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history</title> <meta name="description" content="Search results for: film history"> <meta name="keywords" content="film history"> <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 history"> <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> 3813</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: film history</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3783</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">3782</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">375</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">3781</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">3780</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">3779</span> Film Aesthetics: Light as a Question of Existence in the Cinema of Apichatpong Weerasethakul</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nadia%20Konstantina%20Zygouri">Nadia Konstantina Zygouri</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper aims to provide a concise analysis of the symbolic nature of cinematic light portrayed in Apichatpong Weerasethakul's film Cemetery of Splendour (2015). The study explores the philosophical hypostasis of lighting mechanisms, the idea of which is based on political motives and, in addition, metaphysical theories originating from the Isan region of Thailand. In the film, the colourful hospital space and narcoleptic soldiers represent the deep and tumultuous history of the Thai nation, revealing a symbolic allegory through an incurable disease that the protagonists suffer from, addressing with this metaphor a collective political apathy. Specifically, the film follows Jen, a woman with a leg disability who takes care of Itt, an ex-soldier fallen into narcolepsy amidst a multi-coloured roomful of other comatose soldiers. The film's central theme, as well as the central setting, concerns an abandoned former school now used as a treatment clinic for military patients, each connected to a mechanism of light that can affect their dreams while sleeping. The audience later discovers from two mythological figures emerging from Thailand's ancient religious past that the hospital grounds are built over the ruins of an ancient kingdom's cemetery. The symbolic political implication is that ancient rulers have captured the soldiers’ spirits to fight their eternal battles, leaving their unconscious bodies in torpor, as similar politics of the past and present affect the nation to this day and enforce political apathy. In a contrasting tone, the colourful tubes are present to relieve the soldiers' symptoms and create better memories in their subconscious minds. As a result, the concluding argument of this hypothesis places Apichatpong's direction of cinematic light towards a philosophical and political commentary that, although derived from ancient national history, remains thoroughly contemporary. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Apichatpong%20Weerasethakul" title="Apichatpong Weerasethakul">Apichatpong Weerasethakul</a>, <a href="https://publications.waset.org/abstracts/search?q=cemetery%20of%20Splendour" title=" cemetery of Splendour"> cemetery of Splendour</a>, <a href="https://publications.waset.org/abstracts/search?q=filmosophy" title=" filmosophy"> filmosophy</a>, <a href="https://publications.waset.org/abstracts/search?q=politics" title=" politics"> politics</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetics" title=" aesthetics"> aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=direction%20of%20photography" title=" direction of photography"> direction of photography</a>, <a href="https://publications.waset.org/abstracts/search?q=light%20in%20cinema" title=" light in cinema"> light in cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=metaphysics" title=" metaphysics"> metaphysics</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20philosophy" title=" visual philosophy"> visual philosophy</a> </p> <a href="https://publications.waset.org/abstracts/191913/film-aesthetics-light-as-a-question-of-existence-in-the-cinema-of-apichatpong-weerasethakul" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/191913.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">18</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">3778</span> Italian Emigration to Germany as Represented in the Films Francesco Rosi and Toni Trupia</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Patrizia%20Palumbo">Patrizia Palumbo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> There are only two Italian films dealing with the Italian emigration to Germany: I magliari directed by Francesco Rosi and Itaker. Vietato agli italiani directed by Toni Trupia. Consequently, the analysis of these two films is essential to any study of the representation of the Italians’ experience in Germany, their hosting country. Francesco Rosi’s I magliari and Toni Trupia’s Itaker. Vietato agli italiani, released respectively in 1959 and in 2012, are both set in the second half of the twentieth century and deal with door to door Italian cloth sellers in German cities, con artists marketing rags as fine fabric to exclusively German customers. However, the perspective of the directors and screenwriters are, if not antithetical, profoundly different. Indeed, from 1959 to 2012, years in which the two films were released, Italy went from being a country of emigration to a country of both immigration (albeit now temporary) and emigration. The paper entitled ‘Representation of the Italian Emigration to Germany in the Films of Francesco Rosi and Toni Trupia’ will analyze, therefore, the two substantially different historical contingencies in which the two movies were produced and cast light on how the same historical reality, that of Italian cloth sellers in German cities, is portrayed by Rosi and Trupia’s films. In particular, it will show how in both films the female character is the site on which power (or the lack of it) is contested. More precisely, it will highlight how the German blond woman in Rosi’s film and the dark haired Albanian woman in Trupia’s film are a reflection of the changes Italy underwent in the last fifty years. Finally, this paper will comment on why Italian emigration to Germany has been overlooked by Italian scholars. Although these scholars are all familiar with many of the films directed by Francesco Rosi, one of the auteurs of Italian cinema, no real critical study of I magliari exists. Rosi’s film, it can be argued, may have aroused the uneasiness engendered by all works dealing with facts evoking shameful and humiliating times. The same is true for Trupia’s film. Even though his Itaker. Vietato agli italiani is set in the sixties, it cannot prescind from the reality of contemporary Italian emigration to Germany and Italy’s economic and political crisis. Bringing attention to Rosi and Trupia’s film seems to be a valid way to rekindle the interest in Italian emigration to Germany, a phenomenon that has contributed to the economic, social and cultural history of both Italy and Germany. <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=Germany" title=" Germany"> Germany</a>, <a href="https://publications.waset.org/abstracts/search?q=history" title=" history"> history</a>, <a href="https://publications.waset.org/abstracts/search?q=Italian%20emigration" title=" Italian emigration"> Italian emigration</a> </p> <a href="https://publications.waset.org/abstracts/63071/italian-emigration-to-germany-as-represented-in-the-films-francesco-rosi-and-toni-trupia" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/63071.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">3777</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">3776</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">3775</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">3774</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> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3773</span> Effect of Film Cooling on Gas-Turbine Engine Turbine</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Burak%20Kaplan">Burak Kaplan</a>, <a href="https://publications.waset.org/abstracts/search?q=%C3%9Cnver%20Kaynak"> Ünver Kaynak</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Gas turbine engines, crucial for modern aviation and power generation, rely on the efficient operation of turbine blades. However, extreme temperatures and pressures can lead to material degradation and failure. Film cooling, a widely employed technique, injects a coolant onto the blade surface to mitigate the effects of hot gas exposure. This research investigates the impact of film cooling on gas turbine engine performance, focusing on its influence on efficiency, longevity, and overall engine performance. Through a comprehensive literature review, computational fluid dynamics simulations, and thermal performance analysis, this study aims to provide insights into optimizing film cooling configurations for enhanced engine performance. The research explores the thermal performance characteristics of turbine blades with and without film cooling, the influence of various film cooling techniques on engine efficiency, and the design factors that optimize film cooling effectiveness. The findings of this study have the potential to contribute to the development of more efficient and reliable gas turbine engines, ultimately advancing the field of gas turbine technology. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=gas%20turbine" title="gas turbine">gas turbine</a>, <a href="https://publications.waset.org/abstracts/search?q=engine" title=" engine"> engine</a>, <a href="https://publications.waset.org/abstracts/search?q=cooling" title=" cooling"> cooling</a>, <a href="https://publications.waset.org/abstracts/search?q=blade" title=" blade"> blade</a>, <a href="https://publications.waset.org/abstracts/search?q=optimization" title=" optimization"> optimization</a> </p> <a href="https://publications.waset.org/abstracts/195371/effect-of-film-cooling-on-gas-turbine-engine-turbine" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/195371.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">2</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">3772</span> Attentional Engagement for Movie</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Wuon-Shik%20Kim">Wuon-Shik Kim</a>, <a href="https://publications.waset.org/abstracts/search?q=Hyoung-Min%20Choi"> Hyoung-Min Choi</a>, <a href="https://publications.waset.org/abstracts/search?q=Jeonggeon%20Woo"> Jeonggeon Woo</a>, <a href="https://publications.waset.org/abstracts/search?q=Sun%20Jung%20Kwon"> Sun Jung Kwon</a>, <a href="https://publications.waset.org/abstracts/search?q=SeungHee%20Lee"> SeungHee Lee</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The research on attentional engagement (AE) in movies using physiological signals is rare and controversial. Therefore, whether physiological responses can be applied to evaluate AE in actual movies is unclear. To clarify this, we measured electrocardiogram and electroencephalogram (EEG) of 16 Japanese university students as they watched the American movie Iron Man. After the viewing, we evaluated the subjective AE and affection levels for 11 film content segments in Iron Man. Based on self-reports for AE, we selected two film content segments as stimuli: Film Content 9 describing Tony Stark (the main character) flying through the night sky (with the highest AE score) and Film Content 1, describing Tony Stark and his colleagues telling indecent jokes (with the lowest score). We divided these two content segments into two time intervals, respectively. Results indicated that the Film Content by Interval interaction for HR was significant, at F (1, 11)=35.64, p<.001, η2=.76; while HR in Film Content 1 decreased, that of in Film Content 9 increased. In Film Content 9, the main effects of the Interval for respiratory sinus arrhythmia (RSA) (F (1, 11)=5.91, p<.05, η2=.35) and for the attention index of EEG (F (1, 11)=5.23, p<.05, η2=.37) were significant. The increase in the RSA was significant (p<.05) as well, whereas that of the EEG attention index was nearly significant (p=.069). In conclusion, while RSA increases, HR decreases when people direct their attention toward normal films. However, while paying attention to a film evoking excitement, HR as well as RSA can increase. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=attentional%20engagement" title="attentional engagement">attentional engagement</a>, <a href="https://publications.waset.org/abstracts/search?q=electroencephalogram" title=" electroencephalogram"> electroencephalogram</a>, <a href="https://publications.waset.org/abstracts/search?q=movie" title=" movie"> movie</a>, <a href="https://publications.waset.org/abstracts/search?q=respiratory%20sinus%20arrhythmia" title=" respiratory sinus arrhythmia"> respiratory sinus arrhythmia</a> </p> <a href="https://publications.waset.org/abstracts/45337/attentional-engagement-for-movie" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/45337.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">364</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">3771</span> Gender Disparity in Film Industries: A Conceptual Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Daniel%20Edem%20Adzovie">Daniel Edem Adzovie</a>, <a href="https://publications.waset.org/abstracts/search?q=Jakub%20Kudlac"> Jakub Kudlac</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The subtle institutionalization of male dominance in the film industry in the 1930s and its rippling effect of gender imbalance especially, regarding female active participation in film industries across the globe in terms of number and influence, is a worrying trend. The main purpose of the study is to explore the role of gender themes, especially patriarchal themes in films, in influencing the disparity experienced in film industries. Partially, we examine the motivations vis-à-vis the demotivating factors that attract and or refract females from enrolling in film schools against their male contemporaries. Employing a qualitative inquiry with a specific focus on document analysis as well as experts’ opinions in order to ascertain the antecedents and consequences of patriarchal themes in films on female participation in film industries, we drew extant literature from reputable databases such as EBSCO, Scopus, Web of Science, ERIH Plus, Google Scholar as well as notable books on gender and film. Secondly, we conceptualized a research model for a future qualitative research design that could take into consideration a study from at least three different film industries and analyze using thematic analysis. This could help validate the proposed conceptual model of the study. The literature review revealed that culture, to a large extent, influences the patriarchal themes conveyed in films, which inhibits active female participation in film industries. Research implications have been discussed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film%20industry" title="film industry">film industry</a>, <a href="https://publications.waset.org/abstracts/search?q=female" title=" female"> female</a>, <a href="https://publications.waset.org/abstracts/search?q=gender" title=" gender"> gender</a>, <a href="https://publications.waset.org/abstracts/search?q=male%20dominance" title=" male dominance"> male dominance</a>, <a href="https://publications.waset.org/abstracts/search?q=patriarchal%20themes" title=" patriarchal themes"> patriarchal themes</a> </p> <a href="https://publications.waset.org/abstracts/130034/gender-disparity-in-film-industries-a-conceptual-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/130034.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">136</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">3770</span> Modeling of Oligomerization of Ethylene in a Falling film Reactor for the Production of Linear Alpha Olefins</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Adil%20A.%20Mohammed">Adil A. Mohammed</a>, <a href="https://publications.waset.org/abstracts/search?q=Seif-Eddeen%20K.%20Fateen"> Seif-Eddeen K. Fateen</a>, <a href="https://publications.waset.org/abstracts/search?q=Tamer%20S.%20Ahmed"> Tamer S. Ahmed</a>, <a href="https://publications.waset.org/abstracts/search?q=Tarek%20M.%20Moustafa"> Tarek M. Moustafa </a> </p> <p class="card-text"><strong>Abstract:</strong></p> Falling film were widely used for gas-liquid absorption and reaction process. Modeling of falling film for oligomerization of ethylene reaction to linear alpha olefins is developed. Although there are many researchers discuss modeling of falling film in many processes, there has been no publish study the simulation of falling film for the oligomerization of ethylene reaction to produce linear alpha olefins. The Comsol multiphysics software was used to simulate the mass transfer with chemical reaction in falling film absorption process. The effect of concentration profile absorption of the products through falling thickness is discussed. The effect of catalyst concentration, catalyst/co-catalyst ratio, and temperature is also studied. For the effect of the temperature, as it increase the concentration of C4 increase. For catalyst concentration and catalyst/co-catalyst ratio as they increases the concentration of C4 increases, till it reached almost constant value. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=falling%20film" title="falling film">falling film</a>, <a href="https://publications.waset.org/abstracts/search?q=oligomerization" title=" oligomerization"> oligomerization</a>, <a href="https://publications.waset.org/abstracts/search?q=comsol%20mutiphysics" title=" comsol mutiphysics"> comsol mutiphysics</a>, <a href="https://publications.waset.org/abstracts/search?q=linear%20alpha%20olefins" title=" linear alpha olefins"> linear alpha olefins</a> </p> <a href="https://publications.waset.org/abstracts/23890/modeling-of-oligomerization-of-ethylene-in-a-falling-film-reactor-for-the-production-of-linear-alpha-olefins" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/23890.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">470</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">3769</span> Investigation about Structural and Optical Properties of Bulk and Thin Film of 1H-CaAlSi by Density Functional Method</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=M.%20Babaeipour">M. Babaeipour</a>, <a href="https://publications.waset.org/abstracts/search?q=M.%20Vejdanihemmat"> M. Vejdanihemmat</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Optical properties of bulk and thin film of 1H-CaAlSi for two directions (1,0,0) and (0,0,1) were studied. The calculations are carried out by Density Functional Theory (DFT) method using full potential. GGA approximation was used to calculate exchange-correlation energy. The calculations are performed by WIEN2k package. The results showed that the absorption edge is shifted backward 0.82eV in the thin film than the bulk for both directions. The static values of the real part of dielectric function for four cases were obtained. The static values of the refractive index for four cases are calculated too. The reflectivity graphs have shown an intensive difference between the reflectivity of the thin film and the bulk in the ultraviolet region. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=1H-CaAlSi" title="1H-CaAlSi">1H-CaAlSi</a>, <a href="https://publications.waset.org/abstracts/search?q=absorption" title=" absorption"> absorption</a>, <a href="https://publications.waset.org/abstracts/search?q=bulk" title=" bulk"> bulk</a>, <a href="https://publications.waset.org/abstracts/search?q=optical" title=" optical"> optical</a>, <a href="https://publications.waset.org/abstracts/search?q=thin%20film" title=" thin film"> thin film</a> </p> <a href="https://publications.waset.org/abstracts/30993/investigation-about-structural-and-optical-properties-of-bulk-and-thin-film-of-1h-caalsi-by-density-functional-method" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/30993.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">3768</span> The TiO2 Refraction Film for CsI Scintillator</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=C.%20C.%20Chen">C. C. Chen</a>, <a href="https://publications.waset.org/abstracts/search?q=C.%20W.%20Hun"> C. W. Hun</a>, <a href="https://publications.waset.org/abstracts/search?q=C.%20J.%20Wang"> C. J. Wang</a>, <a href="https://publications.waset.org/abstracts/search?q=C.%20Y.%20Chen"> C. Y. Chen</a>, <a href="https://publications.waset.org/abstracts/search?q=J.%20S.%20Lin"> J. S. Lin</a>, <a href="https://publications.waset.org/abstracts/search?q=K.%20J.%20Huang"> K. J. Huang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Cesium iodide (CsI) melt was injected into anodic aluminum oxide (AAO) template and was solidified to CsI column. The controllable AAO channel size (10~500 nm) can makes CsI column size from 10 to500 nm in diameter. In order to have a shorter light irradiate from each singe CsI column top to bottom the AAO template was coated a TiO2 nano-film. The TiO2 film acts a refraction film and makes X-ray has a shorter irradiation path in the CsI crystal making a stronger the photo-electron signal. When the incidence light irradiate from air (R=1.0) to CsI’s first surface (R=1.84) the first refraction happen, the first refraction continue into TiO2 film (R=2.88) and produces the low angle of the second refraction. Then the second refraction continue into AAO wall (R=1.78) and produces the third refraction after refractions between CsI and AAO wall (R=1.78) produce the fourth refraction. The incidence light after through CsI and TiO2 film refractions arrive to the CsI second surface. Therefore, the TiO2 film can has shorter refraction path of incidence light and increase the photo-electron conversion efficiency. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cesium%20iodide" title="cesium iodide">cesium iodide</a>, <a href="https://publications.waset.org/abstracts/search?q=anodic%20aluminum%20oxide%20%28AAO%29" title=" anodic aluminum oxide (AAO)"> anodic aluminum oxide (AAO)</a>, <a href="https://publications.waset.org/abstracts/search?q=TiO2" title=" TiO2"> TiO2</a>, <a href="https://publications.waset.org/abstracts/search?q=refraction" title=" refraction"> refraction</a>, <a href="https://publications.waset.org/abstracts/search?q=X-ray" title=" X-ray"> X-ray</a> </p> <a href="https://publications.waset.org/abstracts/22965/the-tio2-refraction-film-for-csi-scintillator" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/22965.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">425</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">3767</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">3766</span> Agile Manifesto Construct for the Film Industry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kiri%20Trier">Kiri Trier</a>, <a href="https://publications.waset.org/abstracts/search?q=Theresa%20Treffers"> Theresa Treffers</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the course of continuous volatility like production stops due to the COVID-19 pandemic, video-on-demand player monopolizing the film industry, filmmakers are stuck in traditional, linear content development processes. The industry has to become more agile in order to react quickly and easily to changes. Since content development in agile project management is scientifically–empirically not at all recorded, and a lack beyond the software development in terms of agile methods consists, we examined if the agile manifesto values and principles from the software development can be adapted to the film industry to enable agility and digitalization of content development in the industry. We conducted an online questionnaire with 184 German filmmakers (producers, authors, directors, actors, film financiers) for a first cross-sectional assessment for adaptability of the agile manifesto from the software development to the film industry, factor analysis was used to validate the construct. Our results show that it is crucial to digitalize traditional content development to agile content development end-to-end, with tools, lean processes, new collaboration structures, and holacracy to prepare for any volatility. Overall, we examined the first construct for an agile manifesto for the film industry with four values related to nine own principles. Our findings help to get a better understanding of the agile manifesto beyond the software development as a guideline for implementing agility in the film industry. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=agile%20manifesto" title="agile manifesto">agile manifesto</a>, <a href="https://publications.waset.org/abstracts/search?q=agile%20project%20management" title=" agile project management"> agile project management</a>, <a href="https://publications.waset.org/abstracts/search?q=agility" title=" agility"> agility</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20industry" title=" film industry"> film industry</a> </p> <a href="https://publications.waset.org/abstracts/133569/agile-manifesto-construct-for-the-film-industry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/133569.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">199</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">3765</span> “Voiceless Memory” and Holodomor (Great Famine): The Power of Oral History to Challenge Official Historical Discourse</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Tetiana%20Boriak">Tetiana Boriak</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The study is called to test correlation between official sources, preserved in the archives, and “unofficial” oral history regarding the Great Famine of 1932–1933 in Ukraine. The research shows poor preservation of the sources, being deliberately destroyed by the totalitarian regime. It involves analysis of five stages of Holodomor oral history development. It is oral history that provides the mechanism of mass killing. The research proves that using only one type of historical sources leads to a certain line of reading history of the Holodomor, while usage of both types provides in-depth insight in the history of the famine. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=the%20Holodomor%20%28the%20Great%20Famine%29" title="the Holodomor (the Great Famine)">the Holodomor (the Great Famine)</a>, <a href="https://publications.waset.org/abstracts/search?q=oral%20history" title=" oral history"> oral history</a>, <a href="https://publications.waset.org/abstracts/search?q=historical%20source" title=" historical source"> historical source</a>, <a href="https://publications.waset.org/abstracts/search?q=historical%20memory" title=" historical memory"> historical memory</a>, <a href="https://publications.waset.org/abstracts/search?q=totalitarianism." title=" totalitarianism."> totalitarianism.</a> </p> <a href="https://publications.waset.org/abstracts/155694/voiceless-memory-and-holodomor-great-famine-the-power-of-oral-history-to-challenge-official-historical-discourse" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/155694.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">108</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">3764</span> Biodegradable Polymer Film Incorporated with Polyphenols for Active Packaging</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shubham%20Sharma">Shubham Sharma</a>, <a href="https://publications.waset.org/abstracts/search?q=Swarna%20Jaiswal"> Swarna Jaiswal</a>, <a href="https://publications.waset.org/abstracts/search?q=Brendan%20Duffy"> Brendan Duffy</a>, <a href="https://publications.waset.org/abstracts/search?q=Amit%20Jaiswal"> Amit Jaiswal</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The key features of any active packaging film are its biodegradability and antimicrobial properties. Biological macromolecules such as polyphenols (ferulic acid (FA) and tannic acids (TA)) are naturally found in plants such as grapes, berries, and tea. In this study, antimicrobial activity screening of several polyphenols was carried out by using minimal inhibitory concentration (MIC) and minimum bactericidal concentration (MBC) against two strains of gram-negative bacteria - Salmonella typhimurium, Escherichia coli, and two-gram positive strains - Staphylococcus aureus and Listeria monocytogenes. FA and TA had shown strong antibacterial activity at the low concentration against both gram-positive and gram-negative bacteria. The selected polyphenols FA and TA were incorporated at various concentrations (1%, 5%, and 10% w/w) in the poly(lactide) – poly (butylene adipate-co-terephthalate) (PLA-PBAT) composite film by using the solvent casting method. The effect of TA and FA incorporation in the packaging was characterized based on morphological, optical, color, mechanical, thermal, and antimicrobial properties. The thickness of the FA composite film was increased by 1.5 – 7.2%, while for TA composite film, it increased by 0.018 – 1.6%. FA and TA (10 wt%) composite film had shown approximately 65% - 66% increase in the UV barrier property. As the FA and TA concentration increases from 1% - 10% (w/w), the TS value increases by 1.98 and 1.80 times, respectively. The water contact angle of the film was observed to decrease significantly with the increase in the FA and TA content in the composite film. FA has shown more significant increase in antimicrobial activity than TA in the composite film against Listeria monocytogenes and E. coli. The FA and TA composite film has the potential for its application as an active food packaging. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=active%20packaging" title="active packaging">active packaging</a>, <a href="https://publications.waset.org/abstracts/search?q=biodegradable%20film" title=" biodegradable film"> biodegradable film</a>, <a href="https://publications.waset.org/abstracts/search?q=polyphenols" title=" polyphenols"> polyphenols</a>, <a href="https://publications.waset.org/abstracts/search?q=UV%20barrier" title=" UV barrier"> UV barrier</a>, <a href="https://publications.waset.org/abstracts/search?q=tensile%20strength" title=" tensile strength"> tensile strength</a> </p> <a href="https://publications.waset.org/abstracts/135744/biodegradable-polymer-film-incorporated-with-polyphenols-for-active-packaging" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/135744.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">152</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">3763</span> Comparative Evaluation of EBT3 Film Dosimetry Using Flat Bad Scanner, Densitometer and Spectrophotometer Methods and Its Applications in Radiotherapy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=K.%20Khaerunnisa">K. Khaerunnisa</a>, <a href="https://publications.waset.org/abstracts/search?q=D.%20Ryangga"> D. Ryangga</a>, <a href="https://publications.waset.org/abstracts/search?q=S.%20A.%20Pawiro"> S. A. Pawiro</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Over the past few decades, film dosimetry has become a tool which is used in various radiotherapy modalities, either for clinical quality assurance (QA) or dose verification. The response of the film to irradiation is usually expressed in optical density (OD) or net optical density (netOD). While the film's response to radiation is not linear, then the use of film as a dosimeter must go through a calibration process. This study aimed to compare the function of the calibration curve of various measurement methods with various densitometer, using a flat bad scanner, point densitometer and spectrophotometer. For every response function, a radichromic film calibration curve is generated from each method by performing accuracy, precision and sensitivity analysis. netOD is obtained by measuring changes in the optical density (OD) of the film before irradiation and after irradiation when using a film scanner if it uses ImageJ to extract the pixel value of the film on the red channel of three channels (RGB), calculate the change in OD before and after irradiation when using a point densitometer, and calculate changes in absorbance before and after irradiation when using a spectrophotometer. the results showed that the three calibration methods gave readings with a netOD precision of doses below 3% for the uncertainty value of 1σ (one sigma). while the sensitivity of all three methods has the same trend in responding to film readings against radiation, it has a different magnitude of sensitivity. while the accuracy of the three methods provides readings below 3% for doses above 100 cGy and 200 cGy, but for doses below 100 cGy found above 3% when using point densitometers and spectrophotometers. when all three methods are used for clinical implementation, the results of the study show accuracy and precision below 2% for the use of scanners and spectrophotometers and above 3% for precision and accuracy when using point densitometers. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Callibration%20Methods" title="Callibration Methods">Callibration Methods</a>, <a href="https://publications.waset.org/abstracts/search?q=Film%20Dosimetry%20EBT3" title=" Film Dosimetry EBT3"> Film Dosimetry EBT3</a>, <a href="https://publications.waset.org/abstracts/search?q=Flat%20Bad%20Scanner" title=" Flat Bad Scanner"> Flat Bad Scanner</a>, <a href="https://publications.waset.org/abstracts/search?q=Densitomete" title=" Densitomete"> Densitomete</a>, <a href="https://publications.waset.org/abstracts/search?q=Spectrophotometer" title=" Spectrophotometer"> Spectrophotometer</a> </p> <a href="https://publications.waset.org/abstracts/119234/comparative-evaluation-of-ebt3-film-dosimetry-using-flat-bad-scanner-densitometer-and-spectrophotometer-methods-and-its-applications-in-radiotherapy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/119234.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">135</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">3762</span> To Investigate the Effects of Potassium Ion Doping and Oxygen Vacancies in Thin-Film Transistors of Gallium Oxide-Indium Oxide on Their Electrical</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Peihao%20Huang">Peihao Huang</a>, <a href="https://publications.waset.org/abstracts/search?q=Chun%20Zhao"> Chun Zhao</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Thin-film transistors(TFTs) have the advantages of low power consumption, short reaction time, and have high research value in the field of semiconductors, based on this reason, people have focused on gallium oxide-indium oxide thin-film transistors, a relatively common thin-film transistor, elaborated and analyzed his production process, "aqueous solution method", explained the purpose of each step of operation, and finally explored the influence of potassium ions doped in the channel layer on the electrical properties of the device, as well as the effect of oxygen vacancies on its switching ratio and memory, and summarized the conclusions. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=aqueous%20solution" title="aqueous solution">aqueous solution</a>, <a href="https://publications.waset.org/abstracts/search?q=oxygen%20vacancies" title=" oxygen vacancies"> oxygen vacancies</a>, <a href="https://publications.waset.org/abstracts/search?q=switch%20ratio" title=" switch ratio"> switch ratio</a>, <a href="https://publications.waset.org/abstracts/search?q=thin-film%20transistor%28TFT%29" title=" thin-film transistor(TFT)"> thin-film transistor(TFT)</a> </p> <a href="https://publications.waset.org/abstracts/171155/to-investigate-the-effects-of-potassium-ion-doping-and-oxygen-vacancies-in-thin-film-transistors-of-gallium-oxide-indium-oxide-on-their-electrical" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/171155.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">115</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">3761</span> Thermal and Starvation Effects on Lubricated Elliptical Contacts at High Rolling/Sliding Speeds</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Vinod%20Kumar">Vinod Kumar</a>, <a href="https://publications.waset.org/abstracts/search?q=Surjit%20Angra"> Surjit Angra</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The objective of this theoretical study is to develop simple design formulas for the prediction of minimum film thickness and maximum mean film temperature rise in lightly loaded high-speed rolling/sliding lubricated elliptical contacts incorporating starvation effect. Herein, the reported numerical analysis focuses on thermoelastohydrodynamically lubricated rolling/sliding elliptical contacts, considering the Newtonian rheology of lubricant for wide range of operating parameters, namely load characterized by Hertzian pressure (PH = 0.01 GPa to 0.10 GPa), rolling speed (>10 m/s), slip parameter (S varies up to 1.0), and ellipticity ratio (k = 1 to 5). Starvation is simulated by systematically reducing the inlet supply. This analysis reveals that influences of load, rolling speed, and level of starvation are significant on the minimum film thickness. However, the maximum mean film temperature rise is strongly influenced by slip in addition to load, rolling speed, and level of starvation. In the presence of starvation, reduction in minimum film thickness and increase in maximum mean film temperature are observed. Based on the results of this study, empirical relations are developed for the prediction of dimensionless minimum film thickness and dimensionless maximum mean film temperature rise at the contacts in terms of various operating parameters. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=starvation" title="starvation">starvation</a>, <a href="https://publications.waset.org/abstracts/search?q=lubrication" title=" lubrication"> lubrication</a>, <a href="https://publications.waset.org/abstracts/search?q=elliptical%20contact" title=" elliptical contact"> elliptical contact</a>, <a href="https://publications.waset.org/abstracts/search?q=traction" title=" traction"> traction</a>, <a href="https://publications.waset.org/abstracts/search?q=minimum%20film%20thickness" title=" minimum film thickness"> minimum film thickness</a> </p> <a href="https://publications.waset.org/abstracts/50277/thermal-and-starvation-effects-on-lubricated-elliptical-contacts-at-high-rollingsliding-speeds" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/50277.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">392</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">3760</span> Effects of the Tomato Pomace Oil Extract on Physical and Antioxidant Properties of Gelatin Films</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=N.%20Jirukkakul">N. Jirukkakul</a>, <a href="https://publications.waset.org/abstracts/search?q=J.%20Sodtipinta"> J. Sodtipinta</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Tomatoes are widely consumed as fresh and processed products through the manufacturing industry. Therefore, tomato pomace is generated as a by-product accounting for about 5-13% of the whole tomato. Antioxidants still remain in tomato pomace and extraction of tomato oil may useful in edible film production. The edible film solution was prepared by mixing gelatin (2, 4 and 6%) with the distilled water and heating at 40oC for 30 min. Effect of tomato pomace oil was evaluated at 0, 0.5 and 1%. Film solution was poured in plate and dried overnight at 40oC before determining the physical properties, which are tensile strength, moisture content, color, solubility, and swelling power. The results showed that an increase gelatin concentration caused increasing of tensile strength, moisture content, solubility and swelling power. The edible film with tomato pomace oil extract appeared as the rough film with oil droplet dispersion. The addition of tomato pomace oil extract caused an increase in lightness, redness and yellowness, while tensile strength, moisture content, and solubility were decreased. Film with tomato pomace oil extract at 0.5 and 1% exhibited antioxidant properties but those properties were not significantly different (p<0.05) between film incorporated with tomato pomace oil extract 0.5 and 1%. The suitable condition for film production in this study, 4% of gelatin and 0.5% of tomato pomace oil extract, was selected for protecting oxidation of palm oil. At 15 days of the storage period, the palm oil which covered by gelatin film with tomato pomace oil extract had 22.45 milliequivalents/kg of peroxide value (PV), while, the palm oil which covered by polypropylene film and control had 24.79 and 26.67 milliequivalents/kg, respectively. Therefore, incorporation of tomato pomace oil extract in gelatin film was able to protect the oxidation of food products with high fat content. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=antioxidant" title="antioxidant">antioxidant</a>, <a href="https://publications.waset.org/abstracts/search?q=gelatin%20films" title=" gelatin films"> gelatin films</a>, <a href="https://publications.waset.org/abstracts/search?q=physical%20properties" title=" physical properties"> physical properties</a>, <a href="https://publications.waset.org/abstracts/search?q=tomato%20oil%20extract" title=" tomato oil extract"> tomato oil extract</a> </p> <a href="https://publications.waset.org/abstracts/54916/effects-of-the-tomato-pomace-oil-extract-on-physical-and-antioxidant-properties-of-gelatin-films" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/54916.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">280</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">3759</span> Surface Functionalization of Chemical Vapor Deposition Grown Graphene Film</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Prashanta%20Dhoj%20Adhikari">Prashanta Dhoj Adhikari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> We report the introduction of the active surface functionalization group on chemical vapor deposition (CVD) grown graphene film by wet deposition method. The activity of surface functionalized group was tested with surface modified carbon nanotubes (CNTs) and found that both materials were amalgamated by chemical bonding. The introduction of functional group on the graphene film surface and its vigorous role to bind CNTs with the present technique could provide an efficient, novel route to device fabrication. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=chemical%20vapor%20deposition" title="chemical vapor deposition">chemical vapor deposition</a>, <a href="https://publications.waset.org/abstracts/search?q=graphene%20film" title=" graphene film"> graphene film</a>, <a href="https://publications.waset.org/abstracts/search?q=surface%20functionalization" title=" surface functionalization"> surface functionalization</a> </p> <a href="https://publications.waset.org/abstracts/23138/surface-functionalization-of-chemical-vapor-deposition-grown-graphene-film" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/23138.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">461</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">3758</span> Heat Transfer Characteristics of Film Condensation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=M.%20Mosaad">M. Mosaad</a>, <a href="https://publications.waset.org/abstracts/search?q=J.%20H.%20Almutairi"> J. H. Almutairi</a>, <a href="https://publications.waset.org/abstracts/search?q=A.%20S.%20Almutairi"> A. S. Almutairi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this paper, saturated-vapour film condensation on a vertical wall with the backside cooled by forced convection is analyzed as a conjugate problem. In the analysis, the temperature and heat flux at the wall sides are assumed unknown and determined from the solution. The model is presented in a dimensionless form to take a broad view of the solution. The dimensionless variables controlling this coupled heat transfer process are discovered from the analysis. These variables explain the relative impact of the interactive heat transfer mechanisms of forced convection and film condensation. The study shows that the conjugate treatment of film condensation process yields results different from that predicted by a non-conjugate Nusselt-type solution, wherein the effect of the cooling fluid is neglected. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film%20condensation" title="film condensation">film condensation</a>, <a href="https://publications.waset.org/abstracts/search?q=forced%20convection" title=" forced convection"> forced convection</a>, <a href="https://publications.waset.org/abstracts/search?q=coupled%20heat%20transfer" title=" coupled heat transfer"> coupled heat transfer</a>, <a href="https://publications.waset.org/abstracts/search?q=analytical%20modelling" title=" analytical modelling"> analytical modelling</a> </p> <a href="https://publications.waset.org/abstracts/67440/heat-transfer-characteristics-of-film-condensation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/67440.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">321</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">3757</span> Microbiological Assessment of Fish Sausages Coated with Smoked-Edible Film, and Stored in Room and Refrigerator Temperatures</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Henny%20A.%20Dien">Henny A. Dien</a>, <a href="https://publications.waset.org/abstracts/search?q=Roike%20I.%20Montolalu"> Roike I. Montolalu</a>, <a href="https://publications.waset.org/abstracts/search?q=Feny%20Mentang"> Feny Mentang</a>, <a href="https://publications.waset.org/abstracts/search?q=Jupni%20Keno"> Jupni Keno</a>, <a href="https://publications.waset.org/abstracts/search?q=Reynerd%20S.%20Burdam"> Reynerd S. Burdam</a>, <a href="https://publications.waset.org/abstracts/search?q=Siegfried%20Berhimpon"> Siegfried Berhimpon</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Fish Sausages became popular nowadays, because of high nutritious and low in cholesterol. However, this food is also highly perishable and often contaminated by pathogen bacteria. Edible film was made from myofibril of Black Marlin (Makaira indica) waste, with addition of liquid smoke 0.8%. The aim of this study were to determine the TPC, total coliform and Escherichia coli in fish sausages coated with smoked edible film, and stored in room temperature (26-29oC), and refrigerator (5-10oC). Results shown that TPC in fish sausages coated with smoked edible film were lower than that of without coated, both for storage in room temperature and in refrigerator. Total coliform in coated with smoked edible film and stored in room temperature ranged between 7-120 MPN/g (1-4 days), while stored in refrigerator ranged between 7-93 MPN/g (1-6 days); while fish sausages coated with edible film without liquid smoke were 7-240 MPN/g (1-4 days) in room temperature, and 7-150 MPN/g in refrigerator. Total E. coli of fish sausages coated with smoked edible film and stored in room temperature ranged between 3-4 MPN/g (1-4 days), while stored in refrigerator ranged were 3 MPN/g (1-6 days); while fish sausages coated with edible film without smoked both stored in room temperature and in refrigerator, shown total E. coli 3 MPN/g during 4 days in room temperature, and 6 days in refrigerator. Total E. coli of sausages without coated stored in room temperature ranged between 7-24 MPN/g, and that of stored in refrigerator ranged between 3-4 MPN/g. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=smoke%20liquid" title="smoke liquid">smoke liquid</a>, <a href="https://publications.waset.org/abstracts/search?q=edible%20film" title=" edible film"> edible film</a>, <a href="https://publications.waset.org/abstracts/search?q=coating" title=" coating"> coating</a>, <a href="https://publications.waset.org/abstracts/search?q=sausages" title=" sausages"> sausages</a> </p> <a href="https://publications.waset.org/abstracts/33011/microbiological-assessment-of-fish-sausages-coated-with-smoked-edible-film-and-stored-in-room-and-refrigerator-temperatures" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/33011.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">449</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">3756</span> Locating the Davao Film Culture: An Exploration of the Relationship of Geography and the Cinema of a Regional City Center</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sarah%20Isabelle%20Torres">Sarah Isabelle Torres</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Using Lefebvre’s (1991) Spatial Triad, this study explores the relationship of geography and cinema and asks the question: how does geography shape the film culture of a regional city center located at the periphery of a country’s capital? This research aims to locate the contemporary film scene of the city in question, Davao City, Mindanao through contextualizing the politics and culture of its tri-people. This study shows that primarily because of local filmmakers' affection and sense of place, progressive films focusing on the tri-people and their struggles mainly due to issues on land have been born. To further understand the city’s film culture, this study maps the following areas: 1) filmmakers and cineastes, 2) films, 3) film festivals, 4) financial stakeholders, 5) institutions, and 6) screening places. From these, the researcher learned that although the local film community has established itself for decades, problems on audience, funding, and institutional support continue to persist. Aside from mapping, this study also explores Davao’s political, economic, and cultural position within the regional and the national arenas. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cinema%20studies" title="cinema studies">cinema studies</a>, <a href="https://publications.waset.org/abstracts/search?q=Davao%20City" title=" Davao City"> Davao City</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20culture" title=" film culture"> film culture</a>, <a href="https://publications.waset.org/abstracts/search?q=geography" title=" geography"> geography</a>, <a href="https://publications.waset.org/abstracts/search?q=Philippines" title=" Philippines"> Philippines</a>, <a href="https://publications.waset.org/abstracts/search?q=place" title=" place"> place</a>, <a href="https://publications.waset.org/abstracts/search?q=regional%20cinema" title=" regional cinema"> regional cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=space" title=" space "> space </a> </p> <a href="https://publications.waset.org/abstracts/108124/locating-the-davao-film-culture-an-exploration-of-the-relationship-of-geography-and-the-cinema-of-a-regional-city-center" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/108124.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">156</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">3755</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">3754</span> Presence and Absence: The Use of Photographs in Paris, Texas</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yi-Ting%20Wang">Yi-Ting Wang</a>, <a href="https://publications.waset.org/abstracts/search?q=Wen-Shu%20Lai"> Wen-Shu Lai</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The subject of this paper is the photography in the 1983 film Paris, Texas, directed by Wim Wenders. Wenders is well known as a film director as well as a photographer. We have found that photography is shown as a photographic element in many of his films. Some of these photographs serve as details within the films, while others play important roles that are relevant to the story. This paper aims to consider photographs in film as a specific type of text, which is the output of both still photography and the film itself. In the film Paris, Texas, three sets of important photographs appear whose symbolic meanings are as dialectical as their text types. The relationship between the existence of these photos and the storyline is both dependent and isolated. The film’s images fly by and progress into other images, while the photos in the film serve a unique narrative function by stopping the continuously flowing images thus provide the viewer a space for imagination and contemplation. They are more than just artistic forms; they also contained multiple meanings. The photographs in Paris, Texas play the role of both presence and absence according to their shifting meanings. There are references to their presence: photographs exist between film time and narrative time, so in terms of the interaction between the characters in the film, photographs are a common symbol of the beginning and end of the characters’ journeys. In terms of the audience, the film’s photographs are a link in the viewing frame structure, through which the creative motivation of the film director can be explored. Photographs also point to the absence of certain objects: the scenes in the photos represent an imaginary map of emotion. The town of Paris, Texas is therefore isolated from the physical presence of the photograph, and is far more abstract than the reality in the film. This paper embraces the ambiguous nature of photography and demonstrates its presence and absence in film with regard to the meaning of text. However, it is worth reflecting that the temporary nature of the interpretation of the film’s photographs is far greater than any other type of photographic text: the characteristics of the text cause the interpretation results to change along with the variations in the interpretation process, which makes their meaning a dynamic process. The photographs’ presence or absence in the context of Paris, Texas also demonstrates the presence and absence of the creator, time, the truth, and the imagination. The film becomes more complete as a result of the revelation of the photographs, while the intertextual connection between these two forms simultaneously provides multiple possibilities for the interpretation of the photographs in the film. <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=Paris" title=" Paris"> Paris</a>, <a href="https://publications.waset.org/abstracts/search?q=Texas" title=" Texas"> Texas</a>, <a href="https://publications.waset.org/abstracts/search?q=photography" title=" photography"> photography</a>, <a href="https://publications.waset.org/abstracts/search?q=Wim%20Wenders" title=" Wim Wenders "> Wim Wenders </a> </p> <a href="https://publications.waset.org/abstracts/25574/presence-and-absence-the-use-of-photographs-in-paris-texas" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/25574.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">319</span> </span> </div> </div> <ul class="pagination"> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=film%20history&page=1" rel="prev">&lsaquo;</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=film%20history&page=1">1</a></li> <li class="page-item active"><span class="page-link">2</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=film%20history&page=3">3</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=film%20history&page=4">4</a></li> <li class="page-item"><a class="page-link" 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