Film Exhibition Research Articles

Disperzija radio-propagande na teritoriji okupirane Srbije u Drugom svetskom ratu

The paper reconstructs the actions of the Serbian Government of National Salvation in the field of the organization of the propaganda in the occupied Serbia during WWII. The occupation authorities intended to achieve the tightly controlled management of the national authorities' propaganda through the Serbian Propaganda Department of the Ministerial Council Presidency. The Government of National Salvation made a great effort in the field of supervising publications, film screenings and radiophonic shows. The main points of activity of national authorities in the field of radio propaganda were subordinated to German interests. The concept of radio propaganda was analyzed, as well as the German organization of the propaganda censorship apparatus and its influence on the work of the Serbian Propaganda Department in the field of radio propaganda. The content of the radio program and the activities of Radio Belgrade under German occupation were analyzed together with the example of the activities of the collaborationist authorities in the field of radio propaganda.

The convergence of technologies and creative decisions during making visual image in the film industry: analysis of ecosystem connections

The scientific investigation is an attempt to reveal a mutual influence of technical and artistic-creative attempt of the process of making a visual image in the cinema in the XX century and at the beginning of the XXI century, and also to justify the main thesis that the evolution and functioning of the ecosystem of audio-visual production and its important component of the film industry depends on the convergence of creative and technological resources in the sphere that generates a film image aesthetics. A look at the audio-visual industry as an ecosystem that includes cinema, broadcasting, video games, animation, video services on demand, web-market, etc., is an interesting and perspective methodological approach. It gives the possibility to look at this sector of creative industries as the individual and self-sufficient “dynamic and adaptive organism” that consumes, generates, and transforms knowledge into innovative audio-visual products and also combines its own resources by the principle of the convergence of technologies and creative decisions in separate industries and on the interbranch level. It produces ecosystem connections inside the branch and between separate industries that provide continuity and evolution of audio-visual production as a whole. Creating visual image in the frames of the film industry of the second part of the XX century and at the beginning of the XXI century occurs because of the convergence of technical and creative components of film- and video production that determines the step of cinematography. The creative application of the camera crane and in-frame editing, analog video, non- standard optics and increased sensitivity of film, continues to develop today in the direction of the convergence of cinema, television and the Internet based on digital cinemas, increasing the creative possibilities of filmmakers in working on a visual image and expanding the ecosystem of film production and screen communication. The symbiosis of creative decisions and audio-visual technologies in the work of film image aesthetics brings to the appearance as to the two opposite approaches in understanding the character of this convergence (“operationalism” and “techno-romanticism”), so as to dualism of the vectors of its development (“Godard’s line” and “Spielberg’s line”).

The media and violence - cyberbullying

Violence in the media mostly refers to the use of explicit scenes of violence seen on film and television screens as well as in the cyberspace of interactive digital games. Everlasting questioning about the negative effects of the media of mass communication was especially evident in the time of expansion of television and the ?narcotic role? of the television image, when violence became one of the most commercial areas from which the media got the topics of their cultural content. The arrival of the new ways of communication by means of digital media has opened another page in the consideration of the notion of violence in the media - cyberbullying. Therefore, the subject of the paper is violence in the media and the possible effects of traditional and social media on the global audience. By presenting some of the theoretical considerations and empirical research on the effects of the media, the aim of this paper is to answer the question of how much the connection there is between the media and violence with special reference to digital abuse as a long-term exposure to violence on social networks. By using the descriptive-explanatory method and the method of theoretical analysis, by connecting theoretical knowledge and empirical data, the paper, within the scope of the research, presents the overview of theoretical premises related to the action of violence in the media. Likewise, the examples from the field of the effects of violence in traditional and digital media were reviewed in order to realize the phenomenon of violence and its connection with the media. The research results indicated the connection between the effects of traditional and digital violence and the particular danger of different methods of cyberbullying considering the characteristics of this phenomenon. Beginning with the assertion that the media greately influences the recipients with their aggressive content, by applying a literature review, the models of aggression in the traditional media were pointed out, as well as the methods by which cyberbullyingis done by means of text or video messages that insult, harass, threaten. The answer to the question of the connection between the media and violence required theoretical reflections and the presentation of empirical research in order to realize the effects of violent communication, and especially to shed light on digital abuse on social networks. Recent analyses of cyberbullyingrarely rely on the previous research and do not tend to connect mutually in order to provide a general picture, so it is difficult to get a whole picture of the state of violent content in digital media. Nevertheless, even though there are opinions about the media as being the sole culprits of violence in society, even though completely opposite opinions are pointed out, the latest researches unequivocally prove that the theory about the ineffectiveness of media violence is not sustainable.

Այլընտրանքային և նորարար նախագծեր՝ ՀՀ գրադարանների համար

The article suggests five initiatives for libraries in Armenia to promote learning. - A circle-shaped mother-child reading room, where the child can play with toys and books while the mother reads. Target audience for this project are mothers with children under 3. - Psychologist’s office for library users and personnel (with reg-istration). - During “Library Night” famous literary heroes (performance by actors) will visit the library, inspire readers, and take part in theatrical events. Library users will have a chance to read at night in the library. - Screenings of films based on famous books once a month. - Literary discussions based on previously read literature.

Beyond the “Exhibition Straight-Jacket”: How British Amateur Film Clubs Created an Alternative Distribution and Exhibition Network, 1923–1933

This article explores an overlooked third strand of the 1920s British film industry's distribution and exhibition practices: amateur filmmakers. Our analysis of the UK amateur networks that were created through the 1920s and into the early 1930s offers a challenge to accepted ideas that British cinema exhibition was limited to a small number of metropolitan mainstream or independent art cinemas. By tracing the amateur cinema's move from an interaction with mainstream exhibition venues to the introduction of a national amateur network, we offer a more nuanced understanding of amateur-film culture and its community-led model of distribution and exhibition.

The Union of Soviet Friendship Societies and its Cultural Centres in the 1970s: Orientalism and Soft Power in the Middle East

ABSTRACT: "Arabs are eager to read the works of Tolstoy or of Dostoevsky, but these are not what they are offered. They would find at the Soviet Publishing House in Cairo the collected works of Lenin for as little as 30 piastres, but this is not what they want". Thus Mohamed Heikal, one of Nasser's closest advisors, described the Soviet ineptness in cultural exchanges. This paper will assess the ineffective Soviet cultural outreach t to the Arab world by analysing documents from the Union of Soviet Societies for Friendship and Cultural Contacts (SSOD) collected at the GARF (R-9576). In contrast to its predecessor, "Vsesoiuznoe Obshchestvo Kul'turnoi Sviazi s zagranitsei" — Всесоюзное общество культурной связи с заграницей (All-Union Society for Cultural Relations with Foreign Countries) VOKS, the SSOD is far less researched. The material under scrutiny comprises communications between the officials of Soviet Cultural Centres in the Middle East and the presidium of the SSOD, reports on events, lists of Soviet literature, schedules of film screenings, and minutes of meetings. The selection of documents focuses on the period between 1972 and 1979 relating to the activities in North and South Yemen, Lebanon, Egypt, and Syria. Adopting Edward Said's notion of Orientalism, the analysis uncovers how Soviet pragmatism (Vasil'ev) is reflected in individual officials' choices, their interactions as well how infelicitously they represented the USSR in the Arab World, undermining Soviet "soft power" in the region.

Кинематографические приемы в оперном театре России 1920-х годов

The article examines cinematography’s influence on the Soviet opera theatre of the 1920s. By the beginning of this decade, cinema rapidly gained popularity and began being perceived as a serious competitor to theatre. Awareness and comprehension of the new “threat” reasonably led to appeals for upgrading theatrical language with the help of new technical means. There were several innovations in the operas on stage: the use of intense straight lighting with the help of floodlights, montage as a director’s technique, the use of film screen in opera productions. It all confirmed that the process of cinemafication of the theatre had also affected the opera stage. The new trends expressed themselves in the productions of Sergey Radlov (“Vozzek” by Alban Berg), Nikolay Smolich (“The Golden Cockerel” by Nikolay Rimsky-Korsakov, “Johnny Plays” by Ernst Krenek), Iosif Lapitsky (“Salome” by Richard Strauss, “The Queen of Spades” by Petr Tchaikovsky). Thus, in his version of “The Golden Cockerel” (1923), the opera director N. Smolich used a film projection, and then, staging E. Kshenek’s opera “Johnny Plays” (1928), he used animation. In the “The Queen of Spades” (Experimental Theatre), I. Lapitsky while trying to make the action cinematically dynamic, divided it into forty small episodes. The influence of cinema can also be traced in opera performances of the 1920s. The most vivid example is Dmitry Shostakovich’s opera “The Nose” with his special montage style of action. Opera cinemafication didn’t reach such heights as in dramatic theatre and faced a different, not always approving, reaction from the musical press. The time of ambitious experiments ended in the 1930s with a change in the country’s cultural policy.

'HIV made me fabulous': a qualitative analysis of embodied storytelling in film to address stigma, further understandings of U=U and advance gender equity.

Even with the Undetectable equals Untransmittable campaign (U=U) campaign, women living with HIV continue to experience intersecting forms of stigma. We explored how the somatic experiences of viewing a film about U=U and women could help individuals gain deeper understandings of HIV and alter learned prejudices. HIV Made Me Fabulous is a film that utilises embodied storytelling to tell the story of a trans woman living through social and historical traumas of HIV. Four online film screenings and focus group discussions took place between June 2020 and June 2021, with participants attending from Canada, Australia, South Africa, Kenya, Zimbabwe and India. Two sessions were held with women living with HIV (n =16) and two with HIV-negative individuals (n =12). Transcripts were analysed via thematic analysis using Lafrenière and Cox's framework to assess its impact. Participants experienced strong, diverse emotional responses and sometimes physical effects from viewing the film. These somatic experiences furthered engagement with key messages in the film, including U=U, intersectional identities, and impacts of patriarchal systems. Women living with HIV commented on unique gendered risks experienced during disclosure, and the pressures of reaching an undetectable viral load. Women also commented how the film resulted in deeper reflection of their deservingness of pleasure. Regardless of HIV status, participants expressed motivation towards influencing change that included addressing biases and sharing U=U with others. Embodied storytelling in film is an effective method to counter both intra- and inter-personal HIV-related stigma by provoking responses that enhance compassion for oneself and others.

Устройство для создания защитного водоплёночного экрана от теплового излучения пожара

Introduction. A device for creating a water-film protective screen designed to protect the fireman in case of fire by significantly reducing the density of the radiant heat flux was studied by the author in this work. The proposed device, unlike analogues, does not have additional metal structures, for example, shields, while being able to create a stable liquid shield necessary to protect the fireman from the thermal radiation of a fire. By mathematical transformations, dependences are obtained for determining the thickness of the water film screen and the required value of the internal overpressure of the liquid in the device. In the course of mathematical transformations, an expression is obtained for determining the fluid pressure required for the expiration of a stable liquid film of a given thickness. Purposes and tasks. To learn how the device works. To create an experimental device to study the process of a water-film screen forming. To develop a methodology of experiments. To carry out an experiment to determine the device operating modes, depending on the fluid flow parameters. To determine experimentally the maximum value of the diameter of a continuous and stable water-film screen. To get a mathematical relationship to determine the thickness of the water-film protective screen and the value of the required overpressure of the liquid inside the device to obtain a continuous and stable screen. Methods. Natural experiment. Observation. Measurement. Description. Finding dependencies based on mathematical processing of experimental data. Results and discussion. A natural experiment was conducted. The results of research on the creation of a water-film protective screen have been obtained. The most optimal parameters of the device operation have been determined. It is established that the value of the diameter of the water film screen is 10 times greater than the value of the diameter of the channel of the device for the outflow of liquid. The use of known means of protection against the effects of radiant heat exposure contributes to a significant reduction in the distance from the point of use of fire extinguishing means to the point of fire occurrence. However, the devices used are made of heat-conducting materials, which makes it difficult to operate them as a means of protection against radiation from a thermal source of ignition at a small distance between them. In addition, the presence of metal structures reduces the possibility of using these devices when using additional fire extinguishing means. The basis for the regular operation of the proposed device for the formation and issuance of a protective liquid screen for fireman is to create a film curtain of liquid, the thickness and diameter of which is determined and regulated by the hydrodynamic operating mode and design characteristics. Conclusions. The proposed device works without additional metal structures (shields and nets), which makes it possible to use it at facilities with difficult access to an ignition source. Keywords: fire; thermal radiation; water curtain; water film; protective screen.

RADIOGRAPHY TECHNIQUE OF OSSA PELVIS WITH SUSPECTED FRACTURE OF RAMUS PUBIS AT EFARINA ETAHAM HOSPITAL, BERASTAGI KARO DISTRICT 2021

Fracture is a broken bone, a break in bone tissue that is commonly caused by forced injuries. The cause of fracture is an accident, be it a work accident, traffic accident. Broadly speaking, fractures are divided into three types, namely closed fractures, closed fractures, and complex fractures.
 The examination aims to determine the results of radiographic images, if there is a fracture or dislocation and is caused by KLL factors (traffic accidents). The aim of the study was to find out how the radiographic examination technique of Ossa Pelvis with the suspicion of a Ramus Pubis Fracture at the Radiology Installation of Efarina Berastagi Hospital in 2021. This type of research is descriptive research with data collection techniques by observation, documentation study and literature (library) study. The results of the examination of the Ossa Pelvis with the suspicion of a Ramus Pubis Fracture at the Radiology Installation of Efarina Etaham Berastagi Hospital are generally using AP (Anterior Posterior) projections using conventional X-rays. The x-ray film used is a high speed type combined with a fast screen intensifying (IS) where this type of intensifying screen (IS) film can produce images with good detail and sharpness. Thus the radiation dose can also be reduced for the patient and the operator himself. The film washing process should use Automatic Processing. It is hoped that it can be used as a reference for radiographic results, especially in cases of Ramus Pubis Fractures.

Ways to ensure the attenuation coefficient within the limits of normal values of single shielded twisted pair cables for industrial Ethernet networks

In recent years, the concept of Industry 4.0 and IioT has seen an intensive transition of industrial networks to wired data transmission based on the Ethernet family of technologies. The given chronology of the development of international standards of industrial Ethernet and corresponding cables based on twisted pairs proves the perspective of using a single twisted pair with the possibility of transmitting a power signal, which significantly reduces the number, weight and cost of cables in the network. According to international standards on cables for industrial Ethernet, shielded solutions based on a single shielded twisted pair must ensure the transmission of digital signals in the frequency range of up to 20 MHz over a distance of up to 1 kilometre. The need to use a shielded twisted pair is due to operating conditions under the influence of strong electromagnetic interference. An analytical review of scientific publications shows that shielded cable designs have increased values of electrical capacity. On the basis of numerical modelling of the electric field in the twisted pair, the value of the electrical capacity is determined depending on the design of the screen. It is shown that the shielded twisted pair has significantly larger (by 80 %), electrical capacity values compared to the unshielded one, provided the insulation, screen and protective polymer shell are of the same thickness. The effectiveness of the use of a two-layer aluminium polymer screen is substantiated. It has been proven that varying the thickness and dielectric permeability of the screen film material allows optimizing the cable design to ensure lower values of the working capacity compared to an unshielded pair. On the basis of numerical calculations, it is shown that when the two-layer screen is placed with the film outwards, the working capacity increases significantly and does not differ from the capacity shielded with a solid metal screen. The validity and adequacy of the performed numerical calculations of the electrical capacity of twisted pairs is confirmed by experimental results of measurements of the attenuation coefficient in the frequency range up to 20 MHz of unshielded and shielded twisted pair with a two-layer laminated screen.

Visualizing Mental Health Through the Lens of Pittsburgh Youth: A Collaborative Filmmaking Study During COVID-19.

Youth mental health has been significantly impacted by COVID-19, with concerns of rising anxiety-related and depressive symptoms and reduced quality of life. This study provides a nuanced understanding of mental health stressors and supports in the lives of youth during the pandemic. Using Collaborative Filmmaking, an embodied, visual, and participatory research method, participants in Pittsburgh, Pennsylvania, were trained to create, analyze, and screen films about mental health. The films elucidated numerous stressors impacting youth mental health, including educational stressors (e.g., academic pressure and relationships with teachers), personal and social stressors (e.g., social and cultural expectations), and current events (e.g., the election and the political system). Supports included individual level supports (e.g., hobbies, self-care, spending time outdoors), and interpersonal level supports (e.g., family and socializing). Several themes were discussed as both stressors and supports, such as family, COVID-19, and social media. Overall, educational stressors are major contributors to adverse mental health symptoms among youth, which have been magnified by the COVID-19 pandemic. Youth discussions of the importance of self-care and engaging in healthy hobbies demonstrated strong awareness about maintaining mental health, though structural-level recommendations are still needed to improve youth mental health. Screening the Collaborative Films with the public illuminated several additional opportunities for action, including structural and social actions (e.g., changing policies and social norms around mental health). Given the structural nature of the stressors mentioned by participants, systemic changes as well as policy level action and programming are needed to address the intersectional nature of current mental health concerns among youth.

PENERAPAN MODEL PEMBELAJARAN KONTEKSTUAL DENGAN MEDIA PEMUTARAN FILM PADA MATERI KEHIDUPAN PRA AKSARA

To reduce verbalism, confusion of meaning and inappropriate perceptions of students towards the material provided by the teacher during the learning process, it is necessary to have a learning media in the form of teaching aids (models) as well as learning support facilities that support the times. This research is motivated by the desire to apply a contextual learning approach with film screening media to improve student learning outcomes in the subject matter of life in the pre-literacy period. This research is a classroom action research. The subjects were 32 students in VIIA class at SMP Negeri 6 Purworejo semester 1 of the 2020/2021 school year, consisting of 18 female students and 14 male students. This study aims to improve student learning outcomes. The implementation process is participatory collaborative with other teachers, and the principal which begins by conducting an initial fact-finding study then recycling which includes: (1) preparing plans, (2) carrying out actions, 3) observing (observation); (4) reflection. This research was conducted in two cycles, namely cycle I and cycle II.) Data collection techniques used: Test techniques, Observation, Documentation. Data analysis was carried out both quantitatively and qualitatively. The results of classroom action research by applying a contextual learning approach with film screening media can be seen from several activities carried out by students during the learning process. The initial evaluation result indicator is at least 75% of all students in the class meeting the complete learning target, the learning outcomes of students with a score of 61 and above in social studies learning. Conversely, if learning social studies history in lesson I has not been said to be complete, it will be continued in the next lesson. In learning I the success reached 68%. In learning II student learning outcomes have reached 70%, in learning II this meets the target of complete learning. According to the results of preliminary observations of 32 students, there were only 15 students who scored more than 70 (said complete) in their initial abilities in a proportion of 46.8%. After learning was held in cycle II, student learning outcomes in class had reached 30 students (93.8%) of all students in the class meeting the complete learning target, which means students scored 70 and above in learning.

Innovative research of vertical video creation under the background of mobile communication

Abstract Nowadays, media forms and communication methods have changed, the scale of mobile phone users has been expanding and vertical video has become more and more popular under the background of mobile communication. In the face of the new thing of vertical screen, its communication and production methods are different from traditional video, and the presentation effect also has its own uniqueness. How video creators adapt to the new mode of dissemination and production in the vertical screen format, and how to creatively apply various mobile shooting equipment and innovative shooting techniques to create excellent vertical video works have become one of the important research topics in the field of video creation in the new era. This part of the research relies on the observation of a large number of excellent vertical screen film and television works, analyses and summarises the problems encountered in the mid-early and late stages of creation, and starts from the perspective of creation equipment, creation process, communication experience and picture composition so as to find the regularity of vertical screen creation, incorporate creative ideas and creative techniques, and explore an effective way of creation. The study also takes the grey world algorithm as an example, and the analysis emphasises the key role of computational photography in changing the imaging effect of mobile shooting equipment.

Sarah Keller, Barbara Hammer: Pushing Out of the Frame

Barbara Hammer is a key figure within experimental film, her work often linked to the heightened visibility of LGBTQ+ cinema and media over the last two decades of the 20th century, which culminated in what came to be known as New Queer Cinema.1 Hammer’s diverse work provided a springboard for queer and feminist experimental cinema, and throughout a career spanning nearly 50 years she persistently explored the boundaries of the medium. Hammer also challenged the traditional spaces of cinema exhibition, giving screenings in womens’ clubs, museums and galleries, and blurring the lines between film as a theatrical phenomenon and film as art practice. In works such as Available Space (1979), Hammer shook up the convention of the passive, seated audience by projecting her film from a wheeled rotary projector table that she shifted around the architectural space, coaxing the audience to move about in order to see the film. As Sarah Keller puts it, ‘energizing the spaces and scope of cinema’ and ‘pushing out of the frame’ were among Hammer’s chief objectives (p. 15). Hammer also holds a prominent place in the development of queer experimental documentary. In works such as her landmark, feature-length film Nitrate Kisses (1992), she honed factual film’s relations with personal expression and sensual engagement, joining the contemporary documentary experiments of Marlon Riggs, Tom Joslin and Trinh T. Minh-ha, among others, in transforming documentary conventions and expectations.

Remembering the past: A Conversation With Afolabi Adesanya as Film Exhibitor

Afolabi Adesanya is known as a Nigerian filmmaker and a policy maker, but not as an exhibitor. His experiences at the first film exhibition company in Nigeria, the West African Pictures Company Limited (WAPCo Ltd.), have never been documented. Established in the 1930s by Syrian Lebanese brothers, the company’s ownership changed in the 1970s with the Indigenization Decree. Little is known of the early history of the company or its contributions to cinemagoing and film consumption in Nigeria; hence, Adesanya’s account of the period while he was at the helm of WAPCo Ltd. (2001–2005) is invaluable. In this interview conducted at the National Arts Theatre in Lagos, the first purpose-built multiplex facility in Nigeria, Adesanya reflects on the challenges of directing a cinema company that was bought by a real estate firm solely interested in turning a profit. It brings to the fore one of the reasons for the decline in cinemagoing in the 1980s and 1990s, which is the dearth of trained cinema business personnel and infrastructure.

An Introduction

An Introduction

Functioning of Cinemas in the Cities of the Tobolsk Province at the Beginning of the XX Century .

The purpose of the article is to conduct an overview of the functioning of pre–revolutionary cinemas in one of the most remote provinces of Russia based on the analysis of archival materials, chronicle newspaper publications and the advertising component of regional periodicals. The object of the study is stationary cinematographic institutions of the cities of the Tobolsk province, the subject is the peculiarities of their functioning at the beginning of the XX century. In methodological terms, the work is based on descriptive-narrative, comparative-historical, logical and retrospective methods of scientific cognition, the method of historical reconstruction. It describes the formation of urban cinematographies of the province, their technical characteristics and infrastructure elements in accordance with official Russian standards, the conditions of acceptance of buildings, fire safety issues and problematic aspects of the existence of cinemas. Attention is paid to the repertoire content of film screenings, pricing policy, the phenomena of competition among film entrepreneurs, their work with the audience. The scientific novelty of the study is due to the lack of comprehensive regional works considering the specifics of the activities of pre-revolutionary cinematographic institutions in the territorial framework of the Tobolsk province. It is determined that cinema, having arisen at the end of the XIX century as a sporadic form of entertainment for citizens, during the first decades of the XX century it evolved into an important social phenomenon of everyday life and became one of the key factors of transformations that took place in the system of value attitudes and behavioral stereotypes of the population of the region. Stationary cinemas were not only a fundamentally new type of communication for representatives of the urban community, but over time they turned into significant objects of socio-cultural infrastructure and leisure centers for citizens of the Tobolsk province. A key trend in the progressive development of the cinema services industry in the studied region was constructive competition for the audience, during which the owners of institutions improved the infrastructure and regularly updated the repertoire of cinemas, resorted to intensification and forcing the advertising component in the development of their own business.

The Impact of Cinema and Film Screening Places on Improving the Art Cinema Market and Cultural Promotion of Urban Spaces (Case Study: District 6 of Tehran)

The Impact of Cinema and Film Screening Places on Improving the Art Cinema Market and Cultural Promotion of Urban Spaces (Case Study: District 6 of Tehran)

An evaluation method for physical properties of medicinal film and its application in screening film formulation of Trillium tschonoskii total saponins

At present, the evaluation methods for pharmaceutical properties of Chinese medicinal films have many problems, such as poor objectivity for the indexes and no quantitative and standardized evaluation methods. This study established a new method using three important physical property parameters, i.e., flow index, weight loss rate, and elongation rate, which were closely related to the pharmaceutical properties of films. On this basis, the above parameters were taken as indicators to optimize the film formulation of Trillium tschonoskii total saponins and verify the feasibility and suitability of the established method and parameters in formulation optimization. A self-made flow distance detection device and a viscometer were used to measure and characterize the fluidity, where the flow index refers to the ratio of the flow distance per unit time to the viscosity. The weight loss rate was measured by the 3 M transpore~(TM) surgical tape. The film-forming property was characterized by the weight loss rate of the sample within a certain period of time. An electronic tension machine was employed to measure the elongation rate after drying, which was used to characterize the ductility of the film. The results showed that the established method for the determination of flow index, weight loss rate, and elongation rate was stable and reliable. The optimal film formulation of T. tschonoskii total saponins could be obtained by optimization with those indicators. As demonstrated, the above evaluation indicators(flow index, weight loss rate, and elongation rate) can guide the optimization and design of formulation, and the new evaluation method constructed based on this shows a good application prospect in formulation optimization and formulation quality evaluation of medicinal films.