Effect of Al doping on optical properties of ZnO thin films: theory and experiment by M. Kovalenko, O. Bovgyra, V. Dzikovskyi, A. Kashuba, H. Ilchuk, R. Petrus, I. Semkiv

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Thin-film theories for two-phase reactive flow models of active cell motion by Oliver, J

Inaugurating Philosophy of Film Without Theory by Craig Fox, Britt Harrison

Subjects: “…film theory…”
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Inaugurating Philosophy of Film Without Theory by Craig Fox, Britt Harrison

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Estimation of Concentration Polarization Using the Combined Film theory/ Spiegler-Kedem Model and Empirical Correlation by Taha Yaseen Khalaf

“…The purpose of this paper is to predict and analyze the concentration polarization using a combined film theory model and empirical correlation. Therefore, the results of the experiments show that the concentration polarization affected when using different models…”
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The use of images and symbols in Satyajit Ray’s ‘Gupi Gain Bagha Bain’: A comprehensive study by Rajib Nandy

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Impersonal Enunciation, or the Place of Film, by Christian Metz by George Crosthwait

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Comparison of analytical film theory and a numerical model for predicting concentration polarisation in membrane gas separation by K., Foo, Y. Y., Liang, P. S., Goh, A. L., Ahmad, D. K., Wang, D. F., Fletcher

“…This study analyses the reliability of analytical film theory (FT) for evaluating the performance of gas separation membranes in terms of CP and flux. …”
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Film Theory, Psychoanalysis, and Figuration, on Endless Night: Cinema and Psychoanalysis, Parallel Histories, edited by Janet Bergstrom by Briana Berg

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Comparison of analytical film theory and a numerical model for predicting concentration polarisation in membrane gas separation by Foo, K., Liang, Y. Y., Goh, P. S., Ahmad, A. L., Wang, D. K., Fletcher, D. F.

“…This study analyses the reliability of analytical film theory (FT) for evaluating the performance of gas separation membranes in terms of CP and flux. …”
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Sympathy for fictional characters: an examination of the factors involved from a social psychology and cognitive film theory perspective by Víctor Aertsen

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Heat transfer by liquid convection in particulate fluidized beds by Jaćimovski Darko R., Brzić Danica V., Garić-Grulović Radmila V., Pjanović Rada V., Đuriš Mihal M., Arsenijević Zorana Lj., Bošković-Vragolović Nevenka M.

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Ian Aitken (2012) Lukácsian Film Theory and Cinema: A Study of Georg Lukács' Writing on Film 1913–1971 by Angelos Koutsourakis

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A Novel Analytical Modeling of a Loop Heat Pipe Employing Thin-Film Theory: Part II—Experimental Validation by Eui Guk Jung, Joon Hong Boo

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A Novel Analytical Modeling of a Loop Heat Pipe Employing the Thin-Film Theory: Part I—Modeling and Simulation by Eui Guk Jung, Joon Hong Boo

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Not What It Says on the Tin: Ian Aitken (2006) Realist Film Theory and Cinema: The Nineteenth-century Lukácsian and Intuitionist Realist Traditions by Nigel Morris

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Middlebrow modernism in film(theory): Visconti’s Senso (1954) vis-à-vis Diamant-Berger’s La madone des sleepings (1955) by Peter Verstraten

“…The second part of the article addresses the shift in Rudolf Arnheim’s film theory from die-hard Modernist in the 1930s to middlebrow Modernist in the 1950s in a period when Henri Diamant-Berger made an adaptation of Maurice Dekobra’s La madone des sleepings. …”
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Strong Modulation of Short Wind Waves and Ka-Band Radar Return Due to Internal Waves in the Presence of Surface Films. Theory and Experiment by Stanislav A. Ermakov, Irina A. Sergievskaya, Ivan A. Kapustin

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Middlebrow modernism in film(theory): Visconti’s Senso (1954) vis-à-vis Diamant-Berger’s La madone des sleepings (1955) by Peter Verstraten

“…The second part of the article addresses the shift in Rudolf Arnheim’s film theory from die-hard Modernist in the 1930s to middlebrow Modernist in the 1950s in a period when Henri Diamant-Berger made an adaptation of Maurice Dekobra’s La madone des sleepings. …”
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Middlebrow modernism in film(theory): Visconti’s Senso (1954) vis-à-vis Diamant-Berger’s La madone des sleepings (1955) by Peter Verstraten

“…The second part of the article addresses the shift in Rudolf Arnheim’s film theory from die-hard Modernist in the 1930s to middlebrow Modernist in the 1950s in a period when Henri Diamant-Berger made an adaptation of Maurice Dekobra’s La madone des sleepings. …”
Get full text