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Journal articles on the topic 'Feature film'
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V. Domínguez, Daisy. "American Indians in feature films: beyond the big Screen." Collection Building 33, no. 4 (September 30, 2014): 121–26. http://dx.doi.org/10.1108/cb-03-2014-0015.
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Purpose – The purpose of this paper is to examine whether library collections accurately represent the breadth of portrayals of American Indians in feature film. It also provides collection development resources for developing and strengthening feature film collections by and about American Indians. Design/methodology/approach – This study compares WorldCat holdings of a sample of theatrically released films about American Indians with independent American Indian-made films. Findings – WorldCat holdings as a whole do not represent the breadth of portrayals of American Indians in feature film. Originality/value – There are no studies that examine library holdings of feature films by and about American Indians. This paper presents an opportunity to examine our collecting habits and recommends resources for building feature film collections that better represent the manifold Native American experience.
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Giunta, Catherine. "An Evolving Model of the Use of Feature Films in Undergraduate and Graduate Business Curriculum: The Education Awakens." Journal of Business and Economics 9, no. 7 (July 20, 2018): 555–65. http://dx.doi.org/10.15341/jbe(2155-7950)/07.09.2018/001.
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This paper/exploratory analysis presents an evolving model for enhancing the use of full-length, feature film as a tool in undergraduate and graduate business curriculum. This model includes processes for determination of student perceptions of the efficacy of the use of feature film to teach business, including marketing and human resources competencies. Therefore, this work considers student perceptions of the use of film in undergraduate and graduate business education and their final outcomes. Awareness of students' views of this tool can be valuable information during the design of business curriculum. To date, limited research has coupled the business students’ perceptions of film in business curriculum along with implementation of feature films in business pedagogy. Therefore, the evolution of a working model aims to contribute to the understanding of students' expectations when film is used in business curriculum. There is a dearth of literature that covers the use of popular, full-length films in Marketing and in MBA Human Resource courses. This paper helps to fill that gap.
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Shyrman, Roman, and Dmytro Berdnikov. "Manifestations of Drama in Feature Films." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 5, no. 2 (December 22, 2022): 199–206. http://dx.doi.org/10.31866/2617-2674.5.2.2022.269528.
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The purpose of the article is to study the manifestations of drama in feature cinema and to consider dramaturgy and conflict as the main aspects of feature cinema to form the interest of the audience. The research methodology is based on the use of analytical and systematic methods (to comprehend the basic principles of the conflict as a result of the theoretical material’s study and analysis of its interpretation specifics in the artistic structure of the film and to determine its place in the construction of a film); method of theoretical generalization (to summarize the manifestation of drama in feature films and its role in shaping the interest of the audience). Scientific novelty. The modern film industry is built on a variety of stories based on the drama of the plot, which is built on conflict (conflict between peoples, countries, and worlds). The modern literature, in particular of Ukrainian authors, has been processed, which made it possible to conclude the interest in the outlined topics in the context of national theoretical thought. Conclusions. Dramaturgy in feature films is a way of organizing the material and methods of dynamics of viewer interest. Dramaturgy, built by the modern needs of the viewer, forms the success and high rating of feature films. As a result of the theoretical sources analysis and consideration of individual examples of cinematographic art, it is possible to determine the fundamental differences in the construction of the collision of the screen spectacle with the literary work. Thanks to this, it was possible to outline the specific means by which the director or playwright of the film industry can achieve the goal.
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Ojiambo-Hongo, Evelyn, John Mugubi, and Rosemary Nyaole. "The Gender Agenda in Kenyan Children’s Feature Films." Journal of African Theatre, Film and Media Discourse 1, no. 1 (February 12, 2020): 44–56. http://dx.doi.org/10.33886/kujat.v1i1.125.
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The gender agenda has featured substantially in creative works from Africa and particularly Kenya. Although film is considered a new form of creative expression in Africa, compared to the west, it has not been excluded in exploring gender issues. While the gender discussion has prominently featured adults, the Kenyan film has gone a step further and explored gender on a different level. Gender has been explored from the point of view of the child and employed the child character as a suitable medium. Kenyan filmmakers by employing the child character on the subject of gender seem to suggest that engendering of any member of the society begins in childhood and progresses into adulthood. This is a unique aspect about the Kenyan film yet has not been critically examined. This paper therefore examines the child character and the exploration of gender in Kenyan films about children to ascertain the significance of the child character in exploring gender issues in society. It focuses on three selected films that extensively explore the engendering of children namely: Subira, Malika and Becoming A Girl. The films mainly focus on the engendering of the girl child by the society and that this happens in childhood. They also employ the girl child as acharacter in exploring the issue of gender. Examination of the child character will be guided by the Sociological theory of film and the Formalist film theory. The structure of the paper is as follows: A background on the gender issue in creative works, theoretical perspectives on gender, analysis of Kenyan children’s films on gender and conclusions on the use of the child character in exploring gender.
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Dimitrova, Svetla. "Film Review: Posh Corps: The Feature Film." Teaching Sociology 43, no. 4 (August 19, 2015): 324–26. http://dx.doi.org/10.1177/0092055x15601672.
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Guangteng, G., P. M. Cann, A. V. Olver, and H. A. Spikes. "Lubricant Film Thickness in Rough Surface, Mixed Elastohydrodynamic Contact." Journal of Tribology 122, no. 1 (July 14, 1999): 65–76. http://dx.doi.org/10.1115/1.555330.
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A spacer layer imaging method has been employed to map lubricant film thickness in very thin film, rough surface, rolling elastohydrodynamic (EHD) contacts. A series of model roughnesses have been produced by depositing tiny ridges and bumps on a steel ball surface and the influence of these features on film thickness has been investigated at a range of rolling speeds. It has been shown that all the model surface features studied form speed-dependent, micro-EHD lubricating films, but the detailed shape and thickness of these films depends upon the geometry of the feature and the rolling speed. All model surface features also produce a net increase in mean film thickness, compared to the smooth surface, under operating conditions where the film thickness is less than the out-of-contact height of the surface feature studied. For a real, random, rough surface, however, mean film thickness is less than the smooth surface case. The film thickness mapping technique has also been used to measure the effective roughness of surfaces in lubricated contact. This shows that surfaces based on 2-D array of tiny circular bumps become rougher as the rolling speed and thus film thickness increases. However, real, rough surfaces appear to show a decrease of in-contact roughness with increasing rolling speed. [S0742-4787(00)01001-8]
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Melnyk, George. "Remembrance and Canadian national cinema: Incorporating classic themes." Short Film Studies 10, no. 1 (January 1, 2020): 73–77. http://dx.doi.org/10.1386/sfs.10.1.73_1.
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Abstract This analysis of Remembrance (2001) shows how this short film displays five distinct features of Canadian national cinema ‐ Canadian setting, the failed male, lack of narrative closure, auteurism and anti-romance. By displaying these characteristics found in Canadian feature-length films Remembrance rises above the short film genre.
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Pronin, Alexander A. "Feature Film Quotation in a Documentary Portrait: a Functional-Semantic Aspect." Journal of Flm Arts and Film Studies 7, no. 3 (September 15, 2015): 62–71. http://dx.doi.org/10.17816/vgik7362-71.
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The article analyzes the underresearched practice of using feature film quotations in portrait documentaries. A certain number of contemporary films help to single out the most typical sphere of quotations usage, demonstrate typical means of incorporating film quotations into the new film text, and present a classification of quotation variants according to their functional-semantic aspect.
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Maciejewska, Marta. "O wielogatunkowości filmów pełnometrażowych Jana Švankmajera." Literatura i Kultura Popularna 24 (April 18, 2019): 11–24. http://dx.doi.org/10.19195/0867-7441.24.2.
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On genre-crossing in Jan Švankmajer’s feature filmsJan Švankmajer, a Czech film director and artist is known mostly for his short animated films. In 1994, however, a change in his filmmaking career took place — he devoted himself to working only on feature films. This change of medium is connected both to the length of these films, and using language, narration and genre features typical of feature films. What is important, Švankmajer does not adjust his artistic visions to all the directives of a certain genre. Rather, the director chooses some elements of these genres, and creates new, hybrid qualities. Genres that have the biggest impact on his feature films are: horror, comedy, and speculative fiction.
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Restivo, Angelo. "Using Feature Film Clips to Illustrate Film Aesthetics." Cinema Journal 34, no. 3 (1995): 80. http://dx.doi.org/10.2307/1225747.
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Tei, Dugba Ransford, and Lawrence Baffoe-Arthur. "Teaching History using Feature Films: The Ghanaian Experience." Journal of Education, Management and Development Studies 2, no. 2 (July 4, 2022): 40–48. http://dx.doi.org/10.52631/jemds.v2i2.94.
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This study examines the experiences of lecturers in using feature films to teach history in the University of Cape Coast. The study specifically sought to find out the availability of historical feature films for teaching history, the criteria regarding how historical feature films are used by lecturers in teaching history and the effects of historical feature films on teaching history. The study employed descriptive research design. In all, four (4) lecturers formed the sample size for the study. The instrument used to collect data was semi-structured interview guide. The study found out that the University did not have a film library where lecturers could visit to access films for teaching. It was also revealed that most history lecturers in the university followed a wide range of guidelines whenever they use films to teach. Lastly, it was revealed that feature films usage had positive effects on the teaching and learning of history. Based on the results, it was suggested that there is the need for all stakeholders in the various universities to contribute in putting measures in place to ensure that there is the establishment of film libraries where lecturers could visit to access films for their instructional practices.
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Norton, M. Grant, Rand R. Biggers, Iman Maartense, E. K. Moser, and Jeff L. Brown. "Electron and scanning probe microscopies in the study of YBa2Cu3O7 thin-film growth." Proceedings, annual meeting, Electron Microscopy Society of America 52 (1994): 810–11. http://dx.doi.org/10.1017/s042482010017178x.
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Electron and scanning probe microscopies are used to examine the microstructure and surface topography of YBa2Cu3O7 (YBCO) thin films formed by pulsed-laser deposition (PLD). A major emphasis of this work has been the correlation of the observed microstructural features and the deposition parameters.The formation of microscopic features on the surface of thin films deposited by PLD seems to be an undesirable and almost unavoidable feature of this process. One such feature is often associated with microstructural changes produced in the target during laser irradiation. These are apparently spherical particles with diameters ranging from 0.1 to 10μm. These particles are produced by melting of the target and the subsequent solidification of the molten ejecta. Particles may also be produced as a result of changes in the surface morphology of the target during laser irradiation. However, notall surface features observed on the films deposited by PLD are due to ejecta from the target. Figure 1 shows an atomic force microscope (AFM) image of a YBCO film grown on a (100)-oriented LaAlO3 substrate. Usually films grown with our typical deposition conditions on (100)-oriented LaAlO3 substrates arepredominantly c-axis oriented. The film is approximately 150 nm thick. Different types of outgrowth are visible on the film surface.
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Ni Nyoman, Artini, Suwastini Ni Komang Arie, and Utami I.G.A. Lokita Purnamika. "Dory's Paradoxical Characterizations in Disney's Animated Feature Film Finding Dory (2016)." NOBEL: Journal of Literature and Language Teaching 11, no. 1 (April 27, 2020): 27–37. http://dx.doi.org/10.15642/nobel.2020.11.1.27-37.
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The appearance of Dory, the forgetful blue tang fish, as the main character in Finding Dory (2016), one of Disney’s animated feature films, makes the film popular and has been nominated to 46 awards and won 16 awards. Previously, Dory was a helping character in the original film, Finding Nemo (2003). This study aimed to identify Dory’s characterizations by using textual analysis to find the uniqueness of Dory in the film. The analysis resulted in Dory’s paradoxical characterization where she was forgetful yet creative, reliant yet independent, and anxious yet confident. These paradoxes implied that this film portrays that negative characters can be developed into good characters. Therefore, this film can be used as media to develop characters in informal education.
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Burton, C. Emory. "Sociology and the Feature Film." Teaching Sociology 16, no. 3 (July 1988): 263. http://dx.doi.org/10.2307/1317528.
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SMYTH, ROSALEEN. "THE FEATURE FILM IN TANZANIA." African Affairs 88, no. 352 (July 1989): 389–96. http://dx.doi.org/10.1093/oxfordjournals.afraf.a098189.
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Horrocks, Roger. "Creating a Feature-Film Industry." Journal of Popular Culture 19, no. 2 (September 1985): 149–58. http://dx.doi.org/10.1111/j.0022-3840.1985.00149.x.
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Kim, Hee-Jung. "Kieślowski’s Film World Seen through Documentary: Focusing on Hospital, Seven Women of Different Ages and Dworzec." East European and Balkan Institute 46, no. 2 (May 31, 2022): 25–44. http://dx.doi.org/10.19170/eebs.2022.46.2.25.
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Polish film director Krzysztof Kieślowski has directed twenty-one documentaries. His films, which have consistently offered insights into “human” and ontological concerns, began with documentaries. Kieślowski employed his unique ethical sensibility in his move from pure documentary to feature film, and even in his feature films portrays an essential, poignant and detailed portrait of what it means to be “human”. In his early works, Kieślowski explored aspects of ordinary people's lives against the background of the political situation in Poland. In his feature films, he paints a portrait of an essential “human” with whom people can universally sympathize; these are not just stories of Polish people, but of Europe. In this study, the director’s film world is analyzed focusing on three of Kieślowski’s documentary films: Hospital (Szpital), Seven Women of Different Ages (Siedem kobiet w różnym wieku), and Central Station (Dworzec). In particular, by examining the techniques of Kieślowski’s three later documentary films, this study investigates the trajectory of his film world just prior to his shift into feature film. Hospital follows orthopedic surgeons for thirty-two hours through their point-of-view, revealing how they retained their humanity even in the harshest conditions. In Seven Women of Different Ages, the lives of seven ballerinas of different ages are sequentially shown during the course of one week. In Central Station, a surveillance camera, the story of the man behind it, and the ordinary people he watches are captured with the director’s unique, sharp perspective. This study also looks into why Kieślowski felt the need to shift from the documentary genre to feature films, concluding that the director’s will to portray what it means to be “human” could be more freely represented in feature films over documentaries.
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Shestakova, I. V. "ALTAI IN RUSSIAN FEATURE FILMS OF THE 1920s - 1940s." Culture and Text, no. 48 (2022): 123–33. http://dx.doi.org/10.37386/2305-4077-2022-1-123-133.
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The article traces the historical dynamics of the «Altai feature film text». The author uses the concepts of «geoculture», «geopoetics», «geopolitics», proposed by V. Abashev, D. Zamyatin. The issues of the formation of film production in Siberia, the evolution of the Altai cinema image, the formation of symbolic dominants in feature films made in the 1920s and 1940s are considered. The interrelation of the geocultural paradigm with the political and social events in Russia of this time is shown.
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Marcus, Alan S., and Meg Monaghan. "Tasting the Flouride: The Potential of Feature Film to Enhance the Instruction of the Women’s Movement." Social Studies Research and Practice 4, no. 1 (March 1, 2009): 13–30. http://dx.doi.org/10.1108/ssrp-01-2009-b0002.
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This paper addresses our desire to learn more about effective practices with film and our aspiration to promote a more inclusive curriculum. Specifically, we consider how the film Iron Jawed Angels impacted students’ understanding of the American women’s movement, particularly the fight for suffrage by the National Women’s Party, and examines the questions: (a) How can feature films be used to incorporate a close examination of the women’s movement into the curriculum? (b) How do students make sense of the women’s movement when it appears in a feature film during classroom activities? For most students, the film appeared to call important attention to women’s history. The results suggest that feature films with females as main characters or with a narrative based primarily on female perspectives can be used to promote engagement with women’s issues and to promote the inclusion of female perspectives in the secondary curriculum. However, we also found important differences between how female and male students responded to the film.
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류훈. "Storytelling in film script - Focus on industrial feature films -." 한국문예비평연구 ll, no. 33 (December 2010): 7–40. http://dx.doi.org/10.35832/kmlc..33.201012.7.
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Koskinen, Maaret. "Time, memory and actors: Representation of ageing in recent Swedish feature film." Journal of Scandinavian Cinema 9, no. 1 (March 1, 2019): 89–104. http://dx.doi.org/10.1386/jsca.9.1.89_1.
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As has been noted in scholarship across various disciplines, issues of age and ageing have attracted much interest in recent years. In film production as well, ageing character actors have entered centre stage, in both popular films (for instance the Hotel Marigold films) and existential dramas (for instance Lucky, with 90-year-old Harry Dean Stanton in his last role). However, little has been written on Swedish film production in this regard. This article attempts to demonstrate, through an empirical overview, that interest in age and ageing has increased in feature film during the last two decades, not only internationally but more specifically in Swedish film. This article also strives to hypothesize, drawing on the area of memory studies, that the mere representation of ageing bodies and identities by well-known actors may inspire positive affective experiences related to memory, and that such representations, accumulatively across time, may be beneficial to health.
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Shyrman, Roman. "Video Surveillance as an Educational Exercise and Artwork." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 5, no. 1 (June 1, 2022): 28–37. http://dx.doi.org/10.31866/2617-2674.5.1.2022.256949.
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The purpose of the article is to analyze the importance of training exercises in video surveillance for the creative abilities’ development of film and television directors; to prove the necessity and usefulness of such exercises not only for documentarians but also for feature film and animation directors; identify specific methods of the director’s work on video surveillance. The research methodology is based on a theoretical analysis of the work of outstanding film directors, in particular films and evidence on the nature of documentary films by Hertz Frank and Frederick Wiseman and analysis of Ukrainian and foreign observation films. Scientific novelty. The role recognition of film and video surveillance as a basic element in the education and training of cinematographers; determination of characteristic features and fundamental differences of work on screen observations in comparison with work on other types of the screen works. Conclusions. The article analyzes the importance of video surveillance for the creative imagination development of students-directors. The importance of observations has been proved for the work of directors working in all types of cinematography from documentaries to feature films and animation. Examples of directorial work strategies on video surveillance are given, which are fundamentally different from the methods of creating other types of screen works.
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Ghaderi Ghalehno, Aynaz. "The aesthetic reception of the film Exam." Short Film Studies 12, no. 2 (September 1, 2022): 155–60. http://dx.doi.org/10.1386/sfs_00079_1.
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Few studies have observed audience reception within the context of narrative short films. Short films, with their idiosyncratic structures and smaller audience, have been overlooked by the field of film studies in favour of other forms – namely feature films. This article discusses the audience reception of the short film Exam in accordance with Molinié’s Sémiostylistique (‘semio-stylistics’) and examines the aesthetic effect of this short film on its audience.
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Barnes, Heather L. "Digital Curation and Contemporary Documentary Filmmaking." Preservation, Digital Technology & Culture 51, no. 4 (December 1, 2022): 141–54. http://dx.doi.org/10.1515/pdtc-2022-0021.
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Abstract Documentary films have evolved considerably since 1922s Nanook of the North. Fans of nonfiction now stream multi-episode documentaries on platforms like Netflix or catch a feature at one of many documentary-centered film festivals around the world. Inexpensive video cameras and internet distribution have expanded the documentary film universe exponentially. From 1-min films to feature-length theater releases, moviegoers around the world have embraced this diverse and growing genre. To the benefit of aspiring filmmakers, documentaries can now be filmed on a wide array of digital video devices, including smartphones, and edited inexpensively. Given this abundance, it may seem counterintuitive that, from a preservation perspective, the documentary film genre faces substantial risks. Research indicates that independent filmmakers lack access to resources that would ensure the long-term stewardship of their works (Academy of Motion Picture Arts and Sciences 2012). This research project examines documentary film production through the lens of digital curation. It describes filmmakers’ data practices and proposes a data curation model designed to guide filmmakers and film archives in developing data management plans similar to those currently used by researchers in the sciences. The proposed data curation model reflects the influence of the growing research data management field and integrates components related to digital storage, copyright, publishing, context, and file organization.
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Forceville, Charles, and Thijs Renckens. "The GOOD IS LIGHT and BAD IS DARK metaphor in feature films." Metaphor and the Social World 3, no. 2 (December 31, 2013): 160–79. http://dx.doi.org/10.1075/msw.3.2.03for.
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Light and darkness can be used metaphorically to help structure good and bad in all media, but film is particularly suitable for exploiting such metaphors. On the basis of examples from three feature films, we discuss in what way the metaphor functions in general and suggest how it allows for a degree of creative play. Moreover, it is pointed out how the metaphor usually interacts with other narratologically salient elements in order to achieve its specific, context-dependent effects. The paper ends with suggestions how the study of this and other conceptual metaphors in film may benefit both metaphor and film scholarship.
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Anissimov, Vladislav E., Anna S. Borissova, and Grigoriy R. Konson. "Linguocultural Localization of Movie Titles." Russian Journal of Linguistics 23, no. 2 (December 15, 2019): 435–59. http://dx.doi.org/10.22363/2312-9182-2019-23-2-435-459.
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Due to intensive growth of film production and the expansion of the “market of film consumption”, the need for high-quality translation of feature films into different languages is becoming more and more pressing. While a foreign language film is localized, text elements are not only translated, but also adapted to the culture of the target audience, i.e. we are witnessing transition from one language and cultural code to another. Taking into account their structural, semantic, and functional pragmatic features, film titles are vivid representative materials for the study of modern translation practices in the light of the cultural transference concept (Bassnett 2005, Bastin 1990, Cranmer 2015, Jurt 2007, Кatan 1999, Leinen 2007, Thill 2007, Schreiber 1998, Slyshkin, Efremova 2004, Obolenskaya 2013, Snetkova 2009, Fedorova 2009). The purpose of the article is to identify the strategies of linguocultural localization of French film names for the modern Russian-speaking audience, as well as to determine the degree of its adequacy. Regardless of the choice of the translation strategy, the title should correspond to the plot, thematic focus and ideological and figurative content of the film, while remaining interesting and attractive to the audience. We analysed of eighty-seven French feature films of various genre affiliations (detectives, action films, dramas, melodramas, comedies, thrillers and fantasy), released in Russian from 2000 to 2018, and their translation equivalents. We used the methods of semantic, pragmatic, contextual and linguocultural analysis to identify a set of problems arising in the process of localization of film titles and to offer recommendations for their translation into Russian, considering the communicative specifics of the modern film discourse and the ethnic and cultural characteristics of the target audience.
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Díaz-González, María-Jesús, and Almudena González-del-Valle. "Film Policies and Film Production in Spain during the Economic Crisis (2007–2017)." Palabra Clave 24, no. 1 (March 4, 2021): 1–27. http://dx.doi.org/10.5294/pacla.2021.24.1.3.
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Europe’s leading film-producing countries are France, Germany, Italy, Spain, and the United Kingdom. They were all hit by the global economic crisis, which had a particularly severe impact on Europe in 2010–2012. The consequences of this crisis for film policies and the film industry are understudied. Spain is a unique case for this study because it had to ask the European Union for a financial assistance programme. What changes were made to State film policies as a result of the crisis? How did those changes reflect on the feature film production? This article aims to answer these questions. The method used includes an analysis of film-industry policy documents and official data, and in-depth interviews. The period studied is 2007–2017. The results refer to topics such as State aid for film production; tax incentives; value-added tax (VAT); the obligation to provide advance funding for European audiovisual production, and the number, genre, and mean cost of the feature films produced.
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Sand, Stine Agnete. "How to Succeed with Film Production in the Regions?" Nordicom Review 38, no. 1 (June 15, 2017): 113–25. http://dx.doi.org/10.1515/nor-2016-0035.
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Abstract This article explores what two regional film production companies in Norway do to survive and succeed with their goals. The production of feature films in Norway is largely an Oslo-based effort, but despite this reality, there are companies in the regions that produce feature films. The analysis draws on semi-structured interviews with eight employees in two companies. Mer Film has in relatively short time managed to attract talented directors and establish networks with international, critically acclaimed production companies. Filmbin was one of the first film companies in Norway who committed themselves to the production of films for children. The article shows that success must be related to context and that reputation, talent development and choice of genre, geographical location, networking and social capital, risk diversification, entrepreneurship, organizational culture and leadership, are essential factors for the companies.
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Halle, Randall. "Re-imagining the German East: Expulsion and Relocation in German Feature and Documentary Film." German Politics and Society 31, no. 4 (December 1, 2013): 16–39. http://dx.doi.org/10.3167/gps.2013.310402.
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Film history marks the various transformations in the material and imaginative relations between Germans and Poles in the postwar era. This article explores how film—the primary contemporary vehicle for imaginative communities—has played an important role in envisioning various spatial relationships, as well as the political and cultural shifts in the general population of Germany, West and East, and Poland. The article surveys the representation of flight and expulsion from the East first in the fictional feature film and then in the documentary genre. It then turns to contemporary productions that offer new visions of contemporary German-Polish relationships. It considers different strategies of filmmaking, such as big budget historic event films, the melancholic frame of expellee videos, the contemporary interzonal film, among others.
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Ma, Benjamin, Timothy Greer, Dillon Knox, and Shrikanth Narayanan. "A computational lens into how music characterizes genre in film." PLOS ONE 16, no. 4 (April 8, 2021): e0249957. http://dx.doi.org/10.1371/journal.pone.0249957.
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Film music varies tremendously across genre in order to bring about different responses in an audience. For instance, composers may evoke passion in a romantic scene with lush string passages or inspire fear throughout horror films with inharmonious drones. This study investigates such phenomena through a quantitative evaluation of music that is associated with different film genres. We construct supervised neural network models with various pooling mechanisms to predict a film’s genre from its soundtrack. We use these models to compare handcrafted music information retrieval (MIR) features against VGGish audio embedding features, finding similar performance with the top-performing architectures. We examine the best-performing MIR feature model through permutation feature importance (PFI), determining that mel-frequency cepstral coefficient (MFCC) and tonal features are most indicative of musical differences between genres. We investigate the interaction between musical and visual features with a cross-modal analysis, and do not find compelling evidence that music characteristic of a certain genre implies low-level visual features associated with that genre. Furthermore, we provide software code to replicate this study at https://github.com/usc-sail/mica-music-in-media. This work adds to our understanding of music’s use in multi-modal contexts and offers the potential for future inquiry into human affective experiences.
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Chapman, James. "‘The same virile ability of Val Guest’: The Film Finances Archive and British Film-makers." Journal of British Cinema and Television 19, no. 4 (October 2022): 495–517. http://dx.doi.org/10.3366/jbctv.2022.0644.
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This article draws upon the Film Finances Archive to propose an alternative hierarchy of British directors based on their ability to deliver films on budget and schedule rather than on the artistic qualities of their films. An analysis of the archive’s large collection of budgets and cost reports for British feature films since 1950 highlights which directors had a record of economical and timely delivery of their films. The article shows that the common distinction between auteur and journeyman directors does not necessarily map onto their efficiency as film-makers. In this way the article demonstrates how a particular archive can offer new ways of thinking about British cinema history based on the professional discourses of the film industry.
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Cañas-Bajo, Jose, Teresa Cañas-Bajo, Eleni Berki, Juri-Petri Valtanen, and Pertti Saariluoma. "Designing a New Method of Studying Feature-Length Films." Projections 13, no. 3 (December 1, 2019): 53–78. http://dx.doi.org/10.3167/proj.2019.130304.
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Measuring viewers’ experiences of films has become a critical issue for filmmakers because all kinds of audiences now have access to new releases from all over the world. Some approaches have focused on the cognitive level of the experience, while others have emphasized the structure of films. Additionally, some have used quantitative objective methods to examine audience reactions to short film sequences, while others have applied qualitative approaches to study feature-length films. However, an integrated method that combines the features of these approaches is needed. In this article, we describe a new method that combines quantitative and qualitative data to study viewers’ experiences of different structural features of films. This method involves an online subjective response mechanism that can be used to capture and measure the experiences of different target audiences as they watch movies of different lengths.
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Kochukhova, Elena. "Urban Lifestyle in Soviet Feature Films: Development of Research Methodology." Ideas and Ideals 14, no. 1-2 (March 25, 2022): 392–407. http://dx.doi.org/10.17212/2075-0862-2022-14.1.2-392-407.
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The article discusses the methodological problems one faces while working with the feature films in research on Soviet daily urban life. In the cultural anthropology of Soviet society, three methodological concerns should be highlighted. First, feature films are rarely thought of as providing reliable data and play marginal role in anthropological research. Second, the study of Soviet cultural politics in general and feature films in particular, requires bringing diverse disciplines in humanities in a synthesis. Third, the apparent lack of specific methodological guidelines for such analysis can be explained by the ongoing controversies in the theory of cinema and competing approaches to film studies. We found that although in the anthropology of Soviet society feature films are seen as an effective instrument of culture politics, there are but a few cases of studies focusing on feature films. At the same time the expressive potential of cinema and the viewer’s perceptions make films an important source for studying daily city life. On the one hand, the visual imagery of such films contains elements of urban life that are familiar to the viewer and thus provide a context that is understandable and intuitively legible. On the other hand, through the use of various dramatic and cinematographic techniques, certain norms of urban life are established in regard to daily practices, for instance, showcasing desirable images of urban dwellers. Therefore, analysis of feature films can shed light both on the reality of urban life and on its norms constructed in accordance with the goals of culture politics. In order to distinguish these two types of representations of urban living, it is necessary to take into account the conventions of the cinematic language evolved in different periods of Soviet history; the key points of culture policy; the actual social and economic opportunities enjoyed by Soviet urban dwellers. Therefore, findings in the field of film studies, culture studies and history of Soviet society provide the necessary context for the analysis of Soviet cinema as an anthropological source. Semiotics and deconstruction are among the main approaches to the study of elements of the cinematic language and mechanisms underlying the construction of ideological messages that these elements convey. In this study, we relied on protocol schemes developed by Helmut Korte as a methodological tool for film analysis.
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Gegen, Gegen. "Femme Fatale in French Film Noir." Advances in Humanities Research 1, no. 1 (December 21, 2021): 1–5. http://dx.doi.org/10.54254/ahr.2021001.
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The term film noir was coined by two French film critics Borde and Chaumenton in 1956 to describe American detective stories mode in the 1940s. Noir films were seen as a counter-cultural movement within Hollywood at that time, and the French new wave continued this feature in the 1960s. Therefore, the term noir itself connects the Frenchness and Americanness. This paper tends to map out the film noir sensibilities in French content through unfolding the characteristics of femme fatale in two French noir films Jean-Luc Godards A bout de souffle (Breathless) (1960) and Jean-Jacques Beineixs Diva (1981).
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Ibagere, Elo, and Osakue Stevenson Omoera. "The Nigerian Film Plot." Matatu 48, no. 2 (2016): 435–49. http://dx.doi.org/10.1163/18757421-04802012.
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The Nigerian film industry, otherwise known as Nollywood, has been acknowledged to be the second-largest in the world in terms of volume of production. This fact presents an interesting vista worthy of investigation, especially with regard to the quality of the films produced. It is in respect of this premise that this article examines the plot of the Nigerian film—a feature capable of affecting the popularity of the film. The essay, having dwelt on what plot is, critically examines the Nigerian film plot and finds that Nollywood films mostly adopt an episodic structure, thereby making them unnecessarily long. Besides (and this is systemically related to episodic structure and to a natural tendency in Nigerian rhetoric), many of the films tend to be too wordy, too chatty, over-padded, thus often earning them scathing criticism. The challenges of scriptwriting in this regard are examined, culminating in recommendations for how to improve the quality of scripts through plot construction in this vibrant film culture.
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Newland, Paul. "‘I didn't think I'd be working on this type of film’: Berberian Sound Studio and British Art Film as Alternative Film History." Journal of British Cinema and Television 13, no. 2 (April 2016): 262–77. http://dx.doi.org/10.3366/jbctv.2016.0312.
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It could be said that the films of the director Peter Strickland are in many ways exemplars of a rich strain of twenty-first-century British art cinema. Like work by Andrea Arnold, Steve McQueen, Jonathan Glazer, Lynne Ramsay, Ben Wheatley and Sam Taylor-Wood, among others, Strickland's three feature-length films to date are thought-provoking, well-crafted, prestigious, quality productions. But in this article I show that while Strickland's second feature-length film, Berberian Sound Studio, conforms to some of the commonly held understandings of the key traits of British art cinema – especially through its specific history of production and exhibition, its characterisation, its narrative structure, and its evidencing of the vision of an auteur – ultimately it does not sit comfortably within most extant histories of British national cinema or film genre, including art cinema. More than this, though, I argue that in its challenge to such extant critical traditions, Berberian Sound Studio effectively operates as ‘art film as alternative film history’. I demonstrate that it does this through the foregrounding of Strickland's cine-literacy, which notices and in turn foregrounds the historically transnational nature of cinema, and, at the same time, playfully and knowingly disrupts well-established cultural categories and coherent, homogenous histories of cinema.
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Petty, Sheila. "African Cinema and (Re)Education: Using Recent African Feature Films." Issue: A Journal of Opinion 20, no. 2 (1992): 26–30. http://dx.doi.org/10.1017/s0047160700501516.
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Over the past few years the Montreal World Film Festival has continued to increase its programming of films by African directors. The 1991 edition, which ran from August 22-September 2, was certainly no exception. I happened to turn on the television to the French station and caught Société Radio Canada’s “official” review of Laafi by Pierre Yameogo of Burkina Faso. The reviewers, Chantal Jolis and René Homier-Roy, dismissed Yameogo’s portrayal of a current African problem—braindrain—as weak in terms of artistic production. For example, they both agreed that Laafi had too many “monotonous moments.” Homier-Roy, in particular, seemed completely oblivious to the colonizing attitude he displayed when he spoke of how the film illustrated the “petit-nègre” (a phrase I have rarely heard spoken since I left France in 1987) side of Africans. He then proceeded to “legitimize” the comment by shrugging his shoulders and declaring, “It’s the Africans who are showing it this time, not us.” Finally, the reviewers decided that African films are really only useful for their “anthropological” information.
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Skowera, Maciej. "Model baśni filmowej w złotym wieku wytwórni Walta Disneya (wraz z późniejszymi modyfikacjami)." Wielogłos, no. 1 (47) (July 2021): 151–81. http://dx.doi.org/10.4467/2084395xwi.21.007.13582.
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[Model of a Film Fairy Tale in the Disney Golden Age (with Later Modifications)] The article attempts to determine the constitutive elements of a model film fairy tale in the so-called Disney Golden Age and to examine how it was used in later works, both these created by the studio and those by unrelated creators. After preliminary remarks, the author analyses three feature-length animated films: Snow White and the Seven Dwarfs (1937), Cinderella (1950), and Sleeping Beauty (1959). In these works, as he notes, one can notice a set of features that make up the classic Disney model of a film fairy tale. Next, the author discusses modifications applied to the pattern during the Disney Renaissance and Revival. Finally, he cites examples of cultural texts polemical to this paradigm which point to the cultural vitality and heterogeneity of the studio’s films.
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Klenotic, Jeffrey. "‘Big’ and ‘little’ Quo Vadis? in the United States, 1913–1916: Using GIS to map rival modes of feature cinema during the transitional era." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 32, no. 41 (January 5, 2023): 5–25. http://dx.doi.org/10.14746/i.2022.41.01.
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This article emanates from a geospatial database of over 600 premieres of the Cines company’s Quo Vadis? (1913), an eight-reel film distributed by George Kleine, and nearly 250 premieres of the Quo Vadis Film Company’s Quo Vadis? (1913), a three-reel film of ambiguous origins distributed by Paul De Outo. By mapping local premieres of both films across the United States from 1913 through 1916, the data show with spatiotemporal precision the spread of Quo Vadis? as one of cinema’s early blockbuster titles. Yet within this national phenomenon, the two films’ footprints reveal differing cultural geographies served by competing efforts to feature Quo Vadis? using alternative practices of distribution and exhibition. The study finds that Quo Vadis? played a more complex role mediating the rise of features than is yet known, serving rival modes of cinema where longer, more expensive films were celebrated but also contested.
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Melnik, Yuliya A., and Kseniya R. Russu. "Linguodidactical potential of modern feature films in Russian as a foreign language classes." Neophilology, no. 25 (2021): 111–20. http://dx.doi.org/10.20310/2587-6953-2021-7-25-111-120.
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The work is devoted to the formation of sociocultural and linguocultural competences of foreigners studying Russian as a foreign language (RFL) through work with modern feature films. We describe the linguodidactic potential of authentic video materials designed to work in the classroom in Russian as a foreign language; selection criteria are presented. We point out that mo-tion pictures are a valuable source of both linguistic and extralinguistic information. We conclude that it is advisable to use authentic full-length feature films in RFL lessons; the recommended lev-el of language proficiency is B1. We offer a methodological development for the Russian film “Moscow Romance” (2019). We substantiate the criteria for choosing this film, we have devel-oped a system of tasks, some of which can be completed during extracurricular hours. We pre-scribe such stages of work with the film as: “Pre-demonstration. Preparation for viewing”, “Dem-onstration. Understanding Test” and “Post-Demonstration. Discussion”, as well as offer the fourth stage “Continuing work outside the classroom”. This system of work has been tested by the au-thors of the work in three groups of different nationalities studying at Russian universities.
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DOĞANER, Saygın Koray. "DANCER IN THE DARK AS A HYBRID NARRATION." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 12, no. 3 (July 1, 2022): 833–45. http://dx.doi.org/10.7456/11203100/018.
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In this article, in Dancer in the Dark, the third film of Lars Von Trier's Golden Heart Trilogy (Breaking the Waves 1996, Idioterne, 1998, Dancer in the Dark 2000), how music and dance are used, what principles its technique is based on, the mise-en-scene elements used in creating meaning. and the narrative structure of the film was examined. Dancer in the Dark stands out as one of the films where Trier takes naive, childlike, pain-tested, strong and yet fragile women to the center. The film, which has little in common with the musicals in classical narrative cinema, has a musical feature with melodramatic features. The narration of the film creates a hybrid structure between European art cinema and classical Hollywood cinema. The narrative technique of the film also partially complies with the Dogma 95 manifesto published by Trier and three Danish directors.
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Oksana L., Abrosimova. "Feature Film as a Means of Teaching Foreign Philology Students the Russian Language." Scholarly Notes of Transbaikal State University 17, no. 1 (February 2022): 6–15. http://dx.doi.org/10.21209/2658-7114-2021-17-1-6-15.
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The article considers feature film as one of the auxiliary means in teaching the Russian language to foreign students. The relevance of the article lies in the recent trend in learning a foreign language through the comprehension of culture. During the study, some results were achieved that contribute to the optimization of the work with feature films at the Russian as a foreign language lessons. The main directions of its analysis in a foreign student audience are described: textocentric, audiovisual, linguoculturological, communicative. The significance of a comprehensive feature film analysis for better knowledge of culture and language learning is determined. The complexity involves the interpretation of the visual series and audio order, the discourse meanings analysis, the definition and development of sociocultural and linguistic cultural components, as well as the identification in the film of the most typical speech behaviors. It is noted that when analyzing the film in the textocentric aspect, discourse should be considered taking into account pragmatic, sociocultural, psychological factors, students’ ethnic characteristics, differences in behavior patterns in similar situations among different countries representatives. The article considers the linguoculturological component, the use of which, when analyzing the film, helps to reveal linguistic and cultural universals for students, teach to draw parallels, adequately evaluate the situation, and identify themselves in it. The pre-viewing and post-viewing tasks system developed and tested in practice is also presented and it contributes to better assimilation of the film text in Russian cinema classes at the university. It is noted that the feature film comprehensive analysis contributes to the formation of a competent, fluent in the language, an educated specialist in philology, who has an extensive background knowledge, loves Russian language, culture, literature, history; to educate the personality – creative, tolerant, capable of intercultural interaction.
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Bovier, François. "Tony Morgan’s Performative Cinema in the Age of the “Cinematic Turn”: “Relational Films” (1969-1970), “Structural Films” (1969-1971) and Produkt Cinema (1971)." Artium Quaestiones 31, no. 1 (December 20, 2020): 67–100. http://dx.doi.org/10.14746/aq.2020.31.3.
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This article analyses the films, installations, performances and film projects of British artist, Tony Morgan, who is associated with Fluxus. Focusing on the years 1969–1971, we show the process of dematerialization and rematerialization inherent in his films – a distinctive feature of a cinematographic turning point in conceptual and postconceptual art. We discuss his film gallery, Produkt Cinema, an exceptional venue for producing and exhibiting films created exclusively for this specific location. We finally argue that, through the introduction of performative elements, his installations, generically entitled Structural Films, disrupt the minimalist ethos of ‘structural film’ (a term coined by P. Adams Sitney).
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Lee, Bong Ki, Gyu Bong Cho, Kwon Koo Cho, and K. W. Kim. "Structural and Electrochemical Evaluation of a Si Film Electrode Fabricated on a Ni Buffer Layer." Solid State Phenomena 124-126 (June 2007): 1011–14. http://dx.doi.org/10.4028/www.scientific.net/ssp.124-126.1011.
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Si and Si/Ni thin film electrodes less than 1m in total thickness were fabricated on the roughened Cu substrate by rf sputtering. Their surface morphology and crystalline structure were carefully investigated by means of FESEM and XRD. The morphology of films is dependent on the surface feature of substrate, and the grown films were amorphous. The initial capacity and the irreversible capacity loss of a Li/Si film cell were improved with insertion of a Ni buffer layer. The effect of the film morphology on the electrochemical properties of cells was demonstrated based on the observations of film electrodes.
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James, David E. "Rock ‘n’ Film: Generic Permutations in Three Feature Films from 1964." Grey Room 49 (October 2012): 6–31. http://dx.doi.org/10.1162/grey_a_00086.
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Biswas, Moinak, Ravi Vasudevan, Arun Kumar Roy, and Maharghya Chakraborty. "Hari Sadhan Dasgupta: Short Film Maker." BioScope: South Asian Screen Studies 8, no. 1 (June 2017): 146–70. http://dx.doi.org/10.1177/0974927617705933.
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Hari Sadhan Dasgupta (1923–1996) was arguably the most significant documentary filmmaker to emerge from the circle of film aficionados, intellectuals, and writers who gathered at the Calcutta Film Society (and at the Indian Coffee House on Central Avenue in Calcutta) in the late 1940s and 1950s. He received institutional training in filmmaking at the film school of the University of Southern California and served Irving Pichel as observer apprentice on three films after completing his university program. He was the first among the Calcutta Film Society group to make films and went on to make 50 odd documentaries and commercials between 1948 and 1984, of which Panchthupi: A Village in West Bengal (1955), The Story of Tata Steel (1958), and Konarak (1949) have earned iconic status. He also made two feature-length fiction films Eki Ange Eto Rup (1965) and Kamallata (1969).
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Jowett, Garth S., and Paul Swann. "The Hollywood Feature Film in Postwar Britain." American Historical Review 93, no. 5 (December 1988): 1338. http://dx.doi.org/10.2307/1873612.
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Zavrl, Nace. "High art cinema: The artist’s feature film." Moving Image Review & Art Journal (MIRAJ) 7, no. 1 (April 1, 2018): 52–64. http://dx.doi.org/10.1386/miraj.7.1.52_1.
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Ito, Akihiko, Hiroshi Masumoto, and Takashi Goto. "Morphology of Epitaxially Grown BaRuO3 and CaRuO3 Thin Films by Laser Ablation." Key Engineering Materials 352 (August 2007): 315–18. http://dx.doi.org/10.4028/www.scientific.net/kem.352.315.
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Epitaxial BaRuO3 (BRO) and CaRuO3 (CRO) thin films were prepared on (001), (110) and (111) SrTiO3 (STO) single-crystal substrates by laser ablation, and their microstructures and anisotropy of electrical conductivity were investigated. The (205) (104), (110) and (009) oriented BRO thin films, and (001), (110) and (110) oriented CRO thin films were grown epitaxially on (001), (110) and (111) STO substrates with in-plain orientation, respectively. The (009) BRO thin film and (001) CRO thin film has a flat surface result from a good lattice matching to STO substrates. The (205) (104) BRO thin film and (111) CRO thin film exhibited orthogonal- and hexagonal-shaped texture, respectively. The (110) BRO thin film and (110) CRO thin film showed an island growth due to (110) surface feature of cubic perovskite structure. Epitaxial BRO and CRO thin films have a high electrical conductivity with a metallic conduction, the (111) CRO thin films exhibited the highest conductivity of 1.4×105 S·m-1.
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Lv, Yu Bin, Quan Xiao Liu, Wen Cai Xu, and Jin Li Li. "Research Development of Biodegradable Modification of Poly (vinyl alcohol) Film." Advanced Materials Research 380 (November 2011): 234–37. http://dx.doi.org/10.4028/www.scientific.net/amr.380.234.
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Polyvinyl alcohol (PVA) is a kind of biodegradable film material, and its degradation process is mainly done through PVA-degrading enzymes, but the film biodegradation cycle is longer, so it needs other polymers with favorable biodegradability to improve the degradation rate in the nature environment. In this paper the biodegradation mechanism of PVA films and the influence of structural feature on biodegradability were described. The research development of starch-based biodegradable PVA films by blending starch to reduce the biodegradation cycle was emphasized and the biodegradable films modified by chitosan to improve film properties was briefly described.