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market</title> <meta name="description" content="Search results for: film market"> <meta name="keywords" content="film market"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler 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id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="film market"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 4582</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: film market</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4582</span> The Development of Chinese Film Market as Factor of Change in Global Hollywood</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Marcin%20Adamczak">Marcin Adamczak</a> </p> <p class="card-text"><strong>Abstract:</strong></p> 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. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=production%20studies" title="production studies">production studies</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20market" title=" film market"> film market</a>, <a href="https://publications.waset.org/abstracts/search?q=Chinese%20film%20market" title=" Chinese film market"> Chinese film market</a>, <a href="https://publications.waset.org/abstracts/search?q=distribution" title=" distribution"> distribution</a> </p> <a href="https://publications.waset.org/abstracts/88504/the-development-of-chinese-film-market-as-factor-of-change-in-global-hollywood" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/88504.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">215</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4581</span> Marketing of Turkish Films by Crowdfunding</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nurdan%20Tumbek%20Tekeoglu">Nurdan Tumbek Tekeoglu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> With rising importance in all over the world, crowdfunding has become a new financing and marketing method for film industry. Crowdfunding is a new practice in film industry for funding a film project by raising monetary contributions from a large group of people. By crowdfunding an estimate fund of 20 billion USD has been raised in 2015. Through the crowdfunding platforms not only the film makers, but also the entrepreneurs and nongovernmental organizations finance and market their projects. Among the prominent crowdfunding platforms in Turkey, we can list Crowdfon, Fonlabeni, Kickstarter, Indiego, Bi Ayda, and Fongogo platforms. In 2014 the Turkish film industry celebrated its 100th anniversary and reached its peak producing around 150-200 films a year reminding the brilliant years of Yesilcam period. In general feature films apply for crowdfunding. Until April 2015 more than 190 films applied for crowdfunding platforms. Crowdfunding has a promising future in Turkey, since donation traditions has an important place in Turkish culture traditionally. This paper is exploring the marketing of the crowdfunding platforms established in Turkey in order for the films meet their target groups during the pre-production period. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=crowdfunding" title="crowdfunding">crowdfunding</a>, <a href="https://publications.waset.org/abstracts/search?q=marketing%20of%20films" title=" marketing of films"> marketing of films</a>, <a href="https://publications.waset.org/abstracts/search?q=Turkey" title=" Turkey"> Turkey</a>, <a href="https://publications.waset.org/abstracts/search?q=Turkish%20film%20industry" title=" Turkish film industry"> Turkish film industry</a> </p> <a href="https://publications.waset.org/abstracts/32285/marketing-of-turkish-films-by-crowdfunding" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/32285.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">352</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4580</span> Application of the Global Optimization Techniques to the Optical Thin Film Design</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=D.%20Li">D. Li</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Optical thin films are used in a wide variety of optical components and there are many software tools programmed for advancing multilayer thin film design. The available software packages for designing the thin film structure may not provide optimum designs. Normally, almost all current software programs obtain their final designs either from optimizing a starting guess or by technique, which may or may not involve a pseudorandom process, that give different answers every time, depending upon the initial conditions. With the increasing power of personal computers, functional methods in optimization and synthesis of optical multilayer systems have been developed such as DGL Optimization, Simulated Annealing, Genetic Algorithms, Needle Optimization, Inductive Optimization and Flip-Flop Optimization. Among these, DGL Optimization has proved its efficiency in optical thin film designs. The application of the DGL optimization technique to the design of optical coating is presented. A DGL optimization technique is provided, and its main features are discussed. Guidelines on the application of the DGL optimization technique to various types of design problems are given. The innovative global optimization strategies used in a software tool, OnlyFilm, to optimize multilayer thin film designs through different filter designs are outlined. OnlyFilm is a powerful, versatile, and user-friendly thin film software on the market, which combines optimization and synthesis design capabilities with powerful analytical tools for optical thin film designers. It is also the only thin film design software that offers a true global optimization function. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=optical%20coatings" title="optical coatings">optical coatings</a>, <a href="https://publications.waset.org/abstracts/search?q=optimization" title=" optimization"> optimization</a>, <a href="https://publications.waset.org/abstracts/search?q=design%20software" title=" design software"> design software</a>, <a href="https://publications.waset.org/abstracts/search?q=thin%20film%20design" title=" thin film design"> thin film design</a> </p> <a href="https://publications.waset.org/abstracts/80917/application-of-the-global-optimization-techniques-to-the-optical-thin-film-design" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/80917.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">316</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4579</span> Commercialization of Film Festivals: An Autobiographical Analysis</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=%C3%96nder%20M.%20%C3%96zdem">Önder M. Özdem</a> </p> <p class="card-text"><strong>Abstract:</strong></p> 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. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=commercialization" title="commercialization">commercialization</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20distribution" title=" film distribution"> film distribution</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20festivals" title=" film festivals"> film festivals</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20production" title=" film production"> film production</a> </p> <a href="https://publications.waset.org/abstracts/166277/commercialization-of-film-festivals-an-autobiographical-analysis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/166277.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">77</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4578</span> Characteristics of Different Solar PV Modules under Partial Shading</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hla%20Hla%20Khaing">Hla Hla Khaing</a>, <a href="https://publications.waset.org/abstracts/search?q=Yit%20Jian%20Liang"> Yit Jian Liang</a>, <a href="https://publications.waset.org/abstracts/search?q=Nant%20Nyein%20Moe%20Htay"> Nant Nyein Moe Htay</a>, <a href="https://publications.waset.org/abstracts/search?q=Jiang%20Fan"> Jiang Fan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Partial shadowing is one of the problems that are always faced in terrestrial applications of solar photovoltaic (PV). The effects of partial shadow on the energy yield of conventional mono-crystalline and multi-crystalline PV modules have been researched for a long time. With deployment of new thin-film solar PV modules in the market, it is important to understand the performance of new PV modules operating under the partial shadow in the tropical zone. This paper addresses the impacts of different partial shadowing on the operating characteristics of four different types of solar PV modules that include multi-crystalline, amorphous thin-film, CdTe thin-film and CIGS thin-film PV modules. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=partial%20shade" title="partial shade">partial shade</a>, <a href="https://publications.waset.org/abstracts/search?q=CdTe" title=" CdTe"> CdTe</a>, <a href="https://publications.waset.org/abstracts/search?q=CIGS" title=" CIGS"> CIGS</a>, <a href="https://publications.waset.org/abstracts/search?q=multi-crystalline%20%28mc-Si%29" title=" multi-crystalline (mc-Si)"> multi-crystalline (mc-Si)</a>, <a href="https://publications.waset.org/abstracts/search?q=amorphous%20silicon%20%28a-Si%29" title=" amorphous silicon (a-Si)"> amorphous silicon (a-Si)</a>, <a href="https://publications.waset.org/abstracts/search?q=bypass%20diode" title=" bypass diode"> bypass diode</a> </p> <a href="https://publications.waset.org/abstracts/9357/characteristics-of-different-solar-pv-modules-under-partial-shading" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/9357.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">450</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4577</span> Strategic Risk Issues for Film Distributors of Hindi Film Industry in Mumbai: A Grounded Theory Approach</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rashmi%20Dyondi">Rashmi Dyondi</a>, <a href="https://publications.waset.org/abstracts/search?q=Shishir%20K.%20Jha"> Shishir K. Jha</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of the paper is to address the strategic risk issues surrounding Hindi film distribution in Mumbai for a film distributor, who acts as an entrepreneur when launching a product (movie) in the market (film territory).The paper undertakes a fundamental review of films and risk in the Hindi film industry and applies Grounded Theory technique to understand the complex phenomena of risk taking behavior of the film distributors (both independent and studios) in Mumbai. Rich in-depth interviews with distributors are coded to develop core categories through constant comparison leading to conceptualization of the phenomena of interest. This paper is a first-of-its-kind-attempt to understand risk behavior of a distributor, which is akin to entrepreneurial risk behavior under conditions of uncertainty. Unlike extensive scholarly work on dynamics of Hollywood motion picture industry, Hindi film industry is an under-researched area till now. Especially how do film distributors perceive risk is an unexplored study for the Hindi film industry. Films are unique experience products and the film distributor acts as an entrepreneur assuming high risks given the uncertainty in the motion picture business. With the entry of mighty corporate studios and astronomical film budgets posing serious business threats to the independent distributors, there is a need for an in-depth qualitative enquiry (applying grounded theory technique) for unraveling the definition of risk for the independent distributors in Mumbai vis-à-vis the corporate studios. Need for good content was a common challenge to both the groups in the present state of the industry, however corporate studios with their distinct ideologies, focus on own productions and financial power faced different set of challenges than the independents (like achieving sustainability in business). Softer issues like market goodwill and relations with producers, honesty in business dealings and transparency came out to be clear markers for success of independents in long run. The findings from the qualitative analysis stress on different elements of risk and challenges as perceived by the two groups of distributors in the Hindi film industry and provide a future research agenda for empirical investigation of determinants of box-office success of Hindi films distributed in Mumbai. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=entrepreneurial%20risk%20behavior" title="entrepreneurial risk behavior">entrepreneurial risk behavior</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20distribution%20strategy" title=" film distribution strategy"> film distribution strategy</a>, <a href="https://publications.waset.org/abstracts/search?q=Hindi%20film%20industry" title=" Hindi film industry"> Hindi film industry</a>, <a href="https://publications.waset.org/abstracts/search?q=risk" title=" risk "> risk </a> </p> <a href="https://publications.waset.org/abstracts/30088/strategic-risk-issues-for-film-distributors-of-hindi-film-industry-in-mumbai-a-grounded-theory-approach" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/30088.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">313</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4576</span> Analysis of Casting Call Process in Thai Film Industry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Panprae%20Bunyapukkna">Panprae Bunyapukkna</a> </p> <p class="card-text"><strong>Abstract:</strong></p> 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. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=casting%20for%20film" title="casting for film">casting for film</a>, <a href="https://publications.waset.org/abstracts/search?q=modeling%20business" title=" modeling business"> modeling business</a>, <a href="https://publications.waset.org/abstracts/search?q=acting" title=" acting"> acting</a>, <a href="https://publications.waset.org/abstracts/search?q=film" title=" film"> film</a>, <a href="https://publications.waset.org/abstracts/search?q=performing%20arts" title=" performing arts"> performing arts</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20business" title=" film business"> film business</a> </p> <a href="https://publications.waset.org/abstracts/12956/analysis-of-casting-call-process-in-thai-film-industry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/12956.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">424</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4575</span> Temperature Coefficients of the Refractive Index for Ge Film</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lingmao%20Xu">Lingmao Xu</a>, <a href="https://publications.waset.org/abstracts/search?q=Hui%20Zhou"> Hui Zhou</a> </p> <p class="card-text"><strong>Abstract:</strong></p> 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. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=infrared%20optical%20film" title="infrared optical film">infrared optical film</a>, <a href="https://publications.waset.org/abstracts/search?q=low%20temperature" title=" low temperature"> low temperature</a>, <a href="https://publications.waset.org/abstracts/search?q=thermal%20refractive%20coefficient" title=" thermal refractive coefficient"> thermal refractive coefficient</a>, <a href="https://publications.waset.org/abstracts/search?q=Ge%20film" title=" Ge film"> Ge film</a> </p> <a href="https://publications.waset.org/abstracts/71052/temperature-coefficients-of-the-refractive-index-for-ge-film" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/71052.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">298</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4574</span> “Self” and “The Other” in Dunkirk (2017)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ebtesam%20Dessouki">Ebtesam Dessouki</a>, <a href="https://publications.waset.org/abstracts/search?q=Yasaman%20Mousavi"> Yasaman Mousavi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> 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. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film" title="film">film</a>, <a href="https://publications.waset.org/abstracts/search?q=Dunkirk" title=" Dunkirk"> Dunkirk</a>, <a href="https://publications.waset.org/abstracts/search?q=other" title=" other"> other</a>, <a href="https://publications.waset.org/abstracts/search?q=self" title=" self"> self</a> </p> <a href="https://publications.waset.org/abstracts/166703/self-and-the-other-in-dunkirk-2017" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/166703.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">72</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4573</span> Synthesis and Characterization of Non-Aqueous Electrodeposited ZnSe Thin Film</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=S.%20R.%20Kumar">S. R. Kumar</a>, <a href="https://publications.waset.org/abstracts/search?q=Shashikant%20Rajpal"> Shashikant Rajpal</a> </p> <p class="card-text"><strong>Abstract:</strong></p> 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. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=electrodeposition" title="electrodeposition">electrodeposition</a>, <a href="https://publications.waset.org/abstracts/search?q=non-aqueous%20medium" title=" non-aqueous medium"> non-aqueous medium</a>, <a href="https://publications.waset.org/abstracts/search?q=SEM" title=" SEM"> SEM</a>, <a href="https://publications.waset.org/abstracts/search?q=XRD" title=" XRD"> XRD</a> </p> <a href="https://publications.waset.org/abstracts/22975/synthesis-and-characterization-of-non-aqueous-electrodeposited-znse-thin-film" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/22975.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">486</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4572</span> Film Studies: Definition, Current Status, and Future Perspectives for Cuba</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Carlos%20Guillermo%20Lloga%20Sanz">Carlos Guillermo Lloga Sanz</a>, <a href="https://publications.waset.org/abstracts/search?q=Maria%20del%20Carmen%20Tamayo%20Asef"> Maria del Carmen Tamayo Asef</a> </p> <p class="card-text"><strong>Abstract:</strong></p> 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. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film%20studies" title="film studies">film studies</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20criticism" title=" film criticism"> film criticism</a>, <a href="https://publications.waset.org/abstracts/search?q=Cuban%20cinema" title=" Cuban cinema"> Cuban cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=Cuban%20film%20studies" title=" Cuban film studies"> Cuban film studies</a> </p> <a href="https://publications.waset.org/abstracts/152140/film-studies-definition-current-status-and-future-perspectives-for-cuba" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/152140.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">100</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4571</span> Nazi Propaganda and the 1930 Berlin Film Premiere of “All Quiet on the Western Front”</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Edward%20C.%20Smith">Edward C. Smith</a> </p> <p class="card-text"><strong>Abstract:</strong></p> 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.” <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=documentary%20and%20propaganda%20film" title="documentary and propaganda film">documentary and propaganda film</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20and%20TV%20audiences" title=" film and TV audiences"> film and TV audiences</a>, <a href="https://publications.waset.org/abstracts/search?q=international%20literature%20in%20film%20studies" title=" international literature in film studies"> international literature in film studies</a>, <a href="https://publications.waset.org/abstracts/search?q=popular%20culture%20and%20film" title=" popular culture and film"> popular culture and film</a> </p> <a href="https://publications.waset.org/abstracts/20189/nazi-propaganda-and-the-1930-berlin-film-premiere-of-all-quiet-on-the-western-front" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/20189.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">405</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4570</span> Synthesis of Crosslinked Konjac Glucomannan and Kappa Carrageenan Film with Glutaraldehyde</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sperisa%20Distantina">Sperisa Distantina</a>, <a href="https://publications.waset.org/abstracts/search?q=Fadilah"> Fadilah</a>, <a href="https://publications.waset.org/abstracts/search?q=Mujtahid%20Kaavessina"> Mujtahid Kaavessina</a> </p> <p class="card-text"><strong>Abstract:</strong></p> 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. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=crosslinking" title="crosslinking">crosslinking</a>, <a href="https://publications.waset.org/abstracts/search?q=glucomannan" title=" glucomannan"> glucomannan</a>, <a href="https://publications.waset.org/abstracts/search?q=carrageenan" title=" carrageenan"> carrageenan</a>, <a href="https://publications.waset.org/abstracts/search?q=swelling" title=" swelling"> swelling</a> </p> <a href="https://publications.waset.org/abstracts/28493/synthesis-of-crosslinked-konjac-glucomannan-and-kappa-carrageenan-film-with-glutaraldehyde" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/28493.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">279</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4569</span> Thai’s Film after Political Crisis in October 14, 1973 and Political Crisis between 2005-2014</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pison%20Suwanpakdee">Pison Suwanpakdee</a> </p> <p class="card-text"><strong>Abstract:</strong></p> 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. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film" title="film">film</a>, <a href="https://publications.waset.org/abstracts/search?q=political" title=" political"> political</a>, <a href="https://publications.waset.org/abstracts/search?q=neorealism" title=" neorealism"> neorealism</a>, <a href="https://publications.waset.org/abstracts/search?q=Thailand" title=" Thailand "> Thailand </a> </p> <a href="https://publications.waset.org/abstracts/10747/thais-film-after-political-crisis-in-october-14-1973-and-political-crisis-between-2005-2014" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/10747.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">424</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4568</span> Film Sensors for the Harsh Environment Application</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Wenmin%20Qu">Wenmin Qu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A capacitance level sensor with a segmented film electrode and a thin-film volume flow sensor with an innovative by-pass sleeve is presented as industrial products for the application in a harsh environment. The working principle of such sensors is well known; however, the traditional sensors show some limitations for certain industrial measurements. The two sensors presented in this paper overcome this limitation and enlarge the application spectrum. The problem is analyzed, and the solution is given. The emphasis of the paper is on developing the problem-solving concepts and the realization of the corresponding measuring circuits. These should give advice and encouragement, how we can still develop electronic measuring products in an almost saturated market. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=by-pass%20sleeve" title="by-pass sleeve">by-pass sleeve</a>, <a href="https://publications.waset.org/abstracts/search?q=charge%20transfer%20circuit" title=" charge transfer circuit"> charge transfer circuit</a>, <a href="https://publications.waset.org/abstracts/search?q=fixed%20%CE%94T%20circuit" title=" fixed ΔT circuit"> fixed ΔT circuit</a>, <a href="https://publications.waset.org/abstracts/search?q=harsh%20environment" title=" harsh environment"> harsh environment</a>, <a href="https://publications.waset.org/abstracts/search?q=industrial%20application" title=" industrial application"> industrial application</a>, <a href="https://publications.waset.org/abstracts/search?q=segmented%20electrode" title=" segmented electrode"> segmented electrode</a> </p> <a href="https://publications.waset.org/abstracts/128127/film-sensors-for-the-harsh-environment-application" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/128127.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">121</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4567</span> Neo-Realism in Thai’s Film after Political Crisis in October 14, 1973 and Political Crisis between 2005-2014 </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=S.%20Pison">S. Pison</a> </p> <p class="card-text"><strong>Abstract:</strong></p> 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. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film" title="film">film</a>, <a href="https://publications.waset.org/abstracts/search?q=political" title=" political"> political</a>, <a href="https://publications.waset.org/abstracts/search?q=neo-realism" title=" neo-realism"> neo-realism</a>, <a href="https://publications.waset.org/abstracts/search?q=social" title=" social"> social</a>, <a href="https://publications.waset.org/abstracts/search?q=Thailand" title=" Thailand"> Thailand</a> </p> <a href="https://publications.waset.org/abstracts/8596/neo-realism-in-thais-film-after-political-crisis-in-october-14-1973-and-political-crisis-between-2005-2014" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/8596.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">333</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4566</span> Effect of Incorporation of Seaweed Extract in Gelatin Based Film on Physic-Chemical and Bioactive Properties of Film</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shekhar%20U.%20Kadam">Shekhar U. Kadam</a>, <a href="https://publications.waset.org/abstracts/search?q=S.%20K.%20Pankaj"> S. K. Pankaj</a>, <a href="https://publications.waset.org/abstracts/search?q=Brijesh%20K.%20Tiwari"> Brijesh K. Tiwari</a>, <a href="https://publications.waset.org/abstracts/search?q=P.%20J.%20Cullen"> P. J. Cullen</a>, <a href="https://publications.waset.org/abstracts/search?q=Colm%20P.%20O%E2%80%99Donnell"> Colm P. O’Donnell</a> </p> <p class="card-text"><strong>Abstract:</strong></p> 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. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Laminaria%20hyperborea" title="Laminaria hyperborea">Laminaria hyperborea</a>, <a href="https://publications.waset.org/abstracts/search?q=ultrasound" title=" ultrasound"> ultrasound</a>, <a href="https://publications.waset.org/abstracts/search?q=seaweed%20extract" title=" seaweed extract"> seaweed extract</a>, <a href="https://publications.waset.org/abstracts/search?q=bovine%20gelatin%20film" title=" bovine gelatin film"> bovine gelatin film</a>, <a href="https://publications.waset.org/abstracts/search?q=antioxidant" title=" antioxidant"> antioxidant</a>, <a href="https://publications.waset.org/abstracts/search?q=phenolic%20compounds" title=" phenolic compounds"> phenolic compounds</a> </p> <a href="https://publications.waset.org/abstracts/25557/effect-of-incorporation-of-seaweed-extract-in-gelatin-based-film-on-physic-chemical-and-bioactive-properties-of-film" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/25557.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">518</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4565</span> The Development of Documentary Filmmaking in Early Independent India</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Camille%20Deprez">Camille Deprez</a> </p> <p class="card-text"><strong>Abstract:</strong></p> 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. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=documentary%20film" title="documentary film">documentary film</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20archives" title=" film archives"> film archives</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20history" title=" film history"> film history</a>, <a href="https://publications.waset.org/abstracts/search?q=India" title=" India"> India</a> </p> <a href="https://publications.waset.org/abstracts/23360/the-development-of-documentary-filmmaking-in-early-independent-india" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/23360.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">297</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4564</span> Using Two-Mode Network to Access the Connections of Film Festivals </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Qiankun%20Zhong">Qiankun Zhong</a> </p> <p class="card-text"><strong>Abstract:</strong></p> 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. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film%20festivals" title="film festivals">film festivals</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20studies" title=" film studies"> film studies</a>, <a href="https://publications.waset.org/abstracts/search?q=media%20industry%20studies" title=" media industry studies"> media industry studies</a>, <a href="https://publications.waset.org/abstracts/search?q=network%20analysis" title=" network analysis"> network analysis</a> </p> <a href="https://publications.waset.org/abstracts/81556/using-two-mode-network-to-access-the-connections-of-film-festivals" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/81556.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">316</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4563</span> Deposition of Diamond Like Carbon Thin Film by Pulse Laser Deposition for Surgical Instruments</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=M.%20Khalid%20Alamgir">M. Khalid Alamgir</a>, <a href="https://publications.waset.org/abstracts/search?q=Javed%20Ahsan%20Bhatti"> Javed Ahsan Bhatti</a>, <a href="https://publications.waset.org/abstracts/search?q=M.%20Zafarullah%20Khan"> M. Zafarullah Khan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> 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. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=DLC" title="DLC">DLC</a>, <a href="https://publications.waset.org/abstracts/search?q=thin%20film" title=" thin film"> thin film</a>, <a href="https://publications.waset.org/abstracts/search?q=Raman%20spectroscopy" title=" Raman spectroscopy"> Raman spectroscopy</a>, <a href="https://publications.waset.org/abstracts/search?q=XRD" title=" XRD"> XRD</a>, <a href="https://publications.waset.org/abstracts/search?q=EDX" title=" EDX"> EDX</a> </p> <a href="https://publications.waset.org/abstracts/29422/deposition-of-diamond-like-carbon-thin-film-by-pulse-laser-deposition-for-surgical-instruments" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/29422.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">564</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4562</span> Faithfulness of Film Adaptations: An Evaluation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mel%20Aljon%20A.%20Montesa">Mel Aljon A. Montesa</a>, <a href="https://publications.waset.org/abstracts/search?q=Cynthia%20A.%20Martinez"> Cynthia A. Martinez</a> </p> <p class="card-text"><strong>Abstract:</strong></p> 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. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=elements%20of%20fiction" title="elements of fiction">elements of fiction</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20adaptations" title=" film adaptations"> film adaptations</a>, <a href="https://publications.waset.org/abstracts/search?q=level%20of%20faithfulness" title=" level of faithfulness"> level of faithfulness</a>, <a href="https://publications.waset.org/abstracts/search?q=psychological%20effects" title=" psychological effects"> psychological effects</a> </p> <a href="https://publications.waset.org/abstracts/23402/faithfulness-of-film-adaptations-an-evaluation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/23402.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">301</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4561</span> Preparation of Porous Metal Membrane by Thermal Annealing for Thin Film Encapsulation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jaibir%20Sharma">Jaibir Sharma</a>, <a href="https://publications.waset.org/abstracts/search?q=Lee%20JaeWung"> Lee JaeWung</a>, <a href="https://publications.waset.org/abstracts/search?q=Merugu%20Srinivas"> Merugu Srinivas</a>, <a href="https://publications.waset.org/abstracts/search?q=Navab%20Singh"> Navab Singh </a> </p> <p class="card-text"><strong>Abstract:</strong></p> 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. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=dewetting" title="dewetting">dewetting</a>, <a href="https://publications.waset.org/abstracts/search?q=themal%20annealing" title=" themal annealing"> themal annealing</a>, <a href="https://publications.waset.org/abstracts/search?q=metal" title=" metal"> metal</a>, <a href="https://publications.waset.org/abstracts/search?q=melting%20point" title=" melting point"> melting point</a>, <a href="https://publications.waset.org/abstracts/search?q=porous" title=" porous"> porous</a> </p> <a href="https://publications.waset.org/abstracts/31602/preparation-of-porous-metal-membrane-by-thermal-annealing-for-thin-film-encapsulation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/31602.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">658</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4560</span> Experimental Film Class: Watbangkapom School, Samut Songkhram</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=J.%20Areerut">J. Areerut</a> </p> <p class="card-text"><strong>Abstract:</strong></p> 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. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=experimental%20film%20class" title="experimental film class">experimental film class</a>, <a href="https://publications.waset.org/abstracts/search?q=Watbangkapom%20School" title=" Watbangkapom School"> Watbangkapom School</a>, <a href="https://publications.waset.org/abstracts/search?q=participant%20students" title=" participant students"> participant students</a>, <a href="https://publications.waset.org/abstracts/search?q=basic%20of%20film%20production" title=" basic of film production"> basic of film production</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20workshop" title=" film workshop"> film workshop</a> </p> <a href="https://publications.waset.org/abstracts/11327/experimental-film-class-watbangkapom-school-samut-songkhram" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/11327.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">337</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4559</span> Groundhog Day as a Model for the Repeating Spectator and the Film Academic: Re-Watching the Same Films Again Can Create Different Experiences and Ideas</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Leiya%20Ho%20Yin%20Lee">Leiya Ho Yin Lee</a> </p> <p class="card-text"><strong>Abstract:</strong></p> 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. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=narrative%20comprehension" title="narrative comprehension">narrative comprehension</a>, <a href="https://publications.waset.org/abstracts/search?q=repeated%20viewing" title=" repeated viewing"> repeated viewing</a>, <a href="https://publications.waset.org/abstracts/search?q=repetition" title=" repetition"> repetition</a>, <a href="https://publications.waset.org/abstracts/search?q=spectatorship" title=" spectatorship"> spectatorship</a> </p> <a href="https://publications.waset.org/abstracts/61535/groundhog-day-as-a-model-for-the-repeating-spectator-and-the-film-academic-re-watching-the-same-films-again-can-create-different-experiences-and-ideas" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/61535.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">320</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4558</span> Altered States of Consciousness in Narrative Cinema: Subjective Film Sound</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mladen%20Milicevic">Mladen Milicevic </a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this paper, subjective film sound will be addressed as it gets represented in narrative cinema. First, 'meta-diegetic' sound will be briefly explained followed by transition to “oneiric” sound. The representation of oneiric sound refers to a situation where film characters are experiencing some sort of an altered state of consciousness. Looking at an antlered state of consciousness in terms of human brain processes will point out to the cinematic ways of expression, which 'mimic' those processes. Using several examples for different films will illustrate these points. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=oneiric" title="oneiric">oneiric</a>, <a href="https://publications.waset.org/abstracts/search?q=ASC" title=" ASC"> ASC</a>, <a href="https://publications.waset.org/abstracts/search?q=film" title=" film"> film</a>, <a href="https://publications.waset.org/abstracts/search?q=sound" title=" sound "> sound </a> </p> <a href="https://publications.waset.org/abstracts/2901/altered-states-of-consciousness-in-narrative-cinema-subjective-film-sound" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/2901.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">374</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4557</span> Crowdfunding in Funding Lithuanian Movies</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Irena%20Alperyte">Irena Alperyte</a> </p> <p class="card-text"><strong>Abstract:</strong></p> 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. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=creative%20industries" title="creative industries">creative industries</a>, <a href="https://publications.waset.org/abstracts/search?q=film" title=" film"> film</a>, <a href="https://publications.waset.org/abstracts/search?q=funding" title=" funding"> funding</a>, <a href="https://publications.waset.org/abstracts/search?q=fun%20theory" title=" fun theory"> fun theory</a> </p> <a href="https://publications.waset.org/abstracts/55720/crowdfunding-in-funding-lithuanian-movies" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/55720.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">347</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4556</span> Understanding Documentary Film-Making Permissions: A Sociological Perspective</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nivedita%20Ghosh">Nivedita Ghosh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> 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. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=documentary%20film" title="documentary film">documentary film</a>, <a href="https://publications.waset.org/abstracts/search?q=documentary%20film%20shooting" title=" documentary film shooting"> documentary film shooting</a>, <a href="https://publications.waset.org/abstracts/search?q=India" title=" India"> India</a>, <a href="https://publications.waset.org/abstracts/search?q=permissions" title=" permissions"> permissions</a> </p> <a href="https://publications.waset.org/abstracts/89063/understanding-documentary-film-making-permissions-a-sociological-perspective" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/89063.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">194</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4555</span> CFD Simulation on Gas Turbine Blade and Effect of Twisted Hole Shape on Film Cooling Effectiveness</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Thulodin%20Mat%20Lazim">Thulodin Mat Lazim</a>, <a href="https://publications.waset.org/abstracts/search?q=Aminuddin%20Saat"> Aminuddin Saat</a>, <a href="https://publications.waset.org/abstracts/search?q=Ammar%20Fakhir%20Abdulwahid"> Ammar Fakhir Abdulwahid</a>, <a href="https://publications.waset.org/abstracts/search?q=Zaid%20Sattar%20Kareem"> Zaid Sattar Kareem </a> </p> <p class="card-text"><strong>Abstract:</strong></p> Film cooling is one of the cooling systems investigated for the application to gas turbine blades. Gas turbines use film cooling in addition to turbulence internal cooling to protect the blades outer surface from hot gases. The present study concentrates on the numerical investigation of film cooling performance for a row of twisted cylindrical holes in modern turbine blade. The adiabatic film effectiveness and the heat transfer coefficient are determined numerical on a flat plate downstream of a row of inclined different cross section area hole exit by using Computational Fluid Dynamics (CFD). The swirling motion of the film coolant was induced the twisted angle of film cooling holes, which inclined an angle of α toward the vertical direction and surface of blade turbine. The holes angle α of the impingement mainstream was changed from 90°, 65°, 45°, 30° and 20°. The film cooling effectiveness on surface of blade turbine wall was measured by using 3D Computational Fluid Dynamics (CFD). Results showed that the effectiveness of rectangular twisted hole has the effectiveness among other cross section area of the hole at blowing ratio (0.5, 1, 1.5 and 2). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=turbine%20blade%20cooling" title="turbine blade cooling">turbine blade cooling</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20cooling" title=" film cooling"> film cooling</a>, <a href="https://publications.waset.org/abstracts/search?q=geometry%20shape%20of%20hole" title=" geometry shape of hole"> geometry shape of hole</a>, <a href="https://publications.waset.org/abstracts/search?q=turbulent%20flow" title=" turbulent flow"> turbulent flow</a> </p> <a href="https://publications.waset.org/abstracts/6868/cfd-simulation-on-gas-turbine-blade-and-effect-of-twisted-hole-shape-on-film-cooling-effectiveness" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/6868.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">541</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4554</span> The Effect of Gamma-Aminobutyric Acid on Mechanical Properties, Water Vapor Permeability and Solubility of Pectin Films</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jitrawadee%20Meerasri">Jitrawadee Meerasri</a>, <a href="https://publications.waset.org/abstracts/search?q=Rungsinee%20Sothornvit"> Rungsinee Sothornvit</a> </p> <p class="card-text"><strong>Abstract:</strong></p> 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. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=gamma-aminobutyric%20acid" title="gamma-aminobutyric acid">gamma-aminobutyric acid</a>, <a href="https://publications.waset.org/abstracts/search?q=pectin" title=" pectin"> pectin</a>, <a href="https://publications.waset.org/abstracts/search?q=plasticizer" title=" plasticizer"> plasticizer</a>, <a href="https://publications.waset.org/abstracts/search?q=edible%20film" title=" edible film"> edible film</a> </p> <a href="https://publications.waset.org/abstracts/83511/the-effect-of-gamma-aminobutyric-acid-on-mechanical-properties-water-vapor-permeability-and-solubility-of-pectin-films" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/83511.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">130</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4553</span> Principles of Editing and Storytelling in Relation to Editorial Graphic Design </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Melike%20Tascioglu">Melike Tascioglu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper aims to combine film editing principles to basic design principles to explore what graphic designers do in terms of storytelling. The sequential aspect of film is designed and examined through the art of editing. Examining the rules, principles and formulas of film editing can be a method for graphic designers to further practice the art of storytelling. Although there are many research and publications on design basics, time, pace, dramatic structure and choreography are not very well defined in the area of graphic design. In this era of creative storytelling and interdisciplinary collaboration, not only film editors but also graphic designers and students in the arts and design should understand the theory and practice of editing to be able to create a strong mise-en-scène and not only a mise-en-page. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=design%20principles" title="design principles">design principles</a>, <a href="https://publications.waset.org/abstracts/search?q=editing%20principles" title=" editing principles"> editing principles</a>, <a href="https://publications.waset.org/abstracts/search?q=editorial%20design" title=" editorial design"> editorial design</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20editing" title=" film editing"> film editing</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic%20design" title=" graphic design"> graphic design</a>, <a href="https://publications.waset.org/abstracts/search?q=storytelling" title=" storytelling"> storytelling</a> </p> <a href="https://publications.waset.org/abstracts/3528/principles-of-editing-and-storytelling-in-relation-to-editorial-graphic-design" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/3528.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">331</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=film%20market&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=film%20market&page=3">3</a></li> <li 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