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Letteratura scientifica selezionata sul tema "Film"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 3 febbraio 2025

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Articoli di riviste sul tema "Film"

Wan Teh, Wan Hasmah. "The History of Film Adaptation in Malaysia: The Long Journey of Its Rise and Fall". Malay Literature 31, n. 2 (1 dicembre 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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Kapetanović, Amir. "“Kaya” from Novella to Film". Colloquia Humanistica, n. 7 (18 dicembre 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, n. 3 (12 novembre 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, n. 3 (12 novembre 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, Supharada KHAISAAT, Oubonwan SAWANAKARN, Naratip VITTAYAKORN e Somsak WORAMONGKOLCHAI. "Preparation of bacterial cellulose film from rotten fruits for mulching film application". Journal of Metals, Materials and Minerals 32, n. 4 (26 dicembre 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, n. 2 (1 dicembre 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, n. 2 (19 settembre 2018): 37. http://dx.doi.org/10.17951/l.2017.15.2.37.

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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. Film Neo-Avant-garde and the Beginnings of Video ArtSUMMARYThe 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.

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Guo, Dong, Wu Shuai Zheng, Teng Long Huang, Shu Ling Zhang e Feng Guo. "Friction and Wear Properties of Multilayer Films Designed on Tantalum Substrate". Materials Science Forum 1078 (22 dicembre 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, Masato Ishikawa, Hideaki Machida, Yoshio Ohshita e Atsushi Ogura. "Evaluation of Ge_xSb_yTe_z Film Grown by Chemical Vapor Deposition". Materials Science Forum 725 (luglio 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 e De Hui Shi. "Preparation and Photoelectric Performance of Eu³⁺-Doped Porous TiO₂ Thin Film Electrode". Advanced Materials Research 97-101 (marzo 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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Più fonti

Tesi sul tema "Film"

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?
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.
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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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.

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.

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.

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.

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.

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.

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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
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.
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.

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Libri sul tema "Film"

Drašković, Boro. Film o filmu. Novi Sad: Prometej, 2010.

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Visy, Gilles. Films cultes-Culte du film: Culte du film. Paris: Publibook, 2005.

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Altenhoff, Andreas, e Sonja Hofmann. "Poetry / film": Gedichte, Filme, Resonanzen. Düsseldorf: Lilienfeld Verlag, 2020.

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Roberge, Gaston. The Ways of film studies: Film theory & the interpretation of films. Delhi: Ajanta Publications, 1992.

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Group, Mintel International, a cura di. Film and film processing. London: Mintel International Group, 1996.

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Ludwig, Nagl, Waniek Eva e Mayr Brigitte 1958-, a cura di. Film Denken =: Thinking film. Wien: Synema, 2004.

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Alberto, Farassino, a cura di. Lux film. Milano: Il castoro, 2000.

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Schobert, Walter, e Willi Bär. Fischer-Film-Almanach ...: Filme, Festivals, Tendenzen. Frankfurt am Main: Fischer-Taschenbuch-Verl., 1992.

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Schobert, Walter, e Willi Bar. Fischer-Film-Almanach ...: Filme, Festivals, Tendenzen. Frankfurt am Main: Fischer-Taschenbuch-Verl., 1986.

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Karl-Heinrich, Schmidt, a cura di. Multimodal film analysis: How films mean. New York: Routledge, 2012.

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Capitoli di libri sul tema "Film"

Dick, Bernard F. "Film as Film". In Anatomy of Film, 222–34. London: 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 e Corinne Whitehouse. "Film and Film Processing". In Langford's Basic Photography, 347–90. 11^a ed. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003351245-10.

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Stelte, Ingo. "Film". In Traum und Schlaf, 142–52. Stuttgart: 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, 316–25. Stuttgart: 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, 474–82. Stuttgart: 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, 46–55. Stuttgart: 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, 353–61. Stuttgart: 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, 241–59. Stuttgart: 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, 385–87. Stuttgart: 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, 226–32. Dordrecht: Springer Netherlands, 1997. http://dx.doi.org/10.1007/978-94-017-5344-9_52.

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Atti di convegni sul tema "Film"

Miaoulis, Ioannis N., Haruna Tada, Seth Mann e Peter Y. Wong. "Selective Multilayer Thin-Film Development in Insects". In ASME 1997 International Mechanical Engineering Congress and Exposition, 33–40. 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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Lee, Timothy H., Dimitrios C. Kyritsis e Chia-fon F. Lee. "Modeling of Film Boiling and Film Vaporization on Engine Piston Tops". In ASME 2012 Internal Combustion Engine Division Fall Technical Conference. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/icef2012-92173.

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Engine-out HC emissions resulting from liquid fuel, which escapes from the combustion process, provides the motivation to better understand the film vaporization in a combustion chamber. Previous work theorized that the removal of liquid fuel from the combustion cycle was a result of the increase in film vaporization time due to the Leidenfrost phenomenon. Currently, KIVA 3V predicts a continuous decrease in vaporization time for piston top films. The objective of this work is to improve the KIVA 3V film vaporization model through the inclusion of established boiling correlations, and thus, the Leidenfrost phenomenon. Experimental results have been reviewed from which expressions encompassing high acceleration effects for the nucleate boiling regime and the film boiling regime were investigated, implemented, and validated. Validation was conducted using published experimental data sets for boiling heat flux. As a result of the implementation, a noticeable increase in heat flux occurred due to high accelerations for films in saturated film boiling in both nucleate and film boiling. Computational simulations were conducted using a semi-infinite plate and a direct-injection spark-ignition engine. The semi-infinite plate provided a controlled environment which could separate the effects of pressure and acceleration on film boiling heat flux, film vaporization rates, and film vaporization times. The effect of decreased film vaporization rates, during the Leidenfrost phenomenon, was observed to decrease with increasing acceleration. Finally, the engine computations were used to provide the first film boiling and film vaporization rates for engine fuel films at temperatures above saturation temperature. As a result of this work, a film vaporization model capable of improved prediction of vaporization rates of piston top films in saturated boiling conditions has been created.

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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, e 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 e 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.

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MacQueen, Scott. "Bedknobs and Broomsticks: Using a Distressed Work Print as a Color Master Positive". In SMPTE Spring Film Conference. IEEE, 1997. http://dx.doi.org/10.5594/m00566.

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Neyman, Y., e H. Sisko. "The Gamma & Density “Thorough Control System”™ as Used in Post Production". In SMPTE Spring Film Conference. IEEE, 1997. http://dx.doi.org/10.5594/m00567.

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Rapporti di organizzazioni sul tema "Film"

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, giugno 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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Sanehira, Gabrielle, e Ju-Young M. Kang. Ortho-Litho Film. Ames: Iowa State University, Digital Repository, novembre 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-1206.

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Devine, G., D. Dobie, J. Fugina, J. Hernandez, C. Logan, P. Mohr, R. Moss, B. Schumacher, E. Updike e D. Weirup. Quantitative film radiography. Office of Scientific and Technical Information (OSTI), febbraio 1991. http://dx.doi.org/10.2172/6106663.

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Bernard, J. E., G. Negley, S. Sarwate, C. B. Cooper e F. E. Williams. Thin-Film Electroluminescence. Fort Belvoir, VA: Defense Technical Information Center, luglio 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), ottobre 2012. http://dx.doi.org/10.2172/1057661.

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Rao, Vikram, e Ronald G. Polcawich. Reducing Film Thickness in Lead Zirconate Titanate Thin Film Capacitors. Fort Belvoir, VA: Defense Technical Information Center, dicembre 2007. http://dx.doi.org/10.21236/ada474969.

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Smith, B. K., G. LaVigne, J. J. Sniegowski e C. D. Brown. Thin teflon-like films for MEMS: Film properties and reliability studies. Office of Scientific and Technical Information (OSTI), luglio 1998. http://dx.doi.org/10.2172/656699.

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Babicheva, Irina. EDUCATIONAL FILM "INTERESTING STATISTICS". Science and Innovation Center Publishing House, novembre 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.

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Allara, David L. Liquid film/polymer interfaces. Office of Scientific and Technical Information (OSTI), giugno 2003. http://dx.doi.org/10.2172/811808.

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Shmulovich, J. Thin Film Phosphor Development. Fort Belvoir, VA: Defense Technical Information Center, gennaio 1989. http://dx.doi.org/10.21236/ada272921.

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