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

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

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.

“Namastey London”: Bollywood Movies and Their Impact on how Indians Perceive European Destinations

The aim of this study is to analyze the perception of European destinations through the eyes of Indian Bollywood film viewers to determine how perception is influenced by what is viewed in films. Researchers surveyed Indian consumers and collected 670 usable surveys. European destinations were divided into top five and bottom five destinations for Indian tourists, and data was then compared to world tourism statistics. Results indicate differences in destination preference among Bollywood viewers and worldwide tourist trends. Findings indicate that prominently featuring a landscape within Bollywood films can significantly impact Indians’ perception on the destinations’ image. European countries frequently portrayed in films have higher marks on multiple perception categories than those not featured in blockbuster Bollywood films.

Tourist See Tourist Do: The Influence of Hollywood Movies and Television on Tourism Motivation and Activity Behavior

The purpose of this study was to investigate the influence of Hollywood movies and television (movies/TV) on US viewer’s motivation to travel to and participate in activities featured in Hollywood movies/TV productions. A survey was administered in an online format to a convenience sample of 433 respondents via Qualtrics. Factor analysis, correlation, and regression was employed to explore relationships between the variables. Findings identified a profile of Hollywood movies/TV viewers, sources of information used to determine destination choice, and level of involvement among viewers of Hollywood movies/TV productions. Additionally, this study explored the relationships between Hollywood movies/TV productions, tourist motivations, and the propensity to participate in activities featured. Findings indicate that Hollywood movies/TV productions have a positive impact on viewer involvement and that movie/TV related tourism is likely to be affected by movie and TV viewing preference and destination image. The results identify that the predictor “TV viewing behavior” is the strongest predictor of entertainmentmotivated tourism, followed by “destination image” and “movie viewing behavior.” Findings also indicate that “destination image” is the strongest predictor of movie-related activities and that the image portrayed in a movie does influence the viewer’s inclination to visit and participate in activities featured in a movie.

Movies

Inscriptions: Verso: [stamped] Photograph by Freda Leinwand. [463 West Street, Studio 229G, New York, NY 10014].

Movies and the Enchanted Mind : Emotional Comprehension and Spiritual Meaning Making Among Young Adults in Contemporary Sweden

The outcome of an empirical audience study in Sweden including questionnaires, focus groups and ten in-depth individual interviews discussing favorite films supports claims about viewers as active and playful (cf. Frampton 2006, Hoover 2006, Plantinga 2009). The soft side of mediatization processes is illustrated showing young adults experiencing enchantment through films (Jerslev 2006, Partridge 2008, Klinger 2008, Oliver & Hartmann 2010). The 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, Suckfüll 2010, Oliver & Hartmann 2010, Axelson 2014). The results of the interviews exploring specific scenes of idiosyncratic relevance support theories about fiction films as important sources for moral and spiritual reflection (Partridge 2004, Zillman 2005, Lynch 2007, Plantinga 2009).  The concept thick viewing is proposed for capturing these moments of film experience when profound and enchanted emotional interpretations take place.

Making Money from Monsters

It seems Australia is the place to be at the moment when it comes to making and creating horror films. Mark David Ryan explains how you can get involved in this boom industry. If you’re a writer with a passion for scary movies, a wordsmith who watches the occasional horror flick and writing your own has crossed your mind, or a writer who terrifies readers with an interest in screenwriting, then there has never been a better time to write Aussie horror flicks. This article introduces the horror genre’s core characteristics, issues to consider when crafting a horror flick, and provides tips for getting scripts into the hands of producers.