Artykuły w czasopismach na temat „Independent film-making”
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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.
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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.
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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.
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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.
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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.
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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.
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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’.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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).
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Saeadmin i RR. Ella Evrita Hestiandari, S.E, M.M. "Peranan Finance & Marketing Dalam Sebuah Distribusi Produk Film". Profilm : Jurnal Ilmiah Ilmu Perfilman dan Pertelevisian 1, nr 1 (10.01.2022): 1–18. http://dx.doi.org/10.56849/sae.v1i1.33.
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Financing of film projects often requires an elaborate patchwork of investors, banks, soft money tax credits and in-kind services, and some companies specialize in financing specific stages of production. One of the overall themes of the industry that can at times make obtaining financing hard is the risks involved in making films, many of which may have very little tangible value at the end of the process. How an independent filmmaker chooses to make a movie is often dictated by access to money more than any aesthetic sensibilities. Without the proper funding, a feature film never gets made or made the way the filmmaker wants to. Which strategy the filmmaker uses to access funding will depend on the type of film, the story or subject matter, the budget, genre, the filmmaker’s reputation, the talent attached and the amount of creative control the filmmaker wants over the production.
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Lane, Christina. "The Politics of Feminism, Race, Community, and Place in the Florida Film Once Upon a Time (1922)". Feminist Media Histories 3, nr 4 (2017): 69–101. http://dx.doi.org/10.1525/fmh.2017.3.4.69.
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This essay examines the making of the independent (and no longer extant) film Once Upon a Time (1922), which was produced, directed, and written by Coconut Grove, Florida, resident Ruth Bryan Owen. As a historical and cultural prism, the film grants us a unique view of Owen as an independent filmmaker and someone who, in the late 1920s, would become the first woman elected to the US Congress from the Southern states. It also offers insights into Coconut Grove and Miami as a dynamically charged field of gender, race, and class relations during the early 1920s. For Owen, these years were filled with personal transformation as well as turmoil. South Florida was witnessing exciting changes as well as rising political tensions and strife. Proposed as a one-of-a-kind “community motion picture,” the Arabian Nights tale signaled the dawning of an active Southern Women's Club movement. In this essay, the film serves as a lens—a historical opportunity—to examine a set of social relations and the women's efforts to better their political conditions (and curb local white patriarchal corporate interests) in association with the activities and struggles of the racially segregated neighborhoods the women purported to represent.
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Karlsen, Joakim. "Aligning Participation with Authorship". Non-fiction Transmedia 5, nr 10 (31.12.2016): 40. http://dx.doi.org/10.18146/2213-0969.2016.jethc111.
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The main contribution of this article is to describe how the concept of non-fiction transmedia has challenged the independent documentary film community in Norway. How the new possibilities afforded by web- and mobile media, with the potential of reconfiguring the current relation between author and audience, has been perceived and performed. Based on an extensive interview study and reflections on contributing to a non-fiction transmedia project, I argue that the emerging practice of making non-fiction transmedia face many of the same challenges as the participative documentary practice of the 70s, mainly that facilitation of real audience participation, requires a break from the broadcasting logic of the mainstream documentary film practice.
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Manja, Cek Dara, i Haresh Vasudeva Remesh Kumar. "Electrolysis method to determine the amount of silver in occlusal and periapical films". International Journal of Dentistry Research 6, nr 1 (15.05.2021): 7–8. http://dx.doi.org/10.31254/dentistry.2021.6103.
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Introduction: In diagnosing a disease in certain cases, the dentist also requires additional examinations such as radiographic examination. Many types of radiographs can help dentists in making diagnoses according to their indications, both intra-oral and extra-oral. The conventional X-ray photo technique requires a fixer solution as one of the stages in performing a process that serves to dissolve and inhibit the development of silver halide crystals in the emulsion process. Fixer solutions contain four components dissolved in water, namely the clearing agent, acidifier, preservative and hardener. The aim of the study was to determine the amount of silver contained in the fixer solution after fixing the occlusal film and periapical film using the electrolysis method. Method: was a laboratory experimental study, with a post-test study design. Results: showed that the occlusal film dissolved 6.0 grams while the periapical film dissolved 0.6 grams of silver in the fixer solution. Based on the results of the independent t test, p = 0,000 <0,05 was obtained. Conclusion: of the study was that there was a significant difference in the amount of silver from the fixer after fixing the occlusal film and periapical film using the electrolysis method.
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O'Grady, Pat. "Making mirrors, making albums and making documentaries: the music of Gotye and negotiating Bourdieu's field of cultural production". Popular Music 39, nr 3-4 (grudzień 2020): 669–84. http://dx.doi.org/10.1017/s026114302000046x.
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AbstractRecent popular music and film studies have revealed the political functions of documentaries about musicians. These studies suggest that such documentaries make powerful interventions into the field of music production as they construct the value of their subjects and their work. Owing to the expense and complexity of broadcast equipment, production companies have tended to favour documentaries about artists and work considered to be popular and historically significant. Over the past 15 years, however, new technologies have allowed musicians to make documentaries themselves, which they can release at the same time as their song or album. Using the example of Gotye and his album Making Mirrors, this article argues that these developments have led to powerful and distinct interventions into debates and themes within home music production for independent musicians. It also argues that the use of this technology on social media platforms challenges the relationships between text and process.
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Platte, Nathan. "Dream Analysis: Korngold, Mendelssohn, and Musical Adaptations in Warner Bros.' A Midsummer Night's Dream (1935)". 19th-Century Music 34, nr 3 (2011): 211–36. http://dx.doi.org/10.1525/ncm.2011.34.3.211.
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Abstract In his first film score, Erich Wolfgang Korngold adapted the works of Felix Mendelssohn so that the music seemed to interact and respond with the visual editing of the film, A Midsummer Night's Dream (Warner Bros., 1935). By detailing the facets of this unusual production, which range from Korngold's presence on the set to the publicity department's efforts to spotlight Mendelssohn's music and Korngold's arrangements, I argue that the score for Dream played an important role in elevating film music and film composers within the hierarchy of Hollywood production and publicity. Not only was the Mendelssohn-Korngold score given greater consideration during the film's making, but also audiences were reminded to listen to the film's music, a facet rarely acknowledged in other contemporaneous publicity drives. Importantly, these changes were effected and rationalized through the self-conscious foregrounding of the music, principles, and rhetoric of nineteenth-century Romanticism. Documents at the Warner Bros. Archive reveal how the confluence of these factors not only established the unusual tenor of Korngold's career within the Hollywood studio system but also helped construct the film composer's public image as an incongruously independent artist working within an otherwise collaborative medium.
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Kerr, Paul. "Making Film Programmes for the BBC and Channel 4: The Shift From In-House ‘Producer Unit’ to Independent ‘Package-Unit’ Production". Historical Journal of Film, Radio and Television 33, nr 3 (wrzesień 2013): 434–53. http://dx.doi.org/10.1080/01439685.2013.823028.
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Riding, James, i Jack Wake-Walker. "Towards a cultural geopolitics: on the making of a documentary-poetry film about a post-conflict place". Fennia - International Journal of Geography 195, nr 1 (15.06.2017): 61. http://dx.doi.org/10.11143/fennia.60213.
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Made in collaboration with an independent filmmaker and two poets, the documentary-poetry film Bridges <Bosnia 20> presents life in post-conflict Bosnia-Herzegovina, and delivers a clear message: the war in Bosnia is not yet firmly located in the past. Shot through a computer screen, Bridges <Bosnia 20> forces the viewer to witness the war in Bosnia and its aftermath via-the-gaze of an unknown spectator, sitting on an Apple Mac laptop. Through this modern technological distancing, we re-present here images of war in a digital age, question how war is usually packaged and represented on television, and in turn interrogate, through poetry, how war is traditionally remembered and memorialised. In so doing, Bridges <Bosnia 20> leads us to a conclusion, in Srebrenica, in 2015: in order to invest in the possibility of a just future after conflict, it is necessary to acknowledge the unthinkable realities to which traumatic experience bears witness.
Watch the film Bridges <Bosnia 20> here and visit the Bridges <Bosnia 20> website for more information
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Mikhailov, Igor I., Denis I. Galkin, Alexey V. Geit i Andrey V. Vremenko. "Applying ROC analysis in defining requirements for digital radiography parameters". SCIENCE & TECHNOLOGIES OIL AND OIL PRODUCTS PIPELINE TRANSPORTATION 10, nr 1 (29.02.2020): 32–41. http://dx.doi.org/10.28999/2541-9595-2020-10-1-32-41.
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The replacement of film technology with digital in radiographic monitoring during the construction and repair of pipelines is a pressing issue. The new technology is based on the use of phosphorous plates (computed radiography) and digital array detectors (digital radiography). However, there is the problem of defining requirements for digital radiograms. Selection of image quality class in digital radiographic testing is carried out in coordination with the customer, even though the requirements for the quality of film-based images are set out in regulations. The authors have carried out a study and provided a method making it possible to minimize the influence of the human factor in assessing the descriptiveness of radiographic images and to impartially determine the requirements for a digital radiogram when the use of computed and digital radiography may be recommended as a replacement for film technology. In order to solve this problem there has been a proposal to use ROC analysis, making it possible to estimate binary classification, including decryption of radiograms based on the «defect – no defect» principle. A test sample containing areas with defects (defect simulators) and areas with no such defects, which made it possible to use a binary classification for the analysis of its radiograms, has been developed and manufactured. A minimum sample size of independent experts sufficient to exclude the influence of the human factor on decoding test sample images has been identified. A film radiogram corresponding to regulatory requirements has been made in order to compare film-based and digital technologies. Following the analysis of this image, a base ROC curve has been plotted. This formed the basis for comparing ROC curves plotted following the results of decoding digital images with different quality parameters. It made it possible to establish values for quality parameters when the descriptiveness of digital radiograms was higher than of film-based images, and to draw conclusions about the circumstances in which it is possible to replace film-based technology with digital and computed radiography.
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O’Malley, Hayley. "Another Cinema". James Baldwin Review 7, nr 1 (28.09.2021): 90–114. http://dx.doi.org/10.7227/jbr.7.6.
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James Baldwin was a vocal critic of Hollywood, but he was also a cinephile, and his critique of film was not so much of the medium itself, but of the uses to which it was put. Baldwin saw in film the chance to transform both politics and art—if only film could be transformed itself. This essay blends readings of archival materials, literature, film, and print culture to examine three distinct modes in Baldwin’s ongoing quest to revolutionize film. First, I argue, literature served as a key site to practice being a filmmaker, as Baldwin adapted cinematic grammars in his fiction and frequently penned scenes of filmgoing in which he could, in effect, direct his own movies. Secondly, I show that starting in the 1960s, Baldwin took a more direct route to making movies, as he composed screenplays, formed several production companies, and attempted to work in both Hollywood and the independent film scene in Europe. Finally, I explore how Baldwin sought to change cinema as a performer himself, in particular during his collaboration on Dick Fontaine and Pat Hartley’s documentary I Heard It Through the Grapevine (1982). This little-known film follows Baldwin as he revisits key sites from the civil rights movement and reconnects with activist friends as he endeavors to construct a revisionist history of race in America and to develop a media practice capable of honoring Black communities.
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Dambrauskas, Audrius. "NEWSREELS AND CENSORSHIP IN ANTANAS SMETONA’S LITHUANIA, 1926–1940". Culture Crossroads 10 (10.11.2022): 8–18. http://dx.doi.org/10.55877/cc.vol10.138.
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December 17, 1926 marked a change for the young independent Republic of Lithuania. On that day a military coup d’état replaced the democratically elected government with the authoritarian government led by ultra-conservative Lithua- nian Nationalist Union (Tautininkų sąjungos) party leader Antanas Smetona. The new government increased the control of various means of mass communication. In 1932 Film censorship law was passed, which created one centralised institution to censor all films shown in Lithuania (before this law, censorship was sporadic and done by different district officials). The same year Newsreels law was passed, which ordered that before any feature film screening, a Lithuanian newsreel must be shown. This law boosted the small Lithuanian film-making community. But not for long, by 1935 all rights to make Lithuanian newsreels were granted to one company run by filmmaker Jurgis Linartas, and old acquaintance of Anta- nas Smetona. From then on, only the Lithuanian newsreels produced by Jurgis Linartas could be shown in theatres. By means of censorship and control of news- reel production, Antanas Smetona’s regime tried to create an alternative reality to be shown in cinemas. But the new reality not only contrasted with real life too much, its making was too much of a task to handle by the regime. Audience reac- tion to Antanas Smetona’s period newsreels and their shortcomings, show us the construction of ideal image of Lithuania failed in interwar Lithuanian newsreels.
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Ustyugova, V. V. "A FILM CRITIC'S VIEW VERSUS A HISTORIAN'S VIEW ON SOVIET HISTORICAL MOVIES". Вестник Пермского университета. История, nr 4(55) (2021): 39–45. http://dx.doi.org/10.17072/2219-3111-2021-4-39-45.
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The article analyzes Yuri Tsivian's book “On the Approaches to Carpalistics. Movement and Gesture in Litera-ture, Art, and Film” (2010), which is a continuation of an earlier project of the famous Russian and American film scholar and a representative of the Tartu-Moscow Semiotic School and Film Studies at the University of Chicago – the study “Historical Reception of Cinema: Cinematography in Russia, 1895–1930” published in Riga in 1991. Tsivian introduces the notion of “carpalistics” into cinematography to denote one of the fundamental and formative principles of cinema – gesture. The author investigates the history of gestures in art, especially in the Russian avant-garde of the 1920s. The Soviet avant-garde cinema, in contrast to the pre-revolutionary anti-montage cinema, was dominated by montage, but it was too early to bury the gesture. The article compares, on the one hand, the approach-es of historians who analyze the ideologemes and ideological markers of historical films and identify the “second” mythological film-reality of Soviet history (a vivid example of such optics is the study “Museum of the Revolu-tion. Soviet Cinema and the Stalinist Historical Narrative” by Evgeny Dobrenko), and, on the other hand, the ap-proaches of film scholars who work with film-frames and sources of film-making (ego-documents, scripted vari-ants, montage sheets, film versions, etc.). On the example of the analysis of Sergei Eisenstein's films “October” and “Ivan the Terrible”, Tsivian shows the author's meanings, independent from the state order, in the rich system of references in films, and sees the secret writing of historical and cultural contexts inherent in them.
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Bock, Gabriele, i Siegfried Zielinski. "Britain's Channel 4: A TV Provider Caught Between Private Sector Funding and Its Cultural Mission". Journal of British Cinema and Television 11, nr 4 (październik 2014): 418–39. http://dx.doi.org/10.3366/jbctv.2014.0227.
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This article, which first appeared in Media Perspektiven 1 (1987), is published here for the first time in English. It offers an enlightening contemporary perspective, from the then German Federal Republic, on the innovation in European broadcasting which Channel 4 represented. It outlines the policy context which gave rise to the UK's fourth television channel and describes its unique, hybrid character as a commercial station funded by advertising revenue with a public service remit. It assesses the strengths and weaknesses of Channel 4's commissioning structure and identifies significant examples of its innovative programming, paying particular attention to its support for independent film. That emphasis is noteworthy since it was West German television's film-funding mechanism that provided the model on which Film on Four was based. The article recognises Channel 4's commitment to catering for minority audiences, to enabling broader access to programme-making and to commissioning work that was experimental in form and content. It is generous in suggesting that such a risk-taking cultural enterprise was only possible within the UK's mature and highly developed broadcasting ecology, but it remains cautious (perhaps presciently) of its sustainability in the expanding commercial marketplace of multi-channel television.
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Grinberg, Daniel. "Troubling histories: Re-viewing documentary production and surveillance through the Freedom of Information Act". Media, War & Conflict 12, nr 3 (11.07.2018): 331–53. http://dx.doi.org/10.1177/1750635218784966.
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This article examines the variety of risks that critical independent filmmakers have confronted to expose government abuses. It considers the threats to the documentarians and their documents, as they chronicle incidents of state surveillance while they are themselves under state surveillance. It does so by constructing an alternative production history of Laura Poitras’ (2014) documentary film Citizenfour in relation to the antecedent case of Emile de Antonio, Mary Lampson, and Haskell Wexler’s 1976 film Underground (Whitney Museum of American Art, 2016). These production histories are primarily based on the Freedom of Information Act (FOIA) files that the filmmakers extracted from the US government agencies that targeted them. The article argues that these official files provide an under-explored vantage on the logistical and affective dimensions of making a dissident film. In addition, this article re-views the films the documentarians created under precarious labour conditions to investigate how state intimidation and interference perceptibly impacted these archival records. It examines how the mechanisms of censorship and filmmakers’ counteractive security measures registered significant visible traces in the films. Consequently, it argues that the troubling histories captured in both the files and the films can also trouble the authority of official historiography.
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Drazin, Charles. "The Origin, Practice and Meaning of the Free Cinema Manifesto". Journal of British Cinema and Television 11, nr 2-3 (lipiec 2014): 294–311. http://dx.doi.org/10.3366/jbctv.2014.0217.
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In the late 1940s, the independent film quarterly Sequence, which championed a personal, committed cinema, stood for an attitude towards film-making that provided an important basis for the development of the Free Cinema movement in the following decade. It was in Sequence that the phrase ‘Free Cinema’ was coined for the first time. This article traces the early development of the Free Cinema ethos in Sequence magazine and follows the steps by which the idea was turned into reality. It singles out Lindsay Anderson as the most influential figure in both the genesis and direction of the movement. After its formal end in 1959, Free Cinema lived on most obviously in the British New Wave of the 1960s, but its characteristics defied easy analysis. Discussing the legacy of the Free Cinema, the article explores its contradictory, subjective nature and examines the dominant role that Anderson continued to play in determining how it came to be understood.
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Sexton, Max, i Dominic Lees. "Fargo: Seeing the significance of style in television poetics?" Critical Studies in Television: The International Journal of Television Studies 14, nr 3 (12.08.2019): 343–61. http://dx.doi.org/10.1177/1749602019853792.
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This article explores the adaptation of the original film to television and how a strain of art or independent cinema contributed to the development of the first series of Fargo (2014–present). By making this comparison, the transition to television of the storyworld established by the Coen brothers raises questions about who is talking in the TV drama – the Coens or makers of the series. At the same time, Fargo can be more easily explained and understood as a strategy by writers, directors and producers that further complicate ideas to do with Noah Hawley, as its showrunner and the show’s single-author status. In Fargo, fidelity to the Coen brothers as a testament to the memory of the original film is set against questions about the reliability of storytelling using complex imagery. By alternating between different levels of narration signified by its stylistic tonal qualities, Fargo succeeds in producing multiple meanings, representations and effects that call attention to textual pleasures in the complex television series.
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Fejes, Katalin. "Film, Fashion, and the Modern Woman: Western Cultural Influences in Hungary in the 1930s". Stan Rzeczy, nr 2(21) (1.11.2021): 273–96. http://dx.doi.org/10.51196/srz.21.10.
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This paper takes a novel approach to exploring the relationship between fashion salons and sound films in making the image of the modern woman in the 1930s. In this period, liberal cultural tendencies contradicted the increasingly authoritarian political trends in Central Europe. In Hungary, sound films transformed the fashion industry, and fashion salons were quick to respond by creating new clothing for the modern women. This paper investigates the figure of the modern woman as it appeared in newspapers, fashion magazines, and sound films. The type of independent, purposeful woman shown in the films, with her confidence, fashionable costumes, and romance, became an ideal for young women. As dressmakers for film actresses, fashion salons played a significant role in conveying the Western style of dress. They influenced the collective representation of a generation through the representation of film actresses. However, the popularity of the “modern woman” turned out to be temporary in society, which was increasingly subjected to authoritarian policies in the shadow of European fascism. After 1938, the film industry was transformed; film directors and actors or actresses of Jewish origin were forbidden to continue their profession. Curiously, the discriminatory legislation did not touch the fashion salons, which continued to exist and started to produce traditional clothes. This paper puts these contradicting processes in context.
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Bacon, Wendy, i Nicole Gooch. "The making of Ophir - Bougainville stories and silences: An exploration of the documentary". Pacific Journalism Review : Te Koakoa 27, nr 1and2 (30.09.2021): 150–72. http://dx.doi.org/10.24135/pjr.v27i1and2.1218.
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This article focuses on the making of the award-winning film Ophir in the context of issues relevant to journalism and documentary production. It explores how a partnership of filmmakers, scholars and Bougainvillean community leaders worked to create a documentary that goes beyond bare facts to create deeper meaning. Based on an interview with one of the filmmakers, Olivier Pollet, it discusses issues of archival research, gender, distribution and language. It raises ethical questions about how mining company Rio Tinto used an anthropologist to produce covert corporate intelligence in the 1960s. Through a discussion of the work of independent investigative journalist Antony Loewenstein, it considers how recent Australian aid policy was used to shape public debate about options for Bougainville. It highlights the importance of supporting grassroots storytelling that penetrates distorted mainstream media narratives, especially at a time of shifting geopolitical interests.
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Vitali, Valentina. "Contemporary Women Filmmakers in Myanmar: Reflections on a Visit in February 2019". BioScope: South Asian Screen Studies 11, nr 1 (czerwiec 2020): 78–91. http://dx.doi.org/10.1177/0974927620935754.
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Existing accounts of Myanmar’s film industry available to English speakers are more than twenty years out of date. Opening with a brief overview of cinema in Myanmar since 2000, this article is based on a recent visit to the Myanmar Motion Picture Development Department and the Yangon Film School, on conversations with staff, students and alumnae of these institutions and of the National University of Arts and Culture, and with local independent filmmakers. The purpose of my visit was to begin the groundwork needed to answer basic questions: Who are the women making films in Myanmar today? Where are they trained? What are the conditions in which they work? What kind of films they make? How do they fund production? How do their films circulate? And finally: Is there a women’s cinema in Myanmar? What follows thus outlines the context in which women in Myanmar make films today and introduces the work of a small number of them. I conclude with reflections on three short films: A Million Threads (2006, by Thu Thu Shein), Now I am 13 (2013, by Shin Daewe), and Seeds of Sadness (2018, by Thae Zar Chi Khaing), two of which can be found online (at http://yangonfilmschool.org/___-free-yfs-film / and https://www.youtube.com/watch?v=vX0LUZQcMCQ ).
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El-Shafei, A., i R. V. Eranki. "Dynamic Analysis of Squeeze Film Damper Supported Rotors Using Equivalent Linearization". Journal of Engineering for Gas Turbines and Power 116, nr 3 (1.07.1994): 682–91. http://dx.doi.org/10.1115/1.2906874.
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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 rotor-dynamic methods. Historically, it is customary to design SFDs for rotor-dynamic 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-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 rotor-dynamic programs to determine the rotor-dynamic characteristics through iteration. It is expected that for multirotor multibearing systems this technique will result in even more economical computation.
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O’Sullivan, Shane. "Meinhof, Shigenobu, Kennedy". VIEW Journal of European Television History and Culture 6, nr 12 (1.05.2017): 12. http://dx.doi.org/10.18146/2213-0969.2017.jethc134.
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This article reflects on audiovisual representations of the events of 1968 and its aftermath in three national contexts through two archive-driven historical documentaries I have produced exploring this period: RFK Must Die (2008) and Children of the Revolution (2010). RFK Must Die investigates the assassination of Bobby Kennedy through both witness testimony and the hours of network footage available from the crime scene. Children of the Revolution charts the audiovisual historiographies of two female revolutionaries from the 1968 student movements in Germany and Japan to become leaders of the Baader Meinhof Group and the Japanese Red Army. Both women were journalists who used film to fight a propaganda battle against state broadcasters, through collaborations with independent filmmakers or demanding screen time through the television commissioning process. By choosing to frame their stories ‘through the eyes of their daughters,’ who are also journalists, the making of the film became a struggle for editorial control with key contributors and a round of complex negotiations to secure access to archive materials on such a highly-politicized and hotly-contested subject.
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DİLEK, Muhammet. "Çin Sinemasında Bağımsız Film Üretiminin .ncüleri: Beşinci ve Altıncı Kuşak Çin Sineması Rugged Road To Making Independent Films In China:Fifth And Sixth Generation Chinese Cinema". İstanbul Aydın Üniversitesi iletişim çalışmaları dergisi 6, nr 1 (2015): 1–21. http://dx.doi.org/10.17932/iau.icd.2015.006/icd_v06i1001.
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ARTHUR, MICHAEL B., ROBERT J. DEFILLIPPI i VALERIE J. LINDSAY. "CAREERS, COMMUNITIES, AND INDUSTRY EVOLUTION: LINKS TO COMPLEXITY THEORY". International Journal of Innovation Management 05, nr 02 (czerwiec 2001): 239–55. http://dx.doi.org/10.1142/s1363919601000361.
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Traditional views of industry evolution focus on the company as their principal unit of analysis. We offer an alternative view that links between workers' careers and successive community, company and industry effects. We apply this view to evidence from independent film-making, and suggest a conception of the career, involving three "ways of knowing", to underlie these links. We next explore two more industry examples, the New Zealand boat building industry and the Linux operating system in the software industry, which provide further support for the alternative view proposed, as well as extending it to consider the influence of the World Wide Web. We see all three industry examples as illustrating a range of ideas in complexity theory. We propose that a career-centric view provides a useful basis for the further exploration and application of complexity theory to industrial life.
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Lasmana, Viola. "Love and Amateurism in Kelly Loves Tony". Film Quarterly 73, nr 3 (2020): 47–53. http://dx.doi.org/10.1525/fq.2020.73.3.47.
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This essay reflects on Spencer Nakasako's groundbreaking video work with Southeast Asian refugee youth and explores Nakasako's significant role in media histories not just in relation to Asian America, but to American media culture writ large. It pays particular attention to the role and rhetoric of the “amateur” in Nakasako's work, and the ways in which Nakasako transforms low-resolution, independent videomaking into an aesthetic as well as political force. Nakasako's “video diary” series, often called the refugee trilogy, emphasizes the significance of making film with and about community through both content and modes of production. Highlighting the ways in which gender comes into play in Nakasako's work, this essay focuses on Kelly Loves Tony (often the least discussed of the trilogy), and also includes material from recently conducted interview with Spencer Nakasako on the occasion of the 25th anniversary of his trilogy.
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Lutters, Jeroen, i Amir Avraham. "Peter Greenaway: A Demonstration of Research-Based Art With an image essay by Amir Avraham". APRIA Journal 2, nr 1 (1.10.2020): 14–24. http://dx.doi.org/10.37198/apria.02.01.a2.
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Does artistic research differ from scientific research? And if so, how? In an attempt to answer these questions, my starting position is that when it comes to artistic research, we should use 'research' to achieve a specific goal—i. e., making better art. But at the same time, when we use 'art' in 'scientific research,' the goal will always be science. By that I mean science defined as the search for truth, and art as the search for the aesthetical. I am, of course, aware that this is an extremely binary categorisation, but I do hope it gives us some didactic clues to work in the domain of art research. By introducing research-based art as a concept, I even hope to narrow the gap. In examining research-based art as a method that uses research for the purpose of making art, I use Peter Greenaway's film The Cook, The Thief, His Wife & Her Lover (1989) as a case study. Here, we see both the artist as a researcher and art research as research-based art—an artist-researcher who creates an independent artistic composition by using at his own discretion the accepted results of research.
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Pristiwanto. "Autoregressive Integrated Moving Average (Arima) Dalam Memprediksi Jumlah Penjualan Frame". Jurnal Multimedia dan Teknologi Informasi (Jatilima) 2, nr 1 (6.03.2022): 36–45. http://dx.doi.org/10.54209/jatilima.v2i1.142.
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Ektaco Sumber Foto is a company engaged in photo printing and is one of the largest photo labs in, which serves and facilitates photography needs for photographers. Ektaco Sumber Foto serves every day and facilitates the needs of photographers such as photo printing, frames, exclusive albums and press albums. The world of photographers is experiencing very rapid development from the film era to the digital era, which makes consumers changing modernize photographer prints with certain and sizes and combine them with photo frames. Forecasting is forecasting something that hasn't happened yet. This research was conducted with quantitative forecasting methods. The Box-Jenkins Periodic Series (ARIMA) method is a forecasting method that involves statistical analysis of past data. This ARIMA completely ignores the independent variables because this model uses the present values and past values of the independent variables to produce accurate short-term predictions or forecasts. Forecasting is important for every business organization and for every management decision making that is very significant. Forecasting is the basis for a company's long-term planning. The accuracy of the results of business forecasting will increase opportunities for achieving profitable investments in the company.
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Schmidt, Dennis, Alexander Zureck, Stefanie Gradetzki i Gennadij Seel. "Analyzing the Emotional Bondage of Serial Fans and Business Decisions on Series Extension in the Context of Impact on the Stock Price of the Providers". Financial Assets and Investing 10, nr 1 (1.10.2019): 25–39. http://dx.doi.org/10.5817/fai2019-1-2.
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The desire of audiences to consume content in a series format, independent of time and place has increased in recent years. Technological advancement has helped this trend progress. In this paper, series are considered as goods whose sales are linked to the degree of viewers’ attention. Thus, the good series operate on two interconnected levels, an economic and an emotional. The decision to invest in the production of another season of a series is intended to increase the number of subscriptions and the associated revenues. Capital market participants are influenced by various emotional biases when making investment decisions under uncertainty. In the context of an event study, it is examined whether announcements of season extensions have a significant influence on the share price of the respective provider. The results show that investors react with a changed investment behavior. Furthermore, findings from the film industry are transferred to series production.
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Shafani, Rana Hadi, Ria Azizah Tri Nuraini i Hadi Endrawati. "Identifikasi Dan Kepadatan Mikroplastik Di Sekitar Muara Sungai Banjir Kanal Barat Dan Banjir Kanal Timur, Kota Semarang, Jawa Tengah". Journal of Marine Research 11, nr 2 (19.04.2022): 245–54. http://dx.doi.org/10.14710/jmr.v11i2.31885.
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Mikroplastik merupakan partikel plastik berukuran mikro (<5 mm). Mikroplastik membutuhkan waktu yang lama untuk terdegradasi sehingga sulit dihilangkan di perairan.Tujuan dari penelitian ini adalah menganalisis perbandingan kepadatan dan jenis mikroplastik di perairan muara Banjir Kanal Barat dan Banjir Kanal Timur, Semarang. Pengambilan sampel air laut dilaksanakan pada bulan April dan Mei 2021 di 3 titik yang berbeda di setiap stasiun dengan menggunakan plankton net. Pengamatan mikroplastik dilakukan di Laboratorium Fakultas Perikanan dan Ilmu Kelautan, Universiats Diponegoro. Hasil penelitian menemukan bentuk mikroplastik dalam sampel air laut adalah fiber, fragment, film, dan pellets. Warna mikroplastik yang ditemukan adalah hitam, biru, merah, cokelat, kuning, tranparant, dan hijau. Hasil Uji FT-IR jenis polimer mikroplastik yang ditemukan adalah Nylon, Nitrile, PVC, PET, dan PC. Kepadatan mikroplastik paling tinggi terdapat di perairan muara Banjir Kanal Timur sebesar 179,09 Partikel/m3 dengan kepadatan total bentuk fiber (37,80 partikel/m3), bentuk fragment (34,14 Partikel/m3), bentuk film (18,29 Partikel/m3), dan bentuk pellets (85,85 Partikel/m3). Kepadatan mikroplastik di perairan muara Banjir Kanal Barat yaitu sebesar 79,51 Partikel/m3 dengan kepadatan total bentuk fiber (20,73 partikel/ m3), bentuk fragment (28,09 Partikel/m3), bentuk film (5,36 Partikel/m3), dan bentuk pellets (25,12 Partikel/m3). Hasil independent t – test menunjukkan p(0,169) > 0,05 bahwa kepadatan mikroplastik di perairan muara Banjir Kanal Barat dan Banjir Kanal Timur tidak berbeda nyataMicroplastics are micro-sized plastic particles (<5 mm). Microplastics take a long time to degrade making them difficult to remove in the water. The purpose of this study is to analyze the comparison of abundance and type of microplastics in the estuary of the Banjir Kanal Barat and Banjir Kanal Timur, Semarang. Sampling was conducted in April and May 2021 at 3 different points at each station using net plankton. Microplastic observations were conducted in the Laboratory of the Faculty of Fisheries and Marine Sciences, Universiats Diponegoro. The results found the types of microplastics in seawater samples are fiber, fragments, film, and pellets. The microplastic colors found are black, blue, red, brown, yellow, tranparant, and green. FT-IR test results of microplastic polymers found are Nylon, Nitrile, PVC, PET, and PC. The highest microplastic abundance is found in the estuary of the Banjir Kanal Timur of 179.09 Particles/m3 with a total abundance of fiber types (37.80 particles/m3), fragment types (34.14 Particles/m3), film types (18.29 Particles/m3), and pellets types (85.85 Particles/m3). The abundance of microplastics in the estuary of the Banjir Kanal Barat is 79.51 Particles /m3 with a total abundance of fiber types (20.73 particles / m3), fragment types (28.09 Particles / m3), film types (5.36 Particles / m3), and pellets types (25.12 Particles / m3). The results of independent t-test show p(0,169) > 0.05 that the abundance of microplastics in the estuary of the Banjir Kanal Barat and Banjir Kanal Timur is no different
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Langley, K., E. Q. Li i S. T. Thoroddsen. "Impact of ultra-viscous drops: air-film gliding and extreme wetting". Journal of Fluid Mechanics 813 (23.01.2017): 647–66. http://dx.doi.org/10.1017/jfm.2016.840.
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A drop impacting on a solid surface must push away the intervening gas layer before making contact. This entails a large lubricating air pressure which can deform the bottom of the drop, thus entrapping a bubble under its centre. For a millimetric water drop, the viscous-dominated flow in the thin air layer counteracts the inertia of the drop liquid. For highly viscous drops the viscous stresses within the liquid also affect the interplay between the drop and the gas. Here the drop also forms a central dimple, but its outer edge is surrounded by an extended thin air film, without contacting the solid. This is in sharp contrast with impacts of lower-viscosity drops where a kink in the drop surface forms at the edge of the central disc and makes a circular contact with the solid. Larger drop viscosities make the central air dimple thinner. The thin outer air film subsequently ruptures at numerous random locations around the periphery, when it reaches below 150 nm thickness. This thickness we measure using high-speed two-colour interferometry. The wetted circular contacts expand rapidly, at orders of magnitude larger velocities than would be predicted by a capillary–viscous balance. The spreading velocity of the wetting spots is ${\sim}0.4~\text{m}~\text{s}^{-1}$ independent of the liquid viscosity. This may suggest enhanced slip of the contact line, assisted by rarefied-gas effects, or van der Waals forces in what we call extreme wetting. Myriads of micro-bubbles are captured between the local wetting spots.
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Friedman, Edward. "Reconstructing China's National Identity: A Southern Alternative to Mao-Era Anti-Imperialist Nationalism". Journal of Asian Studies 53, nr 1 (luty 1994): 67–91. http://dx.doi.org/10.2307/2059527.
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By the 1990sit was a commonplace that Mao-era anti-imperialist nationalism in China was dead. The anti-imperialist perspective had pitted an exploitative foreign imperialism against a courageous Chinese people (Hu 1955). This nationalist understanding of Chinese history was encapsulated in the Great Leap Forward-era film on the Opium War,Lin Zexu, which drew a contrast between patriotic Sanliyuan villagers and traitorous ruling groups in the capital city. If the brave peasants would join with all patriotic Chinese and not fear to die, then, under correct leadership, the foreign capitalists who got rich in making Chinese poor by forcing opium into China would be thrown out. But ruling reactionaries, afraid of popular mobilization, preferred to sell out to the imperialists. As with patriots who had led exploited peasants throughout Chinese history, Mao's Communists would save the nation by providing the correct leadership that would mobilize patriotic Chinese, push imperialists out of China, and thus permit an independent China to prosper with dignity.
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Федорова, А., A. Fedorova, А. Быстрова i A. Bystrova. "Video Project as a Method of Teaching a Foreign Language in the Department of Linguistics". Scientific Research and Development. Socio-Humanitarian Research and Technology 8, nr 3 (24.09.2019): 68–74. http://dx.doi.org/10.12737/article_5d8880a0b9cfc6.93661851.
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The article is devoted to project-based learning as a method of forming communicative competence in a foreign language in the department of Linguistics. The pedagogical approach to the student-film making process which allows learners to elicit and develop their explanatory, pragmatic and creative potentials is analysed. This method aims at independent and mutual student research, critical evaluation of information sources and further information transfer to new contexts and ideas. The main benefits of implementing the project method in the contemporary teaching process are considered. The study focuses on the main requirements and rubric of student films. The article shows four stages of filmmaking, the role and functions of a teacher at each stage. It is concluded that during the video production process the role of a teacher is a facilitator who contributes to turning students into active, keen graduates who are able to analyse themselves. The results of a survey conducted among students on the video project are analysed.
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Barker, Thomas. "Colonial Mobility and Ambiguity: The Life of Filmmaker Hinatsu/Huyung". TRaNS: Trans -Regional and -National Studies of Southeast Asia 5, nr 2 (19.04.2017): 197–215. http://dx.doi.org/10.1017/trn.2017.3.
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AbstractColonial subjects caught up supporting colonialism have often been seen as either engaging in an encounter of ambivalence or seen as traitors in post-independence nationalist historiography. Rather than following this established binary of possible subject positions, this article considers the unique biography of a filmmaker known in Indonesia as Dr Huyung. Prior work on Dr Huyung has either considered the pre and post 1945 stages of his life in isolation thus making incomplete assessments of his life and contributions. By bringing these two periods into conversation, a complete biography enables a more complex idea of colonial subjectivity to emerge. Huyung's life provides an alternative history of colonialism and an entry point in which to interrogate the limits and opportunities available in Asia of the 1930s to 1950s.This article traces the life of Dr Huyung from his birth in Korea as Hoe Yong, his life under Japanese occupation when he became Hinatsu Eitaro and moved to Japan to study film, to Indonesia as a Japanese propaganda officer, and finally to a new identity as Dr Huyung in independent Indonesia. As a trans-national subject operating across multiple subject positions – including colonial subject, colonial agent, and supporter of independence – this article challenges how subjectivity is thought about under colonialism and the historiography of national cinema in Indonesia, and contributes to understand his role in helping define and shape arts and culture in post-colonial Indonesia.
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Gonzáles Groba, Constante. "Is It Gender or Is It Race? To Kill a Mockingbird and Its Film Adaptation". Polish Journal for American Studies, nr 16 (2022) (22.12.2022): 11–28. http://dx.doi.org/10.7311/pjas.16/2022.02.
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This article begins by exploring the national climate in which Lee’s novel appeared, at the height of the civil rights movement in the South, which had a crucial impact on its composition and reception. The major film studios were not initially interested in the novel, but independent filmmakers Alan Pakula (producer) and Robert Mulligan (director), influenced by existentialism, felt attracted to stories with strong dramatization over the spectacular. The film is famously characterized by the voice-over narration of the adult Scout, which embodies a paradoxical duality of perspective: the events are seen from the perspective of the young Scout but described in the language of a mature and articulate adult Scout. In the novel, the destabilization of gender norms is the central theme, and the protagonist is clearly Scout going through the pains of growing up female in a South with very strict definitions of gender roles. This dimension is not prominent in the film version, which gave in to the demands of the Hollywood star system and made the girl’s father, played by Gregory Peck, the main character, and made racism the main issue. The article concludes with a necessary reconsideration of Atticus Finch, subjected in recent years to the complaint that both the novel and the film convey the historically inaccurate message that heroic whites, instead of blacks, were the leaders of the anti-racist movements of the twentieth century. Atticus Finch no doubt remains tied to the accommodating values of his class and he never openly questions the structural racism of which he himself is part, but moral horizons of previous eras are often narrow in comparison with our own, and we should avoid the excesses of presentism and maintain the historical perspective that allows us to celebrate the courage and success of fictional white liberals like Atticus and real ones like Harper Lee herself, who could only speak as whites, not as black victims. Despite all its limitations, Mockingbird did contribute to making hearts and minds reconsider race in America, and it remains a socially and historically important film. Thus, we should at least acknowledge its merit in taking a stand during a period when many films avoided controversial racial matters.
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Mason, Daniel R., i Adrian P. Sutton. "Computational steering in Monte Carlo simulations of thin film polystyrene". Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 363, nr 1833 (5.08.2005): 1961–74. http://dx.doi.org/10.1098/rsta.2005.1622.
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High molecular weight polymer systems show very long relaxation times, of the order of milliseconds or more. This time-scale proves practically inaccessible for atomic-scale dynamical simulation such as molecular dynamics. Even with a Monte Carlo (MC) simulation, the generation of statistically independent configurations is non-trivial. Many moves have been proposed to enhance the efficiency of MC simulation of polymers. Each is described by a proposal density ( x ′; x ): the probability of selecting the trial state x ′ given that the system is in the current state x . This proposal density must be parametrized for a particular chain length, chemistry and temperature. Choosing the correct set of parameters can greatly increase the rate at which the system explores its configuration space. Computational steering (CS) provides a new methodology for a systematic search to optimize the proposal densities for individual moves, and to combine groups of moves to greatly improve the equilibration of a model polymer system. We show that monitoring the correlation time of the system is an ideal single parameter for characterizing the efficiency of a proposal density function, and that this is best evaluated by a distributed network of replicas of the system, with the operator making decisions based on the averages generated over these replicas. We have developed an MC code for simulating an anisotropic atomistic bead model which implements the CS paradigm. We report simulations of thin film polystyrene.
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Ryan, Mary P., Michael F. Toney, Alison J. Davenport i Lucy J. Oblonsky. "In Situ X-Ray-Diffraction Studies of Passive Oxide Films". MRS Bulletin 24, nr 7 (lipiec 1999): 29–35. http://dx.doi.org/10.1557/s0883769400052672.
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Most metals are thermodynamically unstable in aqueous environments. They are kinetically stabilized by the formation of very thin “passive” oxide films that provide protection from corrosion. The technological importance of passive films has led to widespread investigation of their structure and chemistry. However, despite decades of work since Michael Faraday first described the existence of the passive film on iron, the atomic structure of these films is still poorly understood. This is because the films are so thin (typically only a few nanometers thick), making measurements difficult, and because the structure can only be investigated in the (wet) electrochemical environment in which these films form.The electrochemical nature of the formation of these oxide films is shown in Figure 1, which presents the current response of an iron electrode in an aqueous solution to an applied voltage (potential). As the potential is slowly increased from negative (cathodic) to positive (anodic), the iron first begins to dissolve. This area of dissolution is known as the active region, indicating that the iron is corroding freely as ferrous ions (Fe2+). Then, at a sufficiently anodic (oxidizing) voltage, a thin (30 Å) oxide film forms at the iron surface, preventing further dissolution. This results in a marked decrease in the measured current, a phenomenon known as passivity. Over the passive region, the current is virtually independent of applied voltage and remains extremely low, indicating that the iron is protected from additional oxidation or corrosion.
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Andrews, Hannah. "‘This is FilmFour – Not Some Cheesy Pseudo-Hollywood Thing!’: The Opening Night Simulcast of FilmFour on Channel 4". Journal of British Cinema and Television 9, nr 4 (październik 2012): 569–87. http://dx.doi.org/10.3366/jbctv.2012.0106.
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Channel 4's tradition of supporting, promoting and contributing to British cinema culture entered a new phase in 1998. Its film-making operations were consolidated into a single, semi-vertically integrated studio called FilmFour. On 1 November it launched a brand-new pay-TV channel of the same name. This channel programmed a variety of cinema, premiering world cinema films, FilmFour's own productions and independent films. It was the first digital channel in Britain affiliated to a public service broadcaster. The new channel was introduced on its opening night with a simultaneous broadcast with terrestrial Channel 4. Scheduled on this evening was a representative selection of films and programmes to entice viewers to take up the new channel, including the UK television premiere of The Usual Suspects (1995). This article presents a detailed textual analysis of this opening night simulcast. It examines how the new channel was presented to the audience, focusing particularly on interstitial material: the introductory programme, interviews with well-known faces from the British film industry, and additional material broadcast between the films. Evaluating the evening's output, the paper argues that the opening night simulcast represented both a marketing tool for the new channel and a means of extending the Channel 4 corporation's brand. This article offers a case study in how a public service broadcaster began to negotiate for itself a space in the new digital broadcasting environment by targeting a specific, discriminating audience.
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Stezhko, Natalia G. "VR technologies in docudrama". Journal of Flm Arts and Film Studies 11, nr 1 (15.03.2019): 73–80. http://dx.doi.org/10.17816/vgik11173-80.
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The essay explores the implementation of VR technologies in film production, a development due to which audio-visual content, which is in high demand both in television and on the Internet, has taken a new direction, and which is a topical issue in contemporary film studies. VR technologies allow the viewer who sits on a swivel chair and wears a VR-helmet incorporating 360-degree rotating LCD monitors to watch different areas of action.
A characteristic feature of VR content is a multi-sensory experience including sight, hearing, smell and touch. VR creates a digital reality with maximum sensory immersion. VR is different from cinema, theatre and 3D technologies: here the deception takes place not only at eye level but also at cerebral level.
The essay argues that the use of VR technology is particularly successful in the genre of docudrama. A vivid confirmation of this argument is The Hermitage VR. An Immersion Into History (Russia,18 minutes). In this film, the dual nature of docudrama, which combines various elements of documentary and fiction cinema, allows to recreate historical eras, with the viewer becoming a witness to unique historic events. The films director Mikhail Antykov tells the history of the Hermitage Museum in a spectacular form, making the viewer empathize with the events they see through their VR glasses. The powerful artistic image is enhanced by the excellent acting of Konstantin Khabensky in the role of a mystical museum guide. Via facial expressions, gestures and gait, the actor conveys the emotions of a person walking through museum halls. Thoughtful re-enactment scenes representing various historical epochs, augmented by unusual camera angles, inventive lighting and music score, create a metaphor for time and give the viewer an illusion of participation in the unfolding events.
Identifying the latest trends in film production, the essay demonstrates that VR technologies continue the evolution of screen arts which possess the potential to transform into an independent and profitable industry similar to traditional cinema. The author concludes that an increased interest in a national culture, little-known facts of history and the general historical heritage of a nation is a fertile source of content for the producers of VR-docudramas.
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Popiołek-Walicki, Aleksandra. "Cultural Importance of the 4th International Chopin Piano Competition in the Light of Polish Music Life Reviving after the WW II". Edukacja Muzyczna 15 (2020): 327–45. http://dx.doi.org/10.16926/em.2020.15.08.
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The article aims at summarizing different activities undertaken to organize and run the first post- war Chopin piano competition. It is an attempt to collect facts, accounts and memories concerning actions initiated by Polish music culture environment after the Second World War. The author fo- cuses on a detailed description of the organization and proceedings of the 4th International Piano Competition, making use of information that has existed in independent sources so far. The article uses diaries, biographies, autobiographies, private notes, interviews with representatives of Polish culture, archive films and documentaries belonging to the Polish Film Chronicle. Press excepts were not used on purpose, as most press information was included in the aforesaid bibliography entries. The analyzed sources let us conclude that the organization of the first post-was Chopin piano competition in Warsaw was an event requiring both the engagement of all state institutions and personal contribution of musicians and music teachers. The author considers such a detailed historical-cultural account justified and necessary, especially in 2020, the 210th birth anniversary of Frederic Chopin, the year in which the 18th Frederic Chopin International Piano Competition was supposed to take place.
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Rani, Deepika, Devendra K. Pandey, Yuta Kimura, Rie Y. Umetsu i Ratnamala Chatterjee. "Structural, magnetic, and transport properties of epitaxial thin films of equiatomic quaternary CoFeCrGa Heusler alloy". Journal of Applied Physics 132, nr 19 (21.11.2022): 193907. http://dx.doi.org/10.1063/5.0127548.
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We present the first report on the structural, magnetic, and transport properties of epitaxial thin films of equiatomic quaternary CoFeCrGa, grown on a single crystal MgO(001) substrate. From the structure and surface morphology analyses, we have shown that the films grown are ordered, epitaxial, and homogeneous. Magnetic measurements confirm the soft ferromagnetic nature of the film along the in-plane direction with a coercivity of 4.6 Oe. The resistivity measurements indicate semiconducting nature with a very low temperature coefficient of resistivity (TCR) value, suggesting an almost temperature independent resistivity, similar to other reported spin-gapless semiconductors (SGSs) among the Heusler alloys. A non-saturating, quantum linear magnetoresistance is observed even in high fields of up to 12 kOe, another prerequisite for gapless materials. Hall measurements are also performed, and a detailed analysis has been carried out to estimate the ordinary and anomalous Hall contributions. The conductivity value ([Formula: see text]) at 300 K is found to be 4280 S cm[Formula: see text], which is comparable with the other reported SGS materials. We have also studied the effect of L2[Formula: see text] and B2 type disorder on the electronic properties based on the first principle calculations and found that the SGS nature in CoFeCrGa is quite robust against the Co–Fe swap disorder (L2[Formula: see text] disorder); however, with swap disorder ([Formula: see text]%) between Cr and Ga sites, the system transits from SGS to half-metallic state. All these results indicate the possibility of spin-gapless semiconducting nature in the CoFeCrGa film, making it highly suitable for spin-based device applications.
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Sievers, Gustav W., Anders W. Jensen, Volker Brüser, Matthias Arenz i María Escudero-Escribano. "Sputtered Platinum Thin-films for Oxygen Reduction in Gas Diffusion Electrodes: A Model System for Studies under Realistic Reaction Conditions". Surfaces 2, nr 2 (28.04.2019): 336–48. http://dx.doi.org/10.3390/surfaces2020025.
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The development of catalysts for the oxygen reduction reaction in low-temperature fuel cells depends on efficient and accurate electrochemical characterization methods. Currently, two primary techniques exist: rotating disk electrode (RDE) measurements in half-cells with liquid electrolyte and single cell tests with membrane electrode assemblies (MEAs). While the RDE technique allows for rapid catalyst benchmarking, it is limited to electrode potentials far from operating fuel cells. On the other hand, MEAs can provide direct performance data at realistic conditions but require specialized equipment and large quantities of catalyst, making them less ideal for early-stage development. Using sputtered platinum thin-film electrodes, we show that gas diffusion electrode (GDE) half-cells can be used as an intermediate platform for rapid benchmarking at fuel-cell relevant current densities (~1 A cm−2). Furthermore, we demonstrate how different parameters (loading, electrolyte concentration, humidification, and Nafion membrane) influence the performance of unsupported platinum catalysts. The specific activity could be measured independent of the applied loading at potentials down to 0.80 VRHE reaching a value of 0.72 mA cm−2 at 0.9 VRHE in the GDE. By comparison with RDE measurements and Pt/C measurements, we establish the importance of catalyst characterization under realistic reaction conditions.