On film character retrieval in feature-length films

The problem of automatic face recognition (AFR) concerns matching a detected (roughly localized) face against a database of known faces with associated identities. This task, although very intuitive to humans and despite the vast amounts of research behind it, still poses a significant challenge to computer-based methods. For reviews of the literature and commercial state-of-the-art see [21, 372] and [252, 253]. Much AFR research has concentrated on the user authentication paradigm (e.g. [10, 30, 183]). In contrast, we consider the content-based multimedia retrieval setup: our aim is to retrieve, and rank by confidence, film shots based on the presence of specific actors. A query to the system consists of the user choosing the person of interest in one or more keyframes.

Automatic face recognition for film character retrieval in feature-length films

The objective of this work is to recognize all the frontal faces of a character in the closed world of a movie or situation comedy, given a small number of query faces. This is challenging because faces in a feature-length film are relatively uncontrolled with a wide variability of scale, pose, illumination, and expressions, and also may be partially occluded. We develop a recognition method based on a cascade of processing steps that normalize for the effects of the changing imaging environment. In particular there are three areas of novelty: (i) we suppress the background surrounding the face, enabling the maximum area of the face to be retained for recognition rather than a subset; (ii) we include a pose refinement step to optimize the registration between the test image and face exemplar; and (iii) we use robust distance to a sub-space to allow for partial occlusion and expression change. The method is applied and evaluated on several feature length films. It is demonstrated that high recall rates (over 92%) can be achieved whilst maintaining good precision (over 93%).

Automatic cast listing in feature-length films with Anisotropic Manifold Space

Our goal is to automatically determine the cast of a feature-length film. This is challenging because the cast size is not known, with appearance changes of faces caused by extrinsic imaging factors (illumination, pose, expression) often greater than due to differing identities. The main contribution of this paper is an algorithm for clustering over face appearance manifolds. Specifically: (i) we develop a novel algorithm for exploiting coherence of dissimilarities between manifolds, (ii) we show how to estimate the optimal dataset-specific discriminant manifold starting from a generic one, and (iii) we describe a fully automatic, practical system based on the proposed algorithm. The performance of the system is evaluated on well-known featurelength films and situation comedies on which it is shown to produce good results.

Cinema's new waves : an interview with Albie Thoms

Albie Thomas is a seminal figure in the history of Avant-Garde film in Australia. In the mid-1960s he helped found UBU Films, the precursor of the Sydney Film-Makers' Co-operative, and he has made a number of short and feature-length experimental films. Thoms has written on film and film cultures for an array of journals and maintains an active involvement with aspects of the surf film industry in Australia. In this interview, Thoms discusses his early UBU films, and the connections between those films and Palm Beach (1979). Styles of surf film and the influences on Thoms' filmmaking are also discussed.

Revelation International Film Festival (11th : 2008 : Perth, WA.)

Machinima revelations presents cutting-edge machinima experiments from around the world. Machinima is filmaking by combining the techniques of filmaking, animation production and the technology of real-time 3D game technologies.  Machinima Revelations curator Dr Leon Marvell from Deakin University presented cutting-edge machinima experiments from around the world and Australia, including the award-winning feature-length machinima, Stolen Life by Australian pioneer Peter Rasmussen

Telescope

Telescope is a feature length time lapse of reflections, changes in sunlight of my backyard, assembled over 20 years. Telescope starts in Super 8 and ends with digital video, shot mostly while the family were themselves at work, somewhere else. It is an emptied landscape. When people think of Australia they imagine open space and bush. But really most Australians inhabit or were born in suburban spaces, often with backyards with fences, big enough for fruit trees, lawns and clotheslines. I consider this a place of absence that speaks to many things that our culture avoids.The backyard as emblem of a White Australia that hit its highpoint in the 1950s, for example. Australia is a migrant culture settled by waves of newcomers escaping, running away from somewhere else, leaving to forget. Another story concerns the continued invisibility of the indigenous people. When the British first planted the Union Jack on Australian soil and said "there is nothing here" they set up a tradition of denial as our founding principle. This still plagues us. What is festering in Australian backyards are these denials and erasures that I try to bring out in the soundtrack, that plays like the radio that meanders through a lazy Sunday afternoon. Such sounds try to tell stories of absence, of occupation, and of a nostalgia for an Australia that no longer exists, but still palpably reverberates around the suburban backyard.

D.A. Pennebaker: Interviews

This wide-ranging and insightful collection of interviews with D. A. Pennebaker (b. 1925) spans the prolific career of this pioneer of observational cinema. From the 1950s to the present day, D. A. Pennebaker has made documentary films that have revealed the world of politics, celebrity culture, and the music industry. Following his early collaborations with Robert Drew on a number of works for television, his feature-length portrait of Bob Dylan on tour in England in 1965 (the landmark film Dont Look Back) established so-called direct cinema as a form capable of achieving broad theatrical release. With Monterey Pop, Pennebaker inaugurated the popular mode of rock concert film (or "rockumentary"), a style of filmmaking he has expanded on through a number of films, including Ziggy Stardust and the Spiders from Mars and Depeche Mode: 101. Pennebaker has always regarded collaboration as an integral part of his filmmaking methods. His long-running collaboration with Richard Leacock and subsequently his work with Chris Hegedus have enriched his approach and, in the process, have instituted collaboration as a working practice integral to American direct cinema. His other collaborations, in particular, with Jean-Luc Godard and Norman Mailer, resulted in innovative combinations of observational techniques and fictional aesthetics. Such films as The War Room, which was about the 1992 Democratic primaries and was nominated for an Academy Award, and the 2009 Kings of Pastry continue to explore the capacities of observational documentary. In 2012 Pennebaker was the first documentary filmmaker to be awarded an Academy Honorary Award by the Academy of Motion Picture Arts and Sciences.

Re-processing The Mystical Rose

This essay explores the animation practice of Australian filmmaker Michael Lee, whose career spans the late 60s to the present. His notoriously dissident and innovative feature length work The Mystical Rose (1976, 65 minutes) is the primary focus, the fulcrum point of an analysis balanced by a review of his earlier shorter formative films, his cultural milieu, the thinkers that shaped his youth and particularly his changing relation to the Catholic Church. This relationship with Christianity has gone full circle through a critical rejection, worked through in The Mystical Rose, to a re-embrace in his later films Turnaround (1983, 60 mins) and The Contemplation of the Cross (1989, 27 minutes). This trajectory is understood here in relation to Magic Realism, Michael Bakhtin’s conception of the ‘Carnivalesque’ and Surrealism. What is of particular interest historically for animation is Lee’s pioneering innovative combination of animation with live action documentation, conveying both inner and outer realities, and mapping the relationships between them.

Repeated-viewing and co-viewing of an animated video : an examination of factors that impact on young children's comprehension of video content

The experiment reported here was concerned with the effect of repeat- viewing and adult co-viewing on the comprehension of an animated feature length movie. Four- to six-year-old children watched a movie on video either once or five times, and either with their mother present or on their own. The findings revealed that, after controlling for language skills and interest in the type of video watched, children who watched five times had higher comprehension scores than children who watched only once. Furthermore, children who watched the video repeatedly were also better at character identification and at identifying the good and bad qualities of one of the main characters in the movie. The presence of a mother, who was explicitly asked to co- view the movie with her child, did not facilitate comprehension. The findings are discussed in terms of the educational benefits of repeat viewing. Theoretical implications are also noted.

Telescope

Assembled from more than 25 years of footage, starting in Super 8 and ending with digital video, Melbourne-based experimental filmmaker Dirk de Bruyn's lens captures the comings and goings of Australian suburban life. A nostalgia-filled soundtrack accompanies footage of empty backyards, over-crowded lounge rooms and sun-drenched porches. Interspersed with line-animation, de Bruyn recalls an Australia that no longer exists in this time-lapse feature length film.

Round the bend : a history of psychiatric nursing in Victoria

This feature length documentary explores the development of psychiatric nursing from the early colonial beginnings in 1848 through to the post-institutional present. The film commences with a montage of photos, film and narrative that documents the period until 1930s.

The period from the 1930s to the present is described chronologically in oral histories provided by personal interviews with psychiatric nurses. The interviews include a number of key psychiatric nurse leaders who were instrumental in bringing about significant changes to nursing practice and education, and were also at the forefront of leading major reforms to service delivery in Victoria such as the community mental health movement.

The oral histories provide an account of the history of this unique area specialty of nursing. At times confronting and challenging, the film also highlights the significant contribution of psychiatric nursing to the development of humanistic, person-centered philosophies of care in mental health. The narratives are woven together with photographs and film footage of historical artifacts and institutions.

Manifesto of a defeated poet

This feature-length experimental film is the result of an intimate collaboration between Bosnian filmmaker/poet/painter/musician/performace artist Saidin Salkic (On Karasevdah: Srebrenica Blues, 2007 & Konvent 2010) and veteran Australian experimental filmmaker and film educator John Cumming (Obsession, Recognition & Sabotage 1985-87, First time Tragedy Second Tome Farce, 1989, The Hollow Centre 1999). Created over a period of four years it draws on the traditions and possibilities of improvisation – in cinematography, experimental cinema, dance, music and performance – with moments of intensity and repose, fluidity and halting re-composure. Cumming’s camera and Salkic’s movement work in front of it are at once expressionistic and in dialectical tension as are Salkic’s poetry, his haunting improvisations on piano and melodica and Cumming’s industrial soundscapes. SYNOPSIS: In the midst of fascist-capitalist madness, the Foreigner (a poet/dancer with sun on his palms and blood from his dreams on his face) hovers in neon twilight with last whispers of sanity on his lips, guarding and protecting the world – forever. REVIEW: ‘Full of mystery and beauty, punctuated by strange eruptions of silent cinema, of Chaplin, of film history made personal … not the film of a dance but a dance itself around pure presence … something unique and precious.’ Maximilian Le Cain, http://lecain.blogspot.com.au/2015/11/a-few-reflections-on-manifesto-of.html

Classification of malware based on string and function feature selection

Anti-malware software producers are continually challenged to identify and counter new malware as it is released into the wild. A dramatic increase in malware production in recent years has rendered the conventional method of manually determining a signature for each new malware sample untenable. This paper presents a scalable, automated approach for detecting and classifying malware by using pattern recognition algorithms and statistical methods at various stages of the malware analysis life cycle. Our framework combines the static features of function length and printable string information extracted from malware samples into a single test which gives classification results better than those achieved by using either feature individually. In our testing we input feature information from close to 1400 unpacked malware samples to a number of different classification algorithms. Using k-fold cross validation on the malware, which includes Trojans and viruses, along with 151 clean files, we achieve an overall classification accuracy of over 98%.

Possible electrical double-layer contribution to the equilibrium thickness of intergranular Glass films in polycrystalline ceramics

The plausibility of the entropic repulsion of electrical double layers acting to stabilize an equilibrium thickness of intergranular glass films in polycrystalline ceramics is explored. Estimates of the screening length, surface potential, and surface charge required to provide a repulsive force sufficiently large to balance the attractive van der Waals and capillary forces for observable thicknesses of intergranular film are calculated and do not appear to be beyond possibility. However, it has yet to be established whether crystalline particles in a liquid-phase sintering medium possess an electrical double layer at high temperatures. If they do, such a surface charge layer may well have important consequences not only for liquid-phase sintering but also for high-frequency electrical properties and microwave sintering of ceramics containing a liquid phase.