Old Tom, new Tom

This presentation will Involve a discussion of Canadian fringe artist Mike Hoolboom's experimental narrative Tom (2002 75 minutes, Digital Video) The presentation will Include a short excerpt and stills from the film Tom is a biography of experimental filmmaker Tom Chomont who tells of his struggle with HIV and Parkinson's disease and disarmingly recounts confronting memories of infanticide, incest, fetishism and death It is how these revelations are innovatively processed through excerpts of Chomont's films, home movies, photos, Images lifted straight form Video Busters, archival and found footage that is so telling it is as If the surface of cinema itself is the body that is being marked and reconstituted and "the personal" forever changed by the Infection of this material Into our psyche.

This work is offered as exemplary evidence of the strong link between an experimental non-narrative cinema that flourishes In North America and new media art

The presentation will touch on the following areas:

> The Innovative marking out of the self In terms relevant to a new media practice.
> The correspondence between this film and media theorist Arthur Kroker's Ideas about panic bodies and excremental culture.
> An examination of erasure and loss In non-narrative forms.
> The historical context of Hoolboom's work as part of a North American experimental tradition and as a shared non-narrative tradition With New Media.

The presentation Will conclude With some comments about the relationship between experimental film and new media In this country and how the failure to Identify this relationship constructively here may have contributed to the current "death of the new" The concept of new media and New Australian Will be contrasted to attain some Insight Into the Ideological underpinnings of "Creative Nation".

Rosenthal, Bob, interviewed by Becky Muller on January 17, 2009: Audio

Some of the themes discussed are: • Civic engagement (2) • The Levine family (2) • High school—private (3) • Colby (4) • Colby—student interaction with Waterville Jews (5) • Dating (6, 7, 18-20) • Life in Waterville (8, 10) • Life in Waterville—movies (12-13) • Colby—Greek life (9) • Colby—administration (9-10) • Occupation—real estate development (10-12, 13, 17) • Camp—Arcadia (13-14) • Military service (16) • Civic engagement (22) • Jewish education (23) • Holidays (23-24)

Rosenthal, Bob, interviewed by Becky Muller on January 17, 2009: Audio Part Two

Some of the themes discussed are: • Civic engagement (2) • The Levine family (2) • High school—private (3) • Colby (4) • Colby—student interaction with Waterville Jews (5) • Dating (6, 7, 18-20) • Life in Waterville (8, 10) • Life in Waterville—movies (12-13) • Colby—Greek life (9) • Colby—administration (9-10) • Occupation—real estate development (10-12, 13, 17) • Camp—Arcadia (13-14) • Military service (16) • Civic engagement (22) • Jewish education (23) • Holidays (23-24)

Rosenthal, Bob, interviewed by Becky Muller on January 17, 2009: Transcript

Some of the themes discussed are: • Civic engagement (2) • The Levine family (2) • High school—private (3) • Colby (4) • Colby—student interaction with Waterville Jews (5) • Dating (6, 7, 18-20) • Life in Waterville (8, 10) • Life in Waterville—movies (12-13) • Colby—Greek life (9) • Colby—administration (9-10) • Occupation—real estate development (10-12, 13, 17) • Camp—Arcadia (13-14) • Military service (16) • Civic engagement (22) • Jewish education (23) • Holidays (23-24)

You know how I know you're gay? : masculinity and homophobia in mainstream comedy

You Know How I Know You're Gay?: Masculinity and Homophobia in Contemporary Mainstream Comedy is a three-part senior scholars project that consists of a critical analysis of homophobic humor in contemporary mainstream comedy, an original feature-length comedy script entitled Don 't Be that Freshman, and a DVD of selected scenes from Don't Be that Freshman. The critical analysis first establishes the existence of homophobic humor in mainstream comedy and then links this homophobia to masculine anxiety, applying the ideas set forth in Michael Kimmel's essay, "Masculinity as Homophobia," to contemporary, mainstream, homosocial comedies. The paper goes on to examine audience reactions to this homophobic humor, focusing on audience members who enjoy these movies, yet consider themselves to be accepting of homosexuality and against homophobia. I discuss ways of resistance and the importance of opposing homophobic humor, and finally, I look at comedy as a potentially transgressive medium that could be used to fight homophobia and social inequality. The critical analysis, therefore, leads into Don't Be that Freshman, a film that uses progressive humor to oppose homophobia and expose the potential dangers and pitfalls of conforming to social constructions of gender. Don't Be that Freshman is a film about three pairs of college roommates in their first semester at college who become each other's first friends on campus. It is a character-driven comedy that attempts to normalize non-heterosexual sexual orientation and gender non-conformity, to advocate a type of living that does not conform to problematic social constructions and cultural ideologies, and at the same time to appeal to a mainstream audience. The film version is twenty-five minutes long and consists of ten scenes from the script.

Hunt angels

Rupert Kathner (Ben Mendelsohn) always had stars in his eyes. He wanted to make movies and wanted the whole world to see them. It was at a screening of a pilot for one of his films to studio execs that he met a woman who would change his life. Alma Brooks (Victoria Hill) was working as a secretary at the studio when she met Rupe. When they paired up, a revolutionary filmmaking duo was born. Despite opposition from the Police Commissioner himself, they produced the first true crime movie ever made in Australia: 'The Pyjama Girl Murder Case'. In the end, even the Commissioner gave it his blessing and it was an instant success. In fact, every film they ever made was shown on the big screen. Over the course of 15 years together, these mavericks managed to make a remarkable nineteen movies

Perceptions of the value of site visits in assisting undergraduate learning

This study evaluates the usefulness of site visits in assisting the learning experience of undergraduate students. The research is based on a survey of undergraduates students enrolled in built-environment courses in property and construction. Past research has shown that it is becoming more difficult to provide students with access to building sites to provide learning experiences. While students were positive about the benefits of real site visits, universities have been encouraged to develop virtual approaches to teaching construction technology using photographs, movies and computer simulations.

This strategic research investigates the perceptions of students towards a number of different site visits each with particular characteristics. This was done to examine the most effective use of real site visits within an undergraduate course. The results identified that some aspects of construction technology could be easily replaced by computer simulations and the like. However, other aspects of the curriculum are more effectively taught by retaining real site visits. The research was intended to provide a more structured approach to determining the value of site-based learning in construction related courses.

To solaris and beyond

The great Polish science-fiction writer Stanislaw Lem—author of the book, Solaris, on which two movies have been based—died last month. This week, The Philosopher's Zone explores the philosophy underlying his visionary work.

Can virtual world property be considered a digital good?

What types of goods should be considered digital goods? This paper discusses the question of whether virtual property, such as items available in virtual world environments like Linden Lab’s Second Life and Blizzard’s World of Warcraft, should be considered a valid digital good. The makeup of a virtual property items are explored in this paper and their key features compared and contrasted with that of digital goods. Common examples of digital goods include: electronic books, software, digital music and digital movies. These goods are considered a tangible commodity, that is they have an unlimited supply and secondly they are in a digital/binary form (a sequence of 1’s and 0s’). When looking at why a virtual property items should be included in the category of ‘digital goods’, it is important to consider how items in a virtual world come to exist and how the availability of these items are often controlled by publishers and developers. The aim of this paper is show that digital goods should not be limited to the traditional views such as electronic books, software, music and movies; but in fact the term ‘digital good’ should also include the active market of virtual property
items.

It was an experience that totally blew up in my face : Steve Railsback and Turkey shoot

The schlock horror film Turkey Shoot is widely regarded as one of the most disreputable Australian exploitation titles in a genre already well noted for controversy. This short article frames the controversies that surround the film from production to critical reception, which sets the scene for an interview by Mark Harley with the film's star Steve Railsback, who reflects on the movie's production, his role, the controversy and the film's reception.

Identifying annotations for adventure game generation from fiction text

Recent advancements in Text-to-Scene research have lead to the development of systems which automatically extract key concepts from the text of a fiction book and generate computer animated movies depicting the story. Extracting such annotations from raw fiction text is a laborious process and so in this work we evaluate appropriate candidates to serve as the basis for the required annotations for generating interactive virtual worlds.

We validate our choice by generating adventure games: inter-active virtual worlds which create a stylized representation of the environment described in the text, populate it with characters related to the story and define game goals related to the plot of the fiction story. Our prototype produces a fully playable game, making use of an existing open-source game engine.

The process is evaluated using user tests in which participants are asked to measure the accuracy with which the game represents the events, characters and goals described in the story. The response indicates that the chosen annotation set is sufficient to define a game that is a plausibly acceptable representation of the text.

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.

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.

IMCE : integrated media creation environment

We discuss the design goals for an integrated media creation environment (IMCE) aimed at enabling the average user to create media artifacts with professional qualities. The resulting requirements are implemented and we demonstrate the efficacy of the resulting system with the generation of two simple home movies. The significance for the average user seeking to create home movies lies in the flexible and automatic application of film principles to the task, removal of tedious low-level editing by means of well-formed media transformations in terms of high-level film constructs (e.g., tempo), and content repurposing powered by those same transformations added to the rich semantic information maintained at each phase of the process.

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.