Relevant bibliographies by topics / Historical films

Academic literature on the topic 'Historical films'

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Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Historical films"

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Nadel, Alan. "What Makes Films Historical??" Film Quarterly 62, no. 3 (2009): 76–80. http://dx.doi.org/10.1525/fq.2009.62.3.76.

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Schultz, Jaime. "The Truth about Historical Sport Films." Journal of Sport History 41, no. 1 (April 1, 2014): 29–45. http://dx.doi.org/10.5406/jsporthistory.41.1.29.

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Abstract This article analyzes three new-millennial historical sports films that deal with racial desegregation and integration in the United States: Remember the Titans (2000), Glory Road (2006), and The Express (2008). Specifically, it attends to the ways in which filmmakers play fast and loose with history when it comes to chronology, characters, and past events. The intent is not to focus on micromistakes but rather to consider those inaccuracies most germane to the larger “truths” in these films. Ultimately, the author contends that historical sport films tend to depict racism as a relic of the past and freight sports figures with an excessive sense of responsibility for ostensible racial progress.
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Youngmee Hwang. "Typology of the Genre of Korean Historical Films: Focusing on Lee Joon-ik’s Historical films." Film Studies ll, no. 68 (June 2016): 287–312. http://dx.doi.org/10.17947/kfa..68.201606.010.

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Hakim, Luqman Abdul. "MENERAWANG MASA LALU DI ERA DIGITAL: FILM SEJARAH VIS A VIS HISTORIOGRAFI." SASDAYA: Gadjah Mada Journal of Humanities 3, no. 1 (February 28, 2019): 33. http://dx.doi.org/10.22146/sasdayajournal.43885.

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In recent years historical film production or historical films — Historical Film, Historical Movie, Historical Cinema—have become increasingly massive in Indonesia. In its development, historical films in Indonesia are a massive medium to present a past that deserves to be remembered as a collective memory of society. Since the reform era, dozens of historical film titles have been produced and colouring the Indonesian film industry. As a result, many historical films have become references and reference sources for the community to find information about the past. It becomes reasonable to see the development of multimedia-based information technology (audiovisual) which has encouraged the emergence of post-literacy phenomena. In historical studies, historical films can be studied as a thematic study as well as in a methodological realm. As a thematic study, historical films are mental products (mentifact) and social products (sociofact) of society in a certain space of time. Whereas in the methodological realm, historical films can be explored through debates about historical sources or as narratives and representations of the past presented through film media. The study of historical films as a study of history is still a rare and less desirable subject for historians in Indonesia. This paper utilizes literature studies to answer some of the research problems posed. Literature studies of sources related to historical film studies are the focus of the researchers. In addition, a deeper understanding of the development of historical films in Indonesia is also a concern to uncover the souls of the times that surround historical film production. This study concludes that the existence of historical films in the present is a challenge for historians to face the era of openness and variety of media that presents information about the past.
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Golovnev, Ivan A. "Archival Ethnographic Films as a Historical Source." Herald of an archivist, no. 3 (2018): 692–703. http://dx.doi.org/10.28995/2073-0101-2018-3-692-703.

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The article draws on text and visual archival documents to study nature and informative value of Soviet ethnographic films. Ethnographic cinema is a phenomenon almost unstudied by both ethnography and cinematology. Analyzing an illustrative experience of film director A. A. Litvinov and researcher V. K. Arsenyev, who were at tip of the spear in Soviet ethnocinema, the author investigates effective methodology of their scientific and cinematographic work: from script based on scientific texts to lengthy ethnographic filming expeditions to editing of the films assisted by scientific advisors. The choice of the chronological framework rests on the fact that late 1920s – early 1930s was a time of growth for ethnographic filming in the Soviet Union, characterized by both quantity and quality of ethnographic films. It was a time when a panorama of ethnographic films about different peoples of the multinational Soviet country was created, in production of the most significant of these professional scientists were involved. A series of ethnographic films about ethnic groups of Primorye (the Udege), Kamchatka (the Koryaks, the Lamuts), and Chukotka (the Chukchi), a collaboration of A. A. Litvinov and V.K. Arsenyev, received recognition from the public, and also from the scientific community. These film documents are among first photovisual records on the ethnography of the peoples of the Far East. From the point of view of ethnographic cinematology, the article concludes that ethnographic films, if approached scientifically, become a form of research, film as a ‘document’ of the period providing historical and ethnographic data. Little-studied archival ethnographic films are a promising area of research, well deserving being included into the scholarship. Their creators’ experience is of practical interest for modern ethno-cinematographers.
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Daniellou, Simon. "Historical films about the Korean Empire." 1895, no. 69 (April 1, 2013): 209–13. http://dx.doi.org/10.4000/1895.4651.

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Kurbangalieva, Alina Olegovna, and Lilia Valievna Nasyrova. "LENI RIEFENSTAHL'S FILMS AS HISTORICAL SOURCES." Young Scholars Journal, no. 4-5 (2021): 28–31. http://dx.doi.org/10.29013/ysj-21-4.5-28-31.

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Qodirov, Behzod Bahodirovich. "HISTORICAL STAGES OF UZBEK ART FILMS." Theoretical & Applied Science 73, no. 05 (May 30, 2019): 453–56. http://dx.doi.org/10.15863/tas.2019.05.73.68.

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Sorlin, Pierre. "Historical Films as Tools for Historians." Film & History: An Interdisciplinary Journal of Film and Television Studies 18, no. 1 (February 1988): 2–15. http://dx.doi.org/10.1353/flm.1988.a402699.

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kim, joohyun. "Reflection on the Fourth Stage of Historical Consciousness in Korean Independent Documentary Films: Dynamics of Societal Conflict and Integration." Korean Society of Human and Nature 5, no. 1 (June 30, 2024): 109–43. http://dx.doi.org/10.54913/hn.2024.5.1.109.

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This paper aims to redefine Korean independent documentary films as historical documentaries and explore their historical consciousness. To achieve this, Agnes Heller’s theory of historical consciousness stages was applied, and various independent documentary works were analyzed, classified by era, theme, and style, to meticulously delineate the historical consciousness of Korean independent documentary films into four stages. In the first stage, ‘General History’was transformed into ‘People’s History’, while the second stage reexamined ‘Grassroots History.’The significance of ‘Reflective Self and Historical Interpretation’was sought in the third stage, and the meaning of ‘Historical Participation and Action from Below’was found in the fourth stage. Through this process, the identity of Korean independent documentary films was further expanded into historical documentaries, laying the groundwork for diverse historical discussions. Consequently, Korean independent documentary films now offer opportunities for deeper understanding and exploration of historical aspects.
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Dissertations / Theses on the topic "Historical films"

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Ludvigsson, David. "The historian-filmmaker's dilemma : historical documentaries in Sweden in the era of Häger and Villius /." Uppsala : Acta Universitatis Upsaliensis : Univ.-bibl. [distributör], 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-3865.

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Ludvigsson, David. "The historian-filmmaker's dilemna : historical documentaries in Sweden in the era of Häger and Villius /." Uppsala : Uppsala universitet, 2003. http://catalogue.bnf.fr/ark:/12148/cb399193638.

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Paleker, Gairoonisa. "Creating a 'black film industry' : state intervention and films for African audiences in South Africa, 1956-1990." Doctoral thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8259.

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This thesis examines one aspect of cinema in South Africa, namely, the historical construction of a 'black film industry' and the development of a 'black' cinema viewing audience. It does so by focusing on films produced specifically for an African audience using a state subsidy. This subsidy was introduced in 1972 and was separate from the general or A-Scheme subsidy that was introduced in 1956 for the production of English- and Afrikaans-language or 'white' films. This thesis is a critical assessment of the actual film products that the B-Scheme produced. The films are analysed within the broader political, economic and social context of their production and exhibition. The films are used as historical sources for the way in which African identities were constructed. Through critical analyses of the selected films, the thesis examines the manner in which African people, culture, gender and family relations, as well as class and/or political aspirations were represented in film. Africans had very little opportunity or power to represent themselves and where this had been possible, it was within the ideological and political boundaries set by the apartheid government.
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Bisson, Vincent J. 1984. "Historical Film Reception: An Ethnographic Focus beyond Entertainment." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10816.

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xi, 180 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
Drawing upon theories from folkloristics, history, and audience studies, this thesis analyzes historical films, their reception, and the importance of history and film in everyday life. Using an interdisciplinary approach, I demonstrate how a folkloric perspective may contribute to and strengthen the study ofhistorical films by emphasizing the attributes of narrative and belief at the vernacular level of reception. With an ethnographic and qualitative focus on the informal, common, and everyday film viewing habits of specific individuals in relation to historical belief, this project provides empirical evidence that is necessary for a more accurate understanding of the function and reception of historical films. This study also re-examines the formal aspects of historical films in relation to historical re-construction, the definition and categorization of such films, their reception, their function beyond entertainment, and the need for an integration of new research in both audience studies and folklore studies.
Committee in Charge: Dr. Daniel Wojcik, Chair; Dr. Jeffrey Hanes; Dr. Bish Sen
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Sutandio, Anton. "Historical Trauma and the Discourse of Indonesian-ness in Contemporary Indonesian Horror Films." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1395861044.

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Mitchell, Louisa Jo. "Disrupting heritage cinema : the historical films of South Korea." Thesis, University of Leeds, 2018. http://etheses.whiterose.ac.uk/22590/.

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This thesis explores the revival of historical filmmaking in South Korean cinema. While the success of the domestic film industry over the past twenty years has been considered a second renaissance for Korean cinema, there has been little detailed engagement with the full diversity of films that have been made. Particularly, this thesis looks at the way this renaissance has seen a rediscovery of the Korean period drama. Known as sageuk in Korean, the genre has seen an unprecedented boom since the beginning of the twenty-first century. In my analysis, I draw out parallels between recent sageuk productions and the so-called 'heritage film'. My project aims to disrupt established ideas of heritage cinema, for instance cultural anxieties and the construction of a national identity, by examining recent shifts and hybridisation of the historical genre in South Korean film. I focus on the postmodern representation of a premodern past and explore issues of authenticity and nostalgia in the depiction of the Joseon period (1392-1897). The introduction provides the contextual basis for my research. Here I explore the history of the genre in conjunction within the context of Korean cinema. In the chapters that follow, I explore the recent development of the sageuk genre through close analysis of four successful and influential period films released between 2003 and 2014: Untold Scandal, Jeon Woo Chi, Masquerade, and The Admiral: Roaring Currents. My analysis looks at the changes to generic conventions and the impact of the Korean blockbuster phenomenon on the nation's historical representation. In so doing, I show how the contemporary form has been shaped by Korea's experience of the twentieth century, the changing use of traditional culture in neoliberal society, and the influence of global cinematic developments.
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Lindberg, Victor. "Film som läromedel : En undersökning om elevers attityder till film i historieunder-visningen." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-67352.

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The purpose of this bachelor thesis is to examine upper secondary students’ attitudes towards historical feature films and documentaries as teaching materials in history education. A survey was cunducted with 133 students. The students were asked for advantages and disadvantages with films and documentaries, what knowledge they might gain from watching, and the films trustworthiness as a teaching aid. The result shows that the students generally are positive towards the usage of film in history education and consider films to be a good complement to other teaching methods, especially documentaries. They are considered more trustworthy than feature films, despite being regarded as a more tedious genre. On the other hand, both feature films and documentaries are said to increase an interest in history. The knowledge mentioned by the students are primarely factual knowledge. However, a few answers indicate that film also can help develop students historical literacy, visualise historical events, and time periods. Students’ trust for the feature films’ nar-rative and the documentaries’ objectivity are quite high. Paradoxically, the majority of the stu-dents claim to question whether the films’ content is historically correct or not.
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Baker, William Andrew. "Melancholy and the Photo-Historical Approach in the Films of Wim Wenders." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu161913209076124.

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Riley, Eustacia. "From Matieland to motherland : landscape, identity and place in feature films set in the Cape Province, 1947-1989." Doctoral thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/11641.

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This thesis analyses the representation of landscape, place and identity in films set in the Cape between 1947 and 1989. These films are products of a "white", largely state-subsidised film industry, although they include a small number of independent, "alternative" films. A critical reading of these cinematic "apartheid landscapes" provides evidence of the historical context, discourses and values informing their production, as well as the construction and transformation of place and identity in apartheid South Africa.
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Pierce, Kelley J. "Dance-10 : a historical investigation of musical theatre dance styles in film." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/491454.

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A broad survey of musical theatre dance styles in film from 1935 to 1985 is used as background information for this creative project. Attention is paid to developments within the art form. The contributions of choreographers Busby Berkeley, Fred Astaire, Agnes de Mille, Gene Kelly, Michael Kidd, Bob Fosse, Jerome Robbins, and Michael Peters are discussed. A detailed description is included of the process involved in translating the film choreography to a stage performance. The film choreography was presented in a lecture demonstration format designed to give the audience a short synopsis of musical film history, then illustrate the information with a performed example.
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Books on the topic "Historical films"

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Hwang, Kyung Moon. Fate and Freedom in Korean Historical Films. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-27268-4.

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Burgoyne, Robert. The Hollywood historical film. Malden, MA: Blackwell Pub., 2008.

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Gert, Sauer. Sternstunden des deutschen Films. München: DSZ, Druckschriften- und Zeitungs-Verlag, 2001.

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Rosenstone, Robert A. History on film/film on history. Harlow, England: Longman/Pearson, 2006.

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Barak-Erez, Daphne. The law of historical films: In the aftermath of Jenin, Jenin. [Toronto]: Faculty of Law, University of Toronto, 2005.

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Davis, Natalie Zemon. Slaves on screen: Film and historical vision. Cambridge, Mass: Harvard University Press, 2000.

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Davis, Natalie Zemon. Slaves on screen: Film and historical vision. [Toronto]: Vintage Canada, 2000.

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Schiemann, Swenja. Gegenwart historisch gesehen: Kultur und Politik 1789-1848 filmisch reflektiert. München: Edition Text + Kritik, 2018.

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Taves, Brian. The romance of adventure: The genre of historical adventure movies. Jackson: University Press of Mississippi, 1993.

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Fritsche, Maria. Fiery Hungarians, subversive Czechs, snappy Germans: The recycling of history in postwar Austrian cinema (1945-1955). Trondheim: Department. of History, NTNU, 2010.

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Book chapters on the topic "Historical films"

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Giles, C. H., S. D. Forrester, and G. G. Roberts. "Historical Introduction." In Langmuir-Blodgett Films, 1–15. Boston, MA: Springer US, 1990. http://dx.doi.org/10.1007/978-1-4899-3716-2_1.

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Greiner, Rasmus. "Refiguring Historical Consciousness." In Cinematic Histospheres, 205–10. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70590-9_9.

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AbstractBy way of conclusion, this chapter examines the relationship between historical films and theories of historical culture. At the heart of its discussion is the thesis that appropriation of histospheres in spectators’ reception has a refigurative effect on our historical consciousness. On this view, the historical experiences generated by films augment the conceptions of history we have acquired from written accounts and sources with a physical-sensory dimension. Consequently, this chapter argues that two new forms of remembering make a substantial contribution to transforming our historical culture: The reminiscence triggers integrated in the audiovisual design of a historical film prompt spontaneous or “unbidden” memories that come to us contingently and are essentially receptive. The mise-en-histoire’s referentialization, by contrast, is a productive act of remembering.
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Xu, Fangyi. "Historical Films: Beyond National Imagination." In Transformation of Contemporary Film Genre, 147–79. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-6860-0_5.

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Nanetti, Andrea. "History, Films, and Online Video Streaming." In Computational Engineering of Historical Memories, 61–96. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003310860-3.

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Berkhofer, Robert F. "Films as Historical Representations and Resources." In Fashioning History, 175–213. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230617209_5.

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Bailey, Scott C. M. "Historical Biographical Films and World History." In Approaching Recent World History through Film, 24–48. First edition. | New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429299599-3.

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Greiner, Rasmus. "Modeling and Perceiving." In Cinematic Histospheres, 75–114. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70590-9_5.

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AbstractThe aim of this chapter is to develop a theory of how filmic figurations are already fused with conceptions of history during the mise-en-scène process, and thereby enable historical experiences. The first section will therefore examine the theoretical concept of figuration and the special relation between cinematic illusion and historical reference. The second section analyzes the strategies used by historical films to create filmic spaces and model an internally consistent, temporally arranged historical world. Building on this, the third section proposes that, for historical films, the film theory concept of mise-en-scène should be supplemented by a concept of mise-en-histoire: the imaginative referentialization of the historical worlds constructed by a film.
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Amato, Giuseppe, Donatella Castelli, and Serena Pisani. "A Metadata Model for Historical Documentary Films." In Research and Advanced Technology for Digital Libraries, 328–31. Berlin, Heidelberg: Springer Berlin Heidelberg, 2000. http://dx.doi.org/10.1007/3-540-45268-0_32.

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Wang, Yiman. "Crows and Sparrows: Allegory on a Historical Threshold." In Chinese Films in Focus II, 82–89. London: British Film Institute, 2008. http://dx.doi.org/10.1007/978-1-349-92280-2_11.

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Elm, Michael. "Man, Demon, Icon: Hitler’s Image between Cinematic Representation and Historical Reality." In Hitler — Films from Germany, 151–67. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137032386_7.

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Conference papers on the topic "Historical films"

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Olarescu, Dumitru. "The historical-biographical film: destinies and personalities." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.10.

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The history of national cinema shows that the evolution of non-fiction biographical film began with subjects dedicated to prominent personalities. These were included in the film magazine “Soviet Moldova” and in the almanac “Life in pictures”. In 1961, the first historical-biographical film “The Legendary Brigade Commander”- a eulogy to Grigore Kotovski (director A. Litvin) appeared at the “Moldova-film” studio, followed by other films dedicated to the heroes of the times: Pavel Tkacenko, Elena Sârbu, Tamara Cruciok, which were dominated by a pronounced propagandistic character. A new level of national historical-biographical film can be noticed in the late 1960s and early 1970s, when the filmmakers: Emil Loteanu (“Academician Tarasevici”), Andrei Buruiană (“Ştefan Neaga”), Vlad Druc (“Ion Creangă”) made their debut. Yet, the idea of biography especially predominates in the creation of Anatol Codru, who played a significant role in the affirmation stage of this kind of nonfiction film, bringing through his films, “Alexandru Plămădeală”, “Alexei Şciusev”, “Dimitrie Cantemir”,”Vasile Alecsandri” a new breath in the context of the films made before him. He imposed himself through a poetic-philosophical vision on the destinies and the creation of the personalities, who contributed to the spiritual prosperity of the nation.
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Joshi, Priyanka. "What “She” Was…’: Representations of Women in Films – A Historical Perspective." In The Asian Conference on Arts & Humanities 2022. The International Academic Forum(IAFOR), 2022. http://dx.doi.org/10.22492/issn.2186-229x.2022.5.

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Wangjingwen and luwei. "Imagination, Metaphor and Adpe: The Historical Reconstruction of Domestic Plague-Themed Films." In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.487.

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Dong, Hanzhang. "Analyzing the symbolic significance of Angelopoulos’ films from the perspective of semiotics." In Intelligent Human Systems Integration (IHSI 2024) Integrating People and Intelligent Systems. AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004522.

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Symbolic communication is an interdisciplinary field that investigates the meaning and function of symbols in the communication process. Within the framework of symbolic communication studies, symbols are seen as tools individuals employ to convey meanings and values. As a crucial cultural artifact and visual medium, film combines various symbolic elements—including imagery, sound, and plot—to create a distinctive and intricate symbolic system, thus conveying specific meanings through symbol construction. In the films of Angelopoulos, the allure of “symbolic symbolism” is reflected through flowing long shots, captivating mise-en-scène, the manipulation of time, layered spaces with poetic overlays, a blank film reel, the emergence of a giant sculpture hand from the sea, thundering trains, alienating narrative structures, obscure metaphorical symbols, and unique poetic aesthetics. These key elements encompass the crux of deciphering Angelopoulos’ films. The analysis of symbolic symbolism in Angelopoulos’ films can be approached from different perspectives.Firstly, one can utilize the basic model of symbolic communication as a framework for research. This model encompasses six elements that constitute any communicative event. These consist the elements of the speaker and listener, who are the primary participants in symbolic communication. The element of information represents the content conveyed through symbols. Code elements give form to information. In the process of communication, not only the information itself is needed, but also contact elements are needed. Contact media can take various forms. Additionally, both speaker and listener must share a context within which the transmitted information can be comprehended. In the context of Angelopoulos’ films, the films themselves function as the “speaker,” while the audience assumes the role of the “listener”. Furthermore, the specific film products and services constitute the information being communicated, embodying the purpose and communication needs. Contact pertains to the media and settings employed in film communication, while codes encompass the symbolic forms of film, such as words, sounds, images, and colors. Symbolic communication in film is additionally influenced by cultural, social, and historical backgrounds, which may cause symbols to assume differing meanings and interpretations within contexts and for distinct cultural audiences. Secondly, Bakhtin’s theory of symbols suggests that symbolic cognition involves a process of decoding, which comprises four cognitive stages: symbol perception, conceptual cognition, contextual cognition, and dynamic dialogue. By analyzing the narrative structure employed in Angelopoulos’ films, one can construct a word cloud of pertinent cognition through semi-structured interviews and literature research. This approach yields a discussion of the specific visual, tactile, auditory, gustatory, and other symbolic symbolism techniques utilized within the functional spectrum of each narrative stage.In conclusion, the creation of symbolic meaning in Angelopoulos’ films, when viewed through the lens of symbolic communication, represents a multifaceted and diverse process. It encompasses the polysemy, combination, and organization of symbolic elements, alongside the influence of cultural, social, and historical backgrounds. An in-depth exploration of the construction of symbolic meaning in films enables a profound comprehension of the symbolic symbolism employed by Angelopoulos and the consequential impact and significance on the audience.
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Губанова, Т. С. "EUROPEAN CINEMA AS A SOURCE OF HISTORICAL MEMORY FORMATION (ON THE EXAMPLE OF FILMS ABOUT THE FIRST WORLD WAR)." In Конференция памяти профессора С.Б. Семёнова ИССЛЕДОВАНИЯ ЗАРУБЕЖНОЙ ИСТОРИИ. Crossref, 2021. http://dx.doi.org/10.55000/mcu.2021.86.92.020.

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В данной статье рассматривается кинематограф как один из актуальных вопросов мемори-альной культуры и исторического сознания. Определяется значение кино в вопросе конструирова-ния исторических и культурных мифов. This article studies cinema as one of the topical issues of memorial culture and historical consciousness, the importance of cinema in the construction of historical and cultural myths.
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Tipa, Violeta. "Identity visions in the creation of the filmmaker Constantin Balan." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.18.

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One of the filmmakers from the studio „Moldova-Film”, who supported and promoted our national values was Constantin Balan. Following the activity path of the artist from his coming to the studio „Moldova-Film” as a painter-scenographer until his dissolution, we detect the value conceptions, to which he remains faithful throughout creation. He made his debut as a painter-scenographer for the film „Alone in the Face of Love” (1969), directed by Gheorghe Voda, and later he will be requested by Director Vlad Iovita for the film-story „Prince Charming” (1977) and the historical drama „At the gates of Satan” (1980), for which he anchors in our national mythofolchloric relating it to the history of the people. In 1970 his dream during his studies at VGIK (1964—1969) is fulfilled — to create animated films. In this context, especially significant becomes his first film „Guguta” (made with the support and competition of Estonian director Elbert Tuganov), which will be auspicious and will be the head of a whole series of films with the character of writer Spiridon Vangheli.
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Rodriguez, Brandon Esquvias, Brendan Hickey, Vincent McDonell, Soichiro Tabata, and Shigeki Senoo. "Investigation of Water Films Shed From an Airfoil in a High-Speed Flow." In ASME Turbo Expo 2022: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2022. http://dx.doi.org/10.1115/gt2022-80350.

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Abstract The breakup of liquid films in high-speed flows are found in many applications. These include pre-filming air blast atomization found in fuel injectors and shedding of droplet off of airfoils. In this work, a test rig has been developed and applied to study the breakup of water films from the trailing edge of an NACA 0012 airfoil placed in a high-speed air flow. The results provided reflect a new detailed data set focus on air velocities above 75 m/s. Computational fluid dynamic (CFD) simulations were used to guide the development of the rig and the associated boundary and inlet conditions. In the present work, air velocities up to 175 m/s were used with water films between 0.4 and 3.6 cm2/s. The water film was introduced onto one surface through a series of 0.5 mm holes separated by 1mm at a location 35 mm downstream of the leading edge of the vane. High speed video was used to document the sheet breakup behavior from the edge of the airfoil. Image analysis was used to identify the breakup length of ligaments formed. Laser diffraction was used 50 mm downstream of the trailing edge of the vane to determine the droplet size distribution and associated representative average diameters generated. A series of test conditions were run between 50 and 175 m/s using multilevel factorial designed experiments. The results obtained were subject to analysis of variance to generate correlations for breakup length and droplet representative diameters as a function of the conditions studied. The analysis was conducted on dimensionless versions of the variables studied to help connect the results to the physics of the situation. For example, rather than using air velocity to correlate the behavior, the Weber number (based on gas phase density and velocity) was used owing to its historical ability to describe liquid breakup processes. The results obtained are compared with other studies in the literature, and good agreement was found for the conditions at which a comparison could be made. It is observed that, for the conditions studied, liquid film thickness has little effect on the resulting droplet sizes — especially for the higher air velocity cases studied. The results also illustrate the sensitivity to choice of characteristic length, which has generally consisted of trailing edge geometry or boundary layer thickness. In contrast, liquid film does influence the ligament breakup length, although the time to break up is less affected. Overall, the correlations developed provide engineering tools to help estimate ligament and drop size behavior for water films shed from airfoils in a high-speed flow.
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Helm, Daniel, Fabian Jogl, and Martin Kampel. "Historian: A Large-Scale Historical Film Dataset with Cinematographic Annotation." In 2022 IEEE International Conference on Image Processing (ICIP). IEEE, 2022. http://dx.doi.org/10.1109/icip46576.2022.9897300.

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Hayitov, Shuhrat. "REGARDING NEW TRANSLATIONS OF “BABURNAMA”." In The Impact of Zahir Ad-Din Muhammad Bobur’s Literary Legacy on the Advancement of Eastern Statehood and Culture. Alisher Navoi' Tashkent state university of Uzbek language and literature, 2023. http://dx.doi.org/10.52773/bobur.conf.2023.25.09/iqcp4009.

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The role of “Baburnama”in the field of science is obvious. More than thirty novels, hundreds of stories and essays have been written in the world about this historical person and his masterpiece, and many more historical and scientific works, doctoral theses, and a number of films have been created. These works, which are wide in terms of content and scope, are being continued at a high pace even today. To date, the work has been translated into morethan twenty languages, and each of them has been reprinted again and again in different years. In addition, many studies of other works of the poet have been conducted and are still being conducted.It should be noted that in the following years, the interest in this priceless work is increasing in the world. New translation editions of it are being created and existing ones are being reprinted again and again. This article talks about the features of such new translations.
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Dong, Hanzhang. "A cross-cultural contextual study of Wong Kar-wai’s films driven by online reviews." In Human Interaction and Emerging Technologies (IHIET-AI 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004562.

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With the development of science and technology, the distance between people in space is getting smaller and smaller, and economic globalization has been a historical inevitability. At the time of accelerating globalization, the film and television industry, as a part of the economy, cannot escape the impact of globalization. Moreover, compared with other industries, film and television works often carry more cultural connotations. How should filmmakers cope with the cultural differences in storytelling, create cross-cultural works, and get the same or different word-of-mouth feedback from different cultural groups? In the current multi-cultural context, Wong Kar-wai can be said to be one of the representative figures. In his films, From "Carmen", "Ashes of Time" and "Days of Being Wild" to "Chungking Express", "In the Mood for Love" and "The Grandmaster", Wong Kar-wai has been widely understood and accepted in different cultural and social contexts. This article start with online comments and study the elements of cross-cultural film creation in the context of globalization according to data mining technology. Research methods and processes: Firstly, data acquisition and pre-processing are carried out. The data source of online comments needs to be determined before crawling the review data. For the research objects selected in this study, the relevant sections of online movie rating websites, online movie platforms and social attribute platforms with large audiences were chosen as data source. For example, metascore has a weighted average of many movie reviews from well-known critics, which is highly reliable. Then, the key step in text mining is word segmentation. It's the process of breaking a sentence into several words. Accurate word segmentation can improve the efficiency and accuracy of subsequent text mining. After the word cloud is established, attribute features of the comments are extracted and classified, and the factors that highly affect the acceptance and empathy of Wong Kar-wai's film works in the cross-cultural context are summarized. Finally, combined with the study of his film scenes and narrative structure, the research focuses on the following factors:1.Theme selection: Explore universal themes, such as love, loneliness, loss and dreams. These themes are cross-cultural, and people face similar issues and emotions across cultures.2.Narrative structure: Such as non-linear narrative structure, which not only increases the complexity of the film, but also provides the audience with space to think and interpret, so that audiences from different cultural backgrounds can interpret the film in different ways.3.How emotions are expressed: Wong Kar-wai's films emphasize the emotions and inner world of characters, which is a universal emotional experience that can touch people's emotions across cultural boundaries.4.Character complexity: Complex and multi-dimensional characters with unique personalities, desires and inner conflicts enable the audience to immerse themselves in understanding the inner journey of these characters, regardless of their cultural background.5.The beauty of cultural elements: Different cultural elements, such as the backgrounds and traditions of China Mainland, Hong Kong, or elsewhere. Although these elements sometimes have a specific impact on the story, they are usually presented in an aesthetic and emotional way that allows the audience to enjoy the film without knowing the cultural details.6.Aesthetic of sight and sound: Films have a distinctive vision and sound style. Create memorable movie atmospheres. This visual and aural allure can transcend the language barrier and touch the hearts of the audience.In a word, the reason why Wong Kar-wai's films can be accepted and understood by people in cross-cultural contexts will be explored in a more specific way along the above directions, and the methods of film creation will be explored under the background of multi-context globalization.
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Reports on the topic "Historical films"

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Kim, Sukkoo. Markets and Multiunit Firms from an American Historical Perspective. Cambridge, MA: National Bureau of Economic Research, April 2001. http://dx.doi.org/10.3386/w8232.

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Alabarda, Yusuf, and Rafal Lisowiec. The Private Military Firms: Historical Evolution and Industry Analysis. Fort Belvoir, VA: Defense Technical Information Center, June 2007. http://dx.doi.org/10.21236/ada473255.

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LILLY, J. T. Anticipated Dose Estimate and Historical Documentation and Excel Files for Project W-460. Office of Scientific and Technical Information (OSTI), December 1999. http://dx.doi.org/10.2172/798824.

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Schofer, Ralph E. Cost comparison of selected alternatives for preserving historic pension files. Gaithersburg, MD: National Bureau of Standards, 1986. http://dx.doi.org/10.6028/nbs.ir.86-3335.

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Bright, Megan Elizabeth, and Jinhee Nam. A Case of Interdisciplinary Course Project: Costuming in Historically based Film. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1484.

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Kerr GD, Frome EL, Watkins JP, Tankersley WG. Historical Evaluation of Film Badge Dosimetry Y-12 Plant: Part 2?Neutron Radiation ORAUT-OTIB-0045. Office of Scientific and Technical Information (OSTI), December 2009. http://dx.doi.org/10.2172/979065.

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Moriguchi, Chiaki. The Evolution of Employment Relations in U.S. and Japanese Manufacturing Firms, 1900-1960: A Comparative Historical and Institutional Analysis. Cambridge, MA: National Bureau of Economic Research, October 2000. http://dx.doi.org/10.3386/w7939.

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.

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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation and maintenance of its heritage listed buildings by the local council, Ballarat has been used as the location for a significant set of feature films, documentaries and television series bringing work to local crews and suppliers. With numerous festivals playing to the cities strengths many creative embeddeds and performing artists take advantage of employment in facilities such as the Museum of Australian Democracy at Eureka. The city has its share of start-ups, as well as advertising, design and architectural firms. The city is noted for its museums, its many theatres and art galleries. All major national networks service the TV and radio sector here while community radio is strong and growing.
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Canto, Patricia. Firm Productivity, Organizational Choice and Global Value Chain. Universidad de Deusto, 2011. http://dx.doi.org/10.18543/lcsv5237.

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Based upon insights of the global value chain literature, the aim of this paper is to investigate the impact of being a supplier firm on labour productivity. The country of analysis is Italy, historically characterized by a very strong division of labour among firms. We make use of a unique database, which collects information on several organizational, structural and performance variables of a representative sample of more than 3000 Italian manufacturing firms, spanning the period 1998-2006. Our econometric investigation confirms predictions coming from the global value chain literature. By and large, our findings indicate that being a “traditional” supplier is associated with lower levels of productivity in comparison with the ones exhibit by final firms. However, supplier firms that both export a significant percentage of their production and carry out product or process innovations (i.e. the subset of suppliers that we name “advanced suppliers” against “traditional suppliers”) display productivity levels not lower (and, actually, higher) than final firms ones.
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Martínez Parra, Marc. El vulcanismo en el cine. Ilustre Colegio Oficial de Geólogos, October 2021. http://dx.doi.org/10.21028/mmp.2021.10.06.

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Como recurso argumental o temático, o bien como soporte, el cine ha empleado conceptos de la vulcanología, desarrollando historias enmarcadas, en diversos géneros cinematográficos, especialmente el cine de catástrofes, de aventuras y el documental, con filmes basados en sucesos reales o bien ficticios, como las acaecidos en las ciudades de Pompeya y Dante’s Peak, respectivamente. Son filmes en lo que los efectos especiales tienen gran importancia. También el género documental, tanto en noticiarios como en largometrajes, a causa de la espectacularidad de las imágenes de la naturaleza más primigenia, ha tenido en el vulcanismo un imán en cuanto a interés del público.
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