Film Production Research Articles

The Application Strategy of Intelligent Computer Multimedia Technology in Film and Television Post Production

<p>The development of short videos and big movies requires high-quality visual design. In the context of digital technology development, computer multimedia technology has begun to emerge in the field of video processing, promoting innovative development in China’s industry. The post production of film and television works requires the use of computer multimedia technology to expand the creative space and improve the artistic expression effect of film and television works. This article elaborates on the unique role of computer multimedia technology in the field of film and television post production, and then analyzes the various stages of film and television post production. The focus is on using computer artificial intelligence techniques to improve the quality and efficiency of video editing in the video editing stage. Then, in the color rendering stage of some black and white video resources, computer technology is automatically processed, Therefore, computer multimedia technology can play an advantageous role in film and television post production and should be promoted and applied.</p> <p> </p>

READING TRADITIONAL JAPANESE ARCHITECTURE THROUGH HAYAO MIYAZAKI CINEMA

Houses, which are the best-known examples of traditional architecture, are cultural heritage products and objects of representation. Traditional Japanese houses have continued their existence as living examples of space organization, materials and building-construction system/technique, preserving their originality and qualities. This study aims to interpret this architecture through the traditional Japanese architecture in Hayao Miyazaki's animated films. The main problem of the study is to obtain information about the cultures of societies through television and cinema products, to keep traditional architecture alive and to ensure its sustainability. By examining Miyazaki's animated films, the sample of the study was limited to 12 feature films or short films. In these films, those determined to be about traditional Japanese architecture are grouped as building elements, spaces, interior elements and accessories. In some of the films examined within the scope of the study, there are elements of traditional Japanese architecture in a single building, some in two or three buildings, and in some of the silhouettes of the settlement. It has been seen that the wall (kaaba) and roof (koyagumi) of the elements that make up the structure are more used than the ceiling (tenjo), and it is common in the board to use a floor (yuka) material. Life (doma), living room (ima), room (heya) and veranda (engawa) in traditional Japanese houses are more prominent than the kitchen (floor) and bathroom (furo) in the houses in the movies. Sliding wall (fusuma), sliding paper door/window (shoji) and shoe removal board/stone (kutsungi) from interior elements in homes and public spaces; tables (chabudai), cushions (zabuton) and wicker ground cover (tatami) are the most used items.

An Analysis of The Function and Influence of Documentary Crime Films

With the development of the movie market, more and more directors choose to shoot documentary crime films. Most directors aim to arouse the audience's thinking about society and humanity by making these films, but not every audience can understand these films in this way. There is little research probing into the positive and negative effects of this kind of movie on audience. This article divides the audience into four categories: viewers who want to see exciting plots; viewers who want to know the details; viewers who are potential criminals wanting to learn criminal techniques, and viewers who are intending criminals expecting to get inspired. Based on this audience, the article attempts to make the following suggestions for filmmakers, social media platforms, governments, and individuals: Film production needs to reduce overly exciting plots, use humorous or soothing plots to reduce the possible psychological impact on the audience, and moderately expose the legal procedures. Moreover, social media platforms need to strengthen the way videos are moderated and help governments publicize their actions. The government should intensify the supervision of social media and provide psychological counseling channels. In addition, the government also needs to pay attention to the social problems shown in the movies and take measures to improve them and reinforce the legal restrictions. Furthermore, individuals need to care about their mental health and actively seek help. Besides, individuals should develop the ability to distinguish true information. Last but not least, people who make films need to regulate their film-making jobs.

The Production of Coating Film with Sweet Potato Starch and Carboxymethylcellulose from Water Hyacinth on Storage Life Extension of Mango (Mangifera indica L.)

The objective of this research was to study the production of coating films with sweet potato starch (SPS) and carboxymethyl cellulose (CMC) from water hyacinth and to study the effect of the coating on the storage life extension of mangoes. The coating film was prepared by dissolving sweet potato starch in water at a concentration of 5 % w/v and adding CMC from water hyacinth at 5 different concentrations: 0, 5, 10, 15, and 20 % based on the weight of the starch. Glycerol was added as a plasticizer at 20 % of the weight of the starch solution. The mixture was then dried at 65 °C for 18 h. The study found that the thickness of the film decreased with higher concentrations of CMC from water hyacinth. The water activity (aw) ranged from 0.35 to 0.42, and the solubility and water vapor permeability of the film decreased with increasing CMC concentration. In the degradation study, it was observed that the films could biodegrade from 42 to 100 % for 8 weeks, with degradation rates decreasing as the amount of CMC from water hyacinth increased. Coating Mango with 10 % w/w CMC helped delay weight loss, skin color changes, and extended the shelf life of mango for up to 18 days at room temperature (28 ± 2 °C, 65 ± 2 % RH), compared to the control group with a shelf life of 12 days. These results indicate that films made from SPS/CMC from water hyacinth, with glycerol as the plasticizer, can effectively be used for preserving fruits and creating biodegradable films. HIGHLIGHTS The coating film of sweet potato starch (SPS) and Carboxymethylcellulose (CMC) from Water Hyacinth was prepared The effect of adding different CMC concentrations in SPS films was investigated This coating film is cost-effective and biodegradable The coating film of SPS and CMC from water hyacinth enhances the shelf-life of perishable fruit GRAPHICAL ABSTRACT

An interview with Felipe Guerrero (Colombian Centro Sperimentale di Cinema alumni) and the privilege of studying at the CSC from 1996 to 1999

This interview showcases the experience that Colombian film director and editor Felipe Guerrero had at the Centro Sperimentale di Cinematografia (CSC) in Rome, where he specialized in film editing from 1996 to 1999. Guerrero is widely known for his several film and television productions from all over the world, as well as for his five credits as a film director who has been fundamental to the revitalization of contemporary Colombian and Latin American cinema (from 1999 to the present; he is currently writing his second feature-length fiction film, entitled 1948). In this interview, Felipe Guerrero speaks about the meaningful experience he had at CSC for his career as a filmmaker and underlines how honoured he was to be among the few filmmakers accepted at the CSC during the 1990s. In sum, this interview is a rare and unique insight into the memories from one of the most important contemporary Latin American filmmakers had at CSC.

‘Bridal Outfits from the Heart of Filmland’: Clothes Rationing, Wartime Film Production and Gainsborough Pictures’ Studio Hire Service

This article explores the Studio Hire Service, a wardrobe ‘pooling’ scheme set up by Gainsborough Pictures at the Shepherd’s Bush film studio following the introduction of clothes rationing in 1941. The Service enabled producers to hire rather than purchase items of clothing for use in their films, saving them money, reducing the number of new outfits required for each production and allowing clothing coupons, which film-makers were expected to use sparingly, to be spent on only the most important or unusual costumes. Vital to the production sector in wartime Britain, the Studio Hire Service also played a notable role outside the film industry, not least in that it loaned outfits – including those worn by major female stars in films such as Love Story (1944) and Waterloo Road (1945) – to women for them to use as wedding dresses. In the last years of the war and the early years of the peace, hundreds (and possibly thousands) of British brides were married wearing a film-studio dress. The contribution that costume made to contemporary enjoyment of many of Gainsborough’s most famous films has been noted by scholars; this article shows that some of these same costumes also had a significant role to play in the real-world experiences of many ordinary Britons, offering access to a glamorous bridal outfit in a period of widespread sartorial scarcity and providing a noteworthy example of the way in which the bond between the picturegoer and the cinema extends beyond the auditorium.

British Quota Production and Film Costs in the Early 1930s

This article explores the economic contexts of British film production in the early 1930s through an analysis of the cost data provided in a ledger compiled by the Board of Trade documenting the statutory costs of all British ‘long’ films registered for renters’ quota during the quota year 1 April 1932 to 31 March 1933. This is the most comprehensive source for British film costs in the early 1930s. The evidence provided by the ledger suggests a more nuanced overall picture of the costs of British film-making than the standard narrative of ‘quality or quota’ would allow. It highlights the different production strategies of British and American distributors and sheds new light on the costs of ‘quota quickies’ and their place in the British film industry in the 1930s.

Equity, Diversity and Inclusion: Class Inequalities within the British Documentary Film Industry

While there is a considerable amount of scholarship and grey literature about social exclusions within the UK cultural industries, the sociology of cultural labour has paid little attention to documentary film-making as a relatively elitist occupation that is maintained by systemic inequalities. Based on semi-structured interviews with several independent documentary film-makers about their own labouring subjectivities, and qualitative analysis of relevant academic literature and cultural policies, this article critically explores how class inequalities are understood, reproduced, negotiated or resisted within contemporary British documentary film-making. The research findings demonstrate that documentarians from socially disadvantaged backgrounds are more likely to face significant obstacles in the film-making sector than their privileged counterparts. While the majority of respondents are aware of structural disadvantages, champion more inclusive forms of creativity and are committed to improving discriminatory working conditions, a small number of participants believe that the social relations of documentary film production are meritocratic, can be characterised by their celebration of neoliberal values and a willingness to defend the industry's employment practices. The article concludes with a series of recommendations for creative organisations, government and policymakers.

Ethics in Documentary Film Production: Asserting and Changing Norms

Ethics in Documentary Film Production: Asserting and Changing Norms

Novel Applications of Radiation Technology on the Production of Biodegradable Packaging for the Food Industry

The environmental damage human activities are cause is our most present concern. Plastics mainly petroleum-based packaging materials are widely employed in the manufacture of food packaging because of their performance and facility of production. That is leading to serious ecological problems for the environment as synthetic plastics are resistant to biodegradation. Biopolymers can be seeing as a solution to the problems posed by plastics as they easily degrade in the environment. Naturally occurring polymers produced by living organisms show no adverse effects on the environment or human being. For biodegradable food packaging it is required to employ biopolymers with good film formation capability and to employ a proper film formation method. In the present article, the employment of radiation technology in the production of films or coating for food packaging is presented as a novel application.

Research on Market Competition and Cooperation Opportunities in the Cultural Industries of China, Japan, and Korea

With the deep development of global cultural exchange, the cultural industry, as an important manifestation of soft power, has become a focus of competition among countries. China, Japan, and Korea, geographically close with rich cultural traditions, each have their distinctive cultural industries that have developed rapidly, forming their unique competitive advantages. Japan, with its exquisite craftsmanship and innovative thinking, leads in fields such as animation and design, and its cultural products are beloved by consumers worldwide. Korea has opened up international markets with its innovative production and marketing strategies in pop culture and film, becoming a new force in the global cultural industry. China, with its long history and rich cultural resources, has made significant achievements in investment and creation in the cultural industry in recent years, becoming a global cultural industry hub. However, with the increasing openness of the cultural market and intensified competition, the cultural industries of China, Japan, and Korea face unprecedented challenges. How to further enhance market competitiveness and explore international markets while maintaining their own characteristics has become a focus of attention for the cultural industries and governments of the three countries. Through strengthening cooperation and exchange, the cultural industries of China, Japan, and Korea can certainly shine brighter in the global market, making greater contributions to the cultural prosperity of Asia and the world.

Enhancing performance of two‐step fabricated perovskite solar cells with sulfonium triflate‐based additive

AbstractWe incorporated triphenylsulfonium triflate (TPST), a sulfonium‐based additive consisting of polar triflate and bulky hydrophobic phenyl rings, to the PbI2 precursor solution for preparation of less‐defect perovskite film via two‐step fabrication. TPST induced localized alterations in the array of the PbI2 structure due to its large size, thereby forming a more discontinuous and coarser surface with a greater number of pinholes and subsequently facilitating more efficient organic–inorganic reactions. As a result, we achieved the production of thick perovskite films with enlarged granules and decreased PbI2 residuals in the two‐step fabrication process. Furthermore, TPST facilitated the passivation of bulk film defects by increasing the binding energy with the defects. Consequently, the ITO/SnO2 np‐based device and the FTO/CBD SnO2‐based device obtained the best PCEs of 23.88% and 24.30%, respectively. Furthermore, the moisture stability of the perovskite was improved by the hydrophobic character of the TPST additive.image

Scalable one-step synthesis of reduced graphene oxide: Towards flexible transparent conductive films and active supercapacitor electrodes

The reduced graphene oxide (rGO) thin films have attracted much attention in flexible electronic devices and supercapacitors (SCs). However, the chemical reduction mechanism of GO needs to be clarified, and the one-step process at low temperatures for preparing high-quality rGO thin films from GO dispersions is still blank in the research field. Here, we propose a one-step operation to spray GO dispersions onto substrate or current collector under a hydroiodic acid (HI) atmosphere while simultaneously achieving the preparation of rGO thin films. This pioneering metal-free, transfer-free, fast, low-temperature, environmentally friendly, and scalable spraying technology enables large-scale production of high-quality rGO. This method realizes the preparation of highly conductive and high transmittance rGO thin films on flexible polyimide and polyethylene terephthalate substrates, as well as the preparation of rGO thin films on current collectors as SCs electrodes. Density functional theory calculations show that oxygen-containing functional groups on the surface of GO exhibit a stronger adsorption energy for HI, and have a low energy barrier during reduction by HI. Ab initio molecular dynamics simulated the possible reduction reaction path between GO and HI at 90 °C, demonstrating that HI molecules can effectively reduce GO. Furthermore, the sheet resistance of the transparent conductive film created using the method developed in this study reaches approximately 1000 Ω/sq (80 % transparency), and the specific capacitance of the SCs electrode film created in this method is 433.2 F/g (5 mV/s, 1 M H2SO4). Our study not only validates the efficacy of the one-step synthesis method for rGO thin films but also provides theoretical insights into the underlying reaction mechanism. This work holds significant promise for advancing applications in various electronics by facilitating large-scale production of high-quality rGO thin films.

Genre and stylistic features of Ukrainian fiction cinematography of the period of independence

The article is devoted the definition of genre and stylistic features of fiction films produced in Ukraine from 1991 to 2022. Using the analysis of theoretical works on film studies, genre theory, semiology and film history, it is proposed to define the concept of “genre” as a set of repetitive syntactic and semantic structures, the main connections of the genre with the socio-cultural and historical context are outlined. In particular, after analyzing 949 audiovisual projects from the «Base of National Films of Ukraine», which have been created during the period of Independence, it was found that the largest number of produced audiovisual works belongs to the fiction type of cinema. The presence of syntactic and semantic structures of 46 genres has been identified according to the genre and thematic direction of fiction cinematography. It is proved that the most popular genre in production is drama – 25 % of the total number of feature films. This percentage is a significant advantage over the presence of other genres. Analysis of data from the box office of cinema distribution in Ukraine for 2020 has revealed discrepancies between the number of produced films of a certain genre and thematic direction and the preferences of Ukrainian viewers. In this way, the assumption that the predominance of certain genres in the production of Ukrainian audiovisual art reflects the cultural needs of Ukrainians has been refuted. Such a comparison also disproved the claim that the absence of certain genres in the Ukrainian media space testifies to the foreignness of the narrative structure of such films to the cultural characteristics of Ukrainians, because the top five audience preferences include, for example, the horror genre, which is minimally present in Ukrainian production. The results of the study have theoretical and practical significance for film production in Ukraine, and also form a research field for further study of the development of each individual genre present in Ukrainian audiovisual art of the period of Independence.

Leonid Shvartsman: An Artistic Reading of the Petersburg Tales by Nikolai Gogol

This article analyses little-known works by artist L. A. Shvartsman (1920–2022) based on the Petersburg Tales by N. V. Gogol. The works from private collections created in 1953–1956 did not attract the attention of researchers at the time, whereas the appeal to the characters of The Overcoat, Portrait, and Nevsky Prospekt was an important stage for Shvartsman in the formation of a personal artistic programme. His studies at the art school at the All-Union Academy of Arts (1937–1941) determined his attitude to classical art and influenced the emotional perception of St Petersburg. The atmosphere of the “thaw” contributed to the master’s appeal to the unsettled life of a “little man”, defenceless in the face of power and a rude crowd. Having achieved fame as an animation film production designer by the mid‑1950s, Shvartsman sought to build his own system of translating verbal language into visual language outside the film production system, independently solving the creative tasks set. By calling his works “illustrations”, the master did not mean a book illustration, for which it is necessary to initially think over the design and style of the publication. The artist went from full-scale sketches, developed colouristic approaches and strove for the self-sufficiency of each work, hence the noticeable easel character of his works. At the same time, they also have expressive images inherent in sketches of animated films, stylised figures, a sense of action that logically develops and is predicted. The artist approached Gogol’s text selectively, focusing on the life and characters of the heroes, on the originality of the St Petersburg environment. He is interested in the image of Akaky Akakievich, moderately funny and ridiculous, but attractive in his fixation on rewriting papers – a matter which he treats with inspiration, with full dedication. Shvartsman did not want to dramatise situations, avoided climaxes, being satisfied with fixing the temptations of life, which, in the end, would lead the characters to a sad ending. In the process of artistic reading of the Petersburg Tales, Shvartsman not only developed expressive images and compositions, but also built his own creative worldview with moral guidelines and rules.

Large-Area Thickness Measurement of Transparent Films Based on a Multichannel Spectral Interference Sensor

Thickness measurement of thin films is essential for quality control in the manufacturing process of the semiconductor and display industries. Real-time monitoring of film thickness during production is an urgent technical problem to be solved. In this study, a method for large-area thickness measurement of transparent films based on a multichannel spectral interference sensor is proposed. The sensor simultaneously acquires multichannel spectral interference signals through a combination of fan-out fiber optic bundles, detection probes, and an imaging spectrometer. The spectral data are calibrated and transformed into the wavenumber dimension, and then the power spectral density estimation method is used to demodulate the data frequency to swiftly derive the film thickness. The thickness measurement capacity of the proposed system is successfully validated on two standard film samples with a relative deviation of less than 0.38% and a relative standard deviation of less than 0.044%. The total spectral acquisition and calculation time for a single multichannel measurement was approximately 7.5 ms. The experimental results on polyimide films show that the measurement efficiency of the system is at least 4 times higher than that of the traditional system, indicating the potential of the multichannel spectral interference sensor for online monitoring in film production.

Semantic prior guided fine-grained facial expression manipulation

AbstractFacial expression manipulation has gained wide attention and has been applied in various fields, such as film production, electronic games, and short videos. However, existing facial expression manipulation methods often overlook the details of local regions in images, resulting in the failure to preserve local structures and textures of images. To solve this problem, this paper proposes a local semantic segmentation mask-based GAN (LSGAN) to generate fine-grained facial expression images. LSGAN is composed of a semantic mask generator, an adversarial autoencoder, a transformative generator, and an AU-intensity discriminator. Our semantic mask generator generates eye, mouth, and cheek masks of face images. Then, our transformative generator integrates target expression labels and corresponding facial region features to generate a vivid target facial expression image. In this fashion, we can capture expressions from target face images explicitly. Furthermore, an AU-intensity discriminator is designed to capture facial expression variations and evaluate quality of generated images. Extensive experiments demonstrate that our method achieves authentic face images with accurate facial expressions and outperforms state-of-the-art methods qualitatively and quantitatively.

Methods for Fabrication of Freestanding Nanocellulose Film as a Sustainable Material for Packaging and Biomedical Applications: A Review

Biopolymers are a sustainable alternative to traditional plastics in the medical and packaging fields. Biopolymers are biodegradable and can be used to reduce plastic pollution. They are derived from renewable resources like cornstarch, sugarcane, or cellulose. Cellulose nanomaterials have the potential to revolutionize various industries. However, the production process of nanocellulose films is time-consuming, and there is a need for quick and adaptable methods to fabricate these films. Techniques such as solvent casting, spin coating, roll-to-roll printing, layer-by-layer assembly, vacuum filtration, and spraying are used to fabricate free-standing nanocellulose films, each with its advantages and limitations. The spraying process shows promise in producing nanocellulose films quickly and efficiently. In addition to that, the need for free-standing nanocellulose films in medical packaging and tissue engineering areas was admirable. However, the rapid process for fabrication of the film should be developed for large-scale production and commercialization of films.

Regional partnerships and media policy in the age of China’s rise: the case of Singapore-China film co-productions

ABSTRACT Despite being the first Asian country (except for Hong Kong) to sign a film co-production agreement with China, Singapore’s film co-productions with China so far are few and far between, none of which have come under the official agreement. This raises wider questions about the policy making challenges of small nations when driving or facilitating regional collaborations with partners like China. Drawing on interviews with key interlocutors in the Singapore film industry, this article explores how Singapore’s filmmakers make sense of working with the Chinese film industry as collaborators and co-producers on joint film productions. Our main argument is that conventional models for understanding drivers of co-productions may not work for small partners collaborating with a dominant regional/global partner like China. Through exploring the political, economic, and cultural tensions in the Asia-Pacific region that emerge when Singapore engages in collaborative film work with China, we hope to contribute to the wider literature on ‘South-South’ collaborations between film industries (and nations) of vastly different sizes and power.

Maleic acid modified lignin for preparation of ultra-flexible and UV shielding gelatin/lignin films

Alkaline lignin and sodium lignosulfonate were chemically modified by using maleic acid for potential application on the production of ultra-flexible gelatin films. The comparison results in morphology and chemical structures of the two types of lignin before and after modification revealed that carboxyl and CC groups were successfully grafted onto the lignin, resulting in the changes in physical-chemical properties. Compared to modified sodium lignosulfonate, modified alkaline lignin (MAL) was much more appropriate in the preparation of gelatin (GEL)/lignin films by endowing the films with transparency and excellent UV light shielding ability. Elongation at break of GEL/MAL films were more than two times that of the pure gelatin film, which greatly addressed the brittleness issues of the pure gelatin films during use, indicating that the modified alkaline lignin could be used as renewable additive with replacement of glycerol. The results in this study also gave evidence that the sources and structure of lignin affect its compatibility with gelatin solution. The higher weight loss rate and lower pyrolysis degradation temperature indicated that the gelatin/lignin films were much more easily thermal degradable at the end of service life. This research provided a potential and efficient approach on the production of renewable and biological films from gelatin and lignin.