Filmes infantis contemporâneos: a identificação dos valores de uma sociedade de consumo no enredo e nas ações das personagens

There is realized in the last years a growing increase of the field of the goods turned to the childlike public. This world of objects is accompanied by an ideological world of fantasy allied to the act of consumption. The present inquiry consists of a work of reflection about the pertaining values to this ideology of the society of consumption propagated in the plot of childlike contemporary movies, in a sense of be positioning critically in front of the social and moral questions.

Being happy, healthy and whole watching movies that affect our emotions

This paper discusses the power of emotions in our health, happiness and wholeness, and the emotional impact of movies. It presents iFelt, an interactive video application to classify, access, explore and visualize movies based on their emotional properties and impact.

Towards Emotional Interaction: Using Movies to Automatically Learn Users' Emotional States

The HCI community is actively seeking novel methodologies to gain insight into the user’s experience during interaction with both the application and the content. We propose an emotional recognition engine capable of automatically recognizing a set of human emotional states using psychophysiological measures of the autonomous nervous system, including galvanic skin response, respiration, and heart rate. A novel pattern recognition system, based on discriminant analysis and support vector machine classifiers is trained using movies’ scenes selected to induce emotions ranging from the positive to the negative valence dimension, including happiness, anger, disgust, sadness, and fear. In this paper we introduce an emotion recognition system and evaluate its accuracy by presenting the results of an experiment conducted with three physiologic sensors.

Accessing movies based on emotional impact

Emotions play a central role in our daily lives, influencing the way we think and act, our health and sense of well-being, and films are by excellence the form of art that exploits our affective, perceptual and intellectual activity, holding the potential for a significant impact. Video is becoming a dominant and pervasive medium, and online video a growing entertainment activity on the web and iTV, mainly due to technological developments and the trends for media convergence. In addition, the improvement of new techniques for gathering emotional information about videos, both through content analysis or user implicit feedback through user physiological signals complemented in manual labeling from users, is revealing new ways for exploring emotional information in videos, films or TV series, and brings out new perspectives to enrich and personalize video access. In this work, we reflect on the power that emotions have in our lives, on the emotional impact of movies, and on how to address this emotional dimension in the way we classify and access movies, by exploring and evaluating the design of iFelt in its different ways to classify, access, browse and visualize movies based on their emotional impac

Sassetti: music is part of a movie’s soul

O projecto “Principais tendências no cinema português contemporâneo” nasceu no Departamento de Cinema da ESTC, com o objectivo de desenvolver investigação especializada a partir de um núcleo formado por alunos da Licenciatura em Cinema e do Mestrado em Desenvolvimento de Projecto Cinematográfico, a que se juntaram professores-investigadores membros do CIAC e convidados. O que agora se divulga corresponde a dois anos e meio de trabalho desenvolvido pela equipa de investigação, entre Abril de 2009 e Novembro de 2011. Dada a forma que ele foi adquirindo, preferimos renomeá-lo, para efeitos de divulgação, “Novas & velhas tendências no cinema português contemporâneo”.

Imagens, fragmentos, ligações: sobre Short Movies de Gonçalo M. Tavares

O processo criativo de Gonçalo M. Tavares tende a um exercício frequente de economia ou de depuração verbal facilmente conciliável com a sua adesão à densidade e à intensidade do registo fragmentário encarado como nova epistemologia poética. Recorrendo ao conceito de 'frase-imagem' de Rancière com o qual nos propomos ler as 'curta-metragens' de Short Movies, ponderamos neste ensaio certos tipos de operações com as quais o autor produz literariamente experiências visuais e audiovisuais. Neste livro, o exercício sobre a relação entre escrita e imagem supõe um trabalho sobre a palavra que se faz contra a sua habitual função lógica e ordenadora, no sentido não de promover mas de restringir ou pelo menos de desestabilizar a discursividade e a interpretabilidade. Como se se pretendesse operar uma conversão das apetências narrativizadoras dos signos verbais e da sua capacidade para o "telling", nas aptidões ‘monstrativas’ da visualidade fílmica e do seu típico "showing".

L'éthique à l'écran. Compte-rendu de What's Good on TV? – Understanding Ethics Through Television, de Jamie Watson et Robert Arp, et de Seeing the Light – Exploring Ethics Through Movies, de Wanday Teays

Compte-rendu / Review

La légende urbaine des snuff movies : histoire, théorie, esthétiques, technologies

La présente étude propose une analyse historique de la légende urbaine des snuff movies. En premier lieu, elle se penche sur l’émergence de cette rumeur dans le paysage médiatique américain des années 70 tout en focalisant sur certains objets filmiques l’ayant crédibilisée, principalement les stag et les mondo movies. Ce mémoire analyse par la suite l’influence majeure de deux événements sur l’implantation de la légende urbaine dans l’imaginaire collectif, soit l’assassinat de Sharon Tate et la circulation du film de Zapruder. Après avoir étudié la persistance de la rumeur, cet essai focalise sur la promotion et l’exploitation de Snuff (1976) en plus de proposer une analyse de ce long métrage. Ensuite, il se penche sur deux types de représentations du snuff dans le cinéma de fiction ainsi que leurs impacts sur l’authentification de la légende urbaine. Il est d’abord question des mises en scène du snuff dans le cinéma populaire qui s’inspirent de la rumeur pour ensuite l’actualiser. Sont ensuite étudiées les représentations du snuff à titre de faux documents, soit ces œuvres qui tentent par divers procédés de se faire passer pour de véritables films clandestins et, de ce fait, authentifient l’objet auquel ils se réfèrent. Puisque cette étude analyse l’évolution médiatique de la légende urbaine, elle se conclut sur son déplacement du cinéma vers Internet et de sa nouvelle crédibilisation grâce aux vidéos macabres, à la pornographie juvénile et au récent cas Magnotta.

Movies as a source of non-occupational noise exposure

This paper examines the noise levels of movies and whether or not movie theater sound levels may be hazardous to audience members.

Movies, Mind and Meaning : Studying Audience and Favourite Films

Construction of identity and meaning is becoming increasingly important in both media studies and religion scholarship. (Lövheim, 2004) Meaning construction outside traditional religion has become more interesting for religious studies and what individuals in the audience do with all messages circulated through media in everyday life has attended increasing interest within media studies (Stout and Buddenbaum, 2001). Motion pictures, soap operas and advertising are all examples of media contents which generate ideas among its audience which to a various degree are used as resources within the construction of identity (Jansson, 2001). The investigation of what modern humankind’s world views look like and what components they are composed of, in this context seems to be an important topic of investigation (Holm and Björkqvist, 1996). The ways in which the development of media has effected the daily lives of individuals is interest as is the nature of the self and the ways in which the process of self-formation is affected by the profusion of mediated materials (Thompson, 1995). Film and religion are my interest within this larger frame. The topic is not exactly new but the combination of film and religion has during the last ten years resulted in a rapidly growing number of books by scholars interested in this field (Lyden, 2003). One growing focus is on the role that films can and do play within the emerging and developing valuesystem of people in the West today (Marsh, 2004). The British theologian Clive Marsh’s point of departure is very similar to my own. Viewers bring to a film life-experience, immediate concerns and worldviews and the exploration of this interplay between movies and the interpreting process of meaning making is the very focus in this paper. Theoretically, the semeiological model of Alf Linderman is combined with cultural cognitive approaches used by a number of Scandinavian media scholars developing perspectives in audience theory (Linderman, 1996, Höijer and Werner, 1998). 13 individuals, their favourite movie and what it means to them in their life My aim is to examine how individuals comprehend film and what the meaning process look like. In this paper I present the outcome of 13 interviews with young people about their favourite film. I suggest how it is possible to interpret how they interrelate film comprehension with their personal beliefs and their culturally constructed worldview from a sociocognitive point of view. Examples of films chosen range from Disneys Lion King (1994), sciencefiction and fantasy successes like The Matrix (1999) and Lord of the Rings (2001) or the next best movie ever according to www.IMdb.com The Shawshank Redemption (1994) as well as the Swedish blockbuster Så som i himmelen (2004), aka “As in Heaven”.