Kinetic study on the reaction between Incoloy 825 alloy and low-fluoride slag for electroslag remelting

A kinetic model for the reactions between the low-fluoride slag CaF2–CaO–Al2O3–MgO–Li2O–TiO2 and Incoloy 825 alloy was proposed based on the two-film theory. The applicability of the model was verified to predict the variation of components in the slag–metal reaction process. The results show that the controlling step of the reaction 4[Al] + 3(TiO2) = 3[Ti] + 2(Al2O3) is the mass transfer of Al and Ti in the liquid alloy and the controlling step of the reactions 4[Al] + 3(SiO2) = 3[Si] + 2(Al2O3) and [Si] + (TiO2) = [Ti] + (SiO2) is the mass transfer of SiO2 in the molten slag. With increasing TiO2 content in the slag from 3.57% to 11.27%, the Al content in the alloy decreased whereas the Ti content increased gradually. The Si content continued to decrease during the slag–metal reaction. Soluble oxygen in the alloy reacts with Al, Ti, and Si, resulting in a decrease of the oxygen content in the alloy. The variations of TiO2 content were in good agreement with the calculated results by the kinetic model whereas the measured results of Al2O3 and SiO2 in the slag were lower than the calculated results, which is mainly due to the volatilization of fluoride.

Nikos Kazantzakis’ Unshot Adaptations of Don Quixote and Decameron

This article examines two of Nikos Kazantzakis’ unshot screenplays of the early 1930s: his adaptations of Cervantes’ Don Quixote and Boccaccio’s Decameron, kept in typed manuscripts at the Nikos Kazantzakis Museum Foundation in Iraklion, Crete. The article analyses Kazantzakis’ Don Quixote and Decameron in the contexts of early talking cinema and his ideas of the image-language relationship. Written at a time when the artistic value of talking cinema was still debated, Kazantzakis’ adaptations demonstrate that he sought to express ideas with images rather than dialogue (Don Quixote) and use sound as a creative element (Decameron) in ways alluding to Eisenstein’s 1928-1929 writings, with which, as evidence suggests, the Greek author was familiar. Thus, Kazantzakis’ Don Quixote and Decameron show how a technological development in film history – the coming of sound – and the Soviet film theory influenced this author’s adaptation techniques, while also enhancing our understanding of his creative career as well as the worldwide resonance of Cervantes’ and Boccaccio’s literary milestones.

Intergalactic Triumph: American Hegemony Represented in Arrival (2016) Movie

<div class="WordSection1"><p>This research examines a Hollywood movie entitled Arrival (2016) to see how American hegemony is represented and maintained in the movie. This is a qualitative research that is conducted under the framework of American studies. The concept of American values, Hegemony by Antonio Gramsci and Soft Power by Joseph Nye are used to answer the research questions. Semiotic film theory is employed to analyze the data in the form of dialogues and movie scenes. The results show the representation of American hegemony are seen in the characters that show American values, the U.S foreign policy, the U.S military supremacy, and the U.S economic field. Meanwhile, the maintenance of American hegemony is represented in American’s destiny to unify the world and also in hegemony through the language.</p><p> </p><p><em>Keywords</em>: American hegemony, manifest destiny, science fiction, representation, soft power</p></div>

Zombies in the German-Speaking Space. Review of the Collective Monograph “The Undead – Zombie Film Theory” Edited by M. Fürst, F. Krautkrämer and S. Wiemer

This article reviews a collection of scholarly works edited by Michael Fürst, Florian Krautkrämer, and Serjoscha Wiemer “The Undead - Zombie Film Theory” (original title “Untot – Zombie Film Theorie”), Munich, Belleville Publishers, 2010, 301 pages, ISBN 978-3-933510-55-6. The reviewer lists the main ideas discussed by the researchers who have contributed to the monograph, briefly summarizes the content and evaluates the scientific significance of the analyzed edition. Three representative essays of the monograph (by W. Fuhrmann, A. Grilli and M. Benecke) receive a closer inspection, as they demonstrate the scope of ideas and methodological approach characteristic of the volume.

Introduction

The Introduction examines why “movement” is often invoked as a term in film criticism and film theory but is rarely analyzed as an aspect of film form. The reason for this is twofold. First, because film theory has largely examined movement only as a defining property of the cinematic medium, movement is rarely singled out in film criticism. Second, because film theory has inherited the philosophical intuition that form is primarily spatial rather than temporal, formal analysis in film studies tends to break up the temporal flow of film into static units, such as in shot breakdowns and frame analyses. In film studies, then, “form” and “movement” are conceptually incompatible. As a means of thinking motion and form together, the Introduction proposes the concept of “motion forms,” generic structures, patterns, or shapes of motion. The Introduction then explores the philosophical roots of the motion form in phenomenology and Gestalt psychology, and explains how such a way of thinking about cinematic motion differs from other phenomenological approaches in film studies. Finally, the introduction outlines the six chapters of the book, each of which investigates a particular motion form that emerges throughout the history of cinema.

Spatial Unfurling

This chapter examines the perceptual and aesthetic properties of “spatial unfurling,” an effect achieved by moving the camera across space rather than into it, such as in lateral tracking shots. By emphasizing the flatness of the screen and the boundaries of the frame, spatial unfurling lacks the feeling of kinesthesia characteristic of forward camera movement. As a result, spatial unfurling illustrates the limitations of the long-held truism in film theory that camera movement produces an illusion of our own embodied movement through space. By critiquing the logic of this truism as it appears in phenomenological film theory, and by examining the perceptual effects of spatial unfurling in narrative and experimental films such as Mauvais Sang (Carax, 1986), La région centrale (Snow, 1971), and Georgetown Loop (Jacobs, 1996), this chapter argues for a phenomenological account of camera movement that forgoes analogies with bodily movement and instead emphasizes one’s perceptual encounter with the screen.

Wonder, Horror, Mystery: Letters on Cinema and Religion in Malick, Von Trier, and Kieślowski

Wonder, Horror, Mystery is a dialogue between two friends, both notable arts critics, that takes the form of a series of letters about movies and religion. One of the friends, J.M. Tyree, is a film critic, creative writer, and agnostic, while the other, Morgan Meis, is a philosophy PhD, art critic, and practicing Catholic. The question of cinema is raised here in a spirit of friendly friction that binds the personal with the critical and the spiritual. What is film? What’s it for? What does it do? Why do we so intensely love or hate films that dare to broach the subjects of the divine and the diabolical? These questions stimulate further thoughts about life, meaning, philosophy, absurdity, friendship, tragedy, humor, death, and God. The letters focus on three filmmakers who challenged secular assumptions in the late 20th century and early 21st century through various modes of cinematic re-enchantment: Terrence Malick, Lars von Trier, and Krzysztof Kieślowski. The book works backwards in time, giving intensive analysis to Malick’s To The Wonder (2012), Von Trier’s Antichrist (2009), and Kieślowski’s Dekalog (1988), respectively, in each of the book’s three sections. Meis and Tyree discuss the filmmakers and films as well as related ideas about philosophy, theology, and film theory in an accessible but illuminating way. The discussion ranges from the shamelessly intellectual to the embarrassingly personal. Spoiler alert: No conclusions are reached either about God or the movies. Nonetheless, it is a fun ride.

Identifying metaphors in TV commercials with FILMIP: the Filmic Metaphor Identification Procedure

The analysis and identification of figurative language is one of the largest research areas in cognitive linguistics, and metaphor is one of these tropes. Focusing on the genre of TV advertising, a structural method for the identification of metaphorical components used in films in a cross-modal fashion is developed in the present paper. A corpus of 11 TV commercials is analyzed under seven steps that guide analysts from the content description of the multimodal materials to the concrete identification of metaphorical elements. This research presents the Filmic Metaphor Identification Procedure (FILMIP, Bort-Mir 2019) as a tool for the identification of metaphorically used filmic components in multimodal filmic materials. More concretely, the paper presents the application of the procedure to two TV commercials from different perfume brands. FILMIP offers a valuable contribution not only to metaphor scholars but also to researchers focused on other fields of study such as multimodality, discourse analysis, communication, branding, or even film theory.

Crossing Borders in Film Theory and Adaptation Studies

The history of film theory is full of what we might call migrating concepts. From the Russian Formalists which, in their Poetica Kino (Poetics of cinema) adapt concepts initially created as part of literary theory (fabula vs. syuzhet, film as language, cine-stylistics) to David Bordwell and Kristin Thompson and their formalist inspired approach to film studies, from André Bazin and his theory of realism, inspired by phenomenological concepts, the history of film theory can be thought of as a genealogy of crossing borders. The circulation of concepts from literary theory to film theory is also quite astonishing in the theory of adaptation. In the study of the adaptation of literary works for cinema, the travel of concepts (the crossing of borders) can be observed and analysed especially in narrative theory and adaption theory.