Film Project Research Articles

PROJEK PEMBUATAN FILM MELALUI MODEL PEMBELAJARAN PROJECT BASED LEARNING DAN MODEL PENGEMBANGAN 4D

This study applies the Project Based Learning (PjBL) learning model to the Pancasila subject of class X students at SMK Mega Link Majene. PjBL is an innovative learning that is centered on students and places teachers as motivators and facilitators, where students are given the opportunity to work autonomously to construct what they want to learn. This study aims to produce a collaborative project between students and PKn teachers in making films. This type of research is Research and Development (RnD) by applying the 4D model (Define, Design, Develop, Disseminate). The research instruments are (1) a test to assess the results of the film project. (2) teacher observation sheets to observe the practice of implementing PjBL in making films. (3) student observation sheets to observe student activities during the film making project process (4) Response questionnaires to the PjBL learning model in the film making project. Based on the research results, the process of determining the film was obtained, namely problem recognition, designing project planning, compiling a project schedule, project implementation and monitoring, project presentation, and evaluation and reflection. The data collected in this study are (1) Expert Validation Result Data; the distribution of the film project design development prototype was carried out complete with an assessment rubric, student reflection sheets, and teacher reflection sheets. (2) Learning outcome data in this case is the value of the film project that has been worked on by students with 5 stages of assessment, namely orientation/problem recognition, film project planning design, film project schedule preparation, film project implementation and monitoring, film project presentation, and evaluation and reflection. (3) Student activity data using observation sheets to observe students working on film projects. (4) Learning implementation data using teacher observation sheets to assess teacher implementation in implementing PjBL. (5) Student response data using questionnaires and given at the end of film project learning.

Film image processing and production based on high-performance calculation

In film and television production, efficient and precise image processing is vital for achieving realistic visual effects. Therefore, exploring and applying advanced image processing technologies has become an essential method for elevating the production quality of film and television projects. This work investigates the application of artificial intelligence (AI) technology in the processing and production of animated images in film and television scenarios. By comparing the performance of standard Generative Adversarial Network (GAN), DenseNet, and CycleGAN models under different noise conditions, it is found that CycleGAN performs the best in image denoising and detail restoration. Experimental results demonstrate that CycleGAN achieves a Peak Signal-to-noise Ratio (PSNR) of 30.1dB and a Structural Similarity Index Measure (SSIM) of 0.88 under Gaussian noise conditions. Moreover, CycleGAN achieves a PSNR of 29.5dB and an SSIM of 0.85 under salt-and-pepper noise conditions. It outperforms the other models in both conditions. Additionally, CycleGAN’s mean absolute error is significantly lower than that of the other models. This work demonstrates that CycleGAN can more effectively handle complex noise and generate high-quality images under unsupervised learning conditions. These findings provide new directions for future image processing research and offer important references for model selection in practical applications. This work not only offers new perspectives on the development of animation image processing technology but also establishes a theoretical foundation for applying advanced AI techniques in film and television production. Through comparative analysis of various deep learning models, this work highlights the superior performance of CycleGAN under complex noise conditions. This advancement not only drives progress in image processing technology but also provides effective solutions for efficient production and quality enhancement of future film and television works.

Exploring the imperative of “relational documentary”: Process, power, and unruly collaboration in media production on Palestine

AbstractBecoming an anthropologist of Palestine during the War on Terror meant that the specter of violence and exclusion always loomed over my research; yet I had become an anthropologist out of a commitment to presence in and engagement with people from the Middle East. I investigate the ways in which Faye Ginsburg's approach to studying polarizing issues, her analysis of Indigenous media, and her commitment to ethical collaboration has shaped my written and video work. In the first part of the paper, I discuss how reflexivity and positionality propelled me forward in an ethnographic study of journalistic production. In the second half, I reflect on collaborative film projects that illuminated themes of risk and positionality that are at the heart of politics and media production in Palestine. The model of “relational documentary” analyzed by Ginsburg that considers ethics and politics both on and off screen informs my approach to the obligations of long‐running partnerships. Just as much, Ginsburg's commitment to play and creativity allowed me to imagine unexpected explorations of mobility, voice, and place to ask what we can do, working across lines of difference, to be able to hear each other and make space for each other to be heard.

Home movies, teoria krajobrazu i edukacja filmowa. Studium przypadku z Polskiego Archiwum Filmów Domowych

The article is a preliminary study to further research of home movie archives in the context of representing the landscape of the Anthropocene and identifying the relations between humans and their environment in the manifestations of visual culture. The introductory section explains the choice of home movies as the subject of research. In addition, the context of an anthropological understanding of landscape in Tim Ingold’s concept and its relevance for film studies is presented. The next part of the paper is a case study of the Bełżeccy Family Archive from the Polish Archive of Home Movies project, with particular emphasis on examining the film’s form and style in portraying the landscape. The final part contains conclusions and suggestions for transdisciplinary research paths, connecting the exploration of home movie archives with visual culture studies and natural sciences. The presented reflections are meant to inspire educational activities. There are also six examples of tasks to be modified and elaborated by teachers according to group preferences.

How to catch prospective use? A comparative study of virtual environment movie and guided imaginary for projecting future users in a public space

Focusing on the design of a public space, we propose a methodological contribution to integrate possible future users to studies in prospective ergonomics. Our objective is to establish a rigorous protocol for comparing two methods of projecting potential usage. First, a projection interview based on a virtual environment movie and second, a Guided Imaginary Projection interview. We sought to determine to what extent these two methods provide participants with the ability to live a ‘quasi-experience’ of the space. This ‘quasi-experience’ is measured by a questionnaire inspired by the concepts of presence and absorption and by the analysis of the embodiment level of the discourse produced during the interviews, from embodied to general discourse. The results show that while the two methods produce similar results in terms of the level of projection experience, the virtual environment movie projection produces significantly more general discourse.

Study of the use of special effects in cinema

In the context of the rapid development of the audiovisual industry, the search for new tools to attract audience attention becomes a key task for any creative project. Special effects used to enhance the entertainment of an audio visual work can act as such tools. Within the framework of the research, the expediency of applying them is considered in the context of cinema. Modern trends in cinema are aimed at individualising a creative project. Therefore, it is necessary to know which special effects are advisable to use when realising a film project depending on its features. As a result, a detailed analysis of the implemented special effects has been conducted in relation to different forms of film products in order to better understand the cost of applying them in a particular film project. Variants of special effects have been formed, based not only on paired technologies, but also on more numerous relationships between the first ones. Special effects are both combined and complement each other, thus forming a more efficient filmmaking, which allows you to fully use the techniques of impressive display of visual elements. When evaluating the effectiveness of the application of special effects, the authors have introduced such indicators as output of a special effect and intensity of a special effect.

The manifestation and impact of the concept of “Three Yi” in the book of changes in the international dissemination of Chinese ethnic music: a case study of works from “Looking China Youth Film Project”

The manifestation and impact of the concept of “Three Yi” in the book of changes in the international dissemination of Chinese ethnic music: a case study of works from “Looking China Youth Film Project”

A Changing Representation: “Personal Writing” in Artistic Intervention in Chinese Rural Communities

As socially engaged art has played a vibrant role in responding to the crisis of the postmodernist art regime, the current post-Occupy condition has manifested itself in artistic interventions in rural China. In contrast to social writing, which encompasses street art, designers going to the countryside, and industrial empowerment to construct “good cultural governance” or “good cultural taste,” the term personal writing as used here describes a type of avant-garde intervention that has sparked interest in vernacular communities. It provides a socially minded critique of art production as bifurcated from the remaking of everyday social relations and subjectivities, political and cultural possibilities, and the rural Chinese future. Grounded in a contextual analysis of the social turn in Chinese contemporary art and the lingering “rural problem” under post-socialism, this article takes artist Mao Chenyu's Paddy Film project as an example of personal writing and proposes this artist's activisms at Dongting Lake as a specific intervening field, visual ethnography as a method, paddy rice as a distinctive “thing,” and archival practices as a deconstructive pathway that together have promoted the emergence of a resistance narrative in artistic intervention in Chinese rural communities.

Integration and Industrialization of Film and Television Resources and its Significance for China’s Film and Television Work

The abundance of Film and Television resources in China is notable, yet the effective amalgamation and industrialization of these resources hold immense importance for the nation's film and television endeavors. Utilizing the full potential of policy, market, talent, and cultural assets, this research achieves the industrialization of Film and Television resources via a comprehensive amalgamation and integration of various capital, cooperation, and industry sectors. The findings of our study indicate that merging and mechanizing Film and Television resources in the realm of film and TV not only enhances their usage efficiency and financial worth, but also elevates their quality and expressive capacity. Consequently, this approach enables efficient education in Film and Television for the film and television sector in China. The research aids in comprehending the significance of incorporating Film and Television resource industrialization into film and TV projects, and also serves as a valuable methodological guide for diverse film and TV endeavors via these resources.

Management Structure in the Film Industry

Introduction. The scientific and technological revolution and digitalisation introduced into various spheres of life also bring with them opportunities for creating completely new film content. The demand for cinema is constantly growing, as it is one of the most popular and profitable industries in the world. Purpose and methods. The purpose of the article is to identify the stages of contemporary film production organisation, determine the sequence of processes for creating a film product, analyse employees’ functions in the field of cinema, and substantiate a typical scheme of a film project organisational structure. The methodological basis of the study is the systemic and interdisciplinary approaches, as well as terminological, historical, calculation and constructive, structural and functional, and expert methods. Results. The stages of modern film production organisation are identified. The sequence of creating a film product processes on the way from creation to consumption is determined. The employees' functions in the field of cinema are analysed. A typical scheme of a film project's organisational structure for the perspective is substantiated. Conclusions. Summarising the scientific theoretical provisions on the organisation of management and a team of specialists in the field of cinematography, the article substantiates a flexible adaptive standard system for organising the filming process, which ensures effective interaction between various participants in the film making process, helps to avoid mistakes and delays in production, ensure compliance with the budget and deadlines, and deliver a high-quality film product that will be commercially viable for producers. In terms of scientific novelty, this study has significant potential for the development of management theory and practice, as well as for improving film production efficiency.

The impact of project‐based interorganizational networks: Evidence from the Chinese movie industry

AbstractProject‐based interorganizational networks are temporary and dynamic, and significantly different from stable networks for mass production. However, empirical studies on project‐based interorganizational networks are scant. Drawing upon the network literature and distinguishing between production and distribution networks, we investigate how the centrality of a project in industry networks and tie strength of the project's member firms affect project performance in terms of product quality and sales. Using data of 821 Chinese movie projects during 2015–2018, we find empirical evidence that a project's centrality in the production network enhances product quality and that in the distribution network elevates product sales. Interestingly, weak ties in the production team contribute to product quality while strong ties in the distribution team improve product sales. This study advances the literature on project‐based industries and interorganizational networks. It highlights the distinction between production and distribution networks in project‐based industries and sheds light on the differential roles of a project's centrality and tie strength in both networks. These findings also offer novel insights to managers in project‐based industries.

Gender (im)balance in the Russian cinema: on the screen and behind the camera

The relationship between on-screen and off-screen inequality in film industries and the relative impact of these on movie attendance is widely discussed but not necessarily empirically demonstrated. This article examines the binary gender composition of film project teams and the gendered representation of film characters as factors for cinema attendance. We collected a unique dataset (N=1285) of all films released during the pre-pandemic decade (2008-2019) in Russia – at that time the largest European cinema market. A marked-up subset of 243 films was used to calculate a novel version of the Bechdel-Wallace test that accounts for the proportion of all non-stereotypical dialogues in the film narration, as opposed to the classical binary test. Our test proves very informative, revealing a strikingly high proportion of dialogues with stereotypical portrayals of women even among the films that pass the Bechdel-Wallace binary threshold. We also undertook a social network analysis (SNA) of the characters’ communications. This analysis demonstrate that women predominantly occupy a peripheral position in film plots. Both stereotyping and marginalization of women are positively related to the proportion of men in the film crew, especially in the role of screenwriter. Simultaneously, having more men in key positions is also correlated with access to larger budgets and better distribution, thus effectively impeding films with stronger women characters from wider audiences. These audiences, however, show no prejudice towards films with such characters: after 2015, films featuring central women protagonists have the same level of attendance as movies without them. Although Russia exemplifies a large non-Western cinema market, the trends we identify, particularly the “gatekeeping” effect of male filmmakers, is notably in line with those observed in Western democracies.

The Evolution of Cinemas in Prague from the Second Half of the Twentieth Century: A Contemporary Perspective

The article approaches the situation of Prague cinemas in the second half of the 20th century from the end of the Second World War to the Velvet Revolution within the socio-historical background from the point of view of an architect and a cinephile. The entire text is arranged chronologically in four paragraphs reflecting the contemporary political and social situation. It approximates the post-war period full of ideological ideals, when the construction of a dense network of cinemas became a key element of national renewal, not only in large cities but also in the regions. The following decade brought a paradigmatic shift, when local single-screen cinemas gave way to large cultural houses with multifunctional use (film, theatre, gallery, restaurant, sports facilities, etc.). It deals with the socially relaxed sixties, reflecting the synergy of various artistic disciplines, thanks to which Czechoslovakia presented to the world new artistic disciplines based precisely on film projection – “polyekran” (polyscreen) and “laterna magika” (a combination of projection and performance with live actors). The imaginary culmination of the new wave period was the opening of the luxury cinema 64 U Hradeb, which is given more attention in the text below. Furthermore, the text outlines the situation of cinemas in large Prague housing estates and deals with Czech brutalism in the context of foreign architecture and with the only brutalist cinema still operating today – the Dlabačov cinema. The final part of this article gives a brief overview of the total number of cinemas established in this period in the territory of Prague and a comparison with other European metropolises with a similar socio-cultural background. The research has the ambition to understand and approach how to integrate valuable cinema buildings on the territory of Prague into the daily life of contemporary Prague residents through the investigation of the cinema phenomenon, and the development of cinematography and cinema architecture as such, from its inception to the present day. The general logical processing methods are historical and socio-cultural analysis, architectural and urban research including architectural drawings, photographic documentation and a study of the urban development of the appearance of individual cinemas, comparison and deduction.

The Work of Art as a Fictionalized Duplicate of Life: Boris Lehman's Babel film project in the Light of Marcel Proust's In Search of Lost Time

Belgian filmmaker Boris Lehman has created what is surely the most ambitious film diary in the history of cinema, Babel, a twenty-four-hour film divided into nine parts and several appendices, which traces a sort of sublimated filmic duplicate of the author's life between 1983 and 2020. In Babel, Lehman painstakingly records the daily activities of his life: eating breakfast, walking, talking with friends, traveling, playing the piano, being evicted, looking for a job or paying his taxes. Despite the appearance of a realistic duplicate, the filmmaker claims for his film the denomination of "autobiographical fiction". How can we understand this mismatch between the everyday reality suggested by the film and the fictional will that the author proposes as a key to reading it? This article proposes to consider this fictional quality of Lehman's autobiographical project in the light of the aesthetic proposal crystallized in Marcel Proust's novel In Search of Lost Time, which Gérard Genette proposed to call "autofiction".

When Meaningful Movies Invite Fear Transcendence: An Extended Terror Management Account of the Function of Death in Movies

Meaningful movies can serve as an anxiety buffer against the fear of death, unless death plays a central role in the movie. This invites the question what happens when death is central to a movie storyline. The present research introduces and tests the so-called fear transcendence route, a second terror management route in which meaningful movies about death invite viewers to virtually confront and transcend their fear of death. Two experiments ( N = 206; N = 401) tested three preconditions for fear transcendence, that is, (1) death is salient in real life; (2) death is central to the storyline, and (3) the movie projects a specific meaning to death. We assessed effects on fear transcendence, operationalized as decreased fear of death; decreased death avoidance; increased death acceptance. Especially older viewers became less avoidant and more accepting of death when the preconditions for fear transcendence were met. Meaningful movies about death can thus evoke fear transcendence.

Reshaping production practices: European film festivals, new Indonesian cinema, and the creative producer

ABSTRACT European film festivals pride themselves for their support of cinemas from developing countries by assisting under-resourced filmmakers, and by becoming co-producers through funds, pitching forums, and co-production arrangements. In engaging European film festivals, many filmmakers from ‘developing’ countries have gained exposure, experience, training, support, and critical capital that has helped their productions and careers. To date, festivals have facilitated the auteur model of the filmmaker, relying on the idea of the inspired authorial genius of the director to carry and realise a film project. With the changing operation and organization of festivals and their activities to a more results-oriented industry model underpinned by neoliberal social relations, new demands are placed on filmmakers who engage with festivals. This article argues that these new modes of engagement reveal the role of the creative producer in the film festival-filmmaker relationship, decentering attention from the director-as-auteur model that has shaped engagement and participation to date. Through a discussion of Indonesian film, and in particular, creative producer Meiske Taurisia (BabiButaFilm/Palari Films), this article shows how the producer provides the complementary skills and abilities to support a project and its director, enabling Indonesian films and their makers to participate in global film festivals.

Human resource practices and labour process of movie projection in China's rural areas in the digital era

PurposeRegarding human resource and labour relations management, academia focuses mainly on cities; however, rural areas are an integral part of China's economic structure. This study focuses on the movie projection industry in China's rural areas and explores how human resource practices (HRPs) are transformed and the labour process is reconstructed in digital transformation.Design/methodology/approachWe adopt a case study of a rural movie projection company. The company's HRPs reconstructed the labour process of movie projection, and they have been promoted as national standards. Data were collected from in-depth interviews, files and observations.FindingsRural movie projection companies combine high-performance and paternalistic HRPs in the media industry's digital transformation. HRPs and digital technology jointly reconstruct the labour process. First, the HRPs direct labour process practices towards standardisation. Second, the digital supervision platform guides the control style from simple to technical, placing projectionists under pressure while increasing management efficiency. Third, rural movies made using digital technology have disenchanted rural residents. Accordingly, the conventional relationships between the “country and its citizens,” “individuals themselves,” and “models and individuals” have been removed, and a new relationship between “individuals themselves” is formed thanks to the novel HRPs.Originality/valueThis research plays a crucial role in exposing researchers to the labour process of rural movie projection, which is significant in China but often ignored by Western academia and advances the Chinese contextualisation of research on labour relations.

Collaboration in documentary filmmaking and its discontents: Reflections from the field

AbstractCollaborative practice can sometimes be flawed and exploitative. Drawing on my ethnographic fieldwork within an Indian Muslim women's organization, my article examines the co‐creative practice and its pitfalls and what it ultimately reveals about reflexivity and the politics of (self)representation. I discuss how my attempt at making a collaborative/co‐authored film project with my research participants became difficult to realize in its theoretical and methodological intent, for the collaborators inevitably fall across different positionalities and accesses to power. Rather than succeeding at co‐writing the film, the experience revealed how the power dynamics can be even more pronounced in collaborative filmmaking practice.

Home movies as technologies of belonging and resistance

This article examines the significance of home movies as tools of resistance and belonging, particularly for African American families during the Civil Rights era. Focusing on archival collections from the South Side Home Movie Project (SSHMP), African American Home Movie Archive (AAHMA), and the National Museum of African American History & Culture (NMAAHC), the study reveals how African American families, through their cinematic documentation of visits to national parks and other leisure activities, challenged prevailing narratives of national identity. Despite encountering rampant discrimination, these families captured moments of joy and relaxation, highlighting their resilience and assertion of their rightful place within the American narrative. These historical home movies are profound testimonials of Black identity, resilience, and belonging in the face of adversity. Examining these films enriches our understanding of cultural memory, national identity, and the role of African American home movies in presenting a more nuanced American history.

Haptic stimulation during the viewing of a film: an EEG-based study

Recent psychology and neuroscience studies have used tactile stimuli in patients, concluding after their experiments that touch is a sense tightly linked to emotions. In parallel, a new way of seeing films, 4D cinema, has added new stimuli to the traditional audiovisual via, including the tactile vibration. In this work, we have studied the brain activity of audience while viewing a scene filmed and directed by us and with an emotional content, under two different conditions: 1) image + sound, 2) image + sound + vibro-tactile stimulation. We have designed a glove where pulse trains are generated in coin motors at specific moments and recorded 35 viewers’ electroencephalograms (EEGs) to evaluate the impact of the vibro-tactile stimulation during the film projection. Hotelling’s T-squared results show higher brain intensity if the tactile stimulus is received during the viewing than if no tactile stimulus is injected. Condition 1 participants showed activation in left and right orbitofrontal areas, whereas Condition 2 they also showed activities in right superior frontal and right-medial frontal areas. We conclude that the addition of vibrotactile stimulus increases the brain activity in areas linked with attentional processes, while producing a higher intensity in those related to emotional processes.