Diasporic Film in Communities

The Diasporic Film in Communities project set out to critically examine the role of Diasporic film culture in Diasporic communities. A case study approach was used to explore how three postcolonial publics (African-Caribbean, Chinese and South Asian) mobilise around film, interface with cultural organisations and reflect on their significance as film communities.AHRC- Research Grant, Project Reference: AH/J011991/

AN ANALYSIS ON THE SETTING OF THE FILM “THE PHANTOM OF THE \ud OPERA” DIRECTED BY JOEL SCHUMACHER

This study aimed at analyzing the setting of the film “The Phantom of the Opera” directed by Joel Scumacher. Setting is the time, place, and environtment in which the events in the film accur. The analysis on the setting is seen from the aspects of production (costumes and sets) and sound design (dialogue, effect, and music). This study tried to find the appropriateness of costumes and setting and the functions of costumes in setting of the film “The Phantom of the Opera”. \ud This study used qualitative research and library technique. There are four approaches in studying literary works, however, the researcher used the objective approach to conduct this study. The object of this study was the costumes which were used by the major characters in setting of the film. The data were taken from pictures of the costumes. Afterwards, the data were clasyfied and analyzed based on statement of the problems. \ud After the data had been analyzed, it was found that the costumes in this film were dominated by mid and late-Victorian styles because this film took place in Paris at 1870 which included in Realism and Art Nouveau periods, while those periods were influenced by Middle and Late-\ud Vintorian era. The characteristics of Mid-Victorian costumes used natural colour with bustle, corset, cage crinoline, and petticoat for women, while men wore velvet jacket, bowtie, waistcoat, tight trousers, flowing robes, boot, coat, and lavish bell sleeves. Besides, Late-Victorian costumes used bustle and suits, while the colour was available in many kinds. Those indicated that the costumes were appropriated with the setting. It was also found that there were two functions of the costumes in this film; the costumes made the setting in the film more attactive and they indicated locale and accurrence of the setting in the film

From film policy to creative screen policies : media convergence and film policy trends in Flanders

In recent years, digitization processes and media convergence trends have changed the film industry in various ways. Scholars have indicated various alterations in the aesthetics, production, distribution, exhibition and reception of films, thereby pointing at new technological possibilities and challenges, an increasing participatory cinema culture, changes in the broader creative and economic strategies of film and media companies and an overall convergence between film and other media. The expansion of film industry activities from film to various other media has a long history. Media convergence trends, however, have recently intensified this expansion. In a European context, the role of film policy is particularly relevant in this respect, as film policy forms a crucial cornerstone for the organization of European film industries. By focusing on recent developments in Flanders (the northern, Dutch-language region in Belgium), this case study examines how, in tune with digitization and media convergence processes, government film policy in Europe has increasingly expanded its scope. More specifically, we analyse how film policy has evolved from a focus on the production of films into a more complex set of policy measures towards ‘creative screen media’ production. With this case study, we want to argue that contemporary film policy should be seen within the broader media environment and media policies, which are characterized by the growth of a conceptual and practical convergence between various (old and new) media, information and communication technologies and creative arts. This transition process is not ‘new’ as such, but has remarkably intensified since the turn of the millennium. Indeed, the evolution from film policy to broader creative screens policies runs parallel with and is connected to a more general shift in government policy (in Flanders and elsewhere), from a ‘cultural’ to a ‘creative’ industries policy paradigm

Investigation of the Role of Plasticizers in Film-forming Coats for Protecting Cooled Meat

As a result of theoretical studies on problems of protection and prolongation of storage terms of meat, it was revealed, that one of promising directions is to use protecting coats, based on natural biopolymers.The topicality of this study is in studying film-forming coats, based on natural polysaccharides, because they have high mechanical indices, absence of a smell, taste and are subjected to biological destruction. For regulating mechanical properties, the composition of film-creating coats is added with plasticizers of different origins.The aim of this work is in describing characteristics of food films, based on carrageenan, sodium alginate and plasticizers of different origins.There were mechanical, rheological properties of protecting coats. The comparative characteristic of these properties, depending on an added plasticizer, was realized. The type and mechanisms of interaction of components of the film-forming coat and plasticizers were completely described. The viscosity of the film-forming coat with a plasticizer has less values comparing with other solutions. Adding plasticizers resulted in increasing the film elasticity, but at the same time some increase of the firmness was observed.Film-forming coats with adding a plasticizer had a higher limit of fluidity, so they were firmer than complex film-forming coats without a plasticizer. From the other side, deformation values of film-forming coats without adding a plasticizer were higher than ones of complex film-forming coats with adding a plasticizer, because they were firmer.The study of physical properties of developed film-forming coats, based on hydrocolloids, demonstrated that coats with a plasticizer have more gas permeability.According to the results, obtained at experiments it was established, that the film-forming coat, based on sodium alginate, carrageenan and glycerin, has best mechanical, physical and rheological indices

The Screenplay Business: Managing creativity in script development in the contemporary British independent film industry

A screenplay is sometimes said to be a blueprint for a film, and its genesis and development is therefore important to our understanding of how films are created. Film business studies has traditionally avoided close study of the screenplay development process, perhaps as a result of the film studies emphasis on analysing the text of the completed film, and the auteur theory emphasis on the importance of the director; both of which may have marginalised the study of development and the creativity of development practitioners. Professional screenplay development is a team activity, with creative collaboration between screenwriters, producers, development executives, financiers, and directors. So how does power and creative control shift between members of this team, especially as people arrive or leave? And how does this multiple authorship affect the auteur theory idea that the director is the creative author of the film? This research sets out to open debates around the process and nature of the business of script development, and consider how development practitioners experience, collaborate and participate in the process of screenplay development in the UK today. It uses original interviews, observation and hermeneutic reflection; and asks how cross-disciplinary ideas around creativity, managing creative people, motivation, organisational culture, and team theory could be used to consider how the creative team of writer, producer, director and development executive can work effectively together. It proposes new theories, including defining the independent film value chain and the commitment matrix, analysing changing power relationships during development, and establishing new typologies around film categories and their relationship to funding. The core of this PhD by Prior Publication is the book The Screenplay Business: managing creativity and script development in the film industry. The supporting paper explores the contexts of film industry studies; the film value chain; auteurship and screenplay studies

Modeling the buckling and delamination of thin films

I study numerically the problem of delamination of a thin film elastically attached to a rigid substrate. A nominally flat elastic thin film is modeled using a two-dimensional triangular mesh. Both compression and bending rigidities are included to simulate compression and bending of the film. The film can buckle (i.e., abandon its flat configuration) when enough compressive strain is applied. The possible buckled configurations of a piece of film with stripe geometry are investigated as a function of the compressive strain. It is found that the stable configuration depends strongly on the applied strain and the Poisson ratio of the film. Next, the film is considered to be attached to a rigid substrate by springs that can break when the detaching force exceeds a threshold value, producing the partial delamination of the film. Delamination is induced by a mismatch of the relaxed configurations of film and substrate. The morphology of the delaminated film can be followed and compared with available experimental results as a function of model parameters. `Telephone-cord', polygonal, and `brain-like' patterns qualitatively similar to experimentally observed configurations are obtained in different parameter regions. The main control parameters that select the different patterns are the mismatch between film and substrate and the degree of in-plane relaxation within the unbuckled regions.Comment: 8 pages, 10 figure

Lights, Camera, Lawsuit

As the speed of Internet access improves, the film industry will need to explore its options for eliminating the downloading of digital movie files. After examining the successes and failures of the music industry in its battle with peer-to-peer networks, the film industry has begun to follow its predecessor. However, the nature of film as an entertainment medium is quite different than that of music. As a result, the film industry could implement creative solutions to this problem that would not have been available to the music industry. A recent study shows that most films available on the Internet have been leaked by industry insiders. By implementing an increasingly publicized use of trade secret litigation, the film industry could take a tough and effective stance against the digital dragon

Vortex interactions in presence of a soft magnetic film

We study theoretically the behavior of vortices in a thin film superconductor placed close to a soft magnetic film. It is shown that the field from the vortex induces a magnetization distribution in the soft magnetic film, thus modifying the fields and vortex interactions. We suggest that the interaction between two otherwise identical vortices is attractive at short distances, but repulsive at larger distances. This is in contrast to the case without the soft magnetic film, where the force is always repulsive.Comment: 7 page