Journal articles: 'Critical film studies'

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Silva, Cecilia. "Critical reviews of a film." Comunicar 10, no. 19 (October 1, 2002): 92–96. http://dx.doi.org/10.3916/c19-2002-16.

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This paper presents the use of a film, «Camila», in a class-group of Spanish as a foreign language. In order to explore the deep links between language practice and social context, the author uses a personal method that discovers them, using two elements El presente trabajo aborda las definiciones de conceptos-fuerza y esquemas de conocimiento, y describe su aplicación en el análisis de un filme «Camila» en la clase de Español como lengua extranjera en una Universidad de Estudios Extranjeros en Japón. A lo largo de la experiencia, 82 estudiantes, divididos en cinco grupos, desglosaron esta película en 32 conceptos-fuerza y trabajaron con esos conceptos dentro del marco de esquemas de conocimiento.

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Wasson, Haidee. "Formatting Film Studies." Film Studies 12, no. 1 (2015): 57–61. http://dx.doi.org/10.7227/fs.12.0007.

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Film studies is currently undergoing a needed and healthy expansion of methodologies and critical approaches, including media, cultural and technology studies. This is crucial not just for examining cinemas present but also its past. Using format theory, this article opens up our understanding of what cinema has been, rather than what it should have been. It does this by documenting the minor technological footprint of movie theatres when compared to the expansive one consisting of 8mm and 16mm small-gauge projectors. In the United States by 1980, these portable devices,outnumbered commercial theatres by an estimated factor of 1000:1.

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Sheng, K. C., S. J. Lee, Y. H. Shen, X. K. Wang, E. D. Rippert, R. P. Van Duyne, J. B. Ketterson, and R. P. H. Chang. "Raman studies of reactive DC-magnetron sputtered thin films of YBaCuO on MgO." Journal of Materials Research 4, no. 6 (December 1989): 1312–19. http://dx.doi.org/10.1557/jmr.1989.1312.

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Raman spectroscopy was employed to study Y–Ba–Cu–O films prepared by multilayer, reactive sputtering from separate Y, Cu, and Ba0.5Cu0.5 targets. A set of films having the composition YxBa2CuyOz with 0.7 < x < 1.8 and 2.8 < y < 3.5 and critical temperature with zero resistance, Tc(R = 0), ranging from 25 to 90 K was studied with the Raman technique. The correlation between Raman data and critical temperature, Tc, was investigated. This technique provides important information concerning the film crystallinity, homogencity, and impurity content (including other phases) which is useful in judging the quality of high Tc superconducting films. We also found that the rapid thermal annealing process is a very efficient way to reduce chemical reactions between the film and the substrate.

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Felando, Cynthia. "Editor’s Introduction." Short Film Studies 12, no. 2 (September 1, 2022): 131–32. http://dx.doi.org/10.1386/sfs_00074_2.

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This introduction summarizes the collection of essays in Short Film Studies, Issue 12.2, with attention to the films, filmmakers, short film themes and critical/theoretical approaches used for analyses.

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Koven, Mikel J. "Folklore Studies and Popular Film and Television: A Necessary Critical Survey." Journal of American Folklore 116, no. 460 (April 1, 2003): 176–95. http://dx.doi.org/10.2307/4137897.

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Abstract The study of folklore and popular film and television, although frequently ignored by folkloristics and film scholars alike, has produced a number of articles and paradigms which not only inform its own study, but also other disciplines. This current study is a much-needed critical survey of the existing academic literature on the relationship between contemporary folkloristics and popular film and television.

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Debnath, Kunal, and Nagendra Kumar. "Postmodern Elements in Katsuhiro Ōtomo’s Akira (1988)." Humanities & Social Sciences Reviews 10, no. 1 (February 26, 2022): 55–61. http://dx.doi.org/10.18510/hssr.2022.1017.

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Purpose of the Study: This research paper intends to unravel and examine the postmodern elements in Katsuhiro Ōtomo’s anime film Akira (1988). This paper aims to analyze and critically study the postmodern elements as evident in the film and add more knowledge to the existing critical studies available on the film. Methodology: The primary text for this research is Katsuhiro Ōtomo’s anime film Akira (1988). Close textual analysis has been applied to analyze the text in view of the characteristics of postmodernism. The text is read in terms of postmodernism’s traits. Main Findings: Akira symbolically summarizes thoughts, ideas, and movements in post-WWII Japan. The film references many disaster texts from the repertoire of Japanese literature, cinema, and popular culture. The film exemplifies many postmodern traits such as discontinuity, pastiche, schizophrenia, hyperreality, cyberpunk, posthumanism, the cyborg et cetera. Application of the Study: This study will be beneficial to those who are pursuing research on anime and manga studies, cultural studies, popular culture, and postmodernism. Furthermore, this research will add more knowledge to the existing literature available on this anime film. Novelty/Originality of the Study: Ōtomo’s film Akira has evoked critical studies from a variety of critics and disciplines. However, a broader critical overview of the film’s postmodernism has always been lacking in the critical studies available on the film. Moreover, some specific issues such as posthumanism, the cyborg, postmodern paradoxes, glocalization et cetera have been overlooked by the critics. Therefore, this study will try to fill in the gaps of the previous studies.

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Et.al, Poonam Pichanot. "Portrayal of Women from Stereotype to Empowered in Film Studies." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 3 (April 11, 2021): 3282–87. http://dx.doi.org/10.17762/turcomat.v12i3.1577.

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Nowadays, without films, we can't really imagine contemporary India society. Although this is Unable to conceptualize a film without a 'story.' A film must 'tell' and 'show' Story, unravelling layer by layer, introducing the magic of the silver narrative on the screen. The stories rooted in culture are praised by the viewer. More so, if they are widely acknowledged in oral or written form, right from the beginning, there has been an indelible connection between literature and films. The policy begins with depictions of women protagonists in mainstream Bollywood films. This topic is considered appropriate because women are a large part of the population of the country and their on-screen representation is thus critical in deciding the promotion of current stereotypes in the country in the society . The paper begins with a discussion on the field of feminist film criticism and how mainstream Hindi Cinema has restricted itself to defined sketches of womanhood. Cinema has limited itself to established sketches of femininity

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Beck, Magali Sperling. "Current critical perspectives in literature, film, and cultural studies." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 70, no. 1 (January 27, 2017): 11. http://dx.doi.org/10.5007/2175-8026.2017v70n1p11.

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Corseuil, Anelise Reich, and Magali Sperling Beck. "Mapping Critical Journeys in Literature, Film, and Cultural Studies." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 72, no. 1 (February 1, 2019): 9–14. http://dx.doi.org/10.5007/2175-8026.2019v72n1p9.

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Simic, Marina, and Milos Nicic. "From alienation to irony: Critical film studies and kynical subversion in Serbian film." Bulletin de l'Institut etnographique 70, no. 2 (2022): 177–98. http://dx.doi.org/10.2298/gei2202177s.

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In this paper, we will discuss two issues. First, the relation between political theory and film studies is discussed as the basis for the emergence of critical film studies and its contemporary transformation. Second, we consider the kynical subversion and ironic appropriation as a set of frameworks for understanding the social reality and politics in the Yugoslav Black Wave cinema as well as in the movies of the contemporary Serbian cinematography. New forms of popular appropriations of cinematographic heritage show the ways through which both the very movies and critical film studies have disassociated themselves from Althusserian social critique and embraced contemporary ideas of kynical appropriation and irony as forms of social critique.

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Fujisawa, N., M. V. Swain, N. L. James, R. N. Tarrant, J. C. Woodard, and D. R. McKenzie. "Nanoindentation studies of brittle thin films on a titanium alloy substrate." Journal of Materials Research 17, no. 4 (April 2002): 861–70. http://dx.doi.org/10.1557/jmr.2002.0125.

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The mechanical properties of a range of tribological mitigating and biocompatible films deposited on a titanium alloy substrate have been investigated using nanoindentation. For a range of carbon films investigated, the ratio of hardness to modulus was almost constant at around 0.1. The onset of film–substrate interactions of a coated system upon progressive loading could be determined as the depth of penetration at which the slope of the force versus depth curve deviated from that of an analytically derived “bulk film” system that incorporated the indenter tip effect on the contact area. For the carbon-coated systems investigated, the corresponding force, or the critical load-carrying capacity of a localized contact event by a sharp indenter, appears to scale with the elastic modulus mismatch between film and substrate.

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Brown, Adam. "Book Review: Fantasy Film: A Critical Introduction." Media International Australia 144, no. 1 (August 2012): 186–87. http://dx.doi.org/10.1177/1329878x1214400144.

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Strong, Catherine. "Book Review: Teen Film: A Critical Introduction." Media International Australia 147, no. 1 (May 2013): 161–62. http://dx.doi.org/10.1177/1329878x1314700121.

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Aveyard, Karina, and Albert Moran. "Cinema-Going, Audiences and Exhibition." Media International Australia 139, no. 1 (May 2011): 73–79. http://dx.doi.org/10.1177/1329878x1113900110.

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This special issue of Media International Australia represents an effort to progress critical understanding of the broader social and economic formations that shape the circulation and consumption of films. The collection provides a range of diverse and compelling insights into the processes of film circulation and viewing, both within the home and at the cinema. Accordingly, these articles address important questions such as: Why do audiences seek out film content? How are films accessed and by whom? What place does film have in popular social memory? How does the site of consumption shape the meaning of these cultural encounters? By what processes can we identify and study audiences?

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Armendariz-Hernandez, Alejandra. "The Japanese Cinema Book – FUJIKI Hideaki & Alastair PHILLIPS (eds)." Artists, Aesthetics, and Artworks from, and in conversation with, Japan - Part 2, no. 9 (December 20, 2020): 95–101. http://dx.doi.org/10.32926/2020.9.r.arm.cinem.

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Japanese film studies is an academic discipline and research community focusing on the multifaceted aspects of Japanese cinema. Deeply interdisciplinary, it employs theories, critical approaches and methods from different fields such as film studies and cultural studies to understand Japanese films as works of art, cultural products and social practices. What makes a film “Japanese”, and even what is a film, are far from easy questions, particularly in the globalised, transnational and digitalised world in which we now live, but nevertheless are issues that define the disciple and its historiography. Yomota Inuhiko puts it simply in [...]

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Dhaenens, Frederik. "How queer is ‘pink’ programming? On the representational politics of an identity-based film program at Film Fest Gent." Sexualities 21, no. 5-6 (June 5, 2017): 793–808. http://dx.doi.org/10.1177/1363460717699780.

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International film festivals (IFFs) are increasingly taking an interest in offering programs that target LGBT audiences. Since this practice can be understood as an emancipatory and commercial strategy, this article examines the implications of this ambiguity within an IFF’s politics of representation. Drawing on the results from a textual and contextual analysis of the films and programming strategies of the 2014 Film Fest Gent in Belgium, this article argues that an IFF has the potential to engage in moderately queer programming. By offering an identity-based program that makes room for alternative and critical negotiations of identity and intimacy and that looks for ways to offer LGBT content to diverse audiences in various settings, this festival demonstrates how programming LGBT content can be a critical and commercial success without having to rely on homonormative tropes and practices.

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Afifulloh, M., and Nurvita Wijayanti. "Body Size on Cinema: A Critical Discourse Analysis on Contemporary Indonesian Cinema." Studies in Media and Communication 11, no. 1 (December 23, 2022): 25. http://dx.doi.org/10.11114/smc.v11i1.5790.

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This article discusses how a fat body in a film is used as a metaphor for a deviant, dangerous, and irresponsible personality through the various narratives occupied by the characters in the film. This research is qualitative research with the main data source is Imperfect film released in 2020. The approach used is a combination of film studies and Sara Mills' critical discourse analysis. The results of the study show that although Imperfect promotes gender equality in society, the narrative that is built still position fat bodies and black skin as non-ideal, especially for woman. Furthermore, Imperfect film positions fat women as a subculture group that struggles as well as agents of change. In conclusion, this study provides an understanding of how the cinematic discourse on size and weight in the context of the structure of the wider community is related to gender issues and films as popular media still have not placed a positive side on weight and skin color, especially in Indonesian society.

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Brown, Adam. "Book Review: Science Fiction Film: A Critical Introduction." Media International Australia 144, no. 1 (August 2012): 177–78. http://dx.doi.org/10.1177/1329878x1214400135.

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Ginsberg, Terri. "Towards a Critical Pedagogy of Holocaust and Film." Review of Education, Pedagogy, and Cultural Studies 26, no. 1 (January 2004): 47–59. http://dx.doi.org/10.1080/10714410490423631.

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Verhoeven, Deb. "Visualising data in digital cinema studies." Alphaville: Journal of Film and Screen Media, no. 11 (August 17, 2016): 92–104. http://dx.doi.org/10.33178/alpha.11.06.

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This article examines the critical role visualisation plays for digital cinema studies and proposes that cinema studies has an equally critical role to play in evaluating and developing visualisation methods. The article reflects on work undertaken in the Kinomatics Project, a multidisciplinary study that explores, analyses and visualises the industrial geometry of motion pictures and which is one of the first ‚Äúbig data‚Äù studies of contemporary cultural diffusion. Its examination of global film flow rests on a large dataset of showtime information comprising more than 330 million records that describe every film screening in forty-eight countries over a thirtymonth period as well as additional aggregated box-office data.

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Ma, Qing. "X-ray Scattering Studies of amorphous thin film materials." Acta Crystallographica Section A Foundations and Advances 70, a1 (August 5, 2014): C859. http://dx.doi.org/10.1107/s2053273314091402.

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In light of advances in detector technology, we revisit wide angle x-ray scattering techniques and their application to amorphous thin films that are of technological importance. For thin film materials the asymmetrical reflection geometry is employed to avoid the substrate signals. Incident x-ray angles are typically set close to the critical angles. There are various complications related to this geometry, in particular, raw scattering patterns being distorted. In addition, because these materials are typically weak scatterers due to disorder, increased data collection efficiency is always desired. Here, we report our activities using a 4-element vortex Si-drift detector for wide angle x-ray scattering experiments and present some experimental data collected on amorphous transparent conducting oxides.

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Modisane, Litheko. "Experiments in cinematic biography: Ken Gampu’s early life in the cinema." Journal of African Cinemas 12, no. 2-3 (December 1, 2020): 119–35. http://dx.doi.org/10.1386/jac_00032_1.

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Contemporary scholarship on South African film is yet to address the participation of Black actors in film production, exhibition and publicity. The actors’ interpretive roles in the films, their memories and experiences, and the contradictions of their participation in colonial films and beyond, form part of an unexplored and hidden archive in South African film scholarship. This article focuses on Ken Gampu’s early life in the cinema by reflecting on his participation in two films: a western The Hellions and the drama Dingaka. Gampu was a well-known South African actor and also the first Black actor from that country to succeed in Hollywood. This article proposes an experimental methodology of life-writing called ‘cinematic biography’. It shows that the cinematic lives of the marginalized and colonized actors harbour critical potential in enriching the critical perspectives on the cinema and cinematic cultures in South Africa and beyond.

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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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Cooke, Paul. "A Critical History of German Film." Journal of Contemporary European Studies 21, no. 1 (March 2013): 137–38. http://dx.doi.org/10.1080/14782804.2013.766454.

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Varmazi, Eleni, and Funda Kaya. "Debates about the generic ontology of film noir." Catalan Journal of Communication & Cultural Studies 12, no. 1 (April 1, 2020): 145–52. http://dx.doi.org/10.1386/cjcs_00019_1.

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This viewpoint discusses the various definitions given to classic film noir in order to show how the concept of film noir is difficult to demarcate as a genre, remaining a debatable subject among theoreticians. On a broader level, it might be argued that these discussions are linked with the intertextuality, the dynamism and the hybridity of film genres. One can also argue that film noir stands as one of the preliminary examples of such hybridity in the history of Western narrative cinema. Such a debate is also connected to film noir’s deviance from Hollywood conventions. While inhabiting elements from these conventions, classic noir has been affected by European film movements whilst influencing them. Noir holds a critical position to the social conditions of its era, defined usually from the early 1940s to the late 1950s. It also produces generic stereotypical characters such as the ‘hardboiled’ detective and the femme fatale that are both embraced and highly criticized by film theoreticians. However, film noir is an ambivalent concept, a category of films that can be sensed, yet resists delimitation within strict boundaries.

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Matsuda, J., K. Nakaoka, T. Izumi, Y. Yamada, and Y. Shiohara. "Transmission electron microscopic studies on growth mechanism of YBa2Cu3O7−y films formed by advanced trifluoroacetates metalorganic deposition process." Journal of Materials Research 23, no. 12 (December 2008): 3353–62. http://dx.doi.org/10.1557/jmr.2008.0398.

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Microstructure evolution of YBa2Cu3O7−y (YBCO) films during the two heat-treatments in the advanced trifluoroacetates metalorganic deposition (TFA-MOD) process has been investigated by means of transmission electron microscopy. In the calcination process, precursor films including nanopores were formed through the shrinkage of the film after a remarkable increase of the thickness due to the thermal decomposition of metalorganic salts in the starting solution. During the crystallization process, the densification and shrinkage of the film occurred after agglomeration of nanopores and coarsening of unreacted phase particles such as Y2Cu2O5, CuO, and Ba–O–F in the precursor films. The YBCO films were then epitaxially grown with the remaining unreacted phase particles in the film, finally pores were generated again by a reaction of these unreacted particles to form YBCO accompanied by the volume reduction. It is important to control the densification of precursor films and coarsening of the unreacted phase particles in the crystallization process, to fabricate YBCO final films with fine crystallinity and high critical current values.

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Kawasaki, Masashi, and Masashi Nantoh. "Crystal Growth and Atomic-Level Characterization of YBa2Cu3O7–δ Epitaxial Films." MRS Bulletin 19, no. 9 (September 1994): 33–38. http://dx.doi.org/10.1557/s0883769400047965.

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Epitaxial thin-film growth of high-critical-temperature (Tc) superconductors has been intensively studied not only because it is one of the key technologies for electronic application but also because it provides suitable specimens for elucidating the superconducting mechanism. For simply making thick (>100 nm) epitaxial films, various deposition techniques such as sputtering, pulsed laser deposition (PLD), evaporation, including molecular beam epitaxy (MBE), and chemical vapor deposition (CVD) have been verified as applicable. For instance, high-quality YBa2Cu3O7–δ (YBCO) films, in terms of superconducting properties (Tc and critical current Jc), can be made by adjusting the cationic composition and choosing the right deposition conditions, e.g., oxygen pressure and temperature close to the decomposition line in the phase diagram. The knowledge and techniques accumulated in the high Tc field have been successfully transferred for the film growth of such oxides as dielectric, ferroelectric, magnetic, and optically functional materials. Pulsed laser deposition, especially, is now widely used for those materials and was addressed in a previous issue of the MRS Bulletin. However, as the demand for film quality increases, allowing films to be used in complex heterostructures like Josephson tunnel junctions and in well-designed physics studies, the meaning of the term “highquality film” has been changing.

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du Plooy, Belinda. "Sacred Subtexts: Depictions of Girls as Christ Figure and Holy Fool in the Films Moana and Whale Rider." Feminist Theology 30, no. 1 (September 2021): 85–103. http://dx.doi.org/10.1177/09667350211031152.

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Christ figures and holy fools are familiar religious symbols often repeated and adapted in film making. They have historically most often been depicted as male, and among the slowly growing body of female filmic christ figures, they are usually depicted as adult White women. In this article, I consider two films, Niki Caro’s Whale Rider and Disney’s Moana, in which young Indigenous girls are depicted within this trope. I engage in close reading of the films, in relation to Anton Karl Kozlovic’s theoretical framework for structural characteristics of the filmic christ figure, as I focus my discussion here on the christological symbolism of the two female child figures in these films, while also folding this back to the long-standing religious and literary tradition of the holy fool. The aim of this article is to contribute to the growing body of critical and theoretical work about the representation and reading of women and religion in film.

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Hook, Genine. "Towards a Decolonising Pedagogy: Understanding Australian Indigenous Studies through Critical Whiteness Theory and Film Pedagogy." Australian Journal of Indigenous Education 41, no. 2 (December 2012): 110–19. http://dx.doi.org/10.1017/jie.2012.27.

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This article explores student and teacher engagement with Australian Indigenous Studies. In this article I identify key themes in the film September (2007) that demonstrate how the film can be used as a catalyst for student learning and discussion. Critical whiteness theory provides a framework to explore three themes, the invisibility of whiteness, the reachability of whiteness and the cultural interface. Critical whiteness theory identifies the way in which non-Indigenous people centralise and normalise whiteness within colonised societies, and particularly considers how white privilege is maintained. Interpreting the film September through the lens of critical whiteness theory contributes to translating curriculum and social justice aims of education into action.

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Cuelenaere, Eduard. "Towards an Integrative Methodological Approach of Film Remake Studies." Adaptation 13, no. 2 (February 28, 2020): 210–23. http://dx.doi.org/10.1093/adaptation/apz033.

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Abstract This article argues that, after decades of pointing towards the importance of including production and reception research into the study of film remakes, we should actually start addressing production and reception methodologies and investigate why this is necessary for the sustainability and future development of the field. I argue that a lot can be learned from the insights coming from the existing methodologies that are being used in, that is, format studies, (critical) media industry studies, (audiovisual) translation studies, and more recently the study of cultural transduction. The first section of the article mainly deals with the importance of investigating the different cultural mediators that take part in the production lifecycle of the film remake. It is contended that the analysis of film remakes should start examining the different individuals or institutions that mediate or intervene between the production of cultural artefacts and the generation of consumer preferences. The second part of the article points towards the importance of investigating the reception, experience, and interpretation of film remakes. It is shown that crucial questions like ‘(why) do audiences prefer the domestic remake over the foreign film?’, ‘how do audiences experience, interpret, and explain differences and similarities between source films and remakes?’, but also ‘how do audiences define and assess film remakes?’ remain yet to be asked. The article concludes that if the field of remake studies wishes to break out of its disciplinary boundaries, adopting a multi-methodological approach will help to further brush off its dusty character of textual analysis.

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Koven, Mikel J. "Folklore Studies and Popular Film and Television: A Necessary Critical Survey." Journal of American Folklore 116, no. 460 (2003): 176–95. http://dx.doi.org/10.1353/jaf.2003.0027.

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Higbee, Will, and Song Hwee Lim. "Concepts of transnational cinema: towards a critical transnationalism in film studies." Transnational Cinemas 1, no. 1 (January 2010): 7–21. http://dx.doi.org/10.1386/trac.1.1.7/1.

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Venkiteswaran, C. S. "Critical Potpourri: Film literature in India today." Film International 4, no. 2 (April 2006): 30–37. http://dx.doi.org/10.1386/fiin.4.2.30.

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Klejsa, Konrad, and Anna Miller-Klejsa. "Almost as good as Soviet cinema: Reception of Italian neorealism in Poland: 1946‐56." Journal of Italian Cinema & Media Studies 9, no. 3 (June 1, 2021): 367–84. http://dx.doi.org/10.1386/jicms_00082_1.

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With the onset of the Cold War, the cinema culture in the People’s Republic of Poland underwent rigorous transformation. One of its aspects was the new film import schema: most of the international sources dried up to be replaced, for the most part, by films from the Communist Bloc. However, Italian films constituted an important exception. This article investigates the critical reception of Italian neorealist films in Poland in the first decade after the war, focusing mainly on reviews published in Film, the most relevant Polish magazine dedicated to cinema culture. The first part of the article outlines critical debates on differences and similarities between neorealism and socialist realism. The latter part of the article focuses on the critical reception of Vittorio De Sica’s Ladri di biciclette (Bicycle Thieves) and Miracolo a Milano (Miracle in Milan), as evaluations of the Italian director’s cinema fluctuated during the Stalinist period and after the thaw.

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Marini, Anna Marta, and Sorcha Ní Fhlainn. "Vampire and Monster Narratives: An Interview with Sorcha Ní Fhlainn." REDEN. Revista Española de Estudios Norteamericanos 3, no. 2 (May 15, 2022): 145–58. http://dx.doi.org/10.37536/reden.2022.3.1825.

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Sorcha Ní Fhlainn is a senior lecturer in film studies and American studies at Manchester Metropolitan University. She specializes in gothic studies, horror cinema, popular culture, and American studies indeed. Her work is focused in particular on vampire and monster narratives. She has published a long list of essays and several books, among which the collections Our Monster Skin: Blurring the Boundaries Between Monsters and Humanity(2010), The Worlds of Back to the Future: Critical Essays on the Films (2010), Clive Barker: Dark Imaginer (2017), and her monograph Postmodern Vampires in Film, Fiction and Popular Culture (2019).

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Sawadogo, Boukary. "FESPACO and critical discourse on African cinema." Journal of African Cinemas 14, no. 1 (November 1, 2022): 35–47. http://dx.doi.org/10.1386/jac_00060_1.

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The Pan-African Film and Television Festival of Ouagadougou (FESPACO) celebrated its golden jubilee at its 26th edition in 2019. This marks a time for reflection and assessment of the future of the festival. The 50th anniversary also represents a key juncture for scholars and practitioners to rethink curatorial practice in Africa to enable film festivals to function also as a medium of production and dissemination of critical discourse on African screen media. FESPACO has a longstanding tradition of continually producing archives of knowledge about African cinema. The study of the relationships between FESPACO and critical discourse on African cinema offers a template for other festivals to follow, thus opening a new discursive space in the emerging field of film festival studies.

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Teves, Stephanie Nohelani. "A Critical Reading of Aloha and Visual Sovereignty in Ke Kulana He Māhū." International Journal of Critical Indigenous Studies 7, no. 1 (January 1, 2014): 1–17. http://dx.doi.org/10.5204/ijcis.v7i1.119.

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Native Studies and Queer Studies have begun creating linkages that interrogate the normalization of heterosexuality within Native communities and the ways that settler colonialism has been unquestioned in Queer Studies scholarship. This article adds to this body of scholarship by performing a critical re-reading of the film, Ke Kulana He Māhū (2001), a film about the history of sexuality in Hawaiʻi and the role of māhūs in modern day Hawaiian culture. The film engages the struggles for lesbian, gay, bisexual and transgender (LGBT) rights in Hawaiʻi throughout the 1990s, but, curiously, it obscures the Hawaiian sovereignty movement that was happening simultaneously. Against this backdrop, I examine the rhetorical performance of aloha in the film and the dangers of harnessing Hawaiian culture to support the recognition of lesbian, gay, bisexual, transgender and queer (LGBTQ) rights. This article also examines how the film participates in visual sovereignty to foreground Kanaka Maoli commitments to cultural identity, community and belonging.

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Kandhal, Prithvi S., Kee Y. Foo, and Rajib B. Mallick. "Critical Review of Voids in Mineral Aggregate Requirements in Superpave." Transportation Research Record: Journal of the Transportation Research Board 1609, no. 1 (January 1998): 21–27. http://dx.doi.org/10.3141/1609-03.

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Reports of increased difficulties in meeting the minimum voids in mineral aggregate (VMA) requirements have surfaced with the recent use of Superpave volumetric mix design. The low VMA of Superpave mixes generally can be contributed to the increased compactive effort by the Superpave gyratory compactor. This has led to the increased use of coarser asphalt mixes (gradations near the lower control points). However, the minimum VMA requirements in Superpave volumetric mix design for these coarse mixes are the same as those developed for the dense mixes designed by the Marshall method. Literature review has indicated that the rationale behind the minimum VMA requirement was to incorporate at least a minimum permissible asphalt content into the mix to ensure its durability. Studies have shown that asphalt mix durability is directly related to asphalt film thickness. Therefore, the minimum VMA should be based on the minimum desirable asphalt film thickness instead of on a minimum asphalt content because the latter will be different for mixes with different gradations. Mixes with coarse gradation (and, therefore, a low surface area) have difficulty meeting the minimum VMA requirement based on minimum asphalt content despite thick asphalt films. A rational approach based on a minimum asphalt film thickness has been proposed and validated. The film thickness approach represents a more direct, equitable, and appropriate method of ensuring asphalt mix durability, and it encompasses various mix gradations.

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Leotta, Alfio. "From Conan the Barbarian to Gunan il guerriero: Re-contextualizing spaghetti sword and sorcery." Journal of Italian Cinema & Media Studies 9, no. 2 (March 1, 2021): 225–43. http://dx.doi.org/10.1386/jicms_00063_1.

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The release of Conan the Barbarian (1982) played a crucial role in the emergence of the sword and sorcery film, a subgenre of fantasy cinema featuring muscular heroes in violent conflict with wizards and other supernatural creatures. Italian genre filmmakers attempted to capitalize on the international popularity of sword and sorcery by quickly producing a number of low-budget films, which emulated the stylistic and narrative features of Conan. Over a period of six years, between 1982 and 1987, the Italian film industry produced almost two dozen sword and sorcery films, which achieved mixed results at the box office. Although recently an increasing number of international film scholars have focused on the critical examination of Italian genre cinema, to date, little attention has been devoted to the study of Italian sword and sorcery. By examining the aesthetic features of four Italian sword and sorcery films (Gunan il guerriero [1982], Ator l’invincibile [1982], Hercules [1983] and The Barbarians [1987]), as well as their modes of production and distribution, this article proposes the first comprehensive critical examination of this filone.

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Zhang, Junchen. "Audiovisual Translation:A Critical Review on Sino-western Perspectives of Film Subtitle Translation." International Journal of Comparative Literature and Translation Studies 6, no. 1 (January 31, 2018): 58. http://dx.doi.org/10.7575/aiac.ijclts.v.6n.1p.58.

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The paper argues the development of audiovisual translation (mainly focuses on the strand of film subtitle translation) in the West and China. Firstly, the paper discusses film translation from the perspective of the West and critically reviews the achievements produced by western researchers. Secondly, the paper analyzes film translation from Chinese perspective and outlines its change and development in Mainland China. Thirdly, some major issues exited in film translation such as cultural problems, technical issues and translation strategies are analyzed. And in the fourth part, the paper takes a unique Chinese film genre, Chinese martial arts/wuxia film (中國武俠電影), as a specific case to analyze and then further discuss the studies of film translation in the context of Chinese culture. The potential underexplored areas of translating Chinese martial arts film are also identified. Lastly, the paper argues the audiovisual translation from an inter-/multi-disciplinary angle involving film study, social-cultural study, multimodal analysis and relevant linguistic approaches and then points out the potential future trends in audiovisual translation studies. In short, there are three significances in the research. The first one is making a comparative analysis to development path of film translation between Western side and China’s side. The second is arguing the translation of Chinese wuxia film from a diachronic perspective and identifying existed research gaps. The last is pointing out the potential research trends based on the latest research progress.

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McCallum, Robyn. "Palimpsestuous IntertextualitiesAdaptations for Young Audiences: Critical Challenges, Future Directions." International Research in Children's Literature 9, no. 2 (December 2016): 197–214. http://dx.doi.org/10.3366/ircl.2016.0202.

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Historically, literary sources have always provided a rich resource for film narratives, meaning that the history of cinema is closely intertwined with the history of film adaptation. Children's literature in particular has been a favoured source of represented narratives. Some of the earliest film adaptations were of children's texts, many of which have been readapted multiple times. Adaptation studies has been a growth area of scholarly research and debate for at least five decades. However, despite the close imbrication of the film industry and children's literature since the early twentieth century, few adaptation scholars have turned their attention to the rich resource that children's and youth culture provides. This paper surveys dominant shifts in approaches to adaptation, in particular the shift from ‘fidelity criticism’ to a dialogic intertextual approach; the recent move back to a modified form of ‘fidelity criticism’; and the cultural work that has thus far been achieved in the field of adaptation studies and children's and youth culture. In doing so it examines the critical challenges faced by scholars in the field and the potent possibilities future scholarship might pursue.

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Васютин, М. А., Н. Д. Кузьмичев, and Д. А. Шилкин. "Экспериментальный метод контроля перегрева сверхпроводящих пленок под действием импульсного тока." Письма в журнал технической физики 48, no. 14 (2022): 34. http://dx.doi.org/10.21883/pjtf.2022.14.52868.19131.

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Using time sweeps of the current through a sample of a superconducting film, the effect of the current sweep rate on the process of heat propagation from current contacts is investigated. The samples used were NbN films located below and above the transition temperature to the superconducting state. A method for determining the critical heating of key zones of the sample is proposed. The propagation velocities of the resistive front and normal domain in a superconductor are estimated at different temperatures.

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Chen, Tze-Chiun, Tingkai Li, Xubai Zhang, and Seshu B. Desu. "Structure Development Studies of SrBi2(Ta1−xNbx)2O9 Thin Films." Journal of Materials Research 12, no. 8 (August 1997): 2165–74. http://dx.doi.org/10.1557/jmr.1997.0290.

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In this research, two tasks were pursued: (1) determination of the onset temperature of ferroelectric hysteresis properties of SrBi2Ta2O9 thin films by structure development study, and (2) low temperature processing for thin film fabrication. For task (1), a nondestructive optical method using spectroscopic ellipsometry was utilized for characterizing the structure development of SrBi2Ta2O9 thin films. The optical constants and film thickness were measured as a function of annealing temperature by spectroscopic ellipsometry. By observing the changes in refractive indices and film thickness, the temperatures of phase transformation and grain growth were determined. Consistent results were obtained from x-ray diffraction measurements. By comparing the results of the structure development study and ferroelectric hysteresis properties investigation, the onset temperature of the hysteresis curve of SrBi2Ta2O9 with 50% excess Bi was determined to be about 700 °C. The critical factor for the compound to exhibit a well-defined hysteresis curve was found to be the grain size. For task (2), the effects of excess Bi content and Nb/Ta ratio of SrBi2(Ta1−xNbx)2O9 on the ferroelectric hysteresisproperties were studied. It was found that the onset temperature for obtaining well-defined hysteresis properties can be reduced by adding excess Bi or increasing Nb/Ta ratio. By choosing SrBi2Nb2O9 with 50% excess Bi, the onset temperature of the hysteresis curve was reduced to about 650 °C.

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Kümmerling-Meibauer, Bettina. "Paratexts in Children's Films and the Concept of Meta-filmic Awareness." Journal of Educational Media, Memory, and Society 5, no. 2 (September 1, 2013): 108–23. http://dx.doi.org/10.3167/jemms.2013.050208.

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This article demonstrates, on the basis of recent research in film studies and media literacy, that filmic paratexts play a significant role in contemporary children's films. It shows that paratexts effectively comment on feature films by, for example, anticipating the film's plot and characters in the opening credits, and by pursuing the film plot in the end titles. Thorough analysis of children's films reveals that paratexts stimulate the child viewer to develop a competency that might be characterized as “meta-filmic awareness”, which is the capacity to distinguish between different levels of plot, communication, or complexity within a film. In keeping with these findings, this article represents an exploration of what we might call a meta-critical approach toward children's films.

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Onuzulike, Uchenna. "A critical analysis of the Nollywood film Osuofia in London." Journal of International and Intercultural Communication 11, no. 1 (July 7, 2017): 81–95. http://dx.doi.org/10.1080/17513057.2017.1343369.

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Nushur, Rizki Dhian, and Diyana Dewie Astutie. "THE PERCEPTION OF ACEH DOCUMENTARY TRAINING PARTICIPANTS ON IMPROVING CRITICAL THINKING THROUGH DOCUMENTARY FILM APPLICATION." Getsempena English Education Journal 8, no. 1 (May 28, 2021): 81–95. http://dx.doi.org/10.46244/geej.v8i1.1245.

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The times are progressing rapidly so that the need for critical thinking is increasing. Some experts argue that those who think critically are able to solve problems responsively. Therefore, education practicer take various ways to create nowdays critical generation, as well as the Aceh Documentary (ADC) Foundation in Banda Aceh. The documentary film production training which is conducted annually by the ADC Foundation is believed to be able to improve the critical thinking of the participants. This study aims to determine the perceptions of four participants of Aceh Documentery Foundationabout improving their mindset after attending the documentary film production training. This is a qualitative research. The data for this study was collected from early June to August 2019, which the Data collection techniques used in the research were interview and FGD. The data analysis stage was carried out on September 2019 after the documentary film training was completed. The data analysis is carried out by using the Miles & Hubermen style, in which activities in the analysis include data reduction, data display, and conclusion drawing / verification. From this research, it can be concluded that the use of documentary films as a learning medium can improve the participants' critical thinking, eventhough the level of criticism obtained by each individual is different.

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Kumar, Niranjan. "Electrical characterization of TSVs with varying process knobs and temporary bond/adhesive system robustness studies for 2.5D/3D manufacturing." International Symposium on Microelectronics 2013, no. 1 (January 1, 2013): 000233. http://dx.doi.org/10.4071/isom-2013-tp14.

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TSVs are used to carry power/ground and signals straight to the heart of the logic/memory devices where all the intricate and busy architectures lie. I consider it like the downtown area inside a city where the real estate is more expensive and requires intricate design and execution. As a result in case of the TSVs, there is no room for electrical degradation and stress interaction with transistor devices (keep out zone). The Cu protrusion, it's interaction with the intricate local interconnects (M1 and below structures), the current leakage, capacitance, reliability, become highly critical to fully achieve the power per watt advantage of the TSVs. As a result, a thorough electrical characterization of TSVs with varying film properties and the process window becomes very critical for integration with the 20nm node (and below) devices. In this paper we will discuss implementation of modified oxide liner, barrier/seed, ECD fill and CMP of films to achieve robust TSVs for electrical parameter extraction. We will closely examine the impact of these film properties on the electrical performance and its repeatability to achieve wide process windows. Such studies are expected to improve manufacturing yields of TSV product wafers at fabs/foundries. Alternately, we will present detailed metrology studies of two temporary bond method/adhesive systems as it progresses through the thin wafer downstream processes (via-reveal processes). This exercise is targeted to address productivity and yield challenges with thin wafer processing (backside via-reveal process). We will attempt to demonstrate a robust temporary bond/adhesive system that exhibits no thin wafer damage/wrinkling and no edge profile degradation issues over repeated runs (production like). This study will help to characterize the adhesive and low temperature passivation film interfaces in details to support the thin wafer processing robustness for TSV manufacturing.

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Jung, Sungwook, I. O. Parm, Kyung Soo Jang, Dae-Ho Park, Byeong-Hyeok Sohn, Jin Chul Jung, Wang Cheol Zin, Suk-Ho Choi, S. K. Dhungel, and J. Yi. "Fabrication of Nanostructure and Formation of Nanocrystal for Non-Volatile Memory." Journal of Nanoscience and Nanotechnology 6, no. 11 (November 1, 2006): 3652–56. http://dx.doi.org/10.1166/jnn.2006.075.

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In this work, we have demonstrated that the nanocrystal created by combining the self-assembled block copolymer thin film with regular semiconductor processing can be applicable to non-volatile memory device with increased charge storage capacity over planar structures. Self-assembled block copolymer thin film for nanostructures with critical dimensions below photolithographic resolution limits has been used during all experiments. Nanoporous thin film from PS-b-PMMA diblock copolymer thin film with selective removal of PMMA domains was used to fabricate nanostructure and nanocrystal. We have also reported about surface morphologies and electrical properties of the nano-needle structure formed by RIE technique. The details of nanoscale pattern of the very uniform arrays using RIE are presented. We fabricated different surface structure of nanoscale using block copolymer. We also deposited Si-rich SiNx layer using ICP-CVD on the silicon surface of nanostructure. The deposited films were studied after annealing. PL studies demonstrated nanocrystal in Si-rich SiNx film on nanostructure of silicon.

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Marco, Derilene (Dee). "Vibing with Blackness: Critical Considerations of Black Panther and Exceptional Black Positionings." Arts 7, no. 4 (November 21, 2018): 85. http://dx.doi.org/10.3390/arts7040085.

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This article considers different ways in which Blackness is represented as exceptional in the 2018 film Black Panther. It also considers other iterations of Black visibility and legibility in the current popular culture context which appears to privilege Black narratives in interesting ways. The essay uses conceptual lenses from diaspora studies, Afro science fiction and Black feminist studies to critically engage the film and to critically question the notion of Black exceptionalism.

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Seal, Katyayani, and Dentcho A. Genov. "Surface Plasmon States in Inhomogeneous Media at Critical and Subcritical Metal Concentrations." International Journal of Optics 2012 (2012): 1–9. http://dx.doi.org/10.1155/2012/519509.

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Semicontinuous metal-dielectric films are composed of a wide range of metal clusters of various geometries—sizes as well as structures. This ensures that at any given wavelength of incident radiation, clusters exist in the film that will respond resonantly, akin to resonating nanoantennas, resulting in the broad optical response (absorption) that is a characteristic of semicontinuous films. The physics of the surface plasmon states that are supported by such systems is complex and can involve both localized and propagating plasmons. This chapter describes near-field experimental and numerical studies of the surface plasmon states in semicontinuous films at critical and subcritical metal concentrations and evaluates the local field intensity statistics to discuss the interplay between various eigenmodes.

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Journal articles on the topic 'Critical film studies'

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