Film Media Research Articles

EVOLUTION OF STRUCTURAL, OPTICAL PROPERTIES AND ELECTRICAL TRANSPORT Of NiOXFILMS ANNEALED IN DIFFERENT ENVIRONMENT

The influence of the annealing medium of thin films of nickel oxide (NiOx) on structural, optical and electrical transport properties is studied in this paper. NiOx films were synthesized by sol-gel method and annealed at a temperature of 300 °C in air, inert nitrogen (N2), oxygen (O2) gases and vacuum. The values of the films thickness were determined from the transverse cleavage of the SEM image. The films thickness depends on the annealing medium. Measurements of the EDX spectra of NiOx films were carried out. Analysis of the quantitative O/Ni ratio showed that the film annealed in an air atmosphere is close to the stoichiometric parameters of NiO. Measurements of the EDX spectra of NiOx films were carried out. According to the Raman spectra, an increase in peak intensities is observed indicating an increase in the density of defects in the film by Ni vacancies depending on the annealing medium. Absorption spectra and Tauc plots of NiOх films were obtained. The optical density of the films depends on the annealing conditions of the films. Data analysis shows that the band gap width depends on the annealing medium and varies from Eg = 3.12 eV to Eg = 3.45 eV. The analysis of the impedance spectra allowed us to estimate the values of the resistances R1 and R2. It is shown that an increase in the resistance of R1 is associated with a decrease in the density of defects in the NiOx film, decrease in the recombination resistance of R2, and an increase in recombination processes at the interface.

Диккенсовский «Сверчок за очагом»: о стилизациях, подражаниях, экранизациях

The article considers different imitative approaches to Charles Dickens’ novella “The Cricket on the Hearth” (1845). Our focus is on two groups of adaptations of Dickens’ work: (1) the “plot (non-stylistic) adaptations” and (2) imitations with elements of stylization. Adaptations appear as re-readings of the novella, which undergo literary simplification (cf. digest). Among such, we consider creative rehashings (including those for children) and scripts, which might be fleshed out with the help of theatrical and cinematic art. A separate group consists of stylistic imitations with occasional allusions to Dickensian narrative; however, they do not closely follow original storylines. The article pays attention to opinions expressed by Stanislavsky and Eisenstein regarding Cricket’s adjustment to the medium of theater and film. It also discusses some specifics of the Dickensian metaphor reflected in stylistic imitations and disregarded by non-stylistic adaptations.

Powidoki twórczości Federica Felliniego w "Mieście Snu" Krystiana Lupy

Afterimages of Federico Fellini’s Works in Krystian Lupa’s The City of Dream The main purpose of this article is to analyze Krystian Lupa’s production The City of Dream (TR Warsaw, 2012), based on the novel The Other Side by Alfred Kubin, relative to the work of Federico Fellini. The Polish director, who very often refers to the medium of film in his theatre productions, this time turned to the work of Federico Fellini. One of the themes of the play is the process of making a fictional documentary film by the Italian director. Lupa refers to Fellini’s work by stylizing some scenes from his films. He “borrows” characters from the filmmaker’s motion pictures and the Italian’s biography. He also adapts scenes from Fellini’s feature films and commercials. The purpose of the text is to highlight, analyze, and interpret the intertextual references found in the play.

Cultural Translation in Crouching Tiger, Hidden Dragon

Crouching Tiger, Hidden Dragon, a groundbreaking film in Chinese cinema history, etched its name in the annals of cinema by becoming the first foreign-language film from China to clinch an Oscar. This monumental achievement not only marked a historic milestone but also laid a robust foundation for subsequent Chinese cinematic endeavors to carve their niche in the global film and television landscape. Director Ang Lee, renowned for his versatile filmmaking prowess, embarked on the audacious mission of seamlessly blending Chinese cultural nuances with Western ideologies within the canvas of this cinematic masterpiece. This essay embarks on a compelling exploration of cultural translation, wherein the writer delve into how Ang Lee masterfully transmits the profound essence of traditional Oriental martial arts cinema to Western audiences. Through an in-depth analysis of a specific case study, the writer dissect Ang Lees ingenious methods for constructing a shared cultural context that bridges the chasm between these two distinct worlds. By shining a spotlight on Ang Lees extraordinary accomplishment in transcending cultural boundaries through the medium of film, the writer unravel the intricate layers of this cinematic triumph, expanding the understanding of its significance in the realm of global cinema.

Adaptive Narratives: Cinematic Echoes of Aravind Adiga's The White Tiger

This article delves into the intricate process of adapting novels into films, using Aravind Adiga's acclaimed novel, The White Tiger, as a primary example. The adaptation of literary works into cinematic forms has become a prevalent practice in the film industry, offering a unique lens through which to explore the creative dynamics and cultural implications of the adaptation process. Focusing on the adaptation of The White Tiger, the paper addresses the challenges faced by filmmakers in translating the intricate narratives of these novels into visual storytelling. The White Tiger, a political Satire novel by Aravind Adiga, has been adapted into a film by Ramin Bahrani, prompting a nuanced analysis of the adaptation's fidelity to the original work. The article examines how the film both adheres to and deviates from the spirit of the novel, assessing its visual portrayal of India, its success in capturing the political satire of the source material, and its critique for perceived shortcomings in depth and complexity. By delving into the successes and challenges of adapting The White Tiger, this paper aims to provide a comprehensive exploration of the adaptation process, offering insights into the cultural significance of the work and its representation in the film medium.

Civic education and the pedagogy of sports films

PurposeThis study explores the value of sports films for engaging youth in issues related to patriotism, justice, equity and liberty. The authors analyze how two sports films, 42 and Battle of the Sexes, have pedagogical potential and value in secondary social studies methods classes, as well as what criteria educators might use when selecting films (and television series) for classroom use.Design/methodology/approachUsing content analysis, the authors respond to the following questions: (1) What critical themes related to civic education surface in the sports films 42 and Battle of the Sexes? and (2) What framework might guide the use of selecting sports films and sports film clips for educators' civic educational use?FindingsFive themes surfaced in the films 42 and Battle of the Sexes: economics as a force for social change; racism and anti-Blackness, athletes as more than athletes, resisting oppression, and sexism and homophobia. Instruction related to these themes has the potential to engage students in critical, awareness-based approaches to civic education.Originality/valueSports films show promise for engaging youth due to their interests in the medium of film and in sports, both as participants and spectators. Across the world, athletes face questions and issues related to patriotism, justice, equity and liberty on courts, fields, tracks and rinks, These questions and issues are deeply embedded in civic education. This study is among the first of its kind to explore the pedagogical potential of sports films.

Exploring the Narrative Literature in Films

This paper delves into the theme of narrative literature within the realm of cinema, placing a particular emphasis on the diverse array of narrative techniques utilized by filmmakers to evoke emotions, disseminate information, and intricately cultivate character development. Through a comprehensive analysis of the multifaceted narrative components inherent to the cinematic medium, it endeavors to provide an enriched comprehension of how film manifests as an intricate and enthralling narrative platform.The narrative literature of film serves as a multifarious tapestry interwoven with various threads, each contributing to the overall impact of a cinematic creation. Keywords for this exploration include "narrative techniques," "emotional conveyance," "information dissemination," "character development," and "cinematic narrative medium."By scrutinizing these facets, we aim to unearth the artistry behind storytelling in film and underscore its pivotal role in captivating audiences worldwide. In doing so, this paper seeks to highlight the intricate craftsmanship that underpins the mesmerizing world of cinema, where narratives are brought to life through a symphony of visuals, dialogues, and symbolism, leaving an indelible imprint on viewers' hearts and minds.

Psychedelic Crystals in Cinema: Opening Virtual Dimensions and Potential Healing

This article proposes a different aesthetic state of Gilles Deleuze’s crystal-image defined as ‘psychedelic crystal’, a formation of the crystalline regime in light of the contemporary revival of scientific research exploring the healing potentialities of hallucinogenic drugs. The proposition of the psychedelic crystal occurs between Deleuze’s crystals of time, the therapeutic dimension of psychedelics, and Siegfried Kracauer’s concept of redemption (as salvation) through the cinematic medium. What lies in the middle of this encounter is a shared understanding of media – films as media; drugs as media – as holding a curative influence: to resume an affirmative potentiality for life and to restore a belief in the (physical and psychical) world. The film-philosophical dimension of the psychedelic crystal, developed specifically through an engagement with Jan Kounen’s Blueberry (2004) as case study, sees cinema with the potential to reanimate our mental and physical reality, especially when in relation to traumatically repressed, dissociated or repeated memory formations – thus looking at certain film aesthetics as a mind-revealing, mind-expanding and mind-healing technology which can be considered as intrinsically entangled with the current revival of therapeutic practices of psychoactive substances. As a proposition, the psychedelic crystal discloses a potential dimension of the psychedelic frontier of healing which transversally embraces the transdisciplinary gamut of film-philosophy, film theory and psychedelic research.

‘A first class medium’: the cautious anti-communism of the ICFTU’s International Labour Film Institute, 1953-1972

ABSTRACT Between 1953 and 1972 the International Labor Film Institute (ILFI), affiliated with yet organizationally separate from the International Confederation of Free Trade Unions (ICFTU), spread knowledge about, and encouraged the use of, films among Western trade unionists. Holding five formal film festivals, the ILFI also engaged in the collection and distribution of information about films and filmstrips on trade union topics, themes, and successes. Yet compared to other ICFTU forums, ICFTU and ILFI officials were relatively muted on Cold War issues when it came to film activities. When they did discuss such topics, they evidenced a level of uncertainty and confusion regarding how intensely to engage anti-communist messaging in the area of labor films, indicating a concern over how to strike the correct balance between showcasing topics solely focused on labor and engaging Cold War themes. Studying the ILFI and Western labor’s relationship to the medium of film thus reveals both an anxiety among Western labor leaders during the early and middle years of the Cold War over how best to weigh their desire to help workers with their goal of appearing sufficiently anti-communist as well as another way the vagueness of the ICFTU’s slogan of ‘free trade unionism’ impacted the ICFTU’s activities.

Ecological experimentations

The goal of this paper is to highlight the ecological aspect in the works of fi lmmaker Rose Lowder. Her fi lms are shot outdoors, in nature, and aim to modify visual perception and image-based representation, foregrounding the materiality of the fi lmic medium. Her fi lmography, characterized by its use of unique shooting and editing techniques, is remarkable for its calculation regarding creative possibilities. The parameters of investigation outlined in this study are the fi lmic procedures that stress the aesthetic and ecological qualities of this artist’s work

Dzieje mitu w mediach. Analiza fenomenu wampira w kinie na przykładzie Zagadki Nieśmiertelności Tony’ego Scotta i Tylko Kochankowie Przeżyją Jima Jarmuscha

The article is an attempt to prove that cinema, becoming a kind of home of a mythical being – a vampire, clearly influences the change in the perception of its importance in culture. It was decided to explore the form and narrative of The Hunger, directed by Tony Scott and Only Lovers Left Alive, written by Jim Jarmusch, because both of these works are masterpieces of the romance of the vampire myth with the film medium, which are not particularly popular among researchers of the phenomenon. The research works of Roland Barthes, Vladimir Propp, Erich Fromm and Rollo May were used, as well as the concepts of successive processing of a mythical story were demonstrated.

PHILOSOPHICAL MEANING OF KLANA UDENG MASK MOVIE

Nowadays, the traditional art of masks from Indramayu can still be found in various art forms, such as mask dance and mask puppetry. In its development, the art of mask tradition was adapted to the medium of film. When adapted into the medium of film, the mask dance performance art changes its function to become part of the educational media and part of the cultural tourism promotion in fulfilling the need to maintain the existence of the traditional art of masks to remain sustainable. This research aims to see the changes that occur and the meanings that arise from the traditional art adapted from mask dance into a movie entitled Klana Udeng Mask and identify the philosophical meanings in the movie. To comprehend the changes and meanings from the traditional art adapted from mask dance into a movie entitled Klana Udeng Mask, the researcher uses qualitative research using visual semiotics. In this research, the movie Klana Udeng Mask is interpreted with a semiotic approach from Roland Barthes. The movie Klana Udeng Mask has a philosophical meaning about gratitude and maintaining the relationship between humans and God Almighty. This philosophical meaning is evident in the opening scene of the mask dancers praying to God Almighty and the closing scene of them performing grateful praying movements to God Almighty. Changes in semiotic meaning in the Klana Udeng Mask movie affect the visual signs of the elements in the movie.

Determining Moral Value in Movies: An Analysis of the Movie “Onward”

Recent trends indicate a discernible decrease in the perceived significance of education, particularly among the adolescent and student demographic. The observed phenomenon can be attributed to a potential lack of parental emphasis on cultivating educational values in their offspring during early developmental stages, particularly in the contemporary era. The acquisition of knowledge through the guidance of teachers primarily centers on the assimilation of academic content, with limited attention given to examining potential moral decline among educators. The mitigation of this issue necessitates the active involvement of educators. Educators necessitate a medium that possesses the capacity to facilitate the instruction of various subjects, all the while ensuring that it imparts educational worth to the students. One of the forms of media that has gained significant popularity and cultural influence is the medium of film, commonly referred to as movies. The present study aims to explore and analyze the moral value embedded within the animated film titled "Onward." The data collection methods employed by the researcher encompassed both descriptive and qualitative approaches. The present study encompasses a three-step data analysis process: data condensation, data display, and conclusions verification. The researcher ultimately employed investigator triangulation to corroborate and substantiate the findings derived from the comprehensive analysis of the collected data. The research subject under investigation pertains to a cinematic production titled "Onward," which Dan Scanlan and C.S. Anderson co-directed. The researcher has identified various moral values depicted in the movie, including honesty, bravery, self-confidence, unselfishness, respect, love, and kindness. Through the examination and analysis of moral values, it is anticipated that cultivating virtuous qualities will contribute to developing a commendable character in a child. This process entails consistent endeavor, perseverance towards attaining personal goals, and unwavering affection and devotion towards one's familial unit.

Beyond Historicity: Aesthetic Authenticity in Cinematic Adaptations of Non-/Anti-Realist Fiction

Abstract The literature on authenticity in adaptation studies seems to be focused almost entirely on adaptations of either historical and (auto-)biographical literary texts or non-fiction narratives. The usual case studies are often generically limited to heritage and historical films, period dramas, documentaries, and biopics, to the exclusion of non-/anti-realist genres. However, there is more to adaptation than empirically and/or historically verifiable source texts, which warrants an examination of authenticity in adaptations of fantastical, science-fictional, and gothic fictions away from the fixation on historicity and veracity. This paper proposes an aesthetic (metadiscursive and experiential) outlook on authenticity in genre adaptations, namely George Miller’s adaptation of A. S. Byatt’s ‘The Djinn in the Nightingale’s Eye’, Three Thousand Years of Longing (2022); Denis Villeneuve’s adaptation of Ted Chiang’s ‘Story of Your Life’, Arrival (2016); and the different adaptations of Mary Shelley’s Frankenstein. Metadiscursively, authenticity depends on the self-consciousness of artistic representation, the extent to which the source text and its cinematic adaptation acknowledge their status as fictional narratives and their representational, medium-specific limits and potentials. Experientially, authenticity is judged by the degree of audience immersion in the storyworld, the feeling (generated by diegetic techniques) that what they are watching is experientially plausible despite the implausibility of the genre itself. Without lapsing in excessive realism and verbatim fidelity, an authentic adaptation is heedful of the paradoxes surrounding authenticity itself in any fictional narrative, attentive to their aesthetic and thematic treatment in the source text, aware of the representational affordances of the literary and cinematic media, and capable of offering the audience an immersive experience.

The Active Cry of the Double Other Nadine Labaki in the Perspective of Postcolonial Feminist Theory

In the Arab world, where the film industry is not well-developed, Lebanese director Nadine Labaki gained the world's attention in 2018 with Capernaum, through which people see the social problems of the Third World and through director Nadine Labaki, people see the double oppression and plight of women in the Third World. As a female director from the third world with female consciousness, Nadine Labaki uses the film as a tool to cry out for the double other actively. As an American scholar from India, Gayatri Chakravorty Spivak has always focused her attention on the Third World and its women, combining deconstructionism, postcolonialism and feminism to form her own unique postcolonial feminist theory. Nadine Labaki and Spivak have a certain identity overlap- both are Third-World women, both have female consciousness, both have some connection with the Western academic or art world, and both have certain social status and their own achievements. Combining Spivak's postcolonial feminism with a film text analysis, this paper attempts to explore how director Nadine Labaki actively cries out for the double other in her films and draws a conclusion that the double oppression suffered by third-world women is in synergy. The greatest significance and purpose of this theoretically-oriented analysis of film practice is the social dimension, to provide the right to speak for the subalterns, for women, and also to expect to see more marginalized people and things through the medium of film, thus dissolving the authority of centrism.

Nebulous Cinema

Abstract As billowing masses averse to stillness and defined by perpetual variability, clouds, fog and mist share common ontological properties. This article will group them together under the rubric of the “nebulous,” and probe its conceptual and aesthetic relationship with film. Fog, smoke and mist are pervasive through the entire history of cinema and crop up in an array of genres and modes. What would film history look like if traced from the perspective of these cloud forms? The article hopes to sketch out the first contours of such a history by honing in on a durational cinematic tradition, from the “landscape film” of the 1970s through to contemporary slow cinema. It will conceive of such a history as intermedial both in the sense that it extrapolates the boundaries of the film medium and in that it treats fog, mist and clouds as elemental “media” in their own right.

Introduction to the Elements of Film Art: Montage and Camera as Basic Elements of the Film

The paper deals with the basic elements of film art as well as the evolution of the film medium. The film, as a medium of storytelling, experiences changes due to the advancement of technology, and the production of a film in an amateur context becomes more accessible and democratic. The authors of the text discuss the technical elements of storytelling in film, and regardless of technological improvement, the quality of the narrative remains at the center of craftsmanship. The importance of handling the basic elements of the camera and editing, and the creation of an emotional correspondence between the film and the audience, is emphasized. In addition to the aspect of storytelling and entertainment, the film inevitably affects a change in cultural and social perspectives. In the past years, digital technology has brought about changes in the understanding of film reality, and the future has the tendency to transform from a film performance into a film experience. The authors discuss the elementary aspects of the film, which regardless of technological aspirations, will remain essential in filmmaking.

Trauma and motivation in Justin Kurzel's Macbeth

Film adaptations of Shakespeare’s works face the unique challenge of interpreting the texts in a manner that would propel the unique qualities of the medium that allows it to convey multiple layers of meaning through the cinematic language of editing. The wealth of available interpretations from the timelessness of Shakespeare’s works is especially applicable to the cinematic medium as the methods of conveying meaning and expression increase exponentially with the camera as a free- moving entity around time, spaces, and characters. With the exception of Kenneth Branagh’s full-text adaptation of Hamlet, most directors make additions and subtractions to the original plays in order to convey their specific interpretive vision. Australian film director Justin Kurzel’s 2015 adaptation of Macbeth is one that, while being set physically in the historical past of the original play, presents relatively modern psychological concepts with regard to war and its traumatic consequences, as well as the trauma of loss and melancholia. This study analyzes Kurzel’s additions and subtractions to the source material, as well as the cinematic language utilized to convey how the trauma of loss, post-traumatic stress disorder, and the death drive work as motivational narrative thrusts for the actions Macbeth and Lady Macbeth undertake.

Spatial Interactions in Hydrogenated Perovskite Nickelate Synaptic Networks.

A key aspect of how the brain learns and enables decision-making processes is through synaptic interactions. Electrical transmission and communication in a network of synapses are modulated by extracellular fields generated by ionic chemical gradients. Emulating such spatial interactions in synthetic networks can be of potential use for neuromorphic learning and the hardware implementation of artificial intelligence. Here, we demonstrate that in a network of hydrogen-doped perovskite nickelate devices, electric bias across a single junction can tune the coupling strength between the neighboring cells. Electrical transport measurements and spatially resolved diffraction and nanoprobe X-ray and scanning microwave impedance spectroscopic studies suggest that graded proton distribution in the inhomogeneous medium of hydrogen-doped nickelate film enables this behavior. We further demonstrate signal integration through the coupling of various junctions.

Understanding Liminality and Intangible Difficult Heritage through Film

ABSTRACT The tourist's role in engaging with difficult heritage is described as a liminal one, in a state of ”limbo” outside of their ordinary lives, embracing the challenging historical narratives presented by difficult heritage while also maintaining a certain detachment. This liminality parallels the cinematic experience, where the audience temporarily resides in a similar state of in-betweenness, delving into imagined traumatic pasts from the safety of the present. This paper contributes both to literature on difficult heritage and to intangible cultural heritage to reveal the need for a more nuanced appreciation of intangible difficulty heritage when concerning genocide and war. It presents the 'Dealing with Trauma through Film' project, with a particular emphasis on its materiality within the context of the German-Namibian conflict and genocide, regarded as difficult heritage. Nelson's concept of liminality plays a pivotal role in understanding the dynamic between the film audience and the experience of the actors involved. The primary focus here is on the production of the German movie 'Der Vermessene Mensch' (The Measures of Men and outlines the intricate representation of intangible aspects of difficult heritage related to conflict through the medium of film.