Articoli di riviste: "Acting for film"

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Bizri, Hisham M. "City of Brass: The Art of Masking Reality in Digital Film". Leonardo 36, n. 1 (febbraio 2003): 7–11. http://dx.doi.org/10.1162/002409403321152211.

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The author's interest in film lies in its ability to expand consciousness and perception in ways unique to the medium. His films challenge the language of filmmaking, be it montage, color, sound, lighting, mise-enscène or acting. The author employs a wide palette of film vocabulary to mask reality and filter it through a personal vision. With the introduction of computers, new ways of seeing the world through film, and thus of acting in the world, may be accomplished.

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Higson, Andrew. "Film Acting and Independent Cinema". Screen 27, n. 3-4 (1 maggio 1986): 110–33. http://dx.doi.org/10.1093/screen/27.3-4.110.

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Archer, Neil. "Ken Loach and the Comedians: The Politics of ‘Acting’". Journal of British Cinema and Television 18, n. 3 (luglio 2021): 280–302. http://dx.doi.org/10.3366/jbctv.2021.0575.

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This article explores a gap in the scholarship on Ken Loach's film-making, focusing on his casting of comedians in central roles and the specific impacts of such casting strategies across Loach's work. While the relevance of such casting to Loach's project has been anecdotally acknowledged in criticism, this article recommends a more systematic historical and aesthetic approach. After summarising the theoretical considerations around acting as a practice and its ‘problem’ within Loach's terms, I consequently look at the broader institutional and political contexts of actor preparation training and casting in British television and film since Loach's emergence as a director in the 1960s, and the relevance of comedian casting within these. Drawing on a sample of Loach's films, I then offer a more systematic analysis of how the comedian's body, voice and action signify, examining how such ‘realist’ performances respond to the cultural conventions of ‘trained’ actor practice, as well as the narrative and broader institutional conventions of comedy performance in mainstream film.

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Goldsmith, C. C., e C. Van Buskirk. "Residual Stress Measurements on Cr/Ni Pads Evaporated on Polyimide Thin Films". Advances in X-ray Analysis 36 (1992): 203–12. http://dx.doi.org/10.1154/s0376030800018802.

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AbstractPolyimide films are becoming more important in multi-layer structures, acting as dielectric films to separate conductive layers. High thin film residual stresses can cause problems with the polyimide film, leading to loss of adhesion between the metal film and the polyimide or can cause cracking in the polyimide.In this paper, we examine the residual stresses in “as deposited” metal films evaporated onto BTDA-APB polyimide films and follow the change in residual stress of the nickel layer during subsequent thermal processing. We will show that the change in residual stresses can be correlated to the glass transition temperature of the polyimide film.

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Riis, Johannes. "Ivan Mozzhukhin’s Acting Style". Projections 12, n. 2 (1 dicembre 2018): 137–58. http://dx.doi.org/10.3167/proj.2018.120215.

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While the Russian film actor Ivan Mozzhukhin has been recognized by film scholars such as Jean Mitry as one of the important actors of the silent screen the nature of his contributions has gone unexplained and, ironically, Mozzhukhin is perhaps best remembered for a lost experiment, presumably carried out by Lev Kuleshov around 1920, that showed how the editor can construct character emotions with shots of contextual objects. The historical record and scientific attempts to replicate the experiment indicate that we need to pay attention to Mozzhukhin’s role as performer and my study of his performances suggests that we may have to rethink long-held assumptions about the relationship between performer expressiveness and editing.

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Cho, Chang-Yeol. "Film Acting Method of Dardenne Brothers". Journal of the Korea Entertainment Industry Association 16, n. 3 (30 aprile 2022): 77–90. http://dx.doi.org/10.21184/jkeia.2022.4.16.3.77.

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Chough, Song-Duk, e Jong-Guk Kim. "Film Acting Studies of S. Kracauer". Journal of the Korea Contents Association 16, n. 9 (28 settembre 2016): 502–11. http://dx.doi.org/10.5392/jkca.2016.16.09.502.

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Kim, Jong-Guk. "Gestus Film Acting of B. Brecht". Journal of the Korea Entertainment Industry Association 12, n. 1 (31 gennaio 2018): 71–79. http://dx.doi.org/10.21184/jkeia.2018.1.12.1.71.

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Kim, Jong-Guk. "Convergence Art Education in Film Acting". Cartoon and Animation Studies 54 (31 marzo 2019): 305–26. http://dx.doi.org/10.7230/koscas.2019.54.305.

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Chough, Song-Duk, e Jong-Guk Kim. "Film Acting Studies of S. Eisenstein". Cartoon and Animation Studies 45 (31 dicembre 2016): 177–95. http://dx.doi.org/10.7230/koscas.2016.45.177.

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Lien, Shui-Yang, Shao-Yu Liu, Wen-Ray Chen, Chuan-Hsi Liu, Po-Wen Sze, Na-Fu Wang e Chien-Jung Huang. "The Influence of Argon Plasma on Organic Perovskite MAPbI3 Film Doped with Inorganic Perovskite CsPbI3 Quantum Dots (QDs)". Crystals 12, n. 6 (6 giugno 2022): 799. http://dx.doi.org/10.3390/cryst12060799.

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In this study, the inorganic perovskite cesium lead triiodide (CsPbI3) quantum dots (QDs) produced by hot-injection method were added into the hybrid perovskite methylamine lead triiodide (CH3NH3PbI3; MAPbI3) to form composite perovskite film. It is not easy for argon (Ar) to react with perovskite. Therefore, argon plasma was used to optimize the properties of the surface. However, methylamine lead triiodide molecular will be degraded by excessive wattage. Therefore, the influence of plasma power acting on composite perovskite film was investigated. The experimental results show that the light absorption capacity can be increased by argon plasma power of 140 watt (W) acting on the surface of films because organic impurities are removed and surface morphology of film is changed.

12

Hendrykowski, Marek. "Uwagi o aktorstwie w filmach Andrzeja Wajdy". Przestrzenie Teorii, n. 27 (15 dicembre 2017): 47–58. http://dx.doi.org/10.14746/pt.2017.27.6.

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The article is a synthetic look at Andrzej Wajda’s films in terms the context of acting and actors’ participation. As a director Wajda never created a separate ‘school’ of film acting; nevertheless, he still made a huge creative contribution on a national and global scale, including tens, if not hundreds, of unforgettable performances from actors.

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Naremore, James. "Film Acting and the Arts of Imitation". Film Quarterly 65, n. 4 (2012): 34–42. http://dx.doi.org/10.1525/fq.2012.65.4.34.

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Modern theories of acting follow Stanislavsky and emphasize emotional truthfulness achieved through self-expression, but an older tradition emphasizes technique and imitation and this emphasis is argued to be equally relevant to movie acting.

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Rødje, Kjetil. "Intra-Diegetic Cameras as Cinematic Actor Assemblages in Found Footage Horror Cinema". Film-Philosophy 21, n. 2 (giugno 2017): 206–22. http://dx.doi.org/10.3366/film.2017.0044.

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This article proposes a reconceptualization of the term “actor” within motion pictures and presents the argument that “acting” is a matter of distributed agency performed by heterogeneous assemblages. What constitutes an actor is what I will label as a “cinematic actor assemblage,” a term that comprises what is commonly known as human actors as well as material entities that play an active part in motion picture images. The use of intra-diegetic cameras in contemporary found footage horror films constitutes a particular case of such cinematic actor assemblages. Through a dynamic relational performance, cameras here take on roles as active agents with the potential to affect other elements within the images as well as the films’ audiences. In found footage horror the assemblage mode of operation creates suspense, since the vulnerability of the camera threatens the viewer's access to the depicted events. While human characters and individual entities making up the camera assemblage are disposable, the recording is not. Found footage horror crucially hinges upon the survival of the footage. I will further suggest that these films allow filmmakers to experiment with the acting capabilities of intra-diegetic cameras.

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Исмаилов, Камолитдин Саидахмадович, e Александр Викторович Марков. "ACTING PERFORMANCES IN UZBEK DOCUMENTARY FILMS". ΠΡΑΞΗMΑ. Journal of Visual Semiotics, n. 3(37) (30 marzo 2023): 54–72. http://dx.doi.org/10.23951/2312-7899-2023-3-54-72.

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Советский кинематограф создал особый жанр кинопортрета, который поддерживался как визуальными нормами советского кинопроизводства, так и общей для литературы и кинематографа жанровой спецификой, направленной на упорядочение больших массивов произведений, предназначенных для просвещения советского человека. В статье устанавливается, что ключевую роль в становлении этого жанра и легитимации его в качестве художественной программы со своими иногда вполне провокационными особенностями сыграли Максим Горький и Дзига Вертов. На протяжении всей истории советского кинематографа этот жанр демонстрировал большую устойчивость, что объясняется и общим представлением советского зрителя о прогрессе и его визуальных репрезентациях, и каноничностью приемов документальных кинопортретов. При этом над нарративом преобладал общий образ репрезентации современности как исполнения прогресса, который не нуждается в дополнительных нарративах или эффектах. Поэтому игровые постановки в документальном кино либо осуждались, либо допускались как орнаментальные. В статье вычленяется два типа документалистики, этнографическая и биографическая, и показывается, как экранные принципы советского кино ограничивали внедрение игровых сцен. Разрушение советской системы кинематографии значительно изменило аудиторию. Прежде всего, исчез литературоцентризм советской культуры, при котором нарративы о прошлом и настоящем создавались литературой; теперь кинематограф стал создавать их самостоятельно. Далее, сами зрители стали дифференцировать ожидания от кинематографа, проецируя на него то опыт телесмотрения, то опыт знакомства с голливудским зрелищным кино. Наконец, новое поколение режиссеров стало шире использовать игровые вставки наравне со спецэффектами для создания нарратива, дополняющего национальный исторический нарратив и тем самым привлекающего больше зрителей. При этом зритель не вполне привык к нарративам вещей, воспринимая их исключительно как документальные свидетельства. Поэтому использование игровых вставок часто подрывало доверие к исторической достоверности фильма и вообще к достоверности нового документального кинематографа. Именно таковы были глубинные реакции зрителей, которые хотя и не высказывались прямо, но отмечались наиболее проницательными узбекскими режиссерами в интервью, взятых специально для данного исследования. Исследование узбекских фильмов последних трех десятилетий показало поиск новых способов создания кинопортретов, учитывающих и игру нарративов, и изменчивость зрительских ожиданий. Не все эти поиски были удачными, но они показали неуклонное стремление режиссеров избегать эмоциональной вялости, которая возникает в документальных фильмах постсоветского времени из-за отсутствия единой идеи всеобщего прогресса, которая принимается зрителями как достоверная. Национальное строительство требует и обновления идеи прогресса, и нового конфликта нарративов при безупречном использовании приемов, которые не выбираются режиссером, но влекут друг друга за собой, создавая эстетику документального фильма с игровыми вставками. Soviet cinema established a specific genre of film portrait, which was supported both by the visual norms of Soviet film production and by the genre specification common to literature and cinematography, aimed at streamlining large arrays of works intended to educate Soviet people. Maxim Gorky and Dziga Vertov played a key role in establishing this genre and legitimizing it as an educational artistic program with its sometimes quite provocative features. throughout the history of Soviet cinema, this genre showed great resilience, which can be explained both by the Soviet viewer’s general conception of progress and its visual representations, and by the canonical nature of the techniques of documentary film portraits. At the same time, the general image of the representation of modernity as the performance of progress prevailed over the narrative, which therefore did not need additional narratives or effects. Acting performances in documentary films were thus either condemned or tolerated as ornamental. The article delineates two types of documentaries, ethnographic and biographical, and shows how the screen principles of Soviet cinema limited the introduction of acting inserts. The collapse of the Soviet film production system significantly changed the audience. First of all, the literature-centrism of Soviet culture, in which narratives about the past and present were generated by literature, disappeared; now the cinema began to develop them independently. Next, audiences themselves began to differentiate their expectations from cinema, projecting onto it the experience of watching television and the experience of encountering Hollywood performing films. Finally, a new generation of filmmakers began to make greater use of acting inserts along with special effects to build a narrative that complemented the national historical narrative and thereby attracted more viewers. At the same time, viewers were not fully accustomed to narratives of things, perceiving them exclusively as documentary evidence. Therefore, the use of acting inserts often undermined the credibility of the film’s historical accuracy and the credibility of new documentary filmmaking in general. Such were the underlying reactions of the audience, which, although not explicitly expressed, were noted by the most perceptive Uzbek filmmakers in interviews conducted specifically for this study. The study of Uzbek films in the last three decades has shown the search for new ways to make film portraits that take into account both the play of narratives and the variability of viewer expectations. Not all of these pursuits have been successful, but they have shown a steady desire on the part of filmmakers to avoid the emotional lethargy characteristic in post-Soviet documentaries due to the lack of a single idea of universal progress that viewers accept as credible. Nation-building requires both a renewal of the idea of progress and a new conflict of narratives with a flawless use of techniques that are not chosen by the director, but entail each other, and create the aesthetics of a documentary with acting performance inserts.

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Kokeš, Radomír D. "Film Acting, Czech Silent Cinema, and Questions of Film Style Research". Iluminace 30, n. 2 (1 giugno 2018): 21–57. http://dx.doi.org/10.58193/ilu.1562.

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Tamaki, Jun, Gregory K. L. Goh e Fred F. Lange. "Novel epitaxial growth of barium titanate thin films by electrodeposition". Journal of Materials Research 15, n. 12 (dicembre 2000): 2583–86. http://dx.doi.org/10.1557/jmr.2000.0368.

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Electrodeposition was used to grow epitaxially BaTiO3 thin films on SrTiO3 single-crystal substrates with La0.7Sr0.3MnO3 (LSMO) conducting buffer layers. The epitaxial films appeared to consist of very small (ø10 nm) particles. The film completely covered the substrate when the reaction was performed at temperatures between 60 and 90 °C with LSMO potentials of –0.5 to –1.0 V against a Pt counter-electrode. It appeared that an electrophoretic force, acting on BaTiO3 nuclei within the solution, facilitated the deposition of the film.

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Islam, Muhammad Sajidul, Md-Khairul Islam e Sabbir Hasan. "Commercial Films in Bangladesh: Impact Analysis (2009-2019)". International Journal of Social, Political and Economic Research 8, n. 1 (11 aprile 2021): 226–35. http://dx.doi.org/10.46291/ijospervol8iss1pp226-235.

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After the independence of Bangladesh (1971), new generation film development making take a place. Bangla commercial films can be divided before liberation, post liberation and modern era. Before liberation era; A. J. Kardar, Zahir Raihan, Khan Ataur Rahman, were the commercial Bengali film makers. During the Post liberation time, we have some extra ordinary movies like Sareng Bou (1978), Surjo Dighal Bari (1979) and so on. But in the modern era definition of commercial film has got a change. From 2009 to 2019 Bangladeshi audience got difference in commercial films. But having DT (Digital Technology) and other advancement given a development of Bangladeshi commercial film. But story making, acting, making, socialization and other things are gradually developing in Bangladeshi commercial films. This research will evaluate prospects and challenges of Bangladeshi commercial films from 2009 to 2019. However further research is recommended to develop making of Bangladeshi commercial films in respect of lifelike story, cultural dissemination and so on.

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Wang, Song, Zhang Yu Zhou, Fa Shun Yang, Jian Yang e Xing Hua Fu. "Preparation and Characteristics of Multilayer Magnesium Diboride Superconducting Films via CVD Method". Applied Mechanics and Materials 130-134 (ottobre 2011): 908–12. http://dx.doi.org/10.4028/www.scientific.net/amm.130-134.908.

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In this work we present the technology of preparing multilayer MgB2superconducting films via CVD method. The first layer of the MgB2superconducting film was obtained by two-step method: growthing the precursor boron film on a polycrystalline Al2O3substrate first, then post annealing the film in magnesium ambient, thus we got the first layer of MgB2film. After that a pure boron film was deposited on the MgB2film , acting as the medium insulating layer, finally the second layer of the MgB2superconducting film was formed by in-situ growth, evaporated magnesium atoms and boron atoms that decomposed from diborane met near the substrate and generated the second layer of the MgB2superconducting film. The square resistance of the boron medium insulation layer is higher than 20 MΩ. The transition temperature of the both superconducting films was above 38 K, and the temperature for zero resistance is above 37 K. We found that different thickness of the B layer made different I-V curve between two superconducting films, which is very important for the use of Josephson junction. More meaningful results can be expected as the experiment goes on.

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Miquel-Baldellou, Marta. "From Margo Channing to Margaret Elliot: The Aging Actress, Age Performance, and the Dictates of Aging in Joseph Mankiewicz’s All about Eve and Stuart Heisler’s The Star". Athens Journal of Humanities & Arts 10, n. 3 (23 giugno 2023): 267–86. http://dx.doi.org/10.30958/ajha.10-3-5.

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Bette Davis played the role of an aging actress in different films throughout her career. In Joseph Mankiewicz’s All about Eve (1950), Davis performs one of her most highly acclaimed parts as Margo Channing, a mature actress who must face the decline of her acting career upon the arrival of a younger and ambitious counterpart. Only two years later, in Stuart Heisler’s The Star (1952), Davis once more played the role of an aging actress, Margaret Elliot, who refuses to accept that her career as an actress has come to an end, thus taking a bleaker approach in comparison with Mankiewicz’s film. Bearing in mind the intertextuality existing between both films, since All about Eve and The Star address the figure of the aging actress and are both considered self-referential films insofar as they are films about the film industry, this article will analyse how these two films address the performance of aging on and off screen, as actresses switch roles between acting younger or older in relation to characters that function as mirrors of aging, and how they eventually come to terms with the dictates of aging and their own aging process as women.

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Danna, Caroline S., Dalita G. S. M. Cavalcante, Andressa S. Gomes, Leandra E. Kerche-Silva, Eidi Yoshihara, Igor O. Osorio-Román, Leandra O. Salmazo, Miguel A. Rodríguez-Pérez, Ricardo F. Aroca e Aldo E. Job. "Silver Nanoparticles Embedded in Natural Rubber Films: Synthesis, Characterization, and Evaluation ofIn VitroToxicity". Journal of Nanomaterials 2016 (2016): 1–10. http://dx.doi.org/10.1155/2016/2368630.

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Natural rubber (NR) films can reduce silver metal ions forming embedded metal nanoparticles, a process that could be described as green synthesis. The NR films acting as a reactor generate and incorporate silver nanoparticles (AgNPs). Organic acids and amino acids play a crucial role in the formation of AgNPs. The plasmon extinction obtained in the UV-visible spectrum shows the presence of nanoparticles in the film after dipping the NR film into a solution of silver nitrate at 80°C. Electron microscopic analysis confirms the presence of AgNPs in the NR film and characterization by atomic force microscopy shows a change in the roughness of the NR film with AgNPs. In addition, our preliminary results fromin vitrotoxicity studies (MTT and comet assays) of the NR films and NR films with silver nanoparticles (NR/Ag) show that they are not toxic to cell lineage CHO-K1 (cells from the ovary of a Chinese hamster), an important result for potential medical applications.

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Huang, Vivian L. "Take My Breath Away: Review of Mila Zuo (2022) Vulgar beauty: Acting Chinese in the global sensorium". Film-Philosophy 27, n. 2 (giugno 2023): 353–56. http://dx.doi.org/10.3366/film.2023.0233.

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Kusuma, Shinta, Hirwan Kuardhani e Rukman Rosadi. "Penciptaan Peran Tokoh Xiau Mei dalam Naskah Senja dan Penantian Karya Hernandes Saranela Terinspirasi dari Film The Chinese Widow". Dance and Theatre Review 3, n. 2 (20 ottobre 2020): 82. http://dx.doi.org/10.24821/dtr.v3i2.4420.

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The Creation of the Character of Xiao Mei in the Play Script of Senja dan Penantian by Hernandes Saranela Inspired by The Chinese Widow Film. The script of Senja dan Penantian written by Hernandes Saranela, tells about the waiting of a Chinese descent girl waiting for her lover to return from the battlefield. This realism script of the play presents its challenges and requires a lot of references. The Chinese Widow film is a source of ideas. Ying's character as the main character is lovely because the play's depth brings out firm acting details. The actress made a series of observations and used the presentation approach to creating the Xiao Mei's character. The creation of this work aims to describe how the actress can portray the character's inner act by using Stanislavski's acting method. In her acting, the actress attains awareness of playing her roles to make the weakness of Xiao Mei's character's strength and uniqueness.Keywords: actor; acting; film

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Park, Hee-Bok, e Min-Su Choi. "A Study on the Acting Methodology for Film Acting - Focusing on Stella Adler's Training -". Journal of acting studies 23 (31 agosto 2021): 79–92. http://dx.doi.org/10.26764/jaa.2021.23.5.

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Ioraa, Jacob Shimrumun. "Acting in Nigerian Video Films: A Critique of Lancelot Oduwa Imasuen’s Invasion 1897". QISTINA: Jurnal Multidisiplin Indonesia 1, n. 2 (25 dicembre 2022): 64–72. http://dx.doi.org/10.57235/qistina.v1i2.206.

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Acting plays a crucial function in the art of motion pictures. The art advance from making the audience participate in the director’s fantasy and take it as actuality. Actors are the most indelible party in a film. It is a fact that people and not technology make film as a form to express the society we live in. A unique act of art acting cannot just be faked. An actor cannot give anything out if the actor has nothing inside. In this paper, we will examine the concept of acting and the role it plays in film. We will then examine it within the context of method acting in Lancelot Oduwa Imasuen’s Invasion 1897 (2014) in order to identify and expose the slopping acting of the white cast. No doubt, the director’s casting is representational by establishing the identity of the actors of the period of the Benin Kingdom over a hundred years ago. Taking note of the above factor, this paper strives to throw the firework on the director as the master craftsman who casts his actor and is the guiding force that make all the decisions. We will then tender hints or clues towards the best bib to harness the actors of period characters by nourishing and nurturing to give a spruce acting.

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Usman, Khairunnisa Pratiwi Maulida, e Yostiani Noor Asmi Harini. "ANALISIS MISE EN SCÈNE DALAM FILM PENDEK TILIK 2018". TONIL: Jurnal Kajian Sastra, Teater dan Sinema 20, n. 1 (7 giugno 2023): 48–58. http://dx.doi.org/10.24821/tnl.v20i1.9512.

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Film memiliki dua unsur yang dapat mempengaruhi jalan cerita yaitu unsur naratif dan unsur sinematik. Mise En Scene merupakan salah satu elemen dari unsur sinematik pada film, Mise En Scene merupakan segala hal yang terdapat pada pandangan di depan kamera. Tujuan dari analisis ini adalah untuk mengetahui Mise En Scene dalam film pendek berjudul Tilik 2018. Dalam menganalisis film, Mise En Scene sendiri memfokuskan diri pada sesuatu yang ada di depan kamera seperti desain set atau latar, pencahayaan, akting serta pergerakan para aktor. Tilik merupakan salah satu film pendek yang dapat dibahas mengenai 1) bagaimana setting latar yang terdapat pada cerita, 2) bagaimana kostum serta tata rias yang digunakan apakah membuat karakter yang sesuai dengan pemain atau tidak, 3) akting para pemain sudahkan sesuai dengan apa yang diharapkan atau tidak. Hasil akhirnya memfokuskan pada actor Bu Tejo yang sangat mendominasi karakternya. Bu Tejo yang membuat film pendek TILIK ini dapat terkenal karena akting yang bagus dapat membuat para penonton kesal dengan hasil karakternya. Film Tilik merupakan film pendek yang terkemas dengan unik karena cara pengambilan gambar yang hanya begitu saja, namun banyak arti dari setiap scene yang akan dibahas menggunakan elemen Mise En Scene. Kata Kunci: Mise En Scene, film Tilik, Sinematik Abstract: The film has two elements that can influence the storyline, namely narrative elements and cinematic elements. Mise En Scene is one of the elements of the cinematic element in the film, Mise En Scene is everything that is visible in front of the camera. In analyzing the film, Mise En Scene itself focuses on something that is in front of the camera such as set or background design, lighting, acting and the movements of the actors. Tilik is one of the short films that can be watched to discuss about 1) what is the background setting in the story, 2) how are the costumes and make-up used to make the characters suit the players or not, 3) the acting of the players is in accordance with what is expected or not. The end result focuses on the actor Bu Tejo who really dominates his character. Bu Tejo, who made the short film TILIK, became famous because his good acting made the audience annoyed with his character. Film Tilik is a short film that is uniquely packaged because the way it is shot is just like that, but the many meanings of each scene will be discussed using Mise En Scene elements. Keywords: Mise En Scene, Tilik film, Cinematic

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Ward, Paul. "Animating with Facts: The Performative Process of Documentary Animation in the ten mark (2010)". Animation 6, n. 3 (9 settembre 2011): 293–305. http://dx.doi.org/10.1177/1746847711420555.

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This article examines how animated films re-present and re-interpret real world occurrences, people and places, focusing on an area that has been overlooked to date: the process of performance and how this manifests itself in animated documentary films. Not simply a notion of ‘performance’ as we might understand it in an ‘acting’ sense (someone playing a role in a re-enactment), but that of the animator performing specific actions in order to interpret the factual material. The central questions addressed are: how does an understanding of ‘performance’ and the related term ‘performativity’ help us to frame animated/nonfictional acting? What ontological questions are raised by thinking about notions of acting in animation (and the performance instantiated in the very action of animating)? How do viewers relate to, interpret or ‘believe in’ animated films that are asserting real/factually-based stories? The article uses a recent film, the ten mark, as a case study to explore possible answers to these questions.

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Sobiestianskas, Ricardas, An Hardy, Jūras Banys, Jan D'haen e Bael van. "Microwave dielectric properties of BiFeO3 thin film prepared by aqueous chemical solution deposition method". Processing and Application of Ceramics 3, n. 4 (2009): 167–70. http://dx.doi.org/10.2298/pac0904167s.

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We report high frequency dielectric properties of multiferroic BiFeO3 (BFO) thin film deposited by means of aqueous chemical solution deposition on platinized silicon substrate. The structure analysis of the BFO performed by X-ray diffraction and energy dispersive analysis showed pure, single-phase quality of the thin films. The impedance measurements were performed by vector network analyzer in frequency range 100 MHz to 10 GHz at ambient temperature. The film leakage currents dominate dielectric losses at low frequencies. The dielectric constant of the film is around 40. An internal charged defects acting as energy traps for electrons dominate dielectric losses in the frequency region above 4 GHz. .

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Boldea, Sorin-Dan. "The Actor's Body as an Instrument: Expression, Mind, Hope. A Dialogue with Actress Maia Morgenstern". Studia Universitatis Babeş-Bolyai Dramatica 68, n. 1 (30 marzo 2023): 191–98. http://dx.doi.org/10.24193/subbdrama.2023.1.11.

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"A conversation with Maia Morgenstern prompted interesting reflections about what it means to be an actor. In it, subjects such as fear, motivation, desire, and even the differences between stage and film acting are touched upon. We explore both surface matters as well as profound and extremely sensitive aspects about the actor in general and his instrument. Maia Morgenstern is a celebrated theatre and film actress, known for theatre productions such as An Antique Trilogy (Andrei Șerban, 1990) and films such as The Oak (Lucian Pintilie, 1992) and The Passion of the Christ (Mel Gibson, 2003). Keywords: theatre, film, actor, performer, body, motivation, emotion. "

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Urinov, Khudoyor, Adkham Amonov, Khakberdi Zhumanov, Zebo Urinova e Gulam Gulamov. "Large values of transverse magnetic reduction of nickel single crystal films". E3S Web of Conferences 177 (2020): 03005. http://dx.doi.org/10.1051/e3sconf/202017703005.

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In this work we studied the anisotropy of the transverse magnetoresistance of single-crystal nickel films. The measurements were carried out on samples whose surface plane coincided with the [001] cavity. Studies of magnetoresistance in a monocrystalline nickel film showed tensile stresses acting on it from the side of magnesium oxide. The modification of the magnetization anisatropy of the film on the substrates as compared with the free sample is apparently associated with a change in the shape of the Fermi surface of the carriers.

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Barnych, Mykhailo, e Nataliіa Horbachuk. "Acting: From Imagination to Transformation". Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, n. 1 (30 giugno 2021): 18–27. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235062.

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The purpose of the research is to analyze the actor’s work on himself before going on stage or set and reveal the main ways to prepare the actor for a stage role or movie role in the imagination. Working on a role in the imagination is one of the most important points in preparing for playing on stage or the set. The research methodology is based on the theoretical and analytical method of defining the main creative methods of preparing an actor for the playing and their application while playing to get used to the role. The scientific novelty consists in a holistic study of the work of a theatre and film actor in the imagination and at the preparatory rehearsal stage of creating a role. Conclusions. Based on the work analysis of the actor of theatre and cinema, the features of working on the role in the imagination, at rehearsals and the use of this creative method during the performance or on the set of the film have been determined. It has been revealed that one of the important ways to prepare an actor for the playing is role improvisation. It has been found that the creative atmosphere on the set has a beneficial effect on the result of the acting. A necessary point in the work of an actor on himself is the study and development of natural instruments, in particular, the mastery of voice, facial expressions, gestures, breathing. An important part is to study the mechanism of arousal of the actor's experience in the role.

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Islam, Muhammad Sajidul, Md Khairul Islam e Sabbir Hasan. "Commercial Films in Bangladesh Impact Analysis (2009-2019)". CenRaPS Journal of Social Sciences 3, n. 1 (13 settembre 2021): 1–8. http://dx.doi.org/10.46291/cenraps.v3i1.60.

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After the independence of Bangladesh (1971), new generation film development making take a place. Bangla commercial films can be divided before liberation, post-liberation and the modern era. Before the liberation era; A. J. Kardar, Zahir Raihan, Khan Ataur Rahman, were the commercial Bengali filmmakers. During the Post liberation time, we have some extraordinary movies like Sareng Bou (1978), Surjo Dighal Bari (1979) and so on. But in the modern era definition of the commercial film has got a chance. From 2009 to 2019 Bangladeshi audiences got different in commercial films. But having DT (Digital Technology) and other advancements have given the development of Bangladeshi commercial film. But story-making, acting, making, socialization and other things are gradually developing in Bangladeshi commercial films. This research will evaluate the prospects and challenges of Bangladeshi commercial films from 2009 to 2019. However further research is recommended to develop the making of Bangladeshi commercial films in respect of lifelike stories, cultural dissemination and so on.

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Mathews, N. G., A. K. Saxena, N. Venkataramani, G. Dehm e B. N. Jaya. "Multiscale characterization of damage tolerance in barium titanate thin films". Journal of Applied Physics 132, n. 4 (28 luglio 2022): 045302. http://dx.doi.org/10.1063/5.0095139.

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Barium titanate is a brittle, lead free ferroelectric and piezoelectric ceramic used in patterned and thin film forms in micro- and nano-scale electronic devices. Both during deposition and eventually during service, this material system develops stresses due to different loads acting on the system, which can lead to its failure due to cracking in the films and/or interface delamination. In situ microcantilever bending based fracture experiments and tensile tests based on shear lag tests in combination with digital image correlation were used to understand the cracking behavior of barium titanate films when deposited on flexible substrates. For the first time, the fracture behavior of these nanocrystalline barium titanate films has been quantified in terms of fracture toughness, fracture strength, and interface shear stresses for different film thicknesses. Critical defect size is estimated using the above information as a function of film thickness. It is found that damage tolerance in terms of fracture strength depends on film thickness. Furthermore, compared to a bulk single crystal, barium titanate fracture resistance of the nanocrystalline thin films is reduced. Both effects need to be considered in engineering design of reliable devices employing micro- and nano-scale barium titanate thin film structures.

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Sitorus, Eka Dimitri. "Unity In Diversity: Moving Indonesian Theater, Film, and Television Forward". Indonesian Journal Of Performing Arts Education 1, n. 1 (31 gennaio 2021): 1–10. http://dx.doi.org/10.24821/ijopaed.v1i1.4916.

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AbstractThe purpose of this article is to show how Indonesia has experienced a tremendous change in its approach to acting in the last 20 years, but it has not been for the better. The modern era of film and television has led to a misleading perception among the Indonesian people regarding the art of “acting,” thereby resulting in an unfavorable attitude toward the craft. This misleading perception stems from the effect of traditional Indonesian theater to its modern counterpart without any adjustments to cater to the millennial generation of Indonesians. The paper explores the roots of this misleading perception. It starts with the problem of applying Indonesian cultural policy, catering to such diverse artistic expressions in Indonesia, educating the artists, all the way to providing the specific educational infrastructure for the arts. The article provides examples of past theater and film productions to point out the problems of modern versus traditional acting styles, the challenges of translations of classic and contemporary western plays into the Indonesian language, the difficulties to apply such rigid interpretations by prominent Indonesian writer to contemporary Indonesian acting styles. The article shows that only by improving and implementing sound Indonesian cultural policy, developing and managing specific educational infrastructure for the arts, and creating a new acting method or re-considering the pre-existing ones, the Indonesian theatre, film, and television will be able to move forward.

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Urinov, Khudoyor Omonovich, Adkham Kamolovich Amonov, Xakberdi Akhmedovich Jumanov e Ismet Shevkitovich Mujdibaev. "LARGE VALUES OF THE TRANSVERSE M UES OF THE TRANSVERSE MAGNETIC RESISTANCEOF SINGLE CRYSTAL NICKEL FILMS". Scientific Reports of Bukhara State University 4, n. 5 (27 ottobre 2020): 12–20. http://dx.doi.org/10.52297/2181-1466/2020/4/5/3.

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Background. The anisotropy of the transverse magnetoresistance of single-crystal nickel films was studied in this work. The measurements were carried out on samples whose surface plane coincided with the [001] plane. Studies of the magnetoresistance in a single-crystal nickel film have shown the effect of tensile stresses acting on it from the side of magnesium oxide. The modification of the anisotropy of magnetoreflection of a film on a substrate as compared to a free sample is apparently associated with a change in the shape of the Fermi surface of carriers.

36

HAMADUN, FAIRULADILAN, NASIRIN ABDILLAH, NORMAN YUSOFF e NUR SYAHIRAH ANANI NOR ADZLI. "REPRESENTASI STAILISTIK FILEM HANG TUAH (1956)". International Journal of Creative Future and Heritage (TENIAT) 9, n. 1 (31 marzo 2021): 1–17. http://dx.doi.org/10.47252/teniat.v9i1.387.

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Abstrak Hang Tuah (1956) merupakan salah satu filem adaptasi Melayu yang terkenal dalam sejarah perfileman tanah air. Filem ini dikatakan cuba mengangkat karya kesusasteraan Melayu klasik melalui Hikayat Hang Tuah dan Sejarah Melayu. Memandangkan filem ini bersifat adaptasi, maka sering menjadi perhatian dalam kalangan sarjana. Antara aspek yang sering menjadi daya tarikan mereka adalah soal kesetiaan dalam aspek naratif seperti plot, lakonan, gaya bahasa, latar dan tema. Namun demikian, artikel ini hadir dengan melihat kepada aspek lain iaitu stailistik yang mana merupakan salah satu elemen penting dalam pembuatan filem seperti sinematografi, mise en scene dan penyuntingan. Aspek stailistik filem Hang Tuah (1956) cuba diselami dengan mengaplikasikan teori historical poetic of cinema oleh David Bordwell (1989). Sebagai kerangka analisis utama dalam artikel ini, maka historical poetic of cinema cuba menjawab persoalan kajian; bagaimanakah aspek sejarah mampu memberi kesan terhadap stailistik filem Hang Tuah (1956)? Analisis kandungan turut dipilih sebagai instrumen kajian utama untuk memperolehi data daripada buku, artikel jurnal dan filem. Hasil analisis mendapati bahawa filem Hang Tuah (1956) cenderung kepada stailistik model pembuatan Hollywood. Walau bagaimanapun, keadaan persekitaran industri perfileman Melayu era 1950-an cuba mengubah stailistik filem Hang Tuah (1956) kepada acuan filem India. AbstractHang Tuah (1956) is one of the famous adaptation films in Malay cinema. The film endeavours to uplift the classical Malay literature through the Hikayat Hang Tuah and Sejarah Melayu. Since Hang Tuah (1956) is an adaptation film, it has always attracted the scholars’ attention. Among the main attractions is the matter of loyalty in the narrative aspects such as plot, acting, language style, background and theme. However, this article looks at other aspect namely stylistics. This important element of stylistics in film production includes cinematography, mise en scene and editing. The stylistics aspect of Hang Tuah (1956) was investigated by applying the historical poetic theory of cinema by David Bordwell (1989). As the main analytical framework in this article, historical poetic of cinema attempts to answer the research question of how the historical aspects can affect the style of Hang Tuah (1956) film? Content analysis was chosen as the main instrument for obtaining data from books, journal articles and films. The analysis found that Hang Tuah (1956) tends to resemble Hollywood production model. However, the environment of Malay film industry around 1950’s had influenced the stylistics of Hang Tuah (1956) film to be shaped by an Indian mould.

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Faiz Bolkiah, Muhammad, e Amalia Sabila. "The Process of Deepening the Character in Dokudrama “Film Perjuangan K.H. Muhyiddin”". Jomantara: Indonesian Journal of Art and Culture 1, Vol. 1 No. 1 (31 gennaio 2021): 65–86. http://dx.doi.org/10.23969/jijac.v1i1.3432.

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Dokudrama is a non-fiction film that presents a story based on a true story. Besides being an entertainment medium, a film can also be a learning medium since film provides a good story content and messages. Therefore, it needs an actor as a subject to convey the message of the story that the director wants to deliver. To play a character in a movie, an actor must be able to delve into whatever character is given. Unlike documentaries, dokudrama films use actors as the main subject. An actor in a docudrama should be able to play a subject who has ever been real. An actor in a dokudrama film should be able to play a good role without removing the hallmarks of the original subject. A deepening process in a role, making every actor have their own way in learning the character. The differences in studying and delving into these characters is the focus of this research by using qualitative research methods, by re-describing the results of the researcher's analysis with the main theory. To create this study, the researchers used the presentation theory from Stanislavsky. The acting theory of this presentation has been used since the world of casting art entered Indonesia. This research aim is to find out the character deepening conducted by actors in the dokudrama film “Perjuangan K.H. Muhyiddin” based on the Stanislavsky’s acting presentation theory. Keywords: Dokudrama, Qualitative, Casting, Stanislavsky, Biography

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Shin, Hyun-Joo. "Jack Nicholson's Method of Acting and Expression of Acting - Focusing on Stanley Kubrick's Film [Shining] -". Journal of acting studies 19 (30 agosto 2020): 63–77. http://dx.doi.org/10.26764/jaa.2020.19.5.

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Jacobs, Nicolaas H., Marth Munro e Chris Broodryk. "The importance of a green screen acting course within the South African film acting curriculum". South African Theatre Journal 30, n. 1-3 (12 maggio 2017): 1–14. http://dx.doi.org/10.1080/10137548.2017.1304238.

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Silva, António Raimundo, Pedro Carreira, Cyril Santos, Miguel Reis e Artur Mateus. "I. Film: Using Electrospinning to Create Bioactive Films". Applied Mechanics and Materials 890 (aprile 2019): 260–67. http://dx.doi.org/10.4028/www.scientific.net/amm.890.260.

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With increasing competition between companies, they are increasingly striving to produce higher quality products and to improve their production processes, and the food industry is no different. In order to preserve food for longer, this type of company has dedicated its attention to intelligent packaging, capable of preserving food for longer and of acting as a sensor of the state of food. To develop a film capable of fulfilling the new ambitions of the companies various manufacturing processes have been studied. This document gives an overview of the electrospinning process, capable of producing nanofibres of biological materials. This document aims to serve as a study base for the I.film project through the study of the process that will provide the polymer film with the necessary biological characteristics.

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Grzechowiak, Jarosław. "The audience and reception of the films from the Profil Film Unit in 1982-1989". Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 32, n. 41 (5 gennaio 2023): 113–27. http://dx.doi.org/10.14746/i.2022.41.07.

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The subject of this article is an analysis of the distribution, attendance results and reception of feature films made by the Profil Film Unit in 1982–1989. The Profil Film Unit was the second film group (alongside Iluzjon, headed by Czesław Petelski) to be reactivated by the cinematography management after martial law was declared in Poland. The artistic director of Profil, Bohdan Poręba, enjoyed the trust and support of the Party authorities, linking his allegiance to communist dogma to his activity in the nationalist ‘Grunwald’ Patriotic Association. Profil’s productions were boycotted by a large part of the acting community (also due to an appeal by the Solidarity Stage and Film Artists published in the newspaper “Tygodnik Mazowsze”), and some of the films made by this unit in the 1980s clearly followed the guidelines of the cultural policy of the Polish United Workers’ Party. The following questions will be answered: How did the political circumstances outlined above affect the distribution and reception of the films made by Profil? What attendance results did the films produced by Profil achieve and to what extent did they differ from the cinema ticket revenues of the films produced by other groups? How was the activity of the Profil Film Unit and the financial results achieved evaluated by the Supreme Board of Film Affairs? How were the productions of Profil received by film critics in the daily press and magazines?

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Wang, Cheng-Chi, e Cha’o-Ku`ang Chen. "Bifurcation Analysis of Self-Acting Gas Journal Bearings". Journal of Tribology 123, n. 4 (5 febbraio 2001): 755–67. http://dx.doi.org/10.1115/1.1388302.

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This paper studies the bifurcation of a rigid rotor supported by a gas film bearing. A time-dependent mathematical model for gas journal bearings is presented. The finite differences method and the Successive Over Relation (S.O.R) method are employed to solve the Reynolds’ equation. The system state trajectory, Poincare´ maps, power spectra, and bifurcation diagrams are used to analyze the dynamic behavior of the rotor center in the horizontal and vertical directions under different operating conditions. The analysis shows how the existence of a complex dynamic behavior comprising periodic and subharmonic response of the rotor center. This paper shows how the dynamic behavior of this type of system varies with changes in rotor mass and rotational velocity. The results of this study contribute to a further understanding of the nonlinear dynamics of gas film rotor-bearing systems.

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Gad Allah, Ahmed G., Ali M. Bekheet, Said S. El-Egamy e Mohamed S. El-Basiouny. "Nature and Stability of Oxide Films Formed on Niobium in Acid Bromide Solution". Collection of Czechoslovak Chemical Communications 57, n. 11 (1992): 2321–30. http://dx.doi.org/10.1135/cccc19922321.

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The formation and stability of the anodic oxide films formed on niobium in acid bromide solutions were studied using polarization and impedance measurements. The charging curves in all concentrations display the same general trend. The steady-state potential was found to depend on HBr concentration. The efficiency of oxide building is diminished owing to preferential adsorption of Br- ions on the oxide surface acting as depolarizer for the main anodic process. The dissolution behaviour of the anodized oxide niobium films is duplex in nature. The outer layer becomes more liable to dissolution with increasing film thickness or formation voltage. Also, the properties of the surface oxide film are greatly influenced by HBr concentration.

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V.V., Olinchuk, e Tykhonina S.I. "PROSODIC ASPECTS OF INTERNAL MONOLOGICAL ACTING IN FILM DISCOURSE". Scientific Bulletin of Kherson State University. Series Germanic Studies and Intercultural Communication, n. 2 (2 dicembre 2020): 48–57. http://dx.doi.org/10.32999/ksu2663-3426/2020-2-7.

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Riis, Johannes. "Naturalist and Classical Styles in Early Sound Film Acting". Cinema Journal 43, n. 3 (2004): 3–17. http://dx.doi.org/10.1353/cj.2004.0023.

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Auslander, Philip. "Film Acting and Performance Capture: The Index in Crisis". PAJ: A Journal of Performance and Art 39, n. 3 (settembre 2017): 7–23. http://dx.doi.org/10.1162/pajj_a_00376.

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조성덕. "The Analysis of Michael Chekov’s Unique Film Character Acting". Film Studies ll, n. 56 (giugno 2013): 279–302. http://dx.doi.org/10.17947/kfa..56.201306.009.

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Fadirepo, Adejoke Adetoun, e Adeyemi Oluwadamilare Oresanya. "Acting Styles, Nuances and Linguistic Aesthetics: A Case Study of Ibrahim Chatta in Yoruba Films". Yoruba Studies Review 6, n. 2 (27 gennaio 2022): 1–10. http://dx.doi.org/10.32473/ysr.v6i2.130286.

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Acting style is the artistic feature and ingenuity of the actor exhibited over a long period of time acting in films. It is the attainment and acquisition of skills, ingenious and professional creativity, exhibited by the actor in the process of carrying out a role in film or play production. Acting style can be inferred to be individualistic. In Yoruba films, there is a crop of non-native actors who are fluent in the language of their nativity as well as being conversational in the Yoruba language movies which aid their celebrity status. The inability to acculturate to the expected character through diction, gesticulation and socio-linguistic nuances create disorientation between the actors and the audience. This study is hinged on Whorpian Theory on language which posits that the individual perceives his or her environment through the process of thought which is influenced by the language he uses. The method of research is content analytical. Film content is analyzed to raise awareness on the style, nuances linguistic aesthetics of Ibrahim Chattah in selected films. Our findings show that producers and casting directors are the culprit of this deficiency, due to their sense of profit making by using casts with celebrity status in order to increase their profit margin at the show room. This study thereby concludes that directors, producers and casting directors should be more creative by developing a sense of professionalism, making preference for quality over quantity in the Yoruba films. This research recommends adequate training for all actors, especially multilingual ones to increase their versatility, develop skill and technique in order to sustain them and increase their market value in the industry.

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Wu, Chun, Wen Xin Ma, Ya Ping Chen, Yin Li e Yan Chen. "Research on Electroless Plating of Poly (Ethylene Terephthalate) Films by a New Palladiumfree Activation Process". Advanced Materials Research 750-752 (agosto 2013): 1954–56. http://dx.doi.org/10.4028/www.scientific.net/amr.750-752.1954.

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In this essay the authors are seeking to examine a chemical surface activation process for NiP electroless plating of poly (ethylene terephthalate) (PET) films without using palladium catalyst, during which the nickel particles have been chelated with the C=O and COH groups of the carboxymethyl cellulose (CMC) on the PET film that are acting as a catalyst center for the electroless plating.

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Lane, Lorraine, Cecelia Lewis, Elizabeth Povinelli, Linda Yarrowin, Sandra Yarrowin, David Boarder Giles, Melinda Hinkson e Timothy Neale. "A Conversation with the Karrabing Film Collective". Commoning Ethnography 2, n. 1 (19 dicembre 2019): 166. http://dx.doi.org/10.26686/ce.v2i1.5663.

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This piece is a lightly edited transcript of a conversation with members of the Karrabing Film Collective – Lorraine Lane, Linda Yarrowin, Cecilia Lewis, Sandra Yarrowin, and anthropologist Elizabeth Povinelli – interviewed by anthropologists Melinda Hinkson and David Boarder Giles. The Karrabing Film Collective are a community of Indigenous Australians and their whitefella collaborators who make films that analyse and represent their contemporary lives and also keep their country alive by acting on it. This conversation appeared first as Episode Eighteen of Conversations in Anthropology@Deakin, a podcast about ‘life, the universe, and anthropology’ based at Deakin University and produced by Giles and Timothy Neale, with support from the Faculty of Arts and Education at Deakin University, and in association with the American Anthropological Association.

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