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Books on the topic 'Blend film'

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Published: 14 March 2023

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1

The screenplay: A blend of film form and content. Boston: Focal Press, 1990.

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2

1948-, Riley Philip J., Hawks J. G, and Pain Barry 1864-1928, eds. A Blind bargain: [film]. Brigantine Island, N.J: MagicImage Filmbooks, 1988.

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3

Coveney, Sam. Fundamentals of Phase Separation in Polymer Blend Thin Films. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-19399-1.

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4

Forman, Miloš. Lásky jedné plavovlásky: Loves of a blond. Chicago, IL: Home Vision Cinema, 2000.

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5

Tai-shung, Chung, ed. Thermotropic liquid crystal polymers: Thin-film polymerization, characterization, blends, and applications. Lancaster, Pa: Technomic Publishing, 2001.

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6

The shimmering blond sister. New York: Minotaur Books, 2010.

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7

Sofia, Blind, and Hallenberger Gerd, eds. European co-productions in television and film: Edited by Sofia Blind, Gerd Hallenberger. Heidelberg: C. Winter, 1996.

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8

Philip, Poinsatte, NASA Glenn Research Center, and U.S. Army Research Laboratory., eds. Experimental heat transfer and bulk air temperature measurements for a multipass internal cooling model with ribs and bleed. Cleveland, Ohio: National Aeronautics and Space Administration, Glenn Research Center, 2000.

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9

Ulla, Fix, ed. Hörfilm: Bildkompensation durch Sprache : linguistisch-filmisch-semiotische Untersuchungen zur Leistung der Audiodeskription in Hörfilmen am Beispiel des Films "Laura, mein Engel" aus der "Tatort"-Reihe. Berlin: Erich Schmidt, 2005.

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10

Love, Dennis. Blind faith: The miraculous journey of Lula Hardaway, Stevie Wonder's mother : an authorized biography of Lula Hardaway. New York: Simon & Schuster, 2002.

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11

Audio system for technical readings. Berlin: Springer, 1998.

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12

McBratney, Sam. Guess how much I love you =: Ba Đoán xem con yêu ba ^én âu. London: Magi Publications, 1995.

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13

McBratney, Sam. Raad eens hoeveel ik van je hou. Rotterdam: Lemniscaat, 1999.

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14

illustrator, Jeram Anita, ed. Guess how much I love you. Cambridge, Mass: Candlewick Press, 1996.

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15

ill, Jeram Anita, ed. Guess How Much I Love You. Cambridge, Mass: Candlewick Press, 1995.

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16

Anita, Jeram, ed. Guess how much I love you. Cambridge, MA: Candlewick Press, 1996.

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17

MEHRING, MARGARET. Screenplay, The: A Blend of Film Form and Content. Focal Press, 1989.

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18

Tulloch, John, and Belinda Middleweek. Actors and Sexual Intimacies. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0010.

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Chapter 8 considers critical debate about “double standards” over sex and violence in Intimacy and Nymph()maniac. Exploring discussion between Intimacy’s lead actor Kerry Fox and her partner, it argues that the agreement reached (for Fox to perform oral but not penetrative sex) was a “controlled experiment” in jealousy via personal emotional affect and public performance and thus a powerful demonstration in confluent love negotiation shared with audiences. The trust and openness with each other in private, and between Fox and director Chéreau in public, are also central to notions of trust and mistrust in risk sociology, though with some strong critiques from within its ranks for its tendency to follow a meta-history devoid of differences among age, gender, class, ethnicity, and other key social indicators. The chapter concludes by emphasizing the interdisciplinary blend of feminist film and risk sociological theory in approaching the two films, within key principles of feminist mapping theory.
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19

Whitesell, Lloyd. Wonderful Design. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190843816.001.0001.

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Glamour is an elusive aspect of cinematic style. This book critically examines previous scholarship on glamour; defines the concept as a compound of artifice, allure, and magic; and examines the phenomenon at work in the genre of the film musical. The focus is on the role of music in representing glamour, and the stylistic and semiotic conventions by which glamour is embodied in sound. The book develops an analytical framework that applies across media, the better to appreciate music’s collaborative role within multimedia spectacle. First, glamour is situated as one of a handful of “style modes” orienting stylistic treatment in musical numbers. Second, glamour is shown to blend four distinct aesthetic parameters: sensuousness, restraint, elevation, and sophistication. Instead of being interpreted in relation to film narrative, the musical number is treated as a semiautonomous locus of meaning and expression, with its own formal demands and the power to eclipse narrative logic. Dozens of musical numbers are analyzed, drawn from more than eighty films, exploring glamour from the perspectives of arranging and orchestrational technique, the fantasies awoken in the spectator, and the invocation of magical belief. Anticonsumerist critiques of glamour are evaluated alongside counterarguments upholding glamour’s transformative and sustaining potential. Concluding discussion shows how the musical genre has affinities with the hybrid aesthetic of “magical realism.”
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20

Hammond, Paul. L’Âge d’or. Bloomsbury Publishing Plc, 2020. http://dx.doi.org/10.5040/9781839021862.

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One of the greatest collaborations of cinema history, L'Âge d'Or (1930) united the geniuses of Luis Buñuel and Salvador Dali in the making of a Surrealist masterpiece - a uniquely savage blend of visual poetry and social criticism. The film was banned and vilified for many years in many countries, becoming justly legendary for its subversive eroticism and its furious dissection of 'civilised' values. In a remarkable, intuitive reading of L'Âge d'Or, Paul Hammond interweaves a detailed account of the extraordinary circumstances of its production with a dazzling interpretation of its aesthetic and political nuances. At once authoritative and polemical, this is a study entirely in tune with its subject, a fitting celebration of a major landmark in world cinema.
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21

Westfahl, Gary. Different Engines. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037801.003.0006.

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This chapter examines William Gibson's The Difference Engine, a collaboration with Bruce Sterling, as well as his screenplays, poetry, song lyrics, and nonfiction. Sterling used an irresistibly marketable concept for The Difference Engine: a novel by what he could describe as the two leading cyberpunk authors that would appealingly blend three popular subgenres of science fiction—cyberpunk, alternate history, and “steampunk” literature. Despite the prominence of cyberspace in his Sprawl trilogy, Gibson claimed that he has “never really been very interested in computers themselves.” This chapter first offers a reading of The Difference Engine before discussing Gibson's screenplays written for Hollywood in the late 1980s, including one for a proposed Alien 3 film and another for the film version of Johnny Mnemonic. It also considers Gibson's poems such as “The Beloved: Voices for Three Heads,” his ventures into writing song lyrics, and the approach he used in some of his later nonfiction works: looking at the real world in terms of science fiction, conveying that we indeed live in a science fiction world.
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22

Kumar, Akshaya. Provincializing Bollywood. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190130183.001.0001.

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This book situates Bhojpuri cinema within the long history of vernacular media production, which was kick-started by audio cassettes and spurred on further with VCDs and DVDs. The emergence of multiplex-malls and the evacuation of single-screen theatres all over north India, at a time of massive real estate development, particularly in peninsular Indian cities, which required working class migrants’ ‘manual labour’ also prepared the ground for new linguistic consolidations and cultural forms. Investigating the historical, theoretical and empirical bases of Bhojpuri media production, the book tries to make sense of cinema within the ‘comparative media crucible’, in which film history sits alongside floods, droughts, musical traditions, gendered segregation, real estate boom, libidinal youth cultures, urban resettlements and highway modernities. The book grapples with Bhojpuri media from within Hindi film history, from the vantage point of provincial north India, in the light of the socio-technical upheavals of the last three decades. Foregrounding the libidinal energies, language politics and curatorial informalities, the book argues that Bhojpuri cinema could be conceptualized via the logic of overflow. Animated by libidinal affordances which have breached all formal embankments, it thrives on a curious blend of scandalizing and moralizing overtones.
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23

Roe, Adrian. Bled Dry: A History of Vampires in Film. Lulu Press, Inc., 2020.

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24

Roe, Adrian. Bled Dry: A History of Vampires in Film. Lulu Press, Inc., 2020.

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25

Thermotropic Liquid Crystal Polymers: Thin-film Poly Chara Blends. CRC, 2001.

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26

Chung, Tai-Shung. Thermotropic Liquid Crystal Polymers: Thin-film Poly Chara Blends. Taylor & Francis Group, 2001.

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27

Coveney, Sam. Fundamentals of Phase Separation in Polymer Blend Thin Films. Springer, 2016.

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28

Coveney, Sam. Fundamentals of Phase Separation in Polymer Blend Thin Films. Springer, 2015.

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29

Coveney, Sam. Fundamentals of Phase Separation in Polymer Blend Thin Films. Springer, 2015.

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30

Jaeckle, Jeff, and Susan Ryan, eds. ReFocus: The Films of Barbara Kopple. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474439947.001.0001.

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Building on existing interviews, journal articles, and archival research, The Films of Barbara Kopple assesses Kopple’s entire career to date, paying particular attention historical contexts, technique, critical reception, and ongoing influence. Each chapter blends close analyses of the films with insights drawn from film history and documentary studies to demonstrate that Kopple has consistently and often doggedly pursued projects that document the experiences of the victimized, the voiceless, and those in crisis. The contributors treat the entire scope of Kopple’s career, from her work in the early 1970s as an intern for David and Albert Maysles, to her mid-career experiments with commercial television and fictional projects, and finally to her recent forays into digital streaming platforms such as YouTube. The book also provides cultural contexts for Kopple’s films, including representations of class, gender, sexuality, and race. Finally, it assesses the contours of Kopple’s critical reputation and popularity, including her influence on contemporary filmmakers. In all, the book aims to stir interest in the life and films of Barbara Kopple, reminding readers why her films continue to be culturally significant.
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31

Desilets, Sean. Hermeneutic Humility and the Political Theology of Cinema: Blind Paul. Taylor & Francis Group, 2016.

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32

Desilets, Sean. Hermeneutic Humility and the Political Theology of Cinema: Blind Paul. Taylor & Francis Group, 2016.

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33

Desilets, Sean. Hermeneutic Humility and the Political Theology of Cinema: Blind Paul. Taylor & Francis Group, 2019.

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34

Hermeneutic Humility and the Political Theology of Cinema: Blind Paul. Taylor & Francis Group, 2016.

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35

Hanaway-Oakley, Cleo. Fin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198768913.003.0006.

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This concluding chapter briefly turns to Joyce’s final work, Finnegans Wake (1939). Joyce’s cacophonous ‘book of the dark’, with its many references to cinema, forms the centre of a discussion of the emergence of sound film. The importance of touch in both silent and sound film is restated through reference to the film criticism of Bryher, Dorothy Richardson, and Gertrude Stein, and Chaplin’s City Lights (1931), a late silent film focusing on Chaplin’s relationship with a blind flower-seller. The complex interrelationship between sound and image in both film and Finnegans Wake is contemplated through gestalt theory and multi-perspectival ‘figure–ground images’. The chapter concludes by returning to Ulysses, to consider the never-produced Reisman–Zukofsky screenplay and the ways in which the film would, and would not, have affirmed a phenomenological reading of Joyce’s text.
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36

Kleege, Georgina. Audio Description Described. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190604356.003.0008.

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Audio description seeks to make visual media—film, television, theater, art exhibits—accessible to blind people. This chapter uses the audio described version of the Oscar-nominated film The Sessions as an example of the current standards. Audio description of film is timed to fit in the silences between spoken dialogues which means that only minimal detail is possible. Even more problematic is the rule that description must be objective. Often important information is omitted when it is understood as interpretative. I then speculate on future innovations that could bypass some of these problems, democratize the medium and make it more aesthetic and inclusive.
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37

Scholastic Inc. Fly-the-Flag Blends (Instant File-Folder Games, Grades K-2). Teaching Resources, 2003.

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38

Han, Chang Dae. Rheology and Processing of Polymeric Materials: Volume 2: Polymer Processing. Oxford University Press, 2006. http://dx.doi.org/10.1093/oso/9780195187830.001.0001.

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Volume 2 presents the fundamental principles related to polymer processign operations including the processing of thermoplastic polymers and thermosets. The objective of this volume is not to provide recipies that necessarily guarantee better product quality. Rather, emphasis is placed on presenting a fundamental approach to effectively analyze processing operations. The specific polymer processing operations for thermoplastics include plasticating single-screw extrusion, morphology evolution during compounding of polymer blends, compatibilization of immiscible polymer blends, wire coating extrusion, fiber spinning, tubular film blowing, coextrusion, and thermoplastic foam extrusion. The specific polymer processing operations for thermosets include reaction injection molding, pultrusion of fiber-reinforced thermosets, and compression molding of thermoset composites.
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39

Thibodeaux, Angela F. Blends in two dimensions: Mixtures of liquid crystalline polymers at the air-water interface. 1993.

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40

Gaiman, Neil. Coraline: Der Roman zum Film. Arena Verlag., 2009.

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41

1934-, Ghosh Nemai, ed. Ray and the blind painter: An odyssey into the inner eye. Kolkata: New Age, 2004.

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42

Blasband, Philippe, Sophie Révil, Jean-Pierre Améris, and Denis Carot. Marie's story. 2015.

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43

Caps, John. First Cadence. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036736.003.0008.

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This chapter details the start of Mancini's musical evolution in the 1960s. If the word cadence can be defined as the notes or chords that resolve a melody, or at least lead to a new development, then this next transitional period in Mancini's career can be seen as his first cadence. It was the first sign of real evolution since he had come into his own as a jazz-pop film composer, demonstrating not only a contemporary enrichment of the harmonies and instrumental blends he had learned in the big band era, but also a broadening of the dramatic architecture of his orchestral writing into scores that were not just collections of admirable tunes and isolated film scenes but more cohesive compositions as well. Something was stirring. It is only speculative to connect this maturity in Mancini's writing to any one event in his personal life. Nevertheless, it was also at this time that his father, Quinto, died suddenly of a heart attack at the age of nearly seventy.
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44

Bullock, Paul. Jurassic Park. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781800348325.001.0001.

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‘Constellations: Jurassic Park’ explores how Steven Spielberg used the film to investigate several key themes that have been important to him across his career. These themes are: nature and humankind’s relationship with it, the importance of cinematic fantasy and how it shapes our view of the world, and the impact of toxic masculinity on both men and women. The book also looks at how Spielberg blends genres across his career as a whole and Jurassic Park specifically. This is particularly true of the science fiction and horror genres, which are used in Jurassic Park to create a film that is both cathartically scary and thematically satisfying. These points are contextualised within the wider scope of Spielberg’s life and career to understand how Jurassic Park acted as bridging point between the light entertainments he had been known for up to that point (Close Encounters of the Third Kind and E.T. the Extra-Terrestrial, for example) and the more serious filmmaking he focused on after its release (Saving Private Ryan and Lincoln).
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45

Nishio, Yoshiyuki, Yoshikuni Teramoto, Ryosuke Kusumi, Kazuki Sugimura, and Yoshitaka Aranishi. Blends and Graft Copolymers of Cellulosics: Toward the Design and Development of Advanced Films and Fibers. Springer International Publishing AG, 2017.

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46

Smith, Steven C. Music by Max Steiner. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190623272.001.0001.

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During a seven-decade career that spanned from 19th-century Vienna to 1920s Broadway to the golden age of Hollywood, three-time Academy Award winner Max Steiner did more than any other composer to establish and codify the language of film music. Composers today like John Williams use the same techniques perfected by the classically trained Steiner, in his scores for such motion pictures as Casablanca, King Kong, Gone with the Wind, The Searchers, Now, Voyager, the Astaire-Rogers musicals, and more than two hundred other titles. Steiner’s private life was as tumultuous as the films he scored. Born into an Austrian theatrical dynasty, he became one of Hollywood’s highest-paid composers. But he was constantly in debt, due to financial mismanagement, four marriages, and the actions of his emotionally troubled son. Steiner ended his career in triumph: at age 71, although practically blind, he wrote what Billboard called the most successful instrumental single of the era: “Theme from A Summer Place.” Throughout his chaotic life, Steiner was buoyed by a quick wit and an instinctive gift for melody, as he met and worked with a Who’s Who of artists: Johann Strauss Jr., Richard Strauss, George Gershwin, Irving Berlin, Oscar Hammerstein, David O. Selznick, Frank Sinatra, Frank Capra, and many more. This first full biography of Steiner brings to life the previously untold story of a musical pioneer and master dramatist who helped create a vital new art form (and multimillion-dollar industry), while writing many of the greatest scores in cinema history.
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47

Love, Dennis, and Stacy Brown. Blind Faith: The Miraculous Journey of Lula Hardaway, Stevie Wonder's Mother. Simon & Schuster, 2002.

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48

Slusser, George. Conclusion. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038228.003.0010.

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This conclusion considers one particular aspect of Gregory Benford's science fiction, an open process of creation, which means not only his interest in collaborating with other writers, but in actually writing sequels to their work, in which he continues a story they started, and in the manner of a creative dialogue, blends his vision skillfully with theirs. One notable example is Beyond the Fall of Night (1990), a rewrite of Arthur C. Clarke's Against the Fall of Night (1953). Writing this novel seems to have spurred Benford, in turn, to write a sequel to his own sequel, the novel Beyond Infinity (2004). This chapter looks at Benford's collaborations with authors such as Gordon Eklund, William Rotsler, and David Brin, as well as his participation in the project known as the Second Foundation Trilogy, a series of novels that proposed to fill in gaps in Isaac Asimov's original Foundation cycle.
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49

Graff Zivin, Erin. Anarchaeologies. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823286829.001.0001.

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How do we read after the so-called death of literature? If we are to attend to the proclamations that the representational apparatuses of literature and politics are dead, what aesthetic, ethical, and political possibilities remain for us today? This book brings together works of continental philosophy and critical theory (Emmanuel Levinas, Paul de Man, Jacques Derrida, Jacques Rancière) and works of art from Argentina (J. L. Borges, Juán José Saer, Ricardo Piglia, César Aira, Albertina Carri, the Internacional Errorista) in order to practice what Graff Zivin calls anarchaeological reading: reading for the blind spots, errors, points of opacity or untranslatability in works of philosophy and art. Rather than “applying” concepts from the former in order to understand or elucidate the latter, the book aim to expose works of philosophy, literary theory, narrative, poetry, film, and performance art/activism to one another. The work of aesthetic or political expression, then, does not appear as an object of study in the conventional sense, but rather as a possible source of philosophical and political thought itself. Ethical and political concepts such as identification and recognition, decision and event, sovereignty and will, are read as constitutively impossible, erroneous, through these acts of interdisciplinary and interdiscursive exposure.
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50

Shelly, Susan, Richard M. D. Rutzen Allan, and M. M. D. Steidl Scott. The Encyclopedia of Blindness and Vision Impairment (Facts on File Library of Health and Living). 2nd ed. Facts on File, 2002.

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