Demonstration against the movie "Windows"

General note: Title and date provided by Bettye Lane.

Bronx residents demonstrate against "Fort Apache" movie

General note: Title and date provided by Bettye Lane.

'Movie Recommendation Systems Using An Artificial Immune System'

We apply the Artificial Immune System (AIS)technology to the collaborative Filtering (CF)technology when we build the movie recommendation system. Two different affinity measure algorithms of AIS, Kendall tau and Weighted Kappa, are used to calculate the correlation coefficients for this movie recommendation system. From the testing we think that Weighted Kappa is more suitable than Kendall tau for movie problems.

'On Affinity Measures for Artificial Immune System Movie Recommenders'

Abstract. We combine Artificial Immune Systems (AIS) technology with Collaborative Filtering (CF) and use it to build a movie recommendation system. We already know that Artificial Immune Systems work well as movie recommenders from previous work by Cayzer and Aickelin ([3], [4], [5]). Here our aim is to investigate the effect of different affinity measure algorithms for the AIS. Two different affinity measures, Kendall's Tau and Weighted Kappa, are used to calculate the correlation coefficients for the movie recommender. We compare the results with those published previously and show that that Weighted Kappa is more suitable than others for movie problems. We also show that AIS are generally robust movie recommenders and that, as long as a suitable affinity measure is chosen, results are good.

This Is a Gorgeous-looking Movie”: Multimodal Interplay between Commentary and Subject Materials in Movie Review Entertainment

The present thesis is a study of movie review entertainment (MRE) which is a contemporary Internet-based genre of texts. MRE are movie reviews in video form which are published online, usually as episodes of an MRE web show. Characteristic to MRE is combining humor and honest opinions in varying degrees as well as the use of subject materials, i.e. clips of the movies, as a part of the review. The study approached MRE from a linguistic perspective aiming to discover 1) whether MRE is primarily text- or image-based and what the primary functions of the modes are, 2) how a reviewer linguistically combines subject footage to her/his commentary?, 3) whether there is any internal variation in MRE regarding the aforementioned questions, and 4) how suitable the selected models and theories are in the analysis of this type of contemporary multimodal data. To answer the aforementioned questions, the multimodal system of image—text relations by Martinec and Salway (2005) in combination with categories of cohesion by Halliday and Hasan (1976) were applied to four full MRE videos which were transcribed in their entirety for the study. The primary data represent varying types of MRE: a current movie review, an analytic essay, a riff review, and a humorous essay. The results demonstrated that image vs. text prioritization can vary between reviews and also within a review. The current movie review and the two essays were primarily commentary-focused whereas the riff review was significantly more dependent on the use of imagery as the clips are a major source of humor which is a prominent value in that type of a review. In addition to humor, clips are used to exemplify the commentary. A reviewer also relates new information to the imagery as well as uses two modes to present the information in a review. Linguistically, the most frequent case was that the reviewer names participants and processes lexically in the commentary. Grammatical relations (reference items such as pronouns and adverbs and conjunctive items in the riff review) were also encountered. There was internal variation to a considerable degree. The methods chosen were deemed appropriate to answer the research questions. Further study could go beyond linguistics to include, for instance, genre and media studies.

Sonic Movie Memories: Sound, Childhood, and American Cinema

Though the trend rarely receives attention, since the 1970s many American filmmakers have been taking sound and music tropes from children’s films, television shows, and other forms of media and incorporating those sounds into films intended for adult audiences. Initially, these references might seem like regressive attempts at targeting some nostalgic desire to relive childhood. However, this dissertation asserts that these children’s sounds are instead designed to reconnect audience members with the multi-faceted fantasies and coping mechanisms that once, through children’s media, helped these audience members manage life’s anxieties. Because sound is the sense that Western audiences most associate with emotion and memory, it offers audiences immediate connection with these barely conscious longings. The first chapter turns to children’s media itself and analyzes Disney’s 1950s forays into television. The chapter argues that by selectively repurposing the gentlest sonic devices from the studio’s films, television shows like Disneyland created the studio’s signature sentimental “Disney sound.” As a result, a generation of baby boomers like Steven Spielberg comes of age and longs to recreate that comforting sound world. The second chapter thus focuses on Spielberg, who incorporates Disney music in films like Close Encounters of the Third Kind (1977). Rather than recreate Disney’s sound world, Spielberg uses this music as a springboard into a new realm I refer to as “sublime refuge” - an acoustic haven that combines overpowering sublimity and soothing comfort into one fantastical experience. The second half of the dissertation pivots into more experimental children’s cartoons like Gerald McBoing-Boing (1951) - cartoons that embrace audio-visual dissonance in ways that soothe even as they create tension through a phenomenon I call “comfortable discord.” In the final chapter, director Wes Anderson reveals that these sonic tensions have just as much appeal to adults. In films like The Royal Tenenbaums (2001), Anderson demonstrates that comfortable discord can simultaneously provide a balm for anxiety and create an open-ended space that makes empathetic connections between characters possible. The dissertation closes with a call to rethink nostalgia, not as a romanticization of the past, but rather as a reconnection with forgotten affective channels.

'On Affinity Measures for Artificial Immune System Movie Recommenders'

Abstract. We combine Artificial Immune Systems (AIS) technology with Collaborative Filtering (CF) and use it to build a movie recommendation system. We already know that Artificial Immune Systems work well as movie recommenders from previous work by Cayzer and Aickelin ([3], [4], [5]). Here our aim is to investigate the effect of different affinity measure algorithms for the AIS. Two different affinity measures, Kendall's Tau and Weighted Kappa, are used to calculate the correlation coefficients for the movie recommender. We compare the results with those published previously and show that that Weighted Kappa is more suitable than others for movie problems. We also show that AIS are generally robust movie recommenders and that, as long as a suitable affinity measure is chosen, results are good.

'Movie Recommendation Systems Using An Artificial Immune System'

We apply the Artificial Immune System (AIS)technology to the collaborative Filtering (CF)technology when we build the movie recommendation system. Two different affinity measure algorithms of AIS, Kendall tau and Weighted Kappa, are used to calculate the correlation coefficients for this movie recommendation system. From the testing we think that Weighted Kappa is more suitable than Kendall tau for movie problems.

Two main challenges in service description : Web service tunnel vision and semantic myopia

Through media such as newspapers, letterbox flyers, corporate brochures and television we are regularly confronted with descriptions for conventional (bricks 'n' mortar style) services. These representations vary in the terminology utilised, the depth of the description, the aspects of the service that are characterised and their applicability to candidate service requestors. Existing service catalogues (such as the Yellow Pages) provide little relief for service requestors from the burdensome task of discovering, comparing and substituting services. Add to this environment the rapidly evolving area of web services with its associated surfeit of standards, and the result is a considerably fragmented approach to the description of services. It leaves the reality of the Semantic Web somewhat clouded. --------- Let's consider service description briefly, before discussing our concerns with existing approaches to description. The act of describing is performed prior to advertising. This simple fact provides an interesting paradox as services cannot be described exactly before advertisement. This doesn't mean they can't be described comprehensively. By "exactly", we are referring to the fact that context provided by a service requestor (and their service needs) will alter the description of the service that is presented to the discoverer. For example, a service provider who operates a cinema wants to describe the price of their service. Let's say the advertised price is $15. They also want to state that a pensioner discount and a student discount is available which provides a 50% discount. A customer (i.e. service requestor) uses the cinema web site to purchase tickets online. They find the movie of their choice at a time that suits. However, its not until some context is provided by the requestor that the exact price is determined. The requestor might state that they are a pensioner. The same is applicable for a service requestor who purchases multiple tickets perhaps on behalf of other people. The disconnect between when the service is described and when a requestor provides context introduces challenges to the description process. A service provider would be ill-advised to offer independent descriptions that represent all the permutations possible for a single service. The descriptive effort would be prohibitive.

Mobile communications : a study of factors influencing consumer use of m-services

New mobile digital communication technologies present opportunities for advertisers to capitalize on the evolving relationships of consumers with their mobile devices and their desire to access enhanced information services while mobile (m-services). Consumers already use mobile devices (cell phones, personal mobile digital assistants) for traditional phone calls and message handling (e.g., Kalakota and Robinson, 2002; Sullivan Mort and Drennan, 2002). The combination of rapidly developing mobile digital technology and high uptake rates of mobile devices presents enormous potential for delivery of m-services through these devices (Bitner, Brown, and Meuter, 2000). M-services encompass a wide variety of types including the ability to trade stock, to book theater and movie tickets while accessing seating plans online, to send and receive text and pictures, and receive personalized direct advertising such as alerts for shopping bargains. Marketing communications, and specifically advertising, may be delivered as an m-service and termed m-services advertising, forming part of the broader category of m-services. However, advertising research has not yet addressed the area of m-services and needs to do so to be able to take advantage of the advanced interactivity (Yadav and Varadarajan, 2005) of mobile communication devices. Such advertising research is likely to help develop open attitudes and responses to new business models as has been advocated for other new technology such as advanced television (Tauder, 2005). In this article, we model the factors influencing the use of m-services, in the context of consumers' existing relationships with mobile devices. First, we address the value propositions underpinning consumer involvement with mobile devices. Next, we canvass the types of involvement relevant to this consumption domain and argue that involvement, together with personal attributes innovativeness and self-efficacy, will influence use of m-services. Finally, implications for advertising delivered as an m-service are discussed, the potential for m-services advertising as part of m-commerce are canvassed, and directions for future research identified.

Documentary practice in a participatory culture

Debates concerning the veracity, ethics and politics of the documentary form circle endlessly around the function of those who participate in it, and the meaning attributed to their participation. Great significance is attached to the way that documentary filmmakers do or do not participate in the world they seek to represent, just as great significance is attached to those subjects whose participation extends beyond playing the part of eyewitness or expert, such that they become part of the very filmmaking process itself. This Ph.D. explores the interface between documentary practice and participatory culture by looking at how their practices, discursive fields and histories intersect, but also by looking at how participating in one might mean participating in the other. In short, the research is an examination of participatory culture through the lens of documentary practice and documentary criticism. In the process, however, this examination of participatory culture will in turn shed light on documentary thinking, especially the meaning and function of ‘the participant’ in contemporary documentary practice. A number of ways of conceiving of participation in documentary practice are discussed in this research, but one of the ideas that gives purpose to that investigation is the notion that the participant in contemporary documentary practice is someone who belongs to a participatory culture in particular. Not only does this mean that those subjects who play a part in a documentary are already informed by their engagement with a range of everyday media practices before the documentary apparatus arrives, the audience for such films are similarly informed and engaged. This audience have their own expectations about how they should be addressed by media producers in general, a fact that feeds back into their expectations about participatory approaches to documentary practice too. It is the ambition of this research to get closer to understanding the relationship between participants in the audience, in documentary and ancillary media texts, as well as behind the camera, and to think about how these relationships constitute a context for the production and reception of documentary films, but also how this context might provide a model for thinking about participatory culture itself. One way that documentary practice and participatory culture converge in this research is in the kind of participatory documentary that I call the ‘Camera Movie’, a narrow mode of documentary filmmaking that appeals directly to contemporary audiences’ desires for innovation and participation, something that is achieved in this case by giving documentary subjects control of the camera. If there is a certain inevitability about this research having to contend with the notion of the ‘participatory documentary’, the ‘participatory camera’ also emerges strongly in this context, especially as a conduit between producer and consumer. Making up the creative component of this research are two documentaries about the reality television event Band In A Bubble, and participatory media practices more broadly. The single-screen film, Hubbub , gives form to the collective intelligence and polyphonous voice of contemporary audiences who must be addressed and solicited in increasingly innovative ways. One More Like That is a split-screen, DVD-Video with alternate audio channels selected by a user who thereby chooses who listens and who speaks in the ongoing conversation between media producers and media consumers. It should be clear from the description above that my own practice does not extend to highly interactive, multi-authored or web-enabled practices, nor the distributed practices one might associate with social media and online collaboration. Mine is fundamentally a single authored, documentary video practice that seeks to analyse and represent participatory culture on screen, and for this reason the Ph.D. refrains from a sustained discussion of the kinds of collaborative practices listed above. This is not to say that such practices don’t also represent an important intersection of documentary practice and participatory culture, they simply represent a different point of intersection. Being practice-led, this research takes its procedural cues from the nature of the practice itself, and sketches parameters that are most enabling of the idea that the practice sets the terms of its own investigation.

Australian horror movies

The Australian horror film is a fascinating specimen. While a tradition has antecedents in the silent era of cinema, and at times has produced popular and commercially successful titles, Australian horror films have existed among the shadows of Australian cinema. Within a national cinema funded by public subsidy to foster a sense of national identity, emphasizing ‘quality’ cultural films and refusing to recognize popular movie genres in attempt to differentiate itself from Hollywood, generic and low-culture horror films have been in opposition to these objectives. Consequently, horror movies have been heavily marginalized within public funding environments and mainstream film culture, and either ignored or despised by mainstream critics. The chapter provides a historical introduction to Australian horror cinema before reviewing a selection of recent Aussie horror titles, namely: Wolf Creek, Undead, Black Water, Dying Breed, Lost Things, Prey, Cut, Rogue and Storm Warning.

Australian student reactions to U.S. tourism advertising : a test of advertising as public diplomacy

A study among Australian college students gauged their reactions to a television commercial produced for the U.S. Commerce Department to bolster sagging tourism numbers among international visitors. In addition to using traditional measures applied to tourism advertisements, the student also concluded items to measure attitudes toward the U.S. government and its people Pre- and post-viewing results indicated that while the Hollywood-movie-themed commercial was not well received by the Australian students as a tourism message, it did result in more favorable attitudes toward the U.S. government, though not the U.S. people. The findings lend partial support for the potential of tourism advertising efforts to exert a "bleed-over effect" in terms of their contributions to overall attitudes toward a country, regardless of whether viewers plan to visit the country whose travel advertisements they see.