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Journal articles on the topic 'Film-form'

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Published: 4 June 2021
Last updated: 27 April 2022

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1

Wartenberg, Thomas. "Understanding Film Form." Film and Philosophy 10 (2006): 163–71. http://dx.doi.org/10.5840/filmphil20061012.

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2

Kolker, Robert. "Film, form, and culture." ACM SIGWEB Newsletter 5, no. 2 (June 1996): 31. http://dx.doi.org/10.1145/231738.232621.

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3

Poulaki, Maria. "The ‘Good Form’ of Film." Gestalt Theory 40, no. 1 (April 1, 2018): 29–43. http://dx.doi.org/10.2478/gth-2018-0004.

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Summary This article questions certain assumptions concerning film form made by the recent (neuro)psychological film research and compares them to those of precursors of film psychology like Hugo Münsterberg and Rudolf Arnheim, as well as the principles of Gestalt psychology. It is argued that principles of Gestalt psychology such as those of ‘good form’ and good continuation are still underlying the psychological research of film, becoming particularly apparent in its approach to continuity editing. Following an alternative Gestalt genealogy that links Gestalt theory with more recent dynamic models of brain activity and with accounts of brain complexity and neuronal synchronisation, the article concludes that psychological research on film needs to shift the focus from form to transformation, both in conceiving the perceptual and cognitive processing of films and in approaching film aesthetics more broadly.
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4

Lealand, Geoff. "Review: Film, Form, and Culture." Media International Australia 92, no. 1 (August 1999): 146. http://dx.doi.org/10.1177/1329878x9909200125.

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5

Brown, Richard H. "Piezo film: Form and function." Sensors and Actuators A: Physical 22, no. 1-3 (June 1990): 729–33. http://dx.doi.org/10.1016/0924-4247(89)80067-6.

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6

Lee, Chong-Hoon. "Polish-Russian ‘Film Warfare’ in Form of War Film Production." World History and Culture 51 (June 30, 2019): 251–88. http://dx.doi.org/10.32961/jwhc.2019.06.51.251.

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7

Kim, Jong-Guk. "Pathos of S. Eisenstein's Film Form." Journal of the Korea Contents Association 15, no. 6 (June 28, 2015): 73–80. http://dx.doi.org/10.5392/jkca.2015.15.06.073.

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8

Campanini. "Teaching Film Sound as Material Form." Music and the Moving Image 5, no. 2 (2012): 43. http://dx.doi.org/10.5406/musimoviimag.5.2.0043.

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9

Önen, Naz. "Essay Film as a Dialogical Form." JOMEC Journal, no. 13 (February 4, 2019): 93. http://dx.doi.org/10.18573/jomec.188.

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10

Arouh, Melenia. "The Different Meanings of “Film Form”." Projections 14, no. 3 (December 1, 2020): 55–71. http://dx.doi.org/10.3167/proj.2020.140305.

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The appreciation of form is a common preoccupation in aesthetic analyses of films. The concept of form, however, has traditionally troubled philosophers of art, and although its meaning and significance have been debated throughout history, a common understanding is not always easy to discern. This article reviews certain ambiguities regarding “form” in film aesthetics through an examination of the uses of the word, especially in relation to content, medium, and style. Through this discussion, both the significance of the word is explained, but also the type of analysis it allows for.
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11

Yousaf, Nahem. "Sembene Ousmane and ‘rhetorical film form’." Wasafiri 11, no. 22 (September 1995): 49–53. http://dx.doi.org/10.1080/02690059508589457.

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12

Eis, Andrea. "Penelope’s Odyssey: Film Form as Meaning." ATHENS JOURNAL OF HUMANITIES & ARTS 1, no. 3 (June 30, 2014): 193–214. http://dx.doi.org/10.30958/ajha.1-3-2.

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13

Nugroho, Agustinus Dwi. "The Artist: Silent Technique in Film Form." International Journal of Creative and Arts Studies 3, no. 1 (December 29, 2017): 9. http://dx.doi.org/10.24821/ijcas.v3i1.1831.

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The Artist is a film that uses the silent era techniques to visualize the film. This study sought to uncover what the motivation behind the use of techniques to the silent era films with his observation of the text of both aspects of the narrative as well as aspects of the technique. The findings of the observation process could be the basis of analysis. The Artist makes this silent era technology into a cinematic technique to visualize the film. This has become a strong motivation and able to demonstrate the strength of the story as a whole that tells about the silent era transition process from the perspective of the player. The silent era techniques were used to make this technique as a force in the film. This study focuses on how the technique of the silent era emerged as a new technique in the world of film and brings new perspective in film studies. This new technique emerged because it was never used fully in the present.
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14

Spence, Martin. "Form, fetish, and film: Revisiting Open Marxism." Capital & Class 34, no. 1 (February 2010): 99–106. http://dx.doi.org/10.1177/0309816809353490.

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15

Mankar, Jayshree, Dr Dinesh Biyani, and Dr Milind Umekar. "Oral Thin Film: Advanced Oral Dosage Form." Global Journal for Pharma and Allied Sciences 1, no. 5 (September 25, 2020): 1–7. http://dx.doi.org/10.47583/gjfpas.2020.v01i05.001.

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16

Sabol, Ján. "Theatrical Mise-En-Scene In Film Form." Slovenske divadlo /The Slovak Theatre 66, no. 3 (September 1, 2018): 288–95. http://dx.doi.org/10.2478/sd-2018-0017.

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Abstract The study reflects on divergence between theatre and film. It also points out that the difference ought to be sought in ontology, in the principle of the coding of actual reality by using film or theatrical language. In the perception of a syncretic work that connects the elements of both types of art, the viewer a priori perceives theatrical mimesis (and also the execution of theatrical mise-en-scène) as an “alien” element used by the film “language” of a concrete cinematographic work. The perception of such a work assumes the viewer’s readiness and willingness to accept a hybrid work, which inevitably calls for a different manner of decoding the narrative offered. If we are to summarise the hitherto knowledge which elucidates the relationship between theatre and film (in the manner in which actual reality is mimicked and in the subsequent execution of theatrical and film mise-en-scène), it may be concluded that, as opposed to film, theatre enjoys a unique opportunity to imitate actual reality by performing which takes place in real time and in direct interaction between the actor and the viewer. The film conveys this using filmmaking devices.
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17

Abeysuriya, Kumudini, and Ian J. Hodgkinson. "Plate-void model for thin-film form birefringence." Journal of the Optical Society of America A 5, no. 9 (September 1, 1988): 1549. http://dx.doi.org/10.1364/josaa.5.001549.

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18

Tabiryan, Nelson, Svetlana Serak, Xiao-Man Dai, and Timothy Bunning. "Polymer film with optically controlled form and actuation." Optics Express 13, no. 19 (September 19, 2005): 7442. http://dx.doi.org/10.1364/opex.13.007442.

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19

Chen, Aiping, Honghui Zhou, Yuanyuan Zhu, Leigang Li, Wenrui Zhang, Jagdish Narayan, Haiyan Wang, and Quanxi Jia. "Stabilizing new bismuth compounds in thin film form." Journal of Materials Research 31, no. 22 (November 10, 2016): 3530–37. http://dx.doi.org/10.1557/jmr.2016.391.

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20

Tabiryan, Nelson, Svetlana Serak, Xiao-Man Dai, and Timothy J. Bunning. "Polymer Film with Optically Controlled Form and Actuation." Optics and Photonics News 17, no. 12 (December 1, 2006): 40. http://dx.doi.org/10.1364/opn.17.12.000040.

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21

Rohma, Naafi Nur. "CONCEPT OF FORM IN THE FILM DILAN 1990." Capture : Jurnal Seni Media Rekam 12, no. 2 (July 3, 2021): 117–31. http://dx.doi.org/10.33153/capture.v12i2.2446.

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The Dilan 1990 is an adaption film that chronicles the romance of high school teenagers in the 1990s. This film ranked first in terms of viewership in 2018. The allure of this film that warrants further analysis is its shape notion. This study aims to analyze the Dilan 1990 film's notion of form. This qualitative descriptive study analyzes data using the form concept methodology created by David Bordwell and Kristin Thompson. The findings indicate that the film's forms and processes are extremely complicated. The constructed elements are connected in such a way that they can excite the audience's emotions, most notably their expectations.
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22

Nakajima, Tomohiko, Yuki Fujio, Tohru Sugahara, and Tetsuo Tsuchiya. "Flexible Ceramic Film Sensors for Free-Form Devices." Sensors 22, no. 5 (March 3, 2022): 1996. http://dx.doi.org/10.3390/s22051996.

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Recent technological innovations, such as material printing techniques and surface functionalization, have significantly accelerated the development of new free-form sensors for next-generation flexible, wearable, and three-dimensional electronic devices. Ceramic film sensors, in particular, are in high demand for the production of reliable flexible devices. Various ceramic films can now be formed on plastic substrates through the development of low temperature fabrication processes for ceramic films, such as photocrystallization and transferring methods. Among flexible sensors, strain sensors for precise motion detection and photodetectors for biomonitoring have seen the most research development, but other fundamental sensors for temperature and humidity have also begun to grow. Recently, flexible gas and electrochemical sensors have attracted a lot of attention from a new real-time monitoring application that uses human breath and perspiration to accurately diagnose presymptomatic states. The development of a low-temperature fabrication process of ceramic film sensors and related components will complete the chemically stable and reliable free-form sensing devices by satisfying the demands that can only be addressed by flexible metal and organic components.
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23

Garczewska, Anna. "Film as a form of social communication – the example of Polish film ‘Róża’." Confrontation and Cooperation: 1000 Years of Polish-German-Russian Relations 5, no. 1 (March 1, 2019): 4–9. http://dx.doi.org/10.2478/conc-2019-0001.

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24

Tang, Xiao-Li, H. W. Zhang, H. Su, Y. Shi, and X. D. Jiang. "Study of the impact of winding form and film thickness on thin-film inductors." Microelectronic Engineering 81, no. 2-4 (August 2005): 212–16. http://dx.doi.org/10.1016/j.mee.2005.03.009.

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25

Fukuzawa, Kenji, Hiroki Kuwano, and Toshikazu Majima. "Photoelectrical Responses of Dried Purple Membrane Film in Blue Form and Acid Purple Form." Journal of Intelligent Material Systems and Structures 5, no. 6 (November 1994): 743–48. http://dx.doi.org/10.1177/1045389x9400500603.

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26

Murata, Yoshifumi, Kyoko Kofuji, Norihisa Nishida, and Ryosei Kamaguchi. "Preparation and Characteristics of Film Dosage Form Natural Polysaccharides." Pharmacology & Pharmacy 02, no. 03 (2011): 194–98. http://dx.doi.org/10.4236/pp.2011.23028.

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27

Fowler, William. "Long-form experimental film and the BFI Production Board." Moving Image Review & Art Journal (MIRAJ) 6, no. 1 (December 1, 2017): 162–73. http://dx.doi.org/10.1386/miraj.6.1-2.162_1.

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28

Algueró, M., P. Hvizdos, A. J. Bushby, and M. J. Reece. "Stress Induced Depolarisation of Ferroelectrics in Thin Film Form." Ferroelectrics 267, no. 1 (January 2002): 367–72. http://dx.doi.org/10.1080/713715936.

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29

Huang, Ming, Chunhui Wang, Le Quan, Thi Hai-Yen Nguyen, Hanyang Zhang, Yi Jiang, Gangil Byun, and Rodney S. Ruoff. "CVD Growth of Porous Graphene Foam in Film Form." Matter 3, no. 2 (August 2020): 487–97. http://dx.doi.org/10.1016/j.matt.2020.06.012.

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30

Pigazo, F., F. J. Palomares, F. Cebollada, and J. M. González. "Preparation of hard magnetic materials in thin film form." Journal of Magnetism and Magnetic Materials 320, no. 14 (July 2008): 1966–71. http://dx.doi.org/10.1016/j.jmmm.2008.02.010.

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31

López, Ana B., José C. de la Cal, and José M. Asua. "Controlling film topography to form highly hydrophobic waterborne coatings." Soft Matter 12, no. 33 (2016): 7005–11. http://dx.doi.org/10.1039/c6sm01081d.

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32

Gopal, Sangita. "Sealed with a Kiss: Conjugality and Hindi Film Form." Feminist Studies 37, no. 1 (2011): 154–80. http://dx.doi.org/10.1353/fem.2011.0021.

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33

Muse, Menra, J. S. Dua, and D. N. Prasad. "A REVIEW ON BUCCAL FILM: AN INOVATIVE DOSAGE FORM." INDIAN DRUGS 54, no. 01 (January 28, 2017): 5–14. http://dx.doi.org/10.53879/id.54.01.10706.

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Buccal administration of drugs leads to systemic circulation through internal jugular vein, bypassing them from hepatic first pass metabolism and leading to greater bioavailability. Buccal mucosa is most preferred site for both local as well as systemic action. For administration of drug through mucosal route, various types of dosage forms can be prepared. Buccal films can release topical drugs with controlled and sustained effects. Buccal films have the advantage of improved patient compliance because of reduced size with a suitable thickness as compare to other delivery systems. Buccal film can enhance absorption of active medicament as compared to others. Synthetic natural and semi synthetic polymers in low concentration can be used for the preparation of buccal films. Such types of dosage forms are cost effective, non-irritating, easy to handle, elegant, rapidly absorbable and most preferred by consumer. The review describes the anatomy of oral mucosa, mechanism of buccal absorption, methods to increase drug delivery via a buccal route, formulation aspects and evaluation parameters of buccal films.
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34

Banjaransari, Tunggul. "Modified Film Form in Reference to Contextual 3-D Filmmaking: Challenging the Monopoly of Film Form and Dissemination of Knowledge in Indonesia." International Journal of Visual and Performing Arts 1, no. 2 (November 30, 2019): 53–59. http://dx.doi.org/10.31763/viperarts.v1i2.15.

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35

Ma, Xun, Wubin Xu, Xueping Zhang, and Fuyong Yang. "Effect of form errors on oil film characteristics of hydrodynamic journal bearings based on small displacement torsor theory." Industrial Lubrication and Tribology 71, no. 3 (April 8, 2019): 426–39. http://dx.doi.org/10.1108/ilt-05-2017-0140.

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Purpose This paper aims to investigate how form error of journal affects oil film characteristics, which are composed of several parameters including the maximum film pressure, film moment, frictional coefficient and carrying-load capacity. Design/methodology/approach A new generalized equation based on the small displacement torsor theory is derived, as well as its capability of representing types of form error on the journal, using four specified parameters in a three-dimensional (3D) state. Based on the new generalized equation of form errors, the Reynolds equation is represented and solved numerically using the Swift–Stieber boundary condition. Findings The results show that the form errors of journal have significant influence on all oil film characteristics. However, the film moment remains nearly unchanged as film characteristics, especially eccentricity ratio, become large. All film characteristics investigated vary periodically as the form error. More importantly, it is found that the film pressure distribution transforms to an asymmetric shape along the axial direction of the bearing, no longer a symmetric shape in the case of two-dimensional (2D) form errors. It is necessary to substitute the 3D form error model, which takes the variations of the film characteristics in axial direction into account, for the 2D model in the designing stage of journal bearings. Originality/value First, the effect of the form error of the journal on the performance of hydrodynamic journal bearings is studied in the view of the film characteristics systematically. Secondly, the new generalized equation of form error, derived by SDT theory, is capable of representing any types of form error on the journal, not only representing one type of form error merely.
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36

Sari, Annisa Rachmatika, and Matius Ali. "EKSIBISIONISME FILM RIDING THE LIGHTS." REKAM: Jurnal Fotografi, Televisi, dan Animasi 14, no. 1 (August 15, 2018): 27. http://dx.doi.org/10.24821/rekam.v14i1.2135.

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Tulisan ini menelaah bentuk eksibisionisme film Riding The Lights berupa konstruksi sinematik yang melakukan penyesuaian diri pada kategorisasi akal. Dalam proses tersebut, terjadi peristiwa film yang memberi cerapan inderawi. Hal ini bertujuan untuk membangun kesadaran penonton atas wujud objek. Adapun konsep perhatian Münsterberg digunakan untukmenemukan bentuk eksibisionisme dalam film Riding The Lights. Konsep perhatian berada dalam teori Photoplay yang menganggap bahwa proses mental disebabkan oleh penyesuaian diri yang dilakukan oleh film pada struktur dasar berpikir penonton. Pada teori psikologi film ini, konsep perhatian ditempatkan sebagai salah satu proses mental ketika menyaksikan film, yakni sebuah fase ketika mata penonton menerima cerapan inderawi secara tidak sadar. Hasil telaah menunjukkan bahwa bentuk eksibisionisme dalam film Riding The Lights mengarahkan penonton pada tokoh wanita berbaju hijau.AbstractExhibitionism in the Film of ‘Riding the Lights’. This paper examines the form of film exhibitionism in Riding The Lights, in the form of cinematic constructions that made adjustments to the categorization of reason. In that process, there was a moment that the film gave a sensational perception. It aimed to build the audience’s awareness of the object’s form. As for the concept of Münsterberg’s attention was used to discover the form of exhibitionism in the film of Riding The Lights. The concept of attention lied in the theory of Photoplay, which assumes that mental processes are caused by the adjustment carried by the film on the basic structure of audiences’ thoughts. In the theory of psychology of this film, the concept of attention was placed as one of the mental processes when watching the show, which became a phase when the eyes of the audience received sensational perception unconsciously. The results of the study showed that the form of exhibitionism in the film of Riding The Lights ledthe audience to the figure of women in green.
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37

Lipman, Ross. "Reframing Berkeley: The Form of Non-Being, or: Fixing Film." Journal of Beckett Studies 28, no. 2 (September 2019): 214–31. http://dx.doi.org/10.3366/jobs.2019.0269.

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This essay seeks to elucidate some of the many challenges faced by Beckett and his collaborators in their attempt to realize his exploration of subjective consciousness in cinema. It utilizes Beckett's unpublished production notes, correspondence, and examples from the production's original camera tests to examine the technical and formal ways that he, director Alan Schneider and cinematographer Boris Kaufman sought to make physically manifest the abstract ideas underlying the unconventional script of Film. In the many photochemical experiments they conducted prior to production, discovered amidst the outtakes in the course of Film's restoration, one sees Beckett's unique vision struggling with not just the theoretical constructs of a new medium, but with its practical application. The interaction of these respective struggles in turn serves as a metaphor for Beckett's larger dialogue with Bishop Berkeley, and its questions on the nature of Being which drive Film.
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38

Galan, F. W. "Film and Form: Notes on Boris Èjchenbaum's Stylistics of Cinema." Russian Literature 19, no. 2 (February 1986): 105–42. http://dx.doi.org/10.1016/s0304-3479(86)80001-1.

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39

Kinashi, Kenji, Yasuhisa Harada, and Yasukiyo Ueda. "Thermal stability of merocyanine form in spiropyran/silica composite film." Thin Solid Films 516, no. 9 (March 2008): 2532–36. http://dx.doi.org/10.1016/j.tsf.2007.04.120.

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40

Powrie, Phil. "Film‐form‐mind: The Hegelian follies of Roger Gilbert‐Lecomte." Quarterly Review of Film and Video 12, no. 4 (December 1990): 19–32. http://dx.doi.org/10.1080/10509209109361361.

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41

Zhang, Lunyong, Bin Pang, Y. B. Chen, and Yanfeng Chen. "Review of Spin–Orbit Coupled Semimetal SrIrO3in Thin Film Form." Critical Reviews in Solid State and Materials Sciences 43, no. 5 (September 15, 2017): 367–91. http://dx.doi.org/10.1080/10408436.2017.1358147.

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42

Ryu Do Hyung. "Meaning-Form Combined Instruction Using Film Subtitles for Language Awareness." STEM Journal 17, no. 4 (November 2016): 115–31. http://dx.doi.org/10.16875/stem.2016.17.4.115.

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43

Byeon, Jeong Hoon, Ki Young Yoon, and Jungho Hwang. "Aerosol assisted fabrication of metallic film/carbon fiber and heat treatment to form crystalline alloy film." Thin Solid Films 518, no. 23 (September 2010): 6839–43. http://dx.doi.org/10.1016/j.tsf.2010.06.067.

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44

Lui, Tai-Hsiang, Fei-Yi Hung, Truan-Sheng Lui, and Kuan-Jen Chen. "Preparation of Cu2Sn3S7Thin-Film Using a Three-Step Bake-Sulfurization-Sintering Process and Film Characterization." Journal of Nanomaterials 2015 (2015): 1–7. http://dx.doi.org/10.1155/2015/969783.

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Cu2Sn3S7(CTS) can be used as the light absorbing layer for thin-film solar cells due to its good optical properties. In this research, the powder, baking, sulfur, and sintering (PBSS) process was used instead of vacuum sputtering or electrochemical preparation to form CTS. During sintering, Cu and Sn powders mixed in stoichiometric ratio were coated to form the thin-film precursor. It was sulfurized in a sulfur atmosphere to form CTS. The CTS film metallurgy mechanism was investigated. After sintering at 500°C, the thin film formed the Cu2Sn3S7phase and no impurity phase, improving its energy band gap. The interface of CTS film is continuous and the formation of intermetallic compound layer can increase the carrier concentration and mobility. Therefore, PBSS process prepared CTS can potentially be used as a solar cell absorption layer.
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Pinem, Mekro Permana, Endarto Yudo Wardhono, Frederic Nadaud, Danièle Clausse, Khashayar Saleh, and Erwann Guénin. "Nanofluid to Nanocomposite Film: Chitosan and Cellulose-Based Edible Packaging." Nanomaterials 10, no. 4 (April 2, 2020): 660. http://dx.doi.org/10.3390/nano10040660.

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Chitosan (CH)-based materials are compatible to form biocomposite film for food packaging applications. In order to enhance water resistance and mechanical properties, cellulose can be introduced to the chitosan-based film. In this work, we evaluate the morphology and water resistance of films prepared from chitosan and cellulose in their nanoscale form and study the phenomena underlying the film formation. Nanofluid properties are shown to be dependent on the particle form and drive the morphology of the prepared film. Film thickness and water resistance (in vapor or liquid phase) are clearly enhanced by the adjunction of nanocrystalline cellulose.
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46

Phetorant, Dimas. "Peran Musik dalam Film Score." Journal of Music Science, Technology, and Industry 3, no. 1 (January 31, 2020): 91–102. http://dx.doi.org/10.31091/jomsti.v3i1.967.

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Scores are things that cannot be separated from the film. The score has an important role in the film. Apart from being a communication tool, scores are needed to convey visual messages. The rise of filmmaking lately especially those related to scores requires composers with a variety different disciplines. This paper discusses the score on the film. The method used is observation. The data studied is in the form of journals, books, pictures, videos, which have been described in written form.
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47

Zhabsky, Mikhail I. "The Product of Film Industry - a Cultural Good in Commodity Form." Journal of Flm Arts and Film Studies 10, no. 2 (June 15, 2018): 27–36. http://dx.doi.org/10.17816/vgik10227-36.

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In consideration are the essence characteristics of a theatrical feature as a product of film industry. The focus of attention is a contradiction between the psychic-cultural use value of film-industry products and the commodity form of their production and consumption. As the object of spectatorship needs, the product of film industry distinguishes itself in the capacity of a story narrated in the language of cinema, interestingly to the targeted movie-goer. Spectatorship needs are emotional, intellectual and other psychic impetuses of the individual, requiring satisfaction through ones immersion in the image world of cinema. A difference is drawn between the spectators needs toward cinema and those of society as a whole. The film production aimed at a profitable satisfaction of individual needs is incapable of explicating and meeting certain societal needs. Psychological mechanisms of immersing spectators in a film world are the processes of empathy and identification, regression and projection, imparting cinema with some sort of magic. The modern film industry has grown on the soil of commodity film production to which some essential demerits are endemic. Picture of the world created by it is a function of the films commodity form, thus rendering the picture mongrel in many respects. The magnitude of the box office, functioning as a code for establishing and maintaining interaction between the societys cultural highs and lows, entails certain dysfunctional consequences. In the modern conditions of globalization the national commodity-film production is forced to adapt to the demands of Americanized mass audience. With the irreversibility of an objective law, there crops up a certain loss of the national productions own face. In this regard, consideration is given to the issues of authentically expressing and reproducing the nations identity by the means of cinema.
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48

Krasina, Elena A., Eugeniy S. Rybinok, and Alia Moctar. "Film Naming: Book Titles and Film Titles." RUDN Journal of Language Studies, Semiotics and Semantics 11, no. 2 (December 15, 2020): 330–40. http://dx.doi.org/10.22363/2313-2299-2020-11-2-330-340.

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The studies of a film text as a polycoded textual phenomena involve the studies of its integral components, such as film story and screenplay, reflecting storyline or plot of a literary text that serves as a precedential text to filming and as an immediate constituent of a film itself. Film title combines the features of a book or story title and functions as a precedential phenomenon as well, but is an integral part of the process of film promotion and release, and in cinematographic sphere it’s of crucial importance. In fact, the original book or story titles used to change especially with time and audience involved, when filming remaking changes to TV series and miniseries, or films are followed by sequels and prequels so that not to make something like Jaws 3 or Indiana Jones 5 . Anyhow, most of film titles fully repeat or at least conserve the title of a literary text, still it’s often amplified to make difference or to emphasize the idea that the screenplay is a new one just the story to be continued, e.g., Jaws-3D: The Revenge. Not very often the changes are marked graphically as of Romeo + Juliet or Romeo & Julie t, so that to hint a new turnoff the plot to the audience. It’s obvious that film titles often use names of main characters either for series or episode titles or to form a film franchise like that of Jurassic Park or Indiana Jones ones. As people started to use different IT gadgets they used to read books less and less, and film stories tend to make a new book form when a book is no longer a precedent to a film. Thus the cycle of “book title → film title” was completed by a part of “film title → book title (or book itself” to reflect the reverse trend, which is known worldwide.
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49

Mokeev, Anton Borisovich. "FILM “THE RETURN OF NATHAN BECKER”: NATIONAL FORM AND SOCIALISTIC CONTENT." Manuscript, no. 4 (April 2019): 45–49. http://dx.doi.org/10.30853/manuscript.2019.4.8.

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50

Hashimoto, Yasuo, Yumi Hashimoto, Kazushi Yamada, Ken Miyata, and Satoshi Urushiyama. "Effect of Heater Form on Heat-sealed Parts of Plastic Film." Seikei-Kakou 26, no. 2 (2014): 88–92. http://dx.doi.org/10.4325/seikeikakou.26.88.

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