Academic literature on the topic 'Photographic film industry'
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Journal articles on the topic "Photographic film industry":
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Minter, J. R. "Characterization of colloidal materials by cryo-TEM." Proceedings, annual meeting, Electron Microscopy Society of America 51 (August 1, 1993): 728–29. http://dx.doi.org/10.1017/s0424820100149477.
Abstract:
Many researchers develop products and processes that depend upon colloidal materials. Rheological and other important material parameters are influenced by the morphology of the colloid. The photography industry uses many such colloids including silver halide sols, photographic coupler sols and emulsions surfactants, and gelatin solutions and gels. High-resolution direct electron images of these systems in their native states permit photographic scientists to understand how changes in formulation produce changes in microstructure and, ultimately, to understand the photographic performance of the system.We prepare thin biconcave liquid films spanning the holes in a perforated carbon film supported by an electron microscope grid (see Fig 1). To prevent changes in composition of the colloid caused by evaporation, the films are prepared in an environmental chamber and are propelled through a trap door into a container of liquid ethane. The specimen is cooled at a rate sufficient to prevent crystallization of water. When maintained below -150 °C, these specimens are stable and compatible with the high vacuuary of the electron microscope.
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Naqvi, Asghar H., John W. Shields, and Jerrold L. Abraham. "Nasal argyria (deposition of silver-selenium) in the photographic film industry: histopathology and microanalysis." American Journal of Otolaryngology 28, no. 6 (November 2007): 430–32. http://dx.doi.org/10.1016/j.amjoto.2006.11.005.
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Kadiyali, Vrinda. "Entry, Its Deterrence, and Its Accommodation: A Study of the U. S. Photographic Film Industry." RAND Journal of Economics 27, no. 3 (1996): 452. http://dx.doi.org/10.2307/2555839.
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Long, James C. "A new tool for rapid development of electron microscopy negatives and micrographs: Initial impressions of the MOHR/PRO-8 processor." Proceedings, annual meeting, Electron Microscopy Society of America 50, no. 2 (August 1992): 972–73. http://dx.doi.org/10.1017/s0424820100129498.
Abstract:
Over the years, many techniques and products have been developed to reduce the amount of time spent in a darkroom processing electron microscopy negatives and micrographs. One of the latest tools, effective in this effort, is the Mohr/Pro-8 film and rc paper processor.At the time of writing, a unit has been recently installed in the photographic facilities of the Electron Microscopy Center at Texas A&M University. It is being evaluated for use with TEM sheet film, SEM sheet film, 35mm roll film (B&W), and rc paper.Originally designed for use in the phototypesetting industry, this processor has only recently been introduced to the field of electron microscopy.The unit is a tabletop model, approximately 1.5 × 1.5 × 2.0 ft, and uses a roller transport method of processing. It has an adjustable processing time of 2 to 6.5 minutes, dry-to-dry. The installed unit has an extended processing switch, enabling processing times of 8 to 14 minutes to be selected.
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Kalienik, Iryna Oleksandrivna, Olena Bronislavivna Shydlovska, Tetiana Ivanivna Ishchenko, and Viktor Fedorovich Dotsenko. "HOTEL FOR PHOTOTOURISTS - A MODERN TREND IN THE HOSPITALITY INDUSTRY." GEOGRAPHY AND TOURISM, no. 52 (2019): 10–16. http://dx.doi.org/10.17721/2308-135x.2019.52.10-16.
Abstract:
Purpose. To consider the concept of “phototourism”, to find out its essence and difference from other special types of tourism, to characterize its classification features. To reveal the prerequisites for its development in Ukraine to increase the tourist attractiveness of the country. Methods. For research, methods such as system-structural, abstract-logical, analysis, synthesis, generalization, observation, comparison were used; classification and literary methods. The system-structural method was used to assess the possibility of the existence of domestic hotels that will be able to provide photo tourists with services such as renting specialized photo equipment, workshops on using cameras, organizing photo tours and others. Thanks to the abstract-logical method, the theoretical aspects of the development and functioning of phototourism in Ukraine were revealed. The comparison method was used to evaluate the pricing policy of digital and film cameras. Results. The classification of photo tours and the specific features of phototourism, which distinguish it from other types of tourism, are given. The main trends in the development and popularization of phototourism in the world and Ukraine are investigated. Foreign photo tours and their specifics are analyzed. A survey was carried out among the population of Ukraine about their interest in hotel enterprises that can provide services for phototourists, organize tours and offer specialized photographic equipment for rent. A comparative assessment of the pricing policy of various types of photographic equipment is provided, which can be used in phototours organized by a hotel company specializing in phototourism. The innovative aspects of phototourism, which can be used in practice in the domestic hotel business, are analyzed. The given examples of such phototouristic regions as Cherkasy, Carpathian, Transcarpathian and Chernigov, which testify to the potential of Ukraine as a country that has the opportunity to expand its tourism market. Scientific novelty. Scientific novelty lies in substantiating the feasibility of creating a hotel for phototourists in Ukraine, as a new way to popularize phototourism in the hotel industry of the country. Phototourism with the use of film cameras is the newest direction in the tourism sector not only in Ukraine, but throughout the world. The practical significance lies in the fact that the popularization of phototourism can bring the industry to a qualitatively new level in the formation of tourism offers and contribute to the creation of a modern competitive tourism product.
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Quagliati, Noemi. "Beyond the Whiteness." Sophia Journal 7, no. 1 (December 15, 2022): 25. http://dx.doi.org/10.24840/2183-8976_2022-0007_0001_4.
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Saverio Salvioni, Cava di Ravaccione, 1810–1813 (Source: Archivio di Stato Massa e Pontremoli) Marble extraction in the Italian Apuan Alps has been known since Roman times, and its historical importance is symbolized by masterpieces of Western art history. However, the Carrara marble industry has recently received harsh criticism for operating in the protected area of the Apuan Alps Regional Park, recognized by UNESCO since 2015. Environmental and social concerns about mining have arisen from the extreme acceleration of all the productive phases of the extractive industry. From the mid-twentieth century, the exploitation of geological deposits of marble grew exponentially thanks to the development of powerful extraction technologies and a global export economy that creates only relatively few occupations in Carrara. Within this context, photographic and cinematographic projects have increasingly focused on the environmental risks created by the marble mining industry. This article shows how visual representations of Carrara have changed in recent years via an analysis of three case studies: the internationally acclaimed documentary Anthropocene: The Human Epoch (2018), the climbing project and Italian short film Carie (Cavity 2019), and Lorenzo Shoubridge’s naturalistic photographs in Apuane: terre selvagge (Apuan Wildlands 2018). These case studies offer an innovative perspective on the landscapes of marble extraction. Previously, these landscapes were represented following other visual trends emphasizing the technological sublime found in the geometric shapes of the white quarries, the working conditions of marble laborers, and the myth of the purity of marble used in artistic sculptures. The three examples analyzed in this paper attempt to go ‘beyond the whiteness’ by focusing on the scale of environmental destruction (Anthropocene: The Human Epoch), the more-thanhuman perspective (Apuane terre selvagge), and the social struggle for preserving a mountain region through creative solutions (Carie). In other words, new aesthetic and ethical sensibilities are challenging established twentieth-century narratives of the Carrara marble quarries by focusing on a new element: the environment.
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Mujitahid, Herio, and Halim Al Hafizh. "Penerapan Pajak Terhadap Industri Film Di Masa Pandemi." Jurnal Locus Delicti 2, no. 1 (July 1, 2021): 36–48. http://dx.doi.org/10.23887/jld.v2i1.457.
Abstract:
Taxes are compulsory contributions to the state that are owed by individuals or entities that are compelling based on law, without receiving direct compensation and used for the state’s needs for the greatest prosperity of the people. Tax payments are used to finance state households so that the benefits are felt by the wider community or for the public interest. The film industry is a creative industry engaged in the media, arts and culture. Compared to other creative industry sectors, the film, video and photography industries have the highest creativity and knowledge capital, as forms of intangible assets. Effectiveness means that the goals that have been planned before can be achieved or in other words, the targets are achieved because of the activity process. With the existence of an open letter and protests by the film industry, it has resulted in the provision of relief and incentives from the finance minister for entertainment tax, especially for films.
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Zervigón, Andrés Mario. "The Peripatetic Viewer at Heartfield's Film und Foto Exhibition Room." October 150 (October 2014): 27–48. http://dx.doi.org/10.1162/octo_a_00199.
Abstract:
The traveling exhibition Film und Foto, inaugurated in 1929 by the famous German Werkbund association, stands as a critical landmark in the exhibition of modernist photography and film. Yet walking through its inaugural venue, in Stuttgart, was as much like flipping through an instructional photo essay as navigating an exhibition space. The first of the show's thirteen rooms, for example, offered a large number of prints that recapitulated the history of photography, or more specifically the history of its practical use. Displayed on sleek scaffolds that efficiently expanded the available exhibition surface, these prints hung in what may best be described as modernist salon style meets the printed page. A lower register seems strung near thigh level while a second row pushed toward the ceiling. The left-page/right-page and vertical/horizontal dialogues this arrangement afforded encouraged viewers to compare photographs taken from the spheres of science and industry to avant-garde prints inspired by the former. Above this series of exchanges ran a prominent sans-serif caption, a punning query that framed the entire show: “Where is photography's development headed?”
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Jobling, Paul. "Fashion/Photo/Film: The Intertextual Discourse of Funny Face (1956)." Fashion Studies 1, no. 1 (2018): 1–33. http://dx.doi.org/10.38055/fs010109.
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In this paper I mobilize Funny Face (dir. Stanley Donen, 1956) to examine the intertextual nexus between fashion, fashion photography, and film. Set in New York City and Paris, with costume design by Hubert de Givenchy and Edith Head, the film is a latter day telling of the Pygmalion myth, such that photographer Dick Avery (Fred Astaire) and Maggie Prescott (Kay Thompson), the dictatorial Fashion Editor of Quality, take up the challenge of converting Jo Stockton (Audrey Hepburn), whom they regard as an unprepossessing bookstore intellectual, into a top model. Thus I analyze how a film that is more generally regarded as a benchmark in the Hollywood musical for its exuberant use of colour and songs is, more particularly, a cinematic locus for both the mediation and mediatization of fashionable identities. To this end, I assess how the film elaborates the power of the fashion industry as a matter of social practice in regards to Foucauldian discourse and the related concept of the énoncé, or event/statement. Thus I evince I two events/statements — “Think Pink!” and “Bonjour Paris” — to discuss in particular the relationship of style to national identities and the need or desire for America to assert cultural leadership in fashion photography, art, and design over France in the context of 1950s Cold War politics. By comparison, I enlist the statements, “Take the Picture!” and “A Bird of Paradise,” to examine respectively the dynamic of looking/gazing between the fashion photographer and designer and their (in this case) female models, the nexus between star designing, clothing, and gender identity, and what Foucault calls assujetissement — subjection — which connotes the dual process of Jo’s subordination as well as the act of her becoming or “being made” a subject according to a system of power.
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Kamchatnoe, V. P. "On the issue of fatigue of workers in absolute darkness." Kazan medical journal 43, no. 3 (October 29, 2021): 77–78. http://dx.doi.org/10.17816/kazmj84083.
Abstract:
The hygienic assessment of working conditions in dark workshops is still little known, although in conditions of absolute darkness they work in the film industry, at film-copy factories, in the printing industry, in photographs and other enterprises.
Dissertations / Theses on the topic "Photographic film industry":
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Tachou, Frédéric. "Aux origines d'une industrie : photographie "obscène" et cinéma pornographique primitif." Paris 1, 2010. http://www.theses.fr/2010PA010590.
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Dans Le cinéma ou l'homme imaginaire, Edgar Morin résumait l'expérience anthropologique du cinéma au fait que ce qu'il y a de plus subjectif, le sentiment, se serait infiltré dans ce qu'il y a de plus objectif: l'image photographique, la machine. Mais l' analyse du cinéma pornographique primitif pourrait nous conduire à retourner ce raisonnement: par lui, ce qu'il y a de plus objectif, l'image produite par la technique, ne s'immisce-t-il pas dans ce qu'il y a de plus subjectif? Autrement dit, la rationalité à l’œuvre dans une production d'images qui deviendra vite industrielle n'acquiert-elle pas un pouvoir de pénétration tel de la sphère de la subjectivité, qu'elle finit par en modeler les contours? A partir de là, s'ouvre pour la pensée un vaste espace spéculatif.
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Guimarães, Pedro Maciel. "Créer ensemble : l'apport des collaborateurs de création à l'oeuvre de Manoel de Oliveira." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030127.
Abstract:
Un film est une œuvre de collaboration qui se nourrit des différentes sensibilités des professionnels qui le font et qui épaulent, de manière plus ou moins significative, son auteur. Notre réflexion se situe au moment charnière de toute œuvre artistique, sa création. L’étude de la poétique du film, des processus de sa fabrication, permet d’en comprendre plus profondément les enjeux esthétiques. En abordant spécifiquement les relations de collaboration chez le réalisateur portugais Manoel de Oliveira, il s’agit d’enquêter sur la façon dont les rapports idéologiques, personnels et professionnels que le cinéaste noue avec quelques-uns de ses collaborateurs déterminent la conception de l’image, du montage, du choix des acteurs et du processus d’adaptation d’une œuvre littéraire. Les professionnels choisis sont l’acteur portugais Luis Miguel Cintra, la monteuse française Valérie Loiseleux, le directeur de la photographie suisse Renato Berta et la romancière portugaise Agustina Bessa-Luis. En analysant ces relations bilatérales, ce travail se demande comment la présence du collaborateur influence la conception de la mise en scène d’Oliveira et comment le fait d’être un interlocuteur privilégié du réalisateur portugais détermine la suite de la carrière de quelques-uns de ces collaborateurs. Sans mettre en doute le cinéma d’auteur, nous croyons néanmoins au cinéma de collaboration, un cinéma qui dit « nous » au lieu de « je », où le collaborateur est non seulement un témoin du faire cinématographique, mais aussi une surface sensible, une présence active et constamment mise à l’épreuve dans le processus de création qu’il intègre – et qui l’intègreA film is a collaboration work that feeds on the different sensibilities of the professionals who make it and contribute, more or less significantly, to its author. This study focuses on the key moment of every work of art, its creation. The study of the poetics of film – the making of film – allows for a more profound understanding of the aesthetic challenges involved. Specifically addressing the collaborative relationships of Portuguese filmmaker Manoel de Oliveira, involves inquiring how the ideological, personal and professional relationships the filmaker has with his collaborators determines his concepts of image, editing, his choice of actors and the process of adapting a literary work. The chosen professionals are Portuguese actor Luis Miguel Cintra, French editor Valerie Loiseleux, Swiss Cinematographer Renato Berta and Portuguese novelist Agustina Bessa-Luis. By analyzing these bilateral relationships, this study questions how the presence of the collaborators influences the concept of Oliveira’s scene setting, as well as how being a privileged interlocutor of the Portuguese filmmaker influences the careers of these collaborators. Without calling the author’s work into question, we believe in collaborative cinema, a cinema that says « us » instead of « me ». A cinema where the collaborator is not only a witness to the making of films, but also a sensitive surface and an active presence put to the test in the creation process which he integrates and integrates him
Books on the topic "Photographic film industry":
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Shanebrook, Robert L. Making KODAK film: The illustrated story of state-of-the-art photographic film manufacturing. Rochester, NY: R.L. Shanebrook, Robert Shanebrook Photography, 2010.
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Parker, Philip M. The 2007 import and export market for exposed and developed photographic plates and film excluding cinematographic film in south Korea. [Place of publication not identified]: ICON Group Ltd., 2007.
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Swasy, Alecia. Changing focus: Kodak and the battle to save a great American company. New York: Times Business, 1997.
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PMA Strategic Planning Conference (1993 Jackson, Mich.?). Strategies 2000: Photo/imaging industry action plans for the furture : report of the PMA 1993 Strategic Planning Conference. Jackson, Mich: Photo Making Association International, 1994.
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Johann, Walter P. The hybrid rapid access film market, 1989-1994: A comprehensive look at the market for Kodak Ultratec, Fuji Grandex, 3M Excelerate, Anitec Reprodot & Agfa Agfastar hybrid rapid access films : a multiclient study. Forest Lake, Minn. (1068 South Lake Street, Forest Lake 55025): Dynamic Strategies, 1989.
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Parker, Philip M. The 2007 import and export market for exposed and developed cinematographic film of a width of at least 35 mm in south Korea. [Place of publication not identified]: ICON Group Ltd., 2007.
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Jenkins, Reese. Firumu to kamera no sekaishi: Gijutsu kakushin to kigyō = Images and enterprise. 8th ed. Tōkyō: Heibonsha, 1998.
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Collins, Douglas. The story of Kodak. New York: H.N. Abrams, 1990.
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Burley, Robert. The disappearance of darkness: Photography at the end of the analog era. New York, N.Y: Princeton Architectural Press, 2012.
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Finger, Erhard. Die Filmfabrik Wolfen: Porträt eines traditionsreichen Unternehmens 1909 bis 1994. Wolfen: GÖS-Gesellschaft für Sanierungsmassnahmen Wolfen und Thalheim, 1994.
Book chapters on the topic "Photographic film industry":
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Pérez-Chaves, Ruth. "These images provide “an almost inconceivable approach to imagine this extermination-industry at work …”: The use of historical photographic material from 1944 in the film “Son of Saul” (László Nemes, 2015)." In Fotografien aus den Lagern des NS-Regimes, 291–310. Wien: Böhlau Verlag, 2018. http://dx.doi.org/10.7767/9783205202714.291.
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Withall, Keith. "Prologue: What was Silent Cinema?" In Studying Early and Silent Cinema, 1–4. Liverpool University Press, 2014. http://dx.doi.org/10.3828/liverpool/9781906733704.003.0001.
Abstract:
This prologue provides an overview of silent cinema. Our sense of cinema as a site of commercial entertainment can be traced back to the Lumière brothers. In December of 1895, they attracted a fee-paying public in Paris to sit and watch flickering images on an illuminated screen. The commercial Pandora's Box they opened was to blossom in a few years into a world cinema industry and, at its peak, the fantastical Hollywood. Yet in the 30 years in which this miraculous construction was accomplished, audiences rarely had to listen to films, only watch them. Hence, the early decades of cinema were characterised by the title ‘silent’. In fact, there was a lot of noise, machinery, audiences, musicians, and commentators. Even so, the absence of the human voice and dialogue make the films seem rather strange when viewed by a modern audience. Nevertheless, while they lack the audio impact of the sound film, the photographic quality of many silents is superb. Not only had the film-makers mastered the main techniques of photography, but as the industry developed they also added a whole range of techniques for editing and movement.
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Robinson, Harlow. "“Nobody Asked You to Go to America”." In Lewis Milestone, 6–18. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813178332.003.0002.
Abstract:
This chapter focuses on Milestone’s early life: his childhood and family life in Moldova, his identity as a Jew and early experience of anti-Semitism, his love for the theater, his decision to immigrate to America and his difficult voyage to New York. It continues with his early work as a society photographer in New York, and his enlistment in the Photographic Division of the U.S. Army Signal Corps, where he edited documentary film footage sent from the front. Known as a practical joker with a fine sense of humor, Milestone made friends and useful connections easily. When the War ended, he took the advice of some Hollywood veterans and moved to Los Angeles in 1919 to break into the film industry.
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Avila, Jacqueline. "The Strains of the Revolution." In Cinesonidos, 193–233. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190671303.003.0006.
Abstract:
Chapter 5 focuses on the revolutionary melodrama and the malleable and contested role of the soldadera (female camp follower). Building from an extensive collection of photographs and newspapers, the revolutionary melodrama became a historically complicated film genre. While the films are dominated visually and narratively by men, the soldaderas are positioned in the background, yet music about them is foregrounded. One of the leading musical figures was “La Adelita,” a popular song that circulated during the Revolution. Culturally identified as a corrido, “La Adelita” became, for the film industry, the anthem of the Revolution, recycled in varying ways. Although the song is about a soldadera, a closer examination reveals its intimate tie to male revolutionaries rather than to women. This chapter analyzes the recycled use of songs referencing the soldaderas in three films: ¡Vámonos con Pancho Villa! (1935), La Adelita (1938), and Enamorada (1946).
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Regev, Ronny. "Shooting." In Working in Hollywood, 139–64. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469636504.003.0006.
Abstract:
The fifth chapter deals with the experience of those who are commonly known as craftsmen or below-the-line workers. It suggests that the division between arts and crafts in the film industry resulted from the history of labor organization and the political struggles between labor unions such as IATSE and the American Society of Cinematographers. In addition, focusing on the experience of cameramen, the chapter demonstrate that workers in the technical branches of filmmaking, were concerned less with control and more with recognition. It shows how directors of photography sought to claim some of the respect and artistic stature accorded to directors and screenwriters. Thus, they struggled to form a tighter bond between the creative status of the film industry and the more traditional craft or technical work they introduced into it.
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Egbe, Amanda. "Between Copyright and Creativity." In Practices of Projection, 104–21. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190934118.003.0007.
Abstract:
Focusing on Edison’s early cinematic apparatus and the optical printer, this chapter explores how copyright law intersects with creativity, providing an alternative to teleological accounts of moving-image technologies. Thomas Edison attempted to control the film industry through patents and copyright. Edison’s first film experiments were registered as a series of photographs on card by his assistant, W. L. Dickson. In protecting these contact copies as paper prints with copyright, the new medium of motion pictures was being formalized. The necessity to duplicate film to support the development of exhibition and distribution was also necessary for copyright purposes. An archaeological approach is utilized to explore how paper prints enabled innovation in the area of the optical printer, a primary form of duplication in cinema. In developing approaches that could bring to life the remaining examples of early cinema, novel solutions in the form of innovations were required. The overlapping concerns of the copyright clerk, the film entrepreneur, and the film historian thus provide a basis for new materials and new innovations in moving-image technology and film history.
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Conterio, Martyn. "Context." In Black Sunday, 11–20. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733834.003.0002.
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This chapter introduces Mario Bava, who was born on 29 July 1914 in Sanremo, Liguria and a 'figlio d'arte' or a child of the arts. It talks about Bava's father who provided his ties to the film world, the sculptor and cinematographer Eugenio Bava, whose artistry and pioneering experimental photography was utilised in the burgeoning Italian movie-making industry of the 1900s. It also recounts how Bava stepped in to complete a low-budget film titled I vampiri after its director, Riccardo Freda, walked off set. The chapter mentions Julian Petley, who likened Bava to his compatriot, Lucio Fulci, in the City of the Living Dead review for Film & Filming and qualified both as metteur en scène directors. It also describes 1960, which is considered a fine vintage year in the illustrious and often controversial annals of horror cinema.
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Bell, Melanie. "The 1940s." In Movie Workers, 96–117. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043871.003.0004.
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This chapter examines how the Second World War had a significant impact on the British film industry. It continues the theme of secondary status by examining how this played out in the 1940s, a decade dominated by the Second World War and an official address to women to join the workforce as reserve labor. In the service film units, the chapter shows how women “free[d] a man for the fleet” by taking over roles in editing, projection, photography, and animation, while their work as assistants in art departments kept the “back room” of Britain's film studios functioning. It also draws on the experience of women in documentary directing to introduce the concept of the episodic-interrupted career as a defining characteristic of women's employment. The chapter uses the concept to illuminate the multifaceted nature of women's occupational profiles and, in doing so, disrupt the dominant, male-defined narrative of the continuous work history as the key indicator of career success.
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Zimmerman, Claire. "Anticipating Images." In Buffalo at the Crossroads, 151–72. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501749766.003.0008.
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This chapter begins with a newspaper ad placed at the beginning of the previous century that depicted the newly constructed George N. Pierce manufacturing plant at Buffalo. It describes the plant as a new kind of industrial architecture that satisfied the demands of rapid technological change in the United States over the last decades of the nineteenth century and the first decades of the twentieth century. It also talks about the growth of US industry in the early twentieth century that coupled market capitalism with scientific optimization moderated by Progressive Era reforms. The chapter reviews the industry that came into being in the United States in the wake of a “Second Industrial Revolution,” which was produced by the architecture firm of Albert Kahn Associates. It considers the historical resource that photographs constitute from the archives of the US industrial architecture under construction between 1905 and 1945 in the Detroit area collections.
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Tsika, Noah. "Coda." In Screening the Police, 291–330. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197577721.003.0008.
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Interrogating the entwinement of Hollywood and law enforcement means reconsidering standard definitions of the corporate media system. Scholars continue to view that system—typified, in conventional accounts, by the Hollywood studios—as largely independent of state power. Police participation—broadly defined—has always saved the industry money, with state and municipal agencies funneling their own resources into principal photography, postproduction, and promotion. Tie-ups between police departments and film companies, which are constant rather than occasional—standard rather than exceptional—thus illustrate the rarely acknowledged reality that Hollywood is, in fact, publicly subsidized. Tax credits tempt filmmakers to far-flung locations where law enforcement agencies do their part to keep production costs down, sustaining Hollywood by public subsidy—a sort of “socialism for the rich.” Put simply, the police labor that is so frequently subsumed under Foucauldian abstractions has long been a key factor in the public funding of Hollywood.
Conference papers on the topic "Photographic film industry":
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Gu, Hongfang, Qiwei Guo, Changsong Li, and Qing Zhou. "Phenomenon of Fog Formation and Flow Characteristics of Droplet-Vapor-Gas Mixture in a Cooler-Condenser." In ASME 2019 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/imece2019-10260.
Abstract:
Abstract Fog formation occurs in the process of condensation in the presence of non-condensable gas if the bulk temperature is lower than its saturation temperature (supersaturated). The phenomena of fogging is the formation of small condensate particles mixing with the vapor/gas stream, which creates potential problems of the vapor/gas/condensate separation and environmental pollution. Therefore, understanding of fogging mechanism and prevention of fog droplet entrainment are one of technical concerns for design and operation of cooler-condensers in the process industry. This paper presents the experimental study and numerical simulation of shell-side condensation with fog formation using a mixture of steam/non-condensable gas. The experimental data were collected on the two tube bundles (modified plastic tubes and stainless steel tubes). Using a high-speed photograph technique, the phenomenon of fog formation and flow characteristics of vapor/droplet transport were recorded over a wide range of test conditions. The numerical analysis of film and dropwise condensation, fog formation and droplet particle transport were simulated using different tube geometry and material, and flow velocity of air/droplet mixture. Based on simulation results, a new droplet trapping parameter is proposed to assess the optimal parameters of heat exchanger structural and operation conditions. Comparisons show that the numerical analysis results have a good agreement with experimental data and observations. These findings provide fundamental approach to account for the effect of fog formation, film and dropwise condensation, and droplet transport crossflow in cooler-condensers.
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Ratnayake, Ruwan K., L. E. Hochreiter, K. N. Ivanov, and J. M. Cimbala. "Experimental Study of Two Phase Flow Behavior Past BWR Spacer Grids." In 10th International Conference on Nuclear Engineering. ASMEDC, 2002. http://dx.doi.org/10.1115/icone10-22198.
Abstract:
Performance of best estimate codes used in the nuclear industry can be significantly improved by reducing the empiricism embedded in their constitutive models. Spacer grids have been found to have an important impact on the maximum allowable Critical Heat Flux within the fuel assembly of a nuclear reactor core. Therefore, incorporation of suitable spacer grids models can improve the critical heat flux prediction capability of best estimate codes. Realistic modeling of entrainment behavior of spacer grids requires understanding the different mechanisms that are involved. Since visual information pertaining to the entrainment behavior of spacer grids cannot possibly be obtained from operating nuclear reactors, experiments have to be designed and conducted for this specific purpose. Most of the spacer grid experiments available in literature have been designed in view of obtaining quantitative data for the purpose of developing or modifying empirical formulations for heat transfer, critical heat flux or pressure drop. Very few experiments have been designed to provide fundamental information which can be used to understand spacer grid effects and phenomena involved in two phase flow. Air-water experiments were conducted to obtain visual information on the two-phase flow behavior both upstream and downstream of Boiling Water Reactor (BWR) spacer grids. The test section was designed and constructed using prototypic dimensions such as the channel cross-section, rod diameter and other spacer grid configurations of a typical BWR fuel assembly. The test section models the flow behavior in two adjacent sub channels in the BWR core. A portion of a prototypic BWR spacer grid accounting for two adjacent channels was used with industrial mild steel rods for the purpose of representing the channel internals. Symmetry was preserved in this practice, so that the channel walls could effectively be considered as the channel boundaries. Thin films were established on the rod surfaces by injecting water through a set of perforations at the bottom ends of the rods, ensuring that the flow upstream of the bottom-most spacer grid is predominantly annular. The flow conditions were regulated such that they represent typical BWR operating conditions. Photographs taken during experiments show that the film entrainment increases significantly at the spacer grids, since the points of contact between the rods and the grids result in a peeling off of large portions of the liquid film from the rod surfaces. Decreasing the water flow resulted in eventual drying out, beginning at positions immediately upstream of the spacer grids.
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Hull, Scott M. "Nondestructive Detection of Cracks in Ceramics Using Vicinal Illumination." In ISTFA 1999. ASM International, 1999. http://dx.doi.org/10.31399/asm.cp.istfa1999p0217.
Abstract:
Abstract Cracks and other defects in ceramic materials can be difficult or impossible to examine and photograph due to the extreme lack of contrast. A method for inspecting translucent ceramics using scattered light, also known as vicinal illumination, will be described. This method has been known in the ceramics industry for quite some time, but is not well known in the testing and failure analysis community. Electronics applications include substrates, packages, multilayer capacitors, and thin film resistors. Ceramic materials are used in electronic applications as microcircuit packages and substrates which carry signals and power between microcircuits. Fine cracks in ceramic materials can result in mechanical failures, electrical failures, and loss of hermeticity. Often, fine cracks are difficult or impossible to detect using standard nondestructive inspection techniques such as visual inspection, ultrasonic inspection, or vapor crack detection. Dye penetrant inspection is usually effective, but contaminates the part, which is unacceptable for space flight hardware. One effective nondestructive inspection method of detecting cracks involves examining the way in which light scatters through the ceramic material when viewed with a standard bright field reflected light microscope. This method, termed vicinal illumination, has been used for detecting cracks during failure analyses of several part types, and screening of space flight hardware. The technique has proven effective on several different types of ceramic materials as well. A related method for use with dark field equipment has also been used to successfully locate otherwise invisible cracks.
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Rodrigues Fonseca, Priscila. "Políticas habitacionais e ação da indústria imobiliária na produção do espaço: o caso do Bairro de Campo Grande no Rio de Janeiro." In International Conference Virtual City and Territory. Rio de Janeiro: Universidade Federal do Rio de Janeiro, 2012. http://dx.doi.org/10.5821/ctv.7851.
Abstract:
O presente artigo pretende realizar uma análise histórico-crítica da produção habitacional patrocinada pelo poder público no bairro de Campo Grande, Rio de Janeiro; e a atual valorização do solo, que intensificou a ação da indústria imobiliária. Hoje, estes dois atores são os principais agentes transformadores do espaço em Campo Grande e arredores. Apesar de ser um dos bairros mais distantes da área central da cidade, transformou-se em uma centralidade para a Zona Oeste, haja vista a dinâmica das atividades comerciais baseadas no subcentro e no West Shopping, e a infraestrutura consolidada – malha viária, serviços e equipamentos urbanos. Serão abordadas as políticas habitacionais do Banco Nacional da Habitação – BNH – e seu papel na expansão urbana da “periferia distante” (ABREU, 2006) para demonstrar que a atuação do estado repete-se nos dias atuais, pois empreendimentos populares estão sendo construídos em áreas ainda mais remotas. Por outro lado, o mercado imobiliário tem garantido o acesso das classes mais abastadas aos locais privilegiados de Campo Grande, aumentando o valor do solo. Desta forma, espera-se expor estas contradições e fomentar estudos mais aprofundados sobre a região, que se tornou uma das principais frentes de expansão da cidade para as classes médias e populares. O aporte teórico baseou-se em autores que estudam a produção do espaço urbano no Rio de Janeiro, como Corrêa (1979 e 1999) e Soares (1965 e 1990), também foi de extrema importância os estudos de Lago (2000 e 2007) e Bienenstein (2001) sobre a historização das políticas habitacionais e loteamentos periféricos. A investigação foi enriquecida com fotografias e informações obtidas em vários órgãos oficiais, como Prefeitura Municipal e IBGE – Instituto Brasileiro de Geografia e Estatística –, a fim de respaldar a questão da configuração socioespacial, econômica e habitacional. A utilização de mapas teve o objetivo de facilitar a compreensão dos espaços ocupados pelas habitações de cunho popular e dos vetores de crescimento urbano do bairro, fundamentais para determinar a heterogeneidade social existente na região This article intends to conduct an historical-critical analysis of housing production sponsored by the government in the neighborhood of Campo Grande, Rio de Janeiro; and the present land value, which intensified the action of the real estate industry. Today, these two actors are the main agents of change in the space of Campo Grande and surrounding areas. Despite being one of the most remote districts of the downtown area, it has become a centrality for the West Zone, considering the dynamics of trade based on sub-center and West Shopping, and consolidated infrastructure – roads, services and equipment urban. It will address the housing policies of the National Housing Bank - BNH - and its role in the urban sprawl of "distant periphery" (ABREU, 2006) to demonstrate that the performance of state repeats itself today because popular enterprises are being built into even more remote areas. On the other hand, the housing market has guaranteed access to the wealthiest locations in Campo Grande, increasing the value of land. Thus, it is expected to expose these contradictions and encourage further studies about the region, which became one of the main fronts of city expansion for the middle and popular classes. The theoretical approach was based on authors who have studied the production of urban space in Rio de Janeiro, as Corrêa (1979 and 1999) and Soares (1965 and 1990), was also extremely important studies of Lago (2000 and 2007) and Bienenstein (2001) about the historicization of peripheral settlements and housing policies. The investigation was enhanced with photographs and information obtained from various official agencies such as Municipality of Rio de Janeiro and IBGE - Brazilian Institute of Geography and Statistics - in order to support the issue of social, economic, and housing reconfiguration. The utilization of maps aimed to facilitate understanding of the spaces occupied by popular housing and also of the vectors of urban growth in the district, key determinants of social heterogeneity present in the region