Academic literature on the topic 'The film'
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Journal articles on the topic "The film"
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Wan Teh, Wan Hasmah. "The History of Film Adaptation in Malaysia: The Long Journey of Its Rise and Fall." Malay Literature 31, no. 2 (2018): 361–82. http://dx.doi.org/10.37052/ml.31(2)no7.
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Morris Beja in his book Film and Literature: An Introduction , said that since the Academy Awards was introduced in 1927 – 1928, about three quarters of the award for best film was won by film adaptations. This is proof that film adaptation is a form of art that has gained the attention of the world community and was a well- known form of narrative in the 19th and 20th centuries in Europe. This paper takes the initiative to trace the history of film adaptations in general by focusing on such films in Malaysia. Findings of the study reveal that the history of film adaptation in Malaysia started in 1933 during the filming enterprise of Cathay Film and Malay Film in Singapore up to the setting up of Merdeka Studio in Kuala Lumpur in the 1970s and beyond. The film industry in Malaysia faced many problems including the influx of imported films from Indonesia and the commercialization factor that did not guarantee profits. However, around 2006, concerted efforts were reinforced to adapt literary works into films, through workshops and competitions organized by Malaysian government bodies such as Dewan Bahasa dan Pustaka (DBP), National Film Development Corporation (FINAS) and Radio and Television Malaysia (RTM). Keywords: film adaptation, history, Cathay Keris, Malay Film, Merdeka Studio Abstrak Morris Beja dalam bukunya Film and Literature: An Introduction , mengatakan bahawa sejak Anugerah Akademi diperkenalkan pada tahun 1927 – 1928, lebih kurang tiga per empat anugerah untuk filem terbaik telah dimenangi oleh filem adaptasi. Keadaan ini merupakan bukti bahawa filem adaptasi adalah satu bentuk seni yang telah lama mendapat perhatian masyarakat dunia dan menjadi corak naratif yang terkenal pada abad ke-19 dan ke-20 di Eropah. Makalah ini mengambil inisiatif untuk menelusuri sejarah filem adaptasi secara umum dengan memberi tumpuan kepada filem adaptasi di Malaysia. Dapatan kajian mendapati sejarah filem adaptasi di Malaysia melalui liku-liku perjalanan yang panjang bermula pada tahun 1933 sewaktu zaman perusahaan Cathay Film dan Malay Film di Singapura hingga ke Merdeka Studio di Kuala Lumpur sekitar tahun 1970- an dan seterusnya. Industri filem di Malaysia berdepan dengan pelbagai masalah termasuk lambakan filem import dari Indonesia dan faktor komersialisme yang tidak menjamin keuntungan. Walau bagaimanapun sekitar tahun 2006 usaha mengadaptasi karya sastera ke filem terus diperkasakan melalui bengkel dan pertandingan anjuran badan kerajaan di Malaysia seperti Dewan Bahasa dan Pustaka (DBP), Perbadanan Kemajuan Filem Nasional Malaysia (FINAS) dan Radio dan Televisyen Malaysia (RTM). Kata kunci: filem adaptasi, sejarah, Cathay Keris, Malay Film, Merdeka Studio
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Santrač, Stefan. "PREDIKCIJA ŽANRA FILMA UPOTREBOM MAŠINSKOG UČENJA." Zbornik radova Fakulteta tehničkih nauka u Novom Sadu 40, no. 04 (2025): 195–98. https://doi.org/10.24867/30be13santrac.
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Prilikom izrade novih filmova često dolazi do curenja informacija. Takve informacije su nepotpune i na osnovu njih možemo saznati ko radi na filmu, kada se film premijerno prikazuje, naslov filma, itd. Da bi se formirala puna slika o filmu potrebno je poznavati i kom žanru film pripada. U ovom radu vrši se predikcija žanra filma korišćenjem Multilabel klasifikatora (Multilabel k Nearest Neighbours, Classifier chains, Binary relevance) na osnovu informacija o osobama koje rade na filmu, koji posao te osobe obavljaju, naslova filma, godini premijernog prikazivanja i informacije da li je film namenjen za decu. Rezultati predikcija su evaluirani pomoću Micro-average i Macro-average metoda evaluacij.
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Kapetanović, Amir. "“Kaya” from Novella to Film." Colloquia Humanistica, no. 7 (December 18, 2018): 135–52. http://dx.doi.org/10.11649/ch.2018.008.
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Kaya from Novella to FilmThis paper analyses the transformation of K. Quien's novella Kaya into a screenplay adaptation and a film of the same name by eminent Croatian director Vatroslav Mimica. The analysis points out both significant characteristics of the transformation of the text and the transformation of the portrayed Mediterranean urban area (a crime in Trogir), as well as the linguistic stylisation of the characters' Trogir dialect, which contributes to the atmosphere of the film. Discussion of this film has so far only unfolded on the basis of a comparison of Quien's novella and Mimica's film. This analysis thus contributes important information about the structural and narrative characteristics of the unpublished screenplay, which sheds more light on the paths towards the creation of this Croatian film,which is considered V. Mimica's best work and one of the best Croatian films. Kaya, od noweli do filmuW artykule analizowane jest przekształcenie noweli Kaya, zabiję cię K. Quiena w scenariusz adaptacji filmowej, a następnie w film pod tym samym tytułem, nakręcony przez wybitnego chorwackiego reżysera Vatroslava Mimicę. Analiza skupia się na dwóch kwestiach. Po pierwsze, dotyczy przekształcenia tekstu i obrazu przestrzeni śródziemnomorskiego miasteczka (Trogiru). Po drugie, omawiana jest stylizacja językowa, wykorzystanie cech dialektu trogirskiego, przyczyniające się do stworzenia atmosfery filmu. Dotychczasowa dyskusja o filmie jedynie powierzchownie dotykała związków z nowelą Quiena na poziomie porównawczym. Niniejszy artykuł przynosi ważne informacje o strukturalnych i narracyjnych cechach niepublikowanego dotąd scenariusza, co rzuca nowe światło na proces tworzenia filmu, uznawanego za najwybitniejsze dzieło Mimicy i jeden z najlepszych chorwackich filmów w ogóle. Kaya, od novele do filmaU ovom radu analizira se transformacija novele K. Quiena Kaja, ubit ću te preko scenarističke adaptacije u istoimeni film istaknutoga hrvatskoga redatelja Vatroslava Mimice. U analizi se ističu ne samo bitne značajke transformacije teksta nego i transformacija predočene mediteranske urbane sredine (zločin u Trogiru) te jezična stilizacija trogirskoga govora likova, koji doprinosi ambijentalnom ugođaju filma. Do sada se o filmu raspravljalo samo na temelju usporedbe Quienove novele i Mimičina filmskoga ostvarenja, pa ova analiza donosi neke važne podatke o strukturnim i narativnim značajkama neobjavljenoga scenarija, čime se jače osvjetljavaju putovi kreacije toga hrvatskoga filma, koji se smatra najboljim redateljskim ostvarenjem V. Mimice i jednim od najboljih hrvatskih filmova.
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Reichenberg, Mitja. "Gledati, misliti in razumeti film skozi filmsko glasbo." Andragoška spoznanja 22, no. 3 (2016): 33–45. http://dx.doi.org/10.4312/as.22.3.33-45.
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Članek obravnava film kot element, ki preči trojno polje: polje gledanja, mišljenja in razumevanja. Če to opazujemo racionalno, potem gre vsekakor za paradoks – še posebej tedaj, ko dodamo, da je film popolna iluzija. Zaradi magičnega pogleda na svet skozi film bi bilo treba vprašanje samega pogleda obrniti in začeti opazovati svet skozi optiko filma. To sicer sodobni človek že počne, a se tega sploh ne zaveda. Njegova percepcija sveta kot »realnosti« je filmska zabloda in konstrukt par excellence. Članek povezuje film in učenje na tri načine: učenje iz filma, učenje o filmu in učenje prek vzgoje za medije. Vse tri odnose predstavi prek analize filmske glasbe, ki pomeni v filmu dodatno, morda najbolj emocionalno komponento. Celoten razmislek o tem pa je umeščen v okvir zavedanja filma v razsežnosti zvoka, s katerim pa se celotna magija filmske prevare šele dobro začenja.
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Ličen, Nives. "Skočiti v film - Film in učenje v odraslosti." Andragoška spoznanja 22, no. 3 (2016): 3–6. http://dx.doi.org/10.4312/as.22.3.3-6.
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Skoraj vsi ljudje gledamo filme na televiziji, spletu, v kinu, izobraževanju. V času, ki je oznamovan s podobo, fragmentiranostjo in hitro menjavo, je film izredno vpliven medij za oblikovanje človeka. Še več: zdi se, da je snemanje filma metafora za to, kako konstruiramo življenje. Prehod 19. v 20. stoletje je zanimiva doba: film je začel svojo zgodbo, Nietzsche je zaključil svoje življenje, Freud je objavil delo Interpretacija sanj – vse troje kaže na vstopanje v zelo nestabilno obdobje. Film se odmakne od statičnih podob, kot so slike ali kipi, zmožen je pripovedovati o nezavednem in negotovem; vsaka resnica je le začasna.
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PINPRU, Nattapong, Varol INTASANTA, Thitirat CHAROONSUK, et al. "Preparation of bacterial cellulose film from rotten fruits for mulching film application." Journal of Metals, Materials and Minerals 32, no. 4 (2022): 93–101. http://dx.doi.org/10.55713/jmmm.v32i4.1535.
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This research aims to reduce production capital costs and added value to natural products. The bio-mulching film was prepared by bacterial cellulose (BC) “Acetobacter xylinum”, extracted from three rotten fruits, grape, coconut, and pineapple under standard tests in the laboratory. The analysis from the FTIR technique confirmed to cellulose molecular vibration of BC films. XRD pattern was matched to structure crystallinity of JCPDS standard file which possessed a high percentage of crystallinity. The SEM micrographs were also revealed the 3D nanofiber network structure. The absorption capability of BC films could highly hold water in its structure. In addition, the mechanical properties of BC films came from rotten coconut, given the highest tensile strength (7.2 ± 1.1 MPa) according to nano-fiber symmetric with its dense structure. Nevertheless, the soil burial testing emphasized BC films could reduce soil temperature and increase moisture content in the soil as well. The biodegradation rate of BC films in 30 days was moderately fair. The BC film from rotten coconut had the slowest biodegradation rate (approximately 22.3 4.2%), applicable to biodegradable mulching film.
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Hamzah, Abdul Wahab. "Myth, Neo-Colonialism and Neo-Noir in Two Films by Dain Said." Malay Literature 31, no. 2 (2018): 383–92. http://dx.doi.org/10.37052/ml.31(2)no8.
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Dain Said is one of the most reputable Malaysian film directors. Two of his films, Bunohan (2011) and Interchange (2016), not only won him awards for best film and best director but were also screened in many respected world film festivals. Bunohan and Interchange have a reputation of being different from many ordinary contemporary Malay films. Both films contain the similar theme of killing in their plots with a dark noirist approach, but killing is only on the surface of their multi-layered narratives. In both films, Dain is interested in the interweaving myth, imperialism and capitalism in the conflict of tradition and modernization. Even though myth has been imbued with fantastic elements, it becomes part of the ideological process of naturalization and has its own role in the origin of the race, history, and identity of a country. Colonialization and capitalism have been gradually destroying traditional cultures and myths that are part of a nation’s ideology. This essay analyzes how traditional cultures and mythologies should become the important elements in resisting the dangers of neo-colonialism that is called globalization. Here, the films Bunohan and Interchange have proved that Dain Said is a film auteur in his own class. Keywords: myth, colonialism, auteur, Malay film, neo-noir Abstract Dain Said salah seorang pengarah filem Malaysia yang berkemampuan tinggi. Dua filem arahannya, Bunohan (2011) dan Interchange (2016) bukan sahaja memenangi anugerah filem terbaik dan pengarah terbaik malah banyak ditayangkan di festival filem dunia yang berprestij. Bunohan dan Interchange berbeza dengan kebanyakan filem Melayu kontemporari. Kedua-dua filem memaparkan tema dan plot yang sama, iaitu pembunuhan dengan pendekatan noirist. Walau bagaimanapun pembunuhan hanya lapisan permukaan yang terdiri daripada beberapa lapis naratif. Dalam kedua-dua filem Dain berminat dengan menggabungkan mitos, imperialisme dan kapitalisme dalam konflik tradisi dan modern. Walaupun mitos bercampur dengan elemen fantasi, tetapi mitos menjadi sebahagian proses ideologi peneutralan. Mitos mempunyai peranannya dalam asal usul bangsa, sejarah dan identiti negara. Kolonialisasi dan kapitalisme dalam diam membunuh budaya tradisi dan mitos yang menjadi sebahagian daripada ideologi negara. Makalah ini menganalisis budaya tradisi dan mitos yang sepatutnya menjadi elemen penting dalam menolak perangkap neo-kolonialisme atau lebih dikenali sebagai globalisasi. Filem Bunohan dan Interchange membuktikan Dain Said sebagai filem auteur yang mempunyai kelasnya yang tersendiri. Keywords: myth, Colonialism, Auteur, Malay film, Neo-Noir
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Maron, Marcin. "Filmowa neoawangarda i początki sztuki video." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 15, no. 2 (2018): 37. http://dx.doi.org/10.17951/l.2017.15.2.37.
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<p>Artykuł w syntetyczny sposób omawia najważniejsze zjawiska filmu eksperymentalnego w kontekście pojęcia i praktyki sztuki neoawangardowej od II połowy lat 60. do połowy lat 70. XX wieku. Na początku przypomniana została pierwsza i druga faza rozwoju filmu eksperymentalnego w związku z istnieniem tzw. Wielkiej Awangardy oraz z działalnością jej kontynuatorów po Ii wojnie światowej w USA. Nastepnie zdefiniowane zostało pojęcie neoawangardy w odniesieniu do ujęcia, które zparoponował Frank Popper. W dalszej części artykułu jego autor omawia zasady oraz najważniejsze przykłady filmów neoawangardowych m. in: film strukturalny, kino porzeszone, intermedia. Ważną częścią artykułu jest przedstawienie początków, idei oraz najważniejszych rodzajów sztuki video. W artykule omówione zostały filmy takich autorów jak m. in. Paul Sharits, Peter Kubelka, Peter Campus, Bill Viola i innych.</p><p> </p><strong>Film Neo-Avant-garde and the Beginnings of Video Art</strong><p>SUMMARY</p><p>The article comprehensively discusses the most important phenomena of experimental film in the context of the concept and practice of neo-avant-garde art from the latter half of the nineteen-sixties to the mid-nineteen-seventies. The paper begins by referring to the first and second phase of the development of experimental film in connection with the existence of the so-called Great Avant-garde and the activity of its continuators after World War Two in the USA. The text then defines the concept of neo-avant-garde in relation to the interpretation proposed by Frank Popper. The article then discusses the principles and the most important examples of neo-avant-garde films, inter alia structural film, widened cinema, or intermedia. An important part of the article is the presentation of the beginnings, idea and the major types of video art. The paper also discusses the films by such authors as inter alia Paul Sharits, Peter Kubelka, Peter Campus, Bill Viola, and others.</p>
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Guo, Dong, Wu Shuai Zheng, Teng Long Huang, Shu Ling Zhang, and Feng Guo. "Friction and Wear Properties of Multilayer Films Designed on Tantalum Substrate." Materials Science Forum 1078 (December 22, 2022): 121–35. http://dx.doi.org/10.4028/p-l75xgh.
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In this paper, a titanium nitride film (TiN) monolayer film was deposited on a pure Tantalum (Ta) substrate with Ti as an intermediate layer by magnetron sputtering technique, and a Ta/Ti/DLC (diamond-like carbon)/Ti/TiN/DLC multilayer film was designed. Raman spectroscopy and scanning electron microscopy were used to observe the film structure and morphology. Friction and wear properties of Ta/Ti/TiN monolayer film and Ta/Ti/DLC/Ti/TiN/DLC multilayer film were analyzed by UMT-3 tester. The results show that the surface of multilayer film is denser and better bonded than TiN monolayer film. Under dry friction conditions, the friction coefficient of TiN monolayer film is stable at about 0.45. In contrast, the friction coefficient of DLC multilayer film remains around 0.15 with very small fluctuation during the whole friction process. This is determined by the inherent characteristics of DLC film, which is composed of sp2-C graphite structure and sp3-C diamond structure. From the analysis of the wear mechanism, the Ta substrate mainly undergoes adhesive wear and abrasive wear, however, the TiN monolayer film and Ta/Ti/DLC/Ti/TiN/DLC multilayer films mainly undergo abrasive wear mechanism. The friction coefficient of TiN monolayer fluctuates more than that of dry friction conditions in the body-liquid environment, and finally stabilize at about 0.5. The friction coefficient of DLC multilayer films does not differ much from those of dry friction conditions. This is because the TiN monolayer film generates a large amount of abrasive chips to fill the scratches in the body fluid environment, accompanied by the peeling and flaking of the compacted abrasive chips, thus the friction coefficient fluctuates greatly. The DLC multilayer films also undergoes graphitization transfer. In addition, the free hanging bonds of DLC film are passivated, which reduces the degree of adhesive wear. In summary, the DLC multilayer film has better biocompatibility, wear resistance, and stronger bonding.
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Hamada, Seiti, Takafumi Horiike, Tomohiro Uno, et al. "Evaluation of GexSbyTez Film Grown by Chemical Vapor Deposition." Materials Science Forum 725 (July 2012): 289–92. http://dx.doi.org/10.4028/www.scientific.net/msf.725.289.
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This paper describes structure evaluation of GexSbyTez (GST) film fabricated by chemical vapor deposition (CVD). We successfully established composition controlled GST CVD with smooth surface by applying appropriate deposition conditions. By increasing Ge flow rate or reducing substrate temperature, the average grain size was reduced and the film flatness was improved. As the results, we succeeded to obtain the extremely smooth surface, and also to fill a finite hole with conformal film deposition. All GexSbyTez films showed FCC or amorphous crystalline structures, both are utilized in the proposed phase change random access memory (PRAM), in spite of the wide range of composition control. We believe these CVD-GST films are useful for PRAM applications.
Dissertations / Theses on the topic "The film"
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Kohli, Gurdeep Singh. "Film or film brand? : investigating consumers' engagement with films as brands." Thesis, Brunel University, 2017. http://bura.brunel.ac.uk/handle/2438/16312.
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This study offers an in-depth account of how, when and why consumers engage with films as brands, using 38 exploratory, semi-structured consumer interviews and 1030 consumer survey responses. Extant film branding literature is scarce, dominated by filmmakers' and marketers' perspectives of films as brands and is confined to exploring points of parity associations films have as brands, rather than ways films may differentiate themselves as brands. Taking on a consumer centric view, our findings show although filmmakers, production houses and marketers may jointly develop and market films with the vision of becoming brands, this doesn't necessarily guarantee consumers' engagement with such films as brands. Instead, consumers initially evaluate the coherency of a film's identity and subsequently go on to engage with films as brands, a process which is fully mediated by the emotional bonding a consumer may develop for a film and partially mediated by a film's popularity and sequels. Films' marketing/franchising efforts, iconic status and sense of timelessness moderate consumer-film brand engagement, resulting in positive word of mouth and purchase intention. Our sequential, consolidated and specified film brand engagement framework guides filmmakers and marketers on how to tactically engage consumers with their films as brands, in order to differentiate themselves within this risky and competitive market.
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Delavaud, Gilles. "Le film par le film : films documentaires et films didactiques pour l'enseignement du cinéma : analyses et propositions." Paris 3, 1992. http://www.theses.fr/1993PA030050.
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1. Etude de films documentaires didactique destines a l'enseignement du cinema. Les analyses portent notamment sur des realisations personnelles jointes au texte de la these. Ii. Etude de plusieurs films de fiction dit "reflexifs" : dans quelle mesure ces films peuvent-ils etre consideres comme des documentaires sur eux-memes?<br>I. A study of didactic documentary films intended for the teaching of cinema. The analyses treat, in particular, certain of the author's own productions, which supplement the text of the thesis. Ii. A study of several fiction films termed "reflexive" : to what extent may these films be considered to be documentaires on themselves?
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Wood, Sarah. "Lost film found film." Thesis, University of Kent, 2015. https://kar.kent.ac.uk/48012/.
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In an age where the historical event is mediated increasingly through the still and moving image, new stress is placed on the archival image as surviving evidence of and performer of history. Lost Film Found Film asks what the scope is for re-intervention by artists who engage with the documentary archival. What is found in their reappropriation? What is lost in the remix? Through a discussion of key works by Jean-Luc Godard, Hito Steyerl, Harun Farocki, Jayce Salloum, Johan Grimonprez and Eyal Sivan, Lost Film Found Film offers a definition and a description of what I have called the Cinema of Aftermath. I define this as cinema that evolved in the aftermath of the Second World War, that deploys found footage film not only as a form of critique but also as a form of participation in wider historical and political events. I argue that the Cinema of Aftermath comments on politics and is also political. Central to its project is a questioning of the potency of the archival image in both its self-reflexive and wider cultural use. In three chapters, I explore how the Cinema of Aftermath recalibrates the meaning and renews the formal possibilities of the documentary, and analyse the performance of memory, truth and evidence by this aestheticisation of archival image.
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Oľha, Adam. "Rodinný film ako autonómna oblasť dokumentárneho filmu." Master's thesis, Akademie múzických umění v Praze. Filmová a televizní fakulta AMU. Knihovna, 2011. http://www.nusl.cz/ntk/nusl-97004.
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In my thesis I would like to focus on family films in exploring their orgin raw form as the family filmmakers left the rolls, cartridges, or memory cards of family film chronicles. An important aspect of the intact records is a potencionality that stems from thoughtless structure composition, unclear principles, a high degree of randomness in filmed scenes and the overall effort in shooting moments of the family life with all the "errors" which the author often avoided to take family snapshots. Thus the raw record with its shortcomings I perceive as an adequate study of its basic assumptions and possible interpretations - in its differences from any other discipline of film - and possible approximation to what we call creative documentaries.
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Garg, Akhilesh. "Organic Self-Assembled Films for Nonlinear Optics: Film Structure, Composition and Kinetics of Film Formation." Diss., Virginia Tech, 2008. http://hdl.handle.net/10919/28872.
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Organic materials exhibiting second-order non-linear optical (NLO) properties are a key to the development of advanced electro-optic (EO) modulators used in fiber-optic communications system. This work addresses the fabrication and characterization of organic materials with NLO properties using a self-assembly approach by alternately dipping a charged substrate into positively and negatively charged polymers to build up layer-by-layer (LbL) films.
The effect of solution pH on the formation of LbL films fabricated using the polycation poly(allylamine hydrochloride) (PAH) and the polyanion poly{1-[p-(3–-carboxy-4–-hydroxyphenylazo)benzenesulfonamido]-1,2-ethandiyl} (PCBS) was studied using a quartz crystal microbalance with dissipation (QCM-D) monitoring, ellipsometry, absorbance, and second harmonic generation (SHG) measurements. PCBS has an azo-benzene chromophore side group that, when sufficiently oriented, results in measurable SHG. Films of PAH/PCBS fabricated at neutral pH where both PAH and PCBS are highly charged led to thin bilayers, ~1 nm, with a 1:1 molar ratio of PCBS:PAH. This molar ratio was found to be important for long-range polar ordering of PCBS in these films. Increasing the rate of convection was found to reduce the time required for complete adsorption of the polyion. This can have a significant impact on fabrication of films with high bilayer numbers.
A variation of the above technique, which involves adsorbing one of the constituents electrostatically and another covalently, was studied using PAH and a reactive dye, Procion Brown (PB), which has a significantly higher hyperpolarizability than PCBS. It was found that a high pH, ~10.5, was important for achieving covalent attachment of the PB to the underlying PAH films. This resulted in much higher SHG intensities compared to when PB was deposited pH at 8.5-9.5 where the attachment of PB was due to a combination of electrostatic and covalent interactions. QCM-D results for PAH/PB films revealed the presence of a high percentage of unreacted amine groups in the underlying PAH film. A rate constant value for PB attachment step to the underlying PAH was also calculated.
To enhance the SHG intensity of these films, silver nanoprisms were synthesized and deposited onto films using physisorption. An enhancement in the SHG intensity was observed for both PAH/PCBS and PAH/PB films.<br>Ph. D.
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Brownrigg, Mark. "Film music and film genre." Thesis, University of Stirling, 2003. http://hdl.handle.net/1893/439.
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This thesis explores the role that film genre plays in the construction of, predominantly, Hollywood movie scores. It begins with the simple assumption that each genre has its own set of musical conventions, its signature "paradigm", with the result that Westerns sound different from Horror films, which sound different from Romantic Melodramas and so on. It demonstrates that while this is broadly speaking so, the true picture is more complex, the essentially hybrid nature of most Hollywood films on a narrative level resulting in scores that are similarly hybrid in nature. To begin with, the various functions of film music are described, and that of generic location is isolated as being of key importance. The concept of film genre is then discussed, with particular reference to the notion of hybridity. The substance and sources of the musical paradigms of the Western, Horror film and Romantic Melodrama are described in depth; specific aspects of the War Film, Gangster, Thriller and Action paradigms are addressed more briefly. The thesis concludes with a cue by cue analysis of John Barry's score for Dances with Wolves (1990), demonstrating that while the dominant paradigm the music draws on is indeed that of the Western, the score also incorporates elements from a variety of other generic paradigms, shifts in musical emphasis that are dictated by the changing requirements of the narrative. Film music is shown to be profoundly influenced by film genre, but that the use of generically specific music is as complex and nuanced as cinema's negotiation of genre at narrative level. While genres do indeed have signature musical paradigms, these do not exist discretely, but in constant tension with and relation to one another.
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Heiman, Christopher James. "LAKESIDE: AN INDEPENDENT STUDENT FILM." Kent State University Honors College / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1313072280.
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Audissino, Emilio. "Film music as a film device : a neoformalist approach to the analysis of music in films." Thesis, University of Southampton, 2017. https://eprints.soton.ac.uk/414097/.
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In the last ten years there has been a significant shift of interest in film music from Film departments to Music departments. This study seeks to balance the situation and bring film music back into the sphere of action of Film Studies. Film scholars can still give an important specialistic contribution by tackling the music as one of the cinematic devices, and focussing on the analysis of its interplay with the other formal elements of film. In this view, the scope of this study is to develop an approach and a set of analytical tools that serve as a guidance to film scholars to address music in film from their discipline-specific perspective. The analytical approach here offered stems from a mix of Neoformalism – from Film Studies – and concepts drawn from Leonard Meyer's music theories. Neoformalism describes and explains the filmic system focussing on the overall form and style, not only on the interpretation of the film's contents and meanings. In particular, the analysis concentrates on the function(s) and motivation(s) of a series of devices, whose interplay is at the basis of the film's formal system. Being one of the film's devices, music carries out specific functions and responds to specific motivations. Yet, film music is also music. Hence, Neoformalism is coupled with Leonard B. Meyer's theories. According to Meyer the meaning and emotional effect of a tonal piece of music derives from the way in which the composition plays with the listener’s expectations and anticipations, which are based on a shared knowledge of norms and conventions. This interest in norms and conventions and in the psychology of perception links Meyer's studies to Neoformalism. And their common interest in the 'whole,' in formal stabilisation, and closure makes Gestalt Psychology a fitting overarching theoretical framework to integrate Neoformalism with Meyer's musicology. The combination of the micro-configuration of the music and that of the visuals produces a macro-configuration in which the whole is something different from the sum of its parts. In this audiovisual interaction, three areas of musical agency are identified in the film: music can have a perceptive function; an emotive function; a cognitive function. The findings are valuable for both the disciplines involved. To film scholars, it presents film music as a topic that can be handled with more confidence and breadth, because the musicological analysis of the musical text (the score) is not required in this approach. To musicologists, it provides a way to deepen their understanding of and insights into the formal and stylistic ways in which music interacts and combines with the other cinematic components.
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Nilsson, Kristian. "Film formation of latex in dry coating films." Thesis, Karlstad University, Faculty of Technology and Science, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-1048.
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<p>The objective of this master thesis was to investigate the possibility to measure the gain in stiffness of the dry coating due to film formation of latex with a Dynamic Mechanic Thermal Analyzer (DMTA). This could tell when and to which extent the latex forms a film after the drying process.</p><p>Two latices with different Tg was used for the experiments, one with a Tg of 36°C, denoted hard, and the one with a Tg of 8°C, denoted soft. The hard latex was used to make coating samples that would not form a film when dried at room temperature and the soft latex was used as a reference to the coating with hard latex since it would form a film at room temperature.</p><p>It was shown that a gain in stiffness due to film formation of latex in coating can be measured with a DMTA. It was also shown that that the film forming of latex in coatings depend on time, temperature and the history of the sample. Further investigations were carried out to try to determine the time for film formation to be completed at a certain temperature.. These investigations showed that this type of trials cannot be carried out in a DMTA directly since the stiffness seemed to increase monotonically during a very ling time. This might be due to the rearrangements in the pigment structure that might affect the gain in stiffness. Therefore, a method involving oven curing was developed. Only one series of test were performed with this method due to lack of time but the method showed promising results.</p><br><p>Syftet med detta examensarbete var att undersöka möjligheten att använda en Dynamic Mechanic Thermal Analyzer (DMTA) för att mäta ökningen av styvhet som följd av filmbildning av latex i en torr bestrykning.</p><p>Två olika latexer användes för experimenten, en med Tg = 36°C (hård) och en med Tg = 8°C (mjuk). Den hårda latexen användes för att kunna göra tester på prover som ännu inte filmbildat när de torkat vid rumstemperatur och den mjuka latexen användes för att göra referens prover mot bestrykningen med hård latex.</p><p>Resultaten visade att det går att mäta styvhetsökning i bestrykningen som en följd av filmformation med DMTA och filmformation av latex i bestrykningen troligtvis beror på både tid, temperatur och provets historia. Ett försök att mäta vilken uppehålls tid vid en specifik temperatur som krävs för att filmbildningen skall fulländas genomfördes. Dessa försök visade att DMTA:n inte var en lämplig metod för att mäta denna tid då styvheten verkade öka under en längre tid. Detta kan bero på att pigment partiklarna packade sig tätare och på så sätt orsakade en ökning av styvheten. Därför gjordes ett annat försök som involverar ugns härdning, men på grund av tidsbrist blev det bara en mätserie utförd. Den sist nämnda metoden visade dock goda resultat och måste därför bedömas ha en potential.</p>
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Poole, Mark William. "Film noir and the films of Christopher Nolan." Master's thesis, Universidade de Aveiro, 2004. http://hdl.handle.net/10773/16688.
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Mestrado em Estudos Ingleses<br>Film noir has returned as a commercially attractive genre in the last ten years
following the success of Pulp Fiction. This thesis discusses the differences of
style and content and reasons for these differences between the present
incarnation of film noir and its predecessors. As a director whose three feature
films to date all contain noir elements, the work of Christopher Nolan is
contextualized with that of his contemporaries while the purpose of his
expression of these elements is also considered.<br>O Film Noir regressou como género comercialmente atraente nos últimos dez
anos e na sequência do sucesso de Pulp Fiction. Nesta tese tentamos analisar
as diferenças de estilo e de conteúdo, e as razões para estas diferenças entre
a incarnação actual do Film Noir e a dos seus antecessores. Enquanto
realizador cujos filmes até hoje apresentados contêm elementos de Film Noir,
a obra de Christopher Nolan é contextualizada com a dos seus
contemporâneos, ao mesmo tempo que se analisa igualmente o objectivo da
expressão destes elementos.
Books on the topic "The film"
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Altenhoff, Andreas, and Sonja Hofmann. "Poetry / film": Gedichte, Filme, Resonanzen. Lilienfeld Verlag, 2020.
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Roberge, Gaston. The Ways of film studies: Film theory & the interpretation of films. Ajanta Publications, 1992.
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Group, Mintel International, ed. Film and film processing. Mintel International Group, 1996.
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Ludwig, Nagl, Waniek Eva, and Mayr Brigitte 1958-, eds. Film Denken =: Thinking film. Synema, 2004.
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Schobert, Walter, and Willi Bär. Fischer-Film-Almanach ...: Filme, Festivals, Tendenzen. Fischer-Taschenbuch-Verl., 1992.
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Schobert, Walter, and Willi Bar. Fischer-Film-Almanach ...: Filme, Festivals, Tendenzen. Fischer-Taschenbuch-Verl., 1986.
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Karl-Heinrich, Schmidt, ed. Multimodal film analysis: How films mean. Routledge, 2012.
Find full textBook chapters on the topic "The film"
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Dick, Bernard F. "Film as Film." In Anatomy of Film. Macmillan Education UK, 1998. http://dx.doi.org/10.1007/978-1-349-26388-2_8.
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Langford, Michael, Andrew Bruce, Anna Fox, Richard Sawdon Smith, and Corinne Whitehouse. "Film and Film Processing." In Langford's Basic Photography, 11th ed. Routledge, 2024. http://dx.doi.org/10.4324/9781003351245-10.
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Stelte, Ingo. "Film." In Traum und Schlaf. J.B. Metzler, 2018. http://dx.doi.org/10.1007/978-3-476-05356-5_10.
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Keppler-Tasaki, Stefan. "Film." In Faust-Handbuch. J.B. Metzler, 2018. http://dx.doi.org/10.1007/978-3-476-05363-3_36.
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Jahraus, Oliver. "Film." In Faust-Handbuch. J.B. Metzler, 2018. http://dx.doi.org/10.1007/978-3-476-05363-3_54.
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Kuhn, Markus. "Film." In Erzählen. J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-05364-0_6.
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Neuhaus, Stefan. "Film." In Handbuch Kriminalliteratur. J.B. Metzler, 2018. http://dx.doi.org/10.1007/978-3-476-05430-2_49.
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Rauscher, Andreas. "Film." In Philosophie des Computerspiels. J.B. Metzler, 2018. http://dx.doi.org/10.1007/978-3-476-04569-0_14.
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Ruprecht, Lucia. "Film." In Robert Walser-Handbuch. J.B. Metzler, 2018. http://dx.doi.org/10.1007/978-3-476-04595-9_52.
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Sobchack, Vivian. "Film." In Contributions to Phenomenology. Springer Netherlands, 1997. http://dx.doi.org/10.1007/978-94-017-5344-9_52.
Full textConference papers on the topic "The film"
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Mortensen, Kenneth P., and Stephen N. Conley. "Film Fill Fouling in Counterflow Cooling Towers: Research Results." In CORROSION 1994. NACE International, 1994. https://doi.org/10.5006/c1994-94457.
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Abstract High-efficiency cross-corrugated PVC film packing materials, first Introduced In the U.S. for new counterflow cooling tower products In the 1970’s, have In a number of Instances recently been used to Improve the thermal performance of older splash and flat-sheet-filled counterflow towers. These highly interfaced PVC packs In new tower and retrofit service have been applied In a variety of circumstances and conditions. In some locations raw waters have fouled packs. This fouling process can, if left unchecked, reverse performance gains from the tower upgrade and add substantially to cooling tower structural loadings. This paper details a significant effort to understand and reproduce that primary fouling mechanism in a controlled and accelerated laboratory regimen, and to conduct equal basis comparative fouling tests on a number of fill configurations to optimize geometry. These efforts proceeded in specially constructed lab cells which did not risk customer tower Installations while defining optimum fill design features. Considerable effort went Into evaluating our customers’ descriptions of field fouling and to duplicate field observations in the lab process. Field low-clog fill testing results are correlated with lab results. Many alternative fill shapes, spacings, texturings, support schemes, and materials are compared here in order to define the best geometry for the end user. Water conditions, particularly biological characterization and the relation of any circulating water biopotential to suspended solids concentration are discussed because of their specific causal relation in pack fouling. Low-Clog fill application criterea are established. Water treatment needs are discussed. Washing of existing fouled packing is also considered. Finally, a laboratory method for thermal comparison of various packs in fouled condition is described.
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Videm, K., and A. Dugstad. "Film Covered Corrosion, Film Breakdown and Pitting Attack of Carbon Steels in Aqueous CO2 Environments." In CORROSION 1988. NACE International, 1988. https://doi.org/10.5006/c1988-88186.
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Abstract Lack of knowledge of the formation of corrosion films, their chemical nature, and protecting properties prevents reliable predictions of the CO2 corrosivity of gas - condensate - and oil wells. In long transport pipes the water phase accumulates increasing amounts of Fe2+ corrosion product during the travel. As the Fe2+ concentration has a major influence on CO2 corrosion, exposure facilities enabling controlled variations of the Fe2+ concentration have been used. The influence of en-vironmental variables on film formation have been studied. Three different types of corrosion films were detected. The nature of the films, their ability to slow down the corrosion rate, their electrochemical breakdown and the localized attack resulting from the film breakdown have been investigated.
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Miaoulis, Ioannis N., Haruna Tada, Seth Mann, and Peter Y. Wong. "Selective Multilayer Thin-Film Development in Insects." In ASME 1997 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 1997. http://dx.doi.org/10.1115/imece1997-1309.
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Abstract Multilayer structures of biological thin films play numerous roles in insects, plants, lizards, and birds. Due to microscale radiative effects, small changes in the film thicknesses result in large changes in reflected sunlight and solar absorption. Through selective variations of the thin-film thicknesses and structures, nature has used multilayer structures for a variety of purposes. In butterflies, the thin films result in a colorful iridescence that is used for signaling, courting, camouflage, and display. Moreover, these thin films appear to be multifunctional; the light not reflected is absorbed for thermoregulation purposes. Variations of thin films in butterfly scales of different species results in different spectral and total reflectivity characteristics. An experimental apparatus was used to measure the spectral reflectivity from single scales, ∼100 μm long. Images of the illuminated scales reveal the effect of the microstructure on the optical properties.
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Dennison, JR, Cameron Eggleston, and Donna Metcalf. "Modeling Permittivity Measurements of Thin Film Materials Versus Film Thickness." In 2024 IEEE Conference on Electrical Insulation and Dielectric Phenomena (CEIDP). IEEE, 2024. https://doi.org/10.1109/ceidp61745.2024.10907660.
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Berggren, Glenn. "Optimizing Film-to-Screen Images with Integrated Projection Systems." In SMPTE Spring Film Conference. IEEE, 1997. http://dx.doi.org/10.5594/m00571.
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Freeman, Luke. "Truetime®: An Alternative Approach to the Marriage of Film and Video." In SMPTE Spring Film Conference. IEEE, 1997. http://dx.doi.org/10.5594/m00569.
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Hibbard, Roger, and Jack Cashin. "New Techniques for Measurement of On-Screen Projection System Characteristics." In SMPTE Spring Film Conference. IEEE, 1997. http://dx.doi.org/10.5594/m00570.
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Kisor, Robert B. "Foreword." In SMPTE Spring Film Conference. IEEE, 1997. http://dx.doi.org/10.5594/m00563.
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Noguchi, K., K. H. Kishimoto, K. Makino, N. Sasaki, and Bruce Berke. "“A Review of the Fuji Super F-Series of Motion Picture Products”." In SMPTE Spring Film Conference. IEEE, 1997. http://dx.doi.org/10.5594/m00564.
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Eaves, Peter. "Traditional Film Restoration Techniques in a Digital World." In SMPTE Spring Film Conference. IEEE, 1997. http://dx.doi.org/10.5594/m00565.
Full textReports on the topic "The film"
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Dabrovolskas, Audrius. In Search of Film Policy and Film Exhibition Model Based on Mission Economy: the Case of the Baltic Film Industries. Publishing House - Vilnius Business College, 2023. http://dx.doi.org/10.57005/ab.2023.1.2.
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In Europe film industries are regulated through film policies at national and supra-national levels. The biggest attention is paid to film production and distribution, because they are considered as the most crucial sectors regarding financial investment. Film exhibition on the other hand is more about whole commercial life of a film and since theatrical admissions in European Union increased by 5.3 % (in 2019) before covid-19 pandemic it demonstrates that theatrical release is still among one of the most important release windows. Yet Lithuanian, Latvian, and Estonian film exhibition trends and their role for developing film policy were not examined. The qualitative and quantitative research methods applied: descriptive statistics and its analysis of secondary sources such as cinema attendance, the number of multiplexes and digital screens, premieres of national films and box-office and the analysis of film policy (regulatory) documents in Lithuania, Latvia, and Estonia. Economically film exhibition sector during covid-19 pandemic was heavily influenced and challenged by enormous decline in cinema attendance and the competition and rising role of audiovisual video-on-demand platforms. The article provides insights and findings based on the analysis of current role of film exhibition for the development of film policy and its possible model in the Baltic film industries.
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Siripatrawan, Ubonratana. Active Chitosan-Based Film with Antimicrobial Property for Food Packaging Application. Chulalongkorn University, 2010. https://doi.org/10.58837/chula.res.2010.22.
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This research was aimed to develop an active film from chitosan film incorporated with green tea extract to enhance antioxidant and antimicrobial properties in order to be used for food shelf life extension. The experiments were divided into 3 parts. Firstly, chitosan-based film preparation and modification were determined. The results suggested that the optimum chitosan films could be prepared from 2% chitosan in 1% acetic acid. However, the chitosan film was brittle and had low flexibility. Mechanical property of chitosan film was modified by adding different concentrations of glycerol, as a plasticizer, including 0, 10, 20, 30, 40 and 50% (w/w of chitosan). The effect of plasticizer concentration on the mechanical properties of the chitosan film was determined by measuring their tensile strength, elongation at break, thickness, surface colors and water vapor transmission rate. The results showed that 30% glycerol was the optimum concentration to improve flexibility, while maintaining tensile strength and other physical properties of the film. Secondly, chitosan-based film was incorporated with green tea extract (GT) in order to improve film’s antioxidant and antimicrobial properties. The optimum concentration of green tea extract was then determined by adding 0, 2, 5, 10 and 20% (w/v) of green tea in film-forming solution, and tensile strength, elongation at break, water vapor permeability (WVP), density, total phenolic compounds (TPC), radicals scavenging 2,2-diphenyl-1-picrylhydrazyl (DPPH) of the film were determined. Fourier Transform Infrared (FTIR) spectrometry was carried out to observe the potential modifications of the chitosan films when incorporated with GTE. The ability to inhibit Staphylococcus aureus TISTR 118, Salmonella enteritidis DMST 17368, Escherichia coli TISTR 780 and Pseudomonas fluorescens TISTR 358 was conducted using agar diffusion method. It was found that WVP and lightness (L) decreased, while density, TPC, DPPH scavenging activity, redness (a), and yellowness (b) increased with increasing green tea concentration. The results also showed that films containing green tea extract had inhibition zone and could inhibit bacterial growth underneath film, while chitosan-alone film had no inhibition zone. The results suggested that incorporation of GT into chitosan films improved mechanical and water vapor barrier properties and enhanced polyphenolic content, antioxidant activity and antimicrobial property of the films. Changes in the FTIR spectra of the chitosan films were observed when GTE was incorporated, suggesting some interactions occurred between amine group of chitosan and hydroxyl group of green tea polyphenols. Lastly, the chitosan film containing green tea extract (CGT-film) was used as an active film for shelf life extension of pork sausage. Qualities of pork sausages wrapped with CGT-film were compared with those wrapped with chitosan-alone film without green tea incorporation (C-film) and those without chitosan film wrapping (Control). Changes in the physical qualities including color values and texture, the chemical qualities including pH and thiobarbituric value (TBA), the microbiological qualities including total plate count, yeasts/moulds, and lactic acid bacteria were determined throughout the storage. The sensory qualities including odor, color, slime formation, and overall acceptance were also evaluated using Quantitative Descriptive Analysis. The results showed that samples wrapped with CGT-film had higher cutting force, lightness and yellowness values, but lower TBA and microbial growth than those wrapped with C-film and control. Based on microbiological analysis and sensory evaluation, control samples and those wrapped with C-film had shelf life of less than 12 and 20 days, respectively. Samples wrapped with GCT-film had better qualities than other samples and had shelf life of up to 20 days at 4℃. Incorporation of GT into chitosan film could enhance the antioxidant and antiomicrobial properties of the film. CGT-film reduced the lipid oxidation and inhibited microbial growth and, consequently, could maintain qualities and extended shelf life of the pork sausage.
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Phisalaphong, Muenduen, and Neeracha Sanchavanakit. Development of bacterial cellulose for temporary skin substitute. Chulalongkorn University, 2006. https://doi.org/10.58837/chula.res.2006.74.
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Thin films of bacterial cellulose (BC) from nata de coco culture system were developed, characterized and investigated for the growth of human keratinocytes and fobroblasts. The average pore diameter and total surface area of the dried BC films estimated by BET were 224 [aungstrom] degree Celsius A and 12.62 m[superscript 2] /g, respectively. With the film thickness 0f 0.12 mm, the average tensile strength and break strain of the dried films were 5.21 MPa and 3.75 % while those of the wet films were 1.56 MPa and 8.00 %, respectively. The water absorption capacity of air-dried film was 5.09 g water/g dried films. For the uses in the therapy of skin wounds, the potential biological mechanism of action of BC film was evaluated by using human keratinocytes and fibroblasts. Our results were the first direct demonstration that BC film supported the growth, spreading and migration of human keratinocytes, but not those of human fibroblasts. Expressions of E-cadherin and alpha-3 chain of laminin confirmed the phenotype of human keratinocyte on BC film.
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Sanehira, Gabrielle, and Ju-Young M. Kang. Ortho-Litho Film. Iowa State University, Digital Repository, 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-1206.
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Devine, G., D. Dobie, J. Fugina, et al. Quantitative film radiography. Office of Scientific and Technical Information (OSTI), 1991. http://dx.doi.org/10.2172/6106663.
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Bernard, J. E., G. Negley, S. Sarwate, C. B. Cooper, and F. E. Williams. Thin-Film Electroluminescence. Defense Technical Information Center, 1985. http://dx.doi.org/10.21236/ada158352.
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Dean, David M. Flexible Ultra Moisture Barrier Film for Thin-Film Photovoltaic Applications. Office of Scientific and Technical Information (OSTI), 2012. http://dx.doi.org/10.2172/1057661.
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Rao, Vikram, and Ronald G. Polcawich. Reducing Film Thickness in Lead Zirconate Titanate Thin Film Capacitors. Defense Technical Information Center, 2007. http://dx.doi.org/10.21236/ada474969.
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Smith, B. K., G. LaVigne, J. J. Sniegowski, and C. D. Brown. Thin teflon-like films for MEMS: Film properties and reliability studies. Office of Scientific and Technical Information (OSTI), 1998. http://dx.doi.org/10.2172/656699.
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Babicheva, Irina. EDUCATIONAL FILM "INTERESTING STATISTICS". Science and Innovation Center Publishing House, 2020. http://dx.doi.org/10.12731/interesting_statistics.
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Учебно-познавательный фильм «Занимательная статистика» создан с целью ознакомления студентов с основными этапами проведения первичной обработки статистических данных в дистанционном режиме обучения. Фильм подходит для использования в приложениях для SCORM-пакетов. Фильм имеет: модульную структуру (5 частей); комплексность (включает теоретический и практический материал по проведению первичной обработки статистических данных); высокую степень визуализации ( содержит фото, видеофрагменты, анимацию, голосовое сопровождение ). В водной части фильма происходит знакомство с главными героями фильма – наставником Викторией и ее слушателями Ксенией и Татьяной. Девушки рассказывают о своем ВУЗе. Для создания у слушателей эмоционально-комфортной обстановки для дальнейшего обучения в фильме приводятся изречения о статистике известных ученых, артистов, афоризмы. Во второй части фильма «Базовые понятия математической статистики» студентам напоминается из теории вероятностей нормальный закон распределения, кривая Гаусса, занимающая центральное место в дальнейших исследованиях. С помощью видео показывается, как работает доска Гальтона и комментируется за кадром ее назначение. Для определения базовых понятий используются диалоги комикса «Занимательная статистика». В третьей части «Сбор статистических данных» показывается, как проходила эта процедура в стенах СИБИТ. Показываются замеры роста, веса, пульса, давления у студентов института. В четвертой части студентки переходят к обработке статистических данных, собранных студентами СИБИТа. Приводится видео-инструкция по использованию среды Excel для обработки статистических данных. В заключении демонстрируется «работа» кривой Гаусса на практическом примере. Студентами СИБИТа рассказывается история о проделках булочвника с обвешиванием покупателей и как его обман разоблачил математик Карл, показав учеченную кривую Гаусса. Учебно-познавательный фильм апробирован в Сибирском институте бизнеса и информационных технологий при дистанционном обучении студентов очного и заочного отделений.