Digital Film Research Articles

The importance of modern digital technologies in the Jordanian film industry The movie "Captain Abu Raed" as a model

Modern digital technologies in cinema have added a great development in many fields; the most important of which is the field of cinematography, lighting, and the field of film editing. This research highlights the important role of these technologies in the development of the Jordanian digital cinematic film industry by analyzing one film as a sample, the Jordanian digital film "Captain Abu Raed", which used modern digital technologies in its production in cinema in 2008. The film is analyzed qualitatively and the role of modern digital technologies in making is examined. The research consists of four sections, where the first section includes the definition of the research problem, objectives, significane, the procedural definitions, and the research sample. The second section includes the theoretical framework for the research, where the research discusses the importance of modern digital technologies in Jordanian cinema and their development, and presents a theoretical framework regarding the basic elements in digital cinematography as follows: cinematography, lighting, and film editing. The third section also analyzes the research sample, which is a Jordanian digital cinematic film "Captain Abu Raed", and it highlights the digital technical aspects in its production. The fourth section includes the research results related to the research.

404: file not found web archives and the challenges of preserving digital film promotion

This article builds upon the invitation at the end of a previous contribution to the Historical Journal of Film, Radio and Television by Keith Johnston to take up the methodological challenges relating to the study of historical promotional materials. The article focuses on a form of promotion that has emerged with the advent of the Internet – the film website. It starts with an examination of the archival record online. It considers the development of web archiving and the nature of the archive as it transforms from the physical to the digital. In the light of this history a selection of film promotion repositories is examined: the largest online archive in the world- the Internet Archive; a German museum initiative - DigitalCraft.Org; new kinds of archives like the Webby Awards and an enthusiast’s blog – Movie Marketing Madness. Through an investigation of these online archives, the contours of this promotional form emerge and the mapping of its historical development can commerce.

Creating alchemy within an Irish mental health service

Purpose This paper aims to describe a novel community development and how the synergies arising from the interaction of diverse perspectives (including arts and health, person centredness, co-production and shared leadership) have led to a transformative initiative for individuals and a local community in the Republic of Ireland. Design/methodology/approach This is a descriptive case study. It includes the personal narrative of an expert by experience who is one of the co-authors. Links to short digital films are also included along with references to internal evaluation documents and published literature. Reflections from the nurses who contributed to the initiative and a university academic are also incorporated. Findings A space in the community built around the principles of relational practice has evolved into an alchemical space, enabling creativity, recovery and well-being. The benefits arising out of this network of social relationships have contributed to personal recovery, integration with the local community and generated social capital. This has enhanced mental health and well-being locally. Practical implications Statutory Irish health policy is reflective of developments in health care internationally, with an emphasis on greater delivery of care in the community. This views citizens as active partners in the maintenance of their health and well-being. This case study illustrates how this has unfolded in practice in a rural mental health community context. Originality/value This paper adds to the evidence base that demonstrates the potential benefits of participation in the arts to individual recovery journeys. In addition, it shows that when arts and health perspectives coalesce with the wider domain of relational practice, the synergies arising contribute positively to the health and well-being of local communities.

Effect of action learning on digital storytelling education for fashion students

ABSTRACT Digital moving images and storytelling method are increasingly used for fashion presentation in the digital media environment. However, there has been a lack of the education for fashion students. This study aims at considering action learning as an effective learning method for fashion students who specially are unfamiliar with digital film making. A three-unit teaching plan based on an action learning curriculum for digital fashion film production education was designed and its teaching method applied to practicum classes. The result reflected that the education had a potential to improve the expression ability of fashion design. The application of the action learning method for non-practical fashion students is shown to achieve the following: (1) A high learning effect for a limited time in acquiring the new programme required in the practicum class. (2) Efficiency in developing rich research and ideas from various perspectives, (3) Strengthening responsibility. (4) Improving problem-solving ability.

Violence against Women and Girls: Female Filmmakers Critique the Menace

Violence against Women and Girls: Female Filmmakers Critique the Menace

Performing Quarantined Isolation in the Spring of 2020

Performing Quarantined Isolation in the Spring of 2020 Dani Snyder-Young (bio) In this edition of Theatre Journal, I examine two digital performances commissioned and premiering within the context of quarantined isolation in April and May 2020: Mike Sears and Lisa Berger's Ancient, which kicked off the La Jolla Playhouse's Digital WOW Festival,1 and Emily Mast and Yehuda Duenyas' How Are We, which was commissioned and presented as part of the Onassis Foundation's ENTER project.2 Andy Horowitz (2020) identifies how How Are We "stands as evidence of an inflection point, the moment just before everything changed once again"; the same is true of Ancient.3 These performances are, in the words of Ann Cvetkovich, "repositories of feelings and emotions"—an archive of affects produced by the onset of social distancing to curb the spread of COVID-19 in the spring of 2020.4 Ancient focuses on a diverse ensemble of people performing repetitive everyday tasks such as shucking peas (1:25), washing dishes (3:10), and folding laundry (3:53).5 Its central argument is that humans have been doing such activities for thousands of years, and this pandemic is not the first through which humans have cooked, cleaned, taken care of children, grown things, exercised, meditated, and played music (fig. 1). The early pandemic experience was quiet, lingering, and internalized, marked by an unfamiliar sense of powerlessness and fear. Ancient captures the uncanny affect of temporal dislocation, of the feeling that time had stopped. Jennifer Chang rocks a small child with a look of dead-eyed exhaustion on her face. She sits in a room in a middle-class-looking home with a framed newspaper cover on the wall trumpeting the election of Barack Obama. In the window behind her, the sun either rises or sets (2:02). Is it dawn or dusk? It does not really matter; she is so very tired. As Jaclyn Pryor puts it, "the temporality of capital idealizes certain modes of being in time (productive, [End Page E-1] Click for larger view View full resolution Figure 1. Moving left to right across the rows, beginning with top left: Caitie Grady, Bhavna Mehta, Bibi Mama, Mike Sears, Daniel Yin, Shawn Rohlf, Temi Hason, Joey Prete, and Jennifer Chang in Ancient. (Photo: Courtesy of La Jolla Playhouse. efficient, and punctual)."6 Those modes of being were materially disrupted by stay-at-home orders. Ancient reflects the affects produced by this disruption and tries to soothe within the throes of the trauma. It argues for a practice to manage grief through participation in an imagined collective. However, (as I argue in the essay this supplement accompanies), Ancient's portrait of collective coping flattens differences across the lived experiences of people who are positioned differently in relationship to structural systems of power.7 In so doing, it mourns the trauma of the pandemic's onset in ways that do not recognize the ongoing traumas of racial injustice and the victims of capitalism's cruelty. This stands in contrast with the more polyvocal approach How Are We takes to representing the experience of quarantined isolation. How Are We is a twenty-five-minute-long digital film featuring ninety-second, movement-based works by Barnett Cohen, Constance Hockaday and Faye Driscoll, Darrian O'Reilly, David Adrian Freeland Jr., Dorothy Dubrule, Emily Mast and Yehuda Duenyas, Hana van der Kolk, Heyward Bracey Jay Carlon, Jessica Emmanuel, Jennie MaryTai Liu, Mireya Lucio, Shannon Hafez, Stacy Dawson Stearns, and Terrence Luke Johnson. A young nonbinary person (Shannon Hafez) playing in their yard with their dog (0:49), is not the same as a woman (Jennie MaryTai Liu) who cannot get out of bed to attend to a house full of small children (5:45), is not the same as a Black man (David Adrian Freeland Jr) bottling rage and fear to put on a composed and pleasant face (15:28). Each separately authored piece reflects a distinct experience and understanding of quarantined isolation. In its poly-vocality, [End Page E-2] How Are We is a more complex work than Ancient, representing a wider range of feelings and experiences, and one that was created using a more...

The Overlap of Confusion: Self and Dreams in Maya Deren’s Experimental Film

“Meshes of the Afternoon” was directed by Maya Deren and Alexander Hammid. The experimental expressions in the film, such as the continuous repetition of dreams, shaking scenes, dancing movements, no audio-visual language, and so on, have formally shattered the establishment of the traditional film language system. It broke through traditional narrative thinking and logical thinking as well as took its own perception as the only clue of the film, the overlap between dream and reality, as well as the relationship between subconsciousness and sex, especially the layers of metaphor for reality from the feminist perspective, so as to explore the possibility of experimental film expressions being completely independent from mainstream films. In today’s digital film era, reviewing the past images is not only to return to important historical nodes, but also to retrospectively sort out, reflect, and think forward about the significance of the concept and practice of current experimental films.

Iterative Noise Reduction Algorithm-Based Cone Beam Computed Tomography Image Analysis for Dental Pulp Disease in Root Canal Therapies

This study was aimed to explore the application value of cone beam computed tomography (CBCT) imaging technology based on iterative noise reduction (INR) algorithm in the evaluation of the efficacy of root canal therapy (RCT) for dental pulp disease. Eighty eight dental pulp patients who underwent RCT were taken as the research subjects, and INR algorithm-based CBCT and digital periapical film (DPF) were adopted for examination. Basic information of patients, image performance, and filling quality was recorded. It was found that the INR algorithm-based CBCT images achieved favorable noise reduction effects both within and between slices. Filling length of root canal was evaluated by CBCT and DPF, and differences between them were considerable (P<0.05). Root canal closeness was evaluated by CBCT and DPF, and substantial differences between them were shown (P<0.05). Moreover, differences on root canal filling quality examined by CBCT and DPF were also remarkable (P<0.05). Applying CBCT imaging technology based on INR algorithm to the analysis of the curative effect of dental pulp patients can better retain the image information and can also more accurately evaluate the curative effect of different RCTs.

Bearing Witness in Analog and Digital Witness Films: Ethical Aesthetics in Shoah [1985] and Waltz with Bashir [2008

In the ongoing and passionate debates over the digitalization of visual media, many questions about the ontology or materiality of the new digital image have been raised. Analog representation is often thought of in terms of indexicality and sometimes a naive belief in the truthfulness of the photographic image, whereas the digital image is, in a way, no longer an image anymore, but a set of data in flux, superficially coded and easy to manipulate. The following article examines how this shift to digitalization affects the ethical genre per se: the witness film. In a film analytical close reading of Claude Lanzmann’s Shoah and Ari Folman’s Waltz with Bashir, resonances become visible to psychoanalysis, Deleuzian film philosophy and the debates over the materiality of the analog and digital image. Lanzmann draws on a specific kind of indirect indexicality, which is highly interested in the psychic and embodied realities of surviving, witnessing and the passing of time, whereas Folman develops a politics of the powers of the false: truthfulness, accessibility and memorability are abolished in favor of false images, screen-memories and traumatic mis/representation, which are staged noticeably digital and altered, revolving around the impossibility to grasp the ungraspable.

New Aesthetic Characteristics Emerging in the Digital Cinema Era

Digital film technology has constantly transformed and enhanced the fundamental aesthetic elements in the traditional aesthetic categories of film aesthetics during its gradual penetration into the film art system, enabling these fundamental aesthetic elements to take on new forms and appearances that enrich the artistic communication of film and mark This is a sign of artistic advancement. The fusion of old and new technologies in synergy with the original film system has also accelerated the development of digital film technology as an aesthetic model, and in adapting to the original film art system, digital film aesthetics has produced aesthetic implications that transcend the original system, in terms of virtual images, spatial and temporal concepts, narrative modes, sound and picture relationships, and movement characters. They all exhibit new aesthetic characteristics that are distinct from traditional film aesthetics in terms of virtual images, spatial and temporal concepts, narrative modes, sound and image relationships, movement characteristics, and interactive methods. When one examines existing discussions on digital cinema in China and globally, it is easy to see that they primarily focus on expanding the audiovisual expression of images and on the study of the expressive power and image effects of digital special effects, while research on expanding film concepts and expanding film aesthetics is superficial, or even nonexistent. From a film aesthetics standpoint from the standpoint of film aesthetics, as digital technology has gradually displaced traditional modes of film production and concepts, audience viewing styles, and human aesthetic concepts, the aesthetics of digital film under the new digital technology can be a new construction in terms of time and space, reality, narrative techniques, virtual reality, and aesthetic acceptance. Based on established film theories and aesthetic notions, this study will seek to develop film aesthetics in the digital era, highlighting the study's uniqueness and systemic character in light of shifting aesthetic categories and the incorporation of new aspects in digital cinema.

Analysis of the Application Value of X-Ray Digital Tomographic Fusion Technique in Urinary System Diseases.

Objective To explore the application value of the X-ray digital tomographic fusion technique in the diagnosis of urinary system diseases. Methods 500 patients with suspected urinary diseases in our hospital were examined by three methods: X-ray digital tomographic fusion imaging (DTS), intravenous pyelography (IVP), and abdominal plain film (KUB), and the image quality before and after tomographic fusion was objectively evaluated. The image quality could be divided into three grades: excellent, good, and poor. Results The image excellent rate of DTS (88%) was higher than that of IVP (27.5%). The sensitivity of DTS in the diagnosis of renal cyst and space occupying of the bladder was higher than that of IVP (P < 0.05). The accuracy rate of DTS in the diagnosis of urinary calculi was 93.33%, higher than 63.3% of KUB (P < 0.001). The accuracy rate of DTS in the diagnosis of ureteral stricture was 90%, higher than 65% of IVP (P=0.03). The accuracy of DTS in the diagnosis of hydronephrosis was higher than that of IVP and KUB (P < 0.05). Conclusion In the examination of urinary system-related diseases, high-definition images can be obtained by timely using sectional fusion technology. Compared with conventional IVP, space occupying lesions such as the bladder and kidney can be displayed more clearly with the help of the tomographic fusion technique, which is helpful to improve the possibility of finding lesions and is of great significance in clinical application.

Research on the law of reflection coefficient of reflective film of traffic sign based on Angle

In this paper, a large number of digital printing reflective film retroreflectivity measurement. Based on the multi-angle test of the reflective film of the mainstream manufacturers in the market, the reverse reflection coefficient of the digital printing reflective film was obtained. Through the curve fitting of the measured values of the backreflection coefficient under different measuring angles by using the scatter plot, the variation law of the luminosity of the digital printing reflective film with incident Angle and observation Angle was obtained. The variation law of backreflection coefficient explored in this paper has certain significance to the application guidance of digital printing reflective film for traffic signs.

Hidden Materialities

Hidden Materialities Michele Pierson (bio) Genevieve Yue. Girl Head: Feminism and Film Materiality. New York: Fordham University Press, 2021. 185 pages. $110.00 cloth. $32.00 paperback. While it is important to place Genevieve Yue’s Girl Head: Feminism and Film Materiality within a history of feminist scholarship that has been less concerned with matters of cinematic representation than with investigation of the circumstances in which films get made and circulated, this book also strikes out in exciting new directions. Feminist film and media scholars working in the burgeoning field of production studies have expanded on early studies of women’s roles in the film and television industries by turning their attention to both production at the margins of these industries and alternative production communities. Yue makes an important distinction between these studies and her own interest in film production when she writes that “I neither begin from nor drive toward the empirical woman of social relations, such as the many female screenwriters, directors, producers, actors, editors, casting directors, costume designers, script-girls, and other film industrial workers that would be central in a historical materialist study” (14). Yue’s eye is instead on women’s hidden roles in film production processes, technical processes that have tended thus far to escape feminist notice. Take “Girl Head” in the book’s title. We learn that this is another term for “China Girl,” a reference image found from [End Page 109] the mid to late 1920s onward in commercially produced films. For most of the twentieth century a China Girl image, invariably featuring an attractive white woman, was used by laboratory technicians to calibrate color, tonal density, and the overall aesthetic appearance of a film. For “every leading lady, there is,” Yue observes, “a corresponding leader lady laboring behind the scenes” (59). The central argument and provocation of Girl Head is that cultural understandings of gender are “baked into” film production practices and processes at every stage in the life of a film (14). Most feminist studies of media production tend, as Yue puts it, “to partition materiality (technical or institutional processes and support) from gender (woman as cultural actor or mediatized subject), and only later reconnect them, if at all” (14). The China Girl is a technical image, an aide to quality control in the making and duplicating of 35mm and 16mm film prints. There is nothing about this process, however, that mandates that the reference image be a woman. In Girl Head, then, materiality refers first to objects and processes (and we are given to understand that digital film production is as much a material practice and process in these terms as analog film production). Second, materiality is theorized in relationship to the virtual (and here Yue draws on Anne Friedberg’s thinking about the virtual in The Virtual Window: From Alberti to Microsoft).1 The virtual refers to the realm of image and appearance. Representation and appearance are related in this theoretical framework but not coextensive. Rather than starting with representation, Girl Head begins by inquiring into the nature of appearance. In Yue’s words, “Appearance, in this sense, is not only a matter of how one looks but the conditions by which an image can be seen. This book aims to restore a fuller picture of what film production beneath the surface appearance of representation has been” (8). Each of this book’s three case studies is organized around investigation of the relationship between materiality and appearance. Each takes a particular production matrix as its focus: the practice of using images of women as reference images in the film laboratory, editing practices that blur the distinction between special or visual effects and editing, and the historical and theoretical premises for the constitution of the film archive. The first two case studies focus on material processes that determine the look and feel of a film but also go undetected by viewers. In all three, a woman’s body is revealed to have been suppressed—sometimes through “violent excision” and sometimes just by being overlooked or forgotten. The balance between historical research and theoretical speculation shifts from one case study to the next. The first offers an [End Page 110...

Study Guide Review ‘Technology of Film and Video Registration Processes’ by N. Honcharenko, O. Priadko

The textbook "Technology of film and video recording processes" by M. M. Honcharenko, O. M. Priadko is aimed at students of higher education, speciality 021 "Audiovisual Art and Production". Taking into account the specifics of training in this area, the information about modern technologies of film and video recording processes, obtaining colour images in analogue and digital technologies, equipment Digital Intermediate film production technologies, equipment for digital technologies is presented quite thoroughly.

The True Colors of “False” Color: Representing Data Chromatically in NASA Films

This paper investigates the multifaceted uses of color — not (only) to aesthetic ends, but as a tool for translating data into narrative — in a corpus of recent NASA films. Often called ‘false’ color or accused of manipulation, these uses of digital color stray from photorealism but nonetheless have a direct, measurable relationship with physical reality: they use data to render visible that which lies outside the spectrum of visible light. The focus of this paper is on the truth status of these digital films and on the practices used to produce them. It situates them, as a corpus, within and in response to film studies historiographies of color centered around spectacle and the dichotomy of fantasy versus reality, addressing how color can deploy the powers of the false to reveal otherwise invisible truths through art and artifice.

‘We are Sorry This Video Is Not Available in Your Country’: An Ethical Analysis of Geo-blocking Audio-Visual Online Content

ABSTRACT This article provides an ethical analysis of the moral conflict over access to premium audio-visual online content, which is currently regulated by geo-blocking in the domain of digital film distribution. We first identify the stakeholders of this conflict, which are the rights holders on the one hand – that is, creators, producers and distributors of audio-visual content – and the consumers of audio-visual content on the other. We also identify their interests, moral rights and moral intuitions based on interviews with representatives of the interested parties and by conducting an analysis of their position papers on the Digital Single Market strategy initiatives presented by the European Commission in the years 2015 to 2018. The moral rights and legitimate interests of stakeholders are then balanced and specified. We propose four ethical principles that set out the conditions under which the geo-blocking of audio-visual content is either ethically justified or unjustified.

SİNEMADA DİJİTALLEŞME İLE GERÇEKLİĞİN İNŞASI

With the developing digital technologies, pre-production, production, post-production, distribution and screening stages in cinema are changing and developing. This leads to changes in the position of the audience. Since the movies are watched collectively in movie theaters in the era of conventional production, the cinema experience is not individual but social. However, with digitalization, the audience started to watch the movies at home. Cinema is now moving towards an individual viewing culture rather than a social one. In the late 1970s, viewers had the opportunity to watch movies whenever and wherever they wanted via videotapes. However, there are problems with watching movies with some parts cut off due to the inaccessibility of every movie and the current controls. In the 1990s, thanks to the developing CD-Rom technologies, anyone who had a computer was able to have their own personal cinema. In the 2000s, with the developing internet technologies, the audience had the opportunity to access almost any movie they wanted. The desired movies can be accessed through computers, tablets and mobile phones, even during travel. In recent years, three-dimensional and interactive films have also met with the audience. Thus, viewers can intervene in digital films and re-edit them as they wish, thanks to the developing computer technologies.

Application of Different Bone Age Assessment Methods in Digital Bone Age Film Evaluation of Children with Idiopathic Short Stature

Application of Different Bone Age Assessment Methods in Digital Bone Age Film Evaluation of Children with Idiopathic Short Stature

Effects of Gender and Age in Mandibular Leeway Space for Taiwanese Children.

Purpose: Leeway space is clinically crucial in pediatric dentistry because it is utilized to resolve tooth crowding and allow the first molars to drift mesially to establish a Class I molar relationship in the later stages of mixed dentition. This study investigated leeway space in the mixed dentition of Taiwanese children of different sexes and ages. Materials and Methods: The digital panoramic dental films of 182 lower arches of 119 boys and 63 girls aged 5–10 years were analyzed in this retrospective study. The mesiodistal crown widths of the primary canines and first and second molars and the permanent canines and first and second premolars were measured using medical imaging software. Differences in leeway space were statistically analyzed. Results: The average leeway space was 1.29 ± 1.48 mm on each side of the lower arch. The leeway space of children aged 5–6 years was significantly greater than that of children aged 7–8 years. No gender difference in crown width was discovered, except with regard to the primary first molar. Although no gender difference in leeway space was observed, permanent teeth affected leeway space more for girls than for boys. Conclusion: In Taiwanese children, although leeway space does not differ by sex, age affects leeway space. However, permanent tooth size has an influence on the leeway space of girls.

“They shall not grow old” and “Mimesis: African soldier”

This paper will examine and compare two recent visual explorations of the experience of soldiers in World War I. Director Peter Jackson’s documentary They Shall Not Grow Old has been called an immersive, haunting and often transcendent experience that’s unlike anything you’ve ever seen before. By using modern digital film technology, he has restored the visuals and added sounds and speech via Automatic Dialogue Replacement, colorized, changed the speed, and brought 3D depth to the old footage from the Imperial War Museum. Jackson has either, using the terminology of William Guynn (Unspeakable Histories: Film and the Experience of Catastrophe), employed this technology to trigger “moments of heightened awareness in which the reality of the past may be recovered in its material being”. Or, do these computer generated technological affects, “….stand in for the ‘truth’ and obscure just how constructed the ‘history’ Jackson is telling actually is?” John Akomfrah’s video/sound three screen performance/display installation Mimesis: African Soldier uses silent actors, archive film and photographs, ethnographic sound recordings, new filmed footage with and without actors, and a sound track by Trevor Mathison, to document the experience of those, among many, left out of Jackson’s film: colonial subjects as soldiers. Akomfrah “does not put colour back in the cheeks of the dead”, but rather warns the viewer that remembrance can come in many forms, some of them unrealiable. All of this leads to a conclusion, as Avishai Margalit put it in Ethics of Memory, that “memory…is knowledge from the past. It is not necessarily knowledge about the past.”