Anglo-Indians in Hollywood, Bollywood and arthouse cinema

Apart from a few disparaging remarks about offensive stereotypes by Anglo-Indian writers and politicians such as Gloria Jean Moore, Frank Anthony and Gillian Hart, critics have paid very little attention to the representation of “mixed-race” Anglo-Indians in the cinema. Drawing on screen theory and recent theories of cinema spectatorship, this essay provides a comparative analysis of how Hollywood, Bollywood and arthouse films represent Anglo-Indians. More specifically, it analyses three paradigmatic films: Bhowani Junction (1956), Julie (1975), and 36 Chowringhee Lane (1981). Combining formal analysis of narrative structure, mise-en-scegravene and genre with historical analysis, the paper examines the ideological work performed by these texts, which use Anglo-Indians to dramatise specific political conflicts in India such as those generated by the British partition of India in 1947 and the more recent issue of globalisation.

Injection, detection and repair of aesthetics in home movies

This paper details the design of an algorithm for automatically manipulating the important aesthetic element of video, visual tempo. Automatic injection, detection and repair of such aesthetic elements, it is argued, is vital to the next generation of amateur multimedia authoring tools. We evaluate the performance of the algorithm on a battery of synthetic data and demonstrate its ability to return the visual tempo of the final media a considerable degree closer to the target signal. The novelty of this work lies chiefly in the systematic manipulation of this high level aesthetic element of video.

Interactively browsing movies in terms of action, foreshadowing and resolution

We describe a novel video player that uses Temporal Semantic Compression (TSC) to present a compressed summary of a movie. Compression is based on tempo which is derived from film rhythms. The technique identifies periods of action, drama, foreshadowing and resolution, which can be mixed in different amounts to vary the kind of summary presented. The compression algorithm is embedded in a video player, so that the summary can be interactively recomputed during playback.

Taming the roving camera : a framework for creating professional home movies through narrative and cinesthetic elements

In this paper we present an application designed to improve the quality of amateur video production. The majority of home movie material is negatively impacted by two factors: lack of narrative content- "what to shoot?", and the absence or inappropriate use of cinesthetic elements for effective reinforcement of content - "how to shoot?". We leverage the age-old communicative powers of Story to answer the what For the second problem, the how, we turn to the corpus of aesthetic principles that constitute the film profession, which impact both technical and cinematic considerations for a given project.

Weaving stories in digital media : when Spielberg makes home movies

In this paper we describe research aimed at enabling amateur video makers to improve both the technical quality and communicative capacity of their work. Motivated by the recognition that untold hours of home video are simply abandoned after capture, we have formulated the problem as one of defining the what and how of footage capture. We have implemented a framework that answers the first problem, the what, by means of the age-old communicative powers of Story; the second problem, the how, is addressed by means of well documented aesthetic principles that constitute the film profession, which impact both technical and cinematic considerations for a given project. We provide a brief overview of the process, beginning with the narrative template, embodying a chosen story, through the principal phases of generating a storyboard, directing, and editing, resulting in the finished product. We demonstrate the interplay of narrative, purpose for the production, and aesthetic agents, and their influence on the automatically generated storyboard with examples.

Linking identities and viewpoints in home movies based on robust feature matching

The identification of useful structures in home video is difficult because this class of video is distinguished from other video sources by its unrestricted, non edited content and the absence of regulated storyline. In addition, home videos contain a lot of motion and erratic camera movements, with shots of the same character being captured from various angles and viewpoints. In this paper, we present a solution to the challenging problem of clustering shots and faces in home videos, based on the use of SIFT features. SIFT features have been known to be robust for object recognition; however, in dealing with the complexities of home video setting, the matching process needs to be augmented and adapted. This paper describes various techniques that can improve the number of matches returned as well as the correctness of matches. For example, existing methods for verification of matches are inadequate for cases when a small number of matches are returned, a common situation in home videos. We address this by constructing a robust classifier that works on matching sets instead of individual matches, allowing the exploitation of the geometric constraints between matches. Finally, we propose techniques for robustly extracting target clusters from individual feature matches.

Determining dramatic intensification via flashing lights in movies

Movie directors and producers worldwide, in their quest to narrate a good story that warrants repeated audience viewing, use many cinematic elements to intensify and clarify the viewing experience. One such element that directors manipulate is lighting. In this paper we examine one aspect of lighting, namely flashing lights, and its role as an intensifier of dramatic effects in film. We present an algorithm for robust extraction of flashing lights and a simple mechanism to group detected flashing lights into flashing light scenes and analyze the role of these segments in story narration. In addition, we demonstrate how flashing lights detection can improve the performance of shot-based video segmentation. Experiments on a number of video sequences extracted from real movies yields good results. Our technique detects 90.4% of flashing lights. The detected flashing lights correctly eliminates 92.7% of false cuts in these sequences. In addition, data support is compiled to demonstrate the association between flashing light scenes and certain dramatic intensification events such as supernatural power, crisis or excitement.

Bollywood and Australia : worth making a song and dance about

 It’s 101 years since the birth of Bollywood, the world’s largest and most vibrant movie industry and, of course, that’s more than enough time to mature and alter, to grow arms and legs. For some time, but since the 1990s particularly, the connections between Australia and Bollywood have really taken hold. So sit back and enjoy a cinematic journey that’s sure to entertain.