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Impact of Morphology and Composition of Graphene Aerosol-Gel Particles in Thin Films on Ultrafast Carrier Dynamics Studied via Transient Absorption Spectroscopy. [PDF]
J Phys Chem C Nanomater InterfacesAuty AJ +6 more
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Self-Healing and Joule Heating of Electrically Conductive CNT/BIIR Composite Films. [PDF]
ACS OmegaPark SY +7 more
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UV-Cured Methyl Methacrylate Electrolyte Prepared by Ultrasonic Spray Deposition. [PDF]
ACS OmegaLi CP, Chin CC.
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Style and Form in the Hollywood Slasher Film
2015This book, edited by Wickham Clayton, fills a broad scholastic gap by analysing the elements of narrative and stylistic construction of films in the slasher subgenre of horror that have been produced and/or distributed in the Hollywood studio system from its initial boom in the late 1970s to the present.
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2020
Abstract The fourth chapter of Style in Narrative turns from literature to cinema. Since a great deal of style is common to both literature and film, this chapter is necessarily shorter than its counterpart (chapter 1). Moreover, it focuses on the differences between literary and film style, thus what is not common to the two.
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Abstract The fourth chapter of Style in Narrative turns from literature to cinema. Since a great deal of style is common to both literature and film, this chapter is necessarily shorter than its counterpart (chapter 1). Moreover, it focuses on the differences between literary and film style, thus what is not common to the two.
openaire +1 more source
The Film Style of Xavier Dolan
Yixin Publisher, 2023泽维尔·多兰是以其独特的个人风格而闻名的年轻导演，他在创作中不断探索艺术表达与个人经历的融合，使自己成为加拿大魁北克电影界的杰出人物。在他的作品中，母子关系是一个被反复提及和呈现的中心主题。本文旨在分析泽维尔·多兰的两部电影《我杀了我的母亲》（2009 年）和《妈妈》（2014 年）中对母亲角色的刻画，加之作品对比与个人经历的分析，深入探讨其电影美学的独特性。本文力图通过泽维尔·多兰对母亲形象的塑造与呈现来追溯其电影风格的演变，其中涵盖了艺术表现、构图变化和音乐内涵，并最终从个人视角传达其电影的艺术性。
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2014
As mentioned in the introduction, recent film theory has been afraid of using the notion of the auteur and is quite dismissive of the Nouvelle Vague’s belief in style as marking the most salient thematic and formal characteristics of some filmmakers. This critical attitude is in line with the rejection of subjectivity that was thematized by the most ...
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As mentioned in the introduction, recent film theory has been afraid of using the notion of the auteur and is quite dismissive of the Nouvelle Vague’s belief in style as marking the most salient thematic and formal characteristics of some filmmakers. This critical attitude is in line with the rejection of subjectivity that was thematized by the most ...
openaire +2 more sources