Gotowe bibliografie tematyczne / Film-form

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Gotowa bibliografia na temat „Film-form”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 27 kwietnia 2022

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Artykuły w czasopismach na temat "Film-form"

Wartenberg, Thomas. "Understanding Film Form". Film and Philosophy 10 (2006): 163–71. http://dx.doi.org/10.5840/filmphil20061012.

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Kolker, Robert. "Film, form, and culture". ACM SIGWEB Newsletter 5, nr 2 (czerwiec 1996): 31. http://dx.doi.org/10.1145/231738.232621.

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Poulaki, Maria. "The ‘Good Form’ of Film". Gestalt Theory 40, nr 1 (1.04.2018): 29–43. http://dx.doi.org/10.2478/gth-2018-0004.

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Summary This article questions certain assumptions concerning film form made by the recent (neuro)psychological film research and compares them to those of precursors of film psychology like Hugo Münsterberg and Rudolf Arnheim, as well as the principles of Gestalt psychology. It is argued that principles of Gestalt psychology such as those of ‘good form’ and good continuation are still underlying the psychological research of film, becoming particularly apparent in its approach to continuity editing. Following an alternative Gestalt genealogy that links Gestalt theory with more recent dynamic models of brain activity and with accounts of brain complexity and neuronal synchronisation, the article concludes that psychological research on film needs to shift the focus from form to transformation, both in conceiving the perceptual and cognitive processing of films and in approaching film aesthetics more broadly.

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Lealand, Geoff. "Review: Film, Form, and Culture". Media International Australia 92, nr 1 (sierpień 1999): 146. http://dx.doi.org/10.1177/1329878x9909200125.

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Brown, Richard H. "Piezo film: Form and function". Sensors and Actuators A: Physical 22, nr 1-3 (czerwiec 1990): 729–33. http://dx.doi.org/10.1016/0924-4247(89)80067-6.

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Lee, Chong-Hoon. "Polish-Russian ‘Film Warfare’ in Form of War Film Production". World History and Culture 51 (30.06.2019): 251–88. http://dx.doi.org/10.32961/jwhc.2019.06.51.251.

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Kim, Jong-Guk. "Pathos of S. Eisenstein's Film Form". Journal of the Korea Contents Association 15, nr 6 (28.06.2015): 73–80. http://dx.doi.org/10.5392/jkca.2015.15.06.073.

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Campanini. "Teaching Film Sound as Material Form". Music and the Moving Image 5, nr 2 (2012): 43. http://dx.doi.org/10.5406/musimoviimag.5.2.0043.

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Önen, Naz. "Essay Film as a Dialogical Form". JOMEC Journal, nr 13 (4.02.2019): 93. http://dx.doi.org/10.18573/jomec.188.

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Arouh, Melenia. "The Different Meanings of “Film Form”". Projections 14, nr 3 (1.12.2020): 55–71. http://dx.doi.org/10.3167/proj.2020.140305.

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The appreciation of form is a common preoccupation in aesthetic analyses of films. The concept of form, however, has traditionally troubled philosophers of art, and although its meaning and significance have been debated throughout history, a common understanding is not always easy to discern. This article reviews certain ambiguities regarding “form” in film aesthetics through an examination of the uses of the word, especially in relation to content, medium, and style. Through this discussion, both the significance of the word is explained, but also the type of analysis it allows for.

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Rozprawy doktorskie na temat "Film-form"

Wallbaum, Christopher. "The analytical short film: Form – Functions – Excursus – Criteria". Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34615.

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This chapter presents the form of the Analytical Short Film (ASF), its functions for communication, education and research and criteria for its validity. Embedded is a fundamental reflection about the relations between something whole and its parts to give reasons for dealing with blurredness in both, practice in lessons and video practice.

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Haw, Matthew James. "Boudica & field notes towards a dynamic film-poem form". Thesis, Lancaster University, 2017. http://eprints.lancs.ac.uk/124994/.

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The thesis comprises an original, book-length sequence of poems, Boudica, and a film-poem of the same name. Boudica engages in a topographical mediation on East Anglia, specifically the landscapes of Norfolk and north Suffolk. The subject of the sequence is Boudica, a young woman trapped within a stifling suburban upbringing and her dead-end job at the pub in her village. Structured in four parts, the poem explores her adolescent ennui, her ambivalence towards place and her small acts of existential rebellion against this condition. The verse itself is constructed of images from cinema and after cinema, images bound to the physicality of cinema. Poet and narrator are allowed access to the viewfinder: lines, images, and stanzas attempt to frame themselves within the logic of cinematography, a logic which asks that the poet’s eye becomes the camera lens, exploiting cinema and ekphrasis by projecting meaning without making it explicit. The film is composed of images which have been suggested by the lyrics, the cinematic sequencing of these images has then dictated the order in which the lyrics appear in the collection. The thematic and structural links between the film and the sequence of poems are the subject of the supporting reflective essay. This paper explores my practice-led methodology and approach to the making of Boudica, offering key definitions with regards to ekphrasis and the hybrid film-poem form. It explores dynamic points of intersection between film and poetry in Boudica as well as case studies in recent writing and practice on ekphrasis, poetry and cinema.

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Rai, Kimberley. "Don't hide the madness perception, bipolar and the film form". Master's thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/30968.

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Human perception is a process that begins with sensory input that is organized and then interpreted. During this process there is a movement of information about an event in the real world, into information that represents that event in the mind. This movement of information in the form of perception is similar to the filming process; where the event, sensory input, organisation and interpretation is like the pro-filmic event (that which exists in the world before or regardless of whether it is filmed), the light entering the camera lens, and, the editing process and audience experience, respectively. When these systems are influenced at any stage of the process, there is an alteration in the resulting representation. The pro-filmic event can be influenced through the filmmaking techniques used to record it that may influence beliefs that concern the event. For example, the recording of films that concern mental illness need to be approached with caution because treatment of the pro-filmic event can either reinforce or challenge stereotypes about the mentally ill. Bipolar is a mental disorder of mood that is often represented with wild inaccuracy in films. The biographical drama, Shine (1996), for example, attempts to represent the life of David Helfgott, a musician who suffered a mental breakdown and spent subsequent years in mental asylums. He is portrayed as an imbecile, always mumbling indistinctly. In the film, the connection between psychopathology and creativity is supported, heavy- handedly. This demonstrates how the intervention (by the filmmaker and his filmmaking techniques) can transform meaning and influence viewer perception through the film medium. For the case-study documentary film, Don’t Hide the Madness (2017), I use recording and editing techniques to portray a personal account of bipolar in a way that challenges mainstream beliefs about the disorder. I argue that this application of the film medium has the capacity to confront stigma and change perceptions about mental illness.

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Ljunggren, Rhonda L. "Camera lucida : the moving image as evocative document : film form, film meaning and the grammatology of archival selection". Thesis, University of British Columbia, 1986. http://hdl.handle.net/2429/25714.

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This thesis examines the characteristics of moving image documents such as they pertain to the selection of films for archival preservation. It is advanced that both the physical nature of the film record and the nature of the evidence it presents are prime considerations in the development of archival selection criteria. Furthermore it is argued that the structure and content of film are interrelated factors which impact significantly upon the determination of archival value, and the suitability of the film record for permanent preservation. Finally, a major factor affecting selection involves accounting for the impact of film as a reflector and purveyor of popular culture. Given the powerful influence of film in moulding popular ideas, attitudes, and value systems, archival selection criteria must take into account film of all types if there is to be any future prospect of assessing the impact of film on society in a given period. The sources used for this study include the writings of historians and archivists concerning film as historical evidence and the archival selection thereof, as well as traditional film literature. The study proceeds from a consideration of the technical and structural aspects of film to a content-oriented discussion involving the reflective and influential nature of the moving image document. Archival selection is considered in terms of its necessity and justifiability with regard to the nature of the film record, and alternative modes of selection are investigated.
Arts, Faculty of
Library, Archival and Information Studies (SLAIS), School of
Graduate

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Rich, Philip. "The culture of cruising : Post-war images form the NMM'S film archive". Thesis, University of Sheffield, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527202.

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This thesis examines a film collection held at the National Maritime Museum, Greenwich and seeks to establish the historical, cultural and aesthetic legacy of the post-war promotional cruise film. The textual and contextual analysis reveals the cruise film's unique reflection of an era of ideological, social and stylistic change. The thesis establishes an institutional and aesthetic history of the cruise film, focusing on the output of Orient Line, P&O, Union Castle and Cunard. The circumstances surrounding production of promotional material are explored, along with the ideological, commercial and stylistic legacy of the British Documentary Movement and British Transport Film initiative. Prototypical pre-war examples of the form are foregrounded and compared to the films produced through the 1960s. Alongside the cruise film's commercial and aesthetic origins, the thesis explores the image of the ship itself, as an eternal signifier of progress, divinity and nation. The cultural history of the ship as a signifier is traced alongside the visual discourses used to picture This thesis examines a film collection held at the National Maritime Museum, Greenwich and seeks to establish the historical, cultural and aesthetic legacy of the post-war promotional cruise film. The textual and contextual analysis reveals the cruise film's unique reflection of an era of ideological, social and stylistic change. The thesis establishes an institutional and aesthetic history of the cruise film, focusing on the output of Orient Line, P&O, Union Castle and Cunard. The circumstances surrounding production of promotional material are explored, along with the ideological, commercial and stylistic legacy of the British Documentary Movement and British Transport Film initiative. Prototypical pre-war examples of the form are foregrounded and compared to the films produced through the 1960s. Alongside the cruise film's commercial and aesthetic origins, the thesis explores the image of the ship itself, as an eternal signifier of progress, divinity and nation. The cultural history of the ship as a signifier is traced alongside the visual discourses used to picture This thesis examines a film collection held at the National Maritime Museum, Greenwich and seeks to establish the historical, cultural and aesthetic legacy of the post-war promotional cruise film. The textual and contextual analysis reveals the cruise film's unique reflection of an era of ideological, social and stylistic change. The thesis establishes an institutional and aesthetic history of the cruise film, focusing on the output of Orient Line, P&O, Union Castle and Cunard. The circumstances surrounding production of promotional material are explored, along with the ideological, commercial and stylistic legacy of the British Documentary Movement and British Transport Film initiative. Prototypical pre-war examples of the form are foregrounded and compared to the films produced through the 1960s. Alongside the cruise film's commercial and aesthetic origins, the thesis explores the image of the ship itself, as an eternal signifier of progress, divinity and nation. The cultural history of the ship as a signifier is traced alongside the visual discourses used to picture it within the cruise film. The 1960s cruise ship and its filmic representation is examined as a floating microcosm of emergent hedonistic and capitalistic tendencies. In an era of empowerment, liberation and increasing individualism, the cruise film balanced the traditional with the contemporary in its sometimes conflicted portrayals of life at sea. The final chapter of the thesis is devoted to the cruise film's reflection of fading British colonialism. As the British Empire fragmented and political liberalism spread throughout a new generation of young people, the cruise film's latent traditionalism and nationalism became anachronistic. Yet, beneath its swinging '60s aesthetic, the post-war cruise film continued to market its product as an implicit emulation of the colonial process. In conclusion, light is shed on the cruise film's paradoxical position, as advertisers sought to retain the allure of the ocean voyage in an era of mainstream jet travel.

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Savi, Melina Pereira. "Central Station and issues of identity in film form and critical debates". reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/92355.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2009
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O presente trabalho trata de questões relacionadas à construção de uma identidade cultural brasileira no filme Central do Brasil, dirigido por Walter Salles, a partir da perspectiva fílmica e também relacionada aos debates críticos que o filme gerou em resenhas americanas e brasileiras. Argumenta-se que o filme é uma metáfora da busca por identidade, argumento usado pelo próprio diretor. Esta busca se dá no nível pessoal, no caso das personagens principais, Dora e Josué, e nacional, já que o filme encoraja a associação da jornada das personagens a uma busca pela identidade nacional brasileira. A pesquisa buscou encontrar os elementos fílmicos que remetem a essa hipótese de que o filme é uma metáfora da busca por identidade, bem como de que forma (e se) os debates críticos gerados a partir do filme identificaram essa questão da busca. Para teorias de identidade, autores como Stuart Hall, Zygmunt Bauman e Robert Stam foram usados. Para teoria fílmica foram usados trabalhos de David Bordwell e Marcel Martin. Para estudos em cinema brasileiro, leituras de trabalhos de Luiz Zanin Oricchio, Robert Stam e Sidney Ferreira Leite foram realizadas. A análise mostrou que o filme, de fato, traz elementos que podem ser relacionados à metáfora da busca por identidade.
This research addresses questions related to the construction of a Brazilian cultural identity in the film Central Station, directed by Walter Salles, from the perspective of film form, and concerning the critical debates prompted by the film in Brazilian and American reviews. The film is argued to be, by the director himself, a metaphor for the search for identity, both personal, in the case on the main characters, Dora and Josué, and national, since the film encourages the association of the characters' journey to a search for a Brazilian identity. What this research sought to find were the elements in film form that relate to this hypothesis of the film as a metaphor for the search of identity, and how and if the critical debates prompted by the film identified the issue of identity. For the issue of identity, critics such as Stuart Hall, Robert Stam, and Zygmunt Bauman were invoked. For Film Studies, theorists such as Bordwell and Marcel Martin were used. For readings in Brazilian Cinema, the works of Luiz Zanin Oricchio, Robert Stam and Sidney Ferreira Leite were used. The analysis showed that the film, indeed, brings elements that can be related to a metaphor for the search for identity.

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Damm, Andreas. "Anonymitet och intensifierad kontinuitet : Klassisk stil och form i Hämnarens resa". Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-4813.

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The intention with this essay is to investigate how the narration of the South Korean film Sympathy for Mr. Vengeance (Park Chan-wook, 2002) relates to the Hollywood pictures of today. An important change which David Bordwell pays attention to is an intensifying of former stylistic paradigms in what he denominates as intensified continuity. That said, Bordwell and Kristin Thompson are in agreement on that the new films still are predominantly classical. The neoformalistic standpoint which Thompson and Bordwell use appears however to contain some problematic implications. Their way of categorizing films as classical, critics maintain, could only result in empty shells of formal parameters. The essay is built upon investigating three areas: plot, narration and style. The result of this study indicates that Sympathy for Mr. Vengeance remains within the classical characteristics, as well as differentiates on certain matters. However, appropriate conclusion needs taking into account also some of the difficulties and critiques targeting the neoformalistic take on style.

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Perry, Colin, i mikewood@deakin edu au. "The narrativization of actuality: Convergence of form and genre in film and television". Deakin University. School of Contemporary Arts, 2000. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050902.092326.

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The thesis concerns the treatment of actuality in film and television, particularly the narrativization of actuality images, and the context of their placement within audio/visual texts. Several instances of the convergence of media form and genre are analyzed, and the conventions of classificatory systems and boundaries that pertain to film and television representations are reconsidered in light of changes in the conventions of genre. The distinction between, and convergence of fictional and non-fictional conventions of narrative are therefore central to the thesis, as are the related issues of viewer response, the nature of subjectivity in the viewer, the connectivity of text and culture, and the relations of actuality to the text. The thesis traces the narrativization of actuality through textual, formal and genre boundaries, adopting a line of flight or deterritorialization that enables the thesis to change in nature and connect with other multiplicities.This line of flight passes through the conventional separation of genre groupings and texts, and, similarly, has been applied in the thesis as a rationale for the diminution of theoretical boundaries. A multiperpectival approach is applied to the permeability of, or transcendent relations of the analysis to the boundaries between genres, between texts and culture, and between actuality and virtual representation. In the thesis there is also a theoretical deterritorialization that consents to a pluralism of theory, which is an approach demonstrated by Deleuze and Guattari in A Thousand Plateaus. The model of multi-perspectivalism adopted in the thesis engages in establishing connections and similarities between theories, rather than emphasizing contradictory and exclusive practices. The Foucauldian notion of the rules of formation in discourse, Nichols theories of documentary representation of reality, Bordwells schematic interpretation, and several other positions are critiqued, as the line of flight embarked upon in the thesis intersects with, and passes through both textual and theoretical boundaries. The thesis consists of two parts: firstly, a location of theoretical perspective, in which the issues of theory pertaining to actuality and narrative are explicated, and the methodological approach of the thesis is defined. The second part commences with an analysis of the most familiar instances of actuality in film and television, with particular attention to documentary forms. It then engages in the analysis of films that represent actuality but which, in the process of narrativization, display a convergence of genre conventions. The films selected for analysis include Steven Speilberg's Schindler's List, (1993) Oliver Stone's JFK, (1991) and Robert Zemeckis' Forrest Gump, (1994) and Contact, (1996). Hence the thesis is concerned with the application of a pluralist theoretical approach, with, however, an emphasis on the Deleuzo-Guattarian notions of rhizome and assemblage. Within this theoretical frame, the connections between actuality and the audio/visual text are explicated, and the formation of text as a rhizome with the world, is analyzed across a range of examples.

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Li, Suk-fong, i 李淑芳. "The use of film subtitles in teaching English to the junior form students". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31945119.

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Yao, Bo. "N MULTILAYER THIN FILM REACTIONS TO FORM L10 FEPT AND EXCHANGE SPRING MAGNETS". Doctoral diss., University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4024.

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FePt films with the L10 phase have potential applications for magnetic recording and permanent magnets due to its high magnetocrystalline anisotropy energy density. Heat treatment of n multilayer films is one approach to form the L10 FePt phase through a solid state reaction. This thesis has studied the diffusion and reaction of n multilayer films to form the L10 FePt phase and has used this understanding to construct exchange spring magnets. The process-structure-property relations of n multilayer films were systematically examined. The transmission electron microscopy (TEM) study of the annealed multilayers indicates that the Pt layer grows at the expense of Fe during annealing, forming a disordered fcc FePt phase by the interdiffusion of Fe into Pt. This thickening of the fcc Pt layer can be attributed to the higher solubilities of Fe into fcc Pt, as compared to the converse. For the range of film thickness studied, a continuous L10 FePt product layer that then thickens with further annealing is not found. Instead, the initial L10 FePt grains are distributed mainly on the grain boundaries within the fcc FePt layer and at the Fe/Pt interfaces and further transformation of the sample to the ordered L10 FePt phase proceeds coupled with the growth of the initial L10 FePt grains. A comprehensive study of annealed n films is provided concerning the phase fraction, grain size, nucleation/grain density, interdiffusivity, long-range order parameter, and texture, as well as magnetic properties. A method based on hollow cone dark field TEM is introduced to measure the volume fraction, grain size, and density of ordered L10 FePt phase grains in the annealed films, and low-angle X-ray diffraction is used to measure the effective Fe-Pt interdiffusivity. The process-structure-properties relations of two groups of samples with varying substrate temperature and periodicity are reported. The results demonstrate that the processing parameters (substrate temperature, periodicity) have a strong influence on the structure (effective interdiffusivity, L10 phase volume fraction, grain size, and density) and magnetic properties. The correlation of these parameters suggests that the annealed n multilayer films have limited nuclei, and the subsequent growth of L10 phase is very important to the extent of ordered phase formed. A correlation between the grain size of fcc FePt phase, grain size of the L10 FePt phase, the L10 FePt phase fraction, and magnetic properties strongly suggests that the phase transformation of fccL10 is highly dependent on the grain size of the parent fcc FePt phase. A selective phase growth model is proposed to explain the phenomena observed. An investigation of the influence of total film thickness on the phase formation of the L10 FePt phase in n multilayer films and a comparison of this to that of FePt co-deposited alloy films is also conducted. A general trend of greater L10 phase formation in thicker films was observed in both types of films. It was further found that the thickness dependence of the structure and of the magnetic properties in n multilayer films is much stronger than that in FePt alloy films. This is related to the greater chemical energy contained in n films than FePt alloy films, which is helpful for the L10 FePt phase growth. However, the initial nucleation temperature of n multilayers and co-deposited alloy films was found to be similar. An investigation of L10 FePt-based exchange spring magnets is presented based on our understanding of the L10 formation in n multilayer films. It is known that exchange coupling is an interfacial magnetic interaction and it was experimentally shown that this interaction is limited to within several nanometers of the interface. A higher degree of order of the hard phase is shown to increase the length scale slightly. Two approaches can be used to construct the magnets. For samples with composition close to stoichiometric L10 FePt, the achievement of higher energy product is limited by the average saturation magnetization, and therefore, a lower annealing temperature is beneficial to increase the energy product, allowing a larger fraction of disordered phase. For samples with higher Fe concentration, the (BH)max is limited by the low coercivity of annealed sample, and a higher annealing temperature is beneficial to increase the energy product.
Ph.D.
Department of Mechanical, Materials and Aerospace Engineering
Engineering and Computer Science
Materials Science & Engr PhD

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Książki na temat "Film-form"

Film, form & feeling. New York: Harper & Row, 1985.

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Kolker, Robert Phillip. Film, form, and culture. Wyd. 3. Boston: McGraw-Hill, 2006.

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Kolker, Robert Phillip. Film, form, and culture. Boston: McGraw Hill, 1999.

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Kolker, Robert Phillip. Film, form, and culture. Wyd. 2. Boston: McGraw-Hill, 2002.

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O’Pray, Michael. Film, Form and Phantasy. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230535770.

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Film, form, and phantasy: Adrian Stokes and film aesthetics. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2004.

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O'Pray, Michael. Film, form, and phantasy: Adrian Stokes and film aesthetics. Basingstoke: Palgrave Macmillan, 2004.

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Clayton, Wickham, red. Style and Form in the Hollywood Slasher Film. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137496478.

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Deren, Maya. An anagram of ideas on art, form and film. Ann Arbor: UMI Books on Demand, 2005.

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A grammar of murder: Violent scenes and film form. Chicago: The University of Chicago Press, 2009.

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Części książek na temat "Film-form"

O’Pray, Michael. "Representation, Depiction and Portrayal in Film". W Film, Form and Phantasy, 3–26. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230535770_1.

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O’Pray, Michael. "Modelling in Light and Dark". W Film, Form and Phantasy, 185–212. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230535770_10.

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O’Pray, Michael. "Conclusion". W Film, Form and Phantasy, 213–14. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230535770_11.

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O’Pray, Michael. "Expression, Projection and Style in Film". W Film, Form and Phantasy, 27–49. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230535770_2.

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O’Pray, Michael. "Phantasy". W Film, Form and Phantasy, 50–71. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230535770_3.

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O’Pray, Michael. "Stokes: The Carving and Modelling Modes". W Film, Form and Phantasy, 75–91. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230535770_4.

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O’Pray, Michael. "A Stokesian and Kleinian Interpretation". W Film, Form and Phantasy, 92–103. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230535770_5.

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O’Pray, Michael. "The Carving Mode: Rossellini, Antonioni and Dreyer". W Film, Form and Phantasy, 107–36. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230535770_6.

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O’Pray, Michael. "Montage and Modelling Values in Sergei Eisenstein". W Film, Form and Phantasy, 137–56. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230535770_7.

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O’Pray, Michael. "Carving Values and John Ford". W Film, Form and Phantasy, 157–73. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230535770_8.

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Streszczenia konferencji na temat "Film-form"

Hosking, T. A., i M. A. Brubaker. "Annular Form Factor Film Capacitors". W 15th IEEE International Pulsed Power Conference. IEEE, 2005. http://dx.doi.org/10.1109/ppc.2005.300576.

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Amra, C. "Scattering characterization of materials in thin film form". W Laser-Induced Damage in Optical Materials 1989. SPIE, 1990. http://dx.doi.org/10.1117/12.2294441.

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Eblen, Jr., John P., William J. Gunning, Donald B. Taber, Pochi Yeh, Mohsen Khoshnevisan, James Beedy i Leonard G. Hale. "Thin-film birefringent devices based on form birefringence". W SPIE's 1994 International Symposium on Optics, Imaging, and Instrumentation, redaktor James D. Rancourt. SPIE, 1994. http://dx.doi.org/10.1117/12.185795.

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Flint, Eric, Jason Lindler, Jonathan Hall, Charles Rankine i Marc Regelbrugge. "Overview of Form Stiffened Thin Film Shell Characteristic Behavior". W 47th AIAA/ASME/ASCE/AHS/ASC Structures, Structural Dynamics, and Materials Conference
14th AIAA/ASME/AHS Adaptive Structures Conference
7th. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2006. http://dx.doi.org/10.2514/6.2006-1900.

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Zaghloul, A. R. M., M. Elshazly-Zaghloul i Y. A. Zaghloul. "Transmission ellipsometry on unsupported film/pellicle: closed-form inversion". W Optical Engineering + Applications, redaktorzy Joseph A. Shaw i J. Scott Tyo. SPIE, 2007. http://dx.doi.org/10.1117/12.736352.

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Wang, Zhao, Zhanheng Yuan, Hui Li i Mingtang Wu. "Measurement means of form capacity of the form-electrolyte of anodic oxide film for dielectric". W International Conference on Sensing units and Sensor Technology, redaktorzy Yikai Zhou i Shunqing Xu. SPIE, 2001. http://dx.doi.org/10.1117/12.440185.

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Yu, Guomin, Eric Miller, Jonathan Mallari, Cailin Wei, Baoquan Chen, Hui Chen, Vadim Shofman i Raluca Dinu. "Small Form Factor Thin Film Polymer Modulators for Telecom Applications". W Optical Fiber Communication Conference. Washington, D.C.: OSA, 2012. http://dx.doi.org/10.1364/ofc.2012.om3j.1.

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Wang, Hongyang. "Study on an Extreme Communication Form in Chinese Film History". W Proceedings of the 4th International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccessh-19.2019.216.

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Zaghloul, A. R. M., M. Elshazly-Zaghloul i Y. A. Zaghloul. "Transmission ellipsometry of transparent-film transparent-substrate systems: closed-form inversion for the film optical constant". W Defense and Security Symposium, redaktorzy Dennis H. Goldstein i David B. Chenault. SPIE, 2006. http://dx.doi.org/10.1117/12.666777.

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Hladik, Jiri, i Ivan Szendiuch. "Direct deposition of thick film pastes to form fine line patterns". W 2008 33rd IEEE/CPMT International Electronics Manufacturing Technology Conference (IEMT). IEEE, 2008. http://dx.doi.org/10.1109/iemt.2008.5507811.

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Raporty organizacyjne na temat "Film-form"

Sanders, Eulanda A. Film, Fashion and Form: A Combined Means to Teach Costume History and Fashion Illustration. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-544.

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Lever, James, Emily Asenath-Smith, Susan Taylor i Austin Lines. Assessing the mechanisms thought to govern ice and snow friction and their interplay with substrate brittle behavior. Engineer Research and Development Center (U.S.), grudzień 2021. http://dx.doi.org/10.21079/1168142742.

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Sliding friction on ice and snow is characteristically low at temperatures common on Earth’s surface. This slipperiness underlies efficient sleds, winter sports, and the need for specialized tires. Friction can also play micro-mechanical role affecting ice compressive and crushing strengths. Researchers have proposed several mechanisms thought to govern ice and snow friction, but directly validating the underlying mechanics has been difficult. This may be changing, as instruments capable of micro-scale measurements and imaging are now being brought to bear on friction studies. Nevertheless, given the broad regimes of practical interest (interaction length, temperature, speed, pressure, slider properties, etc.), it may be unrealistic to expect that a single mechanism accounts for why ice and snow are slippery. Because bulk ice, and the ice grains that constitute snow, are solids near their melting point at terrestrial temperatures, most research has focused on whether a lubricating water film forms at the interface with a slider. However, ice is extremely brittle, and dry-contact abrasion and wear at the front of sliders could prevent or delay a transition to lubricated contact. Also, water is a poor lubricant, and lubricating films thick enough to separate surface asperities may not form for many systems of interest. This article aims to assess our knowledge of the mechanics underlying ice and snow friction.

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