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Journal articles on the topic 'Personal films'

To see the other types of publications on this topic, follow the link: Personal films.

Author: Grafiati

Published: 4 June 2021

Last updated: 19 February 2022

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1

Journal, Baghdad Science. "Study of Stability of Personal Dosimeter." Baghdad Science Journal 6, no. 4 (December 6, 2009): 698–704. http://dx.doi.org/10.21123/bsj.6.4.698-704.

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The study is carried out by using personal dosimeters (film badge). The films are irradiated to absorbed dose of range (0.01-10000 rad). The calibration curves are drawn by using the ordinary method taking into account the filtration effects in three regions (D (Pb/Sn),D(Du),D(300). The calibration films are stored in ambient condition. It is found that the optical density increases, which is attributed to the photodegradation of the films may induce localized states in the energy gap causing increasing in optical absorption, but optical density decreases, which attributed to the photodegradation of the films may cause some cracks at the film surface during the first month, whereas at the rest months we see clear stability in optical density for the irradiated films. Before irradiation, there is increasing in optical density during the second month, and decreasing in optical density during the rest months. It is concluded that aging effects must be considered for personal dosimeter before and after irradiation to know its use ability as a permanent record.

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2

Maldonado, Nancy S., and Mariann P. Winick. "Films/Videos/DVDs: Public Education and Personal Visions." Childhood Education 81, no. 1 (October 2004): 58–59. http://dx.doi.org/10.1080/00094056.2004.10521298.

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Meade, Melissa R. "Violence, Oppression, and Double Standards in Three Colombian Films." CINEJ Cinema Journal 1, no. 1 (August 4, 2011): 16–23. http://dx.doi.org/10.5195/cinej.2011.13.

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This article compares three Colombian films that tell distinct stories of violence, personal and political oppression, and double standards. The films Confesión a Laura (Confessing to Laura, Jaime Osorio, 1991), La Primera Noche (The First Night, Luis Alberto Restrepo, 2003) and El Rey (The King, José Antonio Dorado, 2004) each highlight the characters’ struggles in the Colombian socio-political landscape. Each film’s content and themes do not merely offer representations of national culture, but also provide a way in which to discuss the political and social struggles of Colombia. The directors explore these stories of violence and socio-political struggle through the use of mis-en-scène, cinematography, sound, and editing.

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Bachrach, Bilha, and Ruth Landau. "Reconstructing the Loss: Bereaved Parents in Personal Commemorative Films." Journal of Loss and Trauma 19, no. 5 (July 14, 2014): 484–95. http://dx.doi.org/10.1080/15325024.2013.806841.

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Marczak, Mariola. "Radosława Piwowarskiego podróże nostalgiczne. Kreowanie pamięci wspólnotowej i „realizm pamięci” w narracjach o Dolinie Dzieciństwa i Młodości." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 28, no. 37 (March 31, 2021): 349–63. http://dx.doi.org/10.14746/i.2020.37.21.

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The article comprises a study of the creative work of the Polish director Radosław Piwowarski, represented by his most characteristic films. The author points out the merger of stylized realism and of the nostalgic (or to be more precise – the realism stylized by means of nostalgia) as constitutive for the film style of this film artist. As a result of film analyses, the narrative structures of Piwowarski’s films appear to be memory structures, as they re-create the reality remembered by the filmmaker, who usually chooses the topos of a trip down memory lane to express his personal and subjective point of view. The film’s story becomes the image of the subjective reality, since it is a product of personal memory, consciousness and imagination. Piwowarski refers to the motif of the Valley of Childhood and Youth, vivid and active in the Polish literature and cinema, as an universum closed up in the past and lost forever, which, however, is accessible through the activity of recalling. The director, by the act of re-creation of a world personally remembered, actualizes the collective memory and therefore creates a community of memory with viewers of his films. The screen image of the past reality therefore gains double reliability – as a personal confession and as a record of the past; in consequence, we achieve the esthetical category of realism of memory.

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Pickering, Barbara A. "Women's Voices as Evidence: Personal Testimony is Pro-Choice Films." Argumentation and Advocacy 40, no. 1 (June 2003): 1–22. http://dx.doi.org/10.1080/00028533.2003.11821594.

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7

Eken, M. Evren. "How geopolitical becomes personal: Method acting, war films and affect." Journal of International Political Theory 15, no. 2 (March 7, 2019): 210–28. http://dx.doi.org/10.1177/1755088219832328.

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This article is about weaponisation of emotions through visual culture. It interrogates how geopolitics trickles down to everyday life and becomes personal through the embodiment of screen actors. While International Relations is attempting to move beyond the limits of existing disciplinary methods and methodologies to better grasp the emotional depths of world politics, this article delves into the ‘method’ in performance arts to understand how visual culture diffuses emotional narratives of the state to the population and affectively enables people to experience the international from the perspective of the United States. In this sense, focusing on ‘method acting’ which revolutionised performance arts in the United States from the 1950s, the article examines the mundane encounters in visual culture through which screen/state actors emotionally situate the audience to make them viscerally experience geopolitics, personally feel like a state/warrior and embody a commitment to the war effort at an emotional level.

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8

Dixon, Wheeler Winston. "“All My Films Are Personal”: An Interview with Pat Jackson." Journal of Popular Film and Television 39, no. 4 (November 30, 2011): 150–61. http://dx.doi.org/10.1080/01956051.2011.585669.

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9

Moehrle, Matthias, and Claus Garbe. "Personal UV Dosimetry by Bacillus subtilis Spore Films." Dermatology 200, no. 1 (2000): 1–5. http://dx.doi.org/10.1159/000018306.

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10

Jordan, P. Kimberleigh. "Performing Black Subjectivity." Feminist Media Histories 6, no. 3 (2020): 79–103. http://dx.doi.org/10.1525/fmh.2020.6.3.79.

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This article analyzes Black feminist performance through two recently released live performance films. Set a generation apart, Amazing Grace (recorded 1972, released 2018), featuring Aretha Franklin, and Homecoming (2019), featuring Beyoncé, are artful and personal—both inspired by Black culture and the artists' personal histories, and offer virtuoso performances. The article operates in three modes: scholarly, personal, and remembered. The scholarship draws on the work of Hortense Spillers, bell hooks, Daphne Brooks, and others, while the personal and remembered portions consider significant sites of feminist formation that have shaped the author's perceptions and analyses of Black feminist performance in the present. These, along with close readings of the films, tap into Black women's ways of knowing and performing subjectivity.

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11

K Biswas, S. "Personal news." Tribology International 25, no. 3 (June 1992): 213. http://dx.doi.org/10.1016/0301-679x(92)90051-n.

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12

Murphy, Neil. "Personal Note." Surface and Interface Analysis 48, no. 5 (November 11, 2015): 248. http://dx.doi.org/10.1002/sia.5880.

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Kuo, Marie-Claire. "Translation and distribution of Chinese films in France: A personal account*." Journal of Chinese Cinemas 12, no. 3 (September 2, 2018): 237–49. http://dx.doi.org/10.1080/17508061.2018.1522804.

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Bachrach, Bilha, and Ruth Landau. "The Place of Mysticism in Personal Commemorative Films of Bereaved Parents." Journal of Constructivist Psychology 25, no. 2 (April 2012): 154–69. http://dx.doi.org/10.1080/10720537.2012.651351.

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15

Torchin, Leshu. "MEDIATION AND REMEDIATION." Film Quarterly 68, no. 1 (2014): 32–41. http://dx.doi.org/10.1525/fq.2014.68.1.32.

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In L’image manquante/The Missing Picture (Rithy Panh, 2013), Rithy Panh continues his exploration of the Cambodian genocide. Combining Khmer Rouge propaganda films, contemporary video footage and painted clay figurines in stunningly crafted—often multimedia—dioramas, the documentary couples ruminations on mediation, trauma, and history with Panh’s personal story. However, the film reaches beyond individual narrative and reflection, functioning as cinematic witness as it counters silences, fills historical gaps, and provides a testimony that is polyphonic and collective. And through his deployment of clips from his former films, Panh creates a sedimented text, suggestive of a past that refuses to stay past and of the magnitude of history, where any production of memory can both preserve and veil the lives of others.

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Duvoisin, Aline. "Da publicidade ao cinema: conversa com o realizador argentino Eliseo Subiela/From advertisement to cinema: conversation with the Argentine director Eliseo Subiela." Intexto, no. 36 (August 26, 2016): 4. http://dx.doi.org/10.19132/1807-8583201636.4-13.

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Eliseo Subiela iniciou sua carreira na publicidade audiovisual nos anos 1960. Na década de 1980, passou a dirigir também filmes para cinema. Atualmente realiza exclusivamente longas-metragens de ficção. Esta conversa aborda alguns comerciais que o realizador argentino conserva em seu arquivo pessoal, além de filmes publicitários desaparecidos que ele adoraria ter conservado. Também são discutidas aqui semelhanças e diver-gências entre o trabalho publicitário e cinematográfico do reali-zador.Palavras-chavePublicidade audiovisual. Cinema de ficção. Argentina. Eliseo Su-biela.From advertisement to cinema: conversation with the Argentine director Eliseo SubielaAbstractEliseo Subiela began his career in the audiovisual advertising in the 1960s. In the 1980s he also started directing films for cinema. Nowadays he directs exclusively fiction feature films. This conversation addresses some commercials that this Argentine director saves in his personal archive, as well as missing commercials that he would love to have kept. It also discusses similarities and differences between his work to advertisement and cinema.KeywordsAudiovisual advertising. Fiction cinema. Argentina. Eliseo Subiela.

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17

Spitz, Andreas, and Emőke-Ágnes Horvát. "A Cookbook of Cinematic Delicacies That Do Not Expire." Leonardo 47, no. 3 (June 2014): 271. http://dx.doi.org/10.1162/leon_a_00774.

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Despite the increasing number of film rankings that are created on the basis of economic considerations, critical acclaim, or personal taste, cinema lacks the means to quantify the long-term success of films. The authors therefore propose a novel approach to the analysis of cinematic influences which is based on a film citation network that is extracted from a large data base. The resulting top list of films is more diverse in terms of the main creators, genre, actors, and technical specifications than a representative selection of personal favorite lists, voting lists, lists of individual experts, or lists deduced from expert polls.

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18

Mosher, Stephen D. "Fielding Our Dreams: Rounding Third in Dyersville." Sociology of Sport Journal 8, no. 3 (September 1991): 272–80. http://dx.doi.org/10.1123/ssj.8.3.272.

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While contemporary American sport films seem to be targeting the adolescent audience for a message of empowerment, a smaller group of sport films seems to have reached out to the adult audience with the “preposterous” claim that sport allows us opportunities for personal redemption. Through interviews conducted at the Dyersville, Iowa, site of Fields of Dreams, a critical examination of several contemporary adult baseball films, and analysis of the Pete Rose saga, I hope to show that the opportunity for personal redemption is not only possible but in fact is a primary function of all sport. When asked in Field of Dreams by Shoeless Joe Jackson, “Is this heaven?” Ray Kinsella responds, “No, it’s Iowa.” I maintain that the predominant mythos in contemporary sport is that, indeed, it is heaven.

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Mizukoshi, Akiyoshi, Akio Harada, Masami Hashimoto, and Katsumi Ikei. "54. The administration of films and charts by the personal computer network." Japanese Journal of Radiological Technology 49, no. 2 (1993): 174. http://dx.doi.org/10.6009/jjrt.kj00003501099.

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20

Prendergast, Shirley, and Alan Prout. "The Natural and the Personal: reflections on birth films in schools[1]." British Journal of Sociology of Education 6, no. 2 (June 1985): 173–83. http://dx.doi.org/10.1080/0142569850060203.

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21

Hovdestad, Wendy E., David Hubka, and Lil Tonmyr. "Unwanted personal contact and risky situations in ten disney animated feature films." Child Abuse Review 18, no. 2 (March 2009): 111–26. http://dx.doi.org/10.1002/car.1061.

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22

Hovdestad, Wendy E., David Hubka, and Lil Tonmyr. "Unwanted personal contact and risky situations in ten disney animated feature films." Child Abuse Review 18, no. 3 (May 2009): 219. http://dx.doi.org/10.1002/car.1071.

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23

Lovrinović, Vedrana, and Mario Županović. "Duplicity and posthegemony in Claudia Llosa’s Madeinusa and Lucrecia Martel’s La niña santa." Journal of Romance Studies: Volume 21, Issue 2 21, no. 2 (June 1, 2021): 209–36. http://dx.doi.org/10.3828/jrs.2021.12.

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This article employs the concepts of duplicity and posthegemony to analyse intimate and social interactions in Lucrecia Martel’s La niña santa [The Holy Girl] (2004) and Claudia Llosa’s Madeinusa (2005), focusing in particular on the personal and social development of each film’s female protagonist. By viewing the films through the psychoanalytic concepts of duplicity as defined by Harold Kelman and posthegemony as defined by Jon Beasley-Murray, we distinguish how each female protagonist strives toward posthegemonic status while adopting opposite approaches to duplicity. This is to say that Amalia entirely eschews duplicity while Madeinusa plays upon the liminalities of moral doubleness. In elaborating this argument, we will also demonstrate that both films represent a feminist critique of hegemony in which the emergent and emancipative subject liberates herself from the patriarchal apparatuses of the family, religion and community.

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24

Ely-Harper, Kerreen. "Writing/performing myself on-screen: Daniel Monks’ memory work on film." Journal of Screenwriting 12, no. 1 (March 1, 2021): 95–111. http://dx.doi.org/10.1386/josc_00050_1.

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Performing memories is a way of working through and reconstructing the self. Films that draw on autobiographical experiences are a way of working through and constructing narratives of the self. How can memory work be applied to the writing and filmmaking process? Can memory work, with its focus on personal and embodied experience, lead us to a more truthful account of our individual histories and ourselves? In addressing these questions, I draw on sociological and memory studies into autobiographical memory in my examination of the screenwriting work of Australian actor/writer Daniel Monks. Monks’ films Marrow (2015) and Pulse (2017) are adapted and developed from the author’s personal memories and experiences. Identifying as disabled and queer, Monks’ work straddles the fact-fiction divide, enabling the social and personal to dynamically interact, producing drama narratives where the body is the primary site for retelling and sharing with an audience his need to be seen. My study includes original drafts of screenplays, produced films and interviews with Monks on his writing and development processes. Demonstrating how Monks uses and refigures his body within a cinematic landscape, I aim to promote discussion on how individual memories function as dynamic and interconnected sources for the screenwriter/filmmaker.

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25

Swope, William C. "Personal Observations: William C. Swope." Journal of Physical Chemistry B 118, no. 24 (June 19, 2014): 6360–63. http://dx.doi.org/10.1021/jp502441b.

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26

Young, Gwenda. "Exploring racial politics, personal history and critical reception." Alphaville: Journal of Film and Screen Media, no. 6 (December 19, 2013): 51–68. http://dx.doi.org/10.33178/alpha.6.04.

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Using archival sources from the Clarence Brown Archive at the University of Tennessee at Knoxville, newspaper clippings from a wide range of national and regional press, and unpublished interviews, this article explores how the complexities and contradictions that are central to Clarence Brown’s film version of Intruder in the Dust (1949)—complexities that, arguably, make this film the most ambiguous of all the “race issue” films released in 1949—are mirrored in the director’s own deeply divided attitude to race and to the South. These tensions also surface in the critical reception of the film in the white press, and perhaps more tellingly, in the black press of 1949. The notion that this was a film generally acclaimed in the black press can be challenged, or at the very least nuanced, through a closer examination of newspaper archives, which, in turn, reveals some of the divisions within black intellectual circles of the late 1940s.

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Savin Ben Shoshan, Liat. "Filming the world from home: windows in personal documentary films in Israel/Palestine." Studies in Documentary Film 14, no. 2 (May 23, 2019): 81–98. http://dx.doi.org/10.1080/17503280.2019.1614269.

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Hudson, Seán. "A Queer Aesthetic: Identity in Kurosawa Kiyoshi's Horror Films." Film-Philosophy 22, no. 3 (October 2018): 448–64. http://dx.doi.org/10.3366/film.2018.0089.

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Judith Butler argues that every category of personal identity, such as gender, the body, nationality, sexuality, or ethnicity, is predicated in part on a crisis between what that identity affirms and what it excludes. How this crisis manifests itself in everyday life is key to understanding how identities are reinforced, negotiated, subverted, or rejected on both social and individual levels. In this paper I consider three films directed by Kurosawa Kiyoshi between 2001 and 2006, arguing that they are especially competent in not only representing ontological tensions of this kind within their narratives, but also in manifesting these tensions so that they are made viscerally available to the viewer as affect. To understand how this is achieved, I draw on the work of Susan Sontag, Judith Butler, and Gilles Deleuze and Félix Guattari, among others, to articulate how a stylistic system, or aesthetic, is developed across these films, and what techniques contribute to its production. I find that key components of this aesthetic include images of touch and performance, the transgression of bodily boundaries, and what Margrit Shildrick calls an “erotics of connection” between bodies.

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Klahr, Lewis. "Flotsam and Jetsam: The Spray of History." Animation 6, no. 3 (November 2011): 387–98. http://dx.doi.org/10.1177/1746847711421651.

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Renowned collage filmmaker Lewis Klahr has created a collage of personal statements and images from his films to reflect upon his cut-out animation films. The piece discusses his artistic process and his use of artifacts, documents and detritus to explore ephemeral aspects of history and the passage of time. He comments on his use of animated movement and stillness and the idea of reanimating objects from the past.

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Chivers, T. C. "Nuclear tribology: a personal perspective." Tribology International 19, no. 5 (October 1986): 225–33. http://dx.doi.org/10.1016/0301-679x(86)90001-0.

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31

McVeigh, Margaret, and Clarissa Mazon Miranda. "How the scripts of Latin American screenwriters Lucrecia Martel (Argentina), Anna Muylaert (Brazil) and Claudia Llosa (Peru) have made a mark on the world stage." Journal of Screenwriting 11, no. 3 (September 1, 2020): 331–46. http://dx.doi.org/10.1386/josc_00037_1.

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The films of Latin American female screenwriters, Lucrecia Martel (Argentina), Anna Muylaert (Brazil) and Claudia Llosa (Peru), have achieved international prominence in recent years. In this article we create new insights into the ways in which these screenwriters have developed scripts for films that have made a mark on the world stage. To this end we will investigate how this acclaim has been enabled by their screenwriting decisions which focus on the creation of women-centred films, as well as their use of the family story as a means of exploring contemporary social and political themes, to tell universal stories that highlight the global in the local. In doing so we canvas the personal, industrial and social factors which have impacted Martel, Muylaert and Llosa’s screenwriting careers which have been instrumental in the script development of the films: La Ciénaga (The Swamp) (Martel 2001); Que Horas Ela Volta? (The Second Mother) (Muylaert 2015); and La Teta Asustada (The Milk of Sorrow) (Llosa 2009). The research for this article is based on personal and media interviews with the writers, as well as contemporary information available only in Spanish and Portuguese, as translated from the original Spanish and Portuguese by Clarissa Miranda.

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Wardani, Refrida Chandra. "KEPUTUSAN ORANG TUA DALAM MENGIJINKAN ANAK MENONTON FILM YANG MENGANDUNG UNSUR KEKERASAN." Jurnal PROMKES 5, no. 1 (February 26, 2018): 89. http://dx.doi.org/10.20473/jpk.v5.i1.2017.89-101.

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Superherofilm is a type of spectacle that is still widely consumed by children. Data from commonsense.org states that 68% of superhero films which aired in 2011-2016 have PG-13 ratings (Parental Strongly Cautioned) that contain violence and can have an impact on child development. Children who often watch television or movies tend to less concentration, less attention to the environment, and imitate what is shown. This study aimed to determine related factors of parental decisions in allowing children to watch violence films. This research was a quantitative with cross sectional approach. By using simple random sampling technique, the samples of this research taken as many as 93 parents of 3rd grade students at SDN Ketabang Surabaya. The data was collected by using questionnaire. This research used univariat and bivariate analysis. Most respondents are women (58.1%), age 28-45 years (79.6%), work as housewives (30.1%), and head of houshold have high income (68.8%). In relation to parental decisions in allowing children to watch violence films, most respondents have less knowledge (49.47%), less supportive attitude (84.94%), parents as personal reference in making decisions (68.82% ), unfulfilled facilities (52.69%), and high family culture (69.9%). Most respondents allow children to watch violence films (62.4%). The chisquare test showed that knowledge (p=0,000), availability of facilities (p=0,000), head of household income (p=0,000), and family culture (p = 0.002) are siginificantly related to parental decisions in allowing children to watch violence films. While the variables of attitude (p=0,096), personal references (p=0,249), and age (p=0,853) are not significantly related to parental decisions in allowing children to watch violence films.Keywords: children, parental decisions, superhero films, violence films

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Kodu, Margus, Tea Avarmaa, Hugo Mändar, Rando Saar, and Raivo Jaaniso. "Structure-Dependent CO2 Gas Sensitivity of La2O2CO3 Thin Films." Journal of Sensors 2017 (2017): 1–6. http://dx.doi.org/10.1155/2017/9591081.

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Rare earth oxycarbonates are potential candidate materials for constructing simple and low-cost chemiresistive sensors for monitoring carbon dioxide (CO2) gas in the living and working environment for personal comfort and health reasons. Also, measurement of CO2 concentrations is needed in many industrial processes. Specifically, sol-gel made nanoparticles of Nd and La oxycarbonates have been studied previously as novel CO2 gas sensor materials. In this paper, pulsed laser deposition of La oxycarbonate (La2O2CO3) thin films was studied and structural properties of obtained thin films were characterized. Also, CO2 gas sensing ability of synthesized films was evaluated. The films deposited under CO2 partial pressure in various conditions were all Raman amorphous. In situ or ex situ annealing procedure at high CO2 partial pressure was needed for obtaining crystalline La2O2CO3 films, whereby hexagonal and monoclinic polymorphs were obtained in ex situ and in situ processes, respectively. Sensor structure, made using in situ process, was sensitive to CO2 gas and showed relatively fast response and recovery characteristics.

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Meng, Jing. "Personal camera as public intervention: remembering the Cultural Revolution in Chinese independent documentary films." Studies in Documentary Film 9, no. 2 (April 29, 2015): 143–60. http://dx.doi.org/10.1080/17503280.2015.1031570.

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35

Damle, Viraj G., Abhishiktha Tummala, Sriram Chandrashekar, Cassidee Kido, Ajay Roopesh, Xiaoda Sun, Kyle Doudrick, et al. "“Insensitive” to Touch: Fabric-Supported Lubricant-Swollen Polymeric Films for Omniphobic Personal Protective Gear." ACS Applied Materials & Interfaces 7, no. 7 (February 9, 2015): 4224–32. http://dx.doi.org/10.1021/am5085226.

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36

Anderson, Michael. "Keepers: The Greatest Films—and Personal Favorites—of a Moviegoing Lifetime by Richard Schickel." Hopkins Review 8, no. 3 (2015): 443–45. http://dx.doi.org/10.1353/thr.2015.0067.

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Safa, Safa, and Eko Harry Susanto. "Promosi Cyber Film Bumi Manusia." Prologia 4, no. 2 (October 1, 2020): 377. http://dx.doi.org/10.24912/pr.v4i2.6672.

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Promotion in the cyber world today, if it is connected with the film industry becomes an interesting aspect to be understood and researched as part of advertising communication activities. One of the local films that successfully attracted the attention of the audience, and the author to do research is the Earth Human Film adapted from the novel titled the same as the film by the leading Indonesian literary writer, the well-known controversy, namely Pramoedya Ananta Toer. How did the promotion of cyber film human earth produced by Frederica from Falcon Pictures Production House succeeded in gaining an audience of 1,296,714 people in less than 1 (one) month since its initial airing released. This study uses the promotion mix theory (promotional mix) by G. Belch and M. Belch, with 6 basic elements namely advertising, direct marketing, internet marketing, sales promotion, publication, and personal selling. The results showed the dominant Falcon Pictures using internet marketing, advertising and publications, and chose not to use personal selling to promote human earth films. Suggestion The writer needs to explore the application to increase the number of movie sales and improvise the film's storyline to expand the audience segmentation.Promosi di dunia cyber saat ini, jika dihubungkan dengan industri perfilman menjadi satu aspek yang menarik untuk dimengerti dan diteliti sebagai bagian dari aktivitas komunikasi periklanan. Salah satu film lokal yang sukses menarik perhatian audiens dan Penulis untuk melakukan penelitian adalah Film Bumi Manusia yang diadaptasi dari Novel berjudul sama dengan filmnya, hasil karya sastrawan terkemuka Indonesia yang terkenal sekaligus kontroversial yaitu Pramoedya Ananta Toer. Dengan menggunakan metode kualitatif, Peneliti menguraikan bagaimana Promosi Cyber Film Bumi Manusia yang diproduseri oleh Frederica dari Rumah Produksi Falcon Pictures ini berhasil mendapatkan perolehan penonton sebesar 1.296.714 orang dalam waktu kurang dari 1 (satu) bulan sejak rilis tayang perdana. Penelitian ini menggunakan teori bauran promosi (promotional mix) oleh G. Belch dan M. Belch, dengan 6 elemen dasar yaitu iklan, direct marketing, internet marketing, promosi penjualan, publikasi, dan personal selling. Hasil penelitian menunjukkan Falcon Pictures dominan menggunakan internet marketing, beriklan dan publikasi, serta memilih untuk tidak menggunakan personal selling untuk promosi Film Bumi Manusia. Saran Penulis perlu adanya eksplorasi publikasi untuk menaikkan angka penjualan film dan improvisasi alur cerita film guna memperluas segmentasi penonton.

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Pappas, Lydia. "Audio-Visual Archives at the College." Bulletin of the Royal College of Surgeons of England 91, no. 2 (February 1, 2009): 65. http://dx.doi.org/10.1308/147363509x400053.

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You may not know about the audio-visual material held in the archives at the College: it has not previously been sorted or listed in any way. As a specialist film archivist I looked through the collection, assessed its condition for future accessibility and advised on conservation and preservation issues. The small collections of films seem to have come mostly from the personal collections of fellows of the College, who donated films in their lifetime or after their deaths.

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Woodward, Servanne. "A synthesis of personal and public history : 1990’s Achkar and Peck." Issue 1 1, no. 1 (June 12, 2018): 89–106. http://dx.doi.org/10.31920/2516-2713/2018/v1n1a6.

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The 1991 films of David Achkar, a French-Guinean filmmaker, and Raoul Peck, a Haitian filmmaker whose family spent many years in the Congo, intersect around Patrice Lumumba (1925-1961), the first Congolese prime minister and victim of a political murder. Both films remain intensely personal if not intimate. Achkar is reminiscent of Beckett in the depiction of “waiting for” an occurrence ever differed. What is haunting about Achkar’s quest is that the filmmaker is in search of his father Marof David Achkar (1930-1971), a choreographer of the Keïta Fodeba “Ballets Africains” (1955-1960) and cultural counsellor to the Guinean embassy in Washington (1960-1964). Marof had replaced Telli Diallo at the United Nations (1964-1968) when he worked against apartheid in South Africa; in 1968 U. Thant (secretary to the United Nations) recommended him to a post of high commissioner to the World Organization in Namibia, a proposal rejected by Sékou Touré (elected as the first President of Guinea, serving from 1958 until his death in 1984) who recalled him to Conakry. Upon his return to Guinea, Marof Achkar was arrested and brought to camp Boiro, where he was tortured, made to sign charges of embezzlement and executed on January 25, 1971. At the time, David Achkar was a child — something of the child remains in the biography of his father. Beyond his father’s political ordeal is the first-hand demonstration of the personal impact the execution had on him; he connects more publicly and didactically with the administration of justice versus political murders in his last film, Kiti, justice en Guinée (1996). Both Achkar and Peck employ collages of family reels, documentaries, and film that may be inspired by Surrealism, a movement mentioned in Death of a Prophet (1991). Peck also moved toward a stronger Marxist message in his 2017 film about the German philosopher, and though he has done several documentaries, he is attached to the current relevance of legacies when he depicts Marx as appealing to today’s youth. In both 1991 films, the sliding distance of political heroes, from public careers to intimate family documents is further complicated by the filmmakers’ decision to intertwine plain autobiography to their biographies. They are working from the premises of affective encounters to create a sense of community. Eventually, Achkar and Peck raise issues about the philosophical nature of identity and the autobiography involved in the encounter with sacrificed or resurrected prophets as interpreted in Allah-Tantou—God’s Will be Done [À la grâce de Dieu] (1991) by David Achkar (1960-1998) and Death of a Prophet, by Raoul Peck (1954-present).

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Gil Soriano, Marta. "Barry Purves, el animador escénico." Con A de animación, no. 7 (March 1, 2017): 48. http://dx.doi.org/10.4995/caa.2017.7294.

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<p>La filmografía de Barry Purves es mundialmente conocida en los festivales de animación. Barry J C Purves (Woodbridge, Reino Unido, 1955), un aspirante a actor, se convirtió inesperadamente en animador tras realizar una prueba con marionetas para Cosgrove Hall Films, donde produjo trabajos comerciales durante más de diez años. Su revelación llegó con Next (1990), realizado para Aardman, y desde que funda su productora Bare Board Films se han sucedido en su filmografía obras maestras como Screenplay (1992), Rigoletto (1993), Achilles (1995) o Tchaikovsky (2011). Sus marionetas tienen gran realismo y vehiculan emociones poderosas; pero, sobre todo, los filmes personales de Purves establecen relaciones privilegiadas con toda la herencia de las artes escénicas, desde el teatro griego hasta el teatro clásico, la ópera, el ballet, e incluso el teatro de marionetas Bunraku. Purves no ha dejado de ser un artista polifacético que alterna sus filmes personales con producciones para el público infantil, y en años recientes ha diseñado y dirigido numerosos montajes teatrales, aplaudidos por crítica y público. En la siguiente conversación Barry J C Purves nos desvela las claves de su proceso creativo en la animación, y su personal relación con el teatro.</p>

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Mathews, Charles S., Charles J. Fornaciari, and Arthur J. Rubens. "Understanding The Use Of Feature Films To Maximize Student Learning." American Journal of Business Education (AJBE) 5, no. 5 (August 20, 2012): 563–74. http://dx.doi.org/10.19030/ajbe.v5i5.7213.

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Feature films, old and new, have been used for many years to teach management education in general and leadership skills in particular. Films are often able to affect not only our emotional responses and perceptions of events, but they can also have an impact on our personal lives over long periods of time. Although anecdotal evidence (primarily based upon Social Learning Theory) has generally supported the use of feature films to teach management education, the paper draws upon theoretical advances in universalistic self-theory as part of cognitive-experiential self-theory (CEST) as an epistemological basis for why and under what specific conditions management educators should use feature films to maximize student learning. From this reasoning, the paper proposes that management educators apply contextual self-theory as a pedagogical guide for the actual selection of films for classroom use. In addition, the paper highlights the importance of how the management educator needs to look at other factors, such as the age and cultural background of students, as important considerations for the selection and use of feature films in the classroom.

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Todoroki, Shin-ichi, Tomoya Konishi, and Satoru Inoue. "Blog-based research notebook: Personal informatics workbench for high-throughput experimentation." Applied Surface Science 252, no. 7 (January 2006): 2640–45. http://dx.doi.org/10.1016/j.apsusc.2005.03.235.

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Niang, Sada, and Suzanne Crosta. "Se fier en toute liberté au réel: Entrevue avec Chloé Aïcha Boro." International Journal of Francophone Studies 23, no. 3 (December 1, 2020): 315–30. http://dx.doi.org/10.1386/ijfs_00025_7.

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This introduction to this interview presents Chloé Aïcha Boro, a Burkinabé journalist, writer, filmmaker and screenwriter. Although she started her career as a journalist for La voix du Sahel and Le Marabout in her native Burkina Faso, her love of literature inspired her to write novels and move on to screen writing and directing films. The introduction explores Le Loup d’or de Balolé. The interview focuses on her personal life and the making of her films, notably Farafin Ko and Le Loup d’or de Balolé. She explains the opportunities and challenges she faced during the production of her films, sharing her vision on documentary filmmaking.

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Hu, Y.-Z. "Tribology research in China: A personal view." Proceedings of the Institution of Mechanical Engineers, Part J: Journal of Engineering Tribology 223, no. 1 (January 2009): 1–15. http://dx.doi.org/10.1243/13506501jet469.

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Giampietro, Alfonso. "Levantamiento inmediato al parto." Revista Peruana de Ginecología y Obstetricia 7, no. 1 (May 31, 2015): 27–32. http://dx.doi.org/10.31403/rpgo.v7i715.

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Sometemos a consideración de los consocios nuestra experiencia sobre el levantamiento inmediato al parto. Consideramos oportuna la divulgación de esta experiencia personal en nuestro medio, porque lo mismo ya se realiza en el extranjero por medio de publicaciones en revistas y exposiciones en films.

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Harrod, Mary. "From postnational mobility to posthuman fluidity: Unfixed identities and social responsibilities in Personal Shopper (Assayas, 2016) and Happy End (Haneke, 2017)." Northern Lights: Film & Media Studies Yearbook 18, no. 1 (January 1, 2020): 85–101. http://dx.doi.org/10.1386/nl_00015_1.

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Abstract This article approaches contemporary European cinema as transnational cinema from an angle informed by gender and sexuality studies. It is underpinned by a fluid conception of identity, which it identifies with its objects of study, in terms of production context, market positioning and also form and theme. Specifically, I approach comparatively the embrace of postnational textual identity alongside posthuman ‐ especially post-gender ‐ characterization by two of the most visible recent European auteur films, Olivier Assayas' Personal Shopper (2016) and Michael Haneke's Happy End (2017). I consider the ideological implications of the narratives' explorations of immorality in a contemporary western context marked in both films by the breakdown of communication and a related failure of ethical responsibility, often constellated in relation to technological advancement. The article draws on the Continental theories of Slavoj Žižek and to a lesser extent Jean Baudrillard and Zygmunt Bauman to illuminate the extent to which these films' subtle and conflicted yet tenaciously enduring nostalgia for earlier ideals of European community is discernible via or inseparable from regret at the loss of an imagined 'natural' mode of embodiment, including more traditional gender roles. It finally reflects briefly on the related question of the attitudes towards European cinema itself, as well as cinemas associated with the past more generally, which these films display and invite the audience to share.

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Blah, Sadat. "The Impact of Personal Computer on Students’ Academic Performance." Advances in Social Sciences Research Journal 8, no. 7 (July 19, 2021): 187–91. http://dx.doi.org/10.14738/assrj.87.10435.

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ABSTRACT This study aimed to determine the effects of Personal Computer on students' academic performance of the Grade 11 Senior High School students at MSU-Maguindanao. Specifically, this study identified the uses of Personal Computers as rated by the students in their studies, the academic performance of respondents with Personal Computer, the academic performance of respondents without Personal Computer, and the significant difference in academic performance of respondents with and without Personal Computer. Survey questionnaire was used as an instrument in gathering data. The questionnaire contains ten (10) related to the uses of computer in the students’ studies. The 10 questions are measured in terms of a 4- point scale such as: 1 for always, 2 for often, 3 for seldom and 4 for never. The statistical tools used in the analysis of data are the frequency count and the mean to describe the effects of personal computer on Senior High School students’ academic performance. The data gathered were consolidated and tabulated. The computations were done manually with the aid of scientific calculator. Findings show that the academic performance of the students with personal computer is generally higher than those without personal computer. Therefore, personal computer has effects in improving the students' academic performance. Keywords: Impact, Personal Computer, Students’ Academic Performance

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Bezenkova, Maria Victorovna. "Personal Critical Points in Soviet Cinema: from «Ilyich Gate» to «Flights in Dreams and in Reality»." Journal of Flm Arts and Film Studies 4, no. 2-3 (September 15, 2012): 67–76. http://dx.doi.org/10.17816/vgik42-367-76.

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The article traces the main age-related personal critical points that formed the conflict in the landmark films of the 1960-1980s — «Ilych Gate» and «July Rain» (dir. M. Khytsiev), «Unfinished Piece for the Player Piano» (dir. N. Mikhalkov), 'Flights in Dreams and in Reality» (dir. R. Balayan) — in the context of the protagonist’s changes in Soviet cinema.

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Addison, Timothy, Olivier J. Cayre, Simon Biggs, Steven P. Armes, and David York. "Multi-layer films of block copolymer micelles adsorbed to colloidal templates." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 368, no. 1927 (September 28, 2010): 4293–311. http://dx.doi.org/10.1098/rsta.2010.0151.

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Alternating layers of cationic and anionic block copolymer micelles have been deposited onto colloidal silica particles using a layer-by-layer approach. The resulting films have been investigated using a number of characterization techniques including zeta potential measurements, dynamic light scattering, thermo-gravimetric analysis and microscopy. The micelles used here demonstrate pH-responsive behaviour both in solution and when adsorbed at interfaces. It has been shown that block copolymer micelles can selectively encapsulate and release hydrophobic materials; therefore, the incorporation of such responsive species within films has the potential to offer increased functionality. The formation of films onto colloidal particles is of great interest as it can provide pathways to direct encapsulation of materials along with surface modification. This study aims to provide new insights into the nature and properties of responsive films. Such studies will allow for the future development of novel delivery systems that have potential application within a number of industrial sectors including personal care products, pharmaceuticals and agro-chemicals.

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Gu, Bin, Hao Zhou, Ziqi Zhang, Tao Zhang, Mingliang Chen, Fengxian Qiu, and Dongya Yang. "Cellulose-based hybrid membrane with functional integration for personal thermal management applications." Applied Surface Science 535 (January 2021): 147670. http://dx.doi.org/10.1016/j.apsusc.2020.147670.

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