The Film in Hand Modes of Coordination and Assisted Virtuosity in the Bombay Film Studios

Less has been said about the hand movements of the film makers, their cultural dimension and the place of this "corporate language" in the film making process, probably because this object is difficult to capture even with a diary. Gestures go too fast to be sketched on the spot and often faster than the perception of the ethnographer. Some of these gestures are made to stabilize the frame or simulate the camera movement but lots of them are difficult to classify and don't fall into this category, like the ones which are produced to accompany the actors' action or to invite him to perform a certain action and which have more to do with a mode of demonstration involving the entire body. This article, mostly based on videos of Bombay film makers at work, tries to identify the specificity of these gestures in terms of communication or interaction and their potential of coordination in the film set dynamics.

The Vampire Lovers and Hammer's Post-1970 Production Strategy

This article firstly examines the artistic and commercial merits of The Vampire Lovers, which was adapted from the Sheridan Le Fanu novella Carmilla. The production of the film was subcontracted by James Carreras at Hammer to Fantale Films, a company established by Harry Fine, Michael Style and Tudor Gates. The article then proceeds by examining various different and competing artistic judgements that have been made about the film, and also the construction of its unusual dreamy atmosphere. It documents both its UK and US box-office performances and goes on to examine Hammer's post-1970 production strategy in more general terms and in relation to the overall financial performance of the company in the period 1967–72, just before and after The Vampire Lovers. Finally, it examines Hammer's receipt of the Queen's Award for Industry in 1968, the effect of its rolling production-line (or ‘pipeline’) model of film-making on the company's general level of profitability, and some of the consequences of Michael Carreras's assumption of managerial control at Hammer after 1970.

Рroduction and distribution of author's cinema in Ukraine as a state problem. Part 1. Film рroduction and problems of state administration of film industry

The purpose of the article is to identify the problems of film production and distribution in Ukraine and to identify scientific guidelines that contribute to a comprehensive analysis of the phenomenon of Ukrainian authors’ cinema in the intercultural space. Research methodology. Methods of scientific analysis, comparison, generalization were used in the development of the topic. In addition, analytical and systematic methods were used in their unity, which is necessary to study the art aspect of the problem. The scientific novelty of the study is that the problem of author's film production and distribution in Ukraine in the context of the functioning of state support programs first appeared as the subject of a special study; the content of the concept of "film production" as certain specific integrity and unity of interconnected elements is argued; the works of Ukrainian film directors-authors, whose films were created with state support, are singled out and characterized; the expediency of using the system method in studying the peculiarities of the film-making process in Ukraine is proved; a comprehensive analysis was carried out and the features of author's film production in Ukraine and abroad were identified. Conclusions. Acquaintance with the materials presented in the article expands the arsenal of knowledge about the specifics of the author's film production and distribution in Ukraine and makes their use in training courses on the theory and history of cinema and directing. Keywords: Ukrainian cinema, film production, distribution, state support, director-authors.

Improving the Oxygen Barrier of Polyamide Food Packaging by Using Nanoclay

The effect of nanoclay additive on polyamide film oxygen permeability is investigated from the perspective of possible use as a laminate component for low-cost food packaging material. Montmorillonite nanoclay was melt-mixed in an industrial grade polyamide by twin-screw extrusion and the mixture was hot-pressed to a ~50 µm thick film. The film with 10 wt.% of nanoclay loading showed a 17 % decrease in the oxygen transmission rate (OTR), as compared to the pristine polyamide film (72 and 87 cm3/m2∙24 h, respectively). Despite the relatively high loading of the filler the obtained OTR exceeds that of the food packaging preferred upper limit of 10 cm3/m2∙24 h. XRD measurements confirmed the near-complete exfoliation of the nanoclay platelets. The platelets were found to be at an average angle of 9.5 degrees relative to the film’s surface plane. To comply with the requirements for food packaging, this angle needs to be decreased down to 0.4 degrees. To achieve this, different film-making methods enabling better control over the filler particles’ orientation need to be explored. Nanoclay addition increased the films’ yield strength (23 % for 10 wt.% film) and stiffness, while not affecting the films’ optical appearance.

Oceanic imaginaries in film and development: lenses of collaboration

<p>Cultural expression and culture have informed the formulation of development outcomes and processes, with varying success. Historically, this has occurred incidentally to mainstream development priorities such as primary education and health, and food security. In recent decades have, however, international institutions have come to recognise the importance of culture to development both as an area of development as well as something which informs development planning and processes. Often, the cultural development agenda, where driven by institutions, has been largely for instrumental purposes. Thus far, there has been an emphasis in research on the relative absence of culture from development definitions and processes. This thesis investigates the ways that film and film-making processes are contributing to a range of social and cultural outcomes in Oceania, and how these processes could be envisaged as contributing to a broader cultural development agenda. Using qualitative methods, this research examines how the regional imaginary is being practiced in different ways by film communities by drawing on several film projects across the region. This is couched in a discussion which examines the role of indigenous film as part of the global decolonisation agenda. It also highlights the importance of film as a means of decolonising identities and social practice. This research reveals the diverse motivations for collaborative kinships in film. These in turn demonstrate how understandings of relationships between individuals and communities can be enable horizontal development. This demonstrates the tension between dominant understandings of development and regionalism. This research also highlights how film kinships, informed by regional connections, are collaborating to grow film-making in Oceania. Using an intersectional framework drawing on scholarship from post-development theory and Pacific Studies, this research seeks to broaden the way that development is framed and practiced. While it is critical of some mainstream development tendencies – in policy formulation and practice – this research seeks to highlight how diverse and numerousapproaches are important. This research draws together an analysis of collaboration in film practice and endeavours to address inequalities in voice and representation of Oceanian peoples in film. It shows the contribution that film can make to expansive understandings of development in Oceania.</p>

Oceanic imaginaries in film and development: lenses of collaboration

<p>Cultural expression and culture have informed the formulation of development outcomes and processes, with varying success. Historically, this has occurred incidentally to mainstream development priorities such as primary education and health, and food security. In recent decades have, however, international institutions have come to recognise the importance of culture to development both as an area of development as well as something which informs development planning and processes. Often, the cultural development agenda, where driven by institutions, has been largely for instrumental purposes. Thus far, there has been an emphasis in research on the relative absence of culture from development definitions and processes. This thesis investigates the ways that film and film-making processes are contributing to a range of social and cultural outcomes in Oceania, and how these processes could be envisaged as contributing to a broader cultural development agenda. Using qualitative methods, this research examines how the regional imaginary is being practiced in different ways by film communities by drawing on several film projects across the region. This is couched in a discussion which examines the role of indigenous film as part of the global decolonisation agenda. It also highlights the importance of film as a means of decolonising identities and social practice. This research reveals the diverse motivations for collaborative kinships in film. These in turn demonstrate how understandings of relationships between individuals and communities can be enable horizontal development. This demonstrates the tension between dominant understandings of development and regionalism. This research also highlights how film kinships, informed by regional connections, are collaborating to grow film-making in Oceania. Using an intersectional framework drawing on scholarship from post-development theory and Pacific Studies, this research seeks to broaden the way that development is framed and practiced. While it is critical of some mainstream development tendencies – in policy formulation and practice – this research seeks to highlight how diverse and numerousapproaches are important. This research draws together an analysis of collaboration in film practice and endeavours to address inequalities in voice and representation of Oceanian peoples in film. It shows the contribution that film can make to expansive understandings of development in Oceania.</p>

Cross-media, co-creative and current: New strategies for educating talent for Danish children’s film and television in the 2020s

This article analyses recent developments in Danish film and television education through a case study of a new training initiative for creating content for children and young audiences. Following an outline of traditional training and career trajectories in the Danish screen industries in general, and for working with children’s film and television specifically, the case study investigates the guiding ideas behind Manuskriptskolen for børnefiktion (‘The Cross-Media School of Children’s Fiction’), which was established in 2020. The school marks a new approach to Danish film education in several ways. First, by creating a training ground focusing on a specific audience, rather than on screenwriting or film-making more generally. Second, by thinking of content for this audience as fundamentally multi-platform and teaching students storytelling across different media from the outset. Third, by insisting that creating content for this audience calls for having knowledge about the current lives of young people and their media use, and encouraging strategies for engaging or even co-creating content with them. The article builds on qualitative interviews, document analysis and observations at industry events as part of the research project Reaching Young Audiences: Serial Fiction and Cross-Media Storyworlds for Children and Young Audiences.

Learning from film to theatre and from theatre to film

This article explores the possibility of combining educational approaches to film and theatrical drama to enhance teachers’ confidence in creative, transmedia and multidisciplinary approaches to learning. A detailed case study is explored – a short teacher training event which utilised certain media literacy resources to inspire and familiarise teachers with the language of images, while seeking to demonstrate how simple media devices can be used to connect film- and theatre-based pedagogies. Overall, the article considers ways in which teachers can obtain the confidence within a short time to integrate approaches inspired by film-making into their teaching in connection with their students’ enthusiasm for, and expertise in, digital media.