Seeing, sensing sound: eye tracking soundscapes in saving private Ryan and monsters inc.

Drawing largely on cinematic theories of sound, film aesthetics, and neuroscientific understandings of the eye and the gaze, we undertake a comparative analysis of two film sequences to address these questions: the chase sequence" from the animated film, Monsters, Inc. (Pete Docter, David Silverman, and Lee Unkrich, 2001); and the Omaha Beach landing sequence from Saving Private Ryan (Steven Spielberg, 1998).

Application of computational media aesthetics methodology to extracting color semantics in film

Using film grammar as the underpinning, we study the extraction of structures in video based on color using a wide configuration of clustering methods combined with existing and new similarity measures. We study the visualisation of these structures, which we call Scene-Cluster Temporal Charts and show how it can bring out the interweaving of different themes and settings in a film. We also extract color events that filmmakers use to draw/force a viewer's attention to a shot/scene. This is done by first extracting a set of colors used rarely in film, and then building a probabilistic model for color event detection. We demonstrate with experimental results from ten movies that our algorithms are effective in the extraction of both scene-cluster temporal charts and color events.

(Pan-)animal magics : ecofeminist ethics and aesthetics in the Web

The 1990s has often been dubbed 'The Decade of the Environment'. Pollution, deforestation and desertification, ozone destruction, endangerment of species of animals and wildlife, vanishing wildernesses, and energy conservation are some of the visible environmental concerns which have gained international recognition. A less visible but potentially just as important environmental concern has been raised by ecological feminists. This is a concern about the connections historical, empirical, theoretical, symbolic, and experiential between the domination of women and the domination of non-human nature.

Endangering science fiction film

Endangering Science Fiction Film explores the ways in which science fiction film is a dangerous and endangering genre. The collection argues that science fiction's cinematic power rests in its ability to imagine ‘Other’ worlds that challenge and disturb the lived conditions of the ‘real’ world, as it is presently known to us. From classic films such as 2001: A Space Odyssey and Solaris to modern blockbusters including World War Z and Gravity, and directors from David Cronenberg to Alfonso Cuarón, contributors comment on the way science fiction film engages with dangerous encounters, liminal experiences, sublime aesthetics, and untethers space and time to question the very nature of human existence. With the analysis of a diverse range of films from Europe, Asia, North and South America, Endangering Science Fiction Film offers a uniquely interdisciplinary view of the evolving and dangerous sentiments and sensibility of this genre.