Search results for: documentary film

Authors: Nivedita Ghosh

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This paper undertakes an analysis of permissions that are required by documentary filmmakers in order to access the locations and respondents that they desire to film. The attempt is to bring out the manner in which the practice of documentary filmmaking becomes embedded within complex social structures and relationships within/around which the film is being made. These social relationships may not only influence the direction that the film takes with respect to its final story, but may also impact the very method of filmmaking undertaken by the filmmaker. The following essay presents four types of filmmaking permissions, each revealing the specific social dynamics between the filmmaker and the filmed, and intra social dynamics between those who are intended to be filmed. The analysis shows how documentary filmmaking permissions derive from the community norms and values of the respondents. The paper is based on fieldwork carried out amongst documentary filmmakers filming in Delhi and Gujarat in India and Sardinia, Italy.

Keywords: documentary film, documentary film shooting, India, permissions

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Authors: Sakshi Yadav, Sushila Shekhawat

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This study addresses different types of points of view as seen in nature documentary films with the help of three eco documentaries, and it would be significant in understanding the role of the narrative point of view as a tool for showing and telling in documentaries. Narrative analysis of a film forms an essential aspect of the discourse of scholarship in film studies. Narration is the chain of events occurring in time and space. The notion of narrative provides the idea of coherence and wholeness to the story. There are various components that the narration carries, one of which is the perspective or point of view. The narrator plays the role of a mediator between the film and the audience; thus, his perspective influences the way the audience interprets the film. Feature films have been analyzed through narrative points of view; however, this research intends to conduct it from the angle of a nature documentary film. The study will examine narrative viewpoints unique to nature documentary films using three ecological documentary films-The Cove (2009), Tale of a forest (2012), and Before the flood (2016). This research will apply the framework of narrative theory and will investigate the impact of the different types of narrative points of view, as each portrays the human-nature relationship from a different standpoint, and it will also study the effect that the narrative point of view has on the mode of these eco documentaries.

Keywords: ecodocumentary, narrative, human-nature relationship, point of view

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Authors: Camille Deprez

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This paper proposes to present research findings of an ongoing Hong Kong government-funded project on ‘The Documentary Film in India (1948-1975)’ (GRF 1240314), for which an extensive research fieldwork has been carried out in various archives in India. This project investigates the role and significance of the Indian documentary film sector from the inauguration of the state-sponsored Films Division one year after independence in 1948 until the declaration of a ‘State of Emergency’ in 1975. The documentary film production of this first period of national independence was characterised by increasing formal experimentation and analytical social and political enquiry, and by a complex, mixed structure of state-sponsored monopoly and free-market operation. However, that production remains significantly under-researched. What were the main production, distribution and exhibition strategies over this period? What were the recurrent themes and stylistic features of the films produced? In the new context of national independence (in which the State considered film as means of mass persuasion), consolidation of the commercial film, and the emergence of television and art cinema, what role did official, professional and creative factors play in the development of the documentary film sector? What were the impact of such films and the challenges faced by the documentary film in India? Based upon the crossed-analysis of primary written research documents, interviews and relevant films, this study interweaves empirical study of the sector's financing, production, distribution and exhibition strategies, as well as the films' content and form, with the larger historical context of India over the period from 1948 to 1975. Whilst most of the films made within the sector explored social issues, they were rarely able to do so from an overtly critical perspective. However, this paper proposes to analyse the contribution of important filmmakers and producers, including Ezra Mir, Paul Zils, Jean Bhownagary, S. Sukhdev, S. N. S. Sastri, and P. Pati, to the development of the Indian documentary film sector and style within and outside the remits of Films Division. It will more specifically assess the extent to which they criticised the State, showed the inequalities in Indian society and explored film form.

Keywords: documentary film, film archives, film history, India

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Authors: Edward C. Smith

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Historical narration in literature and film is an act that necessarily develops and deforms history, whether consciously or unconsciously. Such “translation” suffers or thrives depending on its historical context and on the ability of the artist/artists to make choices that enhance or diminish social and political reality. This “translation” and its challenges is examined from within the historical and political context of the 1930 Berlin film premiere of “All Quiet on the Western Front,” a film based on Erich Maria Remarque’s 1928 best-selling novel. Both the film and the novel appeared during a period in which the “aestheticization” of reality predominated. This was an era in early 20th-century European society in which life was conceived of as innately artistic and structured like an art form. The emergence of this modern consciousness, one in which memory and history surrendered their former authority, enabled conservative propaganda of the period to denounce all art that did not adhere conceptually to its political tenets, with “All Quiet” becoming yet another of its “victims.”

Keywords: documentary and propaganda film, film and TV audiences, international literature in film studies, popular culture and film

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Authors: Nivedita Ghosh

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In his critique of Lefebvre’s view that ‘technological capacities’ are class-dependent, Francois Hetman argues that technology today is participatory, allowing the entry of individuals from different levels of social stratification. As a result, we are entering into an era of technology operators or ‘clerks’ who become the new decision-makers because of the knowledge they possess of the use of technologies. In response to Hetman’s thesis, this paper argues that knowledge of technology, while indeed providing a momentary space for decision-making, does not necessarily restructure social hierarchies. Through case studies presented from the world of Indian documentary filmmaking, this paper puts forth the view that Hetman’s clerks, despite being technologically advanced, do not break into the filmmaking hierarchical order. This remains true even for a situation where technical knowledge rests most with those in the lowest rungs of the filmmaking ladder. Instead, technological knowledge provides the space for other kinds of relationships to evolve, such as those of ‘trusting the technician’ or ‘admiration for the technician’s work’. Furthermore, what continues to define documentary filmmaking hierarchy is conceptualization capacities of the practitioners, which are influenced by a similarity in socio-cultural backgrounds and film school training accessible primarily to the filmmakers instead of the technicians. Accordingly, the paper concludes with the argument that more than ‘technological-capacities’, it is ‘conceptualization capacities’ which are class-dependent, especially when we study the field of documentary filmmaking.

Keywords: documentary filmmaking, India, technology, knowledge, hierarchy

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Authors: Robin Gengan

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The film industry is one of the most impactful creative sectors in modern social influence. It has relational effects on knowledge and psychological impact on the youth. Much focus in current filmmaking is either in fictional drama or documentary. The purpose of this article is to combine the two into a third genre; edutainment in which film is approached as a visual educational text. Similar to language text, cinema can be applied to semiotic reading. Film interpretation is a phenomenological order, unique to each viewer. There are cultural norms and tropes that are more universal between the practice of semiotic reading, symbolism and interpretation. Film semiotics and narration are a juxtaposition of moving visual texts and sound to create meaning through film codes and social conventions to form an educational narrative that makes the medium effective for learning and teaching. The aim of this article is to explore and set precedence for more creative building-blocks into future research on edutainment cinema. This will further stimulate and benefit innovative entrepreneurial filmmaking and future academic research.

Keywords: cinema, edutainment, epistemology, multimodality, semiotics, structuralism

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Authors: Batatunde Kolawole

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Documentary filmmaking stands as a distinctive medium within the cinematic realm, commanding a unique responsibility the portrayal of real-life events and subjects. This research delves into the profound ethical considerations and responsibilities that documentary filmmakers shoulder as they embark on the quest to unveil truth and weave compelling narratives. In the exploration, they embark on a comprehensive review of ethical frameworks and real-world case studies, illuminating the intricate web of challenges that documentarians confront. These challenges encompass an array of ethical intricacies, from securing informed consent to safeguarding privacy, maintaining unwavering objectivity, and sidestepping the snares of narrative manipulation when crafting stories from reality. Furthermore, they dissect the contemporary ethical terrain, acknowledging the emergence of novel dilemmas in the digital age, such as deepfakes and digital alterations. Through a meticulous analysis of ethical quandaries faced by distinguished documentary filmmakers and their strategies for ethical navigation, this study offers invaluable insights into the evolving role of documentaries in molding public discourse. They underscore the indispensable significance of transparency, integrity, and an indomitable commitment to encapsulating the intricacies of reality within the realm of ethical documentary filmmaking. In a world increasingly reliant on visual narratives, an understanding of the subtle ethical dimensions of documentary filmmaking holds relevance not only for those behind the camera but also for the diverse audiences who engage with and interpret the realities unveiled on screen. This research stands as a rigorous examination of the moral compass that steers this potent form of cinematic expression. It emphasizes the capacity of ethical documentary filmmaking to enlighten, challenge, and inspire, all while unwaveringly upholding the core principles of truthfulness and respect for the human subjects under scrutiny. Through this holistic analysis, they illuminate the enduring significance of upholding ethical integrity while uncovering the truths that shape our world. Ethical documentary filmmaking, as exemplified by "Rape" and countless other powerful narratives, serves as a testament to the enduring potential of cinema to inform, challenge, and drive meaningful societal discourse.

Keywords: filmmaking, documentary, human right, film

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Authors: Tsuiping Chen

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It has always been an international consensus that food forms a big part of any culture since the old times. However, this idea has not been globally concretized until the announcement of including food or cuisine as intangible cultural heritage by UNESCO in 2010. This announcement strengthens the value of food culture, which is getting more and more notice by every country. Although Taiwan is not one of the members of the United Nations, we cannot detach ourselves from this important global trend, especially when we have a lot of culinary students expected to join the world culinary job market. These students should have been well educated with the knowledge of world food culture to make them have the sensibility and perspectives for the occurring global food issues before joining the culinary jobs. Under the premise of the above concern, the researcher and also the instructor took on action research with one class of students in the 'Food Culture' course watching, discussing, and analyzing 12 culinary documentary films selected from one decade’s (2007-2016) of Berlin Culinary Cinema in one semester of class hours. In addition, after class, the students separated themselves into six groups and joined 12 times of one-hour-long focus group discussion on the 12 films conducted by the researcher. Furthermore, during the semester, the students submitted their reflection reports on each film to the university e-portfolio system. All the focus discussions and reflection reports were recorded and collected for further analysis by the researcher and one invited film researcher. Glaser and Strauss’ Grounded Theory (1967) constant comparison method was employed to analyze the collected data. Finally, the findings' results were audited by all participants of the research. All the participants and the researchers created 200 items of food culture products, 74 items of food culture practices, and 50 items of food culture perspectives from the action research journey through watching culinary documentaries. The journey did broaden students’ points of view on world food culture and enhance their capability on perspective construction for food culture. Four aspects of significant findings were demonstrated. First, learning food culture through watching Berlin culinary films helps students link themselves to the happening global food issues such as food security, food poverty, and food sovereignty, which direct them to rethink how people should grow, share and consume food. Second, watching different categories of documentary food films enhances students’ strong sense of responsibility for ensuring healthy lives and promoting well-being for all people in every corner of the world. Third, watching these documentary films encourages students to think if the culinary education they have accepted in this island is inclusive and the importance of quality education, which can promote lifelong learning. Last but not least, the journey of the culinary documentary film watching in the 'Food Culture' course inspires students to take pride in their profession. It is hoped the model of teaching food culture with culinary documentary films will inspire more food culture educators, researchers, and the culinary curriculum designers.

Keywords: food culture, action research, culinary documentary films, food culture products, practices, perspectives

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Authors: Babatunde Kolawole

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This paper embarks on an exploration of the compelling interplay between documentary filmmaking and activism, delving into their symbiotic relationship and profound impact on advocacy and social justice causes. Through an in-depth analysis of diverse case studies, it seeks to illuminate the instances where documentary films have emerged as potent tools for effecting social change and advancing the principles of justice. This research underscores the vital role played by documentary filmmakers in harnessing the medium's unique capacity to engage, educate, and mobilize audiences while advocating for societal transformation. The primary focus of this study is on a selection of compelling case studies spanning various topics and causes, each exemplifying the marriage between documentary filmmaking and activism. These case studies encompass a broad spectrum of subjects, from environmental conservation and climate change to civil rights movements and human rights struggles. By examining these real-world instances, this paper endeavors to provide a comprehensive understanding of the strategies, challenges, and ethical considerations that underpin the practice of documentary filmmaking as a form of activism. Throughout the paper, it becomes evident that the potency of documentary filmmaking lies in its ability to blend artistry with social impact. The selected case studies vividly demonstrate how documentary filmmakers, armed with cameras and a passion for change, have emerged as critical agents of societal transformation. Whether it be exposing environmental atrocities, shedding light on systemic inequalities, or giving voice to marginalized communities, these documentaries have played a pivotal role in pushing the boundaries of advocacy and social justice. One of the key themes explored in this paper is the evolving nature of documentary filmmaking as a tool for activism. It delves into the shift from traditional observational documentaries to more participatory and immersive approaches, highlighting the dynamic ways in which filmmakers engage with their subjects and audiences. This evolution is exemplified in case studies where filmmakers have collaborated with the communities they document, fostering a sense of agency and empowerment among those whose stories are being told. Furthermore, this research underscores the ethical considerations inherent in the intersection of documentary filmmaking and activism. It scrutinizes questions surrounding representation, objectivity, and the responsibility of filmmakers in portraying complex social issues. By dissecting ethical dilemmas faced by documentary filmmakers in these case studies, this paper encourages a critical examination of the ethical boundaries and obligations in the realm of advocacy-driven filmmaking. In conclusion, this paper aims to shed light on the remarkable potential of documentary filmmaking as a catalyst for activism and social justice. Through the lens of compelling case studies, it illustrates the transformative power of the medium in effecting change, amplifying underrepresented voices, and mobilizing global audiences. It is hoped that this research will not only inform the discourse on documentary activism but also inspire filmmakers, scholars, and advocates to continue leveraging the cinematic art form as a formidable force for a more just and equitable world.

Keywords: film, filmmaker, documentary, human right

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Authors: Önder M. Özdem

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Producing and circulating films of professional standards have become technically easier with the development and widespread use of digital recording and distribution technologies. Additionally, film festivals on common platforms have rapidly increased in numbers and diversity. On the one hand, no-charge applications result in excessive submissions; thus, it complicates the evaluation and selection process. On the other hand, festival’s high submission fees may make the distribution of films with a limited budget very difficult. Inspired by the author’s engagement with the film industry as both a pre-jury member of an international film festival and an applicant to many festivals, this study discusses the causes and consequences of the increasing commercialization of film festivals. The author’s double identity, both as a jury and an applicant, provides a comparative perspective through which one can unfold the different dimensions and dynamics in the film production and distribution processes.

Keywords: commercialization, film distribution, film festivals, film production

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Authors: Raja Rodziah Binti Raja Zainal Hassan

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The development of Malaysian political cinema is rapidly taking shape in the local film industry. The paper focuses on the production of independent political documentary by two Malaysian filmmakers, Amir Muhammad and Fahmi Reza. Revolutionary cinema can be understood by utilizing the Third Cinema Theory in order to analyse the meaning and its impact on the audience. The issue surrounding the political cinema in Malaysia is the question of national identity. The implementation of racial or ethnic based politics has resulted in hostility within Malaysia’s multiracial society. Amir Muhammad and Fahmi Reza revisit the Malaysian political history through their films in order to understand the reasons behind the hostility and conflict.

Keywords: Political cinema, third cinema theory, revolutionary cinema, national identity, racial or ethnic politics

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Authors: Lulu Wang, Yongjun Xu, Xiaoyang Qiao

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The Forbidden City is well known for being full of Chinese cultural and historical relics. However, the Masters in the Forbidden City, a documentary film, doesn’t just dwell on the stories of the past. Instead, it focuses on ordinary people—the restorers of the relics and antiquities, which has caught the sight of Chinese audiences. From this popular documentary film, a new way can be considered, that is to show the relics, antiquities and painting with a character of modern humanities by films and TV programs. Of course, it can’t just like a simple explanation from tour guides in museums. It should be a perfect combination of scenes, heritages, stories, storytellers and background music. All we want to do is trying to dig up the humanity behind the heritages and then create a virtual scene for the audience to have emotional resonance from the humanity. It is believed that there are two problems. One is that compared with the entertainment shows, why people prefer to see the boring restoration work. The other is that what the interaction is between those history documentary films, the heritages, the audiences and collective memory. This paper mainly used the methods of text analysis and data analysis. The audiences’ comment texts were collected from all kinds of popular video sites. Through analyzing those texts, there was a word cloud chart about people preferring to use what kind of words to comment the film. Then the usage rate of all comments words was calculated. After that, there was a Radar Chart to show the rank results. Eventually, each of them was given an emotional value classification according their comment tone and content. Based on the above analysis results, an interaction model among the audience, history films/TV programs and the collective memory can be summarized. According to the word cloud chart, people prefer to use such words to comment, including moving, history, love, family, celebrity, tone... From those emotional words, we can see Chinese audience felt so proud and shared the sense of Collective Identity, so they leave such comments: To our great motherland! Chinese traditional culture is really profound! It is found that in the construction of collective memory symbology, the films formed an imaginary system by organizing a ‘personalized audience’. The audience is not just a recipient of information, but a participant of the documentary films and a cooperator of collective memory. At the same time, it is believed that the traditional background music, the spectacular present scenes and the tone of the storytellers/hosts are also important, so it is suggested that the museums could try to cooperate with the producers of movie and TV program to create a vivid scene for the people. Maybe it’s a more artistic way for heritages to be open to all the world.

Keywords: audience, heritages, history movies, TV programs

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Authors: Panprae Bunyapukkna

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The purpose of this research is to analyze the process that most of the Thai film industries commonly use in order to find the right cast to play the role. The result proved that most of the low-budget film productions find the cast by asking from the crew’s friends or friend of friend. Therefore, finding the cast in low-budget film productions normally has only few people shown up for the auditions and sometimes either none of them has acting knowledge or their appearances do not match the character. However, since most of the low-budget film productions do not have much ability to find members of the cast, thus some of them still will be selected. On the other hand, most of the high-budget film productions use modeling companies to find the cast for them. However, most of modeling agencies in Thailand seek and select their cast members from the cast’s appearances or talents rather than the knowledge of acting.

Keywords: casting for film, modeling business, acting, film, performing arts, film business

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Authors: Susan Cardillo

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This research will consider ways to bridge the gap between Computer Science and Media Communications and while doing so create Social Entrepreneurship for student success. New Media, as it has been referred to, is considered content available on-demand through Internet, a digital device, usually containing some kind of interactivity and creative participation. It is the interplay between technology, images, media and communications. The next generation of the newspaper, radio, television, and film students need to have a working knowledge of the technologies that are available for the creation of their work and taught to use this knowledge to create a voice. The work is interdisciplinary; in communications, we understand the necessity of reporting and disseminating information. In documentary film we understand the instructional and historic aspects of media and technology and in the non-profit sector, we see the need for expanding outlets for good. So, the true necessity is to utilize ‘new media’ technologies to advance social causes while reporting information, teaching and creating art. Goals: The goal of this research is to give communications students a better understanding of the technology that is both, currently at their disposal, and on the horizon, so that they can use it in their media, communications and art endeavors to be a voice for their generation. There is no longer a need to be a computer scientist to have a working knowledge of communication technologies and how they will benefit our work. There are many free and easy to use applications available for the creation of interactive communications. Methodology: This is Qualitative-Case Study that puts these ideas into action. There is a survey at the end of the experiment that is qualitative in nature and allows for the participants to share ideas and feelings about the technology and approach.

Keywords: interactive storytelling, web documentary, mass communications, teaching

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Authors: Lingmao Xu, Hui Zhou

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Ge film is widely used in infrared optical systems. Because of the special requirements of space application, it is usually used in low temperature. The refractive index of Ge film is always changed with the temperature which has a great effect on the manufacture of high precision infrared optical film. Specimens of Ge single film were deposited at ZnSe substrates by EB-PVD method. During temperature range 80K ~ 300K, the transmittance of Ge single film within 2 ~ 15 μm were measured every 20K by PerkinElmer FTIR cryogenic testing system. By the full spectrum inversion method fitting, the relationship between refractive index and wavelength within 2 ~ 12μm at different temperatures was received. It can be seen the relationship consistent with the formula Cauchy, which can be fitted. Then the relationship between refractive index of the Ge film and temperature/wavelength was obtained by fitting method based on formula Cauchy. Finally, the designed value obtained by the formula and the measured spectrum were compared to verify the accuracy of the formula.

Keywords: infrared optical film, low temperature, thermal refractive coefficient, Ge film

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Authors: Ebtesam Dessouki, Yasaman Mousavi

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Christopher Nolan’s Dunkirk (2017) is not a conventional war film. He invites the audience to see the war from within, from the characters’ experiences, through suspense and fear, with the help of talented sound designers and musicians such as Hans Zimmer for an extra dimension creating those feelings. This experience of being among the surviving soldiers makes room for an interpretation of this film using the concept of the Self and the Other. The Self is the soldiers and the audience who try to make sense of their reality given limited information about the enemy and their situation, and the Other is the faceless enemy. However, this film can be taken under an even more detailed analysis theorizing that the Other also exists on different occasions in the film. Overall, Nolan leaves a lot of cues for the audience to track the Other and sometimes breaks the rules for the Other.

Keywords: film, Dunkirk, other, self

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Authors: S. R. Kumar, Shashikant Rajpal

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A nanocrystalline thin film of ZnSe was successfully electrodeposited on copper substrate using a non-aqueous solution and subsequently annealed in air at 400°C. XRD analysis indicates the polycrystalline deposit of (111) plane in both the cases. The sharpness of the peak increases due to annealing of the film and average grain size increases to 20 nm to 27nm. SEM photograph indicate that grains are uniform and densely distributed over the surface. Due to annealing the average grain size increased by 20%. The EDS spectroscopy shows the ratio of Zn & Se is 1.1 in case of annealed film. AFM analysis indicates the average roughness of the film reduces from 181nm to 165nm due to annealing of the film. The bandgap also decreases from 2.71eV to 2.62eV.

Keywords: electrodeposition, non-aqueous medium, SEM, XRD

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Authors: Carlos Guillermo Lloga Sanz, Maria del Carmen Tamayo Asef

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As an object of study in Cuban universities, cinema is still in its infancy. This is relevant considering the significance of cinema within the local political culture and its impact on countries of the region. Discussions about the medium have been carried out mainly in the field of film criticism. The objective of this article is to reflect on the divergences between film studies and film criticism taking into account formal and theoretical features and to explore the transcendence of this debate for the intellectual ambiance of the Island. Methodologically, the study relies on theoretical elaborations based on literature review and non-structure interviews with Cuban film critics and scholars. The study finds that the gradation proposed by the Anglo-Saxon tradition, where film studies are considered a “higher stage," compared to criticism and cinephilia, does not apply to the Cuban space. Instead, to assess the state of reflection on cinema in Cuba, it is essential to consider it a starry node traversed by epistemic, institutional, and geopolitical matrices.

Keywords: film studies, film criticism, Cuban cinema, Cuban film studies

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Authors: Sperisa Distantina, Fadilah, Mujtahid Kaavessina

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Crosslinked konjac glucomannan and kappa carrageenan film were prepared by chemical crosslinking using glutaraldehyde (GA) as the crosslinking agent. The effect crosslinking on the swelling degree was investigated. Konjac glucomanan and its mixture with kappa carragenan film was immersed in GA solution and then thermally cured. The obtained crosslinked film was washed and soaked in the ethanol to remove the unreacted GA. The obtained film was air dried at room temperature to a constant weight. The infrared spectra and the value of swelling degree of obtained crosslinked film showed that glucomannan and kappa carrageenan was able to be crosslinked using glutaraldehyde by film immersion and curing method without catalyst. The crosslinked films were found to be pH sensitive, indicating a potential to be used in drug delivery polymer system.

Keywords: crosslinking, glucomannan, carrageenan, swelling

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Authors: Pison Suwanpakdee

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The objective of presenting this article is to analyze between Thai’s film and Thai society in political crisis, to study the development and trend of the film which reflects society in Thailand from political crisis of 14 October 1973 and the present day political crisis using a comparative study of the two era, both the similarities and differences in the film reflects the society in an era of change.

Keywords: film, political, neorealism, Thailand

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Authors: Luis Pascasio

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In a time when murky debates on US immigration policy are polarizing a nation steeped in partisan and nativist politics, certain media texts are proposing to challenge the dominant ways in which immigrant discourses are shaped in political debates. The paper will examine how two media texts perform counter-hegemonic discourses against institutionalized concepts on citizenship. The article looks at Documented (2014), a documentary film, written and directed by Jose Antonio Vargas, a Pulitzer-winning journalist-turned-activist and a self-proclaimed undocumented immigrant; and DefineAmerican.com, an online media platform that articulates the convergence of multiple voices and discourses about post-industrial and post-semiotic citizenship. As sites of meaning production, the two media texts perform counter-narratives that inspire new forms of mediated social activism and postcolonial identities. The paper argues that a closer introspection of the media texts reveals emotional, thematic and ideological claims to an interrogation of a diasporic discourse on redefining the rules of inclusion and exclusion within the postmodern dialogic of citizenship.

Keywords: counter-narratives, documentary filmmaking, postmodern citizenship, diaspora media

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Authors: S. Pison

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The objective of presenting this article is to analyze between Thai’s film and Thai society in political crisis, to study the development and trend of the film which reflects society in Thailand from political crisis of 14 October 1973 and the present day political crisis using a comparative study of the two era, both the similarities and differences in the film reflects the society in an era of change.

Keywords: film, political, neo-realism, social, Thailand

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Authors: Visvaganthie Moodley

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While rhetoric goes back as far as Aristotle who focalised its meaning as the “art of persuasion”, most scholars have focused on elocutio and dispositio canons, neglecting the rhetorical impact of multimodal texts, such as documentaries. Film documentaries are being increasingly rhetoric, often used by wildlife conservationists for influencing people to become more mindful about humanity’s connection with nature. This paper examines the award-winning film documentary, “My Octopus Teacher”, which depicts naturalist, Craig Foster’s unique discovery and relationship with a female octopus in the southern tip of Africa, the Cape of Storms in South Africa. It is anchored in Leech and Short’s (2007) framework of linguistic and stylistic categories – comprising lexical items, grammatical features, figures of speech and other rhetoric features, and cohesiveness – with particular foci on diction, anthropomorphic language, metaphors and symbolism. It also draws on Kress and van Leeuwen’s (2006) multimodal analysis to show how verbal cues (the narrator’s commentary), visual images in motion, visual images as metaphors and symbolism, and aural sensory images such as music and sound synergise for rhetoric effect. In addition, the analysis of “My Octopus Teacher” is guided by Nichol’s (2010) narrative theory; features of a documentary which foregrounds the credibility of the narrative as a text that represents real events with real people; and its modes of construction, viz., the poetic mode, the expository mode, observational mode and participatory mode, and their integration – forging documentaries as multimodal texts. This paper presents a multimodal rhetoric discussion on the sequence of salient episodes captured in the slow moving one-and-a-half-hour documentary. These are: (i) The prologue: on the brink of something extraordinary; (ii) The day it all started; (iii) The narrator’s turmoil: getting back into the ocean; (iv) The incredible encounter with the octopus; (v) Establishing a relationship; (vi) Outwitting the predatory pyjama shark; (vii) The cycle of life; and (viii) The conclusion: lessons from an octopus. The paper argues that wildlife documentaries, characterized by plausibility and which provide researchers the lens to examine the ideologies about animals and humans, offer an assimilation of the various senses – vocal, visual and audial – for engaging viewers in stylized compelling way; they have the ability to persuade people to think and act in particular ways. As multimodal texts, with its use of lexical items; diction; anthropomorphic language; linguistic, visual and aural metaphors and symbolism; and depictions of anthropocentrism, wildlife documentaries are powerful resources for promoting wildlife conservation and conscientizing people of the need for establishing a harmonious relationship with nature and humans alike.

Keywords: documentaries, multimodality, rhetoric, style, wildlife, conservation

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Authors: Shekhar U. Kadam, S. K. Pankaj, Brijesh K. Tiwari, P. J. Cullen, Colm P. O’Donnell

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Brown seaweed L. hyperborea is a rich source of phenolic compounds with antioxidant and antimicrobial properties. The aim of this work was to study the effect of incorporation of L. hyperborea extract to bovine gelatin film on the physicochemical and antioxidant properties of film. Films with fraction of 25% by weight of bovine gelatin sample were cast with addition of glycerol as a plasticizer. The total phenolic content and antioxidant activity of the films showed higher levels with addition of seaweed extract. Also film appearance properties such as film thickness, color and light transparency were evaluated. Film appearance was slightly modified whereas microstructure of films showed rough patches at 50% level of extract in the film. Hydrophilicity and glass transition temperature of the films also increased with increased level of seaweed extract. It was found that seaweed extract can be incorporated within gelatin and casein for development of biofunctional films.

Keywords: Laminaria hyperborea, ultrasound, seaweed extract, bovine gelatin film, antioxidant, phenolic compounds

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Authors: Qiankun Zhong

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In a global cultural context, film festival awards become authorities to define the aesthetic value of films. To study which genres and producing countries are valued by different film festivals and how those evaluations interact with each other, this research explored the interactions between the film festivals through their selection of movies and the factors that lead to the tendency of film festivals to nominate the same movies. To do this, the author employed a two-mode network on the movies that won the highest awards at five international film festivals with the highest attendance in the past ten years (the Venice Film Festival, the Cannes Film Festival, the Toronto International Film Festival, Sundance Film Festival, and the Berlin International Film Festival) and the film festivals that nominated those movies. The title, genre, producing country and language of 50 movies, and the range (regional, national or international) and organizing country or area of 129 film festivals were collected. These created networks connected by nominating the same films and awarding the same movies. The author then assessed the density and centrality of these networks to answer the question: What are the film festivals that tend to have more shared values with other festivals? Based on the Eigenvector centrality of the two-mode network, Palm Springs, Robert Festival, Toronto, Chicago, and San Sebastian are the festivals that tend to nominate commonly appreciated movies. In contrast, Black Movie Film Festival has the unique value of generally not sharing nominations with other film festivals. A homophily test was applied to access the clustering effects of film and film festivals. The result showed that movie genres (E-I index=0.55) and geographic location (E-I index=0.35) are possible indicators of film festival clustering. A blockmodel was also created to examine the structural roles of the film festivals and their meaning in real-world context. By analyzing the same blocks with film festival attributes, it was identified that film festivals either organized in the same area, with the same history, or with the same attitude on independent films would occupy the same structural roles in the network. Through the interpretation of the blocks, language was identified as an indicator that contributes to the role position of a film festival. Comparing the result of blockmodeling in the different periods, it is seen that international film festivals contrast with the Hollywood industry’s dominant value. The structural role dynamics provide evidence for a multi-value film festival network.

Keywords: film festivals, film studies, media industry studies, network analysis

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Authors: M. Khalid Alamgir, Javed Ahsan Bhatti, M. Zafarullah Khan

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Thin film of amorphous carbon (DLC) was deposited on 316 steel using Nd: YAG laser having energy 300mJ. Pure graphite was used as a target. The vacuum in the deposition chamber was generated in the range of 10-6 mbar by turbo molecular pump. Ratio of sp3 to sp2 content shows amorphous nature of the film. This was confirmed by Raman spectra having two peaks around 1300 cm-1 i.e. D-band to 1700 cm-1 i.e. G-band. If sp3 bonding ratio is high, the films behave like diamond-like whereas, with high sp2, films are graphite-like. The ratio of sp3 and sp2 contents in the film depends upon the deposition method, hydrogen contents and system parameters. The structural study of the film was carried out by XRD. The hardness of the films as measured by Vickers hardness tester and was found to be 28 GPa. The EDX result shows the presence of carbon contents on the surface in high rate and optical microscopy result shows the smoothness of the film on substrate. The film possesses good adhesion and can be used to coat surgical instruments.

Keywords: DLC, thin film, Raman spectroscopy, XRD, EDX

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Authors: Mel Aljon A. Montesa, Cynthia A. Martinez

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As the advent of the trend of lifting books into film flourishes, the study was conducted which concerns the evaluation of the level of faithfulness of film adaptations. This study assessed the level of faithfulness of the book based on the elements of fiction and determined whether the respondents were affected by it. Sixty (60) respondents were included in the study which composed of readers who have read the book before watching the film and viewers who watched the film first before reading the sourced text. The results revealed that most of the respondents evaluated the level of faithfulness of the four out of five elements of fiction including the plot, setting, conflict, and theme as moderately faithful while they found the characters somewhat faithful to the original characters. It was evident in the results that there are significant relationships among the plot and theme and its emotional effects to the respondents, thus, data also showed the significant relationships between the four out of five elements of fictions, excluding setting, and its social or behavioral effects to the respondents. A proposed rubric was made to evaluate film adaptations based on the film elements of fiction.

Keywords: elements of fiction, film adaptations, level of faithfulness, psychological effects

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Authors: Jaibir Sharma, Lee JaeWung, Merugu Srinivas, Navab Singh

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This paper presents thermal annealing dewetting technique for the preparation of porous metal membrane for thin film encapsulation application. Thermal annealing dewetting experimental results reveal that pore size in porous metal membrane depend upon i.e. 1. The substrate on which metal is deposited for formation of porous metal cap membrane, 2. Melting point of metal used for porous metal cap layer membrane formation, 3. Thickness of metal used for cap layer, 4. Temperature used for porous metal membrane formation. Silver (Ag) was used as a metal for preparation of porous metal membrane by annealing the film at different temperature. Pores in porous silver film were analyzed using Scanning Electron Microscope (SEM). In order to check the usefulness of porous metal film for thin film encapsulation application, the porous silver film prepared on amorphous silicon (a-Si) was release using XeF2. Finally, guide line and structures are suggested to use this porous membrane for thin film encapsulation (TFE) application.

Keywords: dewetting, themal annealing, metal, melting point, porous

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Authors: J. Areerut

Abstract:

Experimental Film Class Project is supported by the Institute for Research and Development at Suan Sunandha Rajabhat University. This project is purported to provide academic and professional services to improve the quality standards of the community and locals in accordance with the mission of the university, which is to improve and expand knowledge for the community and to develop and transfer such knowledge and professions to the next generation. Eventually, it leads to sustainable development because the development of human resources is deemed as the key for sustainable development. Moreover, the Experimental Film Class is an integral part of the teaching of film production at Suan Sunandha International School of Art (SISA). By means of giving opportunities to students for participation in projects by sharing experience, skill and knowledge and participation in field activities, it helps students in the film production major to enhance their abilities and potentials as preparation for their readiness in the marketplace. Additionally, in this class, we provide basic film knowledge, screenwriting techniques, editing and subtitles including uploading videos on social media such as YouTube and Facebook for the participant students.

Keywords: experimental film class, Watbangkapom School, participant students, basic of film production, film workshop

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Authors: Leiya Ho Yin Lee

Abstract:

Groundhog Day (Harold Ramis, 1993) may seemingly be a fairly unremarkable Hollywood comedy film in the 90s, it is argued that the film, with its protagonist Phil (Bill Murray), inadvertently, but perfectly, demonstrates an important aspect in filmmaking, film spectatorship and film research: repetition. Very rarely does a narrative film use one, and only one, take in its shooting. The multiple ‘repeats’ of Phil’s various endeavours due to his being trapped in a perpetual loop of the same day — from stealing money and tricking a woman into a casual relationship, to his multiple suicides, to eventually helping people in need — make the process of doing multiple ‘takes’ in filmmaking explicit. But perhaps more significantly, Phil represents a perfect model for the spectator/cinephile who has seen their favourite film for multiple times that they can remember every single detail. Crucially, their favourite film never changes, as it is a recording, but the cinephile’s experience of that very same film is most likely different each time they watch it again, just as Phil’s character and personality has completely transformed, from selfish and egotistic, to depressed and nihilistic, and ultimately to sympathetic and caring, even though he is living the exact same day. Furthermore, the author did not come up with this stimulating juxtaposition of film spectatorship and Groundhog Day the first time the author saw the film; it took the author a few casual re-viewings to notice the film’s self-reflexivity. And then, when working on it in the author’s research, the author had to re-view the film for more times, and have subsequently noticed even more things previously unnoticed. In this way, Groundhog Day not only stands for a model for filmmaking and film spectatorship, it also illustrates the act of academic research, especially in Film Studies where repeatedly viewing the same films is a prerequisite before new ideas and concepts are discovered from old material. This also recalls Deleuze’s thesis on difference and repetition in that repetition creates difference and it is difference that creates thought.

Keywords: narrative comprehension, repeated viewing, repetition, spectatorship

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