scholarly journals Why Iron Brothers (Pakistan and China) Could Not Cooperate in the Film Industry

2021 ◽  
Vol 09 (03) ◽  
pp. 114-121
Author(s):  
Zakir Ullah ◽  
Yixuan Zhu ◽  
Abubakar Hayaty ◽  
Qingwen Liu
Keyword(s):  
Film Industry

The analysis of “Gels” in polymer films

1989 ◽  
Vol 47 ◽  
pp. 362-363
Author(s):  
G. M. Brown ◽  
D. F. Brown ◽  
J. H. Butler
Keyword(s):  
Molecular Weight ◽  
Film Industry ◽  
Local Stress ◽  
Melt Index ◽  
Polyethylene Films ◽  
Crosslinked Polymer ◽  
Polymeric Gels ◽  
Mineral Particles ◽  
Polymeric Species ◽  
Special Concern

The term “gel”, in the jargon of the plastics film industry, may refer to any inclusion that produces a visible artifact in a polymeric film. Although they can occur in any plastic product, gels are a principle concern in films where they detract from the cosmetic appearance of the product and may compromise its mechanical strength by acting as local stress concentrators. Many film gels are small spheres or ellipsoids less than one millimeter in diameter whereas other gels are fusiform-shaped and may reach several centimeters in length. The actual composition of gel inclusions may vary from miscellaneous inorganics (i.e. glass and mineral particles) and processing additives to heavily oxidized, charred or crosslinked polymer. The most commonly observed gels contain polymer differing from the bulk of the sample in its melt viscosity, density or molecular weight.Polymeric gels are a special concern in polyethylene films. Over the years and with the examination of a variety of these samples three predominant polymeric species have been observed: density gels which have different crystallinity than the film; melt-index gels in which the molecular weight is different than the film and crosslinked gels which are comprised of crosslinked polyethylene.

The Changing Patterns of North Korea’s International Film Co-Productions Since the 1980s: A Global Value Chain Approach

2020 ◽  
pp. 83-108
Author(s):  
Moon Hwy-Chang ◽  
Wenyang Yin
Keyword(s):  
Value Chain ◽  
North Korea ◽  
Film Industry ◽  
International Standards ◽  
The Political ◽  
Global Value Chain ◽  
Comprehensive Understanding ◽  
Changing Patterns ◽  
Film Productions

Although North Korea is one of the most closed countries in the world, it has long been pursuing international cooperation with other countries in order to upgrade the quality of its film industry to international standards. Preceding studies on this topic have mainly focused on the political influences behind filmmaking in general and very few studies have exclusively dealt with North Korea’s international co-productions. In this respect, in order to develop a comprehensive understanding of the internalization strategy of North Korea’s film productions, this paper uses the global value chain as a framework for analysis. This approach helps understand the internationalization pattern of each value chain activity of film co-productions in terms of the film location and the methods for collaborating with foreign partners. By dividing the evolution of North Korea’s international co-productions into three periods since the 1980s, this paper finds that although North Korea has shown mixed results with different aspects of the film value chain, it has generally improved its internationalization over the three periods. This paper further provides strategic directions for North Korea by learning some of the successful Chinese experiences in the film sector regarding collaboration with foreign partners—to foster a win-win situation for all involved parties.

From Film Practice to Data Process

2018 ◽  
Author(s):  
Sarah Atkinson
Keyword(s):  
Film Industry ◽  
Film Production ◽  
Profound Change ◽  
Data Process ◽  
Production Practices ◽  
Digital Film ◽  
Contemporary Britain

From Film Practice to Data Process critically examines the practices of independent digital feature filmmaking in contemporary Britain. The business of conventional feature filmmaking is like no other, in that it assembles a huge company of people from a range of disciplines on a temporary basis, all to engage in the collaborative endeavour of producing a unique, one-off piece of work. The book explicitly interrogates what is happening at the frontiers of contemporary ‘digital film’ production at a key transitional moment in 2012, when both the film industry and film-production practices were situated between the two distinct medium polarities of film and digital. With an in-depth case study of Sally Potter’s 2012 film Ginger & Rosa, drawing upon interviews with international film industry practitioners, From Film Practice to Data Process is an examination of film production in its totality, in a moment of profound change.

Will CinemaScope Save the Film Industry? (1953)

2002 ◽  
Vol 6 (1) ◽  
Author(s):  
André Bazin
Keyword(s):  
Film Industry

Every Detail Counts: Robert Stoller, Perversion and the Production of Pornography

2020 ◽  
Vol 22 (1) ◽  
pp. 35-52
Author(s):  
Jeffrey Escoffier
Keyword(s):  
Film Industry ◽  
Ethnographic Study ◽  
Systematic Method ◽  
Body Of Knowledge ◽  
Sexuality And Gender ◽  
Pornographic Film ◽  
And Gender ◽  
Do So

After the publication of his pioneering book Sexual Excitement in 1979, Robert Stoller devoted the last 12 years of his life to the study of the pornographic film industry. To do so, he conducted an ethnographic study of people working in the industry in order to find out how it produced ‘perverse fantasies’ that successfully communicated sexual excitement to other people. In the course of his investigation he observed and interviewed those involved in the making of pornographic films. He hypothesized that the ‘scenarios’ developed and performed by people in the porn industry were based on their own perverse fantasies and their frustrations, injuries and conflicts over sexuality and gender; and that the porn industry had developed a systematic method and accumulated a sophisticated body of knowledge about the production of sexual excitement. This paper explores Stoller's theses and shows how they fared in his investigation.

Anita Maris Boggs

2015 ◽  
Vol 1 (2) ◽  
pp. 135-143 ◽  
Author(s):  
Laura Isabel Serna
Keyword(s):  
Film Industry ◽  
Women's Work ◽  
Educational Film ◽  
Charitable Organization ◽  
Women’S Work ◽  
Short Essay

This short essay sketches the career of Anita Uada Maris Boggs, cofounder of the Bureau of Commercial Education, a charitable organization that from the 1910s through the 1930s circulated a library of sponsored films. I argue that Boggs's absence from film historiography has been doubly determined: first by the relative invisibility of educational film, and second by ideologies of gender that obscured women's work in the film industry, broadly construed, behind that of their male collaborators.

Somewhere between Human, Nonhuman, and Woman

2020 ◽  
Vol 6 (3) ◽  
pp. 21-51
Author(s):  
Debashree Mukherjee
Keyword(s):  
Object Relations ◽  
Human Body ◽  
Film Industry ◽  
The South ◽  
Hunger Strike ◽  
Cultural Events ◽  
Production Experience ◽  
Human Object ◽  
The Status ◽  
History Of

In 1939, at the height of her stardom, the actress Shanta Apte went on a spectacular hunger strike in protest against her employers at Prabhat Studios in Poona, India. The following year, Apte wrote a harsh polemic against the extractive nature of the film industry. In Jaau Mi Cinemaat? (Should I Join the Movies?, 1940), she highlighted the durational depletion of the human body that is specific to acting work. This article interrogates these two unprecedented cultural events—a strike and a book—opening them up toward a history of embodiment as production experience. It embeds Apte's emphasis on exhaustion within contemporaneous debates on female stardom, industrial fatigue, and the status of cinema as work. Reading Apte's remarkable activism as theory from the South helps us rethink the meanings of embodiment, labor, materiality, inequality, resistance, and human-object relations in cinema.

: J. Arthur Rank and the British Film Industry . Geoffrey MacNab .

1994 ◽  
Vol 48 (1) ◽  
pp. 51-52
Author(s):  
Alan Rosenthal
Keyword(s):  
Film Industry
Sign in / Sign up

Export Citation Format

Share Document