Conclusion

2021 ◽  
pp. 180-186
Author(s):  
Benedict Morrison
Keyword(s):  
Art Cinema ◽  
Film Form

The conclusion compares eccentric film form to the spaces of a haunted house, considering how the disruption to structures of knowledge offered by both is tamed and diminished by the imposition of a centring character, a ghost in the machine. The subversive potential of art cinema, like that of the haunted house, is constrained by the centring critical manoeuvre of discovering (or constructing) a comprehensible protagonist with backstory and motivation. If, instead, the protagonist is read as just another symptom of a film’s complicated articulation, the effect of the text’s ability to disrupt and disturb habitual patterns of knowledge-making is reinstated. Drawing on Deleuze and Guattari’s theory of the rhizome, the conclusion argues for a criticism that does not seek to settle, but rather to unsettle, meaning.

Coming-of-Age Cinema in New Zealand

2017 ◽  
Author(s):  
Alistair Fox
Keyword(s):  
Coming Of Age ◽  
Belief Systems ◽  
Time Frame ◽  
New Wave ◽  
Art Cinema ◽  
Literary Sources ◽  
French New Wave ◽  
Significant Phenomenon ◽  
The Impact ◽  
New Zealanders

This book investigates the coming-of-age genre as a significant phenomenon in New Zealand’s national cinema, tracing its development from the 1970s to the present day. A preliminary chapter identifies the characteristics of the coming-of-age film as a genre, tracing its evolution and the influence of the French New Wave and European Art Cinema, and speculating on the role of the genre in the output of national cinemas. Through case studies of fifteen significant films, including The God Boy, Sleeping Dogs, The Scarecrow, Vigil, Mauri, An Angel at My Table, Heavenly Creatures, Once Were Warriors, Rain, Whale Rider, In My Father’s Den, 50 Ways of Saying Fabulous, Boy, Mahana, and Hunt for the Wilderpeople, subsequent chapters examine thematic preoccupations of filmmakers such as the impact of repressive belief systems and social codes, the experience of cultural dislocation, the expression of a Māori perspective through an indigenous “Fourth Cinema,” bicultural relationships, and issues of sexual identity, arguing that these films provide a unique insight into the cultural formation of New Zealanders. Given that the majority of films are adaptations of literary sources, the book also explores the dialogue each film conducts with the nation’s literature, showing how the time frame of each film is updated in a way that allows these films to be considered as a register of important cultural shifts that have occurred as New Zealanders have sought to discover their emerging national identity.

Journeys on Screen

2018 ◽  
Keyword(s):  
New Media ◽  
Social Transformation ◽  
Special Focus ◽  
Formal Property ◽  
Art Cinema ◽  
The Road ◽  
Formal Element ◽  
Contextual Element ◽  
Documentary Fiction ◽  
Self Discovery

This collection seeks to position the journey as a persistent presence across cinema, and fundamental to its position within modernity. It addresses the innovative appeal of journey narratives from pre-cinema to new media and through documentary, fiction, and the spaces between. Its examples traverse different regions and cultures, including a sub-section dedicated to Eastern Europe, to illuminate questions of belonging, diaspora, displacement, identity and memory. It considers how the journey is a formal element determining art cinema and popular genres such as sci-fi, romance and horror alike, with a special focus on rethinking the road movie. Through this variety, the collection investigates the journey as a motif for self-discovery and encounter, an emblem of artistic and social transformation, a cause of dynamism or stasis and as evidence of autonomy and progress (or their lack). The essays in it thus document epochal changes from urbanisation, migration and war to tourism and shopping, and all aim to address the diversity of cinematic journeys through developing methodological frameworks appropriate to an understanding of the journey as simultaneously a political question, contextual element and a formal property.

Beyond the Subtitle: Remapping European Art Cinema

2010 ◽  
Vol 19 (1) ◽  
pp. 89-92
Author(s):  
Chris Robinson
Keyword(s):  
Art Cinema

The Afterlife of Art and Objects

2018 ◽  
Author(s):  
James Tweedie
Keyword(s):  
Twentieth Century ◽  
Historical Narratives ◽  
Still Life ◽  
Art Cinema ◽  
Spanish Baroque ◽  
Late Twentieth ◽  
Moving Pictures ◽  
Tableau Vivant ◽  
The Relationship ◽  
Late Twentieth Century

Like the tableau vivant, the cinematic still life experienced a stunning revival and reinvention in the late twentieth century. In contrast to the stereotypically postmodern overload of images, the still life in film initiates a moment of repose and contemplation within a medium more often defined by the forward rush of moving pictures. It also involves a profound meditation on the relationship between images and objects consistent with practices as diverse as the Spanish baroque still life and the Surrealist variation on the genre. With the work of Terence Davies and Alain Cavalier’s Thérèse (1986) as its primary touchstones, this chapter situates this renewed interest in the cinematic still life within the context of both the late twentieth-century cinema of painters and a socially oriented art cinema that focuses on marginal people and overlooked objects rather than the hegemonic historical narratives also undergoing a revival at the time.

scholarly journals Probing P25 TiO2 Photocatalysis Using Photoinduced Absorption Spectroscopy (PIAS)

2021 ◽  
Author(s):  
Andrew Mills ◽  
Christopher O'Rourke
Keyword(s):  
Absorption Spectroscopy ◽  
Photoinduced Absorption ◽  
Tio2 Photocatalysis ◽  
Mesoporous Film ◽  
First Time ◽  
Film Form

Photoinduced absorption spectroscopy, PIAS, is used for the first time to probe the kinetics exhibited by the most commonly employed powder photocatalyst, P25 TiO2, in mesoporous film form, in the...

scholarly journals Deposition pressure-induced microstructure control and plasmonic property tuning in hybrid ZnO-AgxAu1-x thin films

2021 ◽  
Author(s):  
Robynne Lynne PALDI ◽  
Xing Sun ◽  
Xin Li Phuah ◽  
Juanjuan Lu ◽  
Xinghang Zhang ◽  
...  
Keyword(s):  
Thin Film ◽  
Thin Films ◽  
Pulsed Laser Deposition ◽  
Pulsed Laser ◽  
Laser Deposition ◽  
Deposition Method ◽  
Hybrid Films ◽  
Deposition Pressure ◽  
Plasmonic Metamaterials ◽  
Film Form

Self-assembled oxide-metallic alloyed nanopillars as hybrid plasmonic metamaterials (e.g., ZnO-AgxAu1-x) in a thin film form are grown using a pulsed laser deposition method. The hybrid films were demonstrated to be...

scholarly journals Utilising polyphenylene oxide for high exposure solar UVA dosimetry

2008 ◽  
Vol 8 (10) ◽  
pp. 2759-2762 ◽  
Author(s):  
D. J. Turnbull ◽  
P. W. Schouten
Keyword(s):  
Thin Film ◽  
Solar Spectrum ◽  
Combined System ◽  
High Exposure ◽  
Optical Absorbance ◽  
Preliminary Results ◽  
Polyphenylene Oxide ◽  
Film Form ◽  
Uncertainty Level ◽  
Uva Radiation

Abstract. A personal UV dosimeter that can quantitatively assess high exposure solar UVA exposures has been developed. The chemical polyphenylene oxide has been previously reported on its ability to measure high UVB exposures. This current research has found that polyphenylene oxide, cast in thin film form, is responsive to both the UVA and UVB parts of the solar spectrum. Further to this, the UVB wavelengths were filtered out with the use of mylar. This combined system responded to the UVA wavelengths only and underwent a change in optical absorbance as a result of UVA exposure. Preliminary results indicate that this UVA dosimeter saturates steadily when exposed to sunlight and can measure exposures of more than 20 MJ/m2 of solar UVA radiation with an uncertainty level of no more than ±5%.

Sign in / Sign up

Export Citation Format

Share Document