Search results for: film censorship system

Authors: Parsa Naji

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Following the Iran Islamic Revolution in 1979 and the subsequent formation of a theocratic regime, the new regime implemented stringent regulations and a complicated censorship system in the film industry. Thereupon, the screening of films showing the relationships between males and females encountered numerous limitations. Not only did these limits encompass the physical portrayal of the relationship between males and females, but also the dialogues containing explicit sexual or even passionate romantic themes, resulting in a film being permanently consigned to archival storage. However, despite these limitations, Iranian filmmakers persevered in creating their interesting cinematic works. Throughout the years after the revolution, Iranian directors have navigated a series of challenges and obstacles, employing innovative and unconventional methods to bypass the rigorous censorship system imposed by the government, ensuring the screening of their films. This study aims to analyze the creative approaches employed by Iranian filmmakers to circumvent governmental censorship regulations.

Keywords: censorship, Iranian cinema, Islamic revolution, male-female relationship

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Authors: Xinchen Zhu

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The rapid fame of the renowned female film star Tang Wei has made her a typical subject (or object) entangled with sensitive issues involving the official ideology, sexuality, and patriarchal values of contemporary China. In 2008, Tang Wei’s official ban has triggered the wave of debates concerning state power and censorship, actor’s rights, sexual ethics, and feminism in the public sphere. Her ban implies that Chinese film censorship acts as a key factor in reconstructing Chinese film stardom. Following the ban, as sensational media texts are re-interpreting the official discourses, the texts also functioned as a crucial vehicle in reconstructing Tang's female image. Therefore, the case study of Tang's film stardom allows us to further explore how female stardom has been entangled with the issues involving official ideology, female sexual ethics, and patriarchal values in contemporary China. This paper argues that Chinese female film stars shoulder the responsibility of film acting which would conform to the official male-dominated values. However, with the development of the Internet, the state no longer remains an absolute control over the new venues. The netizens’ discussion about her ban reshaped Tang’s image as a victim and scapegoat under the unfair oppression of the official authority. Additionally, this paper argues that similar to State’s discourse, netizens’ discourse did not reject patriarchal values, and in turn emphasized Tang Wei’s female chastity.

Keywords: film censorship, Chinese female film stardom, party-state’s power, national discourses, Tang Wei

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Authors: Xinchen Zhu

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In the history of Chinese-language film, female stars’ acting is connected with issues of national ideology, consumerism, and sexual politics. In the 1980s, Taiwan entered a period of ‘soft authoritarianism’ in which the economy prospered politics became more democratic, and mass culture became more diverse. Film censorship was more flexible and sexual scenes were increasingly shown on screen. Female stars’ bodies were eroticized and commercialized through sexual and nude scenes and, by challenging conservative film censorship and social taboos, became the focus of mass media. This article will explore how discourses in mass media constructed the erotic images of female stars and, conversely, impacted film censorship, filmmakers and film actresses in 1980s’ Taiwan. This article will regard the eroticized female film stars’ acting as a ‘field’ of internal interaction and continuous reproduction, where the ideology of male dominance and voices of female film stars conflict with each other. Based on textual analysis of female stars’ sexual acting and the debate in mass media, the argument is that the eroticized female bodies were gazed upon on and off the screen. In the discourses of mass media, the artistry of actresses’ erotic acting was not only ignored, devalued and delegitimized, these stars were also labelled as ‘undressed star’ or ‘nude star’ and construed as victims of the film industry. However, the female stars were able to speak through mass media platforms, emphasizing their efforts in erotic acting and highlighting modern female subjectivity.

Keywords: sexual scenes, Taiwan female stars, erotic acting, discourses in mass media, female subjectivity

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Authors: Deng Qiaoshan

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With the rise of feminism in the global film industry, feminist expressions in Chinese films have also evolved, reflecting societal focus on gender issues. This article focuses on young Chinese female directors such as Yang Lina, Teng Congcong, and Yang Mingming. Their films now present richer female perspectives and consciously incorporate unique female life experiences. They highlight women's real-life struggles, portraying ’struggling’ female identities—characters facing professional failures and desire identity issues, ultimately returning to family roles. These films commonly explore the ‘mother-daughter relationship’, with some using genre storytelling for commercial appeal and others deconstructing the ‘myth of motherhood’ to reflect reality, rewriting traditional maternal roles. The ‘struggling’ female identity in these directors' films shows an aesthetic of ‘pseudo-reality’, blending realistic situations with poetic, lyrical elements, reflecting their creative traits and internal conflicts. These contradictions are closely related to the unique creative context of Chinese cinema in which they operate. Emerging under China's strict film censorship system, film industrialization, consumerist culture, and internet environment, new-generation directors face multiple demands. How to ‘survive’ amidst complex commercial requirements while creating films with a clear feminist consciousness is the fundamental dilemma faced by young Chinese female directors.

Keywords: female directors, feminism film, female dilemma, film censorship system

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Authors: Vibhushan Subba

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B-movies are almost always ‘glanced over’, ‘swept beneath’, ‘hidden from’ and ‘locked away’ to live a secret life; a life that exists but enjoys only a mummified existence behind layers of protective covering. They are more often than not discarded as ‘trash’, ‘sleaze’, ‘porn’ and put down for their ‘bad taste’ or at least that has been the case in India. With the art film entering the realm of high art, the popular and the mainstream has been increasingly equated with the A grade Bollywood film. This leaves the B-movie to survive as a degraded cultural artifact on the fringes of the mainstream. Kanti Shah’s films are part of a secret, traversing the libidinal circuits of the B and C grade through history. His films still circulate like a corporeal reminder of the forbidden and that which is taboo, like a hidden fracture that threatens to split open bourgeois respectability. Seeking to find answers to an aesthetic that has been rejected and hidden, this paper looks at three films of Kanti Shah to see how the notion of taboo, censorship and the unseen coincide, how they operate in the domain of his cinema and try and understand a form that draws our attention to the subterranean forces at work.

Keywords: B-movies, trash, taboo, censorship

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Authors: Vasanth Narayanan

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The mid-nineteenth century saw the Japanese elite and townsfolk alike undergo the now-infamous Ansei Edo earthquakes. The quakes decimated Japan in the final decades of the Tokugawa Era and, perhaps more consequentially, birthed a new genre of politically inspired artwork, the most notable of which are the namazu-e. This essay advocates an understanding of the 1855 Catfish Prints (namazu-e) that prioritizes the function of iconography and anthropomorphic deity in shaping the namazu-e into a wholly political experience that makes the censorship of the time part of its argument. The visual program is defined as the creation of a politically profitable experience, crafted through the union of explicit religion, highly masked commentary, and the impositions of censorship. The strategies by which the works are designed, in the face of censorship, to engage a less educated, pedestrian audience with its theme, including considerations of iconography, depictions of the working class, anthropomorphism, and the relationship between textual and visual elements, are discussed herein. The essay then takes up the question of the role of tense Japan–United States relations in fostering censorship and as a driver of the production of namazu-e. It is ultimately understood that the marriage of hefty censorship protocol, the explicitly religious medium, and inimical sentiment towards United States efforts at diplomacy renders the production of namazu-e an offspring of the censorship and deeply held frustrations of the time, cementing its status as a primitive form of peaceful protest against a seemingly apathetic government.

Keywords: Japan, Ansei Earthquake, Namazu, prints, censorship, religion

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Authors: Riikka Elina Kallio

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“The walls have ears” phrase is defining the era of dictatorship in Portugal (1926–1974) and political unrest decades in Finland (1917–1948). The phrase is referring to the policing of the political, secret police, PIDE (Policia Internacional e de Defesa do Estado 1933–1969) in Portugal and VALPO (Valtiollinen Poliisi 1939–1948) in Finland. Free speech at any public space and even in private events could be fatal. The members of the PIDE/VALPO or informers/collaborators could be listening. Strict censorship under the Salazar´s regime was controlling media for example newspapers, music, and the film industry. Similarly, the politically affected censorship influenced the media in Finland in those unrest decades. This article examines the similarities and the differences in the images of the political police in Finland and Portugal, by analyzing Finnish and Portuguese films from the nineteen-thirties to nineteensixties. The text addresses two main research questions: what are the common and different features in the representations of the Finnish and Portuguese political police in films between the 1930s and 1960s, and how did the national censorship affect these representations? This study approach is interdisciplinary, and it combines film studies and criminology. Close reading is a practical qualitative method for analyzing films and in this study, close reading emphasizes the features of the police officer. Criminology provides the methodological tools for analysis of the police universal features and European common policies. The characterization of the police in this study is based on Robert Reiner´s 1980s and Timo Korander´s 2010s definitions of the police officer. The research material consisted of the Portuguese films from online film archives and Finnish films from Movie Making Finland -project´s metadata which offered suitable material by data mining the keywords such as poliisi, poliisipäällikkö and konstaapeli (police, police chief, police constable). The findings of this study suggest that even though there are common features of the images of the political police in Finland and Portugal, there are still national and cultural differences in the representations of the political police and policing.

Keywords: censorship, film studies, images, PIDE, political police, VALPO

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Authors: Elham Taghizade Sigarodi, Ani Mirzakhanian

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Journalism atmosphere in present era is highly competitive so that what matters the most is “the speed of news broadcasting”. The first newspaper that lets out the news is therefore of higher validity. The value of the news is in fact in its truthfulness. Expressing the facts and reality is an accepted norm in professional media arena and it is as well considered the acceptable and trustworthy language for journalism. However, different conditions generate self-censorship. The present study seeks to explore the relationship between self-censorship and satisfaction of Iran newspaper’s readers. Thus, the statistical population including journalists of Iran newspaper for Tehran’s readers was estimated 384 persons based on Morgan table. Through cluster sampling, 50 journalists were selected so that totally the sample size was 434 persons and questionnaire was applied for data analysis and based on Alpha Chronbache, it was supported. Through Pierson correlation, the main and all subsidiary hypotheses were supported except the forth one.

Keywords: newspaper, satisfaction of audiences, self-censorship, journalists

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Authors: Ahmad Bilal

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Digital and convergent media can be helpful in terms of acquiring film production skills and knowledge, and it has also reduced the cost of production. Thus, allowing filmmakers greater opportunities and access to the medium of film. Both these dimensions of new and convergent media have been challenging the established cinema of Pakistan, as traditionally, it has been controlled by the authorities through censorship policies. The use of the smartphone as a movie camera, editing machine, and a transmitter can further challenge the control in a postcolonial society. To explore the impact of new and convergent media on the art of filmmaking, a film 'Sohni Dharti: An untrue story' is produced. It is shot both on a smartphone and a Digital Single Lens Reflex Camera (DSLR), with almost zero budgets. It is distributed through Vimeo from Pakistan. This process reveals how the technologies that are available today, and the increased knowledge of film production that they bring, allow a more inclusive experience of the film production and distribution. At the same time, however, it also discloses the limitations that accompany new technologies within the context of a postcolonial society. This paper will investigate the role of technology to bring filmmaking at a level of pencil and paper.

Keywords: convergent media, filmmaking, smartphone, Pakistan

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Authors: Shazia Anwer

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This paper has discussed the unusual form of resistance in theatre against censorship board in Pakistan. The atypical approach of dramaturgy created massive space for performers and audiences to integrate and communicate. The social and religious absolutes creates suffocation in Pakistani society, strict control over all Fine and Performing Art has made art political, contemporary dramatics has started an amalgamated theatre to avoid censorship. Contemporary Punjabi theatre techniques are directly dependent on human cognition. The idea of indirect thought processing is not unique but dependent on spectators. The paper has provided an account of these techniques and their specific use for conveying specific messages across the audiences. For the Dramaturge of today, theatre space is an expression representing a linguistic formulation that includes qualities of experimental and non-traditional use of classical theatrical space in the context of fulfilling the concept of open theatre. Paper has explained the transformation of the theatrical experience into an event where the actor and the audience are co-existing and co-experiencing the dramatical experience. The denial of the existence of the 4th -Wall made two-way communication possible. This paper has elaborated that the previously marginalized genres such as naach, jugat, miras, are extensively included to counter the censorship board. Figurativeness, visual elements, allegory, scenic imagery are basic support system for contemporary Punjabi theatre. The body of the actor is used as a source for non-verbal communication, and for an escape from traditional theatrical space which by every means has every element that could be controlled and reprimanded by the controlling authority.

Keywords: communication, Punjabi theatre, figurativeness, censorship

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Authors: Malak Khaled Hosny

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The paper inspects Ibrahim Eissa, a famous Egyptian writer and TV persona, and his literary and film works. Having faced threats of persecution and assassination, Eissa is a controversial figure in Egyptian media, and his works always pose a trigger of outrage and conversation. His book The Preacher, his movie The Guest, and his TV show Faten Amal Harby all led to some controversy unfolding in Egyptian society, and all led to conversations erupting in Egyptian households and on social media platforms. Through a close reading of his written work and an analytic watch of his work on-screen, the paper delves into the details of the intentions behind and the repercussions of Ibrahim Eissa's work.

Keywords: censorship, film, literature, religion

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Authors: Owen Harrington-Fernandez, Pilar Alderete-Diez

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Up until recently, translation studies treated children’s literature as something of a marginal preoccupation, but the recent attention that this text type has attracted suggests that it may be fertile ground for research. This paper contributes to this new research avenue by applying a sociolinguistic theoretical framework to explore issues around the intersubjective co-construction of identity in the American English translation of the Spanish children’s story, Manolito Gafotas. The application of Bucholtz and Hall’s framework achieves two objectives: (1) it identifies shifts in the translation of the main character’s behaviour as culturally and morally motivated manipulations, and (2) it demonstrates how the context of translation becomes the very censorship machine that delegitimises the identity of the main character, and, concomitantly, the identity of the implied reader(s). If we take identity to be an intersubjective phenomenon, then it logicall follows that expurgating the identity of the main character necessarily shifts the identity of the implied reader(s) also. It is a double censorship of identity carried out under the auspices of an intellectual colonisation of a Spanish text. After reporting on the results of the analysis, the paper ends by raising the question of censorship in translation, and, more specifically, in children’s literature, in order to promote debate around this topic.

Keywords: censorship, identity, sociolinguistics, translation

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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: 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: 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: Sina Modares Ahmadi, Mohamad Reza Ghazavi, Mandana Sheikhzad

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Squeeze film damper systems (SFD) are often used in machines with high rotational speed to reduce non-periodic behavior by creating external damping. These types of systems are frequently used in aircraft gas turbine engines. There are some structural parameters which are of great importance in designing these kinds of systems, such as oil film thickness, C, and outer race mass, mo. Moreover, there is a crucial parameter associated with manufacturing process, under the title of waviness. Geometric imperfections are often called waviness if its wavelength is much longer than Hertzian contact width which is a considerable source of vibration in ball bearings. In this paper, a system of a flexible rotor and two ball bearings with floating ring squeeze film dampers and consideration of waviness has been modeled and solved by a numerical integration method, namely Runge-Kutta method to investigate the dynamic response of the system. The results show that by increasing the number of wave lobes, which is due to inappropriate manufacturing, non- periodic and chaotic behavior increases. This result reveals the importance of manufacturing accuracy. Moreover, as long as C< 1.5×10-4 m, by increasing the oil film thickness, unwanted vibrations and non-periodic behavior of the system have been reduced, On the other hand, when C>1.5×10-4 m, increasing the outer oil film thickness results in the increasing chaotic and non-periodic responses. This result shows that although the presence of oil film results in reduction the non-periodic and chaotic behaviors, but the oil film has an optimal thickness. In addition, with increasing mo, the disc displacement amplitude increases. This result reveals the importance of utilizing light materials in manufacturing the squeeze film dampers.

Keywords: squeeze-film damper, waviness, ball bearing, bifurcation

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Authors: Nastaran Khoshsabk

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The evolution of communication through the Internet has influenced shaping and reshaping the self-presentation of social media users. Online communities both connect people and give voice to the voiceless allowing them to present themselves nationally and globally. People all around the world are experiencing censorship in different aspects of their life. Censorship can be externally imposed because of the political situations, or it can be self-imposed. Social media users choose the content they want to share and decide about the online audiences with whom they want to share this content. Most social media networks, such as Facebook, enable their users to be selective about the shared content and its availability to other people. However, sometimes instead of targeting a specific audience, users self-censor themselves or decide not to share various forms of information. These decisions are of particular importance in countries such as Iran where Internet is not the arena of free self-presentation and people are encouraged to stay away from political participation in the country and acting against the Islamic values. Facebook and some other social media tools are blocked in countries such as Iran. This project investigates the importance of social media in the life of Iranians to explore how they present themselves and construct their digital selves. The notion of cultural identity is applied in this research to explore the educational and informative role of social media in the identity formation and cultural representation of Facebook users. This study explores the self-censorship of Iranian adult Facebook users through their online self-representation and communication on the Internet. The data in this qualitative multiple case study have been collected through individual synchronous online interviews with the researcher’s Facebook friends and through the analysis of the participants’ Facebook profiles and activities over a period of six months. The data is analysed with an emphasis on the identity formation of participants through the recognition of the underlying themes. The exploration of online interviews is on the basis of participants’ personal accounts of self-censorship and cultural understanding through using social media. The driven codes and themes have been categorised considering censorship and place of culture on representation of self. Participants were asked to explain their views about censorship and conservatism through using social media. They reported their thoughts about deciding which content to share on Facebook and which to self-censor and their reasons behind these decisions. The codes and themes have been categorised considering censorship and its role in representation of idealised self. The ‘actual self’ showed to be hidden by an individual for different reasons such as its influence on their social status, academic achievements and job opportunities. It is hoped that this research will have implications for education contexts in countries that are experiencing social media filtering by offering an increased understanding of the importance of online communities; which can provide an educational environment to talk and learn about social taboos and constructing adults’ identity in virtual environment and through cultural self-presentation.

Keywords: cultural identity, identity formation, online communities, self-censorship

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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: 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: Marcin Adamczak

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The growth of Chinese film market and its dynamic incomparable to any other historical phenomenon has already made China the second world market and potential future leader in 2-3 years period. The growing power of Chines box-office and its future prospects is then the crucial and potentially disturbing factor for persistence of global Hollywood reality. The paper is based on market statistical data. The main findings of the analysis are defining of essential obstacles for the development of Chinese market and its foreign expansion. However, the new strategies employed by the industry (acquisitions of cinema chains abroad, blockbuster made with the involvement of figures from Hollywood star system, coproduction ties within Pacific basin) could be a successful remedy for current shortcomings. The main factor for development will be wider economical framework and maintenance of growth pace. The future state of Chinese film market will be one of the main factors shaping global film culture and film market in following decades of XXI century.

Keywords: production studies, film market, Chinese film market, distribution

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Authors: Mazouzi Nourdjihane, K. Boutemak, A. Haddad, Y. Chegreouche

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In the last decades, biodegradable polymers have been considered as one of the most popular options for the delivery of drugs and various conventional doses. The film forming system (FFS) can be used in topical, transdermal, ophthalmic, oral and gastric applications. Recently this system has focused on improving drug delivery, which can promote drug release. In this context, the aim of this study is to create polymeric film-forming systems for the stomach and to evaluate and test their gastroprotective effects, comparing the effects of changes in composition on film characteristics. It uses a plant-derived polyphenol extract extracted from fennel to demonstrate anti-inflammatory activity in the film. The films are made from hydroxypropyl methylcellulose polymer and different types of plastic, glycerol and polyethylene glycol. The ffs properties show that MgO-glycerol-reinforced hydroxypropylmethylcellulose (HPMC-MgO-Gly) is better than that based on MgO-PEG-reinforced hydroxypropylmethylcellulose (HPMC-MgO-PEG). It is durable, has a faster drying time and allows for maximum recovery. Water vapor strength and blowing speed and other additions show another advantage of HPMC-MgO-Gly compared to HPMC-MgO-PEG, indicating good adhesion between the support (top) and film production. In this study, the gastroprotective effect of fennel phenol extract was found, showing that this plant material has a gastroprotective effect on ulcers and that the film can absorb the active substance.

Keywords: film formin system, hydroxypropyl methylcellulose, magnesium oxide, in vivo

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Authors: Irena Alperyte

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Since the regaining of the Independence, the Lithuanian state has been confronting an increasingly dramatic challenge because of the lack of funding sources dedicated to the film industries. During the Soviet times, Lithuanian film was under a total supervision of the Soviet functioners. This means that the responsibility of the state to make movies was of a monopolist character. The filmmakers’ community of the newly independent state needed to learn how to develop their fundraising skills, co-production and marketing techniques. Currently, Lithuanian film is experiencing a new phase concerning its funding: it is exploring the possibilities of motivating the public to invest in entertainment via crowd funding and crowd sourcing techniques and making these activities an alternative way of funding films. The paper aims at the exploration of the existing film financing practices in Lithuania and abroad and provides recommendations on how to improve the alternative Lithuanian film financing strategy via employing new possibilities, such as crowd funding and other alternative marketing tools. Objectives: 1) To examine the theories on creative industries and possibilities for their application. 2) To analyze the current situation in the film industry Lithuania. 3) To analyze the statistical data on movie theater visitors in Lithuania. 4) To discuss alternative options for film financing system. 5) To look through the alternative funding strategies tailored for Lithuanian film industry. 6) To propose recommendations for alternative funding strategies in Lithuanian film fundraising.

Keywords: creative industries, film, funding, fun theory

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Authors: Jitrawadee Meerasri, Rungsinee Sothornvit

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Pectin is a structural polysaccharide from plant cell walls and can be used as a stabilizer, gelling and film-forming agents to improve many food products. Moreover, pectin film as a natural biopolymer can be a carrier of several active ingredients such as antioxidant and antimicrobial to provide an active or functional film. Gamma-aminobutyric acid (GABA) is a well-known agent to reduce neuronal excitability throughout the nervous system and it is interesting to investigate the GABA effect as a substitute of normal plasticizer (glycerol) on edible film properties. Therefore, the objective of this study was to determine the effect of GABA concentrations (5-15% of pectin) on film mechanical properties, moisture content, water vapor permeability, and solubility compared with those from glycerol (10% of pectin) plasticized pectin film including a control film (pectin film without any plasticizer). It was found that an increase in GABA concentrations decreased film tensile strength, modulus, solubility and water vapor permeability, but elongation was increased without a change in the moisture content. The smaller amount of GABA showed the equivalent film properties as using a higher amount of glycerol. Consequently, GABA can act as an alternative plasticizer substitute of glycerol at the lower amount used. Moreover, GABA provides the nutritional high value in the food products when the edible packaging material is consumed with products.

Keywords: gamma-aminobutyric acid, pectin, plasticizer, edible 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: Edward C. Smith

Abstract:

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: Pison Suwanpakdee

Abstract:

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: S. Pison

Abstract:

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: Saziye Ugur

Abstract:

In this study, optical, film formation, morphological and the magnetic properties of a nanocomposite system, composed of polystyrene (PS) latex polymer and core-shell magnetic nanoparticles (MNPs) is presented. Nine different mixtures were prepared by mixing of PS latex dispersion with different amount of MNPs in the range of (0- 100 wt%). PS/MNPs films were prepared from these mixtures on glass substrates by drop casting method. After drying at room temperature, each film sample was separately annealed at temperatures from 100 to 250 °C for 10 min. In order to monitor film formation process, the transmittance of these composites was measured after each annealing step as a function of MNPs content. Below a critical MNPs content (30 wt%), it was found that PS percolates into the MNPs hard phase and forms an interconnected network upon annealing. The transmission results showed above this critical value, PS latexes were no longer film forming at all temperatures. Besides, the PS/MNPs composite films also showed excellent magnetic properties. All composite films showed superparamagnetic behaviors. The saturation magnetisation (Ms) first increased up to 0.014 emu in the range of (0-50) wt% MNPs content and then decreased to 0.010 emu with increasing MNPs content. The highest value of Ms was approximately 0.020 emu and was obtained for the film filled with 85 wt% MNPs content. These results indicated that the optical, film formation and magnetic properties of PS/MNPs composite films can be readily tuned by varying loading content of MNPs nanoparticles.

Keywords: composite film, film formation, magnetic nanoparticles, ps latex, transmission

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