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Following the example of photovoltaics, one approach to large‐scale photocatalytic hydrogen production is the irradiation of a correspondingly large catalyst area. Paper production is a process in which large areas can already be produced based on the main component: cellulose. Herein, the TiO2 photocatalyst modification PC500, which also uses platinum nanoparticles as a cocatalyst, is supported in two different ways using cellulose. On the one hand, the catalyst is fixed to the surface of a commercial filter paper and, on the other hand, a photocatalytic paper is produced. For comparison, the catalyst is immobilized by means of drop coating using Nafion and measured as a suspension. The cellulose‐stabilized films are active and hydrogen production is comparable with the activity obtained from the drop‐coating method. The experiments show that the aggregation behavior of cellulose can be used to produce photocatalytically active films. The preparation is easy and can be applied to different kinds of (photo)catalysts. Although the films are very active, their stability during reaction due to swelling and hydrogen production must be further improved. [ABSTRACT FROM AUTHOR]

Michael Berry reminds us it is essential to position Jia within the dual environments of the local Chinese film industry and international art house cinema to understand his political orientation and aesthetic personas (p. 14). I Jia Zhangke on Jia Zhangke i , containing a series conversations between these two heavyweight cultural icons in contemporary Chinese cinema, provides a comprehensive and profound view of Jia's film style. Jia Zhangke, one of the most important Chinese film directors and screenwriters, is a leading figure of the "Sixth Generation" movement of Chinese cinema. [Extracted from the article]

The article discusses that English language arts (ELA) teachers with effective methods for instructing with film, educator John Golden shared a profusion of highly creative strategies in his 2001 NCTE-published Reading in the Dark: Using Film as a Tool in the English Classroom. It mentions the educational technologies represent a new opportunity to fulfill film's pedagogical promise in the English classroom.

While Stanley Kubrick long sought to make a film about World War II and the Holocaust, he never succeeded. He came very close in his attempt to adapt Louis Begley's Wartime Lies as Aryan Papers between 1991 and 1993. Combining the latest insights in the emerging field of Kubrick Studies, specifically into Kubrick's Jewishness, with the newly available archival material deposited in the Stanley Kubrick Archive at the University of Arts London, this article explores the pre-production of Aryan Papers before considering why it was never realized and then tentatively suggesting, in the absence of any shot footage, how it may have looked. [ABSTRACT FROM AUTHOR]

The Looking Machine: MacDougall, David: The Looking Machine: Essays on Cinema, Anthropology and Documentary Filmmaking. Writing of the practice of documentary filmmaking in relation to anthropology, MacDougall nicely turns on its head a knee-jerk reaction to images as extraction and exploitation when he says, Undoubtedly the filming process... includes a sense of acquisition, of capturing some piece of reality, yet this is just as often tempered and exceeded by a feeling of humility at what the filmmaker has been able to film. MacDougall writes of the work of documentarians and fiction filmmakers challenging the dominance of the Griersonian conception, wanting to represent "ordinary folk"; men like Humphrey Jennings, with his wartime work in England; John Huston, in his [19] film I , Let There Be Light i (banned by the War Department of the United States "for showing too explicitly the traumatic effects of warfare on ordinary soldiers"); Georges Rouquier, who made short films dealing with French artisans at work, as well as features on rural lives and land that are full of ecological wisdom without ideologizing; and Luchino Visconti, Vittorio de Sica and Roberto Rossellini, with their post-war films in Italy that chronicled ordinary lives in a realist style. Both men knew too that in some films the filmmaker directs the subject and in others "the subject directs the filmmaker" (Young, in MacDougall, 171). [Extracted from the article]

Kill the Documentary: A Letter to Filmmakers, Students, and Scholars: JILL GODMILOW, 2022, New York, Columbia University Press, pp. xi + 191, notes, bibliography, index, £94.00 (hardcover) £25.00 (paper) Godmilow offers her definition of postrealist cinema and explores the purpose of a useful postrealist documentary as an "antispectacular form" and examines the works of other filmmakers such as Luis Buñuel and Alain Resnais. In her book I Kill the Documentary i filmmaker Jill Godmilow speaks from the heart and proposes to challenge the conventional documentary and calls for different ways to make documentaries. [Extracted from the article]

Throughout the book it is addressed that the field of digital filmmaking and especially mobile and smartphone filmmaking as a unique form of creative practice is fast-developing, with new emerging techniques, forms and methods. The author establishes mobile and smartphone filmmaking as a unique film form and introduces his filmmaking modes as a theoretical approach for analysis. The positioning of smartphone filmmaking in a wider framework is challenging in its own right. [Extracted from the article]

Due to the severe environmental pollution the paper-making process often causes, the rewritten paper has emerged as a key research area to replace traditional paper. However, it is challenging to achieve application control and maximize resource utilization in various occasions when using the recently reported photochromic papers, which have low fading efficiency and poor regeneration effect. In this study, a composite film made of sodium alginate (SA) and polyvinyl alcohol (PVA) with ammonium molybdate serving as the photochromic component was prepared. The film had mechanical properties similar to paper, good resolution, and visible color after 50 days. With a magnification of 20 times, the distinct borders were still discernible. Through water-soluble-regeneration of the damaged film, the photochromic film can be faded, regenerated and reused, which has a lengthy storage time for information. The film quality and resolution do not considerably degrade after ten cycles of the "information writing—dissolution (fading)—regenerative writing" closed-loop process, exhibiting excellent recycling performance and high recovery rate. Hence, the photochromic film presents a refreshing approach to the design of rewriteable paper. [ABSTRACT FROM AUTHOR]

This article examines the contracts at Warner Bros. for two productions by director Arthur Penn as a case study to consider how these agreements shaped production cultures during the emergence of New Hollywood. Through the 1950s, the studio employed production-distribution agreements that used strict controls and regulations to mimic its in-house procedures. But in the 1960s, it preferred short-form joint venture agreements that allowed more direct control in shaping the film's production while turning the producers into self-regulators. As the contracts reveal, Warner Bros. reshaped their business to grant production culture control to producers while also ensuring the studio's corporate role in the New Hollywood landscape. [ABSTRACT FROM AUTHOR]

This interview explores the significance of Paper Rocket Productions--an independent film company co-founded by young Indigenous filmmakers in Northern Arizona, USA. The author highlights why their artistic works are exceptional, followed by a discussion with two of the filmmakers and co-founders of the enterprise. The conversation brings attention to their filmmaking, primarily to the forthcoming feature-length documentary Water is Life - Tó éí 'iiná até. This film reveals how the industrialization of the Navajo Nation negatively affects the sacredness of water and traditional ways of life, and the interview calls attention to how Paper Rocket Productions relates and contributes to a decolonizing epistemology. [ABSTRACT FROM AUTHOR]

"The Art of the Observer: A Personal View of Documentary" by David MacDougall is a book that offers insights into the role of an anthropological director in documentary filmmaking. MacDougall emphasizes the importance of selective observation and the connection between shots in a film. The book also provides a personal account of MacDougall's fifty-year journey as a filmmaker and world traveler. However, some critics argue that MacDougall's perspective may have a colonialist aspect and that his own story restricts his recognition of the significance of his documentary subjects. Overall, the book offers valuable insights into the filmmaking process but may leave readers with feelings of confusion and awkwardness due to unconscious bias in the author's wording. [Extracted from the article]

The book is also perfect for any student of filmmaking interested in producing MSMF films or starting a festival for smartphone filmmaking. I Smartphone Filmmaking: Theory and Practice i by Dr. Max Schleser is a comprehensive book that covers the major developments in mobile, smartphone and mobile filmmaking from the earliest instances through to contemporary processes and practices. I also teach Smartphone filmmaking and have developed Smartphone Filmmaking courses for both SAE and Collarts, two independent Australian media colleges based in Melbourne, Australia. [Extracted from the article]

Generic Mapping Tools (GMT) is a well‐known set of software originally developed for geosciences, allowing scientists in climate and solid earth disciplines to routinely create publish‐ready maps and graphics. However, GMT users rarely make animations despite their undeniable benefit for understanding and teaching dynamic processes. As reading habits shift from print to digital, capitalizing on animations for illustrating scientific concepts is more accessible than ever. In the latest GMT version (6.5), we have added and refined the movie‐making modules, alleviating the time‐consuming steps that would hinder GMT users from making such animations. In this paper, we will explain how GMT's "movie" module works and provide six representative examples, from basic to more advanced, to show some of its key features. We hope our presentation will encourage the masses to routinely create animations for their publications. Plain Language Summary: We live in an era where accessing digital information through all kinds of screens is easily possible. These media allow the display of animations and movies. However, in scientific publications, these formats are scarcely used despite their compatibility with most systems and their clear benefit to illustrate dynamic processes. In this paper, we show how the Generic Mapping Tools software facilitates the creation of animations ranging from simple to complex. With this article, we wish to help and encourage all those involved in scientific outreach to produce pedagogical content that is in tune with the uses of our time. Key Points: Dynamic content (like animations) can be critical to show changes in scienceThe Generic Mapping Tools software empowers users to easily create animations by taking over non‐trivial tasksWe encourage scientists to routinely create animations when discussing temporal or spatial changes [ABSTRACT FROM AUTHOR]

Despite the prolific film production in the nascent People's Republic of China (PRC) during the 'Seventeen Years' from 1949 to 1966, Maoist cinema received limited critical analysis. While recent scholarly attention has shifted towards examining Chinese film production and exchange within the socialist bloc, a notable gap remains in the literature concerning Sino-Arab film collaboration during this period. This paper seeks to address this gap by utilizing textual analysis and archival studies to explore the practice of Sino-Arab film weeks through the lens of cultural diplomacy. Building upon the framework of the three schools of thought on cultural diplomacy, this study posits that Sino-Arab film collaboration from the 1950s to 1960s operated within the realm of people's diplomacy. This term denotes cultural diplomacy with distinctively Chinese attributes within the Cold War context. This paper also complements the third trend that focuses on the transcendental realm of the state by exploring the little-studied interactions between film screenings and reality in Sino-Arab film weeks. Under the common goal of anti-imperialism and nation-building, people's diplomacy deviates from the conventional paradigm of bipolar rivalry and embodies the spirit of internationalist solidarity among Third World countries. [ABSTRACT FROM AUTHOR]

For a puppeteer specializing in the rare and beautiful Japanese otome bunraku, the story might have ended at COVID if it were not for a series of unexpected turns. First, there was a surprise primary school lockdown job making films of reading-books to beam into pupils' homes; then, the sudden COVID precautionary ejection from the school building carrying an inadequate stock of books to continue the filming from home; then, the unexpected and possibly 'barmy' personal decision to write any extra books needed when the school stock ran out. Over weeks, my books, mainly drawings, were mounting up and intriguingly the filmed performances offered something extra, they became the stories and the images to mount on uchiwa rigid fans for me to play with. I rediscovered my 'performance body' in a 'theatre of paper' – small, private Japanese pēpāshiatā or 'paper-theatre'. My body and brain woke up. The move from a Japanese-type puppetry pre-COVID (otome bunraku) to another kind during and post-COVID was happening. Lockdown was now promisingly creative. Directly out of the pain and suffering of COVID, and enforced restraint, a little known theatre practice was offering restitution. [ABSTRACT FROM AUTHOR]

Deepfakes are a technological innovation that might be understood to violate the documentary film's relationship with the real. Yet documentary makers have been among the first screen producers to adopt this technology, using it to swap the faces or voices of people they present to their audiences, further disrupting the already complex relationship between the filmmaker and their subject. This paper investigates the growing practice of documentary deepfakes, using two case studies of documentary films from the period 2019–2022 that have used varied forms of deepfakery, examining the intentions of the filmmakers, the technical processes and the ways in which creative choice is both expanded and limited by the technology. An interview-based research methodology provides original insights into filmmakers' rationales when creating deepfakes. The paper reveals the contradictions inherent in deepfake practice, as described by one documentary filmmaker: 'I'm looking at deepfake as a way of telling the truth' (Benjamin Field, producer). A central theme is the ethics of documentary practice using manipulative AI. This paper contributes new insights to theoretical discourse around the digital manipulation of the moving image, discussing the growing disruption caused by deepfakes to documentary film culture and audiences. [ABSTRACT FROM AUTHOR]

Indigenous crafting practices are increasingly being recognised for their benefit to community connectedness, health, cultural identity, and individual wellbeing. This article explores published literature to determine the role of Indigenous crafting in transferring traditional and cultural teachings from female relatives and Elders to girls and younger women. We examine the effect of crafting on intergenerational cohesion and social connectedness within the Indigenous community. Does crafting serve as an effective conduit for physical, spiritual, emotional, and mental change in learners and teachers? Our review identifies 12 publications that describe Indigenous mostly girls and younger women's experiences as they acquire female Elders', teachers' and older family members' traditional and cultural teachings while participating in crafting activities. The papers identify an array of traditional and cultural activities including: basket weaving, beading, sewing, language acquisition, traditional songs, traditional dance, and storytelling. More contemporary forms of artistic expression such as photography, theatre and film production are also included. Research findings show that learning, teaching and practicing Indigenous crafting is associated with increased intergenerational cohesion, cultural connectedness, and wellbeing for both teachers and learners. Further, learning about Indigenous crafts and activities helps inspire pride in Indigenous identity and promotes healing from historical trauma. [ABSTRACT FROM AUTHOR]

All-for-one tourism is a new planning concept proposed by Chinese tourism scholars and practitioners, which has been formally regarded as a new tourism model to develop the country's tourism industries since 2016. It aims to stimulate the growth of the tourism industries across the entire region, encompassing all tourism and tourism-related resources at a destination. Hengdian Town is a tourism destination in China that has implemented the model of all-for-one tourism to develop and manage its film-related tourism. Based on the data collected from ethnographic methods (participant observations and individual interviews) in Hengdian Town, this paper examines the ways that the destination manages its film-related tourism, as well as the outcomes of such approaches, by applying the model of all-for-one tourism. The findings reveal that Hengdian Town has leveraged the model to manage its tourism resources and provided tourists with a comprehensive travel experience. This paper also explores the benefits and drawbacks of managing film-related tourism in the all-for-one tourism model. By focusing on film-related tourism, this study provides a unique perspective on the all-for-one tourism model. [ABSTRACT FROM AUTHOR]

This paper will critically discuss the bulimia and haka (Māori posture dance) montage featured in Season Four, Episode Six of Netflix's The Crown from an Indigenous Kaupapa Māori perspective—that is, from a position that accepts a Māori worldview as normal, valid, and real. This paper will argue that the problem with The Crown's montage is that it represents Māori and the haka in exoticising, othering, and demeaning ways. Drawing on a range of theories, this paper will use Kia Manawanui—a Kaupapa Māori framework for analysing film texts—to critique the montage in The Crown. This paper also argues that consultation with an expert in Māori culture and Kaupapa Māori filmmaking would have been necessary for The Crown to avoid representing Māori and the haka disparagingly. [ABSTRACT FROM AUTHOR]

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The article reflects upon the observational practices and methods developed by the early exponents of ethology committed to naturalistic field study and explores how their approaches and techniques influenced a wider field of popular natural-history filmmaking and photography. In doing so, my focus is upon three aspects of ethological field studies: the socio-technical devices used by ethologists to bring birds closer to them, the distinctive observational and representational practices which they forged, and the analogies they used to codify behaviour. This assemblage of elements included hides or screens from which to watch wild birds without disturbing them, optics to extend human vision, pens and paper to sketch and fix patterns of behaviour, watches to record timings, photography to capture action and freeze movement, and illustration and photographs to visualize behaviour. Carried through natural-history networks, the practices, methods and theories of ethologists like Huxley and Tinbergen influenced popular natural-history filmmaking and photography more broadly from the 1940s, driving a behavioural turn in these cultural practices. This popularization of the 'ethological eye' was further facilitated by the convergence of socio-technical devices, forms of observation and dramatization in the work of the early exponents of naturalistic field studies of birds and the popular filmmakers. [ABSTRACT FROM AUTHOR]

As a response to the increasingly violent backlash against trans rights, trans cinema must look beyond representation and seek to foster community solidarity and care. New trans cinematic works must resist conventional modes of representation and instead provide a form of care and validation to trans audiences. This paper focuses on recent trans documentaries "Orlando, My Political Biography" (Paul Preciado, 2023) and "Desire Lines" (Jules Rosskam, 2024) which not only depict trans experiences but also challenge traditional filmmaking techniques to foster a t4t (trans-for-trans) ethos. This ethos rejects stealth ways of looking, in which one assimilates seamlessly into cisgender society post-transition. Instead, Orlando and Desire Lines continually disrupt the binary gaze by embracing a process-oriented filmmaking style that reminds the audience the image, like gender, is constructed. Such work not only has the potential to change the socio-political landscape, it radically prioritizes supporting trans lives over instructing cisgender viewers. [ABSTRACT FROM AUTHOR]

The article comments on film-making process. The film-making process requires that a person reduce an abstract idea to a visual form. One must be able to visualize people doing something and then capture that on film. In one sense, film-making is a test of the hypothesis that sociology is a behavioral science. Students should learn how to make theoretically based films for these and the additional reason that thus they can better learn their discipline. By writing a paper, the good student learns his subject. He learns the ideas and that he can control them. But, in writing, he often learns to become a manipulator of words and loses any concern about the behavioral reference they may or may not have. In making a film, however, the student does come face to face with connecting his ideas to human behavior. In film-making, one can delineate a set of roles which, taken together, result in the finished product. There is the producer, the person who has the ultimate responsibility for the film, the one who, nominally at least, has the concept of the entire production.

In 1953, Bellingham's KVOS-TV aired its first broadcast--Queen Elizabeth II's coronation--to audiences in northwest Washington State and southwest British Columbia. KVOS was the second television station in Washington and the first in British Columbia. As the station--and the popularity of television--grew, KVOS turned a persistent focus to attracting television audiences in the Vancouver metropolitan region and Vancouver Island. The station established a subsidiary in Vancouver in 1960 to produce commercials for local Canadian advertisers. This subsidiary grew into a full-fledged film production studio, Canawest Film Productions, which produced commercials, industrial films and animation for clients on both sides of the border. For a brief period, KVOS and Canawest fostered a unique relationship among an American broadcaster, Canadian and American advertisers, and cross-border audiences. Canawest was shuttered in 1977 after the Canadian legislature passed Bill C-58, ending tax deductions for Canadian companies advertising on American TV stations. This paper gives insight into the cross-border design of KVOS as well as Canawest's role in producing audiovisual material in the 1960s and 1970s. In doing so, this paper reflects on the tensions between culture and economics in the face of financial incentive and policy intervention. [ABSTRACT FROM AUTHOR]

With the development of computer software and hardware technology, film and television production has made a breakthrough. More and more film and television works have changed from the traditional plane two-dimensional space projection to three-dimensional space projection. Three-dimensional works give the audience an immersive feeling. Taking human posture, one of the most important components in film and television works, as an example, this paper discusses the method of reconstructing three-dimensional human posture from two-dimensional images in film and television production. Starting from the research significance of two-dimensional image reconstruction of three-dimensional human posture in film and television production, the existing three-dimensional human posture in film and television production is analyzed. The audience can watch the film and television works in an all-round way to keep the film and television works fresh to the greatest extent. This paper provides a certain reference value for 3D stereoscopic projection. [ABSTRACT FROM AUTHOR]

This paper proposes the role of an emerging job role within the virtual reality (VR) film production crew. This role we call the Embodiment Director, involves assisting the VR Film Director in the accomplishment of true immersive film experiences through the use of game engines and VR peripherals. The Embodiment Director will manage the inception of haptics and stimuli technologies that allow for the embodiment of humans within a virtual environment, and they must guarantee precise synchronicity between physical and virtual counterparts, while overseeing the safety use of software and hardware during the entire production process of the VR film experiences. This paper offers a contemporary review of the key creative roles within traditional and virtual film production, in order to generate a concise and valid argument for the role of the Embodiment Director supported by autoethnography. [ABSTRACT FROM AUTHOR]

While the history and technology of cinema are considered for the purpose of achieving decolonial ends, this paper suggests that 'classic' cinema may be considered a quintessentially settler colonial medium. However, the moving image is now delivered in new ways and through new devices, and streaming has transformed global patterns of cinema production and consumption. Thus, two developments are considered in relation to this transformation. On the one hand, there are signs that mainstream cinema may be genuinely addressing its implication with colonialism, and this paper focuses on a formal apology and on a big budget movie that adopted a radically innovative approach to representing Indigenous peoples: Prey (2022). On the other hand, streaming has made cinema portable and has made consumption in personally deliberated instalments possible. The 'digital natives' consume cinema in fragmented and noncollective patterns, and their activity is subjected to unprecedented modalities of surveillance and appropriation. This paper concludes that a form of digital colonialism supported by streaming operates in ways that are homologous with modes of settler colonial appropriation. [ABSTRACT FROM AUTHOR]

As biodiversity continues to decline, environmental relationships and governance require transformation to be effective. A core part of this transformation will be how we decide to communicate, engage, and express political ideas and aspirations. Amplifying the voices and practices of communities who have historically been ignored or left out of decision-making will be important in transforming environmental relationships and governance. This paper explores how Indigenous communication landscapes have the potential to provide more creative and inclusive communication and political engagement processes. Using the short film competition Future visions for te taiao as a case study, this paper reveals how Kaupapa Māori filmmaking can contribute to Indigenous communication landscapes in Aotearoa New Zealand. Future visions for te taiao therefore provides an alternative avenue for political communication on environmental governance that centres an Indigenous communication and environmental ethic. [ABSTRACT FROM AUTHOR]

This paper intends to illustrate an often neglected, yet relevant aspect of the collective memory construction in communist Romania. In addition to other forms of collective remembrance, cinematic representations of the recent past have played a significant role for both the political regime and the Romanian society by providing political legitimacy as well as entertainment. The communist resistance was one of the most recurrent topos of collective memory, whereas underground party supporters -- the so called "illegalists" - often had to be presented as figures of identification. The cinema permitted, however, a negotiation of the recent past on different levels. Starting from these considerations and focusing on the film production „Duminică la ora 6” (Sunday at Six, Lucian Pintilie, 1966), the paper brings into discussion the communist resistance discourse during the liberalization period. [ABSTRACT FROM AUTHOR]

The article discusses the emergence of the Italian cinema literature between 1907-1920. This article also focuses on film writing in Italy and analyzes the development of film thought including the discourses, critical interventions and early aesthetic or theoretical reflections on the cinema. It also adds that during those times, Italy would produce no fewer than 90 film journals, many of which lived a rather brief life. These journals are also said to be oriented toward literary and cultural developments and boasted attractive design formats.

In the era of rapid growth of technologies, image matting plays a key role in image and video editing along with image composition. In many significant real-world applications such as film production, it has been widely used for visual effects, virtual zoom, image translation, image editing and video editing. With recent advancements in digital cameras, both professionals and consumers have become increasingly involved in matting techniques to facilitate image editing activities. Image matting plays an important role to estimate alpha matte in the unknown region to distinguish foreground from the background region of an image using an input image and the corresponding trimap of an image which represents a foreground and unknown region. Numerous image matting techniques have been proposed recently to extract high-quality matte from image and video sequences. This paper illustrates a systematic overview of the current image and video matting techniques mostly emphasis on the current and advanced algorithms proposed recently. In general, image matting techniques have been categorized according to their underlying approaches, namely, sampling-based, propagation-based, combination of sampling and propagation-based and deep learning-based algorithms. The traditional image matting algorithms depend primarily on color information to predict alpha matte such as sampling-based, propagation-based or combination of sampling and propagation-based algorithms. However, these techniques mostly use low-level features and suffer from high-level background which tends to produce unwanted artifacts when color is same or semi-transparent in the foreground object. Image matting techniques based on deep learning have recently introduced to address the shortcomings of traditional algorithms. Rather than simply depending on the color information, it uses deep learning mechanism to estimate the alpha matte using an input image and the trimap of an image. A comprehensive survey on recent image matting algorithms and in-depth comparative analysis of these algorithms has been thoroughly discussed in this paper. [ABSTRACT FROM AUTHOR]

Virtual Production (VP) has seen enormous growth in the last few years. The technology enables filmmakers to project locations onto a giant LED wall backdrop in a studio space, providing a photorealistic setting at the click of a button. Exciting though these developments are for the industry, our governments need to explore and understand what the trend away from traditional filmmaking may mean. There could be some hidden consequences that impact upon existing policy objectives. This paper focuses specifically upon the potential challenges that regional filmmaking may face as a result of VP; including a loss of production revenue in the local economy, possible skills migration and a threat to screen tourism. The paper argues that interventionist policy making, similar to successful tax relief schemes that have invigorated the UK cultural industries in recent years, could help steer the new technology in directions that help meet wider policy agendas, rather than usurp them. [ABSTRACT FROM AUTHOR]

This paper examines the anti-anthropocentric world-building in documentaries that employ aspeculative mode of inquiry and reckon with the ecological crisis. Dubbed speculative documentaries, they move beyond the Griersonian creative treatment of actuality toward a speculative treatment of subjectivity. Understanding their world-building encourages us to place the documentary within the interdisciplinary, multidimensional, and collective undertaking to address the Anthropocene and the increasing climate crisis. Slow Action (2010) imagines the evolution of species and ecosystems when isolated and surrounded by unsuitable habitats envisioning a science fiction future of island biogeography in face of extinction. Truth or Consequences (2020) considers the possible cataclysmic futurity as its present-day setting. It seeks to define the mode of speculative documentary as documentary footage placed into a fictionalized context where, as if it were science fiction, takes what is nascent today and treats it as though it is already happening. Jan Ijäs's documentary series Waste (2016-ongoing) assumes a more-than-human approach to anthropogenic habitats by expanding on the concept of waste and critiquing the devastating human effect on the earth. The results are part ethnographic, part science fiction, offering a space for contemplation on constructed and natural environments that bewail and anticipate Earth's transformation over time. [ABSTRACT FROM AUTHOR]

This paper addresses the use of oral history sources in my practice of documentary filmmaking as a second-generation Holocaust survivor. It examines how the filmic documentation of oral history sources can reflect aspects of testimony, memory, and postmemory, as they are theorized in the field of Holocaust Studies. In my film "Past Forward: Journeys to Transnistria," I document the challenge of relating an intergenerational and cross-cultural story while preserving historical accuracy. Filmed in Ukraine in 2002, it tells the story of my mother, a child-survivor of the Romanian Holocaust. Through oral testimony, the film captures my mother's survival story as she tells it to me and later to her granddaughter who documents it for a history school project. It then retraces my mother's journey between 1941 and 1944 from her hometown of Dorohoi, Romania to Transnistria as it was called then under German-allied Romanian occupation. Survivor's testimony combined with onsite witness interviews, and an archival military map, were used to trace the story of a little Jewish Romanian girl who survived the journey to Transnistria. Recently available archival sources have further validated her story. It has also contributed to locating the film within the broader context of the Holocaust in Ukraine. [ABSTRACT FROM AUTHOR]

Purpose: The physical filmmaking landscape has been transformed by the emergence of digital platforms that foster interaction and dialogue. The accessibility and affordability of mobile production tools have empowered anyone with a mobile phone to become a media content creator. Accordingly, this paper aims to present a multi-method approach for creating phygital projects that involve people as active participants rather than mere subjects who collaborate with the researchers to tell their stories. Design/methodology/approach: Research participants can embrace diverse roles, serving as co-researchers, content creators, curators and collaborators. The authors use various engagement strategies with the research participants, who are often marginalized or underrepresented, to encourage their participation and give them agency and creative control. Thus, we also use a participatory action research approach to help advocate for the participants' facial equality concerns. Findings: Collaborative videography embraces the mosaic of voices expressing intricate social issues. In this project, research participants with "facial differences" explain their experiences in facing society. Originality/value: By experimenting with participatory frameworks and combining physical interactions (such as in-person meetings) with digital platforms like Zoom and social media, the authors suggest a multi-method approach that honors the authentic stories of the research participants, effectively engages the audience and explains how phygital research methodologies can be used in interpretive consumer research, particularly in co-creating films that capture strong visuals. [ABSTRACT FROM AUTHOR]

Little is known about the experience and impact of intersectional stigma experienced by rural young people (15–25 years) who have a parent with mental health challenges. The StigmaBeat project employed a co-design approach to create short films to identify and challenge mental health stigma from the perspective of young people who have experienced this phenomenon. The aim of this paper is to describe the co-design methodological approach used in StigmaBeat, as an example of a novel participatory project. We describe one way that co-design can be employed by researchers in collaboration with marginalised young people to produce films aimed at reducing mental health stigma in the community. Through describing the processes undertaken in this project, the opportunities, challenges, and tensions of combining community development methods with research methods will be explored. Co-design with young people is a dynamic and engaging method of collaborative research practice capable of harnessing lived experience expertise to intervene in social issues and redesign or redevelop health services and policies. The participatory approach involved trusting and implementing the suggestions of young people in designing and developing the films and involved creating the physical and social environment to enable this, including embedding creativity, a critical element to the project's methodological success. Intensive time and resource investment are needed to engage a population that is often marginalised in relation to stigma discourse. [ABSTRACT FROM AUTHOR]

The flood of Multimedia Resources on the Web of Data and offline platforms is a clear proof of the increase of such resources in day-to-day activities of modern society, especially web series, documentaries, fictions, etc. Multimedia Ontologies applied to film-related features entail to describe not only the film production process, but also their social and environmental inferences (with cultures, attractive sites, etc.). The insufficient insight of annotated features in existing ontologies affects retrieval accuracy on useful facts necessary in today's society. This paper presents a Multimedia Ontology for the co-construction and indexing of Cinematographic resources (OntoCin) on the Semantic Web, built on the Human Activity Theory (HAT) modelling approach and the Competency-based Questions Methodology which allowed to scope cinematographic knowledge. This ontology enables information retrieval by enhancing annotation and indexing of scenes, emotions, shooting places (touristic sites), film-users' preferences, socio-cultural knowledge and impressions on the Web of Data. We made some queries on the ontology and came out with results. This helped to set ground for a semantic wiki architecture that will facilitate the co-construction of multimedia resources based on this Multimedia Ontology. [ABSTRACT FROM AUTHOR]

The article titled "Animation Studios: People, Spaces, Labor" explores the history and working conditions of animation studios, with a focus on Czechoslovak and Polish animation studios. The authors draw on various sociological and art theories to analyze the social, architectural, and technological aspects of animation production. They invite research papers that examine topics such as emigration and adaptation to new professional environments, the conventions of animation production, the professional and social ties of studio staff, and the history of education in animation. The deadline for submitting abstracts is November 30, 2023, and the full article submission deadline is April 30, 2024. [Extracted from the article]

From 1954 to 1956, tens of thousands of still photographs were taken, reviewed, printed, and circulated to promote Cecil B. DeMille's The Ten Commandments (1956). By tracing the conflicts that emerged over their management, this study centers the photographs and their distribution within an ecosystem of public relations, print media, and film production. While studio photographers produced the bulk of the photographs, their role was overshadowed by celebrity photographers, including Yousuf Karsh and Yul Brynner. Changes in the visual media landscape and Hollywood's photographic infrastructure threatened both the still photographers and the ability of studio publicists to shape the narrative. [ABSTRACT FROM AUTHOR]

This paper contains a case study of original creative historical screenwriting and its theoretical underpinnings. The creative writing component visualises the 'true' story of the Coolgardie Water Supply Scheme under construction in 1902 in Western Australia. It functions as an additional 'layer' to my previously published paper, 'A Process of Screenwriting: A Film Treatment for "The Engineer-in-Chief"', (Meneghello, Rethinking History, 2021). The theoretical component explores my own creative process of writing an artwork history as a filmic and poetic interpretation of history containing emotional subtextual meanings. I ask the question: How can archival richness and complexity be communicated in screenwriting beyond the restrictive form of the 'script'? The aim of the essay is to describe how pursuing creative historical research has led me into screenwriting innovation. I do this by synthesising screenwriting theory and practice to consider how the film treatment is an underestimated tool of script development. I draw on the field of artwork history, incorporating the metaphor and imagery of the 'archaeological gaze' and cardiovascular biomechanics to bridge the gap between creative historical writing and screenwriting innovation. Drawing on Indigenous Studies, I show how my innovation honours both the collaborative dimensions of filmmaking as well as the importance of including absent and diverse voices from the historical record. This interdisciplinary framework supports the argument I make for conceptualising the film treatment in the form of 'layers'. This new approach to screenwriting is particularly useful for researchers to test and experiment how facts can be translated using visual imagery and literary techniques into a cinematic rendering of a 'true story'. My creative research thus has implications for the fields of both artwork history and screenwriting by enhancing the traditional screenplay format, and also contributes to historiography through the generation of new insights into how form shapes content and meaning. [ABSTRACT FROM AUTHOR]

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Copyright of Cracow Review of Economics & Management / Zeszyty Naukowe Uniwersytetu Ekonomicznego w Krakowie is the property of Cracow University of Economics and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper reports the findings of a study that had explored digital disruption as an analytical lens developed based on the constructs of two theories: the digital disruption theory and the disruptive innovation theory. The study had employed unstructured in-depth interviews, direct observation and virtual ethnographic to consult media experts, pioneer filmmakers, Bongo Movie' producers, movies library's keepers, movie retailers, movie translators (deejays) and social network sites (SNS) to collect data. Based on the study findings, the paper argues that the shift in technological paradigm, specifically from the use of expensive and inaccessible technologies used in filmmaking engendered the development and sustainability of the Bongo Movie genre in Tanzania. This technological paradigm shifts were twofold. To begin with, there was a transition from the use of celluloid film and analogue video cameras to digital video cameras in film production. Second, there was a shift from the use of optical prints and Vertical Helican Scan (VHS) tapes to optical discs such as Digital Versatile Discs (DVD) in the distribution of films. These changes in the technologies used in production and distribution of films provided entrants into the local film industry with necessary tools to produce low-budget films and service the low-end market of the country, which augured well with the country's resource-poor context. Moreover, these Bongo Movies "disrupted" the erstwhile traditional, established, and stringent patterns of consumption of both locally-produced and foreign-imported films in local film markets. Overall, the Bongo Movie genre evolution appears to be a model of how digitally-motivated disruptions can occur in a local film market in a developing nation's video-film industries and become a staple particularly among the low-end clientele. [ABSTRACT FROM AUTHOR]

The application of materials with changing visual properties with lighting and observation directions has found broad utility across diverse industries, from architecture and fashion to automotive and film production. The expanding array of applications and appearance reproduction requirements emphasizes the critical role of material appearance measurement and surface characterization. Such measurements offer twofold benefits in soft proofing and product quality control, reducing errors and material waste while providing objective quality assessment. Some image-based setups have been proposed to capture the appearance of material surfaces with spatial variations in visual properties in terms of Spatially Varying Bidirectional Reflectance Distribution Functions (SVBRDF) and Bidirectional Texture Functions (BTF). However, comprehensive exploration of optical design concerning spectral channels and per-pixel incident-reflection direction calculations, along with measurement validation, remains an unexplored domain within these systems. Therefore, we developed a novel advanced multispectral image-based device designed to measure SVBRDF and BTF, addressing these gaps in the existing literature. Central to this device is a novel rotation table as sample holder and passive multispectral imaging. In this paper, we present our compact multispectral image-based appearance measurement device, detailing its design, assembly, and optical considerations. Preliminary measurements showcase the device's potential in capturing angular and spectral data, promising valuable insights into material appearance properties. [ABSTRACT FROM AUTHOR]

Copyright of ANIAV: Revista de Investigación en Artes Visuales is the property of Universidad Politecnica de Valencia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

We are all spectators of the times to varying extents. With the commencement of the twenty-first century, our spectator experience began to transform, becoming more scattered, divergent, and unsettled in response to technological advancement and the decline of consensus around social values, cultural meanings, and political agendas in the face of changes. In post-handover Hong Kong, a breach of meaning has been cumulatively caused by divided opinions on priorities (e.g. economic, democratic) and intensified by the contested narratives around history, identity, and reality. In the aftermath of the Anti-Extradition Law Amendment Bill (Anti-ELAB) Movement, a discursive construction of authority and legitimation has taken place in legislative affairs, a renewed school curriculum, and official speeches, among other organized patterns of action. Against this backdrop, this paper will focus on the spectatorship of trauma that has been generated by community screenings and documentary filmmaking. Two case studies will be presented in terms of their distance (distant vis-à-vis immersive) from the epicentre of these traumatic events. The first case study will explore the spectatorship of visual trauma, in which authoritarian experiences were transmitted through social movement-themed documentaries (e.g. Ukraine's Winter on Fire) and drama films (e.g. South Korea's 1987 and A Taxi Driver) that gained popularity and stirred up noise in Hong Kong in the lead-up to 2019. The second case study will explore traumatic responses through bodily reactions to pain and suffering as captured in post-2019 Hong Kong cinema. On the whole, the paper will demonstrate how viewing experiences embody shared and individualized responses (e.g. resistance, resilience, retreat) and how understanding spectatorship allows us to discern the social sentiments, cultural implications, and affects generated at a particular time. [ABSTRACT FROM AUTHOR]

Purpose: The purpose of this paper is to engage readers with Unity Productions Foundation (UPF) films, which provide a powerful, inspirational digital tool for teachers. The organization's mission is to create documentaries, films and educational materials that contribute to bringing to light compelling stories of Muslim engagement through history and culture. UPF films and educational projects aim to promote peace and understanding to increase cultural pluralism and counter bigotry in our world. Design/methodology/approach: Teachers will be able to utilize the resources provided in this paper to harness the power of media in their classrooms. Outlining the process by which teachers can follow the C3 inquiry using the film Prince Among Slaves will prepare teachers to see the alignment of the C3 Framework with their teaching. The "best practice" classroom strategies in structuring deliberations are ones that encourage students to fully participate and emphasize their voice. Findings: This paper will unpack the practice methods that address the film Prince Among Slaves to be of benefit when sharing narratives through digital film and engage students in critical thinking through the C3 Framework. UPF films are the product of scholarly research and innovative production teams as the films provide the opportunity to visualize and explore multiple perspectives to understand historical content by providing a context for inquiry teaching and learning that is inclusive through deliberative discussions in the classroom. Originality/value: The author certifies that this manuscript submission is original work and that all authors were involved in the intellectual elaboration of the manuscript and all parties have been acknowledged. [ABSTRACT FROM AUTHOR]

Copyright of Álabe is the property of Alabe and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper examines how Amber Film and Photography Collective's working-class affiliations and Berwick Street Film Collective's middle-class makeup shaped their divergent approaches to depicting 'working-class issues' by drawing on the films of both collectives, alongside archival materials and oral testimonies. By engaging in a comparative reading, I highlight the breadth of Amber's oeuvre, tracing the development of their filmmaking strategies--which included agitprop, the fusion of factual and fictional formal elements and transnational collaboration with the German Democratic Republic's film production company, Deutsche Film-Aktiengesellschaft (DEFA)--to demonstrate that, contrary to criticisms levelled by contemporary theorists clustered around Screen magazine and the British Film Institute, Amber transcended the constraints of Documentary Realism by incorporating radical avant-garde aesthetics into their oppositional practice. Concomitantly, Amber's radical filmmaking is positioned as relative to its members' working-class solidarities, with their concern for championing working-class cultures contrasted with Berwick Street's broader political agendas. Through foregrounding this politics/culture dialectic, the practical repercussions of Berwick Street's middle-class representation of 'working-class interests' are investigated while the theoretical criteria by which avant-garde depictions of 'working-class issues' are evaluated are themselves assessed. [ABSTRACT FROM AUTHOR]

In his book Cinema, Space, and Polylocality in a Globalizing China, Yingjin Zhang proposes polylocality as a theoretical framework to perceive Chinese cinema within a cross border and worldly network. Through polylocality, Zhang argues that cinema designates the relationality among differentiated positions across places, which challenges the concept of transnational cinema that predominantly underscores the spatial relationship between cinema and the world. The act of mobilization, migration, and nomadicity in the process of filmmaking also innovates (un-)wanted mutuality, intimacy, and reciprocity, with or without plan. In this paper, I argue that the framework of polylocality bears the potentiality to open the process of documentary filmmaking as a solitary practice, both on and off screen, through a close reading of Havana Divas, a documentary featuring two Cantonese opera divas living in Cuba. I contend that the field of transpacific studies, breaking through from the national imagination in the concept of (trans-)national cinema, reinforces Zhang's theory of polylocality and sheds light on the film practice that involves the mutual mobilization of both the filmmaker and the subject. [ABSTRACT FROM AUTHOR]