Narrative structure detection through audio pace

We use the concept of film pace, expressed through the audio, to analyse the broad level narrative structure of film. The narrative structure is divided into visual narration, action sections, and audio narration, plot development sections. We hypothesise, that changes in the narrative structure signal a change in audio content, which is reflected by a change in audio pace. We test this hypothesis using a number of audio feature functions, that reflect the audio pace, to detect changes in narrative structure for 8 films of varying genres. The properties of the energy were then used to determine the. audio pace feature corresponding to the narrative, structure for each film analysed. The method was successful in determining the narrative structure for 1 of the films, achieving an overall precision of 76.4% and recall of 80.3%, We map the properties of the speech and energy of film audio to the higher level semantic concept of audio pace. The audio pace was in turn applied to a higher level semantic analysis of the structure of film.

Indexing narrative structure and semantics in motion pictures with a probabilistic framework

This work constitutes the first attempt to extract an important narrative structure, the 3-Act story telling paradigm, in film. This narrative structure is prevalent in the domain of film as it forms the foundation and framework in which the film can be made to function as an effective tool for story telling, and its extraction is a vital step in automatic content management for film data. A novel act boundary likelihood function for Act 1 is derived using a Bayesian formulation under guidance from film grammar, tested under many configurations and the results are reported for experiments involving 25 full length movies. The formulation is shown to be a useful tool in both the automatic and semi-interactive setting for semantic analysis of film.

The sideways hourglass : establishing the lemniscate as a narrative structure for writing and reading non-linear stories

This thesis is a study in narratology that examines the pre-theoretical ideas that underlie the study of narrative and time. The thesis explores how the lemniscate can be transported from geometry to narrative in order to structure a non-linear story that breaks the rules of causality and chronology by coupling physical movement through space with the backward pull of memory. The findings offer new possibilities for understanding the nexus between shape and story and for recording non-linear narratives that are marked by simultaneity, counterpoint, and reversal.

Deflections and curvatures of a film-substrate structure with the presence of gradient stress in MEMS applications

The close form solutions of deflections and curvatures for a film-substrate composite structure with the presence of gradient stress are derived. With the definition of more precise kinematic assumption, the effect of axial loading due to residual gradient stress is incorporated in the governing equation. The curvature of film-substrate with the presence of gradient stress is shown to be nonuniform when the axial loading is nonzero. When the axial loading is zero, the curvature expressions of some structures derived in this paper recover the previous ones which assume the uniform curvature. Because residual gradient stress results in both moment and axial loading inside the film-substrate composite structure, measuring both the deflection and curvature is proposed as a safe way to uniquely determine the residual stress state inside a film-substrate composite structure with the presence of gradient stress.

The compact microcrystalline Si thin film with structure uniformity in the growth direction by hydrogen dilution profile

The hydrogen dilution profiling (HDP) technique has been developed to improve the quality and the crystalline uniformity in the growth direction of mu c-Si:H thin films prepared by hot-wire chemical-vapor deposition. The high H dilution in the initial growth stage reduces the amorphous transition layer from 30-50 to less than 10 nm. The uniformity of crystalline content X-c in the growth direction was much improved by the proper design of hydrogen dilution profiling which effectively controls the nonuniform transition region of Xc from 300 to less than 30 nm. Furthermore, the HDP approach restrains the formation of microvoids in mu c-Si: H thin films with a high Xc and enhances the compactness of the film. As a result the stability of mu c-Si: H thin films by HDP against the oxygen diffusion, as well as the electrical property, is much improved. (c) 2005 American Institute of Physics.

Teaching stylistics: analysing cohesion and narrative structure in a short story by Ernest Hemingway

The main aim of this article is to propose an exercise in stylistic analysis which can be employed in the teaching of English language. It details the design and results of a workshop activity on narrative carried out with undergraduates in a university department of English. The methods proposed are intended to enable students to obtain insights into aspects of cohesion and narrative structure; insights, it is suggested, which are not as readily obtainable through more traditional techniques of stylistic analysis. The text chosen for analysis is a short story by Ernest Hemingway comprising only 11 sentences. A jumbled version of this story is presented to students who are asked to assemble a cohesive and well-formed version of the story. Their (re)constructions are then compared with the original Hemingway version. Much interest, it is argued, lies in the ways in which the students justify their own versions in terms of their expectations about well-formedness in narrative. The activity is also intended to encourage students to see literary texts as a valuable means of providing insights into the subtleties of linguistic form and function.

The Secret Aria on Shame : An Analysis of Narrative Structure and Theme in Coetzee's "Diary of a Bad Year"

Coetzee’s last novel Diary of a Bad Year (2007) has an intriguing triple-voiced narrative structure and deals with the grey area of shame. The narrative is divided between a writer, his written contribution to a book called “Strong Opinions”, and his secretary’s thoughts about both the opinions in the manuscript and her employer’s circumstances. This essay explores the relation between form and theme in Diary of a Bad Year; to see in what way these two fundamental elements of the novel intervene and support each other. By doing so the narrative structure is read through Freud’s structural model of personality, whereby each narrator’s voice is related to the notions of the super-ego, the ego and the id. In other words, this essay argues that the specific threefold narrative structure in Diary of a Bad Year, by reflecting the interrelated parts of human identity, helps in creating and developing the theme of shame, which only exists connected to the human psyche. This connection in turn gives special meaning to the entire narratology of the novel.

Narrative structure analysis with education and training videos for e-learning

This paper deals with the problem ofstructuralizing education and training videos for high-level semantics extraction and nonlinear media presentation in e-learning applications. Drawing guidance from production knowledge in instructional media, we propose six main narrative structures employed in education and training videos for both motivation and demonstration during learning and practical training. We devise a powerful audiovisual feature set, accompanied by a hierarchical decision tree-based classification system to determine and discriminate between these structures. Based on a two-liered hierarchical model, we demonstrate that we can achieve an accuracy of 84.7% on a comprehensive set of education and training video data.

That's a rap : the making of an Australian hip hop integrated musical film

To date, the majority of films that utilise or feature hip hop music and culture, have either been in the realms of documentary, or in ‘show musicals’ (where the film musical’s device of characters’ bursting into song, is justified by the narrative of a pursuit of a career in the entertainment industry). Thus, most films that feature hip hop expression have in some way been tied to the subject of hip hop. A research interest and enthusiasm was developed for utilising hip hop expression in film in a new way, which would extend the narrative possibilities of hip hop film to wider topics and themes. The creation of the thesis film Out of My Cloud, and the writing of this accompanying exegesis, investigates a research concern of the potential for the use of hip hop expression in an ‘integrated musical’ film (where characters’ break into song without conceit or explanation). Context and rationale for Out of My Cloud (an Australian hip hop ‘integrated musical’ film) is provided in this writing. It is argued that hip hop is particularly suitable for use in a modern narrative film, and particularly in an ‘integrated musical’ film, due to its: current vibrancy and popularity, rap (vocal element of hip hop) music’s focus on lyrical message and meaning, and rap’s use as an everyday, non-performative method of communication. It is also argued that Australian hip hop deserves greater representation in film and literature due to: its current popularity, and its nature as a unique and distinct form of hip hop. To date, representation of Australian hip hop in film and television has almost solely been restricted to the documentary form. Out of My Cloud borrows from elements of social realist cinema such as: contrasts with mainstream cinema, an exploration/recognition of the relationship between environment and development of character, use of non-actors, location-shooting, a political intent of the filmmaker, displaying sympathy for an underclass, representation of underrepresented character types and topics, and a loose narrative structure that does not offer solid resolution. A case is made that it may be appropriate to marry elements of social realist film with hip hop expression due to common characteristics, such as: representation of marginalised or underrepresented groups and issues in society, political objectives of the artist/s, and sympathy for an underclass. In developing and producing Out of My Cloud, a specific method of working with, and filming actor improvisation was developed. This method was informed by improvisation and associated camera techniques of filmmakers such as Charlie Chaplin, Mike Leigh, Khoa Do, Dogme 95 filmmakers, and Lars von Trier (post-Dogme 95). A review of techniques used by these filmmakers is provided in this writing, as well as the impact it has made on my approach. The method utilised in Out of My Cloud was most influenced by Khoa Do’s technique of guiding actors to improvise fairly loosely, but with a predetermined endpoint in mind. A variation of this technique was developed for use in Out of My Cloud, which involved filming with two cameras to allow edits from multiple angles. Specific processes for creating Out of My Cloud are described and explained in this writing. Particular attention is given to the approaches regarding the story elements and the music elements. Various significant aspects of the process are referred to including the filming and recording of live musical performances, the recording of ‘freestyle’ performances (lyrics composed and performed spontaneously) and the creation of a scored musical scene involving a vocal performance without regular timing or rhythm. The documentation of processes in this writing serve to make the successful elements of this film transferable and replicable to other practitioners in the field, whilst flagging missteps to allow fellow practitioners to avoid similar missteps in future projects. While Out of My Cloud is not without its shortcomings as a short film work (for example in the areas of story and camerawork) it provides a significant contribution to the field as a working example of how hip hop may be utilised in an ‘integrated musical’ film, as well as being a rare example of a narrative film that features Australian hip hop. This film and the accompanying exegesis provide insights that contribute to an understanding of techniques, theories and knowledge in the field of filmmaking practice.

Le film d'enquête portant sur les tueurs en série : l'avènement d'un sous-genre et l'exception de Zodiac

Ce mémoire a comme objectif premier, l’étude du film d’enquête sur les tueurs en série. Plus spécifiquement, le mémoire examine le cas du film Zodiac réalisé par David Fincher en 2007. En procédant par analyses comparatives portant sur la structure narrative, les thématiques et les mécanismes de réception du film d’enquête, nous avons tenté de mettre en lumière des hypothèses quant à l’insuccès commercial de Zodiac. La première section de l’étude examine la spécificité et les fonctions propres au film d’enquête sur les tueurs en série et parvient ainsi à tirer la conclusion qu’il prévaut de catégoriser ce corpus d’œuvres comme un sous-genre du film policier. Nous avons étudié la fonction sociale et médiatique des archétypes filmiques du tueur et de l’enquêteur afin d’atteindre une meilleure compréhension de la fascination du public américain pour ce sous-genre. La seconde section du mémoire examine comment Zodiac se détache des conventions génériques et, particulièrement, comment la mise en scène opère une démystification de la figure du tueur en série. De plus, nous avons soulevé le traitement particulier déployé par Zodiac, soit la monstration, par le biais des personnages, du travail spectatoriel de mise en récit de l’enquête. La troisième section vise à démontrer la rupture de l’horizon d’attente du spectateur chez Zodiac ainsi que la chute de l’imaginaire mythique qui est ainsi engendré.

Exploring 'Samoaness' in the Samoan language film The Orator (O Le Tulafale)

The Pacific nation of the Independent Samoa (formerly Western Samoa)  is not known for having a developed film industry.   In 2011, a Samoan languge film called The Orator (O le Tulafale) placed the spotlight on Samoa, its people, and the Samoan culture when it became the country’s first ever film to be accepted into major international film festivals such as the 68th Venice Film Festival.  Samoans the world over have embraced the film for its richness, compassion, and authenticity. Yet at times, the film portrays the Samoan culture as harsh and cruel.   Samoans are usually quick to criticise negative portrayals of their culture but the thousands of comments on the film’s official Facebook page show otherwise.  From April 2011 to March 2012, there were only 11 comments criticising the film on Facebook, and these criticisms were denounced as ‘un-Samoan’. This raised the question as to why Samoans did not react to the unflattering portrayals of their culture, but instead react against legitimate criticisms of the film.  By using Foucault’s concept of heterotopia and the Samoan narrative structure of fāgogo, a heterotopia space and a utopia space are created in which past memories confirming Samoan cultural identity and bonds to the culture are evoked and are (re)experienced by Samoans while viewing the film.  Thus the film’s ability to encourage this is what Samoans praise rather than the actual film.  

A probabilistic framework for extracting narrative act boundaries and semantics in motion pictures

This work constitutes the first attempt to extract the important narrative structure, the 3-Act storytelling paradigm in film. Widely prevalent in the domain of film, it forms the foundation and framework in which a film can be made to function as an effective tool for story telling, and its extraction is a vital step in automatic content management for film data. The identification of act boundaries allows for structuralizing film at a level far higher than existing segmentation frameworks, which include shot detection and scene identification, and provides a basis for inferences about the semantic content of dramatic events in film. A novel act boundary likelihood function for Act 1 and 2 is derived using a Bayesian formulation under guidance from film grammar, tested under many configurations and the results are reported for experiments involving 25 full-length movies. The result proves to be a useful tool in both the automatic and semi-interactive setting for semantic analysis of film, with potential application to analogues occuring in many other domains, including news, training video, sitcoms.

Film audio pace

We explore the concept of film pace expressed through audio to analyse the film at a semantic level. We use domain knowledge to derive a number of measures for film audio pace. We then apply the audio pace to examine two semantic concepts: counterpoint and narrative structure. Counterpoint is a method used to highlight a salient event by contrasting the visual and audio aspects of a film. We divide narrative structure into visual narration, action, and audio narration, plot development. We hypothesise that changes in the narrative structure signal a change in the audio pace. We then test this hypothesis using eight films of varying genres. A pattern was established linking the audio pace features, guided by the properties of the audio energy, to the narrative structure. The method was successful in determining the narrative structure for seven of the films, achieving an overall precision of 76.4% and recall of 80.3%.