Search results for: animated movies

Authors: Chin Tangtarntana

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The main purpose of this study was to investigate the effects of animation in offensive product advertising. Experiment was conducted to collect consumer responses toward animated and static ads of offensive and non-offensive products. The study was conducted by distributing questionnaires to the target respondents. According to statistics from Innovative Internet Research Center, Thailand, majority of internet users are 18 – 44 years old. The results revealed an interaction between ad design and offensive product. Specifically, when used in offensive product advertisements, animated ads were not effective for consumer attention, but yielded positive response in terms of attitude toward product. The findings support that information processing model is accurate in predicting consumer cognitive response toward cartoon ads, whereas U&G, arousal, and distinctive theory is more accurate in predicting consumer affective response. In practical, these findings can also be used to guide ad designers and marketers that are suitable for offensive products.

Keywords: animation, banner ad design, consumer responses, offensive product advertising, stock exchange of Thailand

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Authors: Ojinime E. Ojiakor, Allen N. Adum

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We report on bed scenes allurement as entertainment and selling point in Nigeria’s Nollywood movie industry. In recent times, there has been an increase in the portrayal of bed scenes in Nollywood movies. Before now, Nigerian film producers have been very conservative when it comes to showing sex and nudity. This appears to have changed in line with global trends. Movie industries all over the world appear a haven for delectable women who glamorize our screens, not only with their beauty but also their acting skills. At Hollywood, Bollywood, Ghollywood and the like, pretty actresses with sensuous endowments engage in bed scenes which allure the minds of viewers. The idea that, a ravishing beauty on cast is as good as a box office hit apparently drives Nigerian film producers to incorporate bed scenes in their movies. In this era of sex crusade where what sells is sex and maybe a little bit of violence, there is the suggestion that producers believe that if the talent of an actress doesn’t do the trick, the sexiness she exudes is bound to get attention. Against this backdrop, our study examined bed scenes depiction by Nollywood films, in an attempt to establish if their allurement influences the choice of movie and purchase decisions of target markets. We assessed Nollywood films and viewer preference using the mixed method approach. Our findings reveal that bed scenes, as portrayed in Nigerian movies are a significant determinant of which films to watch and which films to purchase among the respondents studied.

Keywords: allurement, bed scenes, nollywood, selling point

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Authors: Haniyeh Parhizkar

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When Sarris came up with the "auteur theory" in 1962, he emphasized that the utmost premise of auteur theory is the inner meanings and concepts of a film and that a film is purely an art form. Today's mainstream movies are conceptually closer to what the Frankfurt School scholars regarded as "reproduced" and "mass culture" years ago. Hollywood goes on to be a huge movie-making machine that leads the dominant paradigms of films throughout the world and cinema is far from art. Although there are still movies, directors, and audiences who favor art cinema over Hollywood and mainstream movies, it's an almost undeniable fact that, for the most part, people's perception of movies is widely influenced by their American depiction and Hollywood's legacy of mass culture. With the uprising of Hollywood studios as the forerunners of the movie industry and cinema being largely dependent on economics rather than artistic values, this distinctive role of cinema has diminished and is replaced with a global standard. The Blockbuster 2022 film, 'Everything, Everywhere, All at Once' is now the most-awarded movie of all time, winning seven Oscars at the 95th Academy Awards. Despite its main cast being Asian, the movie is produced by American incorporation and is heavily influenced by Hollywood's dominant themes of superheroes, fantasy, action, and adventure. The New Yorker film critic, Richard Brody, called the movie "a pitch for a Marvel" and critiqued the film for being "universalized" and "empty of history and culture". Other critics of Variety pinpointed the movie's similarities to Marvel, particularly in their storylines of multi-universe which manifest traces of American legacy. As argued by these critics, 'Everything, Everywhere, All at Once' might appear as a unique and authentic film at first glance, but it can be argued that it is yet another version of a Marvel movie. While the movie's universal acclaim was regarded as recognition and an acknowledgment of its Asian cast, the issue that arises here is when the Hollywood influences and American themes are so robust in the film, is the movie industry honoring another culture or is it yet another celebration of Hollywood's dominant paradigm. This essay will employ a critical approach to Hollywood's dominance and mass-produced culture, which has deprived authenticity of non-American movies and is constantly reproducing the same formula of success.

Keywords: hollywoodization, universalization, blockbuster, dominant paradigm, marvel, authenticity, diversity

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Authors: Colm Barcoe, Garvan Whelan

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The purpose of this paper is to investigate the impact that US TV and movies have had on Irish tourism. This study examines how a destination marketing organisation (DMO) can use social media channels to capitalise upon the opportunities created by film tourism as it pertains to North American TV and movie productions. The findings are based on a combination of two qualitative methods, in-depth interviews with 20 industry professionals and a Netnographic analysis of social media activity between Tourism Ireland and the North American audience on Facebook and Twitter. The qualitative data were analysed in order to provide insights into the effectiveness of using North American pop culture as part of a digital marketing strategy when creating awareness of Ireland as a brand in the US and Canada. This study addresses a gap in the literature in relation to the use of social media when attracting the North American holidaymaker to Ireland. The findings from this investigation will extend an under-researched body of literature pertaining to Ireland as a destination and the successful digital marketing campaigns that have achieved exponential growth in this sector over the past five years. The empirical evidence presented also illustrates how the innovative use of social media has assisted the DMO to engage with the North American holidaymaker as part of an effective digital marketing strategy. This paper will be of value to academics and industry practitioners interested in film-induced tourism and indeed tourism in general, as well as students.

Keywords: digital marketing, tourism, strategies, movies, US TV

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Authors: Elif Esiyok

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Brand placement practices have become a popular advertising strategy, which is widely used in movies. Whether these brands are remembered by the audience after the film, or if they affect the purchasing preferences of the consumers has become one of the most important topics in the field of advertising. From this point, in this study, the "Devil Wears Prada" movie which includes high amount of brand placements is chosen. The movie watched to the undergraduate students in Turkey to measure the impact of brand placements on the attitudes of the consumers relating with a specific brand. In total 100 students were the subjects of this study. The participants were selected through using a simple random sampling method. The findings revealed that there is a significant difference between male and females in terms of brand recall. Female students were remembered the fashion brands more than the males, whereas males generally recalled the automotive brands and restaurant names.

Keywords: brand placement, brand recall, advertising, media

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Authors: Dorsa Moayedi

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‘The Cities’ and Cinema have a history going as far back as silent films; however, the standards of picturing a city in a film are somewhat vague. ‘Genius Loci’ of a city can be easily described with parameters that architects have detected; nevertheless, the genius loci of an ‘urban movie’ is untouched. Cities have been among the provocative matters that pushed filmmakers to ponder upon them and to picture them along with their urban identity thoroughly in their artworks, though the impacts of the urban life on the plot and characters is neglected, and so a city in a movie is usually restricted to ‘the place where the story happens’. Cities and urban life are among those that are in constant change and ongoing expansion; therefore, they are always fresh and ready to challenge people with their existence. Thus, the relationship between the city and cinema is metamorphic, though it could be defined and explored. The dominant research on the idea of urbanism has been conducted by outstanding scholars of architecture, like Christian Norberg-Schulz, and the studies on Cinema have been done by theorists of cinema, like Christian Metz, who have mastered defining their own realm; still, the idea to mingle the domains to reach a unified theory which could be applied to ‘urban movies’ is barely worked on. In this research, we have sought mutual grounds to discuss ‘urbanism in cinema,’ the grounds that cinema could benefit from and get to a more accurate audio-visual representation of a city, in accordance with the ideas of Christopher Alexander and the term he coined ‘The Timeless Way of Building.’ We concentrate on movies that are dependent on urban life, mainly those that possess the names of cities, like ‘Nashville (1975), Manhattan (1979), Fargo (1996), Midnight in Paris (2011) or Roma (2018), according to the ideas of urban design and narratives of cinema. Contrary to what has often been assumed, cinema and architecture could be defined in line with similar parameters, and architectural terms could be applied to the research done on movies. Our findings indicate that the theories of Christopher Alexander can best fit the paradigm to study an ‘Urban Movie’, definitions of a timeless building, elaborate on the characteristics of a design that could be applied to definitions of an urban movie, and set a prototype for further filmmaking regarding the urban life.

Keywords: city, urbanism, urban movies, identity, representation

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Authors: Janis Matvejs

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Visual representation of a city creates unique perspectives that allow to interpret the urban environment and enable to understand a space that is culturally created and territorially organized. Residential complexes are an essential part of cities and cinema is a specific representation form of these areas. There has been very little research done on exploring how these areas are depicted in the Thai movies. The aim of this research is to interpret the discourse of residential areas of Bangkok throughout the 20th and 21st centuries and to examine essential changes in the residential structure. Specific cinematic formal techniques in relation to the urban image were used. The movie review results were compared with changes in Bangkok’s residential development. Movie analysis displayed that residential areas are frequently used in Thai cinematography and they make up an integral part of the urban visual perception.

Keywords: Bangkok, cinema, residential area, representation, visual perception

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Authors: Barbara Klimek

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Wolves are one of the most misrepresented species in literature and the media. They’re often portrayed as vicious, man-eating beasts whose main life goal is to hunt and kill people. Many movie directors use wolves as their main characters in different types of films, especially horror, thriller and science fiction movies to create gore and fear. This, in turn, results in people being afraid of wolves and wanting to destroy them. Such cultural creations caused wolves being stalked, abused and killed by people and in many areas they were completely destroyed. This paper analyzes the representations of wolves in the chosen films in the four main portrayed aspects: 1. the overall picture – true versus false, positive versus negative, based on stereotypes or realistic, displaying wolf behavior typical of the species or fake 2. subjectivity – how humans treat and talk about the animals – as subjects or as objects 3. animal welfare – how humans treat wolves and nature, are the human – animal relations positive and appropriate or negative and abusive 4. empathy – are human characters shown to co-feel the suffering with the wolves, do they display signs of empathy towards the animals, do the animals empathize with humans? The detailed analysis of the text and pictures presented in the chosen films concludes that wolves are especially misrepresented in the movies. Their behavior is shown as fake and negative, based on stereotypes and myths, the human – animal relations are shown mainly as negative where people fear the animals and hunt them and wolves stalk, follow, attack and kill humans. It shows that people do not understand the needs of these animals and are unable to show empathy towards them. The article will discuss the above-mentioned study results in detail and will present many examples. Animal representations in cultural creations, including film have a great impact on how people treat particular species of animals. The media shape people’s attitudes, what in turn results in people either respecting and protecting the animals or fearing, disliking and destroying the particular species.

Keywords: film, movies, representations, wolves

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Authors: Vibhushan Subba

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B-movies are almost always ‘glanced over’, ‘swept beneath’, ‘hidden from’ and ‘locked away’ to live a secret life; a life that exists but enjoys only a mummified existence behind layers of protective covering. They are more often than not discarded as ‘trash’, ‘sleaze’, ‘porn’ and put down for their ‘bad taste’ or at least that has been the case in India. With the art film entering the realm of high art, the popular and the mainstream has been increasingly equated with the A grade Bollywood film. This leaves the B-movie to survive as a degraded cultural artifact on the fringes of the mainstream. Kanti Shah’s films are part of a secret, traversing the libidinal circuits of the B and C grade through history. His films still circulate like a corporeal reminder of the forbidden and that which is taboo, like a hidden fracture that threatens to split open bourgeois respectability. Seeking to find answers to an aesthetic that has been rejected and hidden, this paper looks at three films of Kanti Shah to see how the notion of taboo, censorship and the unseen coincide, how they operate in the domain of his cinema and try and understand a form that draws our attention to the subterranean forces at work.

Keywords: B-movies, trash, taboo, censorship

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Authors: Edoardo Lomi

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A problem of central interest in anthropology concerns the ethnographic displacement of modernity’s conceptual sovereignty over that of native collectives worldwide. Part of this critical project has been the association of Western modernity with a dualist, naturalist ontology. Despite its demonstrated value for comparative work, this association often comes at the cost of reproducing ideas that lack an empirical ethnographic basis. This paper proposes a way forward by bringing to bear some of the results produced by an ethnographic study of a village in Wiltshire, South England. Due to its picturesque qualities, this village has served for decades as a ready-made set for fantasy movies and a backdrop to fictional stories. These forms of mediation have in turn generated some apparent paradoxes, such as fictitious characters that affect actual material changes, films that become more real than history, and animated stories that, while requiring material grounds to unfold, inhabit a time and space in other respects distinct from that of material processes. Drawing on ongoing fieldwork and interviews with locals and tourists, this paper considers the ways villagers engage with fiction as part of their everyday lives. The resulting image is one of convergence, in the same landscape, of people and things having different ontological status. This study invites reflection on the implications of this image for diversifying our imagery of Western lifeworlds. To this end, the notion of ‘real fictions’ is put forth, connecting the ethnographic blurring of modernist distinctions–such as sign and signified, mind and matter, materiality and immateriality–with discussions on anthropology’s own reliance on fictions for critical comparative work.

Keywords: England, ethnography, landscape, modernity, mediation, ontology, post-structural theory

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Authors: Prachi Chavda

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The world, as of today, is smaller than it was for those who lived few decades ago. Internet, media and telecommunications have impacted the world like never before. Culture is the pillar upon which a society mushrooms. A culture develops with human creativity over the years and also by the exchange and intermixing of ideas and way of life across different civilizations and we can say that one of the influencing medium of exchange and intermixing of these ideas is cinema. Cinema has been the wonderful as well as important medium of communication since it has been emerged. Change is the thumb rule of life and so have been Indian cinema. As society has evolved from time to time so has the stories of Indian Cinema and its characters, hence it directly effects to the Indian culture as cinema has been very strong mediator for information exchange. The paper tries to discuss deeply how Indian cinema (reel life) and Indian culture (real life) has been influencing each other that results into a constant modification in both. Moreover, the research tries to deal with the issue with some examples that as a outcome how movies impact the Indian culture positively and negatively on culture. Therefore, it spreads the wave of change in cultural settings of society. The paper also tries to light the psychology of youth of India. Today, children and youth greatly admire the ostentatious materialistic display of outfits and style of the actors in the movies. Also, the movies bearing romanticism and showcasing disputatious issues like pre-marital sex, live-in relationship, homo-sexuality etc. though without highlighting them extensively have indeed inspired the commoners. Pros and cons always exist. Such revelation of issues certainly give a spark in the minds of those who are in their formative years and the effect of which is seen with the passage of time Thus, we can say that emergence of cinema as a strong tool of social change as well as culture as a triggering factor for transformation in cinema. As, a finding we can say that culture and cinema of India are influencing factors for each other. Cinema and culture are two sides of a coin, where both are responsible for evolution of each other.

Keywords: cinema, culture, influence, transformation

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Authors: M. Najib Osman, Hanafizan Hussain, Sri Kusuma Wati Mohd Daud

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Avatar was used as user’s symbol of identity in online communications such as Facebook, Twitter, online game, and portal community between unknown people. The development of this symbol is the use of animated character or avatar, which can engage learners in a way that draws them into the e-Learning experience. Immersive learning is one of the most effective learning techniques, and animated characters can help create an immersive environment. E-learning is an ideal learning environment using modern means of information technology, through the effective integration of information technology and the curriculum to achieve, a new learning style which can fully reflect the main role of the students to reform the traditional teaching structure thoroughly. Essential in any e-learning is the degree of interactivity for the learner, and whether the learner is able to study at any time, or whether there is a need for the learner to be online or in a classroom with other learners at the same time (synchronous learning). Ideally, e-learning should engage the learners, allowing them to interact with the course materials, obtaining feedback on their progress and assistance whenever it is required. However, the degree of interactivity in e-learning depends on how the course has been developed and is dependent on the software used for its development, and the way the material is delivered to the learner. Therefore, users’ accessibility that allows access to information at any time and places and their positive attitude towards e-learning such as having interacting with a good teacher and the creation of a more natural and friendly environment for e-learning should be enhanced. This is to motivate their learning enthusiasm and it has been the responsibility of educators to incorporate new technology into their ways of teaching.

Keywords: avatar, e-learning, higher education, students' perception

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Authors: Svetlana K. Eden

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Movies and TV shows have long become part of modern culture. We all have our preferred genre, story, actors, and actresses. However, can we objectively discern good acting from the bad? As laymen, we are probably not objective, but what about the Oscar academy members? Are their votes based on objective measures? Oscar academy members are probably also biased due to many factors, including their professional affiliations or advertisement exposure. Heavily advertised films bring more publicity to their cast and are likely to have bigger budgets. Because a bigger budget may also help earn a Best Picture (BP) nomination, we hypothesize that best actor/actress (BA) nominees from BP-nominated movies would have higher chances of winning the award than those BA nominees from non-BP-nominated films. To test this hypothesis, three Bayesian hierarchical models are proposed, and their performance is evaluated. The results from all three models largely support our hypothesis. Depending on the proportion of BP nominations among BA nominees, the odds ratios (estimated over expected) of winning the BA award conditional on BP nomination vary from 2.8 [0.8-7.0] to 4.3 [2.0, 15.8] for actors and from 1.5 [0.0, 12.2] to 5.4 [2.7, 14.2] for actresses.

Keywords: Oscar, best picture, best actor/actress, bias

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Authors: Bahman Gorjian

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This study investigated the effects of closed-captioning on vocabulary learning and listening comprehension of English-language movies. Captioning is thus an effective language-learning tool for persons learning English as a second language. Because students may learn a foreign language "passively," utilizing subtitles on television could make learning English enjoyable for them. Closed captioning is an electrical technique that converts spoken words from a television program's audio into written text that mimics subtitles in another language. The findings of this study showed the importance of using closed-captioning software when learning a foreign language. As a result, these must be considered when teaching EFL/ESL. The influence of watching movies with closed captions on vocabulary and hearing is compared in this study. This goal can be reached by employing a closed-captioned movie as a teaching tool in the classroom. This research was critical because it demonstrates the advantages of closed-captioning programs in EFL classrooms for both teachers and students. The study's findings assisted teachers in better understanding how to employ closed captioning as a teaching tool in the classroom. The effects will be seen as even more significant for language learners who use the method.

Keywords: closed-captions, listening, comprehension, vcabulary

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Authors: Abe Degale D., Cheng Jian

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When creating automated video surveillance systems, violent action recognition is crucial. In recent years, hand-crafted feature detectors have been the primary method for achieving violence detection, such as the recognition of fighting activity. Researchers have also looked into learning-based representational models. On benchmark datasets created especially for the detection of violent sequences in sports and movies, these methods produced good accuracy results. The Hockey dataset's videos with surveillance camera motion present challenges for these algorithms for learning discriminating features. Image recognition and human activity detection challenges have shown success with deep representation-based methods. For the purpose of detecting violent images and identifying aggressive human behaviours, this research suggested a deep representation-based model using the transfer learning idea. The results show that the suggested approach outperforms state-of-the-art accuracy levels by learning the most discriminating features, attaining 99.34% and 99.98% accuracy levels on the Hockey and Movies datasets, respectively.

Keywords: violence detection, faster RCNN, transfer learning and, surveillance video

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Authors: Wuon-Shik Kim, Hyoung-Min Choi, Jeonggeon Woo, Sun Jung Kwon, SeungHee Lee

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The research on attentional engagement (AE) in movies using physiological signals is rare and controversial. Therefore, whether physiological responses can be applied to evaluate AE in actual movies is unclear. To clarify this, we measured electrocardiogram and electroencephalogram (EEG) of 16 Japanese university students as they watched the American movie Iron Man. After the viewing, we evaluated the subjective AE and affection levels for 11 film content segments in Iron Man. Based on self-reports for AE, we selected two film content segments as stimuli: Film Content 9 describing Tony Stark (the main character) flying through the night sky (with the highest AE score) and Film Content 1, describing Tony Stark and his colleagues telling indecent jokes (with the lowest score). We divided these two content segments into two time intervals, respectively. Results indicated that the Film Content by Interval interaction for HR was significant, at F (1, 11)=35.64, p<.001, η2=.76; while HR in Film Content 1 decreased, that of in Film Content 9 increased. In Film Content 9, the main effects of the Interval for respiratory sinus arrhythmia (RSA) (F (1, 11)=5.91, p<.05, η2=.35) and for the attention index of EEG (F (1, 11)=5.23, p<.05, η2=.37) were significant. The increase in the RSA was significant (p<.05) as well, whereas that of the EEG attention index was nearly significant (p=.069). In conclusion, while RSA increases, HR decreases when people direct their attention toward normal films. However, while paying attention to a film evoking excitement, HR as well as RSA can increase.

Keywords: attentional engagement, electroencephalogram, movie, respiratory sinus arrhythmia

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Authors: Jessica BrodeFrank, Beka Bryer, Lacey Wilson, Sierra Van Ryck deGroot

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Museums are enjoying quite the moment in pop culture. From discussions of labor in Bob’s Burger to introducing cultural repatriation in The Black Panther, discussions of various museum issues are making their way to popular media. “Talking Back to Hollywood” analyzes the impact museums have on movies and television. The paper will highlight a series of cultural cameos and discuss what each reveals about critical themes in museums: repatriation, labor, obfuscated histories, institutional legacies, artificial intelligence, and holograms. Using a mixed methods approach to include surveys, descriptive research, thematic analysis, and context analysis, the authors of this paper will explore how we, as the museum staff, might begin to cite museums and movies together as texts. Drawing from their experience working in museums and public history, this contingent of mid-career professionals will highlight the impact museums have had on movies and television and the didactic lessons these portrayals can provide back to cultural heritage professionals. From tackling critical themes in museums such as repatriation, labor conditions/inequities, obfuscated histories, curatorial choice and control, institutional legacies, and more, this paper is grounded in the cultural zeitgeist of the 2000s and the message these media portrayals send to the public and the cultural heritage sector. In particular, the paper will examine how portrayals of AI, holograms, and more technology can be used as entry points for necessary discussions with the public on mistrust, misinformation, and emerging technologies. This paper will not only expose the legacy and cultural understanding of the museum field within popular culture but also will discuss actionable ways that public historians can use these portrayals as an entry point for discussions with the public, citing literature reviews and quantitative and qualitative analysis of survey results. As Hollywood is talking about museums, museums can use that to better connect to the audiences who feel comfortable at the cinema but are excluded from the museum.

Keywords: museums, public memory, representation, popular culture

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Authors: Irena Alperyte

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Since the regaining of the Independence, the Lithuanian state has been confronting an increasingly dramatic challenge because of the lack of funding sources dedicated to the film industries. During the Soviet times, Lithuanian film was under a total supervision of the Soviet functioners. This means that the responsibility of the state to make movies was of a monopolist character. The filmmakers’ community of the newly independent state needed to learn how to develop their fundraising skills, co-production and marketing techniques. Currently, Lithuanian film is experiencing a new phase concerning its funding: it is exploring the possibilities of motivating the public to invest in entertainment via crowd funding and crowd sourcing techniques and making these activities an alternative way of funding films. The paper aims at the exploration of the existing film financing practices in Lithuania and abroad and provides recommendations on how to improve the alternative Lithuanian film financing strategy via employing new possibilities, such as crowd funding and other alternative marketing tools. Objectives: 1) To examine the theories on creative industries and possibilities for their application. 2) To analyze the current situation in the film industry Lithuania. 3) To analyze the statistical data on movie theater visitors in Lithuania. 4) To discuss alternative options for film financing system. 5) To look through the alternative funding strategies tailored for Lithuanian film industry. 6) To propose recommendations for alternative funding strategies in Lithuanian film fundraising.

Keywords: creative industries, film, funding, fun theory

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Authors: Jasmin Glock

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Media plays a significant role in terms of shaping and influencing people’s perception of various themes, including disability. Although recent examples indicate progressive attitudes in society, programs across genres continue to portray disability in a negative and stereotypical way. Such a one-sided or stereotypical portrayal of disabled people can further reinforce their marginalized position by turning them into the other. The common trope of the blind or visually impaired woman, for example, marks the character as particularly vulnerable. These stereotypes are easily absorbed and left unquestioned, especially by younger audiences. As a result, the presentation of disability as problematic or painful can instill a subconscious fear of disability in viewers at a very young age. Now the question arises, how can disability be portrayed to children in a more positive way? This paper focuses on the portrayal of physical disability in children’s programming. Using disabled characters from Nickelodeon’s Avatar: The Last Airbender and Avatar: The Legend of Korra, the paper will show that the chosen animated characters have the potential to challenge and subvert disability-based bias and to contribute to the normalization of disability on screen. Analyzing blind protagonist Toph Beifong, recurring support character and wheelchair user Teo, and villain Ming Hua who has prosthetic limbs, this paper aims at highlighting that these disabled characters are far more than mere stereotyped tokens. Instead, they are crucial to the outcome of the story. They are strong and confident while still being allowed to express their insecurities in certain situations. The paper also focuses on how these characters can make disability issues relatable to disabled and non-disabled young audiences alike and how they can thereby contribute to the reduction of prejudice. Finally, they will serve as an example of what inclusive, nuanced, and even empowering disability representation in animated television series can look like.

Keywords: Children, disability, representation, television

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Authors: Aleksandra Tomic

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According to reliable sources, 4% of all websites is devoted to pornographic material, yet these estimates are often reported to be much higher. The largest internet pornography streaming website reports 21.2 billion visits in 2015 only. Considering the ubiquity of online pornography and the frequency of use, it is necessary to examine its potential influence on the construal of the sexual act and the roles of participants. Apart from the verbal and physical interactions in the pornographic movies themselves, the language in the titles of movies has the power to frame the sexual intercourse. In this study, Critical Discourse Analysis and corpus linguistics approaches will be used to examine the way the sexual intercourse and the roles of the participants are ideologically construed and perpetuated in the Internet pornography discourse. To this end, the study will explore the association between the specific morphosyntactic aspects of the references to performers of both genders, the person and the thematic role, and the gender of referred performer in the corpus of online pornographic movie titles. Distinctive collexeme analysis will be conducted to uncover possible associations between for gender of the performer denoted by the linguistic expression, and the person and thematic role assigned to it in the titles of online pornography movies. Initial results of the chi-square procedure performed on a sample of 295 online pornography movie titles on the largest pornography streaming website ‘Pornhub’ yielded significant results. The use of the three person categories was not equally distributed between genders, X2 (2, N = 106) = 32.52, p < 0.001, with female performers being referred to in the third person in 71.7% of the instances, and speaking in the first person 20.8% of the time, whereas male performers spoke in the first person 68% of the time, and were referred to in the third person in 17% of the instances. Moreover, there was a gender disparity in the assignment of thematic roles, with linguistic expressions for women being assigned the Patient role and men the Agent role in 58.8% of the cases, whereas the roles were reversed in 41.2% of the instances, X2 (1, N = 262) = 8.07633, p < 0.005. The results are discussed in terms of the ideologies surrounding female and male sexuality in the pornography discourse. Potential patterns of power imbalance, objectification, and discrimination are highlighted. Finally, the evidence from psycholinguistic studies on the influence of the language structure on event construal is related to the results of the study.

Keywords: corpus linguistics, gender studies, pornography, thematic roles

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Authors: Angela Fabris, Joerg Helbig

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Our paper deals with feature films set in Venice which focus on the influence of Italian life style on anglophone characters. Usually, these films emphasize the different cultures and mentalities of Italian and British (or American) people. More often than not, these encounters result in a profound change of the anglophone characters' attitude towards romance and sensuality. A case in point is David Lean's Summer Madness (UK 1955). This film recounts the love affair between the American tourist Jane Hudson (Katherine Hepburn) and the Venetian antique shop owner Renato de Rossi (Rossano Brazzi). Jane is a spinster in her mid-forties who longs for love and romance. The chance arrives when she meets Renato who feels attracted to her. Jane's immediate reaction, however, is to reject Renato's advances. What follows is a struggle between the strict morality of a puritan upbringing and the irresitable charm of Mediterranean temptations. Similar conflicts can be found in many other movies. Apart from Summer Madness we will discuss Aldo Lado's Chi l'ha vista morire? (It 1972), Nicolas Roeg's Don't Look Now (UK/It 1973) and Paul Schrader's The Comfort of Strangers (It/UK/USA 1990). Our paper raises the question whether or not these and other films present false stereotypes and chlichés. The paper is part of our large-scale research project which explores the history of erotic cinema in Italy and England.

Keywords: culture clash, erotic cinema, film, Venice

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Authors: Asima Ranjan Parhi

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English language teaching-learning in higher education departments in Indian and Asian contexts needs to be one of innovation and experimentation rather than rigid prescription. The communicative language teaching has been proposing the context to be of primary importance in this process. Today, English print and electronic media have flooded the market with plenty of material suitable to the classroom context. The entries are poetic, catchy and contain a deliberate method in them which could be utilized to teach not only English language but literature, literary terms and the theory of literature. The Bollywood movies, especially through their songs have been propagating a package which may be useful to teach language and even theory in the sub-continent. While investigating, one may be fascinated to see how such material in the body of media (print and electronic), movies and popular songs generate a data for our classroom in our context, thereby developing a mass language with huge pedagogical implications. Harping on the four skills of teaching and learning of a language in general and English language in particular appears stale and mechanical in a decontextualised, matter of fact classroom. So this discussion visualizes a model beyond these skills as well as the conventional theory, literature, language classroom practices in order to build up a systematic pattern stressing the factors responsible in the particular context, that of specific language, society and culture in tune with language-literature teaching. This study intends to examine certain catchy use of the language entries in mass media which could be in the direction of inviting more such investigations in the Asian context in order to develop a common platform of decolonized pedagogy.

Keywords: pedagogy, electronic media, Bollywood, decolonized, mass media

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Authors: Barenten Suciu

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In this work, effects of the friction and truncation on the dynamics of a double-cone gravitational motor, self-propelled on a straight V-shaped horizontal rail, are evaluated. Such mechanism has a variable radius of contact, and, on one hand, it is similar to a pulley mechanism that changes the potential energy into the kinetic energy of rotation, but on the other hand, it is similar to a pendulum mechanism that converts the potential energy of the suspended body into the kinetic energy of translation along a circular path. Movies of the self- propelled double-cones, made of S45C carbon steel and wood, along rails made of aluminum alloy, were shot for various opening angles of the rails. Kinematical features of the double-cones were estimated through the slow-motion processing of the recorded movies. Then, a kinematical model is derived under assumption that the distance traveled by the contact points on the rectilinear rails is identical with the distance traveled by the contact points on the truncated conical surface. Additionally, a dynamic model, for this particular contact problem, was proposed and validated against the experimental results. Based on such model, the traction force and the traction torque acting on the double-cone are identified. One proved that the rolling traction force is always smaller than the sliding friction force; i.e., the double-cone is rolling without slipping. Results obtained in this work can be used to achieve the proper design of such gravitational motor.

Keywords: Truncated double-cone, friction, rolling and sliding, dynamic model, gravitational motor

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Authors: Payal Sudhan

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Popular films in India, Bollywood, and other local industries make a range of commercial films that attract vast viewership. Love, Heroism, Action, Adventure, Revenge, etc., are some of the dearest themes chosen by many filmmakers of various popular film Industries across the world. However, sexuality has become an issue to address within the cinema. Such films feature in small numbers compared to other themes. One can easily assume that homosexuality is unlikely to be a favorite theme found in Indian popular cinema. It doesn’t mean that there is absolutely no film made on the issues of homosexuality. There have been several attempts. Earlier, some movies depicted homosexual (gay) characters as comedians, which continued until the beginning of the 21st century. The study aims to explore how modern homophobia and stereotype are represented in the films and how it affects homosexuality in the recent Malayalam Cinema. The study wills primarily focusing on Mumbai Police (2013) and My Life Partner (2014). The study tries to explain social space, the idea of a cure, and criminality. The film that has been selected for the analysis Mumbai Police (2013) is a crime thriller. The nonlinear narration of the movie reveals, towards the end, the murderer of ACP Aryan IPS, who was shot dead in a public meeting. In the end, the culprit is the enquiring officer, ACP Antony Moses, himself a close friend and colleague of the victim. Much to one’s curiosity, the primary cause turns out to be the sexual relation Antony has. My Life Partner generically can be classified as a drama. The movie puts forth male bonding and visibly riddles the notions of love and sex between Kiran and his roommate Richard. Running through the same track, the film deals with a different ‘event.’ The ‘event’ is the exclusive celebration of male bonding. The socio-cultural background of the cinema is heterosexual. The elements of heterosexual social setup meet the ends of diplomacy of the Malayalam queer visual culture. The film reveals the life of two gays who were humiliated by the larger heterosexual society. In the end, Kiran dies because of extreme humiliation. The paper is a comparative and cultural analysis of the two movies, My Life Partner and Mumbai Police. I try to bring all the points of comparison together and explain the similarities and differences, how one movie differs from another. Thus, my attempt here explains how stereotypes and homophobia with other related issues are represented in these two movies.

Keywords: queer cinema, homophobia, malayalam cinema, queer films

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Authors: Ronit Chakraborty

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Kolkata, formerly known as Calcutta, is the capital of West Bengal state and the former capital of India (1722-1911) of British India. Located at the heart of Hugli river (one of the main channels of Ganges river), the city is the heart of the state, which forms a base for commerce, transport and manufacture. The large and vibrant city thrives amidst the economic, social and political issues arising from the pages of history to the contemporary times. The unique nature, grandeurs, public debates on tea-stalls and obviously the charismatic scenic beauty and heritage keep the city to be criticized in all horizons, across the world. Movies in India are a big source of knowledge, which can be used as a powerful tool for political mobilization and to indirectly communicate with voters since cinema can be used as a tool of propaganda as it has a wide range of public interests. History proves the fact that films produced in India have been apt enough in making public interests be deeply portrayed through their content in a versatile manner. Such is the portrayal of India’s first capital, Kolkata and its ultimate truth being organizingly laid over by the trilogy of two international fame directors-Mrinal Sen and Satyajit Ray, through their ‘magnum opus- the ‘Kolkata trilogy’. Mrinal Sen’s Interview(1971), Calcutta 71(1972), Padatik(The Guerilla Fighter)(1973) and Satyajit Ray’s Pratidwandi (The Adversary)(1970), Seemabaddha(Company Limited)(1971), Jana Aranya(1976). These films picturized the contemporary Kolkata trends, issues and crises arising amidst the political set-up both by the positive and negative variables attributing to the day-to-day happenings of the city. The movies have been set amidst the turmoil that the nation was going through during Indira Gandhi’s declaration of Emergency, resulting from the general sense of disillusionment that prevailed during that time. Ray wasn't affiliated to any political party and his films largely contributed towards the contemporary conditions prevailing in the society. Mrinal Sen, being a Marxist was in constant search of the bitter truth that the society had to offer through his lens under the prevailing darkness through his trilogy. The research paper attempts to widely view and draw a comparative study of the overall description of the city of Kolkata as portrayed by Sen and Ray in their respective trilogies. By the usage of the visual content analysis method, the researcher has explored the six movies; both the trilogies of Mrinal Sen and Satyajit Ray and tried to analyse the differences as well as the similarities pertaining to understand India’s first capital city Kolkata in various dimensions along with its circumference.

Keywords: Kolkata, trilogy, Satyajit Ray, Mrinal Sen, films, comparative study

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Authors: Burcu Babadağ Savaş, Nihal Orlu, Güler Balcı Alparslan, Ertuğrul Çolak, Cengiz Korkmaz

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Introduction/objectives: We aimed to investigate the effect of humor on pain and state anxiety in patients with rheumatoid arthritis (RA) receiving biologic intravenous (IV) infusion therapy. Method: The study sample consisted of 36 patients who met the classification criteria for RA and inclusion criteria in a rheumatology outpatient clinic at a university hospital between September 2020 and November 2021. Two sample groups were formed: the intervention group (watching a comedy movie) (n=18) and the control group (n=18). The intervention group consisted of the patient watching a comedy movie of his/her choice from an archive created by the researchers during the biological IV infusion therapy (approximately 90-120 minutes). The data collection instruments used before and after the test were the descriptive identification form, the visual analog scale (VAS), and the state anxiety scale. Results: The mean VAS scores of patients in the intervention group were 5.05 ± 2.01 in the pre-test and 2.61 ± 1.91 in the post-test. The mean state anxiety scores of patients in the intervention group were 45.94 ± 9.97 in the pre-test and 34.22 ± 6.57 in the post-test. Thus, patients who watched comedy movies during biologic IV infusion therapy in the infusion center had a greater reduction in pain scores than the control group and the effect size was small. Although there was a decrease in state anxiety scores in both groups, there was no significant difference between groups and the effect size was not relevant. Conclusions: During IV infusion therapy, watching comedy movies is recommended as a nursing care intervention for reducing pain in patients with RA in cooperation with other health professionals.

Keywords: watching comedy movie, humor, pain, anxiety, nursing, care

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Authors: Taliah Foudah, Sana Masri, Jana Al Ghamdi, Rimaz Alzaaqi

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This research project explores the creative works of the app Metui, which allows consumers to edit their photos and use the new and popular AI feature, which turns any photo into a cartoon-like animated image with beautified enhancements. Studying this AI app demonstrates the significance of the ability in which AI can develop intricate designs which verily replicate the human mind. Our goal was to investigate the Metui app by asking our audience certain questions about its functionality and their personal feelings about its credibility as well as their beliefs as to how this app will add to the future of the AI generation, both positively and negatively. Their responses were further explored by analyzing the questions and responses thoroughly and calculating the results through pie charts. Overall, it was concluded that the Metui app is a powerful step forward for AI by replicating the intelligence of humans and its creativity to either benefit society or do the opposite.

Keywords: AI Art, Meitu, application, photo editing

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Authors: Juan-Pedro Rica-Peromingo

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Teachers constantly need to innovate and redefine materials for their lectures, especially in areas such as Language for Specific Purposes (LSP) and Translation Studies (TS). It is therefore essential for the lecturers to be technically skilled to handle the never-ending evolution in software and technology, which are necessary elements especially in certain courses at university level. This need becomes even more evident in Audiovisual Translation (AVT) Modules and Courses. AVT has undergone considerable growth in the area of teaching and learning of languages for academic purposes. We have witnessed the development of a considerable number of masters and postgraduate courses where AVT becomes a tool for L2 learning. The teaching and learning of different AVT modes are components of undergraduate and postgraduate courses. Universities, in which AVT is offered as part of their teaching programme or training, make use of professional or free software programs. This paper presents an approach in AVT withina specific university context, in which technology is used by means of professional and nonprofessional software. Students take an AVT subject as part of their English Linguistics Master’s Degree at the Complutense University (UCM) in which they are using professional (Spot) and nonprofessional (Subtitle Workshop, Aegisub, Windows Movie Maker) software packages. The students are encouraged to develop their tasks and projects simulating authentic professional experiences and contexts in the different AVT modes: subtitling for hearing and deaf and hard of hearing population, audio description and dubbing. Selected scenes from TV series such as X-Files, Gossip girl, IT Crowd; extracts from movies: Finding Nemo, Good Will Hunting, School of Rock, Harry Potter, Up; and short movies (Vincent) were used. Hence, the complexity of the audiovisual materials used in class as well as the activities for their projects were graded. The assessment of the diverse tasks carried out by all the students are expected to provide some insights into the best way to improve their linguistic accuracy and oral and written productions with the use of different AVT modes in a very specific ESP university context.

Keywords: ESP, audiovisual translation, technology, university teaching, teaching

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Authors: Sheetal R. Jadhwani, Daisy Sang, Chang-Shyh Peng

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Web applications are an integral part of modem life. They are mostly based upon the HyperText Markup Language (HTML). While HTML meets the basic needs, there are some shortcomings. For example, applications can cease to work once user goes offline, real-time updates may be lagging, and user interface can freeze on computationally intensive tasks. The latest language specification HTML5 attempts to rectify the situation with new tools and protocols. This paper studies the new Web Storage, Geolocation, Web Worker, Canvas, and Web Socket APIs, and presents applications to test their features and efficiencies.

Keywords: HTML5, web worker, canvas, web socket

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Authors: Mikyung Bak

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The dokkaebi, a beloved icon of Korean culture, is represented as an elf, goblin, monster, dwarf, or any similar creature in different media, such as animated shows, comics, soap operas, and movies. It is often described as a mythical creature with a horn or horns and long teeth, wearing tiger-skin pants or a grass skirt, and carrying a magic stick. Many Korean researchers agree on the similarity of the image of the Korean dokkaebi with that of the Japanese oni, a view that is regard as negative from an anti-colonial or nationalistic standpoint. They cite such similarity between the two mythical creatures as evidence that Japanese colonialism persists in Korea. The debate on the originality of dokkaebi’s visual representation is an issue that must be addressed urgently. This research demonstrates through a diagram the plurality of interpretations of dokkaebi’s visual representations in what are considered ‘authentic’ images of dokkaebi in Korean art and culture. This diagram presents the opinions of four major groups in the debate, namely, the scholars of Korean literature and folklore, art historians, authors, and artists. It also shows the creation of new dokkaebi visual representations in popular media, including those influenced by the debate. The diagram further proves that dokkaebi’s representations varied, which include the typical persons or invisible characters found in Korean literature, original Korean folk characters in traditional art, and even universal spirit characters. They are also visually represented by completely new creatures as well as oni-based mythical beings and the actual oni itself. The earlier dokkaebi representations were driven by the creation of a national ideology or national cultural paradigm and, thus, were more uniform and protected. In contrast, the more recent representations are influenced by the Korean industrial strategy of ‘cultural economics,’ which is concerned with the international rather than the domestic market. This recent Korean cultural strategy emphasizes diversity and commonality with the global culture rather than originality and locality. It employs traditional cultural resources to construct a global image. Consequently, dokkaebi’s recent representations have become more common and diverse, thereby incorporating even oni’s characteristics. This argument has rendered the grounds of the debate irrelevant. The dokkaebi has been used recently for tourist marketing purposes, particularly in revitalizing interest in regions considered the cradle of various traditional dokkaebi tales. These campaign strategies include the Jeju-do Dokkaebi Park, Koksung Dokkaebi Land, as well as the Taebaek and Sokri-san Dokkaebi Festivals. Almost dokkaebi characters are identical to the Japanese oni in tourist marketing. However, the pursuit for dokkaebi’s authentic visual representation is less interesting and fruitful than the appreciation of the entire spectrum of dokkaebi images that have been created. Thus, scholars and stakeholders must not exclude the possibilities for a variety of potentials within the visual culture. The same sentiment applies to traditional art and craft. This study aims to contribute to a new visualization of the dokkaebi that embraces the possibilities of both folk craft and art, which continue to be uncovered by diverse and careful researchers in a still-developing field.

Keywords: Dokkaebi, post-colonial period, representation, tourist marketing

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