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Books on the topic 'Network films'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

Parker, Clive. Sci-fi and the Internet. Bath: Future, 1996.

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2

J, Weber Peter. The incredible Internet guide to Star wars: The complete guide to everything Star wars online. Tempe, AZ: Facts on Demand Press, 1999.

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3

Special edition: A guide to network television documentary series and special news reports, 1955-1979. Metuchen, N.J: Scarecrow, 1987.

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4

Einstein, Daniel. Special edition: A guide to network television documentary series and special news reports, 1980-1989. Lanham, Md: Scarecrow Press, 1997.

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5

Flowers, James R. The incredible Internet guide for trekkers: The complete guide to everything Star trek online. Tempe, AZ: Facts on Demand Press, 1999.

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6

Inc, NetLibrary, ed. Small firms and network economies. London: Routledge, 2002.

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7

Small firms and network economies. London: Routledge, 1999.

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8

Thilenius, Peter. Subsidiary network context in international firms. Uppsala, Sweden: Företagsekonomiska Institutionen, Uppsala Universitet, 1997.

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9

Deivert, Bert. Film & video on the Internet: The top 500 sites. Studio City, CA: M.W. Publications, 1996.

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10

Casson, Mark. Firms, networks and international business enterprises. Reading: University of Reading, Department of Economics, 1993.

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11

Alfaro, Laura. The global networks of multinational firms. Cambridge, MA: National Bureau of Economic Research, 2009.

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12

Casson, Mark. Firms, networks and international business enterprises. Reading, England: University of Reading, Dept. of Economics, 1993.

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13

Hanson, Gordon H. Vertical production networks in multinational firms. Cambridge, Mass: National Bureau of Economic Research, 2003.

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14

Kosovac, Branka. Imageline scope and feasibility report. The Hague: IFLA, 2004.

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15

Kerai, Anita. Innovation in business group firms: Influence of network diversity. Ahmedabad: Indian Institute of Management, 2015.

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16

Singleton, Philip J. Nature of networks in small Irish firms internationalization. [s.l: The Author], 1996.

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17

Board, Virginia Library. Report of the State Library Board and the Department of Information Technology on assessing the need to establish protocols and guidelines regarding in-state access to the myriad files and components available through the Internet to the Governor and the General Assembly of Virginia. Richmond: Commonwealth of Virginia, 1995.

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18

Madanmohan, T. R. A framework for analysing innovation capability of firms in network industries. Bangalore: Indian Institute of Management, 2003.

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19

G, Baker David. PC LAN systems for law firms: Emphasis on planning and selection process. Vernon Hills, Ill: Associatin of Legal Administrators, 1993.

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20

George, Contini, and Gotthoffer Doug, eds. Theatre and film on the net. 2nd ed. Boston: Allyn and Bacon, 2001.

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21

Rathnasiri, P. G. Targeting and design of heat exchanger network considering different film coefficients. Manchester: UMIST, 1996.

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22

Curran, J. Small firms and local economic networks: Relations between small and large firms in two localities. (Kingston upon Thames): Kingston Business School, 1992.

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23

Dieperink, Han. A multiple criteria location model for innovative firms in a communication network. Amsterdam: Vrije Universiteit, Faculteit der Economische Wetenschappen en Econometrie, 1987.

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24

Curran, J. Small firms and networks: Constructs methodological strategies and preliminary findings. [Kingston upon Thames]: Kingston Business School, 1990.

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25

Japanese and Hong Kong film industries: Understanding the origins of East Asian film networks. New York, NY: Routledge, 2009.

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26

Rusen, Ciprian Adrian. Network your computers & devices step by step. Sebastopol, CA: O'Reilly Media, 2010.

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27

1949-, Ries David G., Simek John W, and American Bar Association. Section of Law Practice Management, eds. Locked down: Information security for law firms. Chicago, Ill: American Bar Association, 2012.

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28

Digital Horror: Haunted Technologies, Network Panic and the Found Footage Phenomenon. I. B. Tauris & Company, Limited, 2015.

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29

Pride and prejudice [videorecording] / co-production of BBC Television and BBC Worldwide Americas ; in association with A&E Network ; producer, Sue Birtwistle ; director, Simon Langton. 2nd ed. New York: New Video Group, 1996.

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30

Vogan, Travis. Cable, NFL Media, and NFL Films’ Dinosaur Television. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038389.003.0007.

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This chapter examines how the development of cable television and NFL Media enhanced the production and circulation of NFL Films content. As NFL Films' programming set the stage for the development of twenty-four-hour sports channels like ESPN, it established a starting point from which the National Football League (NFL) formed its own network, the NFL Network. In 2004 NFL Films was designated part of NFL Media, a multiplatform subsidiary run by former ESPN president Steve Bornstein that now includes the NFL Network, NFL.com, and offshoots like the RedZone specialty seasonal cable channel and the NFL Mobile smartphone application. This chapter explores how NFL Films, which established a foundation for the development of cable sports television and the transformation of the NFL into a multiplatform media institution, has been constrained to adjust its practices to maintain a place within the contemporary sports media landscape and league it helped create. It also considers how the Internet created new opportunities for the NFL to build and circulate its image.

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31

M, Senthilkumar, and Bhabha Atomic Research Centre, eds. A self-learning approach based on artificial neural network (ANN) for the characterization, analysis and inverse synthesis of thin film optical coatings. Mumbai: Bhabha Atomic Research Centre, 2001.

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32

Barrett, Kyle, ed. ReFocus: The Films of Mary Harron. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474494410.001.0001.

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Mary Harron's diverse career includes cult films such as I Shot Andy Warhol, American Psycho and The Notorious Bettie Page, as well as a range of network and cable television episodes in innovative shows including Homicide: Life on the Street and Six Feet Under. This is the first book to examine an overlooked filmmaker in relation to feminist cinema, discussing the dialectical dynamics within her wide-ranging body of work. It is argued that Harron has fostered a distinctive career through her stylistic and aesthetic choices prompted by cultural contexts, controversial subject matter and production limitations. Each chapter provides an in-depth study on Harron's creative approaches to film and television production, with essays offering close readings of her 5 narrative features, television work, and promotional films. The book offers a robust examination, with scholarly approaches from the fields of cinema, television, gender, fashion, death and celebrity studies. This is a long-awaited and crucial introduction to a ground-breaking figure in contemporary cinema.`

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33

The ifilm Internet movie guide. Hollywood, CA: Lone Eagle, 2002.

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34

McKenna, Michael. ABC Movie of the Week: Big Movies for the Small Screen. Scarecrow Press, Incorporated, 2013.

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35

The ABC Movie of the Week: Big Movies for the Small Screen. Scarecrow Press, 2013.

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36

Thomson, C. Claire. Citizens of the Future: Informational Film and the Welfare State. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424134.003.0008.

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Although informational films made for domestic audiences in 1950s Denmark sometimes circulated internationally, their primary function was to instruct the populace about national institutions and infrastructure. They help to shape and renegotiate citizenship and national identity on screen, and mediate new technologies, laws and practices. This chapter examines five such films covering a range of topics: the national rail network, public libraries, home economics training for housewives, careers advice, and sport and leisure. Of these, three were directed by Theodor Christensen, a leading figure in Danish documentary. The production history of each film is outlined and contextualised within the contemporary socio-political developments and innovations which, in most cases, triggered the film projects. The chapter also describes the national network of informational film distribution, including Statens Filmcentral, and the screening of films in a range of venues such as cinemas, libraries and leisure clubs. The distinction in the Danish context between the forfilm (for theatrical exhibition) and foreningsfilm (for use by clubs and societies) is examined.

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37

NetGuide. NetSci-Fi (Net Books). Wolff New Media, 1997.

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38

Williams, Tami. Negotiating Art and Industry in the Postwar Context. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038471.003.0003.

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This chapter studies several of Dulac's early narrative Impressionist films, and her ideal of cinema as a spatiotemporally complex universe of symbols—one in which meaning is created through an intertextual network of figurative associations, such as pictorial and rhythmic gesture. Dulac's integral approach, based on life, movement, and rhythm, exemplified in a surviving extract of what is considered the first Impressionist film, La Fête espagnole (1920), is used in a particularly innovative and feminist manner in one of her earliest extant films, La Belle Dame sans merci (1921). Dulac's use of dance as a discursive metaphor disrupts a heteronormative, monogamous, and linear narrative structure, creating a queer subtext in her later films, both commercial and avant-garde.

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39

Network. Faber & Faber, 2018.

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40

Halle, Randall. “Outside” Europe. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038457.003.0006.

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This chapter discusses how the apparatus of European film extends beyond the ideational boundaries of Europe, and analyzes the distinction between an “inside” and “outside” production. Within the European Union, a number of programs have emerged to develop synergy with non-European filmmakers and film industries. For instance, the MEDIA program alone sponsors Outside MEDIA, MEDIA MUNDUS, and coordinates with the European–Mediterranean (EUROMED) partnership. The programs presented here aim to foster the distribution and exhibition of European films abroad, especially in the Mediterranean regions. The coproduction funds foster an ease of distribution in European film markets, giving rise to a complex network that reaches across the globe.

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41

Perry, Martin. Small Firms and Network Economies. Taylor & Francis Group, 2014.

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42

Perry, Martin. Small Firms and Network Economies. Taylor & Francis Group, 2012.

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43

Perry, Martin. Small Firms and Network Economies. Taylor & Francis Group, 2012.

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44

Perry, Martin. Small Firms and Network Economies. Taylor & Francis Group, 2012.

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45

Perry, Martin. Small Firms and Network Economies. Taylor & Francis Group, 1999.

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46

Bastos, Paulo, and Joana Silva. Networks, Firms, and Trade. The World Bank, 2012. http://dx.doi.org/10.1596/1813-9450-6279.

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47

Bussolo, Maurizio, Simon Commander, and Stavros Poupakis. Political Connections and Firms: Network Dimensions. World Bank, Washington, DC, 2018. http://dx.doi.org/10.1596/1813-9450-8428.

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48

Thomson, C. Claire. Mapping Messiness: The Informational Film Archive and Actor-Network Theory. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424134.003.0004.

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This chapter offers Actor-Network Theory (ANT) as a toolkit for analysing the often messy and complex networks and relationships involved in the production and distribution of useful cinema. Stressing that ANT is employed in the book as a way of thinking rather than as an explicit framework, the chapter briefly outlines the key principles of ANT and relates them to documentary and informational filmmaking. In particular, the chapter discusses the potential of ANT for rendering visible or audible the many non-human actors in any instance of filmmaking, and for revealing how facts are constructed in documentary and related genres. The institutions, individuals, networks, technologies and other actors involved in mid-twentieth-century Danish informational filmmaking are then mapped. The chapter concludes with a discussion of the role of the archive and the researcher in the network of any given film, explaining how contemporary archival practices, especially digital technologies, are creating new dispositifs for historical informational film.

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49

Harries, Dan, and Bert Deivert. Film & Video on the Internet: The Top 500 Sites. Michael Wiese Productions, 1999.

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50

Platte, Nathan. Making Music in Selznick's Hollywood. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.001.0001.

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Making Music in Selznick’s Hollywood explores the network of musicians and filmmakers whose work defined the sound of Hollywood’s golden age (c. 1920s–1950s). The book’s central character is producer David O. Selznick, who immersed himself in the music of his films, serving as manager, critic, and advocate. By demonstrating music’s value in film and encouraging its distribution through sheet music, concerts, radio broadcasts, and soundtrack albums, Selznick cultivated audiences’ relationship to movie music. But he did not do it alone. Selznick’s films depended upon the men and women who brought the music to life. This book shows how a range of specialists, including composers (Max Steiner, Dimitri Tiomkin, Franz Waxman, and others), orchestrators, music directors (Lou Forbes), editors (Audray Granville), writers, instrumentalists, singers, and publicists, helped make the music for Selznick’s films stand apart from competitors’. Drawing upon thousands of archival documents, this book offers a tour of American cinema through its music. By investigating Selznick’s efforts in the late silent era, his work at three major Hollywood studios, and his accomplishments as an independent producer (including his films with Alfred Hitchcock), this book reveals how the music was made for iconic films like King Kong (1933), A Star is Born (1937), The Prisoner of Zenda (1937), Gone with the Wind (1939), Rebecca (1940), Spellbound (1945), The Third Man (1948), and A Farewell to Arms (1957).

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