi Spy in July 1939, the German involvement in that process, and the subsequent effort to change the censorship law to reflect what was happening in practice.
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Jansson, Maria. "Gender equality in Swedish film policy: Radical interpretations and ‘unruly’ women." European Journal of Women's Studies 24, no. 4 (March 1, 2017): 336–50. http://dx.doi.org/10.1177/1350506817692387.
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Gender quotas have been a crucial part of Swedish film policy since 2006 and have resulted in an increasing number of films with women directors, producers and screenwriters. However, films with women directors are still likely to have smaller budgets and less money for marketing and distribution than films with men directors. This article suggests that, in the context of film governance, gender quotas are discursively constructed in ways that circumscribe the opportunities to change current gender relations. Nevertheless, gender quotas have been used as a springboard for more radical interpretations to improve women’s conditions and challenge the foundation of the governance regime. The article also explores the idea that bottom-up representational claims are necessary to ensure that quotas and the inclusion of women result in women’s voices being heard. Such measures require the governance regime to be sensitive to voices that deviate from the norm.
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Luna, Maria, and Philippe Meers. "The films of Ciro Guerra and the making of cosmopolitan spaces in Colombian cinema." Alphaville: Journal of Film and Screen Media, no. 14 (January 24, 2018): 126–42. http://dx.doi.org/10.33178/alpha.14.07.
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This article proposes to use the concept of “cosmopolitan cinematic margins” to analyse the paradoxical meeting of the cosmopolitan meaning and discourses of Ciro Guerra’s Colombian films and the spatial restrictions and immobility of the rural and remote places in which they are set. Such areas as seen on screen are usually interpreted by urban audiences as exotic locations, independently of their actual distance from cities. The article explores how films that, at first sight, show images of marginal and remote places like the Colombian Amazonian Jungle, when inserted into a global context—such as the hierarchical system of international film festivals—become symbols of cosmopolitan cinematic margins, and represent a country in the global spaces that legitimise the importance of that country’s film production. The cosmopolitan cinematic margins in the films of Guerra are then strategically situated in environments of global mobility and international prestige.
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Charton, Laurence, Denise Lemieux, and Françoise-Romaine Ouellette. "Le désir d’enfant exploré à travers les pratiques de nomination." Anthropologie et Sociétés 41, no. 2 (December 12, 2017): 157–73. http://dx.doi.org/10.7202/1042319ar.
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Dans les sociétés occidentales, nommer l’enfant nouveau-né est aujourd’hui une responsabilité dévolue aux parents signataires de la déclaration de naissance, c’est-à-dire à ceux qui ont désiré que cet enfant devienne leur fils ou leur fille. Ce sont eux qui doivent lui transmettre un nom de famille et choisir les prénoms lui conférant une identité propre. À partir de l’analyse de 25 témoignages de parents québécois recueillis en entrevues, cet article explore le lien étroit établi entre désir d’enfant, filiation et nomination. L’analyse des récits sur l’histoire du couple, sur la naissance d’un premier enfant et sur les discussions entourant sa nomination aide à comprendre le sens que les parents donnent à l’enfant et à sa venue, et révèle que ce choix reflue parfois sur le choix du prénom.
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Bakken, Anja Synnøve. "When teachers talk about films: An investigation into some aspects of English teachers’ discursive practices." Acta Didactica Norge 10, no. 1 (February 9, 2016): 5. http://dx.doi.org/10.5617/adno.2513.
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Denne artikkelen utforsker hva atten ungdomsskolelærere sier om læringsverdien av film i engelskundervisningen. De filmene lærerne nevner er hovedsakelig fiksjonsfilmer om forhold i den engelskspråklige verden eller filmatiseringer av skjønnlitterære verk. Hvordan begrunner lærene bruken av disse filmene? Hvilke ytre forhold kan bidra til lærernes meningsskaping omkring filmbruk? Jeg bruker perspektiver fra Norman Faircloughs kritiske diskursanalyse for å utforske trekk ved lærernes refleksjoner i intervju. Jeg inndeler lærernes meningsskaping i fire antakelser om filmens læringsverdi; den referensielle, den kompensatoriske, den emosjonelle og den språklige verdien. Videre skisserer jeg hvordan disse refleksjonene kan knyttes til omliggende diskurser om hva man kan lære av film; i engelskfaget, i media og i lys av mer abstrakte diskurser om deltakelse og demokrati i norsk skole. Det synes å være enighet om at film fortjener en plass i engelskundervisningen. Imidlertid virker det som om forestillinger om filmens læringsverdi representerer en blindsone som i liten grad har fått kritisk et søkelys. Jeg mener at de perspektivene som belyses i denne artikkelen kan være gjenstand for diskusjon både i engelskfaget og på tvers av fag.Nøkkelord: fiksjonsfilmer, engelskundervisning, kritisk diskursanalyse, læreres diskursive praksiserAbstractWhen teachers say: “you can learn a lot from films”, what does this imply? This article explores interviews with eighteen Norwegian English teachers about the learning value of films in the lower secondary classroom. The films that these teachers talk about are mostly fiction films about conditions in the English-speaking world or film adaptations of literary texts. This article focuses on the teachers’ reasoning about fiction films. I use perspectives from critical discourse analysis (CDA) to explore how the teachers justify their choices and what notions of films they can be seen to rely on. There appears to be some sort of general agreement in the field of English teaching that films deserve a place in the classroom. Still, notions about the value of classroom film use might represent a blind spot that has escaped scrutiny.Keywords: fiction films, EFL teaching, critical discourse analysis, teachers’ discursive practices
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Dodds, Klaus J. "Screening Antarctica: Britain, the Falkland Islands Dependencies Survey, andScott of the Antarctic(1948)." Polar Record 38, no. 204 (January 2002): 1–10. http://dx.doi.org/10.1017/s0032247400017253.
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AbstractThis paper explores Ealing Studios' cinematic production about Robert Falcon Scott and theTerra Novaexpedition, released to British audiences in 1948. Under the title ofScott of the Antarctic, the film recreated the tragic failure of the expedition on its return from the South Pole. The race to the South Pole had ended with victory for Roald Amundsen and post-colonial Norway. Three decades later, Britain again found itself involved in an intense territorial competition with two post-colonial states, Argentina and Chile. In the midst of decolonisation, the postwar government under Prime Minister Clement Attlee was engaged in a ‘cold war’ in Antarctica. The Falkland Islands Dependencies Survey (FIDS) had been created in order to protect sovereignty claims to the Antarctic Peninsula. While some attention has been given to the cultural significance ofScott of the Antarctic, there has been little geopolitical commentary on this film. As an empty space devoid of indigenous populations, Antarctica was invitingly incomplete. Produced with the co-operation of the Scott Polar Research Institute and FIDS, this film depicted a failed imperial project at a time when Britain desperately needed scientific practices such as mapping to consolidate territorial sovereignty. The paper explores the actual filming process along with the verdicts of contemporary critics in order to make a critical appraisal of Britain's changing role in Antarctica. It is sobering to note that while FIDS was supporting the filmScott of the Antarctic, Argentina was attempting to indoctrinate a new generation of schoolchildren about the realities of the Argentine Antarctic sector.
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Chiriaev, Serguei, Luciana Tavares, Vadzim Adashkevich, Arkadiusz J. Goszczak, and Horst-Günter Rubahn. "Out-of-plane surface patterning by subsurface processing of polymer substrates with focused ion beams." Beilstein Journal of Nanotechnology 11 (November 6, 2020): 1693–703. http://dx.doi.org/10.3762/bjnano.11.151.
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This work explores a new technique for the out-of-plane patterning of metal thin films prefabricated on the surface of a polymer substrate. This technique is based on an ion-beam-induced material modification in the bulk of the polymer. Effects of subsurface and surface processes on the surface morphology have been studied for three polymer materials: poly(methyl methacrylate), polycarbonate, and polydimethylsiloxane, by using focused ion beam irradiation with He+, Ne+, and Ga+. Thin films of a Pt60Pd40 alloy and of pristine Au were used to compare the patterning of thin films with different microstructures. We show that the height of Pt60Pd40 thin films deposited onto poly(methyl methacrylate) and polycarbonate substrates can be patterned by He+ ion beams with ultrahigh precision (nanometers) while preserving in-plane features, at the nanoscale, of the pre-deposited films. Ion irradiation of the Au-coated samples results in delamination, bulging, and perforation of the Au film, which is attributed to the accumulation of gases from radiolysis at the film–substrate interface. The irradiation with Ne+ and Ga+ ions destroys the films and roughens the surface due to dominating sputtering processes. A very different behavior, resulting in the formation of complex, multiscale 3D patterns, is observed for polydimethylsiloxane samples. The roles of the metal film structure, elastic properties of the polymer substrate, and irradiation-induced mechanical strain in the patterning process are elaborated and discussed.
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Muthalib, Hassan. "Film Review Karya, A Film by Abror Rivai: Calmly Waiting for the Community." International Journal of Creative Multimedia 1, no. 2 (September 30, 2020): 78–92. http://dx.doi.org/10.33093/ijcm.1.2.5.
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Karya(2017), a debut feature film from Abror Rivai, takes a highly personal approach in the telling of its story -a marked contrast to the usual, popular and prevalent genres. It is Abror's expression of his concerns for the future of Malay film storytelling and its filmmakers, who he sees as continuing the tradition of the village storytellers of ancient times. Abror also indulges in intertextuality by referencing many films wherein he sees narrative and stylistic similarities with his own approach. This paper explores some of Abror's concerns about Malay film storytelling as well as that of the state of the mainstream film industry which keeps churning out inane films which only appeal to a commercial, non-thinking audience. It is this that is preventing the rise of young, formally-trained filmmakers, who like himself, are eager to give voice to new, alternative and meaningful narratives. Abror has taken it upon his shoulders to initiate a long-awaited change in the state of affairs, come hell or high water, and to bring Malay cinema to be at par with world cinema.
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Ahrens, Stephan. "The sanctifying effect of Federico Fellini." Journal of Italian Cinema & Media Studies 9, no. 1 (January 1, 2021): 101–15. http://dx.doi.org/10.1386/jicms_00053_1.
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This article explores the public image of Federico Fellini in post-war Germany. While Italy was a recurring topic in German cinema, Italian movies were almost absent. This situation changed with the introduction of Fellini’s films in West Germany. Fellini was an important mediator between German and Italian culture as he and Giulietta Masina were promoted as an ingenious couple. The article considers the special situation of West German film culture in the 1950s, which was distinguished by a high degree of commercialisation. Film theoretical concepts such as auteur theory were hardly discussed. The analysis in this article is based on the examination of contemporary film reviews and marketing material. I will place Fellini’s films in the context of the reception of Italian cinema in Germany. This also includes a comparison with other countries on which studies have already been presented. Fellini’s rise to an auteur in Germany coincides with a fundamental change in film culture. I will focus in the last part on this previously unexamined correlation.
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Penn, Denise. "Ground-Breaking Film Explores Bisexuality Through a Transgender Woman's Eyes." Journal of Bisexuality 15, no. 1 (January 2, 2015): 142–44. http://dx.doi.org/10.1080/15299716.2014.935204.
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Zhou, Peng, Xiaojing Gu, and Rocky K. C. Chang. "Harvesting File Download Exploits in the Web: A Hacker's View." Computer Journal 59, no. 4 (September 6, 2015): 522–40. http://dx.doi.org/10.1093/comjnl/bxv072.
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Srinivasan, Avinash, Satish Kolli, and Jie Wu. "Steganographic information hiding that exploits a novel file system vulnerability." International Journal of Security and Networks 8, no. 2 (2013): 82. http://dx.doi.org/10.1504/ijsn.2013.055942.
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Chard, Holly. "Give People What They Expect: John Hughes Family Films and Seriality in 1990s Hollywood." Film Studies 17, no. 1 (2017): 111–27. http://dx.doi.org/10.7227/fs.17.0007.
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This article explores serial production strategies and textual seriality in Hollywood cinema during the late 1980s and early 1990s. Focusing on John Hughes‘ high concept family comedies, it examines how Hughes exploited the commercial opportunities offered by serial approaches to both production and film narrative. This article first considers why Hughes‘ production set-up enabled him to standardise his movies and respond quickly to audience demand. The analysis then explores how the Home Alone films (1990–97), Dennis the Menace (1993) and Baby‘s Day Out (1994) balanced demands for textual repetition and novelty.
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RICE, TOM. "“The True Story of the Ku Klux Klan”: Defining the Klan through Film." Journal of American Studies 42, no. 3 (December 2008): 471–88. http://dx.doi.org/10.1017/s0021875808005537.
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In 1923 the Ku Klux Klan produced two films, The Toll of Justice and The Traitor Within. This article considers, for the first time, what the representation, promotion and exhibition of these films suggests about the ways in which the Klan sought to promote and define itself at the height of its power. It examines the cinematic articulations of Klan policies and explores the broader engagement of the Klan and cinema. In doing this, the article repositions film as a contributing factor in the growth and development of the modern Klan during the 1920s.
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Huertas Martín, Victor. "Theatrum Mundi and site in four television Shakespeare films." Cahiers Élisabéthains: A Journal of English Renaissance Studies 99, no. 1 (April 16, 2019): 76–88. http://dx.doi.org/10.1177/0184767819837548.
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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’.
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Handyside, Fiona. "Getting Over the Woman Problem." Film Studies 22, no. 1 (May 1, 2020): 98–111. http://dx.doi.org/10.7227/fs.22.0007.
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In this interview with Mia Bays (Birds’ Eye View), we discuss the recent Reclaim The Frame project, a UK-wide touring programme that showcases female-directed or -scripted films, usually new or recent releases. The interview explores the idea that this kind of curation is a necessary feminist intervention in the contemporary British cinema circuit, one that offers audiences agency and acknowledges that initiatives in film production alone are not sufficient to shift structural inequalities in the film industry. The piece begins with some contextual detail before turning to my discussion with Bays.