Narration, Visualization and Mind : Movies in everyday life as a resource for utopian self-reflection

The paper is analyzing how people in late modern society characterized by de-traditionalization, use moving images as a cultural resource for the construction of meaningful subjective world views. As a theoretical concept with several dimensions, “sacralization of the self” (Woodhead & Heelas 2000: 344), is related to media theory. With a critical focus on ‘the self’, as a core aspect in contemporary media society Eric W. Rothenbuhler labels the individual self as one of “the sacred objects of modern culture” (Rothenbuhler 2006: 31).I want to emphasize the need for case studies in order to undertake a critical investigation about ‘the self’ and how consumption of fiction film is interconnected to spectator´s creation of self images, but also to understand how film engagement elicits self-reflection (Giddens 1991, Axelson 2008, Vaage 2009a). The paper make use of empirical data to illustrate and theoretically develop perspectives on how the audience uses fiction film in every-day life for the construction of the self, as well for the construction of more profound and long-lasting ideas of being part of a moral community (Brereton 2005, Jerslev 2006, Klinger 2008, Mikkola et al. 2007, Vaage 2009b). Some empirical findings support a conclusion that moving images creates a transitional space for the human mind, with the capacity of transporting the spectator from real life to fiction and back to real life again, helping the individual with an ongoing process of transforming the self, dealing with who you actually are, and who you want to become (Axelson 2008, Vaage 2009b).

USING GIS NETWORK ANALYST TO IDENTIFY SUPPLIERS FOR A PRODUCE CO-OP IN WATERVILLE, ME

http://digitalcommons.colby.edu/atlasofmaine2008/1021/thumbnail.jpg

Interactively browsing movies in terms of action, foreshadowing and resolution

We describe a novel video player that uses Temporal Semantic Compression (TSC) to present a compressed summary of a movie. Compression is based on tempo which is derived from film rhythms. The technique identifies periods of action, drama, foreshadowing and resolution, which can be mixed in different amounts to vary the kind of summary presented. The compression algorithm is embedded in a video player, so that the summary can be interactively recomputed during playback.

Using GIS Network Analyst to Identify Suppliers for a Produce Co-op in Waterville, ME

The idea for organizing a cooperative market on Waterville Main Street was proposed by Aime Schwartz in the fall of 2008. The Co-op would entail an open market located on Main Street to provide fresh, local produce and crafts to town locals. Through shorter delivery distances and agreements with local farmers, the co-op theoretically will offer consumers lower prices on produce than can be found in conventional grocery stores, as well as an opportunity to support local agriculture. One of the tasks involved with organizing the Co-op is to source all of the produce from among the hundreds of farmers located in Maine. The purpose of this project is to show how Geographic Information System (GIS) tools can be used to help the Co-op and other businesses a) site nearby farms that carry desired produce and products, and b) determine which farms are closest to the business site. Using GIS for this purpose will make it easier and more efficient to source produce suppliers, and reduce the workload on business planners. GIS Network Analyst is a tool that provides network-based spatial analysis, and can be used in conjunction with traditional GIS technologies to determine not only the geometric distance between points, but also distance over existing networks (like roads). We used Network Analyst to find the closest produce suppliers to the Co-op for specific produce items, and compute how far they are over existing roads. This will enable business planners to source potential suppliers by distance before contacting individual farmers, allowing for more efficient use of their time and a faster planning process.

FESOM Arctic Ocean sea ice concentration and thickness 1995-2014, links to movies in mp4 format

Northern Hemisphere sea ice from a Finite-Element Sea-Ice Ocean Model (FESOM) 4.5 km resolution simulation carried out by researchers from Alfred Wegener Institute (AWI), Germany. Concentration is shown with color; thickness is shown with shading. A global 1 degree mesh is used, with the "Arctic Ocean" locally refined to 4.5 km. South of CAA and Fram Strait the resolution is not refined in this simulation. The animation indicates that the 4.5 km model resolution helps to represent the small scale sea ice features, although much higher resolution is required to fully resolve the ice leads. The animation is created by Michael Böttinger from DKRZ (https://www.dkrz.de).

Rosenthal, Bob, interviewed by Becky Muller on January 17, 2009: Audio

Some of the themes discussed are: • Civic engagement (2) • The Levine family (2) • High school—private (3) • Colby (4) • Colby—student interaction with Waterville Jews (5) • Dating (6, 7, 18-20) • Life in Waterville (8, 10) • Life in Waterville—movies (12-13) • Colby—Greek life (9) • Colby—administration (9-10) • Occupation—real estate development (10-12, 13, 17) • Camp—Arcadia (13-14) • Military service (16) • Civic engagement (22) • Jewish education (23) • Holidays (23-24)

Rosenthal, Bob, interviewed by Becky Muller on January 17, 2009: Audio Part Two

Some of the themes discussed are: • Civic engagement (2) • The Levine family (2) • High school—private (3) • Colby (4) • Colby—student interaction with Waterville Jews (5) • Dating (6, 7, 18-20) • Life in Waterville (8, 10) • Life in Waterville—movies (12-13) • Colby—Greek life (9) • Colby—administration (9-10) • Occupation—real estate development (10-12, 13, 17) • Camp—Arcadia (13-14) • Military service (16) • Civic engagement (22) • Jewish education (23) • Holidays (23-24)

Rosenthal, Bob, interviewed by Becky Muller on January 17, 2009: Transcript

Some of the themes discussed are: • Civic engagement (2) • The Levine family (2) • High school—private (3) • Colby (4) • Colby—student interaction with Waterville Jews (5) • Dating (6, 7, 18-20) • Life in Waterville (8, 10) • Life in Waterville—movies (12-13) • Colby—Greek life (9) • Colby—administration (9-10) • Occupation—real estate development (10-12, 13, 17) • Camp—Arcadia (13-14) • Military service (16) • Civic engagement (22) • Jewish education (23) • Holidays (23-24)

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.

Tips for generating a media release and media coverage : how the media ate up my research on Aussie horror movies

The focus of this paper is preparing research for dissemination by mainstream print, broadcast, and online media. While the rise of the blogosphere and social media is proving an effective way of reaching niche audiences, my own research reached such an audience through traditional media. The first major study of Australian horror cinema, my PhD thesis A Dark New World: Anatomy of Australian Horror Films, generated strong interest from horror movie fans, film scholars, and filmmakers. I worked closely with the Queensland University of Technology’s (QUT) public relations unit to write two separate media releases circulated on October 13, 2008 and October 14, 2009. This chapter reflects upon the process of working with the media and provides tips for reaching audiences, particularly in terms of strategically planning outcomes. It delves into the background of my study which would later influence my approach to the media, the process of drafting media releases, and key outcomes and benefits from popularising research. A key lesson from this experience is that redeveloping research for the media requires a sharp writing style, letting go of academic justification, catchy quotes, and an ability to distil complex details into easy-to-understand concepts. Although my study received strong media coverage, and I have since become a media commentator, my experiences also revealed a number of pitfalls that are likely to arise for other researchers keen on targeting media coverage.

The kineikonic mode : a multimodal analysis of students’ claymation movies

Globalised communication in society today is characterised by multimodal forms of meaning making in the context of increased cultural and linguistic diversity. This research paper responds to these imperatives, applying Halliday's (1978, 1994) categories of systemic functional linguistics - representational or ideational, interactive or interpersonal, and compositional or textual meanings. Following the work of Kress (2000), van Leeuwen (Kress and van Leeuwen, 1996), and Jewitt (2006), multimodal semiotic analysis is applied to claymation movies that were collaboratively designed by Year 6 students. The significance of this analysis is the metalanguage for textual work in the kineikonic mode - moving images.

The micro-movie wave in a globalising China : adaptation, formalisation and commercialisation

While user-generated short online videos have existed since the emergence of video sharing sites in China, they have undergone a process of formalisation and commercialisation, culminating in the wave of micro-movies in recent years. By addressing the wider context of globalisation alongside relevant state policies and shifting viewing habits, this article analyses the local and global causes of this wave. It offers evidence that illustrates how online video service providers in China have adapted in a changing industry landscape as they negotiate state policies, advertiser interests and user preference. It then examines the production and distribution dynamics, where professional producers draw on social media, grassroots creativity and creative talents in regional markets. Finally, it discusses the cultural implications of this process in terms of both the nature and flow of creativity. Based on these analyses, the article also sheds light on the interplay between the state and the market in the context of globalisation and marketisation of media sectors, which becomes more complicated when the state-owned or controlled media enter the emerging market sectors.