JoVE: Not Just a Publisher, a Film Producer by Beth McGowan, Meredith Ayers

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Magic, emotions and film producers: unlocking the “black-box” of film production by Dorota Ostrowska

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Effect of annealing on the mechanical properties of GaSb films produced by pulsed laser deposition by Hui Wang, Gert H. ten Brink, Atul, Yutao Pei, Bart J. Kooi

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Lead-free ferroelectric BaTİO3 (BTO) thin films produced by the green process by I.H. Mutlu, P. Colkesen, B. Ulug, A. Tumbul

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Characterization of a diamond-like carbon film produced from an electrosynthesized pre-ceramic polymer by Semra Ergen, Cemil Alkan, Orhan Uzun, Necati Başman

“…By means of analyses it was concluded that electrosynthesized polymer includes iron oxide due to the erosion of steel electrodes and this phase is also included in the DLC films produced from this polymer. Additionally, Fe2SiO4 is seen due to the reaction between iron oxide included in the polymer solution and Si substrate at the interface between the Si substrate and DLC film.…”
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Photocatalytic Response of Flash-Lamp-Annealed Titanium Oxide Films Produced by Oblique-Angle Deposition by Raúl Gago, Slawomir Prucnal, Francisco Javier Palomares, Leopoldo Álvarez-Fraga, Ana Castellanos-Aliaga, David G. Calatayud

“…On the one hand, films produced for <i>α</i> ≤ 45° display a compact and opaque structure comprising the formation of nanocrystalline cubic titanium monoxide (<i>c</i>-TiO) phase. …”
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Effect on the Electrochemical Properties of PEO Films Produced on Commercially Pure Titanium Using Multicomponent Oxide Coatings by Lauri Ruberti, Heloisa Andréa Acciari, Diego Rafael Nespeque Correa, Yasmin Bastos Pissolitto, Elidiane Cipriano Rangel, Francisco Trivinho-Strixino, Nilson Cristino da Cruz

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Alternative distribution and its role in the promotion of films produced by the Irzykowski Film Studio between 1981–1984 by Emil Sowiński

“…Finally, it turned out that the Irzykowski Film Studio productions were regarded as fully fledged films that could compete with films produced by Film Units (i.e., the professional organizational entities of the Polish film production system at the time) or short film studios. …”
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Antifungal Films produced by polyvinyl alcohol and Pimaricin with Golden Berry Husk Extract to extend its Shelf Life by Maha, M. Gomaa, Mohamed, A. Salama, Mohamed, E. Abdin

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Investigation of Spintronic Properties of Transition Metal Doped ZnO Thin Films Produced by Sol-Gel Spin Coating by Nuray Altınölçek, Cengiz Akay, Zafer Gültekin

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El Cine-Club Monterols, una iniciativa vanguardista al servicio del séptimo arte (1951-1966) / The Monterols film club, a pioneering initiative at the service of the seventh art (1... by Josep Maria Caparrós

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Goodwill and System Dynamics Modeling for Film Investment Decision by Interactive Efforts by Jian Feng, Bin Liu

“…The results show that the film producer should increasingly lay emphasis on investing in advertising to absorb moviegoers’ attention. …”
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Du documentaire à la fiction : Tierra Caliente (2004) et El violín (2005), deux modalités d’approche de la réalité mexicaine par Francisco Vargas by Julie Amiot-Guillouet

“…The edition of a documentary and a work of fiction by Francisco Vargas in the same DVD, proposes a solution to this problem by managing to question once more the relations between documentary and fiction ; fiction’s success offers the possibility for the documentary to be seen, especially because two films suggest two complementary looks upon a reality which the film-producer wants to denounce through his works.…”
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Reclaiming Independence: American Independent Cinema Distribution and Exhibition Practices beyond Indiewood by Yannis Tzioumakis

“…Such models aim to link the film producer with an audience who consume films at home, and are characterised by practices such as the sale of DVDs from the filmmakers’ own websites to a substantial clientele; and an extensive and innovative use of social networking media. …”
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Ibu(isme) dan Film Orde Baru: Representasi Ibu dalam film Jangan Menangis Mama by Novi Kurnia, Mochammad Taufik Hidayatullah

“…This film was directed by Sofia WD, a film star, screenwriter, and film producer who works both in the Old Order and the New Order of the Indonesian Film Industry. …”
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THE MULTI-SCREEN AESTHETICS IN THE ANIMATED CARTOONS OF SOVIET ARTISTS / ПОЛИЭКРАННАЯ ЭСТЕТИКА В МУЛЬТИПЛИКАЦИИ СОВЕТСКИХ ХУДОЖНИКОВ... by EVALLYO VIOLETTA DMITRIEVNA / ЭВАЛЛЬЕ ВИОЛЕТТА ДМИТРИЕВНА

“…The multi-screen technique presents the film producer with the unique opportunity of both demonstrating the difference of the protagonist’s perception of the world and enhancing the semantical implications. …”
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Virulence Factors and Molecular Identification of <i>Candida</i> Species Causing Candidemia in Honduras by José Fernando Chávez, Bryan Ortiz, Roque López, Carlos Muñoz, Kateryn Aguilar, Isis Laínez-Arteaga, Celeste Galindo, Luis Rivera, Manuel G. Ballesteros-Monrreal, Kathy Montes, Mauricio Hernández, Asly Villeda Barahona, Stephanie Hereira-Pacheco, Gustavo Fontecha

“…<i>C. albicans</i> showed the highest phospholipase activity, while <i>C. tropicalis</i> was the most robust film producer. These findings highlight an evolving epidemiological landscape characterized by an increasing prevalence of non-<i>albicans Candida</i> species, often less susceptible to antifungal agents, and diverse virulence profiles such as strong biofilm formation. …”
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“BRAT 2” [“BROTHER 2”] OF ALEXEI BALABANOV: THE UNREAD LOVE CONFESSION / «БРАТ 2» АЛЕКСЕЯ БАЛАБАНОВА: НЕПРОЧИТАННОЕ ПРИЗНАНИЕ В ЛЮБВИ... by ZHURKOVA DARIA ALEXANDROVNA / ЖУРКОВА ДАРЬЯ АЛЕКСАНДРОВНА

“…The author arrives at the conclusion that the film producer uses the expansively symbolic potential of songs and arranges them by means of the field of “secondary meanings,” which frequently contradict the meanings of the direct plot narrative. …”
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The cultural codes transmitted to the audience through animated films in Soviet Kyrgyz cinema by Erdoğan Çakar Banu

“…The population of the study consists of animated films produced in Kyrgyz cinema during the Soviet period. …”
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Carmen Castillo et Catalina Villar : l’entre-deux du lieu d’énonciation du « latino-américain » by Amanda Rueda

“…There are many films directed by Latin-American film-producers living in Europe who go back home to shoot. …”
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