A probabilistic framework for extracting narrative act boundaries and semantics in motion pictures

This work constitutes the first attempt to extract the important narrative structure, the 3-Act storytelling paradigm in film. Widely prevalent in the domain of film, it forms the foundation and framework in which a film can be made to function as an effective tool for story telling, and its extraction is a vital step in automatic content management for film data. The identification of act boundaries allows for structuralizing film at a level far higher than existing segmentation frameworks, which include shot detection and scene identification, and provides a basis for inferences about the semantic content of dramatic events in film. A novel act boundary likelihood function for Act 1 and 2 is derived using a Bayesian formulation under guidance from film grammar, tested under many configurations and the results are reported for experiments involving 25 full-length movies. The result proves to be a useful tool in both the automatic and semi-interactive setting for semantic analysis of film, with potential application to analogues occuring in many other domains, including news, training video, sitcoms.

Scene extraction in motion pictures

This paper addresses the challenge of bridging the semantic gap between the rich meaning users desire when they query to locate and browse media and the shallowness of media descriptions that can be computed in today's content management systems. To facilitate high-level semantics-based content annotation and interpretation, we tackle the problem of automatic decomposition of motion pictures into meaningful story units, namely scenes. Since a scene is a complicated and subjective concept, we first propose guidelines from fill production to determine when a scene change occurs. We then investigate different rules and conventions followed as part of Fill Grammar that would guide and shape an algorithmic solution for determining a scene. Two different techniques using intershot analysis are proposed as solutions in this paper. In addition, we present different refinement mechanisms, such as film-punctuation detection founded on Film Grammar, to further improve the results. These refinement techniques demonstrate significant improvements in overall performance. Furthermore, we analyze errors in the context of film-production techniques, which offer useful insights into the limitations of our method.

Novel approach to determining tempo and dramatic story sections in motion pictures

This paper presents an original computational approach to extraction of movie tempo for deriving story sections and events that convey high level semantics of stories portrayed in motion pictures, thus enabling better video annotation and interpretation systems. This approach, inspired by the existing cinematic conventions known as film grammar, uses the attributes of motion and shot length to define and compute a novel continuous measure of tempo of a movie. Tempo flow plots are derived for several full-length motion pictures and edge detection is performed to extract dramatic story sections and events occurring in the movie, underlined by their unique tempo. The results confirm reliable detection of actual distinct tempo changes and serve as useful index into the dramatic development and narration of the story in motion pictures.

Indexing narrative structure and semantics in motion pictures with a probabilistic framework

This work constitutes the first attempt to extract an important narrative structure, the 3-Act story telling paradigm, in film. This narrative structure is prevalent in the domain of film as it forms the foundation and framework in which the film can be made to function as an effective tool for story telling, and its extraction is a vital step in automatic content management for film data. A novel act boundary likelihood function for Act 1 is derived using a Bayesian formulation under guidance from film grammar, tested under many configurations and the results are reported for experiments involving 25 full length movies. The formulation is shown to be a useful tool in both the automatic and semi-interactive setting for semantic analysis of film.

Role of shot length in characterizing tempo and dramatic story sections in motion pictures

Motivated by existing cinematic conventions known as film grammar, we proposed a computational approach to determine tempo as a high-level movie content descriptor as well as means for deriving dramatic story sections and events occurring in movies. Movie tempo is extracted from two easily computed aspects in our approach: shot length and motion. Story sections and events are generally associated with changes in tempo, and are thus identified by edges located in the tempo function. In this paper, we analyze our initial founding of the tempo function on the basis that the distribution of both shot length and motion in movies is normal. Given that the distribution of shot length is approximately Weibull as confirmed in our experiments, we examine the impact of modelling and modifying the contributions of shot length to tempo. We derive an appropriate normalization function that faithfully encapsulates the role of shot length in tempo perception, and analyze the changes to the story sections identified in films.

Film grammar based refinements to extracting scenes in motion pictures

To enable high-level semantic indexing of video, we tackle the problem of automatically structuring motion pictures into meaningful story units, namely scenes. In our recent work, drawing guidance from film grammar, we proposed an algorithmic solution for extracting scenes in motion pictures based on a shot neighborhood color coherence measure. In this paper, we extend our work by presenting various refinement mechanisms, inspired by the knowledge of film devices that are brought to bear while crafting scenes, to further improve the results of the scene detection algorithm. We apply the enhanced algorithm to ten motion pictures and demonstrate the resulting improvements in performance.

Cut-points for waist circumference in Europids and South Asians

There is little strong evidence that currently recommended higher waist circumference cut-points for Europids compared with South Asians are associated with similar risk for type 2 diabetes. This study was designed to provide such evidence. Longitudinal studies over 5 years were conducted among 5,515 Europid and 2,214 ethnically South Asian participants. Age-standardized diabetes incidence at different levels of waist circumference and incidence difference relative to a reference value were calculated. The Youden Index was used to determine waist circumference cut-points. At currently recommended cut-points, estimated annual diabetes incidence for a 50-year-old Europid was <0.6% for both sexes, and for a 50-year-old South Asian, 5.8% for men and 2.1% for women. Annual diabetes incidence of 1% was observed for a 50 year old at a waist circumference 35–40 cm greater in Europid compared to South Asian men and women. Incidence difference between recommended cut-points and a reference value (80 cm in men, 70 cm in women) was 0.3 and 4.4% per year for Europid and South Asian men, and 0.2 and 0.8% per year for Europid and South Asian women, respectively. Waist circumference cut-points chosen using the Youden Index were shown to be dependent on obesity levels in the population. The much higher observed risk of diabetes in South Asians compared to Europids at the respective recommended waist circumference cut-points suggests that differences between them should be greater. Approaches that use the Youden Index to select waist circumference cut-points are inappropriate and should not be used for this purpose.

Markers of inflammation in South Asian and European infants from birth to 2 years in Manchester, UK

Inflammatory markers, including serum C-reactive protein (CRP), are predictors of coronary heart disease (CHD) in adults. South Asians in the UK have higher rates of CHD in adulthood than national rates.We tested the hypotheses that South Asian infants would have higher serum concentrations of CRP and homocysteine than European infants up to 2 years of age and that higher infant weight is associated with elevation of inflammatory markers. Infants of South Asian and European origin were investigated in a mixed cross sectional-longitudinal cohort study. Mothers were recruited ante-natally from St Mary’s Hospital,Manchester by postal invitation and telephone call to non-responders. Infants with metabolic or congenital abnormalities, known syndromes or pre-maturity were excluded. Measurements were collected at birth and either 3, 6, 12 or 24 months. High sensitivity CRP and homocysteine were measured by an immulite immunoassay. We used mixed linear modelling to assess whether infant weight, ethnicity, length of follow-up or their interaction were associated with inflammatory makers in infants during follow-up. Data are presented on 306 infants (109 South Asian and 197 European). We found that European infants had higher serum CRP than South Asian infants during follow-up which was of borderline significance.There was no difference in serum homocysteine between ethnic groups during followup and no significant interaction between ethnicity and follow-up. Infant weight was significantly associated with CRP but not homocysteine. In this ongoing longitudinal study,we found little difference in inflammatory markers in infants from birth to 2 years despite markedly higher rates of CHD in South Asian than European adults. Life course exposure to risk factors may play a more dominant role in the development of CHD.

Poetry in motion : Ko Un and Korean democratisation

This essay focuses on the poet and intellectual Ko Un, a prominent nationalist and critic of successive authoritarian regimes in Korea. Ashis Nandy gleaned insights into colonial India by investigating the lives of individuals who were emblematic of British colonialism. For instance Nandy focused on Rudyard Kipling to explain how colonialism damaged both Indians and the English who were complicit to it. Similarly, I intend to use the life and literary output of Ko Un to glean insights into Korea’s fight for democracy in the context of the onset of modernisation. Through his political activism and writing Ko celebrated the lives of ordinary Koreans, including his one-time prison mate Kim Dae-jung and numerous political activists, workers, and farmers. He linked their struggle for democracy to a much longer quest to preserve what he considered to be the unique and invaluable aspects of the Korean national character.

Barriers experienced by Asians in accessing injury-related services and compensations

Introduction: The Accident Compensation Corporation (ACC) administers New Zealand’s (NZ) accident compensation scheme. Asians in NZ are apparently under-serviced by ACC and may be experiencing barriers to accessing services. This study identifies barriers that Asians in NZ face in accessing ACC’s injury-related services and compensations.

Methods: By utilising a qualitative research design, 113 Chinese, Korean, Indian, and South East Asian participants residing in Auckland, NZ were recruited through maximum variation and purposive snowball sampling. Data were gathered during 2006 through 22 individual in-depth interviews and 14 focus group discussions based on semi-structured interview schedules. Interviewees included Asian general practitioners, traditional health providers, users and non-users of injury-related services, case managers and Asian community leaders. Data were analysed using a general inductive approach.

Findings: Results show that personal/cultural characteristics such as age, gender, English language competence, injury-related language competence, differing Asian worldviews, and consequent help-seeking behaviours act as barriers to accessing services and entitlements. This is exacerbated by logistical and environmental factors such as cost, transport, time, inadequate interpretation and translation services, as well as institutional barriers such as lack of information about services, culturally inappropriate services, discriminatory attitudes and employment risks.

Conclusion: It is evident that Asians living in NZ are experiencing several cultural, environmental and institutional barriers to accessing ACC services. There is clearly a need for more culturally relevant information and injury-related services if Asian immigrants’ use of such services and entitlements is to be increased.

Finding the beat : an analysis of the rhythmic elements of motion pictures

This paper presents a new study on the application of the framework of Computational Media Aesthetics to the problem of automated understanding of film. Leveraging Film Grammar as the means to closing the "semantic gap" in media analysis, we examine film rhythm, a powerful narrative concept used to endow structure and form to the film compositionally and enhance its lyrical quality experientially. The novelty of this paper lies in the specification and investigation of the rhythmic elements that are present in two cinematic devices; namely motion and editing patterns, and their potential usefulness to automated content annotation and management systems. In our rhythm model, motion behavior is classified as being either nonexistent, fluid or staccato for a given shot. Shot neighborhoods in movies are then grouped by proportional makeup of these motion behavioral classes to yield seven high-level rhythmic arrangements that prove to be adept at indicating likely scene content (e.g. dialogue or chase sequence) in our experiments. The second part of our investigation presents a computational model to detect editing patterns as either metric, accelerated, decelerated or free. Details of the algorithm for the extraction of these classes are presented, along with experimental results on real movie data. We show with an investigation of combined rhythmic patterns that, while detailed content identification via rhythm types alone is not possible by virtue of the fact that film is not codified to this level in terms of rhythmic elements, analysis of the combined motion/editing rhythms can allow us to determine that the content has changed and hypothesize as to why this is so. We present three such categories of change and demonstrate their efficacy for capturing useful film elements (e.g. scene change precipitated by plot event), by providing data support from five motion pictures.

Toward automatic extraction of expressive elements from motion pictures : tempo

This paper addresses the challenge of bridging the semantic gap that exists between the simplicity of features that can be currently computed in automated content indexing systems and the richness of semantics in user queries posed for media search and retrieval. It proposes a unique computational approach to extraction of expressive elements of motion pictures for deriving high-level semantics of stories portrayed, thus enabling rich video annotation and interpretation. This approach, motivated and directed by the existing cinematic conventions known as film grammar, as a first step toward demonstrating its effectiveness, uses the attributes of motion and shot length to define and compute a novel measure of tempo of a movie. Tempo flow plots are defined and derived for a number of full-length movies and edge analysis is performed leading to the extraction of dramatic story sections and events signaled by their unique tempo. The results confirm tempo as a useful high-level semantic construct in its own right and a promising component of others such as rhythm, tone or mood of a film. In addition to the development of this computable tempo measure, a study is conducted as to the usefulness of biasing it toward either of its constituents, namely, motion or shot length. Finally, a refinement is made to the shot length normalizing mechanism, driven by the peculiar characteristics of shot length distribution exhibited by movies. Results of these additional studies, and possible applications and limitations are discussed.

Towards automatic extraction of expressive elements from motion pictures : tempo

This paper proposes a unique computational approach to extraction of expressive elements of motion pictures for deriving high level semantics of stories portrayed, thus enabling better video annotation and interpretation systems. This approach, motivated and directed by the existing cinematic conventions known as film grammar, as a first step towards demonstrating its effectiveness, uses the attributes of motion and shot length to define and compute a novel measure of tempo of a movie. Tempo flow plots are defined and derived for four full-length movies and edge analysis is performed leading to the extraction of dramatic story sections and events signaled by their unique tempo. The results confirm tempo as a useful attribute in its own right and a promising component of semantic constructs such as tone or mood of a film.

Finding the beat : an analysis of the rhythmic elements of motion pictures

This paper forms a continuation of our work focused on exploiting film grammar for the task of automated film understanding. We examine film rhythm, a powerful narrative concept used to endow structure and form to the film compositionally and to enhance its lyrical quality experientially. Of the many, often complex, cinematic devices contributing to film rhythm, this paper investigates the rhythmic elements that are present in edited sequences of shots, and presents a novel computational model to detect shot structural rhythm as either metric, accelerated, decelerated, or free. Details of the algorithm for the extraction of these editing rhythm classes are presented, along with experimental results on real movie data. Following this we study the usefulness of combining the rhythmic patterns induced through both motion and editing in film. We show that, whilst detailed content identification via rhythm types alone is not possible by virtue of the fact that film is not codified to this level in terms of rhythmic elements, analysis of the combined motion/shot rhythm can allow us to determine that the content has changed and hypothesize as to why this is so. We present 3 such categories of change and demonstrate their efficacy for capturing useful film elements (e.g., scene change precipitated by plot event), by providing data support from 5 motion pictures.

Her Majesty moves: Sarah Bernhardt, Queen Elizabeth and the development of motion pictures

Sarah Bernhardt, the greatest theatrical star of the late nineteenth century, enabled and even promoted the association of early film with the British monarchy. She did this literally, by playing the role of Queen Elizabeth in Queen Elizabeth (Les Amours de la Reine Elisabeth, Henri Desfontaines and Louis Mercanton, 1912). Bernhardt also promoted the association of the cinema with monarchy symbolically, making the medium a new empathetic vehicle for the development of celebrity mystique and global power.