A estética documental no cinema ficcional de horror

O presente trabalho tem como proposta estudar o uso de estruturas documentais no cinema ficcional de horror, tipo de narrativa que ficou conhecida popularmente como found footage. Esses filmes fazem uso de uma linguagem propositalmente híbrida, associando a forma do documentário ao conteúdo da ficção e, hoje, encontram-se tão em voga que já possuem até mesmo clichês e estereótipos. A intenção é entender de que forma o gênero do horror se apropria douso de uma estética associada a registros documentais para favorecer as reações de medo no espectador. Para tanto, privilegiamos recortes na história do cinema e conceitos que possam contribuir para o desenvolvimento de nosso estudo, tanto no que diz respeito ao cinema documental, quanto no que diz respeito ao gênero de horror. Como objeto de análise mais detalhada, trazemos a trilogia inicial de da franquia Atividade Paranormal

Cinema para paisagens: o espaço-tempo da exibição audiovisual como dimensão estética e criativa

A busca do homem pela reprodução do movimento através das imagens é antiga. Tão antiga que é difícil fixar uma data para marcar a invenção do cinema. Para a indústria cinematográfica comercial, no entanto, esse marco costuma ser definitivo: o dia 28 de dezembro de 1895, por ocasião da primeira exibição pública paga de filmes dos Irmãos Lumiére com seu cinematógrafo. Mas o que parece ser inaugurado aí não é simplesmente uma técnica ilusória de reprodução do movimento, e sim um conceito de espetáculo que se sedimentou durante os dez ou vinte anos seguintes. Graças a interesses econômicos e ideológicos, o cinema passou de um exercício de escrita do movimento com a luz, para uma gramática muito bem sedimentada e padronizada. Junto com esse modelo de narrativa, determinou-se também a situação-cinema. Nela, o público é submetido a uma arquitetura de espectação estanque, que favorece a inatividade motora e a concentração na obra em detrimento da interação social e de uma postura participativa do espectador. Desde o surgimento da televisão e da videografia, porém, essa situação-cinema vem sendo contestada. Com essas novas tecnologias, seguidas pelo advento dos aparatos digitais, o audiovisual deixou de estar confinado às salas escuras, poltronas confortáveis e telas brancas. Todo e qualquer ambiente passou a ser uma paisagem de exibição audiovisual em potencial. Essa ruptura, por suas características estéticas, sociais, culturais, acabou encontrando na arte um campo de expansão. Ao longo dos últimos sessenta anos, a quantidade de aparelhos audiovisuais em circulação, portáteis, interativos só cresce. O resultado é que o audiovisual se tornou nosso principal meio para trocas de informações de toda ordem textual, visual, sonora etc. No seu dia-a-dia, o ser humano transita velozmente entre espaço físico e ciberespaço sem qualquer constrangimento. A materialidade é sempre um estímulo para acessar a virtualidade e vice-versa. Diante desse contexto cultural contemporâneo, de onipresença do audiovisual e de permanente troca entre essas duas janelas, é que este trabalho se posiciona. A busca aqui é por desvendar o ponto em que as duas dimensões de espaço e tempo se tangenciam e se mesclam. Deixam de ser ou para se tornar e. O pano de fundo para esse mergulho é justamente um exercício de exploração da potencialidade estética e criativa da exibição audiovisual entre todos os seus elementos constitutivos, incluindo aí o espectador participador. Assim se criam os cinemas para paisagens

O novo por escrito: cinema, crítica, nacionalismo (196064)

Este trabalho teve dois objetivos fundamentais: definir a arquitetura conceitual do que chamamos discurso do Cinema Novo; e analisar as formas como o movimento foi recebido pela crítica, com o objetivo de compreender o que o Cinema Novo deve, em termos discursivos e de prestígio, a esse diálogo. Partindo do conceito de campo cultural tal como pensado pelo sociólogo Pierre Bourdieu, ou seja, como espaço de lutas simbólicas pelo controle de lugares de poder e dos índices de valor que definem uma determinada atividade cultural, conclui-se que o prestígio alcançado pelo Cinema Novo já em seus primeiros anos se deve fundamentalmente à capacidade do grupo em responder a demanda dos setores simbolicamente dominantes da crítica por um cinema que fosse ao mesmo tempo autêntico, com toda ambiguidade que guarda o termo, e moderno, segundo as convenções estabelecidas pelas cinematografias europeias, como o neorrealismo e a Nouvelle Vague. Assim, tal como compreendemos, o Cinema Novo foi uma estratégia de comunicação e de inserção no campo cinematográfico brasileiro. Nesse trabalho, não nos propusemos analisar os filmes, cuja descrição foi feita apenas quando acreditamos fundamental para a compreensão do discurso crítico. Nossas fontes foram fundamentalmente artigos da crítica cinematográfica publicados na imprensa cultural da época. Para análise desses artigos, nos valemos das reflexões teóricas de Mikhail Bakhtin sobre a linguagem e das ferramentas teóricas da análise do discurso tal como apresentada por Michel Pêcheux e alguns comentadores de sua obra, como Eni Orlandi e José Luiz Fiorin

A Hierarchical Model for Ordinal Matrix Factorization

This paper proposes a hierarchical probabilistic model for ordinal matrix factorization. Unlike previous approaches, we model the ordinal nature of the data and take a principled approach to incorporating priors for the hidden variables. Two algorithms are presented for inference, one based on Gibbs sampling and one based on variational Bayes. Importantly, these algorithms may be implemented in the factorization of very large matrices with missing entries. The model is evaluated on a collaborative filtering task, where users have rated a collection of movies and the system is asked to predict their ratings for other movies. The Netflix data set is used for evaluation, which consists of around 100 million ratings. Using root mean-squared error (RMSE) as an evaluation metric, results show that the suggested model outperforms alternative factorization techniques. Results also show how Gibbs sampling outperforms variational Bayes on this task, despite the large number of ratings and model parameters. Matlab implementations of the proposed algorithms are available from cogsys.imm.dtu.dk/ordinalmatrixfactorization.

植入式广告与普通插播广告的效果比较及其影响因素

Brand placement is to present the information of products and brands through certain entertainments and non-commercial areas. Since 1990's, brand placement has become a major way of spreading advertisement and a new growing point of the global advertising market. In china, it is easily seen from spring festival evening gala of CCTV to all kinds of movie and TV shows, and is thus interested by many brand owners, advertisers and communication researchers. Since 2006, the people in the media circles have begin to take full care of the study of the brand placement. In general, there is still certain distance between the theoretical studies and the reality. It's a general problem over the world and is especially true for China as this was just a new idea. As the biggest global economic entity, China is the most potential and powerful market, thus the market of the brand placement will be huge. To push its development, it's then crucial to have theoretical studies on it. Many questions have not been explained yet in this area, mostly essential is to ask what kind of advantage it acquires compared with the traditional advertisement, if there is, how does such advantage show? What kind of factors influents the market effect of the brand placement? All these questions are not answered yet. Also it's well-known that a successful advertisement relies heavily on the understanding of the culture. Thus a specific thing to deal with is to study the effects according to the Chinese culture, which can make constructive suggestion to the whole industry. Our research is to compare the effects between the brand placement with the ordinary media advertisements, discuss its possible influences, and try to make certain suggestions to the future running and development. Our research obtains the following results by using the movie and advertisement in reality: (1) Like ordinary media ad’s, brand placement can improve the brand recognition of the audience significantly. (2) The ordinary ad's make the people easier to remember them than brand placement, while not too much difference in the brand recognition. (3) The brand placement has a significant 'emotional shifting' effect, i.e. the more positive to the movie, the more you love the built-in brand. (4) It is an important factor that how much brand information is involved in the movie; while how much the plot is involved has great impact on the 'emotional shifting' effect. (5) The familiarity is a great factor for the ad's, it's obvious that the popular products get way better effects through brand replacement. (6) An effective way is to choose those positive, interesting and eye-catching movies and TV shows as carriers of the brand and to use it as natural as possible.

Agency and animation: the performance of interactive game characters

As an animator and practice-based researcher with a background in games development, I am interested in technological change in the video game medium, with a focus on the tools and technologies that drive game character animation and interactive story. In particular, I am concerned with the issue of ‘user agency’, or the ability of the end user to affect story development—a key quality of the gaming experience and essential to the aesthetics of gaming, which is defined in large measure by its interactive elements. In this paper I consider the unique qualities of the video game1 as an artistic medium and the impact that these qualities have on the production of animated virtual character performances. I discuss the somewhat oppositional nature of animated character performances found in games from recent years, which range from inactive to active—in other words, low to high agency. Where procedural techniques (based on coded rules of movement) are used to model dynamic character performances, the user has the ability to interactively affect characters in real-time within the larger sphere of the game. This game play creates a high degree of user agency. However, it lacks the aesthetic nuances of the more crafted sections of games: the short cut-scenes, or narrative interludes where entire acted performances are mapped onto game characters (often via performance capture)2 and constructed into relatively cinematic representations. While visually spectacular, cut-scenes involve minimal interactivity, so user agency is low. Contemporary games typically float between these two distinct methods of animation, from a focus on user agency and dynamically responsive animation to a focus on animated character performance in sections where the user is a passive participant. We tend to think of the majority of action in games as taking place via playable figures: an avatar or central character that represents a player. However, there is another realm of characters that also partake in actions ranging from significant to incidental: non-playable characters, or NPCs, which populate action sequences where game play takes place as well as cut scenes that unfold without much or any interaction on the part of the player. NPCs are the equivalent to supporting roles, bit characters, or extras in the world of cinema. Minor NPCs may simply be background characters or enemies to defeat, but many NPCs are crucial to the overall game story. It is my argument that, thus far, no game has successfully utilized the full potential of these characters to contribute toward development of interactive, high performance action. In particular, a type of NPC that I have identified as ‘pivotal’3—those constituting the supporting cast of a video game—are essential to the telling of a game story, particularly in genres that focus on story and characters: adventure games, action games, and role-playing games. A game story can be defined as the entirety of the narrative, told through non-interactive cut-scenes as well a interactive sections of play, and development of more complex stories in games clearly impacts the animation of NPCs. I argue that NPCs in games must be capable of acting with emotion throughout a game—in the cutscenes, which are tightly controlled, but also in sections of game play, where player agency can potentially alter the story in real-time. When the animated performance of NPCs and user agency are not continuous throughout the game, the implication is that game stories may be primarily told through short movies within games, making it more difficult to define video games animation as a distinct artistic medium.

Skin Color-Based Video Segmentation under Time-Varying Illumination

A novel approach for real-time skin segmentation in video sequences is described. The approach enables reliable skin segmentation despite wide variation in illumination during tracking. An explicit second order Markov model is used to predict evolution of the skin-color (HSV) histogram over time. Histograms are dynamically updated based on feedback from the current segmentation and predictions of the Markov model. The evolution of the skin-color distribution at each frame is parameterized by translation, scaling and rotation in color space. Consequent changes in geometric parameterization of the distribution are propagated by warping and resampling the histogram. The parameters of the discrete-time dynamic Markov model are estimated using Maximum Likelihood Estimation, and also evolve over time. The accuracy of the new dynamic skin color segmentation algorithm is compared to that obtained via a static color model. Segmentation accuracy is evaluated using labeled ground-truth video sequences taken from staged experiments and popular movies. An overall increase in segmentation accuracy of up to 24% is observed in 17 out of 21 test sequences. In all but one case the skin-color classification rates for our system were higher, with background classification rates comparable to those of the static segmentation.

Estimation and Prediction of Evolving Color Distributions for Skin Segmentation Under Varying Illumination

A novel approach for real-time skin segmentation in video sequences is described. The approach enables reliable skin segmentation despite wide variation in illumination during tracking. An explicit second order Markov model is used to predict evolution of the skin color (HSV) histogram over time. Histograms are dynamically updated based on feedback from the current segmentation and based on predictions of the Markov model. The evolution of the skin color distribution at each frame is parameterized by translation, scaling and rotation in color space. Consequent changes in geometric parameterization of the distribution are propagated by warping and re-sampling the histogram. The parameters of the discrete-time dynamic Markov model are estimated using Maximum Likelihood Estimation, and also evolve over time. Quantitative evaluation of the method was conducted on labeled ground-truth video sequences taken from popular movies.

Use of "entertainment" chimpanzees in commercials distorts public perception regarding their conservation status.

Chimpanzees (Pan troglodytes) are often used in movies, commercials and print advertisements with the intention of eliciting a humorous response from audiences. The portrayal of chimpanzees in unnatural, human-like situations may have a negative effect on the public's understanding of their endangered status in the wild while making them appear as suitable pets. Alternatively, media content that elicits a positive emotional response toward chimpanzees may increase the public's commitment to chimpanzee conservation. To test these competing hypotheses, participants (n = 165) watched a series of commercials in an experiment framed as a marketing study. Imbedded within the same series of commercials was one of three chimpanzee videos. Participants either watched 1) a chimpanzee conservation commercial, 2) commercials containing "entertainment" chimpanzees or 3) control footage of the natural behavior of wild chimpanzees. Results from a post-viewing questionnaire reveal that participants who watched the conservation message understood that chimpanzees were endangered and unsuitable as pets at higher levels than those viewing the control footage. Meanwhile participants watching commercials with entertainment chimpanzees showed a decrease in understanding relative to those watching the control footage. In addition, when participants were given the opportunity to donate part of their earnings from the experiment to a conservation charity, donations were least frequent in the group watching commercials with entertainment chimpanzees. Control questions show that participants did not detect the purpose of the study. These results firmly support the hypothesis that use of entertainment chimpanzees in the popular media negatively distorts the public's perception and hinders chimpanzee conservation efforts.

The tilt casting of titanium aluminides

TiAl castings are prone to various defects including bubbles entrained during the turbulent filling of moulds. The present research has exploited the principles of the Durville tilt casting technique to develop a novel process in which the Induction Skull Melting (ISM) of TiAl alloys in a vacuum chamber has been combined with controlled tilt pouring to achieve the tranquil transfer of the metal into a hot ceramic shell mould. Practical casting equipment has been developed to evaluate the feasibility of this process in parallel with the development of novel software to simulate and optimize it. The PHYSICA CFD code was used to simulate the filling, heat transfer and solidification during tilt pouring using a number of free surface modelling techniques, including the novel Counter Diffusion Method (CDM). In view of the limited superheat, particular attention was paid to the mould design to minimize heat loss and gas entrainment caused by interaction between the counter-flowing metal and gas streams. The model has been validated against real-time X-ray movies of the tilt casting of aluminium and against TiAl blade castings. Modelling has contributed to designing a mould to promote progressive filling of the casting and has led to the use of a parabolic tilting cycle to balance the competing requirements for rapid filling to minimize the loss of superheat and slow filling minimize the turbulence-induced defects.

3D Simulations of Surface Harmonic Generation with few-cycle laser pulses

The mechanism of harmonic generation in the interaction of short laser pulses with solid targets holds the promise for the production of intense attosecond pulses. Using the three dimensional code ILLUMINATION we have performed simulations pertaining to an experimentally realizable parameter range by high power laser systems to become available in the near future. The emphasis of the investigation is on the coherent nature of the emission. We studied the influence of the plasma scale length on the harmonic efficiency, angular distribution and the focusability using a post processing scheme in which the far-field of the emission is calculated. It is found that the presence of an extended density profile reduces significantly the transverse coherence length of the emitted XUV light. The different stages of the interaction for two particular cases can be followed with the help of movies.

Imaging the cool stars in the interacting binaries AE Aqr, BV Cen and V426 Oph

It is well known that magnetic activity in late-type stars increases with increasing rotation rate. Using inversion techniques akin to medical imaging, the rotationally broadened profiles from such stars can be used to reconstruct `Doppler images' of the distribution of cool, dark starspots on their stellar surfaces. Interacting binaries, however, contain some of the most rapidly rotating late-type stars known and thus provide important tests of stellar dynamo models. Furthermore, magnetic activity is thought to play a key role in their evolution, behaviour and accretion dynamics. Despite this, we know comparatively little about the magnetic activity and its influence on such binaries. In this review we summarise the concepts behind indirect imaging of these systems, and present movies of the starspot distributions on the cool stars in some interacting binaries. We conclude with a look at the future opportunities that such studies may provide.

Hierarchical Video Summarization in Reference Subspace

In this paper, a hierarchical video structure summarization approach using Laplacian Eigenmap is proposed, where a small set of reference frames is selected from the video sequence to form a reference subspace to measure the dissimilarity between two arbitrary frames. In the proposed summarization scheme, the shot-level key frames are first detected from the continuity of inter-frame dissimilarity, and the sub-shot level and scene level representative frames are then summarized by using K-mean clustering. The experiment is carried on both test videos and movies, and the results show that in comparison with a similar approach using latent semantic analysis, the proposed approach using Laplacian Eigenmap can achieve a better recall rate in keyframe detection, and gives an efficient hierarchical summarization at sub shot, shot and scene levels subsequently.

The Perils of Moviegoing in America, 1896-1950

The Perils of Moviegoing in America is a film history that examines the various physical and (perceived) moral dangers facing audiences during the first fifty years of film exhibition.

Chapter 1: “Conflagration”
As early as 1897, a major fire broke out at a film exhibition in San Francisco, with flames burning the projectionist and nearby audience members. From that point until the widespread adoption of safety stock in 1950, fires were a very common movie-going experience. Hundreds of audience members lost their lives in literally thousands of theatre fires, ranging from early nickelodeons to the movie palaces of the thirties and forties.

Chapter 2: “Thieves Among Us”
Bandits robbed movie theatres on hundreds of occasions from the early days of film exhibition through the end of the Great Depression. They held up ticket booths, and they dynamited theatre safes. They also shot theatre managers, ushers, and audience members, as a great many of the robberies occurred while movies were playing on the screens inside.

Chapter 3: “Bombs Away”
Bombings at movie theatres became common in small towns and large cities on literally hundreds of occasions from 1914 to the start of World War II. Some were incendiary bombs, and some were stench bombs; both could be fatal, whether due to explosions or to the trampling of panicked moviegoers

Chapter 4: “It’s Catching”
Widespread movie-going in the early 20th century provoked an outcry from numerous doctors and optometrists who believed that viewing films could do irreparable harm to the vision of audience members. Medical publications (including the Journal of the American Medical Association) published major studies on this perceived problem, which then filtered into popular-audience magazines and newspapers.

Chapter 5: “The Devil’s Apothecary Shops”
Sitting in the dark with complete strangers proved worrisome for many early filmgoers, who had good reason to be concerned. Darkness meant that prostitutes could easily work in the balconies of some movie theatres, as could “mashers” who molested female patrons (and sometimes children) after the lights were dimmed. That was all in addition to the various murderers who used the cover of darkness to commit their crimes at movie theatres.

Chapter 6: “Blue Sundays”
Blue laws were those regulations that prohibited businesses from operating on Sundays. Most communities across the US had such legislation on their books, which by the nickelodeon era were at odds with the thousands of filmgoers who went to the movies every Sunday. Theatre managers were often arrested, making newspaper headlines over and over again. Police sometimes even arrested entire film audiences as accomplices in the Blue Law violations.

Chapter 7: “Something for Nothing”
In an effort to bolster ticket sales, many movie theatres in the 1910s began to hold lotteries in which lucky audience members won cash prizes; by the time of the Great Depression, lotteries like “Bank Night” became a common aspect of the theatre-going enterprise. However, reception studies have generally overlooked the intense (and sometimes coordinated) efforts by police, politicians, and preachers to end this practice, which they viewed as illegal and immoral gambling.

Transnational Fantômas: The Influence of Feuillade’s Series on International Cinema during the 1910s

The influence of Fantômas novels and films on global popular culture is widely acknowledged. From the 1915 Spanish musical "Cine-fantomas" to the 1960s Italian comic book series "Diabolik," "Kriminal" and "Satanik," from Turkish B-movies such as "Fantoma Istanbulda Bulusalim" (dir. Natuk Baytan, 1967) to Julio Cortazar’s anti-imperialist pamphlet "Fantômas contra los vampiros multinacionales" (1975), Pierre Souvestre and Marcel Allain’s original literary series have engendered uncountable translations, adaptations, imitations and plagiarisms that have spread the character’s fame worldwide since its first appearance in 1911.
By focusing on the influence of Louis Feuillade’s film adaptations during the first decade of Fantômas’ long history as a transnational and transmedia icon, this paper aims to contribute to the growing interdisciplinary field that deals with the history of the supranational cultural sphere created by modern media culture. As a sort of archaeology of contemporary cultural globalization, this form of study intends to enrich previous historical surveys that had only taken into consideration specific national contexts. Moreover, it might also rebalance certain “colonizing” accounts that overemphasize the role of the cultural superpowers such as France, the UK or the US, often forgetting the appropriation of the products of international popular culture to be found in other countries. Therefore, this paper examines the transnational circulation of Fantômas films and, in particular, the creative processes engendered outside of France their origin country. As a controversial character and a central player in the relationship between cinema and literature in the crucial years when the feature and serial film boosted and legitimized the film industry, Fantômas represents an exemplary case study to discuss the cross-cultural and cross-media dynamics engendered by popular fiction.