Clio may be seen and listened. Movies as source and resource on history

El cine como fuente historiográfica es utilizado a partir de la "batalla" que dio Marc Ferro hacia el interior de Annales. Cuando era difícil que se aceptaran otras fuentes que no fueran las gráficas, este historiador logró abrirse camino hasta llegar a ser el director de Annales en los años '70. El discurso de la imagen o el discurso audiovisual representa con mayor verosimilitud lo que el discurso gráfico no alcanza a expresar. Sin embargo, la sinécdoque y la generalización se encuentran a mitad de camino en un juego representativo para complementarse a la hora de comprender y reconstruir el pasado. El aporte del cine puede tomarse como reflejo o representación social y también como una alternativa discursiva. En este sentido, Rosenstone con el apoyo de Hayden White y su análisis de la "historiofotía" son los que incursionan en esta nueva dimensión, esto es la narración audiovisual de la historia

Suntans and sun protection in Australian teen media: 1999 to 2000

In this study, the portrayal of tanned skin and sun protection in magazines, television programs, and movies popular with Australian adolescents were analyzed. Images of models in magazines (n = 1,791), regular/supporting characters in television programs (it = 867), and regular/supporting characters in cinema movies (n = 2,836) for the 12-month period August 1999 to July 2000 were coded and analyzed. Alight tan was the most predominant tan level, and protective clothing was the most common sun protection measure displayed across all forms of media. There were significant associations between gender and tan levels in the television and movie samples. Although it is important to monitor the portrayal of tan levels and sun protection measures in media targeting adolescents, overall, the authors' findings revealed a media environment generally supportive of sun protection objectives.

CARAVANA FARKAS (1968/1970): a cultura popular (re)interpretada pelo filme documentário ¾ um estudo de folkmídia.

Este trabalho busca identificar a maneira pela qual a cultura popular é (re)interpretada nos meios de comunicação de massa, a partir da análise dos filmes documentários produzidos pela Caravana Farkas, um projeto pioneiro de documentação de manifestações de cultura popular brasileira, realizado entre 1968 e 1970 no Nordeste. Para tanto, discute-se como os filmes se inserem no panorama político-cultural do Brasil da década de 60; quais as condições que permitiram a construção de seus discursos; que regras esses discursos estabeleceram; como e por que as manifestações culturais populares passaram a constituir objeto de estudo e de registro dos cineastas; e o que era definido por eles como cultura popular . O tema básico que perpassa os filmes é o da cultura de uma classe outra, que está no passado e não tem lugar no aqui e agora da modernidade. A alteridade e a representação do outro estão traspassadas pelas diferenças de classe, e o caráter de resistência cultural e política das manifestações de cultura popular, na visão dos cineastas, se perde na aparência de um mundo cujo destino já está traçado: é a extinção. Os filmes documentários, por outro lado, servem de lugar de confronto das diferentes culturas e de diálogo entre elas, gerando novos e múltiplos significados, que independem da vontade dos cineastas. É dessa maneira que constroem um novo discurso acerca de uma determinada realidade. Menos um reflexo, no sentido de espelhamento, mais uma referência de um tempo e um espaço que não se repetirão. Nas trilhas da cultura popular, a viagem da Caravana Farkas não chega a um termo nem a um final tranqüilo, pois é envolvida pelas contradições e incompatibilidades que as questões suscitadas pela discussão do real provocam. Mas deixa evidente que a sua importância para os estudos da Comunicação está na própria jornada e no diálogo permanente e infinito entre culturas que esse caminhar provoca.

DA PENA À PELÍCULA: AS PERSONAGENS DE CARANDIRU

Este estudo enfoca a transposição da obra literária Estação Carandiru, de Drauzio Varella, para o cinema, no que tange à construção de suas personagens. Para tanto, fez-se um levantamento das personagens e de suas características, de ambas as obras. O objetivo maior é compreender as escolhas feitas durante este diálogo entre mídias, que originou o filme Carandiru, de Hector Babenco, visto que houve uma grande redução no número de personagens. Para esta análise, adotou-se a pesquisa descritiva como procedimento metodológico. Constatou-se que a maior parte das origens das personagens cinematográficas vem de fusões de personagens literárias. Mas também foram encontradas personagens literárias que foram desmembradas e algumas que foram eliminadas. Não se encontrou nenhuma personagem acrescentada.(AU)

PERSONAGENS INFANTIS DO CINEMA NA PROPAGANDA: UMA ESTRATÉGIA NA COMUNICAÇÃO AO PEQUENO CONSUMIDOR

Esta pesquisa tem como foco o varejo de produtos alimentícios que estão em amplo crescimento comercial com o uso de imagens de personagens de cinema infantil na propaganda para potencializar as marcas no mercado. O objetivo é conhecer e interpretar de forma científica, como o uso de imagens de personagens de cinema infantil na publicidade pode resultar no desejo de consumo pelo pequeno consumidor. A metodologia por experimento com crianças de 4 a 6 anos de idade serviu como base para que a questão da pesquisa fosse respondida a partir da aplicação de uma simulação de um ponto direto de venda (PDV). Biscoitos recheados com aplicação nas embalagens de personagens de cinema infantil assim como personagens de publicidade ficaram à disposição de compra do pequeno consumidor. Na conclusão do experimento, observa-se que a questão da pesquisa foi respondida, ressaltando que a publicidade de produtos alimentícios infantis com aplicação de personagens publicitários mantém condições de venda mais favoráveis do que publicidade de produtos alimentícios infantis com aplicação de personagens de cinema infantil, o que cria uma aversão ao discurso do senso comum.(AU)

Constant shear along a boundary of a flume

'I'he accurate rreasurement of bed shear stress has been extremely difficult due to its changing values until white propunded a theory which would give constant shear along the bed of a flume. In this investigation a flume has been designed according to White's theory and by two separate methods proven to give constant shearing force along the bed. The first method applied the Hydrogen Bubble Technique to obtain accurate values of velocity thus allowing the velocity profile to be plotted and the momentum at the various test sections to be calculated. The use of a 16 mm Beaulieu movie camera allowed the exact velocity profiles created by the hydrogen bubbles to be recorded whilst an analysing projector gave the means of calculating the exact velocities at the various test sections. Simultaneously Preston's technique of measuring skin friction using Pitot tubes was applied. Twc banks of open ended water manometer were used for recording the static and velocity head pressure drop along the flume. This tvpe of manometer eliminated air locks in the tubes and was found to be sufficiently accurate. Readings of pressure and velocity were taken for various types and diameters of bed material both natural sands and glass spheres and the results tabulated. Graphs of particle Reynolds Number against bed shear stress were plotted and gave a linear relationship which dropped off at high values of Reynolds number. It was found that bed movement occurred instantaneously along the bed of the flume once critical velocity had been reached. On completion of this test a roof curve inappropriate to the bed material was used and then the test repeated. The bed shearing stress was now no longer constant and yet bed movement started instantaneously along the bed of the flume, showing that there are more parameters than critical shear stress to bed movement. It is concluded from the two separate methods applied that the bed shear stress is constant along the bed of the flume.

May the contact lens force be with you

FULL TEXT: Like many people one of my favourite pastimes over the holiday season is to watch the great movies that are offered on the television channels and new releases in the movie theatres or catching up on those DVDs that you have been wanting to watch all year. Recently we had the new ‘Star Wars’ movie, ‘The Force Awakens’, which is reckoned to become the highest grossing movie of all time, and the latest offering from James Bond, ‘Spectre’ (which included, for the car aficionados amongst you, the gorgeous new Aston Martin DB10). It is always amusing to see how vision correction or eye injury is dealt with by movie makers. Spy movies and science fiction movies have a freehand to design aliens with multiples eyes on stalks or retina scanning door locks or goggles that can see through walls. Eye surgery is usually shown in some kind of day case simplified laser treatment that gives instant results, apart from the great scene in the original ‘Terminator’ movie where Arnold Schwarzenegger's android character encounters an injury to one eye and then proceeds to remove the humanoid covering to this mechanical eye over a bathroom sink. I suppose it is much more difficult to try and include contact lenses in such movies. Although you may recall the film ‘Charlie's Angels’, which did have a scene where one of the Angels wore a contact lens that had a retinal image imprinted on it so she could by-pass a retinal scan door lock and an Eddy Murphy spy movie ‘I-Spy’, where he wore contact lenses that had electronic gadgetry that allowed whatever he was looking at to be beamed back to someone else, a kind of remote video camera device. Maybe we aren’t quite there in terms of devices available but these things are probably not the behest of science fiction anymore as the technology does exist to put these things together. The technology to incorporate electronics into contact lenses is being developed and I am sure we will be reporting on it in the near future. In the meantime we can continue to enjoy the unrealistic scenes of eye swapping as in the film ‘Minority Report’ (with Tom Cruise). Much more closely to home, than in a galaxy far far away, in this issue you can find articles on topics much nearer to the closer future. More and more optometrists in the UK are becoming registered for therapeutic work as independent prescribers and the number is likely to rise in the near future. These practitioners will be interested in the review paper by Michael Doughty, who is a member of the CLAE editorial panel (soon to be renamed the Jedi Council!), on prescribing drugs as part of the management of chronic meibomian gland dysfunction. Contact lenses play an active role in myopia control and orthokeratology has been used not only to help provide refractive correction but also in the retardation of myopia. In this issue there are three articles related to this topic. Firstly, an excellent paper looking at the link between higher spherical equivalent refractive errors and the association with slower axial elongation. Secondly, a paper that discusses the effectiveness and safety of overnight orthokeratology with high-permeability lens material. Finally, a paper that looks at the stabilisation of early adult-onset myopia. Whilst we are always eager for new and exciting developments in contact lenses and related instrumentation in this issue of CLAE there is a demonstration of a novel and practical use of a smartphone to assisted anterior segment imaging and suggestions of this may be used in telemedicine. It is not hard to imagine someone taking an image remotely and transmitting that back to a central diagnostic centre with the relevant expertise housed in one place where the information can be interpreted and instruction given back to the remote site. Back to ‘Star Wars’ and you will recall in the film ‘The Phantom Menace’ when Qui-Gon Jinn first meets Anakin Skywalker on Tatooine he takes a sample of his blood and sends a scan of it back to Obi-Wan Kenobi to send for analysis and they find that the boy has the highest midichlorian count ever seen. On behalf of the CLAE Editorial board (or Jedi Council) and the BCLA Council (the Senate of the Republic) we wish for you a great 2016 and ‘may the contact lens force be with you’. Or let me put that another way ‘the CLAE Editorial Board and BCLA Council, on behalf of, a great 2016, we wish for you!’

Perception while watching movies:effects of physical screen size and scene type

Over the last decade, television screens and display monitors have increased in size considerably, but has this improved our televisual experience? Our working hypothesis was that the audiences adopt a general strategy that “bigger is better.” However, as our visual perceptions do not tap directly into basic retinal image properties such as retinal image size (C. A. Burbeck, 1987), we wondered whether object size itself might be an important factor. To test this, we needed a task that would tap into the subjective experiences of participants watching a movie on different-sized displays with the same retinal subtense. Our participants used a line bisection task to self-report their level of “presence” (i.e., their involvement with the movie) at several target locations that were probed in a 45-min section of the movie “The Good, The Bad, and The Ugly.” Measures of pupil dilation and reaction time to the probes were also obtained. In Experiment 1, we found that subjective ratings of presence increased with physical screen size, supporting our hypothesis. Face scenes also produced higher presence scores than landscape scenes for both screen sizes. In Experiment 2, reaction time and pupil dilation results showed the same trends as the presence ratings and pupil dilation correlated with presence ratings, providing some validation of the method. Overall, the results suggest that real-time measures of subjective presence might be a valuable tool for measuring audience experience for different types of (i) display and (ii) audiovisual material.

Self-training from labeled features for sentiment analysis

Sentiment analysis concerns about automatically identifying sentiment or opinion expressed in a given piece of text. Most prior work either use prior lexical knowledge defined as sentiment polarity of words or view the task as a text classification problem and rely on labeled corpora to train a sentiment classifier. While lexicon-based approaches do not adapt well to different domains, corpus-based approaches require expensive manual annotation effort. In this paper, we propose a novel framework where an initial classifier is learned by incorporating prior information extracted from an existing sentiment lexicon with preferences on expectations of sentiment labels of those lexicon words being expressed using generalized expectation criteria. Documents classified with high confidence are then used as pseudo-labeled examples for automatical domain-specific feature acquisition. The word-class distributions of such self-learned features are estimated from the pseudo-labeled examples and are used to train another classifier by constraining the model's predictions on unlabeled instances. Experiments on both the movie-review data and the multi-domain sentiment dataset show that our approach attains comparable or better performance than existing weakly-supervised sentiment classification methods despite using no labeled documents.

Incorporating sentiment prior knowledge for weakly supervised sentiment analysis

This article presents two novel approaches for incorporating sentiment prior knowledge into the topic model for weakly supervised sentiment analysis where sentiment labels are considered as topics. One is by modifying the Dirichlet prior for topic-word distribution (LDA-DP), the other is by augmenting the model objective function through adding terms that express preferences on expectations of sentiment labels of the lexicon words using generalized expectation criteria (LDA-GE). We conducted extensive experiments on English movie review data and multi-domain sentiment dataset as well as Chinese product reviews about mobile phones, digital cameras, MP3 players, and monitors. The results show that while both LDA-DP and LDAGE perform comparably to existing weakly supervised sentiment classification algorithms, they are much simpler and computationally efficient, rendering themmore suitable for online and real-time sentiment classification on the Web. We observed that LDA-GE is more effective than LDA-DP, suggesting that it should be preferred when considering employing the topic model for sentiment analysis. Moreover, both models are able to extract highly domain-salient polarity words from text.

A comparative study of bayesian models for unsupervised sentiment detection

This paper presents a comparative study of three closely related Bayesian models for unsupervised document level sentiment classification, namely, the latent sentiment model (LSM), the joint sentiment-topic (JST) model, and the Reverse-JST model. Extensive experiments have been conducted on two corpora, the movie review dataset and the multi-domain sentiment dataset. It has been found that while all the three models achieve either better or comparable performance on these two corpora when compared to the existing unsupervised sentiment classification approaches, both JST and Reverse-JST are able to extract sentiment-oriented topics. In addition, Reverse-JST always performs worse than JST suggesting that the JST model is more appropriate for joint sentiment topic detection.

Learning sentiment classification model from labeled features

We propose a novel framework where an initial classifier is learned by incorporating prior information extracted from an existing sentiment lexicon. Preferences on expectations of sentiment labels of those lexicon words are expressed using generalized expectation criteria. Documents classified with high confidence are then used as pseudo-labeled examples for automatical domain-specific feature acquisition. The word-class distributions of such self-learned features are estimated from the pseudo-labeled examples and are used to train another classifier by constraining the model's predictions on unlabeled instances. Experiments on both the movie review data and the multi-domain sentiment dataset show that our approach attains comparable or better performance than exiting weakly-supervised sentiment classification methods despite using no labeled documents.

Automatically extracting polarity-bearing topics for cross-domain sentiment classification

Joint sentiment-topic (JST) model was previously proposed to detect sentiment and topic simultaneously from text. The only supervision required by JST model learning is domain-independent polarity word priors. In this paper, we modify the JST model by incorporating word polarity priors through modifying the topic-word Dirichlet priors. We study the polarity-bearing topics extracted by JST and show that by augmenting the original feature space with polarity-bearing topics, the in-domain supervised classifiers learned from augmented feature representation achieve the state-of-the-art performance of 95% on the movie review data and an average of 90% on the multi-domain sentiment dataset. Furthermore, using feature augmentation and selection according to the information gain criteria for cross-domain sentiment classification, our proposed approach performs either better or comparably compared to previous approaches. Nevertheless, our approach is much simpler and does not require difficult parameter tuning.

Androiden und (Anti)feminismus in The Stepford Wives

Since the early days of cinema the creation of artificial life with its various implications has been a popular topic on screen. Amongst the large number of films that deal with the theme of androids Bryan Forbes’ "The Stepford Wives" (1975) is noticeable for its focus on questions of gender and the relationship between the sexes. The film is set in a contemporary small suburban town where frustrated husbands have found a special way of dealing with their emancipated wives by replacing them with docile life-like robots. Mixing elements of the thriller and horror genres with farce and comedy "The Stepford Wives" was the first American mainstream film to deal explicitly with Women’s Lib. Unlike Ira Levin in his much more ambivalent novel that the film was based on, Forbes and his actors deliberately set out to make a feminist satire, and according to some critics succeeded in producing an important document of second wave feminism which soon acquired cult status. However, it also provoked a number of negative reactions from feminists who were very uncomfortable with a film in which men get away with murdering the female population of an entire town. A closer inspection reveals that the satirical element of the film is indeed not prominent and frequently counteracted, at times facilitating a misogynist rather than a feminist interpretation. This is mainly due to the ending of the film which implies the murderous elimination of the female protagonist. Unlike all other cinematic and literary works that feature androids "The Stepford Wives" shows the successful creation of artificial life which does not backfire. In addition, the film which clearly categorises itself as a thriller and horror movie, and specifically alludes to the tradition of threatened yet strong female characters in these genres, at the same time defies this convention in favour of a seemingly misogynist ending. Thus the way in which "The Stepford Wives" refuses to comply with the traditions of both the android theme and the horror genre, involuntarily serves to undermine its intention as a feminist social satire.

Joint sentiment/topic model for sentiment analysis

Sentiment analysis or opinion mining aims to use automated tools to detect subjective information such as opinions, attitudes, and feelings expressed in text. This paper proposes a novel probabilistic modeling framework based on Latent Dirichlet Allocation (LDA), called joint sentiment/topic model (JST), which detects sentiment and topic simultaneously from text. Unlike other machine learning approaches to sentiment classification which often require labeled corpora for classifier training, the proposed JST model is fully unsupervised. The model has been evaluated on the movie review dataset to classify the review sentiment polarity and minimum prior information have also been explored to further improve the sentiment classification accuracy. Preliminary experiments have shown promising results achieved by JST.