Bibliografías temáticas / Film exhibition

Literatura académica sobre el tema "Film exhibition"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 20 de febrero de 2023

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Artículos de revistas sobre el tema "Film exhibition"

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Aveyard, Karina y Albert Moran. "Cinema-Going, Audiences and Exhibition". Media International Australia 139, n.º 1 (mayo de 2011): 73–79. http://dx.doi.org/10.1177/1329878x1113900110.

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This special issue of Media International Australia represents an effort to progress critical understanding of the broader social and economic formations that shape the circulation and consumption of films. The collection provides a range of diverse and compelling insights into the processes of film circulation and viewing, both within the home and at the cinema. Accordingly, these articles address important questions such as: Why do audiences seek out film content? How are films accessed and by whom? What place does film have in popular social memory? How does the site of consumption shape the meaning of these cultural encounters? By what processes can we identify and study audiences?
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Iswahyuningtyas, Cici Eka y Mochammad Fadjar Hidayat. "Strategies and Challenges in Conventional and Digital Film Distribution and Exhibition in Indonesia". Jurnal Komunikasi 13, n.º 1 (7 de julio de 2021): 133. http://dx.doi.org/10.24912/jk.v13i1.10033.

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Today, media distribution and consumption can occur anytime, anywhere, anything, both conventional and digital. The change in media consumption behavior has brought many challenges for the Indonesian film industry, particularly distribution and exhibition. Film distribution should not just rely on the domestic market and film exhibitions through cinemas. The number of Indonesian cinemas and screens is not ideal, still concentrated in big cities, has low moviegoers, is dominated by foreign films, and lacks support from the government. This study intended to identify challenges and strategies for conventional and digital distribution and exhibition. Answer to that question, this study was carried qualitatively by conducting a literature review through meta-analysis related to history, experiences, and situations in some countries. Research findings indicate film distribution and exhibition need to run simultaneously conventional and digital. Digital distribution is urgent for expanding market size and cinemas revenue. The conventional distribution needs to be maintained because the highest film revenue still comes from cinemas exhibitions. Therefore, filmmakers should begin to organize their distribution strategy and expand cooperation with digital film providers. The government needs to build distribution infrastructures such as global film festivals and distribution agencies, also create policies related to exhibition incentives and tax rebates, especially for films with small audiences. Distribusi dan konsumsi media dewasa ini dapat dilakukan kapanpun, dimanapun, apapun, baik secara konvensional maupun digital. Perubahan perilaku konsumsi media membawa banyak tantangan bagi industri film di Indonesia, khususnya terkait aspek distribusi dan eksibisi. Distribusi film tidak boleh hanya bergantung pada pasar domestik dan mengandalkan eksibisi film melalui bioskop. Hal ini karena jumlah bioskop dan layar yang tersedia di Indonesia belum ideal, masih terpusat di kota besar, memiliki sedikit penonton, berada dalam dominasi film asing dan kurang mendapatkan dukungan dari pemerintah. Kajian ini dimaksudkan untuk mengetahui tantangan dan strategi dalam distribusi dan eksibisi film secara konvensional dan digital. Untuk menjawab pertanyaan tersebut kajian ini dilakukan secara kualitatif dengan melakukan kajian pustaka melalui analisis meta terkait sejarah, pengalaman, situasi yang terjadi di beberapa negara. Temuan penelitian menunjukkan bahwa distribusi dan eksibisi film perlu dilakukan secara simultan. Distribusi digital penting untuk memperluas pasar dan meningkatkan pendapatan. Distribusi konvensional perlu dipertahankan karena pendapatan film terbesar masih berasal dari distribusi melalui jalur bioskop. Oleh karena itu, pembuat film harus mulai mengatur sendiri strategi distribusinya dan meningkatkan kerjasama dengan provider film digital. Pemerintah perlu membangun infrastruktur distribusi seperti festival film dan agensi distribusi di tingkat global, dan membuat kebijakan terkait pemberian insentif eksibisi dan potongan pajak, khususnya bagi film dengan sedikit penonton.
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Sim, Jiaying. "Embodiment, Curation, Exhibition". Screen Bodies 1, n.º 1 (1 de marzo de 2016): 87–91. http://dx.doi.org/10.3167/screen.2016.010106.

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As part of the 2014 GENERATION project celebrating the past twenty-five years of contemporary art in Scotland, Douglas Gordon’s exhibition, “Pretty much every film and video work from about 1992 until now,” took centerstage at the Gallery of Modern Art in Glasgow. Gordon contributed to the dialogue with a unique installation showcasing his twenty-two years of artistic endeavors through 101 different-sized old television sets elevated on old plastic beer crates, simultaneously screening 82 video and film works. The screens flickered and lit the dark main gallery as the visual works played on loop—some with sound, some without, some in slow motion. The exhibition included such works as 24 Hour Psycho (1993), Between Darkness and Light (After William Blake) (1997), Play Dead; Real Time (2003), Henry Rebel (2011), Silence, Exile, Deceit: An Industrial Pantomime (2013) and emphasized how Gordon’s collection has grown since its first exhibition from 1999 in Poland and will continue to do so, as he updates the videos and films.
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4

Moloney, Alison. "Fashion exhibition as film". Film, Fashion & Consumption 7, n.º 1 (1 de abril de 2018): 39–55. http://dx.doi.org/10.1386/ffc.7.1.39_1.

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Hovet, T. "The Teacher as Exhibitor: Pedagogical Lessons from Early Film Exhibition". Pedagogy: Critical Approaches to Teaching Literature, Language, Composition, and Culture 6, n.º 2 (1 de abril de 2006): 327–35. http://dx.doi.org/10.1215/15314200-2005-007.

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Ince, Catherine. "Charles and Ray Eameses’ museums without walls: Films as exhibition and exhibitions as film". Film, Fashion & Consumption 7, n.º 1 (1 de abril de 2018): 19–38. http://dx.doi.org/10.1386/ffc.7.1.19_1.

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Kawakami, Ichiro. "3. Film Distribution, Exhibition Technology". Journal of The Institute of Image Information and Television Engineers 72, n.º 9 (2018): 694–98. http://dx.doi.org/10.3169/itej.72.694.

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Bernstein, Matthew. "Exhibition, The Film Reader (review)". Moving Image 3, n.º 1 (2003): 178–81. http://dx.doi.org/10.1353/mov.2003.0002.

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Calder, Barnabas. "Book, exhibition and film reviews". Journal of Architecture 16, n.º 6 (diciembre de 2011): 975–94. http://dx.doi.org/10.1080/13602365.2011.637001.

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Uduku, Ola. "Book, exhibition and film reviews". Journal of Architecture 17, n.º 3 (junio de 2012): 479–83. http://dx.doi.org/10.1080/13602365.2012.692615.

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Tesis sobre el tema "Film exhibition"

1

Skiada, Anastasia. "Exhibition in the British film business 1939-1945". Thesis, University of Leicester, 2014. http://hdl.handle.net/2381/28794.

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This thesis concentrates on the exhibition sector of the cinema industry and argues that the cinema industry was very successful during the war, despite bombing, rising costs, and wartime shortage. The success of the cinema business is understood not only via the analysis of the financial statements of the companies, but also as a business phenomenon which relates to government manipulation, and cinema goers' expectations. Given the important position played by the combines in the evolution of the cinema industry, and the lack of any available data about independently owned cinemas it concentrates on the financial performance of the combines, in order to demonstrate the success of the cinema industry. The evolution of the cinema industry during the war years is also demonstrated by the further development of industrial concentration. This happened through merger and added to the increase in the industry's profits and its further strengthening. It is argued that the success of the circuits was due to the prevailing conditions in cinema exhibition during the war: the barring system, rise of film hire, and conditional booking, due to the government's 'inertia', and most of all due to the state's policy and actions. These were directed towards the strengthening of the cinema industry, since the state used it as means of propaganda and for morale boosting purposes. The unique role played by the cinema in wartime was its social function. The cinema emerged as the main focal point of the community's social life through the organisation of events which helped the community, from charity concerts to recruiting drives. A visit to the local cinema offered a much wider experience than film consumption; it gave a feeling of security, provided a cheery and friendly atmosphere, and a sense of solidarity. This is how its patrons experienced the cinema was experienced and this thesis demonstrates how publicity and marketing helped establish its central place in the community.
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Hanson, Stuart. "Contemporary developments in cinema exhibition". Thesis, De Montfort University, 2014. http://hdl.handle.net/2086/11105.

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The work offered for this PhD by Published Works charts the history of cinema exhibition in Britain from the late 1950s to the present. At the start of this period, cinemagoing as a form of public entertainment entered a long period of decline that was only arrested with the development and growth of multiplex cinemas in the 1980s and 1990s. Despite these changes, the feature film itself remained a culturally and commercially valuable artefact, though increasingly this meant the Hollywood film. Whilst due consideration is afforded to the technological changes in cinemas and the cinema apparatus, my work places the development of cinemagoing in a broad social, economic, cultural and political context, and explains how these issues impact upon on-going developments. In the late 1950s, cinemagoing declined partly in response to changing leisure habits, demographic shifts, the growth of consumer culture, television, and the widespread adoption of new broadcast technologies like home video and satellite. The multiplex returned feature films to cinemas, but was a definitively American commercial form closely associated with new forms of leisure and out-of-town retailing. There are also parallels between the context for development of the multiplex in the USA – suburbanisation, shopping malls and reliance on the motorcar – and developments in Britain in the last 30 years. To this end there is a specific emphasis on the development of the multiplex cinema as part of a wider narrative about the re-positioning of cinemagoing as a collective, public form of visual entertainment, in the period from the mid-1980s, in the context of some dramatic changes in the transient nature of capitalism and urban planning. From the early 1990s onwards there was a growing anxiety about the impact of out-of-town developments on Britain’s urban centres, and a concomitant and renewed emphasis on the importance of the urban core rather than the edge. Thus, the key to understanding the evolution of cinema exhibition today is to pay particular attention to urban planning as inherently ideological, shifting and changing in line with broader political, economic and social considerations.
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Peng, Kan. "A political economy of online film exhibition in China". HKBU Institutional Repository, 2013. https://repository.hkbu.edu.hk/etd_oa/23.

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As one of the most revolutionary technologies in human history, the Internet has dramatically transformed the media industry, including the film exhibition industry. In China, new online exhibition networks have continuously been established to exploit the lucrative markets of Internet users' online viewing and sharing habits. The destinies of different types of films in the Chinese market have been greatly changed due to the increasing connections and contradictions between China's Internet and film exhibition industry which are influenced by many political economy factors, such as the conflicting interests among different government departments. Therefore, this paper examines the Internet's impact on film exhibition in China from a political economy perspective. The thesis first traces the history of two online exhibition networks related to China's film market. One is the online video websites that accumulated their early capital by piracy content, but which were then progressively legalized under the forces of venture capital and government administration. The other is the online piracy network, which has become a problem for film industries worldwide , due to its transnational, decentralized and limitless network. However, this network also functions as a democratic tool to combat with the ideological controls of the government. This thesis argues that these two online exhibition networks are fated to conflict with each other since they operate under two conflicting logics. The former operates in the logic of capital gains, while the latter celebrates the logic of ommunal sharing and exchange. Based on the analysis of the dynamic between these two online exhibition networks, this thesis further investigates how, in the context of China's particular political economy, three different types of film are influenced by the two networks. The first is Chinese commercial films, which are making more and more profits from online video websites, while facing the challenge of online piracy. The second are foreigll'films, which are expanding their influence and bypassing the entry barriers into the Chinese market through the online video websites and piracy networks. The third are so-called Chinese independent films. As these films cannot be distributed through state-controlled channels, Chinese independent film 's domestic circulation was once quite confined. For independent films, the Internet has become an important exhibition channel that extends their influence to a wider domestic audience and even a bargaining chip with which to negotiate with the state's rigorous censorship system
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Wu, Dan. "Minjian film exhibition culture in contemporary China : sustainability and legitimisation". Thesis, University of Newcastle upon Tyne, 2017. http://hdl.handle.net/10443/3637.

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This thesis focuses on China’s Minjian film exhibition culture, which arose in the 1990s and has proliferated across China throughout the 2000s, to examine in detail two main issues - its sustainability and legitimisation. Minjian film exhibition is defined as including grassroots film festivals, organisations and cineclubs, which are dedicated to showcasing Chinese independent films. The thesis aims to examine conflicts between Minjian film exhibition and the state against a backdrop of the forced closure of a number of grassroots film festivals at the hands of local governments and state intervention in grassroots level exhibition activities since 2012. Empirical data obtained through a ten month ethnographic study evidences that the sustainability and legitimisation of Minjian film exhibition culture largely rely on its interaction and negotiation with the state, society and global networks of NGOs and cultural institutions. This finding challenges the assumption that Minjian film exhibition culture is a local film exhibition culture and exists in an antagonistic relationship with the state. The networking of China’s grassroots film festivals with global networks of NGOs and cultural institutions also challenges the neoliberal structure of the international film festival circuit. This thesis is critical of accounts of the static nature of this cultural movement. In analysing the dynamic nature of this exhibition culture, this thesis draws on the concept of reterritorialization connected to Actant Rhizome Ontology, which provides a non-dichotomous approach and insights into the relational ties of Minjian film exhibition culture, the state, society and global networks. It argues that no inherent qualities and static identities can be attached to Minjian film exhibition culture as it constantly gains meanings and qualities through contact with the state, society and global networks which ensure its sustainability and legitimisation.
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Lewis, Sian. "Local government and film censorship : the control of film exhibition in England and Wales, 1909-1939". Thesis, University of Bristol, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251038.

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Cook, Patricia. "Slade's electro-photo marvel : touring film exhibition in late Victorian Britain". Thesis, Birkbeck (University of London), 2016. http://bbktheses.da.ulcc.ac.uk/211/.

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This thesis explores a little known period of early film exhibition in late Victorian Britain. Employing an historiographic approach to material not previously researched, principally the archive of William D. Slade a successful Cheltenham business man, a largely chronological study of Slade‟s activities has been undertaken. Beginning with his presentations of optical lantern exhibitions in the 1880s and 90s in Cheltenham and Worcester, Slade‟s experience as an amateur in magic lantern exhibition is explored as the background to the paradigm shift he made in December 1896. Immediately after purchasing a Demenÿ -Chronophotographe and films from the recently established Gaumont Company in Paris, Slade, accompanied by his daughter Mary, embarked on a new career as Slade‟s Kinematographical and Optical Entertainments and Concerts. During the first six months of 1897, he put on a series of entertainments in the south-west of England and Derbyshire. Investigating what was taking place in Cheltenham in 1897 revealed that the Borough Council commissioned Robert Paul to take film of the official visit of the Prince of Wales to the town in May 1897. The correspondence between Slade and Gaumont et Cie further disclosed that Léon Gaumont, in company with John Le Couteur of the Photographic Association in London, also came to Cheltenham to film this visit. This explained how Slade was able to exhibit film of the Prince of Wales‟ visit as part of the Cheltenham Diamond Jubilee celebrations in June 1897. Slade subsequently made these films a central feature of his nationwide touring entertainments. In August 1897, Slade entered into a contract with a theatrical agent, Edward Baring, which led to 28 weeks of touring as Slade‟s Electro-Photo Marvel six nights a week throughout England and Scotland, ending in March 1898. An in-depth study of the many exhibitions he presented revealed the wide variety of localities he visited, and furnished new understanding of the importance of the Diamond Jubilee films in attracting a diverse audience in many thriving towns of this period. William Slade, previously unknown, emerges as a significant figure in the diffusion of moving pictures beyond the cities and the music hall, into many different localities of provincial Britain and significantly extends the knowledge of exhibition practices in the two years immediately after the first exhibitions in London.
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Dickson, Lesley-Ann. "Film festival and cinema audiences : a study of exhibition practice and audience reception at Glasgow Film Festival". Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5693/.

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This thesis takes the view that film festivals are ‘social constructions’ and therefore need social subjects (people/audiences) to function. Nevertheless, Film Festival Studies, with its preoccupation with global economics and/or the political nature of these events, has arguably omitted the ‘audience voice’ meaning much of the empirical work on offer derives from market research by festivals themselves. As such, there is little conceptual contribution on what makes festivals culturally important to audiences or the ways in which festival practice differs from, or synergises with, broader cinematic practice. This thesis investigates exhibition practice and audience reception at Glasgow Film Festival (GFF) over three years (2011-13). The originality of the work is found in its contribution to the burgeoning field of Film Festival Studies and its methodological intervention as one of the earliest studies on film festival audiences. Using qualitative audience research methods, elite interviews and ethnography, it approaches film festival analysis through a nuanced lens. Furthermore, the positioning of the research within the interdisciplinary landscape of Film Festival Studies, Film Studies and Cultural Studies offers a broad context for understanding the appeal of ‘audience film festivals’ and the exhibition practices that exist within this often neglected type of film festival. The thesis argues that Glasgow Film Festival continuously negotiates its position as an event that is both populist and distinct, and local and international. Through its diverse programme (mainstream and experimental films, conventional and unconventional venues) and its discursive positioning of programmed films, it manages its position as both a local and inclusive event and a prestigious festival with aspirations of international recognition. More broadly, the thesis argues that festival exhibition is a multi-layered operation that strives to create a ‘total experience’ for audiences and in this respect it differs greatly from standard cinematic exhibition. Furthermore, I propose that – despite the fact that the raison d'être of film festivals is to present films – audiences privilege the contextual conditions of the event in their experiential accounts, articulating festival experiences (pleasures and displeasures) in spatial and corporeal terms. As such, the thesis serves to problematise Film Studies’ conventions of immersion and disembodiment by proposing that film festivals are predominantly sites of heightened participation, active spectatorship, and spatial and embodied pleasure.
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Wilson, Gavin. "Cell/ular cinema : individuated production, public sharing and mobile phone film exhibition". Thesis, University of Leeds, 2014. http://etheses.whiterose.ac.uk/8475/.

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This thesis investigates the articulation between filmmaking using the cameras of personal mobile phones, and the distribution and exhibition of filmmaking at film festivals devised to support and promote its development. Covering a research period between 2010 and 2013, I analyse an emergent phenomenon using a mixed methodology over five major chapters. Following a discussion of the ontology of phone filmmaking and its historical situatedness, I establish terminology for each major element of cell cinema. Bridging features of contemporary digital filmmaking with the entertainment spectacles of early cinema history, the phone film privileges visual immediacy, urging genred and experimental presentations of limited narrative complexity. Notably, the thesis indicates that phone films incorporate technologically innovative aspects of autobiography by filmmakers. What are characterised as the ambulatory and movie selfie categories evidence contemporary representations of movement within phone filmmaking. By updating Walter Benjamin’s (1936) ideas of the flâneur, and Michel de Certeau’s (1984) writing about the physicality of walking, the thesis draws on the socio-cultural use of mobile technologies and physical, participatory engagement with the filmmaking process. Incorporating an ethnographic study of international cell cinema film festivals, the thesis interrogates phenomenological aspects of interrelated phenomena. I discuss how phone filmmakers, spectators and others experience their participation in the construction and dissemination of intercultural, shared discourse. Cell cinema’s cultural signifiers cross or subvert perceived geographical and economic boundaries, urging a reassessment of Western or Euro-centric philosophical traditions. The thesis investigates how cell cinema enables expressions of the self, delineates notions of identity, and communicates various aspects of socially determined meaning. Therefore, cell cinema engagement incorporates the sharing of gifts of phone films that foreground bodily movement and the ‘everyday aesthetic’ of the cell cinema gaze, involving the engagement with ‘knowledge communities’, and ‘culturalising events’ within festival environments.
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Birkinbine, Benjamin J. "Continuity in Technological Change: A Political Economic Analysis of Digital Film Exhibition". OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/252.

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This thesis analyzes the current transition to digital cinema projection technologies within the film exhibition business. I begin by discussing two historical cases of technological change in film exhibition technology, and I identify the corporations that successfully controlled periods of technological change in order to solidify their position atop the film industry. In drawing from these historical case studies, I examine the current transition to digital cinema projection technologies by discussing the structure of the film exhibition business and identifying those exhibitors that are controlling the transition to digital cinema. I find that the top three exhibitors - Regal Cinemas, AMC Entertainment, and Cinemark - are controlling digital cinema through two joint ventures: Digital Cinema Implementation Partners (DCIP), and National CineMedia (NCM).
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Aveyard, Karina. "Rural Cinema: Film Exhibition and Consumption in Australia and the United Kingdom". Thesis, Griffith University, 2012. http://hdl.handle.net/10072/367864.

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This thesis investigates the contexts of film exhibition and consumption in contemporary rural Australia and the United Kingdom (UK). As the site of most detailed fieldwork, Australia forms the primary focus of the investigation, while information gathered in the UK provides material for contextualisation and comparative analysis. The public screening of films takes place in a wide variety of settings in rural areas of Australia and the UK. These range from modern multi-screen venues operating in large regional centres, through to older-style twin and single screen cinemas found in smaller places. In very small and remote settlements, where film exhibition is generally not viable on a commercial basis, screenings are held in purpose-built and make-shift facilities by local councils, community cooperatives, film societies and a few small-scale entrepreneurs. As a commercial enterprise, the fortunes of film exhibitors are closely tied to wider economic and demographic trends. Over recent decades there has been a significant increase in the overall number of multiplexes in rural areas. However, this growth has taken place almost exclusively in large settlements, where it has been underpinned by broader increases in industrial activity, employment and population, as well as the rise in cinema-going frequency since the mid 1980s. In smaller, relatively stable towns, scaled-down single and twin screen cinemas are regularly able to survive and sometimes prosper. But in areas of social and economic decline film enterprises can be highly marginal concerns. For smaller operators adaptation and innovation are often key skill requirements. Initiatives such as in-house movie clubs, low ticket prices, and efforts to personalise patrons’ film-going experiences all form an important part of their marketing strategies. For other cinemas the secret to longevity can centre around creating a sub-commercial operating structure, one which allows the enterprise to utilise financial support mechanisms such as government funding and volunteer labour.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
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Libros sobre el tema "Film exhibition"

1

Rae, Hark Ina, ed. Exhibition, the film reader. London: Routledge, 2002.

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, Filmmuseum, ed. M: Film Museum Berlin - the exhibition. Berlin: Nicolai, 2000.

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Emer, Rockett, ed. Film exhibition and distribution in Ireland, 1909-2010. Dublin: Four Courts Press, 2011.

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1950-, Waller Gregory A., ed. Moviegoing in America: A sourcebook in the history of film exhibition. Malden, MA: Blackwell Publishers, 2002.

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Cinema and community: Progressivism, exhibition, and film culture in Chicago, 1907-1917. Detroit: Wayne State University Press, 2014.

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Brown, Tim. Camden celebrates cinema 100: An exhibition of film stills featuring locations across Camden. Camden: Leisure & Community Services, Arts & Tourism, London Borough of Camden, 1996.

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Weiru, CHEN y LAI Meihsing, eds. Kao Chung-Li: Watch Time Watching. Taipei, Taiwan: Tina Keng Gallery, 2010.

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), National Gallery of Art (U S. Programs available on film and videocassette. [Washington, D.C.?: National Gallary of Art, Smithsonian Institution, 1988.

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), National Gallery of Art (U S. Programs available on film and videocassette. [Washington, D.C.?: National Gallary of Art, Smithsonian Institution, 1988.

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National Gallery of Art (U.S.). Programs available on film and videocassette. [Washington, D.C.?: National Gallary of Art, Smithsonian Institution, 1988.

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Capítulos de libros sobre el tema "Film exhibition"

1

Lacey, Nick. "Exhibition and Distribution". En Introduction to Film, 144–65. London: Macmillan Education UK, 2016. http://dx.doi.org/10.1007/978-1-137-46386-9_4.

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Villarejo, Amy. "The production and exhibition of film". En Film Studies, 87–116. 3a ed. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429026843-4.

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Greenwald, Stephen R., Paula Landry, Michael Kalb y Robert Garson. "Film Exhibition, Retail, and Consumption". En The Business of Film, 246–86. 3a ed. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003217480-8.

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Finney, Angus. "Exhibition and the changing cinema experience". En The International Film Business, 123–35. 3a ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003205753-13.

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Finney, Angus. "Exhibition and the changing cinema experience". En The International Film Business, 123–35. 3a ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003205753-13.

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Russell, Patrick y James Piers Taylor. "Films Nobody Sees?: Distribution and Exhibition". En Shadows of Progress: Documentary Film in Post-War Britain, 20–29. London: British Film Institute, 2010. http://dx.doi.org/10.1007/978-1-349-92441-7_3.

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Stevens, Kirsten. "Growth and Change: Curator-Led Festivals, Fragmenting Audiences, and Shifting Film Exhibition Cultures". En Australian Film Festivals, 47–77. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-58130-3_3.

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Parc, Jimmyn y Patrick A. Messerlin. "Distribution and Exhibition: Clouds on the Horizon?" En The Untold Story of the Korean Film Industry, 193–227. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-80342-1_7.

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Odorico, Stefano. "Beyond the Screen: Interactive Documentary Exhibition in the Festival Sphere". En Documentary Film Festivals Vol. 2, 93–111. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-17324-1_6.

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Putnam Hughes, Stephen. "Silent Film Genre, Exhibition and Audiences in South India". En Explorations in New Cinema History, 295–309. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444396416.ch17.

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Actas de conferencias sobre el tema "Film exhibition"

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Smith, Michael D. y Michael Zink. "Film Grain and Film Scanner Noise in HDR Video". En SMPTE 2019 Annual Technical Conference & Exhibition. IEEE, 2019. http://dx.doi.org/10.5594/m001884.

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Barrow, M. S., A. Al-Hussany, R. L. Williams y P. R. Williams. "Cavitational Film-Splitting of Lubricants". En SAE Powertrain & Fluid Systems Conference & Exhibition. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2003. http://dx.doi.org/10.4271/2003-01-3118.

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Saitou, Yuki, Kenichi Shibata, Shinsuke Ikishima y Hanna Kushioka. "Newly Developed Automotive Glass Protection Film". En SAE 2006 World Congress & Exhibition. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2006. http://dx.doi.org/10.4271/2006-01-0750.

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Ohgane, Hitoshi. "Development of a Film-decorated Front Grille". En SAE World Congress & Exhibition. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2008. http://dx.doi.org/10.4271/2008-01-1473.

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Domash, L., E. Ma, N. Nemchuk, A. Payne y M. Wu. "Tunable thin film filters". En OFC 2003 - Optical Fiber Communication Conference and Exhibition. IEEE, 2003. http://dx.doi.org/10.1109/ofc.2003.315920.

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Underkoffler, J. "Active Seeing: Future Visualization in Film and Science". En 65th EAGE Conference & Exhibition. European Association of Geoscientists & Engineers, 2003. http://dx.doi.org/10.3997/2214-4609.201405705.

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Park, Jong-Jin y Minoru Taya. "Design of Micro-Arrayed Thin Film Thermocouples (TFTC)". En ASME 2003 International Electronic Packaging Technical Conference and Exhibition. ASMEDC, 2003. http://dx.doi.org/10.1115/ipack2003-35040.

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We designed the thin film thermocouples (TFTC) made by T-type (Copper-Constantan) thermocouple arrays in order to measure temperature distribution at higher spatial resolutions. This sensor consists of a few different layers; silicon wafer, thin aluminum nitride (AlN) layer, and thin film thermocouple layers. The thickness of the thin aluminum nitride (AlN) layer is 100nm and the layer is located between silicon wafer and thin film thermocouples to construct an electrical insulator and thermal conductor. T-type (Copper-Constantan) thermocouples are deposited on the aluminum nitride (AlN) layer over the silicon wafer and the copper thickness and constantan thickness are 50nm, repectively. The sensor area is 10mm × 10mm, and has 10 × 10 junction arrays, and each junction has 100μm × 100μm surface area. According to the measured data, electrical resistivitives of thin films are almost 5 times greater than those of bulk materials. This is based on the comparison of thermal simulation and measured data of 1-D heat conduction in steady state. Seebeck coefficients between copper bulk material and constantan thin film are calculated and the weight factor is defined due to Seebeck coefficient mismatches of bulk materials and thin films. Thermal simulation of 2-dimensional heat conduction in steady state calculated by finite element analysis and compared with the measured data, resulting in a good agreement between simulations and measured data.
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Horansky, John, Michael Mcmain, Sean Coghlan, Nippani Rao, Dennis Smith, Jeff Valentage, Mark Conant y Keith Beneteau. "Injection Molded, Extruded-In-Color Film Fascia". En SAE 2003 World Congress & Exhibition. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2003. http://dx.doi.org/10.4271/2003-01-1126.

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Reuss, Edward y Lars Borg. "Camera Raw Workflows — Like Film, but Digital". En SMPTE 2014 Annual Technical Conference & Exhibition. Society of Motion Picture and Television Engineers, 2014. http://dx.doi.org/10.5594/m001559.

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Uchida, Ryo, Daisuke Tanaka, Toru Noda, Shinya Okamoto, Keiji Ozawa y Tsuneaki Ishima. "Impingement Behavior of Fuel Droplets on Oil Film". En SAE 2015 World Congress & Exhibition. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2015. http://dx.doi.org/10.4271/2015-01-0913.

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Informes sobre el tema "Film exhibition"

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Kerrigan, Susan, Phillip McIntyre y Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.
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Droby, Samir, Joseph W. Eckert, Shulamit Manulis y Rajesh K. Mehra. Ecology, Population Dynamics and Genetic Diversity of Epiphytic Yeast Antagonists of Postharvest Diseases of Fruits. United States Department of Agriculture, octubre de 1994. http://dx.doi.org/10.32747/1994.7568777.bard.

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One of the emerging technologies is the use of microbial agents for the control of postharvest diseases of fruits and vegetables. A number of antagonistic microorganisms have been discovered which have the potential to effectively control postharvest diseases. Some of this technology has been patented and commercial products such as AspireTM (Ecogen Corporatin, Langhorne, PA, USA), Biosave 10TM and Biosave 11TM (Ecoscience Inc., Worchester, MA, USA) have been registered for commercial use. The principal investigator of this project was involved in developing the yeast-based biofungicide-AspireTM and testing its efficacy under commercial conditions. This research project was initiated to fill the gap between the knowledge available on development and commercial implementation of yeast biocontrol agents and basic understanding of various aspects related to introducing yeast antagonists to fruit surfaces, along with verification of population genetics. The main objectives of this study were: Study ecology, population dynamics and genetic diversity of the yeast antagonists Candida guilliermondii, C. oleophila, and Debaryomyces hansenii, and study the effect of preharvest application of the yeast antagonist C. oleophila naturally occurring epiphytic microbial population and on the development of postharvest diseases of citrus fruit during storage. Our findings, which were detailed in several publications, have shown that an epiphytic yeast population of grapefruit able to grow under high osmotic conditions and a wide range of temperatures was isolated and characterized for its biocontrol activity against green mold decay caused by Penicillium digitatum. Techniques based on random amplified polymorphic DNA (RAPD) and arbitrary primed polymerase chain reaction (ap-PCR), as well as homologies between sequences of the rDNA internal transcribed spacers (ITS) and 5.8S gene, were used to characterize the composition of the yeast population and to determine the genetic relationship among predominant yeast species. Epiphytic yeasts exhibiting the highest biocontrol activity against P. digitatum on grapefruit were identified as Candida guilliermondii, C. oleophila, C. sake, and Debaryomyces hansenii, while C. guilliermondii was the most predominant species. RAPD and ap-PCR analysis of the osmotolerant yeast population showed two different, major groups. The sequences of the ITS regions and the 5.8S gene of the yeast isolates, previously identified as belonging to different species, were found to be identical. Following the need to develop a genetically marked strain of the yeast C. oleophila, to be used in population dynamics studies, a transformation system for the yeast was developed. Histidine auxotrophy of C. oloephila produced using ethyl methanesulfonate were transformed with plasmids containing HIS3, HIS4 and HIS5 genes from Saccharomyces cerevisiae. In one mutant histidin auxotrophy was complemented by the HIS5 gene of S. cerevisiae is functionally homologous to the HIS5 gene in V. oleophila. Southern blot analysis showed that the plasmid containing the S. cerevisiae HIS5 gene was integrated at a different location every C. oleophila HIS+ transformant. There were no detectable physiological differences between C. oleophila strain I-182 and the transformants. The biological control ability of C. oleophila was not affected by the transformation. A genetically marked (with b-glucuronidase gene) transformant of C. oleophila colonized wounds on orange fruits and its population increased under field conditions. Effect of preharvest application of the yeast C. oleophila on population dynamics of epiphytic microbial population on wounded and unwounded grapefruit surface in the orchard and after harvest was also studied. In addition, the effect of preharvest application of the yeast C. oleophila on the development of postharvest decay was evaluated. Population studies conducted in the orchard showed that in control, non-treated fruit, colonization of wounded and unwounded grapefruit surface by naturally occurring filamentous fungi did not vary throughout the incubation period on the tree. On the other hand, colonization of intact and wounded fruit surface by naturally occurring yeasts was different. Yeasts colonized wounded surface rapidly and increased in numbers to about two orders of magnitude as compared to unwounded surface. On fruit treated with the yeast and kept on the tree, a different picture of fungal and yeast population had emerged. The detected fungal population on the yeast-treated intact surface was dramatically reduced and in treated wounds no fungi was detected. Yeast population on intact surface was relatively high immediately after the application of AspireTM and decreased to than 70% of that detected initially. In wounds, yeast population increased from 2.5 x 104 to about 4x106 after 72 hours of incubation at 20oC. Results of tests conducted to evaluate the effect of preharvest application of AspireTM on the development of postharvest decay indicated the validity of the approach.
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