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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.
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Zhou, Yi, Ke Long Huang, Ming Ming Dang, Hong Li, Cai Xia Lv, and De Hui Shi. "Preparation and Photoelectric Performance of Eu3+-Doped Porous TiO2 Thin Film Electrode." Advanced Materials Research 97-101 (March 2010): 2209–12. http://dx.doi.org/10.4028/www.scientific.net/amr.97-101.2209.
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The nanoporous TiO2 film doped Eu3+ were prepared by combining the sol-gel and hydrothermal method, which could be applied to dye-sensitized solar cells(DSSC). The films were characterized by XRD, SEM and UV-vis DRS. DSSC photoelectric properties were evaluated by recording current-voltage characteristics under simulated sunlight illumination. The results indicated that Eu3+-doped TiO2 film electrodes increased short-circuit current and the fill facter availably; when TiO2 doping concentration for Eu3+ was 2.0mol%, a short circuit current of 0.389mA, an open circuit voltage of 0.6006V and a fill factor of 0.60 were obtained, which was remarkably better than of undoped TiO2 film electrode; and the optimal thickness attained in this work was 17.2um.
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Ağın, Besna. "An Analysis on Ambivalence in Cinema: “The Last Tycoon” Elia Kazan." Etkileşim 2, no. 4 (2019): 220–35. http://dx.doi.org/10.32739/etkilesim.2019.4.71.
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Involved in filmmaking more than four decades, Elia Kazan had been a witness and an influence for significant change in the American film industry. His final phase includes four films, respectively, America America, The Arrangement, The Visitors and The Last Tycoon which are his most neglected films in film studies, compared to his previous successful films such as On the Waterfront, A Streetcar Named Desire, East of Eden and Splendor in the Grass. This study has focused on one of his late films for mainly two reasons; to fill the gap in the literature and present an analyses of Kazan’s most structurally different film regarding its narrative complexities with the concept of realism. Realism is one of the key concepts to study Kazan in the research field, but distinctively, I have tried to find the realism within the mise-en-scène and ambivalence in the narrative.
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Zhao, Yuehan. "Research on Experimental Film--Based on Comparison of Experimental Film and Traditional Film." Communications in Humanities Research 9, no. 1 (2023): 123–27. http://dx.doi.org/10.54254/2753-7064/9/20231145.
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Experimental film is an important type of cinematic expression that originated from Europe in the 20th century. The content of experimantal film is more flexible and diverse than any other cinematic form. However, people nowadays seem to prefer traditional Hollywood films than experimental films. This paper analyses on experimental films. The reasons why experimental film works are not as popular among the general public as mainstream films may involve a variety of factors, including the nature of art, audience acceptance and aesthetic habits, limitations in publicity and marketing, cultural differences and language restrictions, film industry and commercialization pressures, financial and production conditions, as well as the influence of social and cultural backgrounds. The combination of these factors may make experimental film works more limited in terms of popularity, popularity and box office performance among the general public. However, as an art form, experimental film works still have their unique value and significance. By breaking away from traditional film forms, structures and contents, experimental film works usually explore newm artistic expressions, challenge audiences aesthetic experiences, and provoke thoughts and discussions. These works may have a profound impact on niche and specific audience groups, promoting the innovation and development of film art.
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Giunta, Catherine. "An Evolving Model of the Use of Feature Films in Undergraduate and Graduate Business Curriculum: The Education Awakens." Journal of Business and Economics 9, no. 7 (2018): 555–65. http://dx.doi.org/10.15341/jbe(2155-7950)/07.09.2018/001.
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This paper/exploratory analysis presents an evolving model for enhancing the use of full-length, feature film as a tool in undergraduate and graduate business curriculum. This model includes processes for determination of student perceptions of the efficacy of the use of feature film to teach business, including marketing and human resources competencies. Therefore, this work considers student perceptions of the use of film in undergraduate and graduate business education and their final outcomes. Awareness of students' views of this tool can be valuable information during the design of business curriculum. To date, limited research has coupled the business students’ perceptions of film in business curriculum along with implementation of feature films in business pedagogy. Therefore, the evolution of a working model aims to contribute to the understanding of students' expectations when film is used in business curriculum. There is a dearth of literature that covers the use of popular, full-length films in Marketing and in MBA Human Resource courses. This paper helps to fill that gap.
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Saurdi, I., M. H. Mamat, M. F. Malek, and M. Rusop. "Preparation of Aligned ZnO Nanorod Arrays on Sn-Doped ZnO Thin Films by Sonicated Sol-Gel Immersion Fabricated for Dye-Sensitized Solar Cell." Advances in Materials Science and Engineering 2014 (2014): 1–8. http://dx.doi.org/10.1155/2014/636725.
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Aligned ZnO Nanorod arrays are deposited on the Sn-doped ZnO thin film via sonicated sol-gel immersion method. The structural, optical, and electrical properties of the Sn-doped ZnO thin films were investigated. Results show that the Sn-doped ZnO thin films with small grain size (~20 nm), high average transmittance (96%) in visible region, and good resistivity7.7 × 102 Ω·cm are obtained for 2 at.% Sn doping concentration. The aligned ZnO nanorod arrays with large surface area were also obtained for 2 at.% Sn-doped ZnO thin film. They were grown on sol-gel derived Sn-doped ZnO thin film, which acts as a seed layer, via sonicated sol-gel immersion method. The grown aligned ZnO nanorod arrays show high transmittance at visible region. The fabricated dye-sensitised solar cell based on the 2.0 at.% Sn-doped ZnO thin film with aligned ZnO nanorod arrays exhibits improved current density, open-circuit voltage, fill factor, and conversion efficiency compared with the undoped ZnO and 1 at.% Sn-doped ZnO thin films.
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HAMADUN, FAIRULADILAN, NASIRIN ABDILLAH, NORMAN YUSOFF, and NUR SYAHIRAH ANANI NOR ADZLI. "REPRESENTASI STAILISTIK FILEM HANG TUAH (1956)." International Journal of Creative Future and Heritage (TENIAT) 9, no. 1 (2021): 1–17. http://dx.doi.org/10.47252/teniat.v9i1.387.
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Abstrak Hang Tuah (1956) merupakan salah satu filem adaptasi Melayu yang terkenal dalam sejarah perfileman tanah air. Filem ini dikatakan cuba mengangkat karya kesusasteraan Melayu klasik melalui Hikayat Hang Tuah dan Sejarah Melayu. Memandangkan filem ini bersifat adaptasi, maka sering menjadi perhatian dalam kalangan sarjana. Antara aspek yang sering menjadi daya tarikan mereka adalah soal kesetiaan dalam aspek naratif seperti plot, lakonan, gaya bahasa, latar dan tema. Namun demikian, artikel ini hadir dengan melihat kepada aspek lain iaitu stailistik yang mana merupakan salah satu elemen penting dalam pembuatan filem seperti sinematografi, mise en scene dan penyuntingan. Aspek stailistik filem Hang Tuah (1956) cuba diselami dengan mengaplikasikan teori historical poetic of cinema oleh David Bordwell (1989). Sebagai kerangka analisis utama dalam artikel ini, maka historical poetic of cinema cuba menjawab persoalan kajian; bagaimanakah aspek sejarah mampu memberi kesan terhadap stailistik filem Hang Tuah (1956)? Analisis kandungan turut dipilih sebagai instrumen kajian utama untuk memperolehi data daripada buku, artikel jurnal dan filem. Hasil analisis mendapati bahawa filem Hang Tuah (1956) cenderung kepada stailistik model pembuatan Hollywood. Walau bagaimanapun, keadaan persekitaran industri perfileman Melayu era 1950-an cuba mengubah stailistik filem Hang Tuah (1956) kepada acuan filem India. AbstractHang Tuah (1956) is one of the famous adaptation films in Malay cinema. The film endeavours to uplift the classical Malay literature through the Hikayat Hang Tuah and Sejarah Melayu. Since Hang Tuah (1956) is an adaptation film, it has always attracted the scholars’ attention. Among the main attractions is the matter of loyalty in the narrative aspects such as plot, acting, language style, background and theme. However, this article looks at other aspect namely stylistics. This important element of stylistics in film production includes cinematography, mise en scene and editing. The stylistics aspect of Hang Tuah (1956) was investigated by applying the historical poetic theory of cinema by David Bordwell (1989). As the main analytical framework in this article, historical poetic of cinema attempts to answer the research question of how the historical aspects can affect the style of Hang Tuah (1956) film? Content analysis was chosen as the main instrument for obtaining data from books, journal articles and films. The analysis found that Hang Tuah (1956) tends to resemble Hollywood production model. However, the environment of Malay film industry around 1950’s had influenced the stylistics of Hang Tuah (1956) film to be shaped by an Indian mould.
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Chindawong, Chakkresit, Naruemon Setthaya, Pagasukon Mekrattanachai, Nattapong Damrongwiriyanupap, Kedsarin Pimraksa, and Diethelm Johannsmann. "Effect of adding carboxymethyl cellulose, zeolite and microcrystalline cellulose on the optical and mechanical properties of latex composite films." Journal of Physics: Conference Series 2175, no. 1 (2022): 012011. http://dx.doi.org/10.1088/1742-6596/2175/1/012011.
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Abstract In this research, four-types of latex composite films which are carboxymethyl cellulose latex composite film, zeolite latex composite film, microcrystalline cellulose latex composite film and microcrystalline cellulose sodium hydroxide latex composite film were prepared by casting method. Drying time of all films formation is 24 hr. The average thickness of the dry film is 0.10 mm. The transparency of films were measured by UV-Vis spectrophotometer. It was found that the carboxymethyl cellulose latex composite film have more transparency than zeolite latex composite film, microcrystalline cellulose latex composite film and microcrystalline cellulose sodium hydroxide latex composite film respectively. The analysis of functional group of films were measured by ATR-FTIR technique. It was found that all types of films consist of O-H stretching group and C=O group without ether group of cellulose and Si-O-Al group of zeolite. The mechanical property of films were measured by Universal Testing Machine. It was found that the Young’s modulus of microcrystalline cellulose sodium hydroxide latex composite film was higher than microcrystalline cellulose latex composite film, zeolite latex composite film and carboxymethyl cellulose latex composite film respectively. The characteristic of stress-strain curve of films showed that all films were hard and brittle except microcrystalline cellulose latex composite films were hard and tough.
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Phillips, Julia M. "Substrate Selection for Thin-Film Growth." MRS Bulletin 20, no. 4 (1995): 35–39. http://dx.doi.org/10.1557/s0883769400044651.
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Although it is an integral part of any structure involving a film, the substrate is often taken for granted. The choice of substrate is, however, one of the most important materials issues in thin-film growth. This article focuses on substrates for thin films and will provide criteria for selecting the proper material needed to fill specific application requirements. As will become obvious, the ideal substrate for a given film often does not exist. Specific applications require different substrate materials that offer an acceptable compromise for the purpose at hand. Ideally, the substrate should give mechanical support but not interact with the film except to provide sufficient adhesion, and in many cases, the provision of a template for atomic ordering. In practice, however, the substrate exerts considerable influence on film characteristics. The search for viable substrate materials is an active area of research.
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Dabrovolskas, Audrius. "Film Policy and Film Distribution: The Case of the Baltic Film Industries." ACTA PROSPERITATIS 15, no. 1 (2024): 29–41. http://dx.doi.org/10.2478/acpro-2024-0003.
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Abstract The aim of the study is to analyse the development of the Baltic film distribution markets and to provide new recommendations for its potential growth based on mission economy approach and bigger role of the states in co-creating and co-shaping the markets especially for the Baltic co-production of films and their distribution. The study used both qualitative and quantitative methods for data extraction and analysis. Firstly, descriptive statistics as a method was used to analyse the market shares of the main film distribution companies in Lithuanian, Latvian and Estonian film industries. Furthermore, 5 semi-structured interviews with experts from the Baltic film industries were conducted. As a result of the research, the author concludes that there is a potential in family genre films that are produced in the Baltic States, but in general the Baltic co-production films lack quality, storytelling that would arouse the interest of the audience and potentially new regional film fund “Baltic Film and TV Fund” would have to focus not only on increased financing for co-productions, but also on other measures that would help to produce better quality genre films including co-productions and their distribution.
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Lee, Sander H. "Film Gris v. Film Noir." Film and Philosophy 26 (2022): 123–41. http://dx.doi.org/10.5840/filmphil202110158.
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In this essay, I argue that the distinction between film gris and film noir, introduced by Jon Tuska in his 1984 book Dark Cinema, enhances our appreciation of the philosophical attributes of such films. For Tuska, there are important differences between a film gris and a film noir. While a film gris may have a number of noir attributes (a shadowy noir visual style, a gritty urban setting, cynical characters, etc.) a genuine film noir is not merely a police procedural and must not have a happy ending, I will also argue that a film’s narrative perspective plays a vital role in determining whether its status is that of a film noir. I will make these arguments by examining a wide variety of films including The Maltese Falcon (1941), Out of the Past (1947), He Walks by Night (1948), The Narrow Margin (1952), Double Indemnity (1944), Repeat Performance (1947), and The Wrong Man (1956).
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Aimukhanov, A. K. "THE EFFECT OF MOLYBDENUM DISULFIDENANOPARTICLES ON THE PROPERTIES ZINC OXIDE ELECTRON TRANSPORT LAYER OF ORGANIC SOLAR CELLS." Eurasian Physical Technical Journal 20, no. 1(43) (2023): 20–26. http://dx.doi.org/10.31489/2023no1/20-26.
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In this work, the effect of molybdenum disulfidenanoparticles on the properties zinc oxideelectron transport layer of organic solar cells is studied. molybdenum disulfidenanoparticles were obtained by laser ablation of MoS2 powder in isopropyl alcohol. To form composite films, nanoparticles were added to a sol–gel zinc oxidesolution with different concentrations.According to scanning electron microscope study, as the concentration of nanoparticles in the film increases, the thickness of the molybdenum disulfidelayer on the zinc oxide surface changes. molybdenum disulfidenanoparticles in the film structure gradually fill the bulk and surface voids inzinc oxide. However, when the concentration exceeds 1%, holes and voids are formed in the film. The absorption spectra of composite films showed that as the concentration of nanoparticles in the film increases, the absorption intensity enhances due to theincrease of the overall thickness. At the same time, zinc oxideoptical band gap width doesnot change, which means the molybdenum disulfidenanoparticles do not affect the electronic structure of zinc oxide. It was shown that the observed changes in the volt-ampere characteristicof organic solar cells with composite films electron transport layer composite films was associated with the influence of molybdenum disulfidenanoparticles on electron transport in organic solar cells.According to impedance spectroscopy study, it was found that molybdenum disulfidenanoparticles at concentration below critical value increases the lifetime of charge carriers and the diffusion coefficient in composite film.
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KIFFLI, SUDIRMAN, and NURUL AFINI ROSLIN MOHD SAUFI. "ELEMEN-ELEMEN ADAPTASI DALAM FILEM TOMBIRUO: PENUNGGU RIMBA (TPR)." International Journal of Creative Future and Heritage (TENIAT) 9, no. 1 (2021): 109–25. http://dx.doi.org/10.47252/teniat.v9i1.402.
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Abstrak Penghasilan filem adaptasi adalah salah satu kaedah dalam memastikan kesinambungan karya-karya sastera agar sentiasa berkembang dalam pelbagai medium. Menerusi kajian ini, penelitian diberikan terhadap aspek-aspek adaptasi yang terdapat dalam penghasilan filem Tombiruo: Penunggu Rimba yang diadaptasi daripada novel Tombiruo Penunggu Rimba karya Ramlee Awang Murshid. Sebagai sebuah filem adaptasi yang masih baharu, kajian dan penyelidikan mengenai filem Tombiruo Penunggu Rimba (TPR) masih belum banyak dianalisis. Oleh hal yang sedemikian, penelitian telah dilakukan ke atas filem TPR dengan menerapkan pendekatan daripada Linda Hutcheon (2006). Empat aspek yang menjadi fokus kajian ini ialah (1) sumber dan cara adaptasi, (2) tujuan adaptasi, (3) kumpulan atau penonton sasaran dan (4) konteks. Dapatan kajian menunjukkan keempat-empat elemen berkenaan diterapkan dengan baik di dalam penghasilan filem adaptasi TPR oleh pihak pembikin filem. Keadaan ini dikukuhkan dengan pelbagai peristiwa dan situasi seperti dipaparkan di dalam filem berkenaan yang secara tidak langsung memberikan kesan yang amat mendalam kepada khalayak yang menonton filem ini. Kesemua elemen adaptasi ini boleh membantu pihak pembikin filem untuk menghasilkan sebuah filem adaptasi dengan lebih baik. Abstract The production of adaptation films is one of the methods in ensuring the continuity of literary works so that they are constantly evolving in various mediums. Through this study, research focuses on the aspects of adaptation found in the production of the film Tombiruo: Penunggu Rimba (TPR) adapted from the novel with the same title by Ramlee Awang Murshid. As an adaptation film that is still considered as new, the TPR film has not been much analyzed. As such, a study was conducted on TPR film by applying the approach introduced by Linda Hutcheon (2006). This study focuses on four aspects namely (1) source and method of adaptation, (2) purpose of adaptation, (3) target group or audience and (4) context. The results show that the four aspects are well applied in the production of TPR by the filmmakers. This situation is reinforced by various events and situations as shown in the film itself which indirectly gives a very profound effect to the audience watching this film. All these elements of adaptation can help the filmmaker to produce a better adaptation film.
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Damaghi, Amirreza, Somayeh Ali Karami, Samuel Adesanoye, Shiljashree Vijay, Wei Cheng, and Syed Mubeen Jawahar Hussaini. "Electrochemical Synthesis and Optimization of CdSexTe1-X Thin-Films for Enhanced Solar Cell Performance." ECS Meeting Abstracts MA2024-02, no. 59 (2024): 4000. https://doi.org/10.1149/ma2024-02594000mtgabs.
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The considerably wide light absorption spectrum and excellent chemical stability of CdSexTe1-x alloyed thin films show its significant applicability in solar cell thin film technology. In this study, a novel, economical electrodeposition technique was utilized to synthesize the CdSexTe1-x thin films, offering a simpler setup and reduced energy consumption compared to other methods of solar cell fabrication used in industrial scale. The performance of CdSexTe1-x thin film was examined with respect to several parameters, such as electrolyte composition, electrodeposition potential, treatment solution, and annealing temperature. XRD, SEM, and EDS were employed to investigate the fabricated CdSexTe1-x thin film's crystallinity, morphology, and elemental compositions. The synthesized CdSexTe1-x thin film demonstrated promising fill factor, short circuit photocurrent density (Jsc), and open-circuit voltage (Voc). The results reveal that the synthesized CdSexTe1-x thin film exhibited enhanced physical characteristics and photoelectrochemical solar cells performances as remarkable light harvesting absorber layers.
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Paradiso, Roberta, Ida Di Mola, Lucia Ottaiano, et al. "Integrating Smart Greenhouse Cover, Reduced Nitrogen Dose and Biostimulant Application as a Strategy for Sustainable Cultivation of Cherry Tomato." Plants 13, no. 3 (2024): 440. http://dx.doi.org/10.3390/plants13030440.
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Fruit yield and quality of greenhouse tomatoes are strongly influenced by light conditions and nitrogen (N) availability, however, the interaction between these factors is still unclear. We evaluated the effects on cherry tomatoes of two tunnel plastic covers with different optical properties and three N doses, also in combination with a biostimulant treatment. We compared a diffuse light film (Film1) and a conventional clear film (Film2), and three N levels, corresponding to 50% (N50), 75% (N75) and 100% (N100) of the optimal dose, with and without a microbial plus a protein hydrolysed biostimulant, compared to a non-treated control. The three experimental treatments significantly interacted on several yield and quality parameters. In control plants (untreated with biostimulants), the early yield was higher at reduced N doses compared to N100, with greater increments under the diffusive Film1 compared to the clear Film2 (+57.7% and +37.0% vs. +31.7% and +16.0%, in N50 and N75 respectively). Film1 boosted the total fruit production at all the N rates and with or without biostimulants, compared to Film2, with stronger effects under sub-optimal N (+29.4% in N50, +21.2% in N75, and +7.8% in N100, in plants untreated with biostimulant). Total yield decreased with decreasing N levels, while it always increased with the application of biostimulants, which counterbalanced the detrimental effects of N shortage. Quality traits were mainly affected by the cover film and the biostimulant treatment. The diffusive film increased the content of carotenoids, lycopene and total phenols compared to the clear one, and the biostimulants increased texture, soluble solids, phenols and ascorbic acid compared to the untreated control. It is worth noting that in plants fertilized at 75% of the reference N dose, the biostimulants determined higher yield than the N100 untreated control, under both the covers (+48% in Film1 and +20% in Film2). In conclusion, the diffusive film improved the fruit yield and quality of greenhouse tomatoes in the spring–summer period, presumably avoiding plant stress due to high-intensity direct light. Reduced N rates limited the plant productivity, however, the biostimulant application was effective in compensating for the detrimental effects of sub-optimal supply of N synthetic fertilizers.
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Hong, Wei, Qing Shan Li, Jing Sun, Xin Chun Wang, Guo Wei Wang, and Guang Zhong Xing. "The Nanostructure and Properties of the Nano TiO2/PVA Composite Film." Applied Mechanics and Materials 320 (May 2013): 611–14. http://dx.doi.org/10.4028/www.scientific.net/amm.320.611.
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In order to improve the performance of polyvinyl alcohol (PVA), the nanometer TiO2/PVA composite film prepared by solution casting, effects of nanotitanium dioxide (TiO2) PVA film. The structures, mechanical properties, and optical properties of the composite films were detected by infrared spectroscopy, TG, DSC, XRD. The results show that: nanoTiO2 fill added to the PVA matrix to improve the mechanical properties of PVA, thermal stability and UV shielding performance.
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Kannan, K., B. Manjunatha, T. Marimuthu, and P. Sangeetha. "Performance analysis of CdS-based thin films in photovoltaic applications." Chalcogenide Letters 22, no. 2 (2025): 167–75. https://doi.org/10.15251/cl.2025.222.167.
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Cadmium sulfide (CdS) thin films are extensively utilized as a window layer in photovoltaic (PV) devices due to their high transmittance, suitable bandgap, and favorable electrical properties. This work presents a comprehensive performance analysis of CdS based thin films in PV applications, examining key factors such as optical, electrical, and structural properties. The bandgap (approximately 2.42 eV) allows effective photon transmission, reducing energy losses. Critical performance metrics, including film thickness, grain size, crystallinity, and interface quality with the absorber layer, are optimized to enhance charge separation and minimize recombination losses. The study highlights the balance between thin-film transparency and thickness to maximize photon absorption while ensuring film durability and stability in environmental conditions. The findings underscore the potential of CdS thin films to improve PV cell efficiency, offering insights into achieving higher fill factor (FF), short-circuit current (Jsc) and open-circuit voltage (Voc) in CdS-based PV devices.
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Yoo, Woo Sik, Richard Swope, Barbara Sparks, and David Mordo. "Comparison of C2F6 and FASi-4 as fluorine dopant sources in plasma enhanced chemical vapor deposited fluorinated silica glass films." Journal of Materials Research 12, no. 1 (1997): 70–74. http://dx.doi.org/10.1557/jmr.1997.0012.
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Fluorine doping of silicon dioxide films in tetraethylorthosilicate (TEOS)-based plasma enhanced chemical vapor deposition (PECVD) processes was investigated using two fluorine dopant sources, C2F6 and 1,2 bis[methyldifluorosilyl]ethane (FASi-4). Much as TEOS-based undoped silica glass (USG) films display improved step coverage over silane-based USG films, it was suspected that fluorinated silica glass (FSG) films deposited using the relatively new TEOS-based fluorine source FASi-4 might have improved gap fill capabilities as compared to FSG films deposited using gas-based C2F6 fluorine sources. The physical properties and intermetal gap filling capabilities of FSG films deposited using FASi-4 as a fluorine dopant source were compared with the properties of FSG films deposited using C2F6 as a fluorine source. Fluorine dopant levels in the films were found to be linear functions of C2F6TEOS and FASi-4yTEOS ratios. The RI, film stress, and gap fill capability were found to be strongly dependent on the Si–F content in the film regardless of dopant source reagents. Improved gap fill characteristics were observed in films doped with FASi-4 at a given Si–F/Si–O% as compared to C2F6-based FSG films. Dopant source dependence of doping characteristics, physical properties, and gap filling capability of FSG films is reported.
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Kurkimbayeva, A. M. "Film discourse: the semantic interpretation of film titles." Bulletin of the Karaganda university. Philology series 11329, no. 1 (2024): 24–29. http://dx.doi.org/10.31489/2024ph1/24-29.
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This article discusses the problems of semantic interpretation of the titles of feature films, as films turned into influential means of mass communication in the modern life. Filmonyms as one of the types of small-format texts has become the object of linguistic research. The significance of the film discourse as an audiovisual discourse is determined by the possibilities of its impact on the addressee. Author comprehensively analyzed the works of foreign and Kazakhstani linguists who studied the film discourse from various aspects. The purpose of the article is to identify linguistic and pragmalinguistic interpretation of Kazakhstani film titles. To achieve the goal, the following tasks were set: to consider semantic interpretation of the titles of feature films, to identify aesthetic function of film discourse, to group films into semantic categories, to offer the definition of the concept of “film discourse”. The scientific significance of the research work expands the research scope of film-discourse as a type of institutional discourse. Practical significance is due to the fact that research results can be used as materials for preparing lectures and cases on audiovisual discourse and pragmalinguistic features applied to the names of Kazakhstani films should undoubtedly become the object of further research by linguists.
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Syriopoulos, K., X. L. Velders, G. C. Sanderink, and P. F. van Der Stelt. "Sensitometric and clinical evaluation of a new F-speed dental X-ray film." Dentomaxillofacial Radiology 30, no. 1 (2001): 40–44. http://dx.doi.org/10.1038/sj/dmfr/4600575.
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OBJECTIVE To compare the sensitometric properties, diagnostic efficacy and image quality of the InSight (F-speed) and Ektaspeed Plus (E-speed) dental X-ray films (Kodak Eastman Co, Rochester, USA). METHODS Characteristic curves were constructed, using manual and automatic processing, in order to compare film speed and average gradient. The diagnostic yield was compared by assessment of endodontic file length. Endodontic files, sizes 10 and 15, were placed at the root apex or 1.5 mm short. The exposure time for the InSight films was 20% lower than that of Ektaspeed Plus. Seven dentists rated the position of file tip using a 5-point confidence scale. ROC data were analysed by means of analysis of variance. The null hypothesis was rejected when P&lt;0.05. In order to compare the image quality, 100 pairs of bitewing radiographs of the left (using Ektaspeed Plus) and the right sides (using InSight) of the same patient were made. Four dentists viewed the radiographs and the data were analysed using Kendall's coefficient of concordance. RESULTS InSight was faster than Ektaspeed Plus. It was an E-speed film when processed in manual conditions and an F-speed film when processed automatically. The films had comparable average gradient. No significant difference was found in the diagnostic yield using the two films (P=0.648). Two observers showed a significant preference for Ektaspeed Plus. CONCLUSIONS The first results of the new InSight film are promising: the exposure time can be reduced by 20% in comparison with Ektaspeed Plus at no detriment to diagnostic efficacy.
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Puspitasari, Lilis, Atwar Bajari, Dadang Rahmat Hidayat, and Sung Kyum Cho. "Regional film in the dynamics of the national film industry." ProTVF 8, no. 2 (2024): 116–32. http://dx.doi.org/10.24198/ptvf.v8i2.54275.
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Background: In the last ten years, the Indonesian film industry has experienced significant growth. The national film industry and the regional film industry, one of which is indie films produced in the city of Makassar. The development of films in Makassar began to receive national public attention with the explosion of the film Uang Panai in 2016. Also, in 2017, the success of the movie Silariang received an audience of 183.340 people. Purpose: Examining the impact of Makassar-produced films on the dynamics of Indonesia's domestic film industry is the main objective of this study, including examining its impact on cultural identity, economic variables, and its role in enhancing the uniqueness of national film. Methods: This study employs a qualitative methodology and gathers data through content analysis, observation, and interviews. Results: According to the study's findings, regional films—like those made in Makassar—are essential to the growth and advancement of the country's film industry. This demonstrates how crucial it is to acknowledge and encourage filmmaking outside of the major industrial hubs. Conclusion: Research shows that regional films have the potential to positively impact economic growth, especially in the regions where they are produced. It encourages the creative economy, creates local employment opportunities, and offers direct and indirect financial benefits. Implications: There is a need to recognize and promote regional films to encourage the diversity of Indonesian films; this study is also expected to provide a comprehensive understanding of the relationship between regional films and the dynamics of Indonesian films.
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Liu, Xiao Zhen, Zhao Xin Liu, Ai Bing Yu, Gang Wang, Ling Ling Song, and Le Qi Ding. "Effect of Praseodymium Salt on Properties of Anodic Aluminum Oxide Films." Advanced Materials Research 399-401 (November 2011): 847–50. http://dx.doi.org/10.4028/www.scientific.net/amr.399-401.847.
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Praseodymium salt was used as additives for the first time in preparing anodic aluminum oxide (AAO) films to improve its performance. AAO films were prepared by anodization method from a 15 vol.% sulphuric acid solution containing praseodymium salt. The effects of Pr concentration on microhardness and thickness of AAO film were investigated, respectively. The effect of heat treatment temperature on structure of AAO film was investigated. AAO films were characterized by XRD, EDAX and SEM techniques. AAO films showed higher microhardness and thickness, the surface of AAO film was smoother and the aperture of AAO film was more uniform than those of films prepared in 15 vol. % sulphuric acid anodization solution. The microhardness and thickness of AAO film were 355.7HV and 84μm respectively. The apertures of AAO film were in 25～30nm. There was not praseodymium in AAO film. AAO films were amorphous when heat treatment temperatures of AAO film were below 800°C. When heat treatment temperature of AAO film were 850°C and 1000°C respectively, AAO films were γ-Al2O3 and α-Al2O3 film respectively.
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Kardum, Marko. "Film kao filozofija: slučaj Wittgenstein." Filozofska istraživanja 40, no. 4 (2020): 665–84. http://dx.doi.org/10.21464/fi40401.
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U radu se propituje odnos filma i filozofije, naročito u svjetlu Wittgensteinove filozofije i tvrdnje da (pokretna) slika predočuje svijet čak i bolje od jezika te da je u tom smislu posebno filozofski relevantna. Polazi se od čestog razlikovanja filma kao ilustracije filozofije, filma o filozofiji ili filozofima te filma kao filozofije. I dok se prva dva načina njihova odnošenja ne smatraju problematičnima, ali ni filozofski posebno relevantnima ili teorijski izazovnima, za treći se koncept pokazuje suprotno te mu se pristupa unutar Wittgensteinove filozofije. Naime, valja pokazati zašto je film kao pokretna slika za Wittgensteina uopće moguć kao filozofija, odnosno što točno omogućuje filmu da bude kao ta specifična ljudska aktivnost. Da bi se to pokazalo, analizira se Wittgensteinova filozofija s jasno naglašenom razlikom u njegovu ranom i kasnom filozofskom radu. No dva njegova djela, koja paradigmatski stoje iza dviju faza, pokazuju i određeni kontinuitet u razmatranju slika. Prije svega, tiče se to ideje o mogućnosti da upravo slika, a onda ekstenzijom i film kao nizanje slika, najbolje predočava svijet, odnosno da za njega stoji kao dvodimenzionalni model. Budući da je moguće utvrditi kako za Wittgensteina slika ne ovisi o jezičnoj interpretaciji, pokazuje se da je film kao filozofija moguć upravo, premda ne i isključivo, iz kuta Wittgensteinova filozofskog rada koji sliku tretira kao samostalnog nositelja značenja, a što u konačnici rezultira i shvaćanjem Wittgensteinove filozofije kao izravno suprotstavljene filozofskoj tradiciji Zapada. Stoga je jedno od tumačenja relevantnosti filma za filozofiju moguće utemeljiti upravo u Wittgensteinovu razumijevanju slike.
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Zhou, Qi, Guang Xia Sun, Ping Zhao, and Hong Yan Liu. "Corrosion Resistance of KH-550 and KH-567 Composite Silane Films on Cast Aluminum Alloy." Advanced Materials Research 460 (February 2012): 90–93. http://dx.doi.org/10.4028/www.scientific.net/amr.460.90.
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The silane films are fabricated by dipping cast aluminum alloy in silane solution, then curing films. The corrosion resistance of single silane film, composite silane film is compared with phosphating film through acid dropping test, salt water immersion test and electrochemical impedance test (EIS), the results shows that the silane films are obviously superior to the phosphating films in terms of the corrosion resistance of acid solution and neutral salt solution, particularly the corrosion resistance of composite silane films is much better than sigle silane films; corrosion polarization curves show that the corrosion tendency of KH550+KH567 composite silane film is minimum, corrosion rate is yet minimal, corrosion process of this silane films is controled by diffusion step. The corrosion process of uncoated aluminum substrate, KH550 silane films, phosphating films are controlled by electrochemical step. The impedance of phosphate films are lower than the silane films. Appropriate silane treatment can effectively improve adhesion between the coating and the Al substrate. The adhesion between silane film and paint film is firmer than the phosphate film, so silane film is an excellent replacement to phosphate film for painting pre-treatment.
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Klejsa, Konrad, and Krzysztof Jajko. "Film Canon – Film History – Film Education: Remarks on the Polish Film Museum’s Anniversary Poll." Panoptikum, no. 18 (December 29, 2017): 191–214. http://dx.doi.org/10.26881/pan.2017.18.12.
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In 2015, the Film Museum in Lodz, Department of History and Theory of Film at the University of Lodz and the Polish Filmmakers Association worked together on a project “12 films for 120 years of cinema”. Filmmakers and people professionally involved in film culture were asked to compile their 12 best films ever and their 12 best Polish films. The organisers received 279 responses which mentioned 1,348 films in total. After analysing the results, the lists of best movies were published as well as variant lists according to the respondents’ profession and age. The first part of the paper raises questions regarding aesthetic axiology (as far as culture-based text hierarchies are concerned) and social communication (which concerns the question of a canon: who establishes it and for what purpose?). In the second part of the article, the authors discuss the results of the poll, highlighting shortcomings of the project when compared to similar polls in the past.
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Radkiewicz, Małgorzata. "Sexuality, Feminism and Polish Cinema in Maria Kornatowska’s "Eros i film"." Panoptikum, no. 23 (August 24, 2020): 117–30. http://dx.doi.org/10.26881/pan.2020.23.09.
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The text addresses the issue of feminist film criticism in Poland in the 1980s, represented by the book by Maria Kornatowska Eros i film [Eros and Film, 1986]. In her analysis Kornatowska focused mostly on Polish cinema, examined through a feminist and psychoanalytic lens. As a film critic, she followed international cinematic offerings and the latest trends in film studies, which is why she decided to fill the gap in Polish writings on gender and sexuality in cinema, and share her knowledge and ideas on the relationship between Eros and Film. The purpose of the text on Kornatowska’s book was to present her individual interpretations of the approach of Polish and foreign filmmakers to the body, sexuality, gender identity, eroticism, the question of violence and death. Secondly, it was important to emphasize her skills and creative potential as a film critic who was able to use many diverse repositories of thought (including feminist theories, philosophy and anthropology) to create a multi-faceted lens, which she then uses to perform a subjective, critical analysis of selected films.
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Peng, Tiefeng, Siyuan Yang, Fan Xiang, et al. "Film tension of liquid nano-film from molecular modeling." International Journal of Modern Physics B 31, no. 04 (2017): 1750016. http://dx.doi.org/10.1142/s0217979217500163.
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Due to its geometry simplicity, the forces of thin liquid film are widely investigated and equivalently employed to explore the phys–chemical properties and mechanical stability of many other surfaces or colloid ensembles. The surface tension of bulk liquid ([Formula: see text]) and film tension ([Formula: see text]) are the most important parameters. Considering the insufficiency of detailed interpretation of film tension under micro-scale circumstances, a method for film tension was proposed based on numerical modeling. Assuming surface tension at different slab thicknesses being identical to the surface tension of film, the surface tension and disjoining pressure were subsequently used to evaluate the film tension based on the derivation of film thermodynamics, and a decreasing tendency was discovered for low temperature regions. The influence of saline concentration on nano-films was also investigated, and the comparison of film tensions suggested that higher concentration yielded larger film tension, with stronger decreasing intensity as a function of film thickness. Meanwhile, at thick film range (15–20 nm), film tension of higher concentration film continued to decrease as thickness increase, however it arrived to constant value for that of lower concentration. Finally, it was found that the film tension was almost independent on the film curvature, but varied with the thickness. The approach is applicable to symmetric emulsion films containing surfactants and bi-layer lipid films.
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MUHD SHUKRI, FATIMAH. "PENGENALAN KEPADA PERLETAKAN PRODUK DALAM FILEM-FILEM MELAYU DAN ANTARABANGSA." International Journal of Creative Future and Heritage (TENIAT) 1, no. 2 (2013): 59–69. http://dx.doi.org/10.47252/teniat.v1i2.111.
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Kertas penyelidikan ini membincangkan isu peletakan produk dalam filem yang kini turut kelihatan dalam filem-filem Melayu.Fokus utama dalam penyelidikan ini adalah untuk mengkaji peletakan produk dalam dramaturgi naratif yang didapati menggangggu nilai-nilai estetika naratif tersebut.Berdasarkan kepada kenyataan ini, filem merupakan medium hiburan dan juga sebuah karya seni yang sepatutnya dilihat sebagai karya estetika.Merujuk daripada permasalahan ini, sebuah kajian analisis kandungan dijalankan untuk mengkaji punca-punca permasalahan ini timbul.Selain itu, kajian ini dijalankan bagi mencari penyelesaian dan cadangan kepada industri perfileman mahupun industri-industri periklanan. This paper is to discuss the product placement issues in Malay and international films. The main objective of the paper is to study the product placement on narrative dramaturgy films that able to influence the aesthetic aspects of narrative. Besides the fact that the film provides entertainment for a large audience, it also is an art work. This study is conducted to find the solutions and suggestions to film industries and advertising industries.
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Jih, Myeong-Kwan, Sang-Ho Lee, and Nan-Young Lee. "Physical and chemical properties of double-layers adhesive polymer film supplemented with 5% NaF." Journal of The Korean Dental Association 59, no. 4 (2021): 204–12. http://dx.doi.org/10.22974/jkda.2021.59.4.001.
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Objective: To improve the remineralization effect of fluoride adhesion film, we developed a double-layers adhesive film, and then evaluate its physical properties and fluoride-releasing ability.Methods: The tensile strength, elongation, dissolution rate and fluoride-releasing capacity characteristics of the adhesive films were analyzed.Results: There was no variation in thickness among the adhesive films. The tensile strength was highest in the polyvinyl alcohol (PVA) adhesive film and lowest in the pullulan adhesive film. The elongation rate was highest in pullulan film, followed by PVA-pullulan film and PVA film. Com-pared with the PVA adhesive film, the double-layer adhesive film exhibited higher fluoride ion emission for up to 60 minutes. Adhesive films had greater fluoride ion emission than fluoride varnish after 6 hours of application.Conclusion: The tensile strength and elongation characteristics of double-layer adhesive films were superior to those of single-layer adhesive films. PVA-pullulan double-layer adhesive film had very high initial fluoride ion emission compared with PVA adhesive film and fluoride varnish. This increased fluoride ion emission may compensate for the disadvantages of fluoride varnish and PVA adhesive film. The above results indicate that the PVA-pullulan double-layer adhesive film has improved physical properties and fluoride-releasing capacity compared with conventional PVA adhesive film.
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Liu, Xiao Zhen, Xiao Hui Yan, Gang Wang, Xiao Zhou Liu, Jie Chen, and Yi Chen Zhu. "Preparation and Effect of Heat Treatment Temperature on the Crystal Phase of Anodic Aluminum Oxide Films." Applied Mechanics and Materials 577 (July 2014): 11–14. http://dx.doi.org/10.4028/www.scientific.net/amm.577.11.
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The anodic aluminum oxide (AAO) films were prepared by anodization method from the 15 vol. % sulphuric acid solution, and prepared AAO films were heat-treated in the ranges of 25~1000°C. AAO films were characterized by EDAX, SEM and XRD techniques, respectively. The crystal phases of prepared AAO film is amorphous. The apertures of AAO film are in 25~30 nm. AAO films are amorphous when heat treatment temperatures of AAO films are below 800 °C. After the AAO film being heat-treated in the ranges of 850°C~900 °C, the heat-treated AAO film are γ-Al2O3film. When the AAO film is heat-treated at 950 °C, the part of γ-Al2O3change into α-Al2O3, and the heat-treated AAO film are mixed film of γ-Al2O3and α-Al2O3. After the AAO film being heat-treated at 1000 °C, the heat-treated AAO film is α-Al2O3film.
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Tho, L. V., K. E. Lee, Cheol Gi Kim, Chong Oh Kim, and W. S. Cho. "Microstructure and Magnetic Properties of CoFeHfO Rich Nanocrystalline Thin Films Application for High Frequency." Materials Science Forum 558-559 (October 2007): 975–78. http://dx.doi.org/10.4028/www.scientific.net/msf.558-559.975.
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Nanocrystalline CoFeHfO thin films have been fabricated by RF sputtering method. Co52Fe23Hf10O15 thin film is observed, exhibit good magnetic properties with magnetic coercivity (Hc) of 0.18 Oe; anisotropy fild (Hk) of 49 Oe; saturation magnetization (4лMs) of 21 kG, and electrical resistivity (ρ) of 300 01cm. The frequency response of permeability of the film is excellent. The effect of microstructure on the electrical and magnetic properties of thin film was studied using X-ray diffraction (XRD) analysis and conventional transmission electron microscopy (TEM). The results showed that excellent soft magnetic properties were associated with granular nannoscale grains of α-CoFe and α-Co(Fe) phases.
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Komori, Tasuku, and Yutaka Amao. "Near-infrared sensitization solar cell with the electrode of aluminium phthalocyanine adsorbed on nanocrystalline titanium dioxide film." Journal of Porphyrins and Phthalocyanines 06, no. 03 (2002): 211–16. http://dx.doi.org/10.1142/s1088424602000245.
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The dye-sensitized solar cell using visible and near-infrared sensitization of nanocrystalline TiO 2 films by aluminium phthalocyanine, aluminium 2,9,16,23-tetraphenoxy-29H, 31H-phthalocyanine hydroxide (AlTPPc), was developed and its photoelectrochemical properties were investigated. The short-circuit photocurrent (ISC) was 0.026 mA cm-2, the open-circuit photovoltage ( V OC) was 186 mV, and the fill factor (FF) of solar cell using AlTPPc adsorbed on nanocrystalline TiO 2 film electrode was estimated to be 40.4%, respectively. By using AlTPPc adsorbed on nanocrystalline TiO 2 film electrode, photovoltage and photocurrent were higher compared with that of only nanocrystalline TiO 2 film electrode and were maintained under near-infrared irradiation. Thus, the solar cell using the near-infrared sensitization by AlTPPc adsorbed on nanocrystalline TiO 2 film electrode was developed.
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Liu, Xiao Zhen, Liang Wei Zhu, Gang Wang, Ling Ling Song, and Xiao Yun Tang. "Research on Effect of Erbium Salt in the Anodization of Aluminum." Advanced Materials Research 413 (December 2011): 300–303. http://dx.doi.org/10.4028/www.scientific.net/amr.413.300.
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Erbium salt was used as additives for the first time in preparing anodic aluminum oxide (AAO) films to improve its performance. AAO films were prepared from a 15 vol. % sulphuric acid solution containing erbium salt by anodization method; the effects of concentration of erbium on microhardness and thickness of AAO film were researched, respectively. The effect of heat treatment temperature on structure of AAO film was researched. AAO films were characterized by XRD, EDAX and SEM techniques, respectively. The microhardness and thickness of AAO film were 378.5HV and 82μm respectively, which were higher 12.99% and 17.14% than those of the film prepared in electrolyte of nothing addition erbium salt respectively. The aperture of AAO film was more uniform and the surface of AAO film was smoother than those of films prepared in electrolyte of nothing addition erbium salt. The apertures of AAO film were in 25~30nm. There was not erbium in AAO film. AAO films were amorphous when heat treatment temperatures of AAO film were below 800°C, when heat treatment temperature of AAO film were 850°C and 1000°C respectively, and AAO films were γ-Al2O3and α-Al2O3film respectively.
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Liu, Xiao Zhen, Jian Qiang Gen, Ai Bing Yu, Gang Wang, Ling Ling Song, and Xiao Li Zhang. "Effect of Neodymium Salt in the Anodization of Aluminum in Sulphuric Acid." Advanced Materials Research 415-417 (December 2011): 1895–98. http://dx.doi.org/10.4028/www.scientific.net/amr.415-417.1895.
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Neodymium salt was used as additives for the first time in preparing anodic aluminum oxide (AAO) films to improve its performance. AAO films were prepared by anodization method from a 15 vol. % sulphuric acid solution containing neodymium salt; the effects of concentration of neodymium on microhardness and thickness of AAO film were researched, respectively. The effect of heat treatment temperature on structure of AAO film was researched. AAO films were characterized by XRD, EDAX and SEM techniques. The microhardness and thickness of AAO film were 377.2HV and 85μm respectively, which were higher 12.60% and 21.43% than those of the film prepared in electrolyte of nothing addition neodymium salt, respectively. The surface of AAO film was smoother and the aperture of AAO film was more uniform than those of films prepared in electrolyte of nothing addition neodymium salt. The apertures of AAO film were in 25～30nm. There was not neodymium in AAO film. AAO films were amorphous when heat treatment temperatures of AAO film were below 800°C, heat treatment temperature of AAO film were 850°C and 1000°C respectively, AAO films were γ-Al2O3and α-Al2O3film respectively.
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Tirado-Gallegos, Juan, Paul Zamudio-Flores, José Ornelas-Paz, et al. "Elaboration and Characterization of Active Apple Starch Films Incorporated with Ellagic Acid." Coatings 8, no. 11 (2018): 384. http://dx.doi.org/10.3390/coatings8110384.
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Apple starch films were obtained from apples harvested at 60, 70, 80 and 90 days after full bloom (DAFB). Mechanical properties and water vapor permeability (WVP) were evaluated. The apple starch films at 70 DAFB presented higher values in the variables of tensile strength (8.12 MPa), elastic modulus (3.10 MPa) and lower values of water vapor permeability (6.77 × 10−11 g m−1 s−1 Pa−1) than apple starch films from apples harvested at 60, 80 and 90 DAFB. Therefore, these films were chosen to continue the study incorporating ellagic acid (EA). The EA was added at three concentrations [0.02% (FILM-EA0.02%), 0.05% (FILM-EA0.05%) and 0.1% (FILM-EA0.1%) w/w] and compared with the apple starch films without EA (FILM-Control). The films were characterized by their physicochemical, optical, morphological and mechanical properties. Their thermal stability and antioxidant capacity were also evaluated. The FILM-Control and FILM-EA0.02% showed a uniform surface, while FILM-EA0.05% and FILM-EA0.1% showed a rough surface and insoluble EA particles. Compared to FILM-Control, EA modified the values of tensile strength, elasticity modulus and elongation at break. The antioxidant capacity increased as EA concentration did. EA incorporation allowed obtaining films with higher antioxidant capacity, capable of blocking UV light with better mechanical properties than film without EA.
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Makhasi, Ghifari Yuristiadhi Masyhari. "Citra Kepahlawanan dalam Film-Film Berlatar Sejarah Pada Layar Lebar Indonesia Pasca-Runtuhnya Rezim Soeharto (Studi Kasus Film Soegija, Habibie-Ainun, dan Hadrotussyaikh Sang Kiai)." Diplomatika: Jurnal Kearsipan Terapan 2, no. 1 (2018): 54. http://dx.doi.org/10.22146/diplomatika.39768.
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In Indonesia, film as a popular media developed significantly with the presence of films in various genres, one of which is historical film. Post-reform, various historical films emerged that were not previously discovered during the New Order era. As is known, historical films in the New Order era were dominated by Soeharto as an actor, these historical films seemed to voice that there were many other heroes who also had contributions to Indonesia. These films then seem to want to show the self (keakuan) and nationalism possessed by these figures. This research wants to show the contestation of the self (keakuan) and nationalism of three films: Soegija, Habibie-Ainun, and Hadrotusyaikh the Kiai. This research is a qualitative descriptive study with a phenomenological approach.Di Indonesia, film sebagai media populer berkembang cukup signifikan dengan hadirnya film dalam berbagai genre, salah satunya film sejarah. Pasca reformasi, muncul berbagai film sejarah yang sebelumnya tidak ditemukan pada masa Orde Baru. Sebagaimana diketahui, film-film kesejarahan di masa Orde Baru lebih didominasi Soeharto sebagai aktor, film-film sejarah ini seakan ingin menyuarakan bahwa ada banyak sosok pahlawan lain yang juga memiliki kontribusi untuk Indonesia. Film-film ini kemudian terkesan ingin menunjukkan keakuan dan nasionalisme yang dimiliki oleh sosok-sosok tersebut. Penelitian ini ingin menunjukkan kontestasi keakuan dan nasionalisme dari tiga film: Soegija, Habibie-Ainun, dan Hadrotusyaikh Sang Kiai. Penelitian ini adalah penelitian deskriptif kualitatif dengan pendekatan fenomenologis.
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Niu, Shengshuang. "Combining and Defining Auteur Film and Film Auteurism." Studies in Art and Architecture 3, no. 3 (2024): 20–23. http://dx.doi.org/10.56397/saa.2024.09.05.
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This paper provides a concise overview of the history of film as a dynamic visual medium, analyzing European cinema of the nineteenth century and Hollywood films of the 1930s and 1940s. It argues that early films cannot be classified as auteur films due to the lack of a systematic auteur theory guiding their creation. Furthermore, it highlights that although Alfred Hitchcock is widely recognized as the first auteur director of Hollywood cinema, his relationship with producers at the time was notably strained. The paper concludes that the concept of auteur film necessitates that the director is entirely responsible for the artistic achievements of the film and consistently reflects their worldview and philosophy of life in their work. Additionally, auteur theory serves as a logical framework for directors to create films and as a methodology for critics to retrospectively analyze a director’s creative style and interpret their films.
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Motai, Daiki, and Hideaki Araki. "Fabrication of (Ge0.42Sn0.58)S Thin Films via Co-Evaporation and Their Solar Cell Applications." Materials 17, no. 3 (2024): 692. http://dx.doi.org/10.3390/ma17030692.
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In this study, as a novel approach to thin-film solar cells based on tin sulfide, an environmentally friendly material, we attempted to fabricate (Ge, Sn)S thin films for application in multi-junction solar cells. A (Ge0.42 Sn0.58)S thin film was prepared via co-evaporation. The (Ge0.42 Sn0.58)S thin film formed a (Ge, Sn)S solid solution, as confirmed by X-ray diffraction (XRD) and Raman spectroscopy analyses. The open circuit voltage (Voc), short circuit current density (Jsc), fill factor (FF), and power conversion efficiency (PCE) of (Ge0.42 Sn0.58)S thin-film solar cells were 0.29 V, 6.92 mA/cm2, 0.34, and 0.67%, respectively; moreover, the device showed a band gap of 1.42–1.52 eV. We showed that solar cells can be realized even in a composition range with a relatively higher Ge concentration than the (Ge, Sn)S solar cells reported to date. This result enhances the feasibility of multi-junction SnS-system thin-film solar cells.
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Xue, Chun Lan, Wei Gao, Ying Li, Jing Zhi Tong, Shuo Zhang, and Yan Wen Zhang. "Preparation of Compound Aloe Film and Tests of its Film Performance." Applied Mechanics and Materials 66-68 (July 2011): 2028–33. http://dx.doi.org/10.4028/www.scientific.net/amm.66-68.2028.
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OBJECTIVE To prepare traditional Chinese pharmaceutical film which can be absorbed through derma and have an effect of topical antibacterial , and take examinations of its film performance. METHODS The active ingredients extracted from the traditional Chinese medicine such as Aloe are blended in a certain proportion as the dressing of chitosan and casted into films. The thickness of the films were measured by the thickness measurement instrument, and the performance of the films was tested and compared such as film forming, swelling and solubility, water holding capacity and permeability. RESULTS Aloe compound film as external applied agent has a desired film performance. CONCLUSION Aloe compound film which could be transdermally absorbed presents a promising potential in adjuvant therapy of ulcers, bedsores and other skin of mucous membrane infections.
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Sowiński, Emil. "Alternative distribution and its role in the promotion of films produced by the Irzykowski Film Studio between 1981–1984." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 32, no. 41 (2023): 99–111. http://dx.doi.org/10.14746/i.2022.41.06.
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The Irzykowski Film Studio was founded in 1981 as an institution that allowed young filmmakers to start their careers directly after graduating from the Film School. The studio could produce medium-length and short feature films and documentaries as well as animation. Nevertheless, all these types of films, according to the statute confirmed by the minister, were not to be officially cinema distributed, since they were supposed to be treated as a film exercise, a kind of practice run. Finally, it turned out that the Irzykowski Film Studio productions were regarded as fully fledged films that could compete with films produced by Film Units (i.e., the professional organizational entities of the Polish film production system at the time) or short film studios. What is not without significance, most films (not to say: all) were politically controversial. Therefore, the leaders of the Studio decided to show films to the audience, but they could not do it officially by applying for referral to cinema distribution. In connection with this, they were shown at small film festivals, inner (unofficial) screenings, and illegally distributed on VHS tapes. By extension, the range of distribution was narrow, but, curiously enough, the films were attracting a lot of interest from film critics, audiences and... state authorities. The aim of this paper is to analyze the alternative distribution process that occurred at the Irzykowski Film Studio. What films were shown at festivals, at internal screenings, and which were illegally copied onto VHS tapes? Had all the films shown been censored? How did state censorship react to test screenings with the audience? How did the critics and audience perceive these films? Did the presence of films at festivals influence their cinema distribution? And finally: how did the promotion and festival distribution of these films affect the perception of the Irzykowski Film Studio among the state authorities?
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Jakubowska-Vorbrich, Zuzanna. "W poszukiwaniu przeszłości: Trudne dzieje Wyspy Wielkanocnej (Rapa Nui) w dwóch współczesnych filmach dokumentalnych." Ameryka Łacińska Kwartalnik analityczno-informacyjny, no. 113-114 (December 30, 2021): 75–88. http://dx.doi.org/10.7311/20811152.2021.113.114.05.
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Artykuł przedstawia i analizuje dwa współczesne filmy dokumentalne dotyczące Wyspy Wielkanocnej (Rapa Nui): Buscando a Isla de Pascua, la película perdida [Poszukując zaginionego filmu Isla de Pascua] (2014) oraz Te Kuhane o te Tupuna / El Espíritu de los ancestros [Duch przodków] (2015). Pierwszy film opowiada historię odnalezienia i restauracji innego filmu dokumentalnego – z lat 60. – i przywrócenia go wyspiarskiej społeczności, jest to więc film o kompozycji szkatułkowej. Drugi dokument opowiada o podróży do Europy z zamiarem (fikcyjnym) odzyskania rapanujskiego posągu moai, będącego eksponatem w Muzeum Brytyjskim. Możemy go zatem nazwać filmem drogi. Oba dokumenty poruszają tematykę historyczną. społeczną i kulturalną, nie stroniąc od trudnych motywów z przeszłości i teraźniejszości Rapa Nui.