A To Z Of films

[Hege Vincelette]

But aside from Segan, none of the characters rise above the level of purely functional placeholder-types, and there are too many scenes that replicate zombie film tropes, minus the passionate invention that other films have brought to the task. When a supporting character is infected and instantly "turns," I was reminded of that masterful sequence in "28 Days Later" in which Brendan Gleeson's jovial dad catches a drop of contaminated blood in his eye and battles the virus while his daughter looks on. The poor bastard goes through a whole existential crisis in less than a minute. The sheer terror of losing one's soul has rarely been communicated so economically. Nothing in "World War Z" comes anywhere near that scene's power.

A to Z of films
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If Do Revenge is the Gen Z Mean Girls, Bodies Bodies Bodies is this generation's Heathers. Halina Reijn's A24 slasher-comedy follows a group of wealthy twenty-somethings who reunite for a weekend getaway. A storm plunges the house into darkness, the first corpse is found, and a whodunnit begins that sees the friends turn on each other in a satire on class and privilege. Influenced by the language of social media progressiveness, characters are regularly engrossed in arguments about identity politics. It's one of the defining features of this new canon of films, as Xuanlin Tham, film programmer and critic, tells BBC Culture: "Identity and sexuality aren't treated so much as destinations any more, but indefinable, constantly ongoing processes."

In another new film capturing Gen Z's relationship with social media, Quinn Shephard's 2022 black comedy Not Okay takes the topic of performative activism to new heights as Danni (Zoey Deutch), a young woman craving the influencer lifestyle, gets wrapped up in a lie about being a survivor of a terrorist attack. As Bousfiha says: "[Gen Z] films tend to be highly stylised, with catchy, memeable lines tailor-made for going viral." Subsequently, they age like milk, and Not Okay is a prime example. In scenes of Danni coming to terms with the fact that there are people behind trending hashtags, the film is neither realistic enough to be a portrait of Gen Z nor sharp enough to be a satire. Culture writer Iana Murray shares Bousfiha's sentiment that Not Okay manages to be "almost outdated at a time when photo dumps and authenticity are what's in, and 'relatable' stars like Emma Chamberlain are the It Girls of the moment. But if [Not Okay] had been released, say, one or two years ago, perhaps that would have felt more true to life."

Okay, this is really the nadir of things. A lot of people consider Lord Slug to be the worst of the films, but I think it manages to have a few merits. That being said, make no mistake, this is not a good movie. To begin with, we have Lord Slug and his cronies landing on Earth wanting to terraform it as their new home. Slug acquires the Dragon Balls (natch) and wishes to regain his youth, which feels pretty shortsighted, and the newly reinvigorated villain is ready to take down Goku.



Perhaps the most famous cinematographer of the nouvelle vague, Raoul Coutard shot more than seventy-five films during his forty-three-year career. A war photographer (in Indochina) turned freelance photojournalist (his images appeared in Paris Match and Look), Coutard turned to film, hesitantly, only in the late fifties. After fumbling his way through a few film assignments (he was inexperienced with a movie camera), he was hired by producer Georges de Beauregard to shoot the debut film of a young critic named Jean-Luc Godard. His ragged, incisive shooting style on Breathless became iconic in modern cinema, and Godard kept him on board for the rest of the sixties and beyond, while other directors, like François Truffaut, Jacques Demy, Jean Rouch, and Costa-Gavras, also called upon his skills. His exacting images, which vary from rich and luxurious to gritty and documentary-like, can be seen in countless indelible films, including Shoot the Piano Player, Jules and Jim, Contempt, Alphaville, Pierrot le fou, and Z.

"World War Z" frames its zombie apocalypse as a global viral pandemic, not unlike SARS or swine flu, but much, much worse. This isn't always the case in traditional zombie films, like George Romero's seminal "Night of the Living Dead."

The zombies of "World War Z" are not the slow-moving, rigor mortis corpses of "Night of the Living Dead" and many zombie films since. They're quick, jumpy, twitchy undead creatures that chase and pounce on their living victims.

This also sets "World War Z" apart from the typical zombie films. "Most of the zombies are limited in scope," Jones says. "'World War Z' got a lot of its scariness, a lot of its dread, out of the fact the whole world is collapsing."

"'World War Z' was saying we live in a world society, we all need to get along and we cant have these petty little wars anymore," Weiner says. "I don't know that zombie films in general really have a political aspect to them in that way. Many of them have social aspects," like mass consumerism and loss of personal freedom, he says

This is the original Washi Film, hand coated on Moriki Paper's Tosa Washi (Kozo). With high sensitivity to blue, less to green and no sensitivity to red light, this film gives best results with urban, portrait and still life photography. Film "W-25" is available in sheet-films and 35mm, but also in 120 or 620 formats. Watch here how to process it.

Originally coated for aerial surveillance and cartography, "D" is a panchromatic negative film, offering high contrast and moderate grain. Because of the war situation in Ukraine, films D-135, coated in Russia, will not be produced until further notice.

Film "S" is a film used by motion picture professionals for sound recording, an use which requires very fine grain and ultra high definition. This sharpness is guaranteed by a special anti-halation layer located between the film's base and the emulsion layer, while its usually in back layer for ordinary films.

Film "A" is a black & white film used as leader and protection during the reproduction process of motion picture films. It is sensitised to record technical data and offers a very fine grain and a very high contrast.

In addition to the discovery of skyrmions in perpendicularly magnetized systems, there has also been a great effort in searching for new forms of topological structures in in-plane magnetized systems, which are more accessible in experiment due to the intrinsic demagnetization field in all magnetic films21. One promising structure is the so-called meron, which was originally described in the context of quark confinement22 and later identified in condensed matter physics, as a magnetic vortex and topologically equivalent to one-half of a skyrmion. (Note that an important difference between merons and skyrmions is their peripheral spin textures: those of merons align in the in-plane while those of skyrmions point toward out-of-plane directions.) However, an individual meron is not localized and thus can only exist in confined geometries23,24,25,26,27. In a continuous film, merons must exist in pairs or groups28,29,30,31,32,33,34,35. Experimentally, multiple vortices were observed only as transient states36,37 or in aggregated groups27,38,39,40. It was only recently that topologically nontrivial meron lattice was observed in chiral magnet Co8Zn9Mn341 in the form of square lattices.

There are several major obstacles preventing the development of topological structures in in-plane magnetized systems. Firstly, the meron pair, which is the most concise and fundamental localized topological structure in in-plane magnetized FM films, has not yet been observed unambiguously42. Second, chiral magnets usually require a precise control of the material compositions and crystal structures41,42 to tune the easy magnetization axis and DMI strength, further limiting the availability of material systems13,19,43,44,45,46. Third, topological information is mostly carried by spin textures around the meron core area35, whereas most of magnetic imaging techniques can hardly provide a spatial resolution to directly image the meron core polarity, especially in the presence of a magnetic field.

Ever since the Dragon Ball manga was translated into anime form in 1986, there have been many films that surround the events of the long-running manga, many of which take place outside the established canon of the series. While the films generally gained a larger following as Dragon Ball became more popular, that wasn't the case for all films.

With a manga, four anime series, plenty of films, and countless games under its belt, Dragon Ball doesn't look like it's going to be slowing down any time soon. The latest feature in the franchise, Dragon Ball Super: Super Hero debuted on August 18, 2022, in North America, and it is the first project to focus almost exclusively on 3D animation.

While Broly is something of a one-note character, he is well-loved among the majority of Dragon Ball fans for bringing more over-the-top Super Saiyan action to the series. That being said, the Bio-Broly film is not only the weakest of the films that center around Broly, but also the weakest of all the animated Dragon Ball films, which may have something to do with the fact that it centers around Goten and Trunks rather than Goku or Vegeta.

One of the earlier Dragon Ball Z films, Lord Slug follows a rogue Namekian as he attempts to take over the earth while also giving fans a glimpse of Goku's future Super Saiyan form during the final battle. Lord Slug also introduced the idea of Namekian ears being overly sensitive to high-pitched noises, something that doesn't come up again in the series after this.

Originally released only in Japan as a quad-feature alongside the Saint Seiya, Hikari Sentai Maskman, and Choujinki Metalder films, Sleeping Princess in Devil's Castle was the second Dragon Ball feature made. It follows a young Goku and Krillin as they are sent on a quest by Master Roshi as part of their training to investigate the titular Devil's Castle.
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