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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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Bezruchko, Oleksandr, and Maksym Sukhin. "Animated Documentaries in Modern Cinematic Art: Specifics of Production." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 6, no. 2 (October 20, 2023): 241–51. http://dx.doi.org/10.31866/2617-2674.6.2.2023.289310.
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The purpose of the article is to analyze the peculiarities of animated documentary films’ production in the modern film process. It also aims to investigate the specifics of the combination of real facts and events with the animation of the storyline sequence in films, reveal modern animation techniques and the specifics of their combination with footage, determine their impact on the viewer, and identify the peculiarities of using storyboards for organizational and filming processes. Research methodology. It consists in applying of the following methods: theoretical-comparative – comparison of foreign animation-documentary films of the last century with modern ones; practical – disclosure of the peculiarities of work on “animadocs” and plagiarism in author’s and studio projects; analysis – the influence of audiovisual means of expression on the audience’s perception of animation style, sound accompaniment, and counterpoint in animated documentary cinema. Scientific novelty. For the first time the influence of stylistic features of animated documentaries on the viewers’ perception of the depicted events has been analyzed, the importance of using storyboards during the organizational and shooting process in Ukraine has been systematized, the main aspects of working with film dramaturgy have been revealed and the problems of using non-linear dramaturgy in animated films have been considered, the differences in story presentation between feature films and animated documentaries have been revealed. Conclusions. The peculiarities of animated documentary film production in the modern film process have been analyzed, the peculiarities of combining real facts and events with animation of the sequence of storylines in films have been investigated, and modern animation techniques and the peculiarities of their combination with film frames have been revealed, the specifics of film production and their impact on the viewer through audiovisual means of expression have been determined.
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Kamal Shah, Nurfadilla, and Zainatul Shuhaida Abdull Rahman. "Malaysia as a Film Location for Foreign Production." Environment-Behaviour Proceedings Journal 7, SI9 (October 30, 2022): 247–53. http://dx.doi.org/10.21834/ebpj.v7isi9.4272.
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The foreign film industry is one of the creative industries that has helped a lot to generate the country's economy and improve the tourism sector. The arrival of foreign film production can enhance the country's reputation through the introduction of science and culture to the world community through film. In addition, the creative industry is able to introduce interesting places in Malaysia to be used as filming locations. Indirectly can promote Malaysia as a destination of choice for filming purposes. In addition to helping promote the country, job opportunities can be created for artists and behind -the -scenes crew. Various factors must be identified as to why foreign production companies make Malaysia one of their filming locations whether in the category of films, drama series, documentaries or television programs. This study aims to identify the focus location for the purpose of filming foreign films and also look at the attractions and facilities such as incentives provided by the government to the production of these foreign films for filming in Malaysia.
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PINPRU, Nattapong, Varol INTASANTA, Thitirat CHAROONSUK, Supharada KHAISAAT, Oubonwan SAWANAKARN, Naratip VITTAYAKORN, and Somsak WORAMONGKOLCHAI. "Preparation of bacterial cellulose film from rotten fruits for mulching film application." Journal of Metals, Materials and Minerals 32, no. 4 (December 26, 2022): 93–101. http://dx.doi.org/10.55713/jmmm.v32i4.1535.
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This research aims to reduce production capital costs and added value to natural products. The bio-mulching film was prepared by bacterial cellulose (BC) “Acetobacter xylinum”, extracted from three rotten fruits, grape, coconut, and pineapple under standard tests in the laboratory. The analysis from the FTIR technique confirmed to cellulose molecular vibration of BC films. XRD pattern was matched to structure crystallinity of JCPDS standard file which possessed a high percentage of crystallinity. The SEM micrographs were also revealed the 3D nanofiber network structure. The absorption capability of BC films could highly hold water in its structure. In addition, the mechanical properties of BC films came from rotten coconut, given the highest tensile strength (7.2 ± 1.1 MPa) according to nano-fiber symmetric with its dense structure. Nevertheless, the soil burial testing emphasized BC films could reduce soil temperature and increase moisture content in the soil as well. The biodegradation rate of BC films in 30 days was moderately fair. The BC film from rotten coconut had the slowest biodegradation rate (approximately 22.3 4.2%), applicable to biodegradable mulching film.
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Andriani, D., M. Karina, Sri Priatni, Indriyati, A. Y. Apriyana, and Y. Srikandace. "Optimization of edible film production: natural dyes addition." IOP Conference Series: Earth and Environmental Science 1201, no. 1 (June 1, 2023): 012093. http://dx.doi.org/10.1088/1755-1315/1201/1/012093.
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Abstract Several studies have been conducted to enhance the properties of nata de coco (NDC) based edible films. Previous works include the use of different concentrations of plasticizers, NDC slurry preparation to improve solubility, and the incorporation of essential oils as antibacterial agents. This paper focuses on enhancing the appearance of edible film by adding natural dyes. Commercial natural dyes at varying concentrations were added to the NDC-based edible film formulation and subjected to characterization. The physical properties analysis revealed that the use of natural brown dye from caramelized carrots was the most suitable option. The edible film with 1% v/v brown dye demonstrated 18.701% GL, 20.163 MPa, and 213.900 MPa for elongation, tensile strength, and Young’s modulus, respectively. The water vapor transmission rate (WVTR) of NDC edible film with brown dye also complies with the Japanese Industrial Standard (JIS), measuring 1.395 g/m2. Given the increasing demand for environmentally friendly packaging that also offers food preservation, it is anticipated that further improvements in edible films will continue to be explored in the food industry.
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Xie, Zheng. "The Symmetries in Film and Television Production Areas Based on Virtual Reality and Internet of Things Technology." Symmetry 12, no. 8 (August 18, 2020): 1377. http://dx.doi.org/10.3390/sym12081377.
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To enrich the form of film and television production, improve the level of film and television production, and satisfy the film-watching experiences of audiences, based on Virtual Reality (VR) and the Internet of Things (IoT) technology, with the help of S3 Studio Max and Photoshop software, a VR film-watching system is built, which realizes the interaction with users on different devices through somatosensory interaction sensors. In addition, by utilizing Twirling720, the panoramic sound recording is achieved. Through this system, a smart IoT platform between users, films, and devices is built. Finally, this platform is utilized to produce the film and television work Van Gogh in Dream, which is evaluated and analyzed through questionnaires. The results show that the technology system of this set of film and television production is complete, and the production level of film and television works have been significantly improved. The audience recognition of film and television production based on this technology is 55%, and the impression evaluation is over 56%. However, knowledge acquisition is only 20%, and historical understanding is above 50%. These dimensions show that compared with traditional film production, artificial intelligence films can bring a better experience to audiences, but knowledge acquisition is less. Therefore, professional knowledge will be improved at the later stage. The above results provide a theoretical basis for the application of artificial intelligence technology in film production and production mode.
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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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Mehmet zkan, Mehmet zkan, and Sercen Sadik Erdem Sercen Sadik Erdem. "Silver Doped Zinc Oxide Thin Film Production by Thermionic Vacuum Arc (TVA) Technique." Journal of the chemical society of pakistan 43, no. 3 (2021): 253. http://dx.doi.org/10.52568/000581/jcsp/43.03.2021.
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In this paper, silver (Ag)doped Zinc Oxide(ZnO) thin films were prepared on glass and silicon substrate by using a thermionic vacuum arc technique. The surface, structural, optical characteristics of silver doped thin films have been examined by X-Ray diffractometer (XRD), field emission scanning emission electron microscopy (FESEM), atomic force microscopy (AFM), and UV-Visible spectrophotometer. As a result of these measurements, Ag, Zn and ZnO reflection planes were determined for thin films formed on Si and glass substrate. Nano crystallites have emerged in FESEM and AFM images. The produced films have low transparency. The optical band gap values were measured by photoluminescence devices at room temperature for thin films produced on silicon and glass substrate. The band gap values are very close to 3.10 eV for Ag doped ZnO thin films. The band gap of un-doped ZnO thin film is approximately 3.3 eV. It was identified that Ag doped changes the properties of the ZnO thin film.
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Mehmet zkan, Mehmet zkan, and Sercen Sadik Erdem Sercen Sadik Erdem. "Silver Doped Zinc Oxide Thin Film Production by Thermionic Vacuum Arc (TVA) Technique." Journal of the chemical society of pakistan 43, no. 3 (2021): 253. http://dx.doi.org/10.52568/000581.
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In this paper, silver (Ag)doped Zinc Oxide(ZnO) thin films were prepared on glass and silicon substrate by using a thermionic vacuum arc technique. The surface, structural, optical characteristics of silver doped thin films have been examined by X-Ray diffractometer (XRD), field emission scanning emission electron microscopy (FESEM), atomic force microscopy (AFM), and UV-Visible spectrophotometer. As a result of these measurements, Ag, Zn and ZnO reflection planes were determined for thin films formed on Si and glass substrate. Nano crystallites have emerged in FESEM and AFM images. The produced films have low transparency. The optical band gap values were measured by photoluminescence devices at room temperature for thin films produced on silicon and glass substrate. The band gap values are very close to 3.10 eV for Ag doped ZnO thin films. The band gap of un-doped ZnO thin film is approximately 3.3 eV. It was identified that Ag doped changes the properties of the ZnO thin film.
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Kalenichenko, Mariya Vladimirovna. "Production of popular science films in Leningrad: late 1940s – 1960s." Genesis: исторические исследования, no. 4 (April 2021): 75–85. http://dx.doi.org/10.25136/2409-868x.2021.4.35594.
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This article is dedicated to the history of the Soviet popular science cinematography on the example of the Leningrad film studio “Lentekhfilm” / “Lennauchfilm"” during the late 1940s – 1960s.The goal of this work consists in tracing the development and production stages of popular science films at the Leningrad film studio “Lennauchfilm”. The author sets the following tasks: follow the work of the film studio “Lennauchfilm” based on the archival materials, as well as determine the main plotlines of popular science films of the period under review. The article employs archival documents stored in the fund No. 243 of the St. Petersburg Central State Archive of Literature and Art. Namely, based on the materials of the annual financial and production reports of the film studio, using the quantitative methods, the author carries out the sampling of films that were classified as popular science. The author also applies the problem-chronological method for studying the stages of operation of the film studio. The novelty of this research consists in determination of production volumes of popular science films at a particular film studio, as well as their main themes. As a result, the author highlights six main plotlines: natural sciences, geography of the country, industry and agriculture, education of children and adolescents, history of culture and art, historical-revolutionary. The conclusion is made that the Soviet popular science cinematography was aimed not only at popularization of scientific knowledge (as follows from the definition of the term “popular science film” given in the Great Soviet Encyclopedia), but also performed the important political and civic functions on youth education, distribution of technical knowledge, as well as illustration of the achievements of the Soviet Union in economic and social policy.
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Reisz, Todd. "Landscapes of Production: Filming Dubai and the Trucial States." Journal of Urban History 44, no. 2 (January 24, 2017): 298–317. http://dx.doi.org/10.1177/0096144216687739.
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Between 1957 and 1958, the British government wrote, financed, and produced a propaganda film about the city of Dubai and a shore of Arab sheikhdoms that would eventually be assembled into the United Arab Emirates. An analysis of government archives and the finished film reveals conscious manipulation of cultural symbols for creating political narratives that continue to influence the nation’s urbanization. Although eventually shelved, the film represents an attempt at encapsulating the motivations for the continuing British political and military presence in the region. Produced at a time when the British government was searching for a new means of engagement in the broader region, the resulting product recalls the historical legacy of wartime propaganda films and, more specifically, colonial films, which sought to maintain British colonial control in the postwar period. After consideration of the filmmakers’ intentions, the article concludes with postulation of why the film was permanently shelved.
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KIFFLI, SUDIRMAN, and NURUL AFINI ROSLIN MOHD SAUFI. "ELEMEN-ELEMEN ADAPTASI DALAM FILEM TOMBIRUO: PENUNGGU RIMBA (TPR)." International Journal of Creative Future and Heritage (TENIAT) 9, no. 1 (March 31, 2021): 109–25. http://dx.doi.org/10.47252/teniat.v9i1.402.
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Abstrak Penghasilan filem adaptasi adalah salah satu kaedah dalam memastikan kesinambungan karya-karya sastera agar sentiasa berkembang dalam pelbagai medium. Menerusi kajian ini, penelitian diberikan terhadap aspek-aspek adaptasi yang terdapat dalam penghasilan filem Tombiruo: Penunggu Rimba yang diadaptasi daripada novel Tombiruo Penunggu Rimba karya Ramlee Awang Murshid. Sebagai sebuah filem adaptasi yang masih baharu, kajian dan penyelidikan mengenai filem Tombiruo Penunggu Rimba (TPR) masih belum banyak dianalisis. Oleh hal yang sedemikian, penelitian telah dilakukan ke atas filem TPR dengan menerapkan pendekatan daripada Linda Hutcheon (2006). Empat aspek yang menjadi fokus kajian ini ialah (1) sumber dan cara adaptasi, (2) tujuan adaptasi, (3) kumpulan atau penonton sasaran dan (4) konteks. Dapatan kajian menunjukkan keempat-empat elemen berkenaan diterapkan dengan baik di dalam penghasilan filem adaptasi TPR oleh pihak pembikin filem. Keadaan ini dikukuhkan dengan pelbagai peristiwa dan situasi seperti dipaparkan di dalam filem berkenaan yang secara tidak langsung memberikan kesan yang amat mendalam kepada khalayak yang menonton filem ini. Kesemua elemen adaptasi ini boleh membantu pihak pembikin filem untuk menghasilkan sebuah filem adaptasi dengan lebih baik. Abstract The production of adaptation films is one of the methods in ensuring the continuity of literary works so that they are constantly evolving in various mediums. Through this study, research focuses on the aspects of adaptation found in the production of the film Tombiruo: Penunggu Rimba (TPR) adapted from the novel with the same title by Ramlee Awang Murshid. As an adaptation film that is still considered as new, the TPR film has not been much analyzed. As such, a study was conducted on TPR film by applying the approach introduced by Linda Hutcheon (2006). This study focuses on four aspects namely (1) source and method of adaptation, (2) purpose of adaptation, (3) target group or audience and (4) context. The results show that the four aspects are well applied in the production of TPR by the filmmakers. This situation is reinforced by various events and situations as shown in the film itself which indirectly gives a very profound effect to the audience watching this film. All these elements of adaptation can help the filmmaker to produce a better adaptation film.
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Giza, Barbara, and Michał Wenzel. "Rodzima klasyka filmowa w świadomości zbiorowej polskich widzów. Opinie Polaków o polskich filmach i ich postawy wobec polskiej produkcji filmowej." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 32, no. 41 (January 5, 2023): 237–56. http://dx.doi.org/10.14746/i.2022.41.14.
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The text discusses the social understanding of the film canon. The analyses is based on the results of the social research “Poles about Polish films. Opinions of Poles on Polish cinema and their attitudes towards Polish film production” conducted in 2019. The research findings show how Polish audiences think about the Polish film canon and how they define it, referring to their own film experiences, attitudes towards Polish productions and to beliefs about the influence of Polish cinema on culture.
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Bashev, V. F., and S. I. Ryabtsev. "High-adhesion unlayered films: physical and technological basis of their production." Journal of Physics and Electronics 28, no. 2 (December 9, 2020): 75–78. http://dx.doi.org/10.15421/332023.
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Using the modernized three-electrode ion-plasma sputtering method, high-adhesion Cu-films without underlayer were obtained. Films were deposited on glass-ceramic (sitall) substrates. The film thickness was ~500 nm. In this case, the calculated cooling rate reached ~ 1012–1014 K/s. The adhesion properties of Cu films were investigated by the standard method of mechanical separation of the film from the substrate – the “fungus” method. It is established that such film adhesion is more than 20 MPa. It is determined that the obtained high adhesion depends on bias potential value. Using these Cu films in strip resonators without a sublayer makes it possible to increase their Q-factor by 1.5–1.7 times and thereby significantly reduce the resulting operating noise.
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Lapuz, Anniver Ryan, Satoru Tsuchikawa, Tetsuya Inagaki, Te Ma, and Veronica Migo. "Production of Nanocellulose Film from Abaca Fibers." Crystals 12, no. 5 (April 25, 2022): 601. http://dx.doi.org/10.3390/cryst12050601.
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Abaca fibers were subjected to a TEMPO mediated oxidation to extract nanocellulose on a 500 L capacity locally fabricated reactor. A yield of 46.7% white gel material with 2.23% solid content was obtained from an overnight reaction. Transmission electron microscopy scan of the white gel material confirms the production of relatively short highly individualized cellulose nanofibril (CNF) as the diameter of abaca fiber was reduced from 16.28 μm to 3.12 nm with fiber length in the range of 100 nm to 200 nm. Nanocellulose film was prepared using air drying (CNF-VC) and vacuum oven drying (CNF-OD). The effect of CNF concentration on the physical, morphological, thermal and mechanical properties were evaluated. FTIR spectra showed cellulose I spectra between abaca fiber with both the CNF-VC film and CNF-OD film with two distinct peaks at 1620 cm−1 and 1720 cm−1 attributed to the carboxyl group resulting from the TEMPO oxidation. In addition, the carboxyl group decreases in thermal stability of cellulose. Moreover, the XRD scan showed a decrease in crystallinity index of CNF films compared to abaca fibers. CNF-VC film showed the highest tensile strength at 0.4% concentration with 88.30 MPa, while a 89.72 MPa was observed for CNF-OD film at 0.8% concentration.
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Lapuz, Anniver Ryan, Satoru Tsuchikawa, Tetsuya Inagaki, Te Ma, and Veronica Migo. "Production of Nanocellulose Film from Abaca Fibers." Crystals 12, no. 5 (April 25, 2022): 601. http://dx.doi.org/10.3390/cryst12050601.
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Abaca fibers were subjected to a TEMPO mediated oxidation to extract nanocellulose on a 500 L capacity locally fabricated reactor. A yield of 46.7% white gel material with 2.23% solid content was obtained from an overnight reaction. Transmission electron microscopy scan of the white gel material confirms the production of relatively short highly individualized cellulose nanofibril (CNF) as the diameter of abaca fiber was reduced from 16.28 μm to 3.12 nm with fiber length in the range of 100 nm to 200 nm. Nanocellulose film was prepared using air drying (CNF-VC) and vacuum oven drying (CNF-OD). The effect of CNF concentration on the physical, morphological, thermal and mechanical properties were evaluated. FTIR spectra showed cellulose I spectra between abaca fiber with both the CNF-VC film and CNF-OD film with two distinct peaks at 1620 cm−1 and 1720 cm−1 attributed to the carboxyl group resulting from the TEMPO oxidation. In addition, the carboxyl group decreases in thermal stability of cellulose. Moreover, the XRD scan showed a decrease in crystallinity index of CNF films compared to abaca fibers. CNF-VC film showed the highest tensile strength at 0.4% concentration with 88.30 MPa, while a 89.72 MPa was observed for CNF-OD film at 0.8% concentration.
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Lapuz, Anniver Ryan, Satoru Tsuchikawa, Tetsuya Inagaki, Te Ma, and Veronica Migo. "Production of Nanocellulose Film from Abaca Fibers." Crystals 12, no. 5 (April 25, 2022): 601. http://dx.doi.org/10.3390/cryst12050601.
Full textAbstract:
Abaca fibers were subjected to a TEMPO mediated oxidation to extract nanocellulose on a 500 L capacity locally fabricated reactor. A yield of 46.7% white gel material with 2.23% solid content was obtained from an overnight reaction. Transmission electron microscopy scan of the white gel material confirms the production of relatively short highly individualized cellulose nanofibril (CNF) as the diameter of abaca fiber was reduced from 16.28 μm to 3.12 nm with fiber length in the range of 100 nm to 200 nm. Nanocellulose film was prepared using air drying (CNF-VC) and vacuum oven drying (CNF-OD). The effect of CNF concentration on the physical, morphological, thermal and mechanical properties were evaluated. FTIR spectra showed cellulose I spectra between abaca fiber with both the CNF-VC film and CNF-OD film with two distinct peaks at 1620 cm−1 and 1720 cm−1 attributed to the carboxyl group resulting from the TEMPO oxidation. In addition, the carboxyl group decreases in thermal stability of cellulose. Moreover, the XRD scan showed a decrease in crystallinity index of CNF films compared to abaca fibers. CNF-VC film showed the highest tensile strength at 0.4% concentration with 88.30 MPa, while a 89.72 MPa was observed for CNF-OD film at 0.8% concentration.
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Fan, Haoyuan. "The Art and Challenge of Micro Film Creation." Studies in Art and Architecture 3, no. 2 (June 2024): 51–56. http://dx.doi.org/10.56397/saa.2024.06.11.
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Microfilm, as an emerging film form, has attracted a wide range of audiences and creators with its short time frame and innovative production methods. By exploring the creative process of micro films, including script writing, directing and shooting, post-production and other aspects, we peek into the key steps of micro film creation. In addition, we also explore the creativity and style of micro film creators, as well as the impact of cooperation on micro film production. Audience participation and emotional resonance are considered to be successful elements of micro films, and how these factors affect audience participation and emotional experience is analyzed. However, micro film creation also faces challenges such as limited time and resources, and the complexity of storytelling. Finally, we discuss the artistic value and social impact of micro films, as well as the contribution of micro film creators to film art and social issues. Through the research of this thesis, we have a deeper understanding of micro film creation, look forward to its development and potential in the future, and provide some suggestions and inspirations for creators in the field of micro film.
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Pope, Norris. "Film History as Film Stock History: American Production Choices, 1937–1940." Film History: An International Journal 35, no. 2 (June 2023): 72–94. http://dx.doi.org/10.2979/fih.00004.
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ABSTRACT: This essay examines the cinematic possibilities and reception of an important group of 35mm fine-grain, black-and-white, negative film stocks introduced in America in the period from 1937 to 1940. These new stocks included camera stocks, sound-recording stocks, duplicating stocks, and release-print stocks. All these new stocks were unprecedented in their ability to combine faster emulsion speeds with impressively fine grain—innovations in film manufacture that contributed significantly to improved images and sound quality in black-and-white theatrical films.
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Song, Xu. "Journey to the East: A Review of Hollywood’s Film Localization Efforts for China’s Film Market." International Journal of English and Cultural Studies 2, no. 1 (December 11, 2018): 1. http://dx.doi.org/10.11114/ijecs.v2i1.3872.
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The film market of China has been growing rapidly and is now the world’s second largest film market. Hollywood studios have been sending transnational films to China to receive additional revenues. This research investigates the three channels (i.e., flat-rate buyouts, co-productions, and revenue-sharing titles) through which Hollywood studios can enter their films in China’s film market and reviews the China-focused localization efforts that Hollywood studios have made to appeal to China. The review findings show that exporting Hollywood films to China as revenue-sharing titles has become the favorite approach for major Hollywood studios to gain additional revenues. To improve revenue-sharing films’ box-office performance, localization efforts of Hollywood studios are executed throughout a film’s theatrical life cycle, from a film’s planning and production stages to its distribution, promotion, and exhibition stages. Implications and suggestions as to how Hollywood studios can further utilize film localization efforts to enhance box-office success in China are also discussed in the present study.
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Aung, Hein Htet, Zhiying Qi, Yue Niu, and Yao Guo. "Rapid Production of Carbon Nanotube Film for Bioelectronic Applications." Nanomaterials 13, no. 11 (May 26, 2023): 1749. http://dx.doi.org/10.3390/nano13111749.
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Flexible electronics have enormous potential for applications that are not achievable in standard electronics. In particular, important technological advances have been made in terms of their performance characteristics and potential range of applications, ranging from medical care, packaging, lighting and signage, consumer electronics, and alternative energy. In this study, we develop a novel method for fabricating flexible conductive carbon nanotube (CNT) films on various substrates. The fabricated conductive CNT films exhibited satisfactory conductivity, flexibility, and durability. The conductivity of the conductive CNT film was maintained at the same level of sheet resistance after bending cycles. The fabrication process is dry, solution-free, and convenient for mass production. Scanning electron microscopy revealed that CNTs were uniformly dispersed over the substrate. The prepared conductive CNT film was applied to collect an electrocardiogram (ECG) signal, which showed good performance compared to traditional electrodes. The conductive CNT film determined the long-term stability of the electrodes under bending or other mechanical stresses. The well-demonstrated fabrication process for flexible conductive CNT films has great potential in the field of bioelectronics.
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Hyde-Clarke, N. "“Beyond stereotypes”: representations of a foreign culture in film students’ productions." Literator 29, no. 2 (July 25, 2008): 149–68. http://dx.doi.org/10.4102/lit.v29i2.120.
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Growing concerns about the continued use of cultural stereotypes in media production, and the subsequent decrease in diversity, resulted in the launch of a student film production programme between three tertiary institutions in South Africa and Finland during the first half of 2006. The aim of the programme was to encourage students to produce films about a foreign culture that moved “beyond stereotypes” and reflected a greater understanding of that society. This article examines the production process, participants’ experience and analyses the final products that were produced in the nine weeks the students spent in Helsinki, Finland. To what extent can media productions, such as film, be devoid of stereotypes?
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BUDAEV, A. V., A. V. SYCHEV, V. E. MELNICHENKO, E. S. NOVOMLINSKAYA, and D. E. KRAKOVETSKY. "Production of microporous films of poly(vinylidene fluoride-trifluoroethylene)." Plasticheskie massy, no. 7-8 (October 26, 2022): 30–32. http://dx.doi.org/10.35164/0554-2901-2022-7-8-30-32.
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The paper presents the results of a study of the effect of temperature and relative humidity of the environment on the structure of microporous films of copolymer P(VDF-TrFE) obtained by the phase-inversion method. It is shown that with increasing humidity the pore size of the film increases, while increasing temperature leads to their reduction. The optimal range of external environmental conditions for obtaining porous films with a honeycomb pattern is proposed. The influence of different solvents on the film porosity has been shown and it has been revealed that it is the low-temperature aprotic polar solvents (for example, acetone), unlike the high-temperature ones, that give the film porosity as a result of a higher solvent evaporation rate.
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Kożuchowski, Tomasz. "Warunki prawne, finansowe i organizacyjne w koprodukcji kanadyjsko-polskiej. Przypadek filmu "Przysięga Ireny"." Panoptikum, no. 27 (December 19, 2022): 122–40. http://dx.doi.org/10.26881/pan.2022.27.06.
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An international film co-production is a unique organisational event that adds prestige to any cinematographic production in the world. It also proves the transnational nature of the art of filmmaking, which is based on developed organisational, legal and financial models. The subject matters of co-produced films are usually universal stories or those commemorating past events that are important for the world’s history. One of these is the Second World War, which is still discovering its heroes. The article presents the production history of the making of the film Irena’s Vow, about a Polish woman awarded the title of Righteous Among the Nations. The conditions of international film co-productions are analyzed, in the context of financial and organizational assumptions, as well as in the context of geopolitical risks. In doing so, the differences between the production systems in place in Poland and Canada are highlighted.
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Chiara, Francesco Di, and Paolo Noto. "Timber, horses and dollars in free currency: Film policy cycles and the Italian-Yugoslav 1957 co-production agreements." Journal of Italian Cinema & Media Studies 11, no. 3 (June 1, 2023): 647–66. http://dx.doi.org/10.1386/jicms_00203_1.
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In this article, we analyse the Italian and Yugoslav film co-productions in the context of the eastern/western politics of the Cold War era. In December 1957, the two countries signed their first co-production agreements, designed to foster reciprocal industrial and artistic cooperation. Although only two official co-productions were made, until the late 1960s, the two film industries cooperated on the making of about 40 films, during which time Yugoslav companies were denied artistic control and downgraded to a labour and locations supplier. By examining archival sources, we demonstrate that Italian state bureaucracy had a pivotal role in making film co-production an organizational field where subjects and institutions interact, regulate power relations and communicate. This allows us to highlight the role of co-production as a form of management of international relations, focusing on issues such as the lack of balance between partners and the financial rationale behind these arrangements.
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Nightingale, Jennifer. "The Cornish Knitting Pattern Series film charts." Journal of Illustration 6, no. 1 (August 1, 2019): 205–23. http://dx.doi.org/10.1386/jill_00011_1.
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This visual essay appraises the film charts (shooting diagrams) used in the production of The Cornish Knitting Pattern Series in 2016. The film charts are a surprising key element arising from this period of film practice, being as they were a pragmatic part of the preproduction planning. However, through analysis of my films after production the charts have become a major source of visual thinking, notation, documentation and a significant aid to reflection on the work carried out. The Cornish Knitting Pattern Series is a collection of 16mm animation landscape films that use a single frame production technique to translate Guernsey knitting patterns into film, and in doing so set up a structural relationship between that of a knitted stitch and a frame of film ‐ drawing out analogies between both forms of production. In this visual essay the charts' roles will be considered in the translation of the Guernsey knitting patterns in terms of preproduction visualization of the knitting patterns; notation documentation during the pro-filmic event; and retrospectively as a record of processes and production. To do it will illuminate the film practice relationship to mistakes, and the location as the editing system process that is a key aspect of the film series processes ‐ wherein gesture, landscape and film are 'knitted together' in the film as a material object.
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Romero-González, Francisco, and María Luisa Palma-Martos. "AUDIO-VISUAL PRODUCTION AS A PATH OF COOPERATION IN EUROPE. EURIMAGES FUNDS." Scientific Annals of Economics and Business, Special Issue (2019): 113–39. http://dx.doi.org/10.47743/saeb-2019-0023.
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The aim of this paper is to analyse co-production in Europe through the funds of the Eurimages program from its origin, in 1989 to 2016, and to determine a pattern of co-production among the main film producer nations in Europe: France, Germany, Italy and Spain. For that purpose, a statistical analysis is carried out using several data sources: the Lumiere database, the reports from the European Audiovisual Observatory, as well as those from several national film institutions (such as the ICAA in Spain, or the CNC in France), or even the webpages of the Eurimages program and the Ibermedia one. Among the main results, it should be underlined that Eurimages has contributed to the increase of European films through co-production, but not to the increase of film audience, being far from that of American films. Nevertheless, if compared to national films, Eurimages has favoured both the transnational circulation of films and their consumption. Moreover, the main reasons to choose partners to co-produce are both cultural and economic, based on language, geographical proximity, common history and having a more developed film industry with a generous film support. With this article we want to contribute to update the literature about co-production in Europe using Eurimages funds.
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Zeng, Lu Sheng, Zhen Feng Zhou, and Yan Xi Shi. "Environmental Problems and Control Ways of Plastic Film in Agricultural Production." Applied Mechanics and Materials 295-298 (February 2013): 2187–90. http://dx.doi.org/10.4028/www.scientific.net/amm.295-298.2187.
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People use plastic film mulching to increase soil temperature, keep water and protect crops from insects and grass, therefore, which increased crop yield. However, with the film used years increasing, a lot of film residuals accumulated in the field. As a result, the increasing residuals destroyed soil structure, affected agricultural environment, harmed the crop growth, and furthermore, affected the food safety and human health. So, government should strengthen environmental publicity to improve the understanding of the film pollution, work out the residual film management laws and regulations, develop the recycling economy to reuse the residuals, and research biodegradable films and other ways to prevent agricultural environment from pollution.
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Wahab, Azrin, and Noraini Abu Talib . "Malaysian Film Projects Network Mobilization." Journal of Social and Development Sciences 4, no. 2 (February 28, 2013): 61–68. http://dx.doi.org/10.22610/jsds.v4i2.736.
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Film project is a temporary organization that uses outsourcing to acquire it resources. This study aims to investigate how Malaysian film productions mobilize its network in pre-production stage. The objectives are to find out the main components in pre-production and factors that create network between the production and components. In Sweden it is found out that the factors creating network in film pre-production stage are Attractive Script, Established Network, Mentor, and Proficiency. 10 random Malaysian film producers are selected for qualitative interviews. It is found out that the factors creating network in Malaysian film pre-production are Strategic Script, Proficiency, Established network, and Internet. It is suggested that further research is carried out to develop a Strategic Script to penetrate Indonesian film market.
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Xiao-ling, Wang, Liu Zhi-long, and Zamira Madina. "Machine Learning-Enabled Development of Model for Japanese Film Industry." Security and Communication Networks 2022 (June 6, 2022): 1–9. http://dx.doi.org/10.1155/2022/7637704.
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Not only are numerous components absorbed and modified in terms of movie subjects, but also various art forms like painting and music are researched and examined in the production of Japanese cinema, resulting in the development of film styles with national characteristics. The fundamental role of film industrialization is to increase production efficiency, reduce industry risks, create job opportunities, and provide related technologies and services for professional creative people, so that the creativity crystallization of all industry insiders can become an invisible creative power and tangible economic values in the economy and can circulate continuously within the overall film industry structure. On the basis of summering and analyzing of previous research works, this article expounded the research status and significance of Japanese film industry, elaborated the development background, current status, and future challenges of film industry model, introduced the creation and production of genre films in Japanese film industry, established the relationship between personalized creation and market trend of Japanese films, proposed the competition and cooperation model for the distribution of local and imported films, analyzed the market share of sequel and anime films in Japanese film industry, conducted the analysis of terminal construction changes and localized cinema lines operation, and discussed the exploration and management model of film screening bodies. The research results of this article provide a reference for further researches on the development model of Japanese film industry.
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Spence, Martin. "‘Praise these daring men’: ACT Films Ltd, 1950–1963." Journal of British Cinema and Television 20, no. 4 (October 2023): 481–501. http://dx.doi.org/10.3366/jbctv.2023.0688.
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During the 1950s the film technicians’ trade union, the Association of Cinematograph Technicians (ACT), was a significant force in the film industry. At the same time the ‘second feature’ or ‘B-film’ sector was producing a constant stream of low-budget titles. This article examines an initiative which combined the two: ACT Films Ltd, a film production company active in the second-feature sector, which was created by the union to provide jobs for its unemployed members. It explores some of the internal tensions this generated within ACT, the company’s production record, including its occasional forays beyond B-films, and its relations with other industry players. It also sheds light on the role of the National Film Finance Corporation and the distributor British Lion during this period, and their relations with independent production companies.
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Bátori, Veronika, Mostafa Jabbari, Dan Åkesson, Patrik R. Lennartsson, Mohammad J. Taherzadeh, and Akram Zamani. "Production of Pectin-Cellulose Biofilms: A New Approach for Citrus Waste Recycling." International Journal of Polymer Science 2017 (2017): 1–9. http://dx.doi.org/10.1155/2017/9732329.
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While citrus waste is abundantly generated, the disposal methods used today remain unsatisfactory: they can be deleterious for ruminants, can cause soil salinity, or are not economically feasible; yet citrus waste consists of various valuable polymers. This paper introduces a novel environmentally safe approach that utilizes citrus waste polymers as a biobased and biodegradable film, for example, for food packaging. Orange waste has been investigated for biofilm production, using the gelling ability of pectin and the strength of cellulosic fibres. A casting method was used to form a film from the previously washed, dried, and milled orange waste. Two film-drying methods, a laboratory oven and an incubator shaker, were compared. FE-SEM images confirmed a smoother film morphology when the incubator shaker was used for drying. The tensile strength of the films was 31.67 ± 4.21 and 34.76 ± 2.64 MPa, respectively, for the oven-dried and incubator-dried films, which is within the range of different commodity plastics. Additionally, biodegradability of the films was confirmed under anaerobic conditions. Films showed an opaque appearance with yellowish colour.
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Berger, Russ, Richard C. Schrag, and Jason J. Ridings. "NFL Films audio, video, and film production facilities." Journal of the Acoustical Society of America 113, no. 4 (April 2003): 2273. http://dx.doi.org/10.1121/1.4780535.
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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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Permana, Rangga Saptya Mohamad, Lilis Puspitasari, and Sri Seti Indriani. "Pelatihan Post-Produksi (Audio-Visual Editing) Film Indie di Armidale English College Soreang, Bandung." Jurnal Pengabdian Pada Masyarakat 4, no. 1 (April 9, 2019): 19–28. http://dx.doi.org/10.30653/002.201941.88.
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INDIE FILM EDITING TRAINING AT ARMIDALE ENGLISH COLLEGE OF SOREANG, BANDUNG REGENCY. A film can be seen as a medium of mass communication because in a film there are elements of entertainment, education, and information. In fact, a film can be an advocacy media that encourages a social change. In the film production management, there are major label and indie label concepts, where the indie label focuses on film content and filmmakers' freedom of expression. The stages that must be passed by a filmmaker in producing a film starts from the stages of development, pre-production, production, post-production, and distribution. The post-production stage is the most important stage that determines whether a film is classified as a quality film or not because it involves the final touch of a film. Therefore, the author decided to make a community service program in the form of post-production indie film training (audio-visual editing) at Armidale English College, Soreang District, Bandung Regency. The purpose of this training is to provide practical understanding and skills in the field of audio-visual editing to the trainees. The various implementation methods used in this training included media communication methods (audio-visual), lecture methods, interactive methods, pre-test and post-test methods, and simulation methods. The results achieved after the training was carried out were that the trainees experienced increased understanding and skills in the context of indie film post-production, especially in the process of audio-visual films editing.
Keywords: Audio-Visual, Editing, Indie Film, Post-Production, Training.
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Toba, Koji. "On the Relationship between Documentary Films and Magic Lanterns in 1950s Japan." Arts 8, no. 2 (May 17, 2019): 64. http://dx.doi.org/10.3390/arts8020064.
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In this paper, I explore three cases from postwar Japanese media history where a single topic inspired the production of both documentary films and magic lanterns. The first example documents the creation of Maruki and Akamatsu’s famed painting Pictures of the Atomic Bomb. A documentary and two magic lantern productions explore this topic through different stylistic and aesthetic approaches. The second example is School of Echoes, a film and magic lantern about children’s education in rural Japan. The documentary film blurs distinctions between the narrative film and documentary film genres by utilizing paid actors and a prewritten script. By contrast, the original subjects of the documentary film appear as themselves in the magic lantern film. Finally, the documentary film Tsukinowa Tomb depicts an archeological excavation at the site named in the title. Unlike the monochrome documentary film, the magic lantern version was made on color film. Aesthetic and material histories of other magic lanterns include carefully hand-painted monochrome films. Monochrome documentary films in 1950s Japan tended to emphasize narrative and political ideology, while magic lantern films projected color images in the vein of realism. Through these examples of media history, we can begin to understand the entangled histories of documentary film and magic lanterns in 1950s Japan.
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Żurawicz, Antoni. "Kinematografia w Polsce." Wiadomości Statystyczne. The Polish Statistician 2010, no. 7 (July 28, 2010): 23–35. http://dx.doi.org/10.59139/ws.2010.07.3.
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The article focuses on the cinema film production in Poland as well as realizing Polish and foreign films in cinemas. The analysis covers period from start of the Polish cinematography in 1896, based on foreign capital and supported by Polish technical ideas, via years before and after the Second World War to the last two decades which were characterised by private capital and technical innovations. Basic data concern film production, cinemas and performances as well as spectators. The study focuses on important elements concerning technical development of film production as well as delivery and perception of films.
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Fong, Benjamin Ruilin. "Learning to Speak Chinese: Defining the Sino-American Film Paradigm." Arts 13, no. 1 (January 18, 2024): 18. http://dx.doi.org/10.3390/arts13010018.
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This article proposes a new paradigm, Sino-American film, that is centered on Chinese language in American films. Sino-American films comprise two generations. The First Generation includes Pushing Hands (1993), Take Out (2004), and Saving Face (2004) and is characterized by independent production, limited distribution, and creation during a period when Asian Americans were rarely represented on film. The Second Generation includes The Farewell (2019), Tigertail (2019), Shang-Chi and the Legend of Ten Rings (2021), and Everything Everywhere All at Once (2022) and is characterized by a Hollywood production model, widespread distribution across streaming services, and creation during a period of growing Asian American cultural representation. Sino-American films negotiate both Chinese-language film and Hollywood by focusing on overlooked characters— Chinese-language-speaking Americans. This article contributes to conversations in Chinese film studies and Asian American studies by bringing Asian American film into exchanges with three Chinese film studies paradigms: transnational cinema, Chinese-language film, and Sinophone film. This cross pollination uncovers new areas for further study. Sino-American film demonstrates the importance of Sino-American language, ethnicity, and culture within the subsuming category of Asian American film. Furthermore, pairing Sino-American films with Chinese film studies uncovers a new category of Chinese-language film outside assumed contexts and paradigms.
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Banjaransari, Tunggul. "Ketahanan Diri Pencipta Film Goyang Kubur di antara Film yang Lengah terhadap Goyangan Modal." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 8, no. 3 (January 27, 2023): 368–84. http://dx.doi.org/10.33633/andharupa.v8i3.5705.
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AbstrakGoyang kubur merupakan penggalan dari judul film pendek Goyang Kubur Mandi Darah yang disutradarai oleh Azzam Fi Rullah (2018). Film ini muncul diantara pemandangan umum film-film di Indonesia yang makin mendekati kesempurnaan dalam aspek nilai produksinya. Sebuah anomali, Azam menggunakan pendekatan B-rated, diantara film-film yang mengejar kualitas tertentu. Pada kasus perjalanan karir Edwin, ia berbelok pada arena film komersial, optimalisasi produk telah mengabaikan gagasan pada karya-karya berikutnya. Padahal beberapa film pendek-nya, memiliki gagasan yang mampu menghasilkan diskursus baru. Film pendek seringkali lekat dengan cerminan semangat kolektivitas dan komunal, bergeser pada kelompok pembuat film yang mendapatkan dana bantuan dari pemerintah. Peta pembuatan film pendek berubah, hanya sebatas menjadi ajang latihan kemampuan mengoptimalkan nilai produksi bagi pembuat film untuk membuat film yang ‘serius’ (film panjang). Untuk mengurai permasalahan ini, penulis menggunakan eksistensialisme dan intepretasi sebagai pisau bedahnya. Konsentrasi analisisnya terletak pada karakter utama dalam film-film karya Edwin, beberapa sampel film yang dihasilkan dari program Danais Yogyakarta, dan film Goyang Kubur Mandi Darah. Karakter utama menjadi pintu masuk bagi penulis, untuk mengurai upaya pembuat film dalam mengemukakan pendapatnya tentang peristiwa yang terjadi pada dunia cerita dan dunia nyata. Kata Kunci: Anomali Film, Pergeseran Budaya Penciptaan Film, Nilai Produksi Film AbstractGoyang kubur (dancing on grave) is a fragment of I Dance on Your Grave, a short film directed by Azzam Fi Rullah (2018). The film stands out among the others that nearly perfected its production value. In between films that pursue particular qualities, as an anomaly, Azzam makes use of the B-rated approach to his film. In the course of Edwin’s career, he turned to the arena of commercial film, in which the product optimization has taken his ideas for granted. His works of short films generated new perspectives and discourse. Short films are often attached to the spirit of collectivity and communality, which shifted to a group of filmmakers who gained funding from the government. The map of short filmmaking changes to a sort of practicing field to optimize the production value for filmmakers aiming the ‘serious’ films (feature film). To unravel this problem, the writers utilized the existentialist approach to interpret such a phenomenon. The analysis focused on the main characters in Edwin’s works, a few samples from the film funded by Danais Yogyakarta, and I Dance on Your Grave. The main characters function as the entry to examine the filmmakers’ effort to put their ideas on real and fictional events. Keywords: Film Anomaly, The Impact of Filmmaking Production Culture, Film Production Value
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Cucco, Marco, and Giuseppe Richeri. "European Film Commissions as Transcultural Promoters and Mediators." Journal of Transcultural Communication 1, no. 1 (September 1, 2021): 45–57. http://dx.doi.org/10.1515/jtc-2021-2005.
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Abstract This article investigates transcultural communication taking film commissions as case study. Film commissions are non-profit organisations looking to attract audiovisual productions to their areas and supply these audiovisual productions with services free of charge. Although relatively recent and little studied, film commissions are spreading fast worldwide. Combining the political economy approach with the most recent production studies, the article contends that film commissions can stimulate transcultural phenomena on three levels. First, they act as intermediaries between the audiovisual production and the host area. Second, they encourage collaboration between different production cultures. Third, they incentivise brand-new collaboration between the audiovisual production and the tourist sector.
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Chen, Jingqiang. "Budgeting and Cost Control in Film Production: Balancing Creativity and Financial Viability." Highlights in Business, Economics and Management 22 (December 27, 2023): 187–92. http://dx.doi.org/10.54097/axdccr80.
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Film budgeting and cost control are significant aspects of film production where it is the responsibility of the production managers and the filmmakers to balance creativity with financial viability. Independent films, for example, manage to produce impactful movies within budget and use multiple, effective const-control strategies. The paper thus highlights and discusses the aspects of film budget and their impact on the film and their ability to generate profit. The paper includes a literature review to address the existing studies in the field, which can help us to address the problem in a more detailed way. Afterwards, the paper includes the analytical framework where case studies are discussed, followed by limitations and future outlook. Many a time, filmmakers spend more money than they decided due to poor planning and include elements that can be easily avoided to balance the budget. The paper thus also locates and discusses multiple cost control stargates that filmmakers can use to plan and budget their films. It also includes multiple examples of small and high-budget films where effective and ineffective budgeting strategies have been discussed.