The look: style, technology and televisuality in the New Who

This chapter explores the distinctive qualities of the Matt Smith era Doctor Who, focusing on how dramatic emphases are connected with emphases on visual style, and how this depends on the programme's production methods and technologies. Doctor Who was first made in the 1960s era of live, studio-based, multi-camera television with monochrome pictures. However, as technical innovations like colour filming, stereo sound, CGI and post-production effects technology have been routinely introduced into the programme, and now High Definition (HD) cameras, they have given Doctor Who’s creators new ways of making visually distinctive narratives. Indeed, it has been argued that since the 1980s television drama has become increasingly like cinema in its production methods and aesthetic aims. Viewers’ ability to view the programme on high-specification TV sets, and to record and repeat episodes using digital media, also encourage attention to visual style in television as much as in cinema. The chapter evaluates how these new circumstances affect what Doctor Who has become and engages with arguments that visual style has been allowed to override characterisation and story in the current Doctor Who. The chapter refers to specific episodes, and frames the analysis with reference to earlier years in Doctor Who’s long history. For example, visual spectacle using green-screen and CGI can function as a set-piece (at the opening or ending of an episode) but can also work ‘invisibly’ to render a setting realistically. Shooting on location using HD cameras provides a rich and detailed image texture, but also highlights mistakes and especially problems of lighting. The reduction of Doctor Who’s budget has led to Steven Moffat’s episodes relying less on visual extravagance, connecting back both to Russell T. Davies’s concern to show off the BBC’s investment in the series but also to reference British traditions of gritty and intimate social drama. Pressures to capitalise on Doctor Who as a branded product are the final aspect of the chapter’s analysis, where the role of Moffat as ‘showrunner’ links him to an American (not British) style of television production where the preservation of format and brand values give him unusual power over the look of the series.

Camera and performer: energetic engagement with the shield

The stylistic strategies, in particular those concerning camera placement and movement, of The Shield (FX, 2002-08) seem to directly fit into an aesthetic tradition developed by US cop dramas like Hill Street Blues (NBC, 1981-87), Homicide: Life on the Street (NBC, 1993-99) and NYPD Blue (ABC, 1993-2005). In these precinct dramas, decisions concerning spatial arrangements of camera and performer foreground a desire to present and react to action while it is happening, and with a minimum of apparent construction. As Jonathan Bignell (2009) has argued, the intimacy and immediacy of this stylistic approach, which has at its core an attempt at a documentary-like realism, is important to the police drama as a genre, while also being tendencies that have been taken as specific characteristics of television more generally. I explore how The Shield develops this tradition of a reactive camera style in its strategy of shooting with two cameras rather than one, with specific attention to how this shapes the presentation of performance. Through a detailed examination of the relationship between performer and camera(s) the chapter considers the way the series establishes access to the fictional world, which is crucial to the manner of police investigation central to its drama, and the impact of this on how we engage with performance. The cameras’ placement appears to balance various impulses, including: the demands of attending to an ensemble cast, spontaneous performance style, and action that is physically dynamic and involving. In a series that makes stylistic decisions around presentation of the body on-screen deliberately close yet obstructive, involving yet fleeting, the chapter explores the affect of this on the watching experience.

Activities related with electricity consumption in the Spanish residential sector: variations between days of the week, Autonomous Communities and size of towns

Nowadays the electricity consumption in the residential sector attracts policy and research efforts, in order to propose saving strategies and to attain a better balance between production and consumption, by integrating renewable energy production and proposing suitable demand side management methods. To achieve these objectives it is essential to have real information about household electricity demand profiles in dwellings, highly correlated, among other aspects, with the active occupancy of the homes and to the personal activities carried out in homes by their occupants. Due to the limited information related to these aspects, in this paper, behavioral factors of the Spanish household residents, related to the electricity consumption, have been determined and analyzed, based on data from the Spanish Time Use Surveys, differentiating among the Autonomous Communities and the size of municipalities, or the type of days, weekdays or weekends. Activities involving a larger number of houses are those related to Personal Care, Food Preparation and Washing Dishes. The activity of greater realization at homes is Watching TV, which together with Using PC, results in a high energy demand in an aggregate level. Results obtained enable identify prospective targets for load control and for efficiency energy reduction recommendations to residential consumers.

Taking advantage of contextualized interactions while users watch TV

While watching TV, viewers use the remote control to turn the TV set on and off, change channel and volume, to adjust the image and audio settings, etc. Worldwide, research institutes collect information about audience measurement, which can also be used to provide personalization and recommendation services, among others. The interactive digital TV offers viewers the opportunity to interact with interactive applications associated with the broadcast program. Interactive TV infrastructure supports the capture of the user-TV interaction at fine-grained levels. In this paper we propose the capture of all the user interaction with a TV remote control-including short term and instant interactions: we argue that the corresponding captured information can be used to create content pervasively and automatically, and that this content can be used by a wide variety of services, such as audience measurement, personalization and recommendation services. The capture of fine grained data about instant and interval-based interactions also allows the underlying infrastructure to offer services at the same scale, such as annotation services and adaptative applications. We present the main modules of an infrastructure for TV-based services, along with a detailed example of a document used to record the user-remote control interaction. Our approach is evaluated by means of a proof-of-concept prototype which uses the Brazilian Digital TV System, the Ginga-NCL middleware.

Comparison of learning between Digital gallery and Hands-on Laboratory

This thesis has been done in ROM (Royal Ontario Museum) located in Toronto Canada. It focuses on learning in two parts of the museum. It tries to find out how much each part is effective in terms of learning. Studies have been done in the Digital gallery, which has been equipped with digital video projector and workstation that allows visitors to interact with the collections in 2 or 3 dimensional spaces while they are watching the presenting film. The rest of the study was in Hands-on laboratory, which allows students to examine artifacts and discuss their findings .The method was used in this research is Concept mapping .In Digital gallery, 24 schools surveys in the form of pre-post- test by help of the concept mapping method has been done. In Hands-on laboratory, 12 schools have been studied by using the combination of interviewing and written pre post-test of concept mapping.

Thick viewing : empirical examples of condensed moments of narrative impact in fiction film developing theoretical concepts for intensified engagements

Abstract  In a case study about viewing habits in a Swedish audience I sampled 309 questionnaires; interviews with five focus group were conducted together with ten in-depth individual interviews discussing altogether fifteen favorite films exploring specific scenes of idiosyncratic relevance.  The outcome supports claims about viewers as active and playful (cf. Höijer 1998, Frampton 2006, Hoover 2006, Plantinga 2009). In line with mediatization theory I also argue that spiritual meaning making takes place through mediated experiences and I support theories about fiction films as important sources for moral and spiritual reflection (Partridge 2004, Zillman 2005, Lynch 2007, Plantinga 2009). What Hjarvard calls the soft side of mediatization processes (2008) is illustrated showing adults experiencing enchantment through favorite films (Jerslev 2006, Partridge 2008, Klinger 2008, Oliver & Hartmann 2010).  Vernacular meaning making embedded in everyday life and spectators dealing with fiction narratives such as Gladiator, Amelie from Montmartre or Avatar highlights the need for a more nuanced understanding of elevated cinematic experiences. The reported impact of specific movies is analyzed through theories where cognition and affect are central aspects of spectators’ engagements with a film (Tan 1996, Caroll 1999, Grodal 2009). Crucially important are theories of meaning-making where viewers’ detailed interpretation of specific scenes are embedded in high-level meaning-making where world view issues and spectators’ moral frameworks are activated (Zillman 2005, Andersson & Andersson 2005, Frampton 2006, Lynch 2007, Avila 2007, Axelson 2008, Plantinga 2009).  Also results from a growing body of empirical oriented research in film studies are relevant with an interest in what happens with the flesh and blood spectator exposed to filmic narratives (Jerslev 2006, Klinger 2008, Barker 2009, Suckfüll 2010, Oliver & Hartmann 2010). Analyzing the qualitative results of my case study, I want to challenge the claim that the viewer has to suspend higher order reflective cognitive structures in order to experience suture (Butler & Palesh 2004). What I find in my empirical examples is responses related to spectators’ highest levels of mental activity, all anchored in the sensual-emotional apparatus (Grodal 2009). My outcome is in line with a growing number of empirical case studies which support conclusions that both thinking and behavior are affected by film watching (Marsh 2007, Sückfull 2010, Oliver & Hartmann 2010, Axelson forthcoming). The presentation contributes to a development of concepts which combines aesthetic, affective and cognitive components in an investigation of spectator’s moves from emotional evaluation of intra-text narration to extra-textual assessments, testing the narrative for larger significance in idiosyncratic ways (Bordwell & Thompson 1997, Marsh 2007, Johnston 2007, Bruun Vaage 2009, Axelson 2011). There are a several profitable concepts suggested to embrace the complex interplay between affects, cognition and emotions when individuals respond to fictional narratives. Robert K. Johnston label it “deepening gaze” (2007: 307) and “transformative viewing” (2007: 305). Philosopher Mitch Avila proposes “high cognition” (2007: 228) and Casper Thybjerg ”higher meaning” (2008: 60). Torben Grodal talks about “feelings of deep meaning” (Grodal 2009: 149). With a nod to Clifford Geertz, Craig Detweiler adopts “thick description” (2007: 47) as do Kutter Callaway altering it to ”thick interpretations” (Callaway 2013: 203).  Frampton states it in a paradox; ”affective intelligence” (Frampton 2006: 166). As a result of the empirical investigation, inspired by Geertz, Detweiler & Callaway, I advocate thick viewing for capturing the viewing process of these specific moments of film experience when profound and intensified emotional interpretations take place. The author As a sociologist of religion, Tomas Axelsons research deals with people’s use of mediated narratives to make sense of reality in a society characterized by individualization, mediatization and pluralized world views.  He explores uses of fiction film as a resource in every day life and he is currently finishing his three year project funded by the Swedish Research Council: Spectator engagement in film and utopian self-reflexivity. Moving Images and Moved Minds. http://www.du.se/sv/AVM/Personal/Tomas-Axelson Bibliography Axelson, T. (Forthcoming 2014). Den rörliga bildens förmåga att beröra.[1] Stockholm: Liber Axelson, T. (In peer review). Vernacular Meaning Making. Examples of narrative impact in fiction film questioning the ’banal’ notion in mediatization theory. Nordicom Review. Nordicom Göteborg. Axelson, T. (2011). Människans behov av fiktion. Den rörliga bildens förmåga att beröra människan på djupet.[2]Kulturella perspektiv. Volume 2. Article retrieved from www.kultmed.umu.se/digitalAssets/74/74304_axelson-22011.pdf Axelson, Tomas (2010) “Narration, Visualization and Mind. Movies in everyday life as a resource for utopian self-reflection.” Paper presentation at CMRC, 7th Conference of Media, Religion & Culture in Toronto, Canada 9 – 13th August 2010. Axelson, Tomas (2008) Movies and Meaning. Studying Audience, Favourite Films and Existential Matters. Particip@tions : Journal of Audience and Reception Studies. Volume 5, (1). Doctoral dissertation summary. ACTA UNIVERSITATIS UPSALIENSIS. Article retrieved from http://www.participations.org/Volume%205/Issue%201%20-%20special/5_01_axelson.htm  [1] English translation: Moving Images and Moved Minds. [2] English translation: Our need for fiction. Deeply Moved by Moving Images. Cultural Perspectives.

An analysis of Samoan reaction to The Orator (O Le Tulafale)’s Fāgogo defining Samoan identity

The Orator (O Le Tulafale) was promoted as the first Samoan language film shot in Samoa with a Samoan cast and crew. Written and directed by Samoan filmmaker Tusi Tamasese, the film succeeded at several of the movie industry’s prestigious festivals. The Orator (O Le Tulafale) is about an outcast family of a dwarf (Saili), his wife and her teenage daughter. As the main protagonist, Saili battles to overcome his fears to become a chief to save his family and land. The film’s themes are courage, love, honour , as well as hypocrisy, violence, and discrimination. A backlash by Samoans was predicted ; however, the opposite occurred. This raised the following questions: first, what is it about the film causing this reaction? It is a 106 -minute film shot in Samoa about Samoans and the Samoan culture . D espite promotional claims about the film , there have been Samoan -produced films in Samoa . Secondly, to what are Samoans really responding? Is it 1) just to the film because it is about Samoa, or 2) are they responding to themselves , and how they reacted during the act of watching the film? This implies levels of reactions in the act of watching, and examining the dominant level of response is important. To explore this, t he Samoan story telling technique of Fāgogo was used to analyse the film’s narration and narrative techniques. R. Allen’s (1993, 1997) concept of projected illusion was employed to discuss the relationship between Samoans and the film developed during the act of watching. An examination of the term Samoan and a description of the framework of Fa’a Samoa (Samoan culture) were provided. Also included were discussions of memory and its impact on Samoan cultural identity. The analysis indicated that The Orator (O Le Tulafale) acted as a memory prompt through which Samoans recalled memories confirming and defining cultural bonds. These memories constituted the essence of being Samoan. These memories were awakened, and shared as oral histories as fāgogo. The receivers appeared to interpret the shared memories to create their own memories and stories to suit their contexts, according to Facebook postings. An interpretation is that the organic sharing of memories as fā gogo created a global definition of Samoan that Samoans internationally claimed.

Automating condition monitoring of vegetation on railway trackbeds and embankments

Vegetation growing on railway trackbeds and embankments present potential problems. The presence of vegetation threatens the safety of personnel inspecting the railway infrastructure. In addition vegetation growth clogs the ballast and results in inadequate track drainage which in turn could lead to the collapse of the railway embankment. Assessing vegetation within the realm of railway maintenance is mainly carried out manually by making visual inspections along the track. This is done either on-site or by watching videos recorded by maintenance vehicles mainly operated by the national railway administrative body. A need for the automated detection and characterisation of vegetation on railways (a subset of vegetation control/management) has been identified in collaboration with local railway maintenance subcontractors and Trafikverket, the Swedish Transport Administration (STA). The latter is responsible for long-term planning of the transport system for all types of traffic, as well as for the building, operation and maintenance of public roads and railways. The purpose of this research project was to investigate how vegetation can be measured and quantified by human raters and how machine vision can automate the same process. Data were acquired at railway trackbeds and embankments during field measurement experiments. All field data (such as images) in this thesis work was acquired on operational, lightly trafficked railway tracks, mostly trafficked by goods trains. Data were also generated by letting (human) raters conduct visual estimates of plant cover and/or count the number of plants, either on-site or in-house by making visual estimates of the images acquired from the field experiments. Later, the degree of reliability of(human) raters’ visual estimates were investigated and compared against machine vision algorithms. The overall results of the investigations involving human raters showed inconsistency in their estimates, and are therefore unreliable. As a result of the exploration of machine vision, computational methods and algorithms enabling automatic detection and characterisation of vegetation along railways were developed. The results achieved in the current work have shown that the use of image data for detecting vegetation is indeed possible and that such results could form the base for decisions regarding vegetation control. The performance of the machine vision algorithm which quantifies the vegetation cover was able to process 98% of the im-age data. Investigations of classifying plants from images were conducted in in order to recognise the specie. The classification rate accuracy was 95%.Objective measurements such as the ones proposed in thesis offers easy access to the measurements to all the involved parties and makes the subcontracting process easier i.e., both the subcontractors and the national railway administration are given the same reference framework concerning vegetation before signing a contract, which can then be crosschecked post maintenance.A very important issue which comes with an increasing ability to recognise species is the maintenance of biological diversity. Biological diversity along the trackbeds and embankments can be mapped, and maintained, through better and robust monitoring procedures. Continuously monitoring the state of vegetation along railways is highly recommended in order to identify a need for maintenance actions, and in addition to keep track of biodiversity. The computational methods or algorithms developed form the foundation of an automatic inspection system capable of objectively supporting manual inspections, or replacing manual inspections.

Getting Hitched: Weddings and Reality Television

From watching reality shows like A Wedding Story on TLC, I have learned that planning a wedding is stressful, kills friendships, and is generally not fun. In my opinion, I think it’s crazy. So why do people do this? What is the allure of this madness? In addition to the general insanity of weddings, the institute of marriage has been shown to be deeply flawed and quite unequal, but we are still tuning in to watch Engaged & Underage and Perfect Proposal. The fantasy shows that we watch and the glossy magazines we read seem to cover up the fact that the institution of marriage has problems. I want to find out why we are obsessed with getting married, even though many of us won’t actually carry through with the event or will end our marriages in divorce. Is it just the pageantry? The attention one receives as a bride and a new wife? To me, the huge attention paid to marriage in the media these days brings out some really interesting questions.

Power outage, and other poems

Contents - At the Starry Night Cafe AIbino Buffalo Monteverdi In The Rain Lust Litter Poem After The Chinese Cleere's Pub Treasure Island Nipple Periwinkle Talkeetna Beached Whale Spending Christmas in the land of Enchantment Easter Poem For Emily Dickinson Second Hand Gifts The Power Outage October In The Observation Car Westerly

Uncorking the Mommy Market: Phenomenal Facebook following has Marilé Borden contemplating the future of Moms Who Need Wine

Marilé Borden ’94 has hundreds of thousands of people watching her Facebook page Moms Who Need Wine. Now what to do with them?

O papel da punição disciplinar no controle da tropa da polícia militar do Amazonas

The work is to undertake a review of the control system's internal disciplinary Military Police of Amazonas (PMAM) as a way to identify factors that deserve to be modified or improved before the current social situation that is presented to our Public Military Force. For this purpose discussing the elements motivating and purpose of disciplinary punishment to the question 'Why punish?'. Then were the legal aspects of legal and disciplinary reprimand the legislation in force. It was subsequently approached the concept of police activity in Brazil and its peculiarities, moving then to examine the main figures of our state correctional compared with other states of the country. Before closing, we analyze the data Search Field watching the view of commanders and commanded the respect of the disciplinary system now in military force.

Investigando a experiência da fruição do futebol : estádio versus televisão

A pesquisa procura estudar a forma como o espetáculo futebol é percebido e valorizado por espectadores no estádio e na televisão. O modelo proposto por Holbrook (1999) sustenta a análise de narrativas que relatam comportamentos dos consumidores nos dois ambientes: arquibancada e sofá. Com base na abordagem sugerida por McCracken (1988), os dados foram coletados por entrevistas pessoais, em profundidade, que possibilitaram explorar as experiências dos entrevistados como espectadores regulares de futebol na televisão e no estádio. Foram analisados os tipos de valor do modelo de Holbrook (1999) mais representativos encontrados nos relatos. As narrativas indicaram substantivas diferenças entre os valores percebidos ao longo das experiências na arquibancada e no sofá. Esta dualidade serviu de fio condutor para a emergência de outros duplos conceituais extraídos das entrevistas - que se revelam subsídios para o desenvolvimento de estratégias de marketing. Concluiu-se que a valorização da partida de futebol é influenciada pela forma com a qual o espectador constrói os significados na experiência de consumo. Percebeu-se, desta forma, uma associação entre a abordagem semiológica (Eco, 2001), para a qual o valor (da informação) decorre das possibilidades de significados possíveis; e a proposição de Holbrook, para o qual o valor de consumo se sustenta numa vivência interativa. Impõe-se ao gestor, portanto, a missão de executar a tabelinha sofá-arquibancada. De maneira a potencializar seus respectivos atributos para o consumo - como a riqueza simbólica e a riqueza referencial - e a reforçar os traços complementares apontados nas entrevistas.

Políticas públicas em cidadania fiscal : análise do comportamento do cidadão usuário do Programa Todos com a Nota, do Governo do Estado de Pernambuco

O objetivo desta pesquisa foi verificar se a Campanha Todos com a Nota – Módulo Esportivo, instituída pelo Governo do Estado de Pernambuco, conscientiza ou não o cidadão acerca da importância social de sempre pedir a nota fiscal nas suas compras sujeitas à incidência do Imposto sobre a Circulação de Mercadorias e Serviços (ICMS), bem como inferir qual a proporção populacional conscientizada. O referencial teórico abraçou conhecimentos de diversos campos afetos à seara da necessidade de conscientização fiscal, tais como obediência tributária, evasão fiscal, Administração Tributária, comportamento do consumidor e do contribuinte, Educação Fiscal e cidadania fiscal. Para atingir o objetivo, foi realizada pesquisa de comportamento do consumidor nos postos de atendimento ao usuário da Campanha. O método utilizado foi uma pesquisa do tipo survey estruturada. Os resultados sugerem que a Campanha Todos com a Nota conscientiza, e a proporção de cidadãos conscientizados sobre a função social do tributo fica entre 5,34% e 10,66% da população de usuários do Módulo Esportivo, que se utiliza de cartões magnéticos para troca de notas/cupons fiscais por ingressos para assistir aos jogos dos campeonatos brasileiro e pernambucano de futebol profissional. Embora esta proporção pareça pequena, merecendo maior atenção da Administração Pública, se compararmos com a proporção de cidadãos que já ingressaram na Campanha conscientizados, a melhoria foi em torno de, no mínimo, 7,21 vezes, com 95% de confiança.

O consumo público de eventos esportivos: um olhar para além dos estádios de futebol

O presente estudo investigou o consumo público de eventos esportivos ao vivo dentro e fora do âmbito dos estádios. O objetivo principal do estudo foi determinar se o fã (torcedor), percebe uma relação de substituição ou de complementaridade entre as atitudes favoráveis ao comparecimento ao estádio ou a outros locais públicos para assistir a jogos de futebol. Adicionalmente, o estudo objetivou a investigação da influência da identificação do fã do esporte (torcedor) com seu time na atitude e consumo público do espetáculo do futebol no estádio ou em outros locais públicos; bem como se as características demográficas (gênero e faixa etária) exercem algum tipo de efeito moderador sobre as relações estudadas. Para abordar estes temas buscou-se referência na SIT – Social Identity Theory e na SCT – Self- Categorization Theory. Foi realizado um levantamento (survey), envolvendo torcedores dos 4 times cariocas de maior torcida, mediante entrevistas estruturadas assistidas. A amostra foi intencional e de conveniência e a coleta de dados totalizou 507 questionários válidos. A análise dos dados foi realizada em duas etapas. A primeira contemplando uma análise fatorial exploratória, que objetivou a observação preliminar da qualidade das escalas. A segunda etapa contemplou uma análise fatorial confirmatória com o objetivo de purificar as escalas. Foram avaliadas a confiabilidade e a validade convergente, discriminante e nomológica dos construtos. Para testar as hipóteses substantivas do estudo utilizou-se a técnica de modelagem de equações estruturais e a análise de multigrupos. Os resultados da análise permitiram suportar empiricamente três das cinco hipóteses substantivas. Os resultados sugerem que (a) A identificação do fã com o time exerce influência positiva sobre a atitude em relação a assistir a jogos no estádio; (b) A atitude favorável do torcedor em relação ao estádio exerce influência positiva sobre o comparecimento ao estádio; e (c) A atitude favorável do torcedor em relação a locais públicos exerce influência positiva sobre o comparecimento a locais públicos. Todavia, não foi possível suportar integralmente as hipóteses de que (d) A identificação do fã com o time exerce influência sobre a atitude em relação a locais públicos; e (e) A atitude do torcedor em relação ao estádio exerce influência sobre a atitude em relação a locais públicos. Também não foram suportados os efeitos de moderação do gênero e faixa etária.