Gotowa bibliografia na temat „Independent film-making”
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Spis treści
Zobacz listy aktualnych artykułów, książek, rozpraw, streszczeń i innych źródeł naukowych na temat „Independent film-making”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Artykuły w czasopismach na temat "Independent film-making"
1
Puga, Cheyenne. "The Duplass Brothers: Independent Film Moguls Making Way for Aspiring Filmmakers". Film Matters 11, nr 3 (1.12.2020): 111–16. http://dx.doi.org/10.1386/fm_00105_7.
Pełny tekst źródła
2
Shuqin, Cui. "Alternative visions and representation: independent documentary film-making in contemporary China". Studies in Documentary Film 4, nr 1 (czerwiec 2010): 3–20. http://dx.doi.org/10.1386/sdf.4.1.3_1.
Pełny tekst źródła
3
Thynne, Lizzie. "Independent Miss Craigie: Narration and the Archive in a Documentary Biopic". Journal of British Cinema and Television 18, nr 4 (październik 2021): 442–57. http://dx.doi.org/10.3366/jbctv.2021.0589.
Pełny tekst źródłaStreszczenie:
This article explores the process of making a documentary about Jill Craigie which drew, in particular, on the collection of her papers at the Women's Library and on documents belonging to Craigie and her family. Independent Miss Craigie (2021) seeks to examine the scope and synergies of film-making and politics in a career which encompassed independent production, journalism, broadcasting, television and writing. Our documentary aims to evoke the tensions between Craigie's own (rather diverse) accounts of her career, the evidence of it in her papers and in the contemporary reception of her work. This article about the making of the film provides space to reflect on how archival materials can be used to construct a narrative of a woman director's career. In doing so, it highlights the inevitable gaps and elisions in archival sources and, indeed, in the interpretation of Craigie's films and come to some conclusions about Craigie's disparaging attitude to her own work in later life.
4
Hansen, Kim Toft. "short subject: Creativity, protest, training: Three modes of independent film-making in Denmark". Journal of Scandinavian Cinema 6, nr 1 (1.03.2016): 53–61. http://dx.doi.org/10.1386/jsca.6.1.53_1.
Pełny tekst źródła
5
Caston, Emily. "The Pioneers Get Shot: Music Video, Independent Production and Cultural Hierarchy in Britain". Journal of British Cinema and Television 16, nr 4 (październik 2019): 545–70. http://dx.doi.org/10.3366/jbctv.2019.0498.
Pełny tekst źródłaStreszczenie:
This article identifies and summarises the main findings of the AHRC research project ‘Fifty Years of British Music Video, 1966–2016’. It contextualises the history of music video as a film practice within an unspoken cultural hierarchy of screen arts widely shared in universities, policy circles and the British Film Institute. The article documents the main stages in the development of the music video industry and highlights the extent to which the pioneers served as early adopters of new technologies in videotape, telecine and digital film-making. The ACTT consistently lobbied against music video producers, as did the Musicians’ Union, and consequently music video producers emerged from the 1980s with virtually no protection of their rights. The ACTT's issue was new video technology which it opposed. It also opposed offline editing on video tape because it would lead to redundancies of film editors and potentially required fewer post-production crew. The MU's issue was royalty payments to session musicians and lip synch. The music video industry has functioned as a crucial R&D sector and incubator for new talent and new technologies in the British film and television industries as a whole, without experiencing any of the financial rewards, cultural status or copyright protections of the more esteemed ‘screen arts’.
6
Wu, Helena. "The making of the citizen-spectator in postmillennial Hong Kong: Authorial and spectatorial engagement with independent documentary films". Asian Cinema 33, nr 2 (1.10.2022): 191–207. http://dx.doi.org/10.1386/ac_00055_1.
Pełny tekst źródłaStreszczenie:
Established by several independent filmmakers in Hong Kong in 1997, Ying E Chi (YEC) has facilitated the production and the distribution of Hong Kong independent films by means of VCD/DVD releases, video streaming, film festivals and community screenings. The non-profit body has played a key role in aiding local independent filmmakers’ projects, seeking film distribution opportunities locally and transnationally and building community networks in its home city. As the organizer of the Hong Kong Independent Film Festival since 2008, YEC has demonstrated its fluid translocal positioning by not just promoting the works of local filmmakers, but also introducing worldwide independent cinema to Hong Kong audiences. In retrospect, the development of YEC has reflected the transforming cultural landscape of Hong Kong to different degrees. From cinephiles and academics to the public, the audiences YEC has developed over the years indicates an ever-changing spectatorship in the making, bespeaking the various responses to the social environment under which these films were made, shown and watched. This article will use YEC as a case study to explore the mutual impacts between documentary films and their spectatorship which have shaped independent filmmakers’ production and distribution strategies continuously in postmillennial Hong Kong, particularly in the wake of the 2014 Umbrella Movement and the 2019 Anti-Extradition Law Amendment Bill Movement. The article will draw on interviews with local independent filmmakers, in order to understand how industry practices and dynamics have responded to identification, social events and audience behaviours over time. In this regard, spectatorship is understood as not just an embodied experience of film viewing, but also a series of affinities between the filmmaker, the audience and the film work. As a whole, the article will probe how the idea of citizen-spectator has evolved and has become inscribed in spectatorial engagement with independent documentary films, which has oscillated between audiences’ approval and authorities’ disapproval in postmillennial Hong Kong.
7
Tsui, Ting Y., C. A. Ross i G. M. Pharr. "A method for making substrate-independent hardness measurements of soft metallic films on hard substrates by nanoindentation". Journal of Materials Research 18, nr 6 (czerwiec 2003): 1383–91. http://dx.doi.org/10.1557/jmr.2003.0190.
Pełny tekst źródłaStreszczenie:
A new method for making substrate-independent hardness measurements by nanoindentation techniques that applies to soft metallic films on very hard substrates is presented. The primary issue to be addressed is substrate-induced enhancement of indentation pileup and the ways it influences the indentation contact area. On the basis of experimental observations of soft aluminum films deposited on silicon, glass, and sapphire substrates, an empirical relationship was derived that relates the amount of pileup to the contact depth. From this relationship and the associated experimental observations, a method was developed that allows the intrinsic hardness of the film to be estimated, even when the indenter penetrates through the film into the substrate. The method should prove useful for very thin films (<100 nm) in which it is not possible to make measurements at penetration depths small enough to avoid subtrate effects.
8
Viedge, C., i P. A. Taffinder. "An empirical evaluation of the use of video films in training: A behaviouristic analysis". South African Journal of Business Management 18, nr 3 (30.09.1987): 163–67. http://dx.doi.org/10.4102/sajbm.v18i3.1013.
Pełny tekst źródłaStreszczenie:
Considerable organizational resources are expended annually on training, yet little empirical research is undertaken to investigate the problem of transfer of training to the workplace. Video films are an integral part of many training courses and it is critical to evaluate the efficacy of such films in developing the intended skills. Within the operant behaviouristic perspective, an ABAB reversal experiment was conducted during four business game periods of a training course. The experimental objective was to assess the impact of the principles presented in a training film on the decision-making behaviour of six managers from an engineering research/production facility. A cue-board summarizing the decision-making principles presented in the film was unobtrusively introduced during the two 'B' phases of the experiment. Frequencies of the target behaviour were recorded by two independent raters across all consecutive 'A' and 'B' experimental phases. No functional relationship was found between the use of the decision-making principles and the introduction of the cue-board. In other words, despite the use of a cue-board to prompt decision-making behaviour, no transfer of training from the video-film to the analogue working environment of the business game was observed. Some implications of these results for employing video films in training are discussed.
9
Paulos Aemero. "Current Fragmented Film Festival and its Impact on the Process of Building Film Industry in Ethiopia". Integrated Journal for Research in Arts and Humanities 2, nr 4 (19.07.2022): 86–92. http://dx.doi.org/10.55544/ijrah.2.4.59.
Pełny tekst źródłaStreszczenie:
This study aimed at examining the current film festivals and filmmaking impact on the process of film company building process in Ethiopia. Thus, in this study qualitative research method was employed. Both primary and secondary sources of data were gathered where the primary data was collected through key informant interviews having 19 film maker participants of the film industry, Directors cinematographers including academicians in Ethiopian Universities in the field of film and Theatre Arts. The secondary date was obtained through books, articles and journals. The data was analyzed by using document and thematic analysis techniques. The study found out that limited or independent film festival preparation, frequent coping from western and European film festival ideas, ineffective film production systems, loose producers company unity, lack of government support on the national film festival, an increase in film festival conspiracy, the financial, human and material constraints, acceptability gaps, the issue of departure film making action and disintegration weakened the unity and strength of the Ethiopian film festival as a whole thereby pretention obstacle in the film company building process in Ethiopia. Finally, this study recommended that strong Film company institutions are mandatory to gather crumbled Ethiopian film festivals and strength which will in turn amalgamate film corporation & film company formation process in Ethiopia.
10
Kaur, Harmanpreet. "At Home in the World: Co-productions and Indian Alternative Cinema". BioScope: South Asian Screen Studies 11, nr 2 (grudzień 2020): 123–45. http://dx.doi.org/10.1177/0974927620983941.
Pełny tekst źródłaStreszczenie:
Several Indian filmmakers and production houses making ‘alternative’ and ‘independent films’ have sought to develop co-production deals with European film funds, international film festivals, film markets and sales agents. Their bid is to build a profile with art house and ‘specialty cinema’ audiences in Europe, Asia and the USA, while also seeking to impact the Indian domestic market. This article analyses the assembling of such productions, and their aesthetic form, including a reflection on charges that their adaptation to international distribution requires a conformity to what is acceptable and intelligible to ‘international audiences’. It also explores how alternative films oriented to international art cinema affect the understanding of what constitutes ‘national cinemas’. The article explores these themes through two films, Qissa (2013) and The Lunchbox (2012).
Rozprawy doktorskie na temat "Independent film-making"
1
Strader, Laura K. "An Exploration in Funding Independent Film". University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1410189827.
Pełny tekst źródła
2
Rolim, Cristhine Lucena. "Estratégias alternativas de produção no cinema brasileiro contemporâneo: o caso da cooperativa Filmes a granel". Universidade Federal da Paraíba, 2017. http://tede.biblioteca.ufpb.br:8080/handle/tede/9940.
Pełny tekst źródłaStreszczenie:
Submitted by Leonardo Cavalcante (leo.ocavalcante@gmail.com) on 2018-06-12T12:01:19Z
No. of bitstreams: 1
Arquivototal.pdf: 3391668 bytes, checksum: 5bfbc005d4bd77755a693aa1e263e444 (MD5)Made available in DSpace on 2018-06-12T12:01:19Z (GMT). No. of bitstreams: 1 Arquivototal.pdf: 3391668 bytes, checksum: 5bfbc005d4bd77755a693aa1e263e444 (MD5) Previous issue date: 2017-06-12
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
In the midst of both technological evolution and democratization of the means for audiovisual production within the 21st century, we are experiencing a moment of effervescence in Cinema with new possibilities for independent film-making through the creative employment of digital technologies. Both the attempt at finding alternative strategies in Brazilian cinema and the arising of novel models for audiovisual production provide an advantageous field for academic studies on social and economic contexts and ways of organization within film-making. I intend to reflect about the recent production process in the Brazilian cinema by observing experiences that seek for solutions that are different from the hegemonic industrial model and that appear as a cornerstone for cinema in the digital era. The study here presented considers the following elements as a tripod for audiovisual production: equipaments, funding, and the team. I suggest that the technical, the economic, and the affective fields are crucial for understanding the above mentioned elements within independent cinema. Within this scenario, the thesis examines modes of production in contemporary cinema by taking the model undertaken by Cooperativa Filmes a Granel from Paraíba state - which is part of what we call the Digital Phase of cinema in Paraíba - as a case study.
Frente ao processo de evolução tecnológica e à democratização dos meios de produção audiovisual no século XXI, vivenciamos um momento de efervescência com as possibilidades de realização independente, através da utilização criativa das tecnologias digitais. A busca por estratégias alternativas no cinema brasileiro e o surgimento de novos modelos de produção audiovisual oferecem um terreno profícuo para estudos acadêmicos sobre o contexto socioeconômico e as formas de organização no fazer fílmico. Pretendemos refletir sobre a produção recente, a partir da observação de experiências que buscam soluções diferentes do modelo hegemônico industrial e que constituem em uma mola propulsora para o cinema na era digital. A pesquisa aqui proposta considera como tripé de sustentação para uma produção audiovisual os seguintes elementos: os equipamentos, os recursos financeiros e a equipe. Sugerimos os campos técnico, econômico e afetivo para compreender tais pontos no cinema independente. Diante deste cenário, essa dissertação versa sobre modos de produção no cinema contemporâneo, tendo como estudo de caso o modelo paraibano da Cooperativa Filmes a Granel, que se insere no que chamamos de Fase Digital do cinema na Paraíba.
3
Lang, Ian William, i n/a. "Conditional Truths: Remapping Paths To Documentary 'Independence'". Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031112.105737.
Pełny tekst źródłaStreszczenie:
(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]
4
Lang, Ian William. "Conditional Truths: Remapping Paths To Documentary 'Independence'". Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367923.
Pełny tekst źródłaStreszczenie:
(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]Thesis (PhD Doctorate)
Doctor of Philosophy by Publication (PhD)
Queensland College of Art
Full Text
5
Lopez, Laura. "BAKER:THE MAKING OF AN INDEPENDENT THRILLER". Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2096.
Pełny tekst źródłaStreszczenie:
Baker is an independently financed low budget film that examines the ambiguous nature of compassion in the day-to-day life of hospice care personnel. The creation of the film entailed three stages: pre-production, production and post-production in which numerous artistic, financial and logistic challenges arose and threatened the completion of the picture. The complex nature of the subject matter required particular attention to the structure of the script. The budgetary restrictions enforced a minimalist approach to locations as well as other creative considerations such as the size of the cast and period setting. The shooting location dictated the framework of the aesthetic approach in design as well as in mise-en-scene for the film. The post-production phase redefined the film once the structure became dependant on the relationship between footage and aural elements rather than on the blueprint of the script. This artistic journey imposed a need for creative problem solving and adaptability. The process of working on Baker allowed me to have a full understanding of my role in the collaboration with talent, the management of crew and my creative duty to maintain the essence of the script while realizing my artistic vision. The overall experience has deepened my commitment to storytelling in the collaborative art of cinema. The result is a highly personal expression of my voice as a director, a female, and social criticM.F.A.
School of Film and Digital Media
Arts and Humanities
Film and Digital Media MFA
6
Fasolo, Damian. "The making of Broken: A manifesto for a democratised cinema". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2020. https://ro.ecu.edu.au/theses/2340.
Pełny tekst źródłaStreszczenie:
The enemy of art is the absence of limitations.
(Orson Welles cited in Hurbis-Cherrier, 2011, p. 16)
While much has been written on low budget independent film movements, there is little research on the correlations that exist between them, and in particular, the filmmaking approaches and techniques which significantly affect their final form. The key argument of this project is that, central to the critical success of any low budget film, is a filmmaker’s ability to transform the limitations imposed on them, and the constraints that they choose, into creative gain. Though it would appear to operate contrary to ordinary reasoning and intuition, constraint in an artistic context, is one of the filmmaker’s most powerful tools. The ensuing research and practice reveal how the implementation of this approach can, for example, bring about selfreflexivity and expressionism, political subversion, active viewing, and ambiguity. Furthermore, constraints are often used as a marketing tool to leverage a film’s status by creating a point of differentiation.
This exegesis examines the development of 20th century low budget movements which operated within a ‘manifesto of constraints’. Specifically, it seeks to identify filmmaking approaches of limitation, whether that be through strategies of constraint in budget, crewing, narrative form, and stylistic approach, and how these contributed to the critical success of the resulting work. In addition, there is an analysis on current trends in filmmaking practice, primarily resulting from a democratisation in technologies as well as new methods of funding, marketing and distribution.
By identifying shared commonalities of limitation among the movements and their manifestos, and by taking into account recent advancements in filmmaking practices, an informed, synthesised manifesto is subsequently devised. The creative film component of this research project, a no budget, semi-autobiographical feature film entitled Broken (Fasolo, 2017), is then produced, testing the rules set out in the synthesised manifesto. Finally, both the process of production and creative work are critically examined in light of the research; and as a result of the gaps identified through practice, a new manifesto is developed and presented for the 21st century democratised, no budget filmmaker.
7
Hsiao, Jox, i 蕭永生. "Investigations of Computer 3D Animations Independent Film Making in Personal Formula & Creation Descriptions of「The Pickets」". Thesis, 2002. http://ndltd.ncl.edu.tw/handle/90085864042642295164.
Pełny tekst źródłaStreszczenie:
碩士臺南藝術學院
音像動畫研究所
90
ABSTRACT Most CG animations are made independently, and most of then are personal formula, except the few that are published by big film corporations. What are the differences between them? Based upon my experiences about CG production, I’ll propose an outlook on the making procedure and methods of CG independent animation. Moreover this thesis research the history about how computer technology influence film(animation) industry, and point out the playing role and possibility of CG animation short film in commerce. Finally, my CG animation 「THE PICKETS」 probes the difficulties of making a CG independent animation, and discuss the methods how to improve.
Książki na temat "Independent film-making"
1
Chan, Amos. Behind Union City: The making of an independent film. London?]: Ziggurat Books International, 2012.
Znajdź pełny tekst źródła
2
Producing independent 2D character animation: Making and selling a short film. Amsterdam: Focal Press, 2003.
Znajdź pełny tekst źródła
3
Bay Area Video Coalition (San Francisco, Calif.). Mediamaker handbook: The essential resource for making independent film, video, & new media. San Francisco, CA: BAVC, 2000.
Znajdź pełny tekst źródła
4
Bay Area Video Coalition (San Francisco, Calif.). Mediamaker handbook: The essential resource for making independent film, video, & new media. San Francisco, CA: BAVC, 2000.
Znajdź pełny tekst źródła
5
Manal, Castro John, i Mabalon Dawn Bohulano, red. The debut: The making of a Filipino American film. Chicago: Tulitos Press, 2001.
Znajdź pełny tekst źródła
6
Silva, Raul Da. Making money in film and video: A handbook for freelancers and independents. New York: Prentice Hall Press, 1986.
Znajdź pełny tekst źródła
7
Copyright Paperback Collection (Library of Congress), red. Life blood. New York: Kensington Pub. Corp., 2000.
Znajdź pełny tekst źródła
8
Putting the pieces together: The Graffiti model for indie filmmaking : a behind-the-scenes look at the making of Quality of life. New York: Soft Skull, 2006.
Znajdź pełny tekst źródła
9
The economic consequence of independent film making. Los Angeles, Calif: Arthur Andersen Economic Consulting, 1995.
Znajdź pełny tekst źródła
10
Simon, Mark. Producing Independent 2D Character Animation: Making and Selling a Short Film. Taylor & Francis Group, 2013.
Znajdź pełny tekst źródłaCzęści książek na temat "Independent film-making"
1
Edgar, Brenda Lynn. "Archiving the Trauma of Internment Camps in Film: Jacqueline Veuve’s Journal de Rivesaltes, 1941–1942 (1997)". W Making Humanitarian Crises, 101–26. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-00824-5_5.
Pełny tekst źródłaStreszczenie:
AbstractIn 1997, independent Swiss filmmaker and anthropologist Jaqeuline Veuve (1930–2013) released her documentary Journal de Rivesaltes, 1941–1942 based on the journal kept by Friedel Bohny-Reiter (1912–2001) while working as a nurse for the Swiss Red Cross/Aid to Children at the Rivesaltes internment camp in southwest France. This chapter will show how Veuve’s film brought public attention to hitherto unknown women humanitarians and contributed to shaping a new understanding of Switzerland’s role in the Second World War. It will also examine the film as a performance of both the trauma of others in the past and that of the public facing this history in the late 1990s, thus constituting an important source for the history of emotions.
2
"Making an Independent Film". W The Fundamentals of Animation, 229–32. Bloomsbury Publishing Plc, 2016. http://dx.doi.org/10.5040/9781474222402.ch-021.
Pełny tekst źródła
3
Turnock, Bryan. "American Independent Horror". W Studying Horror Cinema, 139–58. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325895.003.0008.
Pełny tekst źródłaStreszczenie:
This chapter assesses the emergence of American independent horror, looking at George A. Romero's Night of the Living Dead (1968). By the mid-1960s, the traditional Hollywood studio system was responsible for only around 20 per cent of America's film production. The remainder came from independent film-makers and from films made outside of the United States, where labour and locations were cheaper. The 'New Wave' movements in countries such as Japan, France, Britain, and Czechoslovakia introduced new styles of film-making to American cinemagoers, who found them an attractive alternative to the classical Hollywood feature film. As such, the late 1960s saw enormous changes in American cinema, including within the horror genre. Influenced by social, political and cultural upheavals occurring in the country at the time, 1968 is often cited as the dawn of the 'modern American horror film'. The chapter considers how political and social turmoil in America led to a growing number of independent film-makers actively working against the industry establishment, taking advantage of the heavily diminished influence of the major studios, and producing films which rejected Hollywood conservatism and deliberately pushed the boundaries of acceptability.
4
Backman Rogers, Anna. "Chapter Three". W American Independent Cinema. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748693603.003.0004.
Pełny tekst źródłaStreszczenie:
Somewhere focuses not only on a life-crisis, but also on an extended liminal moment in a character’s life. Johnny’s life is in suspension; his lack of focus and direction is visualised in the frequent scenes that are set in his car, which often seem to violate continuity of space and direction. In other words, the moments that the main character ‘drives’ forward actually convey circularity and confusion. Indeed, as in Broken Flowers, the notion of ‘making nothing happen’ becomes central to our experience of the film. The film’s presentation of time, space and character is deeply imbricated with Somewhere’s central character as each facet helps to articulate the severity of his apathy and inability to change.
5
Kishore, Shweta. "Afterword". W Indian Documentary Film and Filmmakers, 162–68. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474433068.003.0007.
Pełny tekst źródłaStreszczenie:
Whilst making a significant contribution to public visual culture and narrative formation, documentary filmmakers hold the key to our understanding of independence, occupying the position of agent and subject, whose position can be understood primarily by examining responses to narrow definitions of ‘function’ that have plagued documentary film and filmmakers. Where ‘function’ carries meanings that harness images and image-makers to measurable phenomena of profit-making, institutional communication, consumption or mass persuasion, independent documentary works to challenge the teleological meaning of ‘function’ and its use as a yardstick to evaluate the value and legitimacy of cultural production and cultural producers.
6
Ma, Ran. "Fading Hometown and Lost Paradise". W Independent Filmmaking across Borders in Contemporary Asia. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789462986640_ch03.
Pełny tekst źródłaStreszczenie:
This chapter focuses on Kuzoku, a Japan-based independent film collective of multiple members founded by self-trained filmmakers Tomita Katsuya and Aizawa Toranosuke in 2004. This study first examines Kuzoku’s location shooting by reconceptualizing fūkeiron (theory of landscape). Importantly, I turn to how Kuzoku’s fictional works Saudade (2011) and Bangkok Nites (2016), in tandem with other media projects by the film collective, reconfigure the mode of appearance in making visible previously marginalized subjectivities and locales, and connect with disparate temporalities and modes of affect as a gesture of resistance against the ‘endless everyday’ as well as the powerful globalization. Kuzoku’s filmmaking contributes to rethinking the transnational potentialities of Japanese cinema as well as Asian independent cinema.
7
Wilson, Dean. "Ho Chi Minh in France: An Early Independence Newsreel". W The Colonial Documentary Film in South and South-East Asia. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474407205.003.0010.
Pełny tekst źródłaStreszczenie:
Dean Wilson continues the investigation of colonial Vietnam by focusing on the film Ho Chi Minh in France (dir. Mai Thu, Tan Viet, 1946). This documentary was produced by two Vietnamese émigrés living in France and combined three short newsreels about nationalist political leader Ho Chi Minh’s visit to France on the eve of the First Indochina War, a war which eventually led to the withdrawal of French colonisers from Vietnam in 1954. By presenting the social and film historical context in which the film was produced, Wilson demonstrates how this first indigenous attempt in documentary film-making created a strong visual and ideological connection between political leader Ho and the Vietnamese, projected the possibility of an independent Vietnam to the Vietnamese audience, and thus served the project of decolonisation and independence.
8
Turner, Peter. "The Making of The Blair Witch Project". W The Blair Witch Project, 15–32. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733841.003.0002.
Pełny tekst źródłaStreszczenie:
This chapter details the making of The Blair Witch Project (1999). The stories that surround the production of The Blair Witch Project are as fascinating as the final product. The circumstances of the film's low-budget production are legendary with stories of the cast being filled with real fear by the ‘method’ directing techniques of the two directors. From developing the script and financing the film to the extensive post-production period and taking the finished product to the Sundance Film Festival, the entire process is an inspiring example of inventive independent filmmaking. Ultimately, The Blair Witch Project is a film that could not have been made without advancements in camera technology beyond the early days of cinema.
9
Ma, Ran. "Introduction". W Independent Filmmaking across Borders in Contemporary Asia. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789462986640_intro.
Pełny tekst źródłaStreszczenie:
Departing from the omnibus film project ‘Homeland and Diaspora’ (Yuanxiang yu lisan), this introduction outlines important questions to be explored throughout the book regarding what I have proposed as ‘independent border-crossing filmmaking’. I focus on a specific strand of auteurist independent cinema (and of image-making) emerging mainly since the late 1990s and early 2000s that project and articulate the experience of being mobile and displaced, being minority and diasporic, and/or journeying within and across various Southeast Asian and East Asian places. Detailed chapter summaries are also proffered.
10
Nanney, Lisa. "Film Writing". W John Dos Passos and Cinema, 101–26. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781942954873.003.0007.
Pełny tekst źródłaStreszczenie:
In 1936, his politics still leftist but increasingly apprehensive about Communism, Dos Passos used his exposure to the Hollywood film industry to create his only independent film treatment, “Dreamfactory.” This manuscript, though never produced as a film, is the only film project he undertook consisting entirely of his own concepts and his own writing. “Dreamfactory” imagines visually what The Big Money communicates by adapting montage to the page: the complicit relationship between film and the creation of material desire that fuels capitalism. Using the techniques of montage Dos Passos had absorbed from early U.S. and Soviet film, the treatment employs the tools of its own making to critique itself as a product. This innovative work presaged the political and professional crisis that would emerge from Dos Passos’s next film project, the documentary The Spanish Earth (1937): though Dos Passos wrote the “Dreamfactory” treatment, its ideological direction was the subject of correspondence between him and the Dutch Communist filmmaker, Joris Ivens, who would direct the Spanish film. Ivens’ conception of his art as a vehicle to be shaped by the ideological demands of the Party would conflict with Dos Passos’s belief that art should evoke creative engagement and individual choice.
Streszczenia konferencji na temat "Independent film-making"
1
El-Shafei, A., i R. V. Eranki. "Dynamic Analysis of Squeeze Film Damper Supported Rotors Using Equivalent Linearization". W ASME 1993 International Gas Turbine and Aeroengine Congress and Exposition. American Society of Mechanical Engineers, 1993. http://dx.doi.org/10.1115/93-gt-030.
Pełny tekst źródłaStreszczenie:
The technique of equivalent linearization is presented in this paper as a powerful technique to perform nonlinear dynamic analysis of squeeze film damper (SFD) supported rotors using linear rotordynamic methods. Historically, it is customary to design squeeze film dampers (SFDs) for rotordynamic analysis by assuming circular centered orbits, which is convenient in making the nonlinear damper coefficients time independent and thus can be used in an iterative approach to determine the rotor dynamic characteristics. However, the general synchronous orbit is elliptic in nature due to possible asymmetry in the rotor support. This renders the nonlinear damper coefficients time dependent which would require extensive numerical computation using numerical integration to determine the rotor dynamic characteristics. Alternatively, it is shown that the equivalent linearization, which is based on a least square squares approach, can be used to obtain time independent damper coefficients for SFDs executing eccentric elliptic orbits which are nonlinear in the orbit parameters. The resulting equivalent linear forces are then used in an iterative procedure to obtain the unbalance response of a rigid rotor-SFD system. Huge savings over numerical integration are reported for this simple rotor. The technique can be extended to be used in conjunction with currently available linear rotordynamic programs to determine the rotor dynamic characteristics through iteration. It is expected that for multi-rotor multi-bearing systems this technique will result in even more economical computation.
2
Savrda, Steve, Marc D. Himel, Karl H. Guenther i Frank K. Urban. "Practical approach to determining n, k, and d of a growing film with an in situ ellipsometer". W OSA Annual Meeting. Washington, D.C.: Optica Publishing Group, 1990. http://dx.doi.org/10.1364/oam.1990.thcc2.
Pełny tekst źródłaStreszczenie:
Ellipsometry measurements, when limited to a single angle and wavelength, yield only two parameters, V and A. This leaves us with an underspecified condition because we have three unknowns, n, k, and d. In the determination of the properties of a growing thin film, certain cases allow us to assume that one of the unknowns is either constant or is known from independent measurements. However, making measurements at multiple angles of incidence or wavelengthsis a choice we do not have when we use a single-wavelength Rudolph Research ellipsometer installed onto a Balzers coating chamber. For in situ investigations of the optical properties of low-voltage reactive ion-plated films, we cannot assume that n and k are known and constant, which makes data processing difficult and time consuming. For realistic modeling of thin-film growth from in situ ellipsometer measurements, we have included an interface layer between the substrate and the growing film. The computer algorithm that we use to determine the optical properties of this system relies on measurements taken at different film thicknesses. The accuracy of this method is determined by computer simulation of film growth in terms of the resulting ψ and Δ values.
3
Natsui, G., P. L. Johnson, M. C. Torrance, M. A. Ricklick i J. S. Kapat. "The Effect of Transpiration on Discrete Injection for Film Cooling". W ASME 2011 Turbo Expo: Turbine Technical Conference and Exposition. ASMEDC, 2011. http://dx.doi.org/10.1115/gt2011-46138.
Pełny tekst źródłaStreszczenie:
A segment of permeable wall is installed near a row of cylindrical film holes, parallel to the flow and inclined at 35 degrees. Coolant is forced through both the permeable wall and the film holes resulting in a downstream film composed of both transpired and discretely injected coolant. The permeable wall extends 1.5 cylindrical hole diameters in the flow direction. The effects on the aerodynamic performance and cooling downstream of the row of cylindrical holes in the presence of transpiration is studied numerically with a procedure validated by hot-wire anemometer and temperature sensitive paint measurements. The hydrodynamic boundary layer in the presence of film and adiabatic film cooling effectiveness downstream of single and coupled film sources are compared with numerical predictions. The performance of the coolant film is predicted in order to understand the sensitivity of cooling and aerodynamic losses on the relative positioning of the two sources at each blowing ratio. The results indicate that a coupling of the two sources allows a more efficient use of coolant by generating a more uniform initial film. With careful optimization the discrete holes can be placed farther apart laterally and operate at a lower blowing ratio with a transpiration segment making the large deficits in cooling effectiveness mid-pitch less severe, overall minimizing coolant usage. Comparisons of linear superposition predictions of the two independent sources with the corresponding coupled scenario indicate the two films positively influence one another and surpass additive predictions of cooling. All relative placements have an overall beneficial effect on the cooling seen by the protected wall. Some cases show an increase in area-averaged film cooling effectiveness of 300% along with a 50% increase in aerodynamic loss coefficient by injecting an additional 10% coolant. In this study the downstream transpiration placement is found to perform best of the three geometries tested while considering cooling, aerodynamic losses, local uniformity and manufacturing feasibility. With further study and optimization this technique can potentially provide more effective thermal protection at a lower cost of aerodynamic losses and spent coolant.
4
Peck, James, Jason Liu, Kenneth M. Bryden i Tom I.-P. Shih. "Methods for Measuring and Computing the Adiabatic-Wall Temperature". W ASME Turbo Expo 2020: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/gt2020-14169.
Pełny tekst źródłaStreszczenie:
Abstract For convective heat transfer involving multiple sources of different temperatures in the flow field such as in film cooling, the adiabatic-wall temperature, Tad, is used as the reference temperature to define the heat-transfer coefficient (HTC). Studies based on computational Fluid Dynamics (CFD) have always obtained Tad by requiring the cooled or heated surface to be adiabatic. Similarly, most experimental studies that measured Tad have sought to mimic adiabatic wall by using solids with very low thermal conductivity. Other experimental studies have obtained Tad by making two assumptions: (1) Tad at any given point on the cooled or heated surface is independent of the surface temperature, Ts, and the surface heat flux, qs″, at that point and (2) the HTC, had, which equals qs″/(Ts – Tad), depends only on the ratio of qs″ to Ts – Tad. With these two assumptions, measuring qs″ at two different Ts or vice versa at a point yields Tad and had at that point. In this study, CFD simulations, based on steady RANS, were performed to assess the assumptions invoked by CFD and experimental studies that seek to obtain Tad and had. The assessment was made by studying film cooling of a flat plate with an adiabatic wall and with isothermal walls, where the temperature of the isothermal wall, Ts, ranged from the lowest to the highest temperatures in the flow. Results from this study show Tad obtained by enforcing an adiabatic wall does not satisfy the requirement: where and when Ts – Tad = 0, qs″ = 0. Therefore, had approaches infinity where Ts – Tad is either zero or nearly zero, but qs″ ≠ 0. Also, obtaining Tad and had by measuring two sets of (Ts, qs″) was found to yield non-unique values that depended strongly upon the pair of (Ts, qs″) chosen. To overcome the shortcomings of existing methods, a new method was developed in this study to obtain Tad that does satisfy the requirement: Ts – Tad = 0 where and when qs″ = 0. Also, the method developed yields an had that is continuous across Ts – Tad = 0. By using the new method developed, errors in Tad and had obtained by existing methods were assessed.
5
Ma, Yiwen, Haiwang Li, Meisong Yang, Min Wu i Huimin Zhou. "Numerical Study on Influencing Factors of Film Cooling on Turbine Blade Leading Edge Under Rotating State". W ASME 2018 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/imece2018-87258.
Pełny tekst źródłaStreszczenie:
Engine turbine blades operate at a high speed of rotation and are subjected to high temperature and pressure prevailing gas from the combustion chamber, making the working condition very harsh. In particular, the leading edge of the blade, which is directly subjected to high-temperature gas impacts, is the hottest part of the turbine. Therefore, it is of great importance to improve the protection of the blade leading edge and enhance the understanding of this part of the flow field and temperature field. This paper will focus on the phenomenon of wake deflection and study the film cooling characteristics of the turbine blade under rotating condition. The characteristics of pressure surface and suction surface of the blade are verified by numerical simulation. The contents cover the influence of the film hole diameter, pitch, blowing ratio, rotation number and the development process, the film cooling efficiency on the outflow of coolant film. The result shows that Coriolis force, centrifugal force and secondary flow induced by rotation will change the mainstream flow along the blade, which will lead to changes of pattern concerning the development of the film on the blade surface. In the process of wake development, deflection occurs in different directions at different positions, and the greater the rotation number is, the more obvious the degree of deflection will be. Studying the model with film holes on the leading edge of the blade, these phenomena can be observed along the downstream on the pressure and suction surfaces. Also, models with film holes independently set on the pressure and suction surfaces can be used as proof of these features. At the same time, this paper studies the flow and heat transfer characteristics of the leading-edge gas film under rotating condition and focuses on the influence of rotation on the outflow and the development processes of the wake. The gas film cooling models in rotating state of different film hole diameters and film hole radial spacing will also be compared to further understand the flow and heat transfer characteristics of film cooling on the leading edge of the blade.
6
Picchi, A., A. Andreini, R. Becchi i B. Facchini. "A New Test Facility for Investigating Thermal Behaviour of Effusion Cooling Test Plates for RQL Combustors". W ASME Turbo Expo 2020: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/gt2020-16151.
Pełny tekst źródłaStreszczenie:
Abstract In aero engines the combustors are subjected to critical thermal conditions in terms of high temperatures and corrosive environment, which could affect the service life of the entire system. As well known, Thermal Barrier Coatings (TBC) and above all cooling systems represents the state-of-the-art in the nowadays protecting methods: the maximization of this beneficial effect is achieved by defining an optimal cooling arrangement and developing suitable manufacturing technologies for these systems. In modern aero-engine combustors, one of the most effective cooling scheme for liners is composed by an effusion perforation coupled with a slot system to start the film cooling. The cooling performances are deeply influenced by the mutual interactions between swirling and cooling flows. In addition, for typical Rich-Quench-Lean (RQL) combustor architectures, the injection of air provided to promoting the local break-down of the flame mixture fraction, deeply interacts with the swirled flow, generating recirculating structures capable of affecting the development of film cooling and making the design of cooling systems very challenging. A new test facility for testing effusion test plates for RQL combustors applications has been developed with the final aim of comparing different cooling strategies and at the same time to collect data for numerical model validation. The experimental set-up consists of a non-reactive planar sector rigs with 5 engine-scale swirlers fed with air up to 250 °C and 3 bar. The rig was equipped with outer/inner dilution ports, and a simple inner liner cooling scheme composed of effusion and a slot system: all these features, fed with air at ambient temperature, can be independently controlled in terms of mass flow. Using dedicated optical accesses, InfraRed (IR) camera tests were performed to retrieve overall effectiveness data imposing a temperature difference between swirling and cooling flows. To better understand those results, Pressure Sensitive Paint (PSP) technique was used to obtain reliable film effectiveness data decoupling the contribution of slot and effusion flows. The thermal characterization was supported by Particle Image Velocimetry (PIV) investigations on the median plane. Tests were performed at different pressure drops across swirler and varying the mass flows of slot and inner/outer liners. The analysis of the data highlighted the influences of the swirling flow on the overall thermal performance and the behaviour of the film cooling system.
7
Paster, Eli, Bryan P. Ruddy, Priam V. Pillai i Ian W. Hunter. "Conducting Polymer-Based Multifunctional Materials". W ASME 2010 Conference on Smart Materials, Adaptive Structures and Intelligent Systems. ASMEDC, 2010. http://dx.doi.org/10.1115/smasis2010-3761.
Pełny tekst źródłaStreszczenie:
Conducting polymers are employable as low-voltage actuators, sensors, energy storage and delivery components, structural elements, computational circuitry, memory, and electronic components, making them a versatile choice for creating integrated, multifunctional materials and devices. Here we show one such conducting polymer-based, multifunctional system, derived from the versatility of the conducting polymer polypyrrole. Three functions of polypyrrole (actuation, length sensation, and energy storage) have been individually evaluated and cooperatively combined in the synthesis of a multifunctional, polymeric system that actuates, senses strain deformation, and stores energy. The system operates whereby the strain of a polypyrrole actuator is measured by a polypyrrole length sensor, whilst being powered by an array of polypyrrole supercapacitors. Independently, polypyrrole actuators were evaluated at 250 discrete frequencies ranging from 0.01 to 10 Hz using fixed, ±1 V sinusoidal excitation. Polypyrrole length sensors were evaluated using a thin-film dynamic mechanical analyzer for the same range of frequencies with a 2% sinusoidal input strain. Polypyrrole supercapacitors were evaluated using cyclic voltammetry (−1.0 V to +1.0 V; 12.5 to 100 mV/sec) and galvanostatic charge-discharge cycling (0.5 to 2 mA/mg). As an actuator, polypyrrole samples showed measureable actuation strain between 0.001% and 1.6% for the frequency range tested, with amplitude versus frequency decay behavior similar to a first-order low-pass filter. As a length sensor, polypyrrole samples showed linearelastic behavior up to 3% strain and gauge factors near 4. As a symmetric supercapacitor, polypyrrole had capacitance values higher than 20 kF/kg, energy densities near 20 kJ/kg, and power densities near 2 kW/kg. The evaluation of each component, independently, justified creating a cooperative system composed of these three components operating simultaneously. Polypyrrole supercapacitors provided ample power to excite polypyrrole actuators. Polypyrrole length sensors attached in series to polypyrrole actuators were capable of measuring strain from coupled polypyrrole actuators. Performance metrics and future possibilities regarding conducting polymer-based multifunctional materials are discussed.
8
Sarkar, Kamal. "Modeling of Spin Coating Process to Control Submicron Film Thickness of Permeation Layer". W ASME 2010 First Global Congress on NanoEngineering for Medicine and Biology. ASMEDC, 2010. http://dx.doi.org/10.1115/nemb2010-13083.
Pełny tekst źródłaStreszczenie:
Nanochips® cartridges (Fig 1) are disposable panels with 400 micro arrays (Fig 2) that can be independently used as test sites for various assays like genetic marker. Each site (Fig 3) is a permeation layer coated electrode with 80 μ diameter and 120 μ pitch. Permeation or “perm” layer is a thin film of a proprietary hydrogel material over the proprietary chip design. Perm layers were deposited on the electrodes using spin coating process with a proprietary solution. Performance of the cartridge depended on the quality and thickness of the permeation layer over these 400 electrodes. In this process one millimeter deep tear shaped well was constructed from the ceramic base to which 20×20 array of silicon chip were attached. These wells filled with 180 μl proprietary solution and spun at fixed 1200 RPM for 20 seconds. Process was repeated three times at room temperature in a clean room. Post process treatment included 30 minutes in dry incubator, wash in Milli Q water, and finally, dry at room temperature. Quality of the 1,500 nm thick permeation layer was so demanding that more than half of the cartridges were rejected due to poor quality of the perm layer. Major causes of rejection were bubbles, high SD (Standard Deviation), and thickness (too thick or too thin) of the layer. To understand the problem focus was given to both solution making and spin coating process. Basic hypothesis was that the film thickness was based on viscosity of solution and subsequent evaporation process. Figs 4–6 showed the details of spin coating process for developing a heuristic model. Since viscosity depended strongly on the temperature and time during a chemical reaction, a viscosity profile was developed for the solution during the reaction. From the viscosity curve (Fig. 7) it was established that 75 minute at 50° C was not enough to complete the reaction as was initially thought. The time-Viscosity curve reached the plateau after 150 minutes! So, it was necessary to continue the reaction for 75 more minutes to complete the reaction. This explained a major reason (bubble forming) in the present process. Viscosity of the solution depended on a number of other factors like dispensed volume, temperature of the spinneret, time to dispense and/or in the spinneret, etc. A systematic study on these variables led to an empirical equation of the following form: Hf=Hf0+A*(τe/Vd)*ηf*(Tc−T0)n Where Hf = Predicted Average Thickness in nm. Hf0 is minimum average thickness in nm. T, V, and τ are various temperature, dispensed volume, and time parameters. A and n are curve fitting constants for experimental set-ups. The best of part of this modeling was its ability not only to predict the thickness of the film, rather its ability to control the thickness of the film in real time for a given solution. Above equation allowed appropriate dispensing volume and time to be kept in the well of the chip before spinning for a given solution with a specific viscosity. A tabular form was given to the operator who matched the information to get a specific film thickness. This model helped dropped the rejection rate to less than 10% from more than 50%. Operators were able to control the thickness of the film within 1500 nm +/− 300 nm, as demanded by the Spec. The model further allowed to target, rather control, the film thickness. We were also able to make films as thin as 800 nm or as thick as 1,500 nm with +/− 200 nm variation from the Table developed from the empirical equation. Using the assumption that viscosity plays the most important role in our spin coating process and constructing a corresponding evaporative model, we were able to identify a major shortcoming of an existing process to develop submicron thick permeation layer. Existing process was resulting in more than 50% rejection of an expensive critical component. An empirical model of spin coating process was developed to predict the film thickness within hundreds of nanometers. This dramatically improved the yield to more than 90% from less than 50%. The model allowed to correct the process in real time and allowed targeting the film thickness anywhere around one micron with few hundred nanometer accuracy.