Relevant bibliographies by topics / Film world

Academic literature on the topic 'Film world'

Author: Grafiati
Published: 10 December 2022
Last updated: 21 February 2023

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Journal articles on the topic "Film world"

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Martin-Jones, David. "Introduction: Film-Philosophy and a World of Cinemas." Film-Philosophy 20, no. 1 (February 2016): 6–23. http://dx.doi.org/10.3366/film.2016.0002.

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Barnes, Heather L. "Digital Curation and Contemporary Documentary Filmmaking." Preservation, Digital Technology & Culture 51, no. 4 (December 1, 2022): 141–54. http://dx.doi.org/10.1515/pdtc-2022-0021.

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Abstract Documentary films have evolved considerably since 1922s Nanook of the North. Fans of nonfiction now stream multi-episode documentaries on platforms like Netflix or catch a feature at one of many documentary-centered film festivals around the world. Inexpensive video cameras and internet distribution have expanded the documentary film universe exponentially. From 1-min films to feature-length theater releases, moviegoers around the world have embraced this diverse and growing genre. To the benefit of aspiring filmmakers, documentaries can now be filmed on a wide array of digital video devices, including smartphones, and edited inexpensively. Given this abundance, it may seem counterintuitive that, from a preservation perspective, the documentary film genre faces substantial risks. Research indicates that independent filmmakers lack access to resources that would ensure the long-term stewardship of their works (Academy of Motion Picture Arts and Sciences 2012). This research project examines documentary film production through the lens of digital curation. It describes filmmakers’ data practices and proposes a data curation model designed to guide filmmakers and film archives in developing data management plans similar to those currently used by researchers in the sciences. The proposed data curation model reflects the influence of the growing research data management field and integrates components related to digital storage, copyright, publishing, context, and file organization.
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Varghese, Simi. "Remapping the Visual Contours: An Enquiry into the Film Narratives of Adoor Gopalakrishnan." Asian Review of Social Sciences 8, S1 (February 5, 2019): 96–100. http://dx.doi.org/10.51983/arss-2019.8.s1.2778.

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Adoor Gopalakrishan has been the greatest film director who had elevated Malayalam film to the level of World Cinema. Truly, he is the master craftsman of Indian cinema second only to Satyajit Ray. He had discovered the identity of Malayalam through his visual narratives. He had metamorphosed each film as an experience and eked out a new visual repertoire for Malayalam films. Hitherto, no serious study has been conducted to absorb the visual magnificence of Adoor films. Concerted efforts have been initiated in other Indian languages and world languages to trace the visual dynamics employed in Adoor films. When foreign film critics approach his films seriously, even today we often falter to imbibe the film sensitivity and culture kickstarted by Mr Adoor Gopalakrishnan. Still, he is the ‘unravished fragrance’ of Malayalam film industry. Adoor has been truly one of the masters of world cinema and had carved a special niche for him in the global film map. My paper tries to portray the new visual fervor inculcated by Adoor films in the Malayalam psyche and will unravel the subtle nuances which deeply touch the labyrinthine milieu of Malayalam film world.
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Gimbel, Steven, and Thomas Wilk. "“I Said Something Wrong”: Transworld Obligation in Yesterday." Film-Philosophy 25, no. 2 (June 2021): 151–64. http://dx.doi.org/10.3366/film.2021.0166.

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Danny Boyle's film Yesterday (2019) is a contemporary morality play in which the main character, Jack Malik, a failing singer-songwriter, is magically sent to a different possible world in which the Beatles never existed. Possessing his memory of the Beatles’ catalogue in the new possible world, he is now in sole possession of an extremely valuable artifact. Recording and performing the songs of the Beatles and passing them off as his own, he becomes rich, famous, and deeply unhappy. Once he confesses his wrong-doing, however, he is redeemed and his life becomes wonderful. The presupposition that underlays the plot is that in claiming authorship of the songs of the Beatles in a world in which the Beatles never existed, he is acting immorally. But on what theoretical grounds can this intuitive judgment be justified? Can one plagiarize work for which there is no author in one's world? Saul Kripke, in Naming and Necessity, dubs terms that refer in all possible worlds to be “rigid designators” and considers the metaphysics necessary to support them. In this case, it is not reference but moral responsibility that is invariant under changes of possible world and so we must ask a similar question for “rigid obligators.” We argue that a virtue ethics approach is the only way to support the foundational moral intuition.
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Zajdel, Jakub. "Stefan Morawski o filmie i krytyce filmowej." Przegląd Kulturoznawczy, no. 3 (49) (2021): 599–621. http://dx.doi.org/10.4467/10.4467/20843860pk.21.041.14361.

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Stefan Morawski about film and film criticism The author undertook the task of describing the views of Stefan Morawski as a film critic. Morawski appreciated realistic films the most. He understood realism as a film style that gives an image of the real life of ordinary people. Looking at the film from a Marxist perspective, he described it in a historical context. In his interpretations of the films, Morawski tried to reveal their moral message. He called for the creation of films that would mobilize viewers to work for a better world. In the second part of the article, the considerations concern Morawski’s metacritical publications. Morawski described many types of film criticism. He explained the relationship between film criticism and aesthetics.
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Zajdel, Jakub. "Stefan Morawski o filmie i krytyce filmowej." Przegląd Kulturoznawczy, no. 3 (49) (2021): 599–621. http://dx.doi.org/10.4467/20843860pk.21.041.14361.

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Stefan Morawski about film and film criticism The author undertook the task of describing the views of Stefan Morawski as a film critic. Morawski appreciated realistic films the most. He understood realism as a film style that gives an image of the real life of ordinary people. Looking at the film from a Marxist perspective, he described it in a historical context. In his interpretations of the films, Morawski tried to reveal their moral message. He called for the creation of films that would mobilize viewers to work for a better world. In the second part of the article, the considerations concern Morawski’s metacritical publications. Morawski described many types of film criticism. He explained the relationship between film criticism and aesthetics.
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Tarr, Carrie. "World Film Locations: Paris." Modern & Contemporary France 20, no. 3 (August 2012): 376–77. http://dx.doi.org/10.1080/09639489.2012.679218.

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Bryant, Wayne M. "BI FILM-VIDEO WORLD." Journal of Bisexuality 2, no. 4 (September 2002): 151–55. http://dx.doi.org/10.1300/j159v02n04_10.

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Reinhardt, Regina. "BI FILM-VIDEO WORLD." Journal of Bisexuality 3, no. 1 (January 2003): 119–22. http://dx.doi.org/10.1300/j159v03n01_08.

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Yescavage, Karen, and Jonathan Alexander. "BI FILM-VIDEO WORLD." Journal of Bisexuality 3, no. 2 (March 2003): 109–27. http://dx.doi.org/10.1300/j159v03n02_07.

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Dissertations / Theses on the topic "Film world"

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Ryan, Mark David. "A dark new world : anatomy of Australian horror films." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/18351/1/Thesis.pdf.

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After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream. Contemporary horror production has been driven by numerous forces, including a strong worldwide market demand for horror films and the increasing international integration of the Australian film industry; the lowering of production barriers with the rise of digital video; the growth of niche markets and online distribution models; an inflow of international finance; and the rise of international partnerships. In light of this study, a ‘national cinema’ as an approach to cinema studies needs reconsideration – real growth is occurring across national boundaries due to globalisation and at the level of genre production rather than within national boundaries through pure cultural production. Australian cinema studies – tending to marginalise genre films – needs to be more aware of genre production. Global forces and emerging distribution models, among others, are challenging the ‘narrowness’ of cultural policy in Australia – mandating a particular film culture, circumscribing certain notions of value and limiting the variety of films produced domestically.
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Ryan, Mark David. "A dark new world : anatomy of Australian horror films." Queensland University of Technology, 2008. http://eprints.qut.edu.au/18351/.

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After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream. Contemporary horror production has been driven by numerous forces, including a strong worldwide market demand for horror films and the increasing international integration of the Australian film industry; the lowering of production barriers with the rise of digital video; the growth of niche markets and online distribution models; an inflow of international finance; and the rise of international partnerships. In light of this study, a ‘national cinema’ as an approach to cinema studies needs reconsideration – real growth is occurring across national boundaries due to globalisation and at the level of genre production rather than within national boundaries through pure cultural production. Australian cinema studies – tending to marginalise genre films – needs to be more aware of genre production. Global forces and emerging distribution models, among others, are challenging the ‘narrowness’ of cultural policy in Australia – mandating a particular film culture, circumscribing certain notions of value and limiting the variety of films produced domestically.
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Hansen, Signe. "From chef to superstar : food media from World War 2 to the World Wide Web." Doctoral thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/10632.

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This thesis examines representations of food in twenty-first century media, and argues that the media obsession with food in evidence today follows directly from U.K. and U.S. post-war industrial and economic booms, and by the associated processes of globalisation that secure the spread of emergent trends from these countries to the rest of the so-called Western world. The theoretical frame for the work is guided in large part by Guy Debord's Society of the Spectacle (1967), which follows a Marxist tradition of examining the intersection between consumerism and social relationships. Debord's spectacle is not merely something to be looked at, but functions, like Marx's fetishised commodity, as a mechanism of alienation. The spectacle does this by substituting real, lived experience with representations of life. Based on analyses of media representations of food from the post-war period to the present day, the work argues against the discursive celebration of globalisation as a signifier of abundance and access, and maintains, instead, that consequent to the now commonplace availability of choice and information is a deeply ambiguous relationship to food because it is a relationship overwhelmingly determined by media rather than experience. It further argues that the success of food media results from a spectacular conflation of an economy of consumerism with the basic human need to consume to survive. Contemporary celebrity chefs emerge as the locus of this conflation by representing figures of authority on that basic need, and also, through branded products (including themselves), the superfluity of consumerism. The subject of the work, therefore, is food, but the main object of its critique is media. Food media from World War 2 to the World Wide Web is about the commodification of history and politics, through food, and the natural (super)star of this narrative is the modern celebrity chef.
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Pybus, Lauren. "The Volkswagen Junior World Masters 2010 - film series." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/9040.

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This paper describes my involvement in the Volkswagen Junior World Masters film series for 2010. A three-DVD box set is being submitting for review. In the latter sections of this document, I outline the efforts that went into writing, directing and editing these films for broadcast on international television and over the Internet. In the opening chapters I assess the marketing strategy behind the Volkswagen Junior World Masters and discuss the value of the tournament from a brand seeding perspective. I describe how our media-saturated culture is making it extremely difficult for brands to achieve saliency, particularly amongst the youth. I pay special attention to Generation Y (also known as Generation Me) asthis highly individualised group prompted Volkswagen to create a soccer showcase specifically for pre-adolescents. I demonstrate that this major brand-building endeavour is designed to groom the preteens of today into becoming the Volkswagen drivers of tomorrow. I trace the efficacy of this campaign back to the collective childhood dream of achieving global soccer stardom. By becoming an important stepping-stone in the possible fulfillment of that dream, Volkswagen is tactically aligning itself with the increasingly self-interested proclivities of Generation Me.
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Baracco, Alberto. "Phenomenological hermeneutics of film philosophical thinking : a hermeneutic method for film world interpretation." Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/37321/.

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Over the past few decades, the relationship between film and philosophy has been an object of an intense debate among film scholars, revitalizing some basic theoretical questions about cinematic representations and their meanings. As a result of this debate, many recent works in film philosophy, adopting the approach identified with the term 'Film as Philosophy' (FaP), have considered film as capable of its own philosophical thought. from this specific research perspective, the thesis proposed a new methodological strategy in maintaining FaP. The main aim of this thesis is to develop a hermeneutic method for the interpretation of film philosophical thinking. Starting from the fundamental relationship between film and filmgoer, the proposed method is founded on the concept of the film world. This concept is particularly effective because it identifies the film both as a world to be percieved, which emotionally involved the filmgoer, and as a world to be interpreted, which calls for a philosophical enquiry into its meanings. Moving from the theoretical perspective of phenomenological hermeneutics, combining Merleau-Ponty's and Ricoeur's philosophies, and reconsidering Goodman's theory of worldmaking, the film world becomes the hermeneutic horizon from which film philosophical thought can emerge. The definition of the method proceeds via a detailed examination of Ricoeur's philosophical thought, especially with regard to his hermeneutics of text and logic hermeneutics. Ricoeur's hermeneutic methodology has the potential to provide a valuable resource for film studies by inviting scholars to consider film interpretation in terms of film world hermeneutics, but only on the condition that an open and self-critical dialogue with different perspectives is part of the interpretive process.
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Chapman, James. "Official British film propaganda during the Second World War." Thesis, Lancaster University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.308985.

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Burns-Watson, Roger. "Co-Starring God: Religion, Film, and World War II." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1273520794.

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Bender, Stuart. "Film style and the World War II combat genre." Thesis, Bender, Stuart (2012) Film style and the World War II combat genre. PhD thesis, Murdoch University, 2012. https://researchrepository.murdoch.edu.au/id/eprint/15646/.

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This dissertation examines the style of films from the World War 2 combat genre, addressing films made during WW2 and in the following half century and focuses on major Hollywood productions. Using a theoretical framework derived from the work of David Bordwell and Ian Hunter, I show that existing film criticism has concentrated on the narratives of these texts, often using analytic practice as a stimulus for critical self-analysis. For this reason, academic cinema studies has a limited understanding of the stylistic attributes of these films and in some instances the knowledge that has been produced is demonstrably false. I analyze in detail the style of four films made during the 1942-1945 period, as well as four films produced in the 2000s. These primary texts are supplemented with analysis of a number of other films in order to identify the stylistic norms of cinematography, sound, editing, and performance of death in the WW2 infantry combat film. The thesis argues for an understanding of Steven Spielberg’s Saving Private Ryan (1998) based upon Kristin Thompson’s approach of neoformalism. I use this approach to argue that Ryan’s hand-held cinematography, staging techniques, and sound design can best be understood as creating the effect of defamiliarization for viewers accustomed to existing cinematic representations of combat. Additionally, I argue that contemporary approaches to performance and mise-enscene suggest that the genre’s approach to realism has evolved to favor a significant increase in detail. Using cognitivist research into the imagination and mental simulations, I further argue that the increased audio-visual details enable the viewer’s imagination to more vividly render the scenario presented by the fiction. While these particular details may or may not have close(r) correlation to the real world, they produce an effect which I call “reported realism.” My conclusion shows that similar developments are apparent in first-person combat shooter video games.
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Noonan, Michael. "Baggage : unpacked - analysing the short film and its place in the world." Thesis, Queensland University of Technology, 2004. https://eprints.qut.edu.au/15969/1/Michael_Noonan_-_Baggage.pdf.

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In the seedy confines of his one-bedroom apartment, reclusive loner Harris Babel delights in watching the camcorder images of others: images he buys from a strange, smoke-filled store at the end of an alleyway. They are pre-recorded trips to faraway places, memories he pretends are his own. Holidays to Madagascar, trips to Lord Howe Island, tours through Kakadu National Park -- there are no boundaries. But Harris' claustrophobic world takes a disturbing turn when he receives a phone call from the airport, claiming he left luggage behind from a trip he doesn't remember. A trip he never went on. Or did he? From script to screen, Baggage was an exhausting 14-month journey, beginning with the first draft of the script in May 2001 and culminating in the exhibition of the film in July 2002, two days after the final sound and vision cut was completed. At its heart, the film is an exploration of identity, memory and the childhood demons that haunt us. It is about loss and abandonment, camcorder voyeurism and the obsessions that make us human. On reflection, it is a film with many flaws. But the process of recognising these flaws and better understanding the filmmaking process is an essential part of development and growth. This paper will explore the writing and directing process involved in the making of Baggage, analysing structure, cause-and-effect, character identification, suspense, style and substance. It will also evaluate the state of the short film in Australia, its importance in the development of filmmakers and the avenues for exhibition and distribution.
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Noonan, Michael. "Baggage : unpacked - analysing the short film and its place in the world." Queensland University of Technology, 2004. http://eprints.qut.edu.au/15969/.

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In the seedy confines of his one-bedroom apartment, reclusive loner Harris Babel delights in watching the camcorder images of others: images he buys from a strange, smoke-filled store at the end of an alleyway. They are pre-recorded trips to faraway places, memories he pretends are his own. Holidays to Madagascar, trips to Lord Howe Island, tours through Kakadu National Park -- there are no boundaries. But Harris' claustrophobic world takes a disturbing turn when he receives a phone call from the airport, claiming he left luggage behind from a trip he doesn't remember. A trip he never went on. Or did he? From script to screen, Baggage was an exhausting 14-month journey, beginning with the first draft of the script in May 2001 and culminating in the exhibition of the film in July 2002, two days after the final sound and vision cut was completed. At its heart, the film is an exploration of identity, memory and the childhood demons that haunt us. It is about loss and abandonment, camcorder voyeurism and the obsessions that make us human. On reflection, it is a film with many flaws. But the process of recognising these flaws and better understanding the filmmaking process is an essential part of development and growth. This paper will explore the writing and directing process involved in the making of Baggage, analysing structure, cause-and-effect, character identification, suspense, style and substance. It will also evaluate the state of the short film in Australia, its importance in the development of filmmakers and the avenues for exhibition and distribution.
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Books on the topic "Film world"

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John, Wakeman, ed. World film directors. New York: H.W. Wilson, 1987.

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Daniel, Borden, ed. Film: A world history. New York: Abram, 2008.

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A world history of film. New York: Harry N. Abrams, 2002.

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Nochimson, Martha. World on film: An introduction. Malden, MA: Wiley-Blackwell, 2010.

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World on film: An introduction. Malden, MA: Wiley-Blackwell, 2010.

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1959-, Heerboth Sharon, ed. Movies: The world on film. San Diego, CA: Lucent Books, 1991.

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Baracco, Alberto. Hermeneutics of the Film World. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65400-3.

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Nochimson, Martha. World on film: An introduction. Chichester, West Sussex, U.K: Wiley-Blackwell, 2010.

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Harris, Scott Jordan. World film locations: San Francisco. Bristol [England]: Intellect Books, 2013.

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Screen World: 1985 Film Annual. New York: Crown Publishers, 1985.

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Book chapters on the topic "Film world"

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Baracco, Alberto. "Film Worlds." In Hermeneutics of the Film World, 65–83. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65400-3_3.

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Techio, Jônadas. "The World Viewed and the World Lived." In Philosophy and Film, 26–48. New York : Taylor & Francis, 2019. | Series: Routledge research in aesthetics ; 10: Routledge, 2019. http://dx.doi.org/10.4324/9780429435157-3.

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Tempera, Mariangela. "Shakespeare on Film." In The Shakespearean World, 190–206. Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315778341-11.

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Forshaw, Barry. "World Cinema Strategies: Europe." In Sex and Film, 103–7. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137390066_10.

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Baracco, Alberto. "Understanding DSM’s Film World." In Philosophy in Stan Brakhage's Dog Star Man, 35–74. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-12426-7_3.

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Baracco, Alberto. "Explaining DSM’s Film World." In Philosophy in Stan Brakhage's Dog Star Man, 75–111. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-12426-7_4.

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Goodall, Mark. "Film Fusions." In The Routledge Companion to World Cinema, 369–81. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315688251-31.

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Wood, Robert E. "On Film." In Nature, Artforms, and the World Around Us, 201–28. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-57090-7_9.

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Baracco, Alberto. "Film and Philosophy." In Hermeneutics of the Film World, 3–36. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65400-3_1.

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Baracco, Alberto. "Phenomenology of Film." In Hermeneutics of the Film World, 37–63. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65400-3_2.

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Conference papers on the topic "Film world"

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Eaves, Peter. "Traditional Film Restoration Techniques in a Digital World." In SMPTE Spring Film Conference. IEEE, 1997. http://dx.doi.org/10.5594/m00565.

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Cha, Kum Hwan, and Stephen M. Hsu. "Molecular Design of Durable Hydrophobic Film." In World Tribology Congress III. ASMEDC, 2005. http://dx.doi.org/10.1115/wtc2005-63717.

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The demand for long durable hydrophobic surface is rising as more and more devices are coming to market. Nanotechnology promises more micro- and nanoscale devices for biomedical, aerospace, transportation purposes. Hydrophobicity can be imparted by a thin layer of low surface energy molecules or a densely-packed hydrocarbon film. Because of heterogeneous surface energy and surface defects, very few films can stay defect-free for an appreciate period of time. Eventually, moisture penetrates into the film through pin holes or defects created by surface reconfiguration. This paper describes a novel hydrophobic film design combining geometric stacking concept with self-healing mobile molecules and an polymeric canopy of cross-linking top layer to prevent evaporation of organic molecules, all within two nanometer thick suitable for most micro- and nanodevices applications.
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Corbitt, David. "A New Film Scanning Machine for Film in a Digital World." In SMPTE Technical Conference. IEEE, 1999. http://dx.doi.org/10.5594/m00344.

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Wang, Wen, Zhiming Zhang, Xiaoyang Chen, Meili Sun, and D. C. Sun. "Investigation of Cavitation Phenomenon in an Oscillatory Oil Squeeze Film." In World Tribology Congress III. ASMEDC, 2005. http://dx.doi.org/10.1115/wtc2005-64167.

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For the journal bearing under dynamic loading or under large external excitation condition, the oil film will not be a simple form as normal divided into continue oil film area and cavitation area. Because of squeeze effect, the boundary of oil film changes dynamically and oil film pressure shows more complex. As reviewed in [1], also there are some “cavitation algorithms” [2,3] developed, the oil film performance under dynamic loading remains unclear. For the research on nonlinear analysis of rotor-bearing system, one of the important work is to obtain oil film performance model under large external excitation. In order to investigate cavitation phenomenon, especially how cavitation changing and how much tensile stress oil films can support, a parallel-plate oscillatory squeeze film test-rig was built where a high-speed CCD was used to capture the development of cavitation, and synchronously the oil film pressure and the oscillatory displacement were measured [4]. A new cavitation model also was proposed [1]. In this paper, the new model will be validated with the experimental data. Some phenomenon also was investigated theoretically with new model.
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Moraru, L., F. Dimofte, S. Cioc, T. G. Keith, and D. P. Fleming. "Dynamic Modeling of a Dual Clearance Squeeze Film Damper: Part III." In World Tribology Congress III. ASMEDC, 2005. http://dx.doi.org/10.1115/wtc2005-63522.

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Squeeze film dampers (SFD) are devices utilized to control vibrations of the shafts of high-speed rotating machinery. A dual squeeze film damper (DSFD) consists of two squeeze film bearings that are separated by a sleeve, which is released when the rotor experiences abnormal operating conditions. In this part of our study of DSFD we analyze the case when both the inner and the outer oil films are active and the separating sleeve is supported by a squirrel cage. Numerical results are compared with the experimental data.
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Piserchia, Greg, John Wheatley, Jeff Boettcher, Martin Scott, and Larry Gilbert. "Metal-free Solar Reflecting Film." In SAE 2000 World Congress. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2000. http://dx.doi.org/10.4271/2000-01-1071.

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Biresaw, Girma, Terry A. Isbell, and Steven C. Cermak. "Film-Forming Properties of Estolides." In World Tribology Congress III. ASMEDC, 2005. http://dx.doi.org/10.1115/wtc2005-64089.

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Estolides are biobased materials obtained from synthesis of ingredients derived from agricultural products. They are oligoesters obtained by the reaction of fatty acids and/or methyl esters with a double bond. By varying the chemistries of the starting materials and the reaction conditions, estolides of varying chemical structures, and physical properties are obtained. Estolides have been found to have suitable properties for some lubrication applications. However, the effect of estolide chemical/physical characterstics on its tribological properties have yet to be understood. In this work, the effect of estolide physical/chemical variability on its film-forming properties is examined.
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Tysoe, Wilfred T. "Understanding the Tribological Chemistry of Chlorine- and Sulfur- and Phosphorus-Containing Additives." In World Tribology Congress III. ASMEDC, 2005. http://dx.doi.org/10.1115/wtc2005-63361.

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Chlorine- and sulfur- and phosphorus-containing compounds are commonly added to the base fluid to synthesize lubricants used under extreme-pressure (EP) conditions. Analyzing the resulting tribological films on iron reveals that chlorinated hydrocarbons thermally decompose forming a layer that consists of iron chloride (FeCl2) or carbide (Fe3C), and that dialkyldisulfides react to form FeS and Fe3C. Alkyl phosphates thermally decompose on iron oxide to form alkyl and alkoxy, as well as POx species, on the surface. The alkyl and alkoxy species thermally decompose on heating to evolve gas-phase products and deposit carbon onto the surface. The POx species rapidly diffuse into the oxide forming a film that consists of a carbonaceous layer covering a phosphate film. The tribological properties of evaporated and reactively grown thin films have been investigated in ultrahigh vacuum. This strategy eliminates contamination and allows films of known composition and structure to be grown on well-characterized substrates. Three tribological regimes are identified depending on film thickness. In the first regime, an initial rapid decrease in friction is found when a film that is a few nanometers thick (corresponding to a monolayer) covers the surface. The friction coefficient increases once again in the second regime as the film becomes thicker, due to the increased contact area between the film and the rough tribotip, and the behavior is well described by a modified Greenwood-Williamson model. A third regime is found when the film becomes thicker than the interfacial roughness, where the surfaces are completely separated by the film. Finally, measuring the friction coefficients of thin halide films deposited onto various substrates, where the local pressure at the asperity tips depends on the substrate hardness, shows that the shear strength of the “monolayer” films depends on pressure.
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Martini, A., Y. Liu, R. Q. Snurr, and Q. Wang. "Integration of a Molecular Viscosity Model and a Continuum EHL Solution for Simulation of Thin Film Lubrication." In World Tribology Congress III. ASMEDC, 2005. http://dx.doi.org/10.1115/wtc2005-63091.

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We present a simulation approach for thin film lubrication that integrates a molecular model of the film thickness-viscosity relationship in thin films with a continuum elastohydrodynamic (EHL) lubricated contact solution. Molecular simulation is used to characterize the effect of film thickness on viscosity in terms of solidification, shear thinning, and oscillation. This relationship is then incorporated into a traditional, continuum EHL solution. Film thickness distributions predicted by this integrated model are evaluated. It is found that the effect of the molecular film thickness-viscosity model is small compared to the increase in viscosity with pressure predicted by the Barus equation.
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Schulz, Florian, and Frank Beyrau. "Systematic Investigation of Fuel Film Evaporation." In WCX World Congress Experience. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2018. http://dx.doi.org/10.4271/2018-01-0310.

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Reports on the topic "Film world"

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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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Бережна, Маргарита Василівна. The Traitor Psycholinguistic Archetype. Premier Publishing, 2022. http://dx.doi.org/10.31812/123456789/6051.

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Film studies have recently begun to employ Jung’s concept of archetypes prototypical characters which play the role of blueprint in constructing clear-cut characters. New typologies of archetype characters appear to reflect the changes in the constantly developing world of literature, theater, film, comics and other forms of entertainment. Among those, there is the classification of forty-five master characters by V. Schmidt , which is the basis for defining the character’s archetype in the present article. The aim of the research is to identify the elements of the psycholinguistic image of Justin Hammer in the superhero film Iron Man 2 based on the Marvel Comics and directed by Jon Favreau (2010). The task consists of three stages, namely identification of the psychological characteristics of the character, subsequent determination of Hammer’s archetype and definition of speech elements that reveal the character’s psychological image. This paper explores 92 Hammer’s turns of dialogues in the film. According to V. Schmidt’s classification, Hammer belongs to the Traitor archetype, which is a villainous representation of the Businessman archetype.
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Giovanni, Julian di, and Andrei Levchenko. Firm Entry, Trade, and Welfare in Zipf's World. Cambridge, MA: National Bureau of Economic Research, August 2010. http://dx.doi.org/10.3386/w16313.

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Heresi, Rodrigo, and Andrew Powell. Corporate Debt and Investment in the Post-Covid World. Inter-American Development Bank, September 2022. http://dx.doi.org/10.18235/0004464.

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We study the relationship between corporate debt, corporate risk and firm-level investment, using a sample of 25,000 listed companies across 47 countries over the last two decades. We find higher leverage reduces investment but show the effect varies with risk, as measured by firm time-varying distance to default. Firms with higher market valuations and lower volatility do not suffer a debt overhang at all, while the effect is exacerbated for riskier firms. Debt overhang effects worsen significantly in economic crises, and the effects may persist for two to three years after the shock. Given the rise in corporate leverage observed during the last decade and as a result of the Covid-19 pandemic, physical investment is expected to remain at low levels for some years to come, with impacts varying considerably depending on the economic sector and other risk determinants.
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AKHADOVA, R. A., and M. L. SHTUKKERT. ‘THE DREAM OF A RIDICULOUS MAN’ F.M. DOSTOEVSKY AND A. PETROV: POETICS OF THE FEAR. Science and Innovation Center Publishing House, 2021. http://dx.doi.org/10.12731/978-0-615-67323-3-8-21.

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The purpose of the study is to determine the features of the structure and functioning of the fear motive in F.M. Dostoevsky’s “fantastic story” “The Dream of a Ridiculous Man” and in A. Petrov’s cartoon of the same name. The report first examines the images, details, etc., with which the fear motive is created in the story, and then analyzes the ways of embodying this motive and transmitting a certain frightening atmosphere in the cinema. There is revealed and determined the ontological significance and the main character of fear in the “The Dream of a Ridiculous Man”, which, in our opinion, manifests itself in the fundamental nature and primacy of this feeling in human nature. It can be observed in the transition from the dream world, not defiled by the fall, to the terrible reality of St. Petersburg, described in the story. The scientific novelty lies in the fact that a comprehensive analysis of the fear motive in the story of F. M. Dostoevsky and the peculiarities of the interpretation of this motive in the animated film by A. Petrov has not been carried out before. The study revealed, firstly, a number of repetitive means by which the fear motive is formed in both works (and their functions were determined), and secondly, there was noted the originality of the representation of the analyzed motive in the cinema.
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Hing, Vutha, Shandre Thangavelu, and Ratha Kong. Technology, Innovation, and Firm Competitiveness: Firm Level Analysis in Cambodia. Asian Development Bank Institute, January 2023. http://dx.doi.org/10.56506/biws9085.

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We examine the innovation and competitiveness of firms, especially with regard to the channels of technology transfer and the nature of innovation activities that influence firm performance in Cambodia's economy. Despite the growing importance of innovation, there has been no empirical analysis of the factors affecting technological and innovative development and the impact that these factors have on firms’ productivity in Cambodia. We use the World Bank Enterprise Survey for Cambodian enterprises for our empirical implementation. The results of the research indicate that overseas linkages that include both upstream and downstream activities could affect productivity growth at both firm and industry levels. We also find that technology and innovation have a positive impact on the productivity of firms in Cambodia.
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Zivin, Joshua Graff, and Matthew Kahn. Industrial Productivity in a Hotter World: The Aggregate Implications of Heterogeneous Firm Investment in Air Conditioning. Cambridge, MA: National Bureau of Economic Research, December 2016. http://dx.doi.org/10.3386/w22962.

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Biek, Robert F., Peter D. Rowley, and David B. Hacker. Utah’s Ancient Mega-Landslides: Geology, Discovery, and Guide to Earth’s Largest Terrestrial Landslides. Utah Geological Survey, December 2022. http://dx.doi.org/10.34191/c-132.

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Southwest Utah contains what may be the largest landslide complex on land in the world. This complex includes three ancient side-by-side gigantic slides that cover an area roughly the size of Yellowstone National Park with a volume of slide debris that would nearly fill the Grand Canyon to its rim. Geologists call it the Marysvale gravity slide complex— “Marysvale” for the namesake volcanic field that partly failed catastrophically three separate times, and “gravity slide” to call attention to a special class of extremely large and geologically complex landslides several tens to thousands of square miles in extent. Here we refer to them simply as mega-landslides or slides—they are larger and far more interesting than geologists could ever have imagined.
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Бережна, Маргарита Василівна. Psycholinguistic Image of Joy (in the Computer-Animated Film Inside Out). Psycholinguistics in a Modern World, 2021. http://dx.doi.org/10.31812/123456789/5827.

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The paper is focused on the correlation between the psychological archetype of a film character and the linguistic elements composing their speech. The Nurturer archetype is represented in the film Inside Out by the personalized emotion Joy. Joy is depicted as an antropomorphous female character, whose purpose is to keep her host, a young girl Riley, happy. As the Nurturer, Joy is completely focused on Riley’s happiness, which is expressed by lexico-semantic group ‘happy’, positive evaluative tokens, exclamatory sentences, promissive speech acts, and repetitions. She needs the feeling of connectedness with other members of her family, which is revealed by lexico-semantic groups ‘support’ and ‘help’. She is ready to sacrifice everything to save the girl in her care, which is demonstrated by modal verbs, frequent word-combination ‘for Riley’, and directives.
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Cunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark Ryan, and Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Sunshine Coast. Queensland University of Technology, December 2020. http://dx.doi.org/10.5204/rep.eprints.136822.

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The Sunshine Coast (unless otherwise specified, Sunshine Coast refers to the region which includes both Sunshine Coast and Noosa council areas) is a classic regional hotspot. In many respects, the Sunshine Coast has assets that make it the “Goldilocks” of Queensland hotspots: “the agility of the region and our collaborative nature is facilitated by the fact that we're not too big, not too small - 330,000 people” (Paddenburg, 2019); “We are in that perfect little bubble of just right of about everything” (Erbacher 2019). The Sunshine Coast has one of the fastest-growing economies in Australia. Its population is booming and its local governments are working together to establish world-class communications, transport and health infrastructure, while maintaining the integrity of the region’s much-lauded environment and lifestyle. As a result, the Sunshine Coast Council is regarded as a pioneer on smart city initiatives, while Noosa Shire Council has built a reputation for prioritising sustainable development. The region’s creative economy is growing at a faster rate that of the rest of the economy—in terms of job growth, earnings, incomes and business registrations. These gains, however, are not spread uniformly. Creative Services (that is, the advertising and marketing, architecture and design, and software and digital content sectors) are flourishing, while Cultural Production (music and performing arts, publishing and visual arts) is variable, with visual and performing arts growing while film, television and radio and publishing have low or no growth. The spirit of entrepreneurialism amongst many creatives in the Sunshine Coast was similar to what we witnessed in other hotspots: a spirit of not necessarily relying on institutions, seeking out alternative income sources, and leveraging networks. How public agencies can better harness that energy and entrepreneurialism could be a focus for ongoing strategy. There does seem to be a lower level of arts and culture funding going into the Sunshine Coast from governments than its population base and cultural and creative energy might suggest. Federal and state arts funding programs are under-delivering to the Sunshine Coast.
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