Relevant bibliographies by topics / Film production

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Film production'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Film production"

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Pamungkas, Rezki Yoga, and Muhammad Muttaqien. "Capciptop short Film management production as Saos ABC Promotion Media." Symposium of Literature, Culture, and Communication (SYLECTION) 2022 3, no. 1 (November 22, 2023): 255. http://dx.doi.org/10.12928/sylection.v3i1.13974.

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The film "Capciptop" is a short film produced through a collaboration between Ravacana Films and Heinz ABC Indonesia, aimed at promoting ABC sauce with spicy onion flavor. Heinz ABC Indonesia partnered with Ravacana Films, known for its credibility in film production, including the viral "Tilik" with 28 million viewers on the Ravacana Film YouTube channel. This served as the basis for Heinz ABC Indonesia to promote its production through the short film titled "Capciptop," uploaded on the ABC Indonesia and Ravacana Film YouTube channels. The research method used in this study is qualitative descriptive. The goal of this research is to understand how Ravacana Films manages the production to promote ABC products, from pre-production to post-production processes. Data collection techniques include interviews, observations, and documentations. The results of this study show that Capciptop films in the pre-production stage use the idea discovery, planning, and preparation stages. At the production stage, Ravacana Films not entirely referred to the script and improvised with what was in the production location environment. In the post-production stage, Ravacana Films worked according to their usual workflow. The conclusion is that Ravacana Films as a Production House has succeeded in fulfilling client requests in this production and still has principles in the managing of film production.
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Schaefer, Dennis, and Larry Salvato. "Film Production." Communication Booknotes 16, no. 7 (July 1985): 83. http://dx.doi.org/10.1080/10948008509488328.

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Li, Jiaming. "The Application of VR Technology in Film Production." Highlights in Science, Engineering and Technology 57 (July 11, 2023): 305–10. http://dx.doi.org/10.54097/hset.v57i.10018.

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In recent years, with the continuous maturity of virtual reality technology, the scope of application in various fields has been expanding. VR technology has gradually moved to the film industry. Since 2014, VR technology has become a new round of discussion and practice in the film industry. This paper will conduct an in-depth discussion on the production status and influence of VR films from three aspects: the actual production of VR films, the challenges VR technology brings to the current film industry, and the prospect of VR technology application in the film industry. This paper also researches the practical application and influence of VR technology in film production. The future development prospect of VR in film is discussed and analyzed, and the relevant conclusion and summary are made at the end of the article.
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K Janet Jemimah and Priya R Iyer. "Production of biopolymer films using groundnut oilcake." International Journal of Science and Technology Research Archive 3, no. 1 (September 30, 2022): 192–201. http://dx.doi.org/10.53771/ijstra.2022.3.1.0097.

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Protein-based biopolymer films were produced using Groundnut (Arachis hypogea) oilcake. Thin, semi-transparent, brownish films were obtained, the films were smooth and uniform. The film was plasticized using PVA (polyvinyl alcohol) and glycerol was added to improve the elasticity. This resulted in the film being more flexible and more like conventional plastics. The thickness of the film was found. The tensile strength and the elongation at break were calculated. The water absorption capacity of the films was also estimated. Further, FTIR and SEM analysis were done to find out the chemical structures and morphological microstructures of the film. X-ray diffraction studies were also done. Also, antimicrobial and antioxidant assays were performed to find out the potential of the film as active food packaging. All these tests prove that the GOC films are capable of being used as food packaging alternative for conventional plastics. Biopolymer films were prepared using the protein extracted from groundnut oilcake. Its various characteristics were evaluated. These films can be used as substitutes to conventional food packaging plastics. The development of new bio-materials from agricultural wastes/ by-products of oil industry, may be good and cheap sources of both energy and protein. The present study focused on obtaining useful protein-based biodegradable films for an eco-friendly option. Potential applications of the obtained bio-polymer films include wrapping of different fabricated foods for shelf-life extension. These types of protein-based films are very useful as they are readily biodegradable in nature and also, they are sourced from natural and renewable raw materials rather than petroleum-based plastics.
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Iversen, Gunnar. "Editorial." Journal of Scandinavian Cinema 13, no. 1 (March 1, 2023): 3–5. http://dx.doi.org/10.1386/jsca_00086_2.

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Contributors to this issue consider different aspects of Scandinavian film and TV culture, from the impact of the COVID-19 health crisis on film and television production, to Finnish hip hop on film and Turkish Viking films. Each article explores the rich field of Scandinavian audio-visual culture or how aspects of Scandinavian culture are represented in international film productions.
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Norgia, Michele, and Alessandro Pesatori. "Interferometric Instrument for Thickness Measurement on Blown Films." Photonics 8, no. 7 (June 29, 2021): 245. http://dx.doi.org/10.3390/photonics8070245.

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Real-time measurement of plastic film thickness during production is extremely important to guarantee planarity of the final film. Standard techniques are based on capacitive measurements, in close contact with the film. These techniques require continuous calibration and temperature compensation, while their contact can damage the film. Different optical contactless techniques are described in literature, but none has found application to real production, due to the strong vibration of the films. We propose a new structure of low-coherence fiber interferometer able to measure blown film thickness during productions. The novel fiber-optic setup is a cross between an autocorrelator and a white light interferometer, taking the advantages of both approaches.
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Bunting, Leona, Margaretha Herrman, and Marita Johanson. "Learning film production." Journal of Workplace Learning 26, no. 5 (July 8, 2014): 296–309. http://dx.doi.org/10.1108/jwl-06-2013-0041.

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Purpose – The purpose of this study is to contribute knowledge about learning linked to the film industry by investigating how film producers reason about learning for and in the profession. Design/methodology/approach – This study is based on semi-structured interviews with 20 film producers, both university and workplace trained (UWT) and workplace trained (WT). The content analysis is based on the transcribed dialogues. The study is empirical, explorative and qualitative. Findings – The interviewees consider networks to be of utmost importance for gaining entrance to and continuously finding work in the film industry. They also reason about required knowing and what learning practices are available. Although formal education is not advocated by all, it can hold intrinsic value for the individual. Traditions of learning are being scrutinized, and critical reflection is replacing naivety and emotionality. Practical implications – Different aims regarding learning in the formal education system and film industry result in a gap which needs to be bridged to challenge conserving and reproducing patterns of learning. Collaboration is suggested as a solution benefiting both the individual learner and the film industry. The resulting knowledge from this study can thus be used by the formal education system and the film industry when developing forms for collaboration surrounding learners of film production. Originality/value – The focus presented in this paper of learning in and for film production has been sparingly addressed in previous research.
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Kaur, Harmanpreet. "At Home in the World: Co-productions and Indian Alternative Cinema." BioScope: South Asian Screen Studies 11, no. 2 (December 2020): 123–45. http://dx.doi.org/10.1177/0974927620983941.

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Several Indian filmmakers and production houses making ‘alternative’ and ‘independent films’ have sought to develop co-production deals with European film funds, international film festivals, film markets and sales agents. Their bid is to build a profile with art house and ‘specialty cinema’ audiences in Europe, Asia and the USA, while also seeking to impact the Indian domestic market. This article analyses the assembling of such productions, and their aesthetic form, including a reflection on charges that their adaptation to international distribution requires a conformity to what is acceptable and intelligible to ‘international audiences’. It also explores how alternative films oriented to international art cinema affect the understanding of what constitutes ‘national cinemas’. The article explores these themes through two films, Qissa (2013) and The Lunchbox (2012).
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Monk, Claire. "EMI and the ‘Pre-heritage’ Period Film." Journal of British Cinema and Television 18, no. 1 (January 2021): 50–76. http://dx.doi.org/10.3366/jbctv.2021.0555.

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First coined in the UK in the early 1990s as a new label for an ostensibly new, post-1979 kind and cycle of period cinema, the ‘heritage film’ is now firmly established as a widely used term and category in academic film studies. Although the heritage film’s defining features, ideological character and ontological coherence would remain debated, its status as a ‘new’ category hinges, self-evidently, on the presumption that the films of post-1979 culturally English heritage cinema marked a new departure and were clearly distinct from their pre-Thatcher-era precursors. Yet, paradoxically, the British period/costume films of the preceding decade, the 1970s, have attracted almost no scholarly attention, and none which connects them with the post-1979 British heritage film, nor the 1980s cultural and industry conditions said to have fostered these productions with those of the 1970s. This article pursues these questions through the prism of Britain’s largest film production and distribution entity throughout 1970–86, EMI, and EMI’s place as a significant and sustained, but little-acknowledged, force in British period film production throughout that time. In so doing, the article establishes the case for studying ‘pre-heritage’ period cinema. EMI’s period film output included early proto-heritage films but also ventured notably wider. This field of production is examined within the broader terrain of 1970s British and American period cinema and within wider 1970s UK cinema box-office patterns and cultural trends, attending to commercial logics as well as to genre and the films' positioning in relation to the later heritage film debates.
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Kiejziewicz, Agnieszka. "Voices from a distance: Sámi short film production in 2020." Short Film Studies 11, no. 2 (September 1, 2021): 211–20. http://dx.doi.org/10.1386/sfs_00056_1.

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The sudden outbreak of the COVID-19 pandemic influenced many aspects of film production, which is especially visible in the example of local cinematographies. In this article, I investigate pandemic influence on depicting homeland, memory and locality in Sámi short films. The primary concern in the pre-2000 Sámi short films was the marginalization of Sámi culture, as well as tradition-modernization oppositions. However, in the productions from 2020, a switch into the discourse about the homeland and coping with pandemic in the far north is visible. In this article, I describe productions from 2020, dividing them into three thematic categories: films about the return to the homeland, films focusing on lockdown isolation and films based on genre conventions (such as comedy or horror), used for creating a discursive approach to pandemic. In the proposed article, I analyse Sámi films from the collection of International Sámi Film Institute, produced in Norway, Sweden or Finland.
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Dissertations / Theses on the topic "Film production"

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Wille, Kirstin. "Film production in Cambodia conditions and structure of the Cambodian film production market, demand and supply in consideration of film genre." Erfurt Thüringisch-Kambodschan. Ges, 2009. http://www.tkgev.org/film-production-in-cambodia.html.

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Kieran, Jonathan P. "For Want Of: A Punk Rock Short Film." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1992.

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In light of the specific challenges of assessing a thesis film—a project which contains artistic and academic components—the author examines his own short film For Want Of as a prototype for future work in film and as an opportunity for introspective investigation into the nature of filmmaking and personal artistic process. Reference is made to specific episodes during the film’s conception and production, as well as higher-level insight gained from following the film through an 18-month production cycle.
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Goksu, Emel Iraz. "Hemicellulose Based Biodegradable Film Production." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12605940/index.pdf.

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Xylan was extracted from cotton waste, characterized by DSC and TGA analysis and used in biodegradable film production. Pure cotton waste xylan did not form film. The presence of an unknown compound, as an impurity, yielded composite films. The unknown compound was determined as a phenolic compound, and most probably lignin, by using DSC and TGA analysis and Folin-Ciocalteau method. The effects of xylan concentration of the film forming solutions, glycerol (plasticizer) and gluten additions on thickness, mechanical properties, solubility, water vapor transfer rate, color and microstructure of the films were investigated. Films were formed within the concentration range of 8-14%. Below 8%, film forming solutions did not produce films, whereas xylan concentrations above 14% was not used because of high viscosity problems. The average tensile strength, strain at break, water vapor transfer rate and water solubility of the cotton waste xylan films were determined as about 1.3 MPa, 10%, 250 g/m2.24h and 99%, respectively. The addition of glycerol as the plasticizer resulted in a decrease in the tensile strength and an increase in strain at break. The change in water solubility due to the addition of glycerol was very small. In addition, water vapor transfer rate and the deviation of the color from the reference color for the plasticized films were found to be higher than the unplasticized films. The effect of addition of wheat gluten in cotton waste xylan film forming solutions on film formation was investigated at different concentration ratios. However, the incorporation of wheat gluten worsen the film quality.
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Theuer, Timothy. "Submit: A Narrative Film Production." ScholarWorks@UNO, 2005. http://scholarworks.uno.edu/td/232.

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This thesis documents the production of a seventeen-minute narrative film production, Submit. It includes chapters outlining the development, pre-production, production and post-production stages. In addition, the script, shot lists, equipment request form, budget, and camera reports are included. Written, produced, and directed by the author, Submit is the story about a man's desire to right his life by winning back a former love. The story involves deceit and plays with notions of identity and place. The film was shot in seven days throughout the City of New Orleans. The goal of this project was to create a short piece that in turn would be employed to garner further resources to shoot a feature length film.
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Song, Dae Hyun. "Pre-Production, Production and Post-Production on Short Film "Draw Me Invisible"." Thesis, The University of Arizona, 2014. http://hdl.handle.net/10150/321962.

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Harmon, Joseph C. "The Cuddle Club." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1970.

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With The Cuddle Club, I intended to make a film that sought to examine intimacy as it relates to the extremes; in the film I subvert expectations of intimacy to make the audience reconsider why we draw our physical boundaries where we do. And while everybody may need a little cuddle every now and then, men have no right to touch women without their express permission. This paper will be an examination of the story behind the story. Of my thoughts on the process of creating my thesis film The Cuddle Club as it pertains to the screenwriting, preproduction, production and postproduction process. There will be a step-by-step analysis of the plot, as well as an introduction explaining how The Cuddle Club came to be. The Appendix will include all of the documents created during the preproduction process.
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Carter-Hansen, Jill, University of Western Sydney, and of Performance Fine Arts and Design Faculty. "Travelling light - with a case for discovery : the making of the film Songs of the Immigrant Bride." THESIS_FVPA_XXX_CarterHansen_J.xml, 1997. http://handle.uws.edu.au:8081/1959.7/680.

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This paper examines the background, development and production of the film ‘Songs of the immigrant bride’ and explains the general decisions made throughout the creation of the film. It proposes the idea that visuals, combined in an abstract narrative with music/sound, can create a language outside that generally accepted in real-time film (generally) and animation (specifically) to create a communicating ‘mythopoetic’ film-style from combined, selected elements, of both genres. Some of the issues presented and examined are: how relevant background experiences and influences directed the image-making in the production of the film; the experimental use of symbols and metaphor for an ‘evocative’ narrative in both visuals and sound, and the use of these within the film; the relevance of the theme of journey to viewers of the film; the part played by ‘Chance’ as an accepted phenomenon in shaping the direction of the film; production considerations, other than those of image and sound, to enhance audience perception and understanding of the film; ‘understanding’, as a physical as well as an intellectual phenomenon
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Stratton, Sabra. "Get Out of My Hair." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/978.

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The documentary, "Get Out of My Hair, " engages in the dialogue of hair removal and its relationship to femininity, specifically looking at how the media has taught young women to fear the affects of puberty. The piece features ten women between the ages of eleven and twenty-two with ranging demographics who are all brought together by their experiences with their body hair. Applying media effects theory and psychoanalytic theory, this project examines how advertising portrayals of female body depilation contribute to the increase in hair removal and further align the concept of femininity with hairlessness.
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Thomas, M. "Gelatin film formation related to capsule production." Thesis, Cardiff University, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372355.

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BREA, JOANA DE OLIVEIRA. "SUBTLE RESISTANCIES: FILM CREATION AND PRODUCTION INSTANCIES." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2008. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=12940@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
Se a tensão entre o fazer artístico e a lógica do mercado assombrou a arte em geral, desde o surgimento da cultura de massa no século XIX, ela esteve presente no cinema já no seu nascimento: para além de sua dimensão de obra de arte, a invenção do espetáculo da projeção fez do filme um bem de consumo coletivo, impondo-lhe métodos de produção industriais e finalidades comerciais. Na contemporaneidade, o declínio das grandes utopias e a expansão do papel do mercado como grande mediador cultural tem, cada vez mais, colocado em xeque o paradigma estético da modernidade, incluindo seu ideal de autonomia. Distanciada das posturas radicais que, outrora, advogavam o confrontamento com o massivo, a arte contemporânea desenvolve sutis formas de resistência que negociam a possibilidade de expressão com sua inevitável condição de mercadoria. Nosso objetivo, nesta dissertação, foi analisar como a tensão entre um ideal de liberdade artística e o filme como produto comercializável se manifesta no cinema contemporâneo. Para isso, buscamos selecionar, como objeto de estudo, filmes que nos permitissem destacar estratégias de negociação entre criação artística e instâncias da produção. A escolha recaiu sobre Quero Ser John Malkovich (1999), Adaptação (2002), A Natureza Quase Humana (2002) e Brilho Eterno de uma Mente sem Lembranças (2004). Os dois primeiros foram dirigidos por Spike Jonze, os dois últimos por Michel Gondry e todos tiveram Charles Kaufman como roteirista.
If the tension between artistic work and the market`s logic hunted art in general, since the beginning of mass culture in mid nineteen century, it became present in films since its birth: beyond the dimension of work of art, with the invention of the spectacle of projection, films became a largely consumed product which imposed industry production methods and commercial goals. In contemporary days, the decay of utopia and the expansion of the market`s hole as a cultural mediator have put the modern esthetic paradigm in question, including its ideal of autonomy. Far from the radical postures that used to proclaim the confrontation with the massive, contemporary art develops ways of resistance that negotiate the possibility of expression with its undeniable condition of merchandise. Our goal, in this research, is to analyze how the tension between the ideal of artistic freedom and the film as a product happens in contemporary cinema. Therefore, we sought to select, as our object of study, films that allow us to perceive negotiation strategies between artistic creation and production methods. We chose Being John Malkovich (1999), Adaptation (2002), Human Nature (2001) and Eternal Sunshine of the Spotless Mind (2004). The first two had been directed by Spike Jonze, the last two had been directed by Michel Gondry and all of them had been written by Charlie Kaufman.
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Books on the topic "Film production"

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Brunel, Adrian. Film production. London: Newnes, 1987.

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Bernstein, Steven, and Steven Bernstein. Film production. 2nd ed. Oxford: Focal Press, 1994.

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Cleve, Bastian. Film Production Management. Edited by Bastian Clevé. Fourth edition. | New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315223186.

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Landau, David. Film Noir Production. New York: Routledge, 2017.: Routledge, 2016. http://dx.doi.org/10.4324/9781315511733.

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Clevé, Bastian. Film production management. 3rd ed. Boston: Focal Press, 2006.

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Cleve, Bastian. Film production management. 3rd ed. Amsterdam: Elsevier/Focal Press, 2006.

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Clevé, Bastian. Film production management. 3rd ed. Boston, MA: Elsevier/Focal Press, 2005.

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Clevé, Bastian. Film production management. Boston: Focal Press, 1994.

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1933-, Boorman John, and Donohue Walter, eds. Film-makers on film-making. London: Faber & Faber, 1998.

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Bureau, Pennsylvania Film, ed. Pennsylvania film production guide. Harrisburg, PA (454 Forum Bldg., Harrisburg 17120): Pennsylvania Film Bureau, Pennsylvania Dept. of Commerce, 1995.

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Book chapters on the topic "Film production"

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Richter, Johanna. "Film production." In Human Rights Education Through Ciné Débat, 117–34. Wiesbaden: Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-12723-7_7.

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Finney, Angus. "Production." In The International Film Business, 136–43. 3rd ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003205753-14.

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Finney, Angus. "Production." In The International Film Business, 136–43. 3rd ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003205753-14.

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Parry, Becky. "Film in Children’s Film Production." In Children, Film and Literacy, 153–92. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137294333_8.

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Rawle, Steven. "Transnational Film Production." In Transnational Cinema, 137–70. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-53014-1_6.

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Resh, Howard M. "Nutrient Film Technique." In Hydroponic Food Production, 149–206. 8th ed. New York: CRC Press, 2022. http://dx.doi.org/10.1201/9781003133254-6.

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Clevé, Bastian. "The Production Manager." In Film Production Management, 1–4. Fourth edition. | New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315223186-1.

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Clevé, Bastian. "Preparing for Production." In Film Production Management, 17–41. Fourth edition. | New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315223186-3.

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Kemp, Jonathan. "Cinematic post-production." In Film on Video, 166–82. London ; New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429468872-15.

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Joyce, James B. "Post-Production Begins in Pre-Production." In Aesthetics of Film Production, 79–84. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003120896-11.

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Conference papers on the topic "Film production"

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Larsson, Anna-Lena, Gunnar A. Niklasson, and Lars Stenmark. "Thin film coatings with variable emittance." In Optical Systems Design and Production, edited by Claude Amra and H. Angus Macleod. SPIE, 1999. http://dx.doi.org/10.1117/12.360119.

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

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O'Brien, Michael, James Gettinger, Hosuk Chang, and Krzysztof Rost. "Making a short film Automation." In DigiPro '20: The Digital Production Symposium. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3403736.3403937.

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Borshukov, George. "Measured BRDF in film production." In the SIGGRAPH 2003 conference. New York, New York, USA: ACM Press, 2003. http://dx.doi.org/10.1145/965400.965468.

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Rouet, Christian, Keith Goldfarb, Ed Leonard, Darwyn Peachey, Ken Pearce, Enrique Santos, and Paul Yanover. "Research and development for film production." In ACM SIGGRAPH 99 Conference abstracts and applications. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/311625.311923.

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Wan, You-Bao, Ru-rong Wu, Guo-xiang Ruan, and Hui Yang. "The Production of PZNT91/9 film." In >2006 Joint 31st International Conference on Infrared Millimeter Waves and 14th International Conference on Teraherz Electronics. IEEE, 2006. http://dx.doi.org/10.1109/icimw.2006.368697.

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Gu, Xiaojuan, Junliang Chen, Bo Li, and Jun Chen. "Footstep Detection for Film Sound Production." In SA '23: SIGGRAPH Asia 2023. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3610543.3626171.

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de Cesare, Giampiero, Fernanda Irrera, and Piergiorgio Nicolosi. "Thin film photodetectors for the UV and vacuum UV spectral range." In Optical Systems Design and Production, edited by Fritz Merkle. SPIE, 1999. http://dx.doi.org/10.1117/12.360029.

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Chakravarthy, Ajay, Richard Beales, Yvonne Jung, Sebastian Wagner, Christoph Jung, Angelos Yannopoulous, Stefanos Koutsoutos, Rolf Schiffmann, Rolf Hedtke, and Ignace Saenen. "A Notation Based Approach to Film Pre-vis." In 2010 Conference on Visual Media Production (CVMP). IEEE, 2010. http://dx.doi.org/10.1109/cvmp.2010.15.

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Tulloch, G. E. "Thin film materials production for microwave applications." In 1992 Asia-Pacific Microwave Conference. IEEE, 1992. http://dx.doi.org/10.1109/apmc.1992.672093.

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Reports on the topic "Film production"

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Woodcock, Leslie V. A Mesoscale Model for Thin Film Production Processes. Fort Belvoir, VA: Defense Technical Information Center, December 2000. http://dx.doi.org/10.21236/ada397789.

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Dabrovolskas, Audrius. In Search of Film Policy and Film Exhibition Model Based on Mission Economy: the Case of the Baltic Film Industries. Publishing House - Vilnius Business College, June 2023. http://dx.doi.org/10.57005/ab.2023.1.2.

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In Europe film industries are regulated through film policies at national and supra-national levels. The biggest attention is paid to film production and distribution, because they are considered as the most crucial sectors regarding financial investment. Film exhibition on the other hand is more about whole commercial life of a film and since theatrical admissions in European Union increased by 5.3 % (in 2019) before covid-19 pandemic it demonstrates that theatrical release is still among one of the most important release windows. Yet Lithuanian, Latvian, and Estonian film exhibition trends and their role for developing film policy were not examined. The qualitative and quantitative research methods applied: descriptive statistics and its analysis of secondary sources such as cinema attendance, the number of multiplexes and digital screens, premieres of national films and box-office and the analysis of film policy (regulatory) documents in Lithuania, Latvia, and Estonia. Economically film exhibition sector during covid-19 pandemic was heavily influenced and challenged by enormous decline in cinema attendance and the competition and rising role of audiovisual video-on-demand platforms. The article provides insights and findings based on the analysis of current role of film exhibition for the development of film policy and its possible model in the Baltic film industries.
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Bożek, Małgorzata. FILM PRODUCTION IN POLAND. STAGES: FROM AN IDEA TO THE SCREEN. Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11112.

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The Polish film system is characterized by a variety of forms. Michał Zabłocki, the author of the comprehensive study of the «Organization of the production of feature film in Poland», isolates two models of world cinema: a producer and a producer – director. The first one features the dominant role of the producer, which means the person who is responsible for the work of all the film departments – direction, cinematography, production management, scenography and costume design. The second one, the model which is still the most popular in Poland, assumes close cooperation between the producer and the director.
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4

McCamy, James, Cheng-Hung Hung, and Zhixun Ma. Low Cost Production of Thin-Film Photovoltaic Cells Final Report. Office of Scientific and Technical Information (OSTI), June 2015. http://dx.doi.org/10.2172/1342514.

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Brog, T. K. Commercial production of thin-film CdTe photovoltaic modules. Final report. Office of Scientific and Technical Information (OSTI), October 1997. http://dx.doi.org/10.2172/544696.

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Ryan, Mark David, Andrew Couzens, Peter Innes, and Sue Cake. A Re-Evaluation of Screen Production on the Gold Coast After COVID-19. Queensland University of Technology, 2023. http://dx.doi.org/10.5204/rep.eprints.244107.

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This study was commissioned by the City of Gold Coast to re-evaluate the size and activity of the film and television production industry on the Gold Coast since the outbreak of COVID-19 in March 2020. Focusing on the period between June 2020 and mid-2023, the study examines the production activity and characteristics of the local screen ecology; the size and growth of the local film, television and games workforce; and the current capacity of film and television sound stages and production facilities. Using both qualitative and quantitative research methodology, primary data was generated through a series of semi-structured interviews with key above-the-line screen content creators and stakeholders; data mining from Screen Queensland’s location and crew online app, IMDb, and City of Gold Coast Screen Attraction data; and ABR and ABS Census data. The findings indicate the employment of film, television and creative specialists on the Gold Coast grew nearly three times more than the average employment growth. The Gold Coast also accounted for between 39% and 71% of Queensland’s total film and television drama production expenditure. The report identified several barriers to continued growth of the film and television industry on the Gold Coast and made a number of recommendations to address these challenges.
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Brog, T. K. Commercial production of thin-film CdTe photovoltaic modules. 1995 annual report. Office of Scientific and Technical Information (OSTI), February 1997. http://dx.doi.org/10.2172/459336.

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Yue Kuo. A NOVEL LOW THERMAL BUDGET THIN-FILM POLYSILICON FABRICATION PROCESS FOR LARGE-AREA, HIGH-THROUGHPUT SOLAR CELL PRODUCTION. Office of Scientific and Technical Information (OSTI), August 2010. http://dx.doi.org/10.2172/992272.

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Toney, Michael F., and Maikel F. A. M. van Hest. In-situ X-Ray Analysis of Rapid Thermal Processing for Thin-Film Solar Cells: Closing the Gap between Production and Laboratory Efficiency. Office of Scientific and Technical Information (OSTI), February 2017. http://dx.doi.org/10.2172/1395583.

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10

Sun, Sey-Shing. Development of a Manufacturable Blue Electroluminescent (EL) Phosphor Process for the Production of White Monochrome Thin Film Electroluminescent (TFEL) and Full Color Active Matrix Electroluminescent (AMEL) Displays. Fort Belvoir, VA: Defense Technical Information Center, November 2002. http://dx.doi.org/10.21236/ada408952.

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