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Hello, dear colleagues.
I'm trying to submit for review a paper about the production of peripheries in metropolitan areas (based on the conceptual framework of Henri Lefebvre), using film analysis as a qualitativa methodology. However, I already submitted it to four journals (Urbe, ACME, City & Society and Bulletin of Latin American Research) and in all of them the article got classified as out of the scope of the journal, so I didn't get a review at all from them.
Do you have any suggestion for a impactful journal that would accept work like this? Preferably a Geography or Urban Studies journal, but a film studies one would also be helpful.
Thanks already for you help,
Rodrigo S. Bogo
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Some of the journals where you can try are: Athens Journal of Architecture, Cities (Elsevier), European Journal of Interdisciplinary Studies, alphavillejournal you can find here @ alphavillejournal.com/, Urban Planning Open Access Journal
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Mis à part Analyse des films de Aumont et Précis d'analyse filmique, où pourrais-je trouver l'état de l'art des théories de l'analyse de films?
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merci
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I might not reach mine but, for me, lucrative filmmaker. I would work in Hollywood. Requirements may or might not include a master of arts, experience at Stella Adler's Studio, etc. The job would pay $300,000 a year, plus royalties, etc. The job includes successfully executing a film. I aspire to be a polymath so, engineering, medicine and law(in case filming goes haywire).
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Lecturer in Film Studies
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Who knows?
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Creating a successful film or television show is a monumental task that begins long before the cameras start rolling. A well-executed script breakdown can mean the difference between a production that runs smoothly and one that’s plagued by costly oversights and last-minute scrambles. In essence, a script breakdown is a blueprint for the shoot, detailing every element needed, from cast and props to locations and special effects.
Regards,
Shafagat
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How can the following film help bring social justice? Elaborations welcome.
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Cosmin Visan
I find your takes fascinating. A formal, institutionally hosted and moderated debate between us could serve the common good.
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Thompson and Bordwell's perspective on active viewership overlooks the impact of cultural and social factors on shaping the text and the author's thoughts. In this way, Zizek criticizes Neoformalism for failing to acknowledge the pivotal role of culture and ideology in shaping the film's text and thoughts. I am curious if any post-neoformalist theories or critical theorists have explored the integration of contextual materials in the realm of structure and form.
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I appreciate your generosity, Dr. Esser.
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For my thesis I'm doing a mixed method analysis of the portrayal of AI in contemporary science fiction films. One of my methods will be a critical discourse analysis of 30 film scenes. I wonder how I can justify film samples, bearing in mind I want scenes where there is textual dialogue between a human and a robot or AI?
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This project sounds wonderful. I hope you're enjoying working on it!
From my perspective, it is a good idea to write honestly about the challenges and realities of selecting films and why you did/didn't choose certain things, and it sounds like you have a good starting point for this already with your textual dialogue bit (though remember to define what you mean by textual dialogue). Some questions to reflect on: are they all from a specific country? Are they in different languages or one? Are they studio films, independent films, a mix? So you might say, for example, you are focusing on Anglophone studio films if you are, or a mix if you're not. Again remember to define, eg what is a studio film. Are they on streaming services or did you see at festivals, cinemas etc? You might be honest about what you've been exposed to/able to locate and recognise there will be more examples you've not come across or been able to see due to access challenges (not being available to watch or not subtitled in a language you speak, for example). Reflect on how you did actually identify them - did you ask around, or had you just seen these 30 films already? Did you Google search?
So basically, describe how you selected them and reflect critically on this process and you should be fine. It is likely to be a question that comes up in a viva if you're going to have one for this project so be prepared to chat about it too, and remember there isn't a 'right' way to select texts so reflecting on how/why you did what you did is key.
Best of luck with your project!
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Hi , while taking repeatedly IV graph from four probe i m getting graph like this , My film is tin selenide . Why am i not getting contact restivity ?
Main goal was to check sheet resistance of the film
using agilant SMU
What is the reason behind a sudden bump near zero ?
what is the reason behind no constant resistance ?
Can we calculate the thick by knowing sheet resistance ??
I am using agilant b 2901a
and "Jandel four probe "
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The resistance is R = Delta(U)/Delta(I) thus you have constant resistance on the positive and negative currents, the inverse of the slope.
The slope is constant, thus the resistance (in absolute value) is constant.
Your mistake is that you compute R at each step as R= U/I not as
R = Delta(U)/Delta(I)
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I want to analyze the characters of the Hindi language feature film, No One Killed Jessica, and by characters I mean all the characters in the film, irrespective of gender. So, I want to know if there is any sort of criteria or any rules to follow while analyzing a character? How to go about it? Like, what should be the first step for analyzing? Do I have to measure the character against something?
Please help.
Thank you
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As other colleagues suggested, everything depends on what you want to know. But from my sociology perspective, I would consider two paths:
- The characters as a content you want to analize. Thus, it is applying regular content analysis techniques which will give you a general and global view of the characters".
- Secondly, I would rather think to analyze the characters itselves as a creation coming from the director/productor/etc...From this perspective, the characters are viewed as discourse positions designed from other actors (you could also consider to open the analysis to these other actors to establish their role and interests on the creation of characters). I hope that is helpful and the best of luck with your research.
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What kind of scientific research dominate in the field of Futurology in literature and film?
Please, provide your suggestions for a question, problem or research thesis in the issues: Futurology in literature and film.
Please reply. I invite you to the discussion
Best wishes
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John Carpenter: They live— is a great piece of futurological art.
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As a social scientist, the world of film analysis is new to me and I am interested in exploring how lone parent wellbeing is portrayed in I, Daniel Blake and then contrasted with an observational TV show as a case study within my MSc dissertation on the effects of stigmatization on lone parent wellbeing.
What methodology would you recommend and are there any ptifalls in contrasting cinema and TV which I should be aware of?
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Hello,
I'm a Media and Communications student at Goldsmiths. I'm currently researching underclass theories in relation to media representation of the working class. Your paper sounds really interesting, and I'm hoping it might be relevant to my studies? Is there any chance you could share it with me please? I'd really love to read it.
Let me know! Have a lovely evening
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how is gender and cinema for phd?
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I think, your results would greatly drpend on methodology. Just elaborate rigorously, what are the selection criteria? What is the ligic behind selecting certain films?
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The two layers thin films on the glass substrate. One of this films's thickness is 20nm ,and the others thin film's thickness is <10nm.
That's can't be successful
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Here is a very good article that hopefully answers your question; -https://www.rigaku.com/downloads/journal/RJ24-1/RJ240102.pdf
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In the situation when a global financial crisis appeared in the autumn of 2008, a long-time public discussion on the sources of this crisis, explaining its development and pointing to the need to improve credit risk management procedures began in the media.
In the course of numerous analyzes carried out after 2008, many irregularities in the functioning of investment banking operating on capital markets in 2006-2008, investing in high-risk securities and their derivatives, were diagnosed. In addition, the institutions of supervision over financial systems did not notice many irregularities in the process of granting mortgage loans and in the rating agencies issuing too high, overly optimistic assessments for investment banks located in the forfeiture, sold for not fully informed about a high level of credit risk for investors, which were offered securities, credit derivatives, subprime bonds. Financial system supervisors also did not notice high systemic risk in a situation where a significant part of all mortgage loans in developed countries with the Anglo-Saxon model of the financial system were insured by a few insurance companies. Financial institutions also did not notice unethical practices of selling investment banks to investors of securities, whose valuation on securities markets was significantly overvalued and in the situation when the global financial crisis occurred, these securities were almost nothing or nothing worth buying.
The global financial crisis in 2008 was the reason for increasing the scale of interventionist economic policies in developed countries. The main instrument of this policy was the significant development of a mild monetary policy and interventionist measures aimed at forcing the restructuring processes of heavily indebted enterprises and stop-ping the decline in lending by commercial banks. As part of the pro-development activities of the state intervention, the Federal Reserve Bank applied a mild monetary policy of low interest rates and a program for activating lending and maintaining liquidity in the financial system by financing the purchase from commercial banks of the most en-dangered assets. A few years later, the European Central Bank applied the same activities of activation monetary policy. The functioning of the financial system will not be fully corrected as long as there will be a message in the media encouraging the banks that the global financial crisis is primarily attributable to the Federal Reserve Bank in the USA. In many para-documentary films, which, as a para-scientific explanation and education of citizens, pro-mote the philosophy of combining deregulation of financial markets with the development of a free market, and attempts to regulate markets are trying to implement the principles of real socialism, a system quite different from that considered an ultramarine US economy.
Do you agree with my opinion?
Therefore, I am asking you with the following query:
Was the picture of the sources of the global financial crisis presented in the media fully objective?
Dear Friends and Colleagues of RG
I described the problem of "Anti-crisis state intervention and created in media images of global financial crisis" in the publication:
Please reply
Best wishes
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No. That never happens.
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Is there a promise of technologies and inventions that will be developed in the future in novels and films of the science fiction genre?
In my opinion, in many science fiction movies you can find a preview of future inventions and technologies that will be implemented on the industrial scale. this is one of the main features of science fiction novels and movies.
In view of the above, the current question is: Is there a promise of technologies and inventions that will be developed in the future in novels and films of the science fiction genre?
Please, answer, comments. I invite you to the discussion.
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Dear Friends and Colleagues of RG
In my opinion, in many science fiction movies you can find a preview of future inventions and technologies that will be implemented on the industrial scale. this is one of the main features of science fiction novels and movies.
Do you agree with me on the above matter?
Please reply
I invite you to the discussion
Best wishes
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I am doing my M.Phil thesis which is a critical analysis of Pakistani art films. How do I select an appropriate theoretical framework for that?
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Ajmal, in addition to the good advice Michael has given you to look at those two books, I will add that after you are familiar with the various film theories to consider your research question or thesis. What is it that you want to know or find out about Pakistani films? How many films are you analyzing? The answers to these questions will help you narrow down the type of theoretical approach you are going to use to frame the analysis..
To narrow it further you might try something used to do when I taught criticism at the grad level. I had my student take a single film and then do several short papers over the semester applying different theoretical approaches or methods to analyzing it to determine the best approach. You may not have that luxury, but if you think two or three theories might be equally useful you can try a modified version of that approach.
I hope this advice helps and good luck.
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I'm writing my BA right now on the communication of anxiety in the two Blade Runner movies. I'm looking to contrast and compare the reflections they pose. Before that, I need a fair tool for a semiotic analysis of both movies. Any suggestions?
So far my theoretical part covers definitions of anxiety/mass anxiety, fear, and the ways color, composition and metaphor can communicate messages, but I still lack an analytical tool.
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There are tons of introductory and specialized literature in the field if film semiotics. (Robert Stam, Robert Burgoyne, and Sandy Flitterman-Lewis’s New Vocabularies in Film Semiotics: Structuralism, Post-structuralism, and Beyond (1992) f.e.) it depends of your focus. It is up to you to choose an approach that suits your resarch question. There is no manual how to do this. You can use Christian Metz (very oldfashion in my mind) or Eco, or the introductory book by James Monaco or something else.
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Hi all,
I prepared some transitional metal oxide solution by mixing nano powder transitional metal with organic solvent and some H2O2. Then I deposited the solution on silicon using spin coating. The films looks quite ok and transparent by eyes. However, when i put my sample in AFM, I found some black dots in the image as attachment. I have do ideas that is this black dots, if I magnify the image 8 times larger, the size of this dots are around hundreds nm to several um by estimations. Also the color of this dots are quite similar to my initial transitional metal (grey, black color).
Therefore, is there method to test if this is the transitional metal with quite high conductivity aggregate in the solution and films. One way I know is probably by using XPS analysis. Is there any other methods?
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Dear Sir,
to find out whether the black dots are formed by the transition metal (compound), I would proceed as follows:
1. Estimate from your AFM image the fraction alpha of the surface that is covered by the black dots.
2. Probe a specific area A of the sample by XPS in surface sensitive mode, i.e. record a particular core level intensity ITM from the transistion metal for large polar angle.
3. Prepare a reference sample from the transition metal (compound).
4. Repeat step 2 for the reference sample with the same (!) parameters and get intensity ITM,ref
5. In case that you find a relation close to ITM = alpha x ITM,ref , there is strong evidence that the black dots are formed by the transition metal (compound).
Sincerely, FM
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I would like to analyse films made by women considering film aesthetics and narrative structures. Is there an alternative female oriented theory i can use instead of the psychoanalysis based literature by Mulvey, Butler & Co.?
Thank you
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Dear Mahelia
here is the information :
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I have scanned the edge of a PVDF thin film using AFM to know the thickness. The section analysis is attached with this. Even after flattening the image, the steps are look like curved. Can anybody explain why this is coming? I have measured the thickness in between the red lines shown in image and I got 1.6um. Is this correct?
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It is not correct, you cannot read directly the y axis because segments are not parallel to x-axis. Instead, do as the I did in the picture (just a rough estimate i did in powerpoint :). The correct height is from parallel steps, I put the green line as the correct height and then just copied and rotated near the scale to obtain ~2.6 um
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I offer a course on (mainly mainstream) cinematic portrayals of international relations and interactions--using films such as V for Vendetta, Battle of Algiers, Avatar, Dr. Strangelove, Night of the Living Dead, Last Emperor, Fight Club, The Mission, and many others. We discuss culture, politics, colonization, the state, IGOs and international law, war, and utopian/dystopian futures. I would also be interested to read any recommended syllabi, film reviews, critical essays, or other analyses of film and cinema. Many thanks!
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Children of Men (Alfonso Cuarón, 2006) is one of the best dystopian films ever made, in my humble opinion. It makes a strong statement about recent immigration policy. There are lots of clips on YouTube: