Technological change in the postproduction film industry a Victorian case study

The first and last stages of filmmaking production and projection remain relatively unchanged, but computerization (through digitalization) has radically transformed film and sound editing. The aim here is to examine some of the effects of this transformation on postproduction employment. The experiences of twenty Victorian postproduction workers, interviewed in 2001, provide the data presented here. The interviewees were divided into groups to reflect their life stage and time working in postproduction.

Revelation International Film Festival (11th : 2008 : Perth, WA.)

Machinima revelations presents cutting-edge machinima experiments from around the world. Machinima is filmaking by combining the techniques of filmaking, animation production and the technology of real-time 3D game technologies.  Machinima Revelations curator Dr Leon Marvell from Deakin University presented cutting-edge machinima experiments from around the world and Australia, including the award-winning feature-length machinima, Stolen Life by Australian pioneer Peter Rasmussen

More than Ballyhoo? : The importance of understanding film consumption in Australia

We have all become used to reading stories filled with alarm and recrimination, or (more rarely) tentative optimism concerning the local production industry's percentage of the domestic box office. This blunt but exploitable indicator greatly simplifies the interaction between film product and its consumer.

Questions of (re)production and legitimation : a second screening of 3 films on teacher-student relations

This study considers three Hollywood films that take, as their subject, a teacher-hero confronted with a 'problem' group of students and, as their narrative, the rehabilitation of these students and the resolution of their problems. Employing a Bourdieuian analysis, we attempt a second screening of these films on two levels: first, by stepping inside these celluloid classrooms, so to speak, and narrating a different text, one that is spoken from the position of students and which challenges each film's portrayal of good people achieving fine things; and secondly, by screening for gaps in their accounts of schooling, exposing their limited frames of reference and their legitimacy to speak on behalf of authentic classrooms. The first of these projects is undertaken as a way of challenging teachers and interested others to be wary of uncritical readings of popular images of teaching, whereas the second provides a beginning from which to consider how teachers' pedagogy and school curricula can be informed by a radical democratic view of education - how teachers might embrace the foreign.

Identifying film takes for cinematic analysis

In this paper, we focus on the ‘reverse editing’ problem in movie analysis, i.e., the extraction of film takes, original camera shots that a film editor extracts and arranges to produce a finished scene. The ability to disassemble final scenes and shots into takes is essential for nonlinear browsing, content annotation and the extraction of higher order cinematic constructs from film. In this work, we investigate agglomerative hierachical clustering methods along with different similarity metrics and group distances for this task, and demonstrate our findings with 10 movies.

The more things change, the more they stay the same : the 2012 alternative film/video festival

The Alternative Film/Video Festival in Belgrade has historically been one of a triumvirate of critical festivals, with Pula’s MAFAF (1965-1990) and Zagreb’s initiating GEFF (1963-70), servicing experimental, exploratory, avant-garde, personal film in the former Yugoslavia, at Belgrade’s Academic Film Center (AFC) within the Student City Cultural Centre (DKSG). Initiated in 1982 it was resurrected in 2003 with a dual regional and international focus after a hiatus due to the collapse of the socialist states of the former Yugoslavia. As well as a series of curated and retrospective programs each competition program is now split into international and regional halves, selected by Greg de Cuir and Zoran Saveski with production support by Milan Milosavljević. Two film workshops were also available. One on scratch film by Ivan Ladislav Galeta, the other on filming and processing led by Vassily Bourakis. Initiated by de Cuir the first Alternative Film/Video Research Forum was part of the festival this year bringing together research on alternative/ experimental/ avant-garde/ underground film and video. Although I participated in this side-bar I will concentrate here more on discussions from the festival roundtable and contextualise a small number of films, a couple from competition but mainly regional work that I would find difficult to encounter without attendance here.

Boom and bust in Australian screen policy: 10BA, the Film Finance Corporation, and Hollywood's 'race to the bottom'.

In recent years, a narrative has emerged in the Australian popular media about the box office 'unpopularity' of Australian feature films and the 'failure' of the domestic screen industry. This article explores the recent history of Australian screen policy with particular reference to the '10BA' tax incentive of the 1980s; the Film Finance Corporation of Australia (FFC), a government screen agency established in 1988 to bring investment bank-style portfolio management to Australia's screen industry; and local production incentive policies pursed by Australian state governments in a chase for Hollywood's runaway production.

We argue the 10BA incentive catalysed an unsustainable bubble in Australian production, while its policy successor, the FFC, fundamentally failed in its stated mission of 'commercial' screen financing (over its 20-year lifespan, the FFC invested 1.345 billion Australian dollars for 274.2 million Australian dollars recouped - a cumulative return of negative 80 percent). For their part, private investors in Australian films discovered that the screen production process involved high levels of risk.

Foreign-financed production also proved highly volatile, due to the vagaries of trade exposure, currency fluctuations and tax arbitrage. The result of these macro and micro-economic factors often structural and cross-border in nature was that Australia's screen industry failed to develop the local investment infrastructure required to finance a sustainable, non-subsidised local sector.

The films of John Hughes: a history of independent screen production in Australia

ABSTRACTIn The Films of John Hughes: A history of independent screen production in Australia filmmaker and academic John Cumming tells the ongoing story of Hughes’ work illustrating the delicate balance of individual, collective and corporate agendas that many contemporary artists need to negotiate. This story begins in the 1960s with a generation of intelligent, socially engaged young people who challenge established power structures, conventions and stereotypes in art, politics and the media. Experiments were being made with grassroots democracy, with new social formations and new ways of seeing and communicating. The book also pays attention to earlier periods of cultural and political activism that captured Hughes’ imagination in the 1970s and became the subject of a number of his films over a period of nearly forty years. Through these films Cumming traces the outline of post-war film culture and production in Melbourne from the 1940s and sets this history within the context of international trends in independent filmmaking throughout the 20th Century and into the 21st.The work of an independent filmmaker has always included a great deal more than directing films. Working in an artisanal mode, he or she often performs, or has a hand in, every aspect of craft at the same time as engaging in discussion and organisation around the wider sphere of screen culture and industry. In addition to having proficiency as a producer, photographer, sound recordist, editor, distributor and exhibitor of films, there is research, organisation, lobbying, entrepreneurship and mentoring to be done. As an independent producer-director, John Hughes has engaged in all of these activities – often simultaneously. He is also a scholar, writer, organiser, activist and teacher. As a television bureaucrat he was both eminent and innovative, and through his filmmaking he has become a leading historian of Australian documentary cinema. ‘… that view – that art and politics are inherently at odds – is still lurking around. It is at the heart of cultural conservatism; and John Hughes’s film-making, from the 1970s to the present, confounds its proponents. His cinema is at once crowded, detailed, elegant and absolutely lucid; at the same time, it is shot through with political and historical understandings.’ Sylvia Lawson, ‘Such a Bloody Wonderful Place’, Inside Story, 28 April 2013.

Qualitative and quantitative tear film abnormalities in dogs

Anormalidades do filme lacrimal de cães podem ser classificadas quanto ao seu aspecto quantitativo, qualitativo ou ambos, sendo comumente observada na prática cotidiana. Intercorrências na produção de um ou mais componentes do filme lacrimal ensejam distúrbios oculares em graus variados, denominados ceratoconjuntivite seca. Diversas são as causas da ceratoconjuntivite seca em cães, mas a maioria dos casos é de caráter idiopático, estando associada à participação de linfócitos T. O diagnóstico em medicina veterinária é firmado com base nos valores obtidos pelo teste da lacrimal de Schirmer. O presente artigo objetiva revisar os aspectos relacionados à etiopatogenia e ao diagnóstico da ceratoconjuntivite seca em cães, assim como discutir novas modalidades terapêuticas para a doença.

Production and characterization of Tm3+/Yb3+ codoped waveguides based on PbO-GeO2 thin films

Fabrication and optical characterization of Tm3+/Yb3+ codoped PbO-GeO2 (PGO) pedestal-type waveguides are investigated in this work. It is important to mention that, to the best of authors' knowledge, the use of PGO pedestal-type waveguide has not been studied before. PGO thin films codoped with Tm3+ and Yb3+ were obtained through RF magnetron sputtering technique. The pedestal profile was obtained using conventional optical lithography procedures, followed by plasma etching and sputtering deposition. The profile of Tm3+/Yb3+ codoped PGO waveguides was observed by means of Scanning Electron Microscopy (SEM) measurements. Also the infrared and infrared-to-visible frequency upconversion luminescences of Tm3+ ions were measured exciting the samples with a cw 980 nm diode laser. Propagation losses around 11 dB/cm and 9 dB/cm were obtained at 630 and 1050 nm, respectively, for waveguides in the 20-100 μm width range. Single-mode propagation was observed for waveguides width up to 12 μm and 7 μm, at 1050 nm and 630 nm, respectively; larger waveguides width provided multi-mode propagation. The present results corroborate the possibility of using Tm3+/Yb3+ codoped PGO thin films as active waveguide for photonic applications. © 2013 Elsevier B.V. All rights reserved.

Production and characterization of Tm3+/Yb3+ codoped pedestal-type PbO-GeO2 waveguides

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Production and Characterization of Composite Material Useful as a Protective Barrier in Electronic Applications

This work describes the production and characterization of a selective membrane useful for electronic devices. The membrane was a composite made by a thin film of plasma-polymerized HFE (methyl nonafluoro(iso)butyl ether) immersed in plasma-polymerized HMDS (hexamethyldisilazane) film, a third phase being 5 µm starch particles included in this matrix. The film was deposited on silicon substrates and its physical, chemical and adsorption characteristics were determined. Infrared and x-ray photoelectron spectroscopy analyses showed fluorine and carboxyl groups on the bulk and the surface, respectively. SEM results indicate the film is conformal even if starch is present. Optical microscopy analysis showed good resistance toward acid and base solutions. Quartz crystal microbalance indicated adsorption of polar organic compounds on ppm range. This thin film is environment-friendly and can be used as a protective layer or in electronic devices due to adsorption of volatile organic compounds.

Tetraethylortossilicate plasma thin film with hydrophilic and hydrophobic characteristics: Use on passive mixers

This work aims to obtain plasma thin film composites with hydrophobic/hydrophilic alternated regions, which are useful for the production of miniaturized mixers. These regions were acquired by two different strategies: either the codeposition of TEOS and HFE plasma thin films or the exposition of TEOS plasma films to ultraviolet radiation (UVA and UVC). These films were characterized by several chemical and physical techniques. The refractive indexes vary from 1.4 to 1.7; infrared and photoelectron spectroscopy detect Si-O-Si and CHn species. Silicone-like structures with high or low number of amorphous carbon microparticles and with fluorinated organic clusters were produced. Cluster dimensions were in the 1-5 mm range and they are made of graphite or COF (carbon/oxygen/fluorine) compounds. Scanning electron and optical microscopy showed rough surfaces. Water contact angles were 90º; however, for TEOS films that value changed after 6 hr of UVC exposure. Moreover, after UV exposure, organic polar compounds could be adsorbed in those films and water was not. The passive mixer performance was simulated using the FemLab 3.2® program and was tested with 20 nm thick films on a silicon wafer, showing the capacity of these films to be used in such devices.

Composite Thin Film Obtained Using Tetraethoxysilane and Aimed at VOCs Detection

The aim of this work was production of tetraethoxysilane (TEOS) plasma polymerized thin films and optimization of their physical-chemical characteristic for sensor development. The films were analyzed using several techniques. It was possible to produce composites (graphite clusters imbibed by silicon oxide film) made from only one reactant (TEOS). Deposition rate can vary significantly, reaching a maximum of 30 nm/min; cluster formation and their size widely depending on deposition parameters. The film surface was hydrophobic but can be wetted by organic compounds, probably due to carbon radicals. These films are good candidates for sensor development.

Testo e memoria tra semiotica e scienze cognitive: una situazione sperimentale intorno al ricordo di un film

The research project presented in this dissertation is about text and memory. The title of the work is "Text and memory between Semiotics and Cognitive Science: an experimental setting about remembering a movie". The object of the research is the relationship between texts or "textuality" - using a more general semiotic term - and memory. The goal is to analyze the link between those semiotic artifacts that a culture defines as autonomous meaningful objects - namely texts - and the cognitive performance of memory that allows to remember them. An active dialogue between Semiotics and Cognitive Science is the theoretical paradigm in which this research is set, the major intend is to establish a productive alignment between the "theory of text" developed in Semiotics and the "theory of memory" outlined in Cognitive Science. In particular the research is an attempt to study how human subjects remember and/or misremember a film, as a specific case study; in semiotics, films are “cinematographic texts”. The research is based on the production of a corpus of data gained through the qualitative method of interviewing. After an initial screening of a fulllength feature film each participant of the experiment has been interviewed twice, according to a pre-established set of questions. The first interview immediately after the screening: the subsequent, follow-up interview three months from screening. The purpose of this design is to elicit two types of recall from the participants. In order to conduce a comparative inquiry, three films have been used in the experimental setting. Each film has been watched by thirteen subjects, that have been interviewed twice. The corpus of data is then made by seventy-eight interviews. The present dissertation displays the results of the investigation of these interviews. It is divided into six main parts. Chapter one presents a theoretical framework about the two main issues: memory and text. The issue of the memory is introduced through many recherches drown up in the field of Cognitive Science and Neuroscience. It is developed, at the same time, a possible relationship with a semiotic approach. The theoretical debate about textuality, characterizing the field of Semiotics, is examined in the same chapter. Chapter two deals with methodology, showing the process of definition of the whole method used for production of the corpus of data. The interview is explored in detail: how it is born, what are the expected results, what are the main underlying hypothesis. In Chapter three the investigation of the answers given by the spectators starts. It is examined the phenomenon of the outstanding details of the process of remembering, trying to define them in a semiotic way. Moreover there is an investigation of the most remembered scenes in the movie. Chapter four considers how the spectators deal with the whole narrative. At the same time it is examined what they think about the global meaning of the film. Chapter five is about affects. It tries to define the role of emotions in the process of comprehension and remembering. Chapter six presents a study of how the spectators account for a single scene of the movie. The complete work offers a broad perspective about the semiotic issue of textuality, using both a semiotic competence and a cognitive one. At the same time it presents a new outlook on the issue of memory, opening several direction of research.