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The psychology of film is a sub-field of the psychology of art that studies the characteristics of film and its production in relation to perception, cognition, ...
Extruded film can be stretched, thinned, or oriented in one or two directions. Blown or tubular process forces air into an extruded ring to expand the film. Flat tenter frames stretch the extruded film before annealing. [3] [4] Calender rolls can be used to form film from hot polymers [5] Solution deposition is another film forming process.
Two methods are widely used for producing BOPP films, namely, a bi-directional stenter process or a double-bubble blown film extrusion process. [39] Biaxial orientation increases strength and clarity. [40] BOPP is widely used as a packaging material for packaging products such as snack foods, fresh produce and confectionery.
Metallized boPET film, 32 layers of ~14 μm thickness each. BoPET (biaxially oriented polyethylene terephthalate) is a polyester film made from stretched polyethylene terephthalate (PET) and is used for its high tensile strength, [1] chemical stability, [1] dimensional stability, [2] transparency [1] reflectivity, and electrical insulation. [1]
Psychoanalytic film theory is a school of academic thought that evokes the concepts of psychoanalysts Sigmund Freud and Jacques Lacan. The theory is closely tied to Critical theory, Marxist film theory, and Apparatus theory. The theory is separated into two waves. The first wave occurred in the 1960s and 70s.
In the film industry, unsimulated sex is the presentation of sex scenes in which actors genuinely perform the depicted sex acts, rather than simulating them.Although it is ubiquitous in films intended as pornographic, it is very uncommon in other films.
ARRAY has acquired distribution rights to both films in the U.S., U.K., Australia and New Zealand, with the additional territory of Canada for “Definition Please,” and will debut them on Jan ...
Film theory is a set of scholarly approaches within the academic discipline of film or cinema studies that began in the 1920s by questioning the formal essential attributes of motion pictures; [1] and that now provides conceptual frameworks for understanding film's relationship to reality, the other arts, individual viewers, and society at large. [2]