Search results for: immersive cinema

Authors: Nefeli Dimitriadi

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This paper aims to present immersive cinema where real actors are filmed and integrated in Virtual Reality environments and 360 cinematic narrative, in comparison to 360 filming of real actors and sets and to fully computer graphics animation movies with 3D avatars. Objectives: This reseach aims to present immersive cinema where real actors are integrated in Virrual Reality environments and 360 cinematic narrative as the future of immersive cinema. Meghdology: A comparative analysis is conducted between real actors filming combined with Virtual Reality sets, to 360 filming of real actors and sets, and to fully computer graphics animation movies with 3D avatars, using as case study Virtual Reality movie Neurosynapses and others. Contribution: This reseach contributes in defining the best practices leading to impactful Immersive cinematic narratives.

Keywords: virtual reality, 360 movies, immersive cinema, directing for virtual reality

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Authors: Seyedeh Rozhano Azimi Hashemi

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There is no doubt that ‘Art’ is a social phenomena and cinema is the most social kind of art. Hence, it’s clear that we can analyze the relation’s of cinema and art from different aspects. In this paper sociological cinema will be investigated which, is a subdivision of sociological art. This term will be discussed by two main approaches. One of these approaches is focused on the effects of cinema on the society, which is known as “Effects Theory” and the second one, which is dealing with the reflection of social issues in cinema is called ” Reflection Theory”. "Reflect theory" approach, unlike "Effects theory" is considering movies as documents, in which social life is reflected, and by analyzing them, the changes and tendencies of a society are understood. Criticizing these approaches to cinema and society doesn’t mean that they are not real. Conversely, it proves the fact that for better understanding of cinema and society’s relation, more complicated models are required, which should consider two aspects. First, they should be bilinear and they should provide a dynamic and active relation between cinema and society, as for the current concept social life and cinema have bi-linear effects on each other, and that’s how they fit in a dialectic and dynamic process. Second, it should pay attention to the role of inductor elements such as small social institutions, marketing, advertisements, cultural pattern, art’s genres and popular cinema in society. In the current study, image of middle class in cinema of Iran and changing the role of women in cinema and society which were two bold issue that cinema and society faced since 1979 revolution till 80s are analyzed. Films as an artwork on one hand, are reflections of social changes and with their effects on the society on the other hand, are trying to speed up the trends of these changes. Cinema by the illustration of changes in ideologies and approaches in exaggerated ways and through it’s normalizing functions, is preparing the audiences and public opinions for the acceptance of these changes. Consequently, audience takes effect from this process, which is a bi-linear and interactive process.

Keywords: Iranian Cinema, Cinema and Society, Middle Class, Woman’s Role

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Authors: Raja Rodziah Binti Raja Zainal Hassan

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The development of Malaysian political cinema is rapidly taking shape in the local film industry. The paper focuses on the production of independent political documentary by two Malaysian filmmakers, Amir Muhammad and Fahmi Reza. Revolutionary cinema can be understood by utilizing the Third Cinema Theory in order to analyse the meaning and its impact on the audience. The issue surrounding the political cinema in Malaysia is the question of national identity. The implementation of racial or ethnic based politics has resulted in hostility within Malaysia’s multiracial society. Amir Muhammad and Fahmi Reza revisit the Malaysian political history through their films in order to understand the reasons behind the hostility and conflict.

Keywords: Political cinema, third cinema theory, revolutionary cinema, national identity, racial or ethnic politics

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Authors: Kakhaber Djakeli

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For market leadership, iconic brands already start to establish their unique digital avatars into Metaverse and offer Non Fungible Tokens to their fans. Metaverse can be defined as an evolutionary step of Internet development. So if companies and brands use the internet, logically, they can find new solutions for them and their customers in Metaverse. Marketing and Management today must learn how to combine physical world activities with those either entitled as digital, virtual, and immersive. A “Phygital” Solution uniting physical and digital competitive activities of the company covering the questions about how to use virtual worlds for Brand Development and Non Fungible Tokens for more attractiveness soon will be most relevant question for Branding. Thinking comprehensively, we can entitle this type of branding as an Immersive one. As we see, the Immersive Brands give customers more mesmerizing feelings than traditional ones. Accordingly, the Branding can be divided by the company in its own understanding into two models: traditional and immersive. Immersive Branding being more directed to Sensorial challenges of Humans will be big job for International Universities in near future because they target the Generation - Z. To try to help those International Universities opening the door to the mesmerizing, immersive branding, the Marketing Research have been undertaken. The main goal of the study was to establish the model for Immersive Branding at International Universities and answer on many questions what logically arises in university life. The type of Delphi Surveys entitled as an Expert Studies was undertaken for one great mission, to help International Universities to open the opportunities to Phygital activities with reliable knowledge with Model of Immersive Branding. The Questionnaire sent to Experts of Education were covering professional type of questions from education to segmentation of customers, branding, attitude to students, and knowledge to Immersive Marketing. The research results being very interesting and encouraging enough to make author to establish the New Model of Immersive Experiential Branding for International Universities.

Keywords: branding, immersive marketing, students, university

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Authors: Raminder Kaur

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This paper considers the emerging area of integrating Virtual Reality (VR) technologies into the teaching of Visual Anthropology, Research Methods, and the Anthropology of Contemporary India in the University of Sussex. If deployed in a critical and self-reflexive manner, there are several advantages to VR-based immersive learning: (i) Based on data available for British schools, it has been noted that ‘Learning through experience can boost knowledge retention by up to 75%’. (ii) It can tutor students to learn with and from virtual worlds, devising new collaborative methods where suited. (iii) It can foster inclusive learning by aiding students with SEN and disabilities who may not be able to explore such areas in the physical world. (iv) It can inspire and instill confidence in students with anxieties about approaching new subjects, realms, or regions. (v) It augments our provision of ‘smart classrooms’ synchronised to the kinds of emerging immersive learning environments that students come from in schools.

Keywords: virtual reality, anthropology, immersive learning, university

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Authors: Simone Balin, Cecilia M. Bolognesi, Paolo Borin

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In the construction industry, there is a large amount of data and interconnected information. To manage this information effectively, a transition to the immersive digitization of information processes is required. This transition is important to improve knowledge circulation, product quality, production sustainability and user satisfaction. However, there is currently a lack of a common definition of immersion in the construction industry, leading to misunderstandings and limiting the use of advanced immersive technologies. Furthermore, the lack of guidelines and a common vocabulary causes interested actors to abandon the virtual world after the first collaborative steps. This research aims to define the optimal use of immersive technologies in the AEC sector, particularly for collaborative processes based on the BIM methodology. Additionally, the research focuses on creating classes and levels to structure and define guidelines and a vocabulary for the use of the " Immersive Need Level." This concept, matured by recent technological advancements, aims to enable a broader application of state-of-the-art immersive technologies, avoiding misunderstandings, redundancies, or paradoxes. While the concept of "Informational Need Level" has been well clarified with the recent UNI EN 17412-1:2021 standard, when it comes to immersion, current regulations and literature only provide some hints about the technology and related equipment, leaving the procedural approach and the user's free interpretation completely unexplored. Therefore, once the necessary knowledge and information are acquired (Informational Need Level), it is possible to transition to an Immersive Need Level that involves the practical application of the acquired knowledge, exploring scenarios and solutions in a more thorough and detailed manner, with user involvement, via different immersion scales, in the design, construction or management process of a building or infrastructure. The need for information constitutes the basis for acquiring relevant knowledge and information, while the immersive need can manifest itself later, once a solid information base has been solidified, using the senses and developing immersive awareness. This new approach could solve the problem of inertia among AEC industry players in adopting and experimenting with new immersive technologies, expanding collaborative iterations and the range of available options.

Keywords: AECindustry, immersive technology (IMT), virtual reality, augmented reality, building information modeling (BIM), decision making, collaborative process, information need level, immersive level of need

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Authors: Ebru Thwaites Diken

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This article analyzes the works of certain directors in Danish cinema, namely Susanne Bier and Lone Sherfig, in the context of transnationalisation of Danish cinema. It looks at how the films' narratives negotiate and reconstruct the local / national / regional and the global. Scholars such as Nestingen & Elkington (2005), Hjort (2010), Higbee and Lim (2010), Bondebjerg and Redvall (2011) address transnationalism of Danish cinema in terms of production and distribution processes and how film making trascends national boundaries. This paper employs a particular understanding of transnationalism - in terms of how ideas and characters travel - to analyze how the storytelling and style has evolved to connect the national, the regional and the global on the basis of the works of these two directors. Strategies such as Hollywoodization - i.e. focus on stardom and classical narration, adhering to conventional European genre formulas, producing Danish films in English language have been identifiable strategies in Danish cinema in the period after the 2000s. Susanne Bier and Lone Scherfig are significant for employing some of these strategies simultaneously. For this reason, this article will look at how these two directors have employed these strategies and negotiated the cultural boundaries and exchanges.

Keywords: danish cinema, transnational cinema, susanne bier, lone scherfig, national cinema

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Authors: Esra Ince

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As an important means of cultural transmission, cinema is an important resource for seeing cultural and social definitions, meanings and descriptions of people with disabilities. This study is aimed to reveal how disabled people are represented in the films selected from Turkish cinema. For this purpose, the films were examined with qualitative content analysis. The Goffmanian perspective was adopted in the study. The relationship between disability and stigma has been tried to be explained. How the disabled, which Goffman defines as a stigmatized group due to their differences, are represented in the cinema has been examined within the dramaturgy model. In the research, it was seen that the disabled characters took place in similar representations in different regions of dramaturgy. It has been seen that the films reinforce the negative discourse and behaviors by reflecting the prejudices, attitudes and behaviors in the society and continue to stigmatize disability.

Keywords: disability, Turkish cinema, Goffman, stigma

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Authors: D. Reich, R. Stark

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To provide reliable and valid findings when evaluating innovative in-car devices in the automotive context highly realistic driving environments are recommended. Nowadays, in-car devices are mostly evaluated due to driving simulator studies followed by real car driving experiments. Driving simulators are characterized by high internal validity, but weak regarding ecological validity. Real car driving experiments are ecologically valid, but difficult to standardize, more time-robbing and costly. One economizing suggestion is to implement more immersive driving environments when applying driving simulator studies. This paper presents research comparing non-immersive standard PC conditions with mobile and highly immersive Oculus Rift conditions while performing the Lane Change Task (LCT). Subjective data with twenty participants show advantages regarding presence and immersion experience when performing the LCT with the Oculus Rift, but affect adversely cognitive workload and simulator sickness, compared to non-immersive PC condition.

Keywords: immersion, oculus rift, presence, situation awareness

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Authors: Yi-ju Ariel Wu

Abstract:

Exploring The Effects of Immersive Virtual Reality on Increasing Willingness to Communicate, Oral Performance, and Reducing Speaking Anxiety for EFL Elementary Students from Taiwan

Keywords: Immersive Virtual Reality, EFL speaking, situated learning, pragmatics

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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: Pongsawee Supanonth

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This study aims to investigate the consumer behavior and marketing mixed factor affect on consumer decision making for independent movies presented in Lido cinema. The research method will use quantitative research, data was collected by questionnaires distributed to the audience in the Lido cinema for 400 sample by accidental sampling technique. Data was analyzed by descriptive statistic including percentage, mean, standard deviation and inferential statistic including independent t-test for hypothesis testing. The results showed that marketing mixed factors affecting consumer decision-making for Independent movies presented in Lido cinema by gender as different as less than the 0.05 significance level, it was found that the kind of movie ,quality of theater ,price of ticket, facility of watching movies, staff services and promotion of Lido cinema respectively had a vital influence on their attention and response which makes the advertisement more attractive is in harmony with the research hypotheses also.

Keywords: consumer behavior, marketing mixed factor, resonance, consumer decision making, Lido cinema

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Authors: Pawel Kiper, Alfonc Baba, Mahmoud Alhelou, Giorgia Pregnolato, Michela Agostini, Andrea Turolla

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Impairment of cervical spine mobility is often related to pain triggered by musculoskeletal disorders or direct traumatic injuries of the spine. To date, these disorders are assessed with goniometers and inclinometers, which are the most popular devices used in clinical settings. Nevertheless, these technologies usually allow measurement of no more than two-dimensional range of motion (ROM) quotes in static conditions. Conversely, the wide use of motion tracking systems able to measure 3 to 6 degrees of freedom dynamically, while performing standard ROM assessment, are limited due to technical complexities in preparing the setup and high costs. Thus, motion tracking systems are primarily used in research. These systems are an integral part of virtual reality (VR) technologies, which can be used for measuring spine mobility. To our knowledge, the accuracy of VR measure has not yet been studied within virtual environments. Thus, the aim of this study was to test the reliability of a protocol for the assessment of sensorimotor function of the cervical spine in a population of healthy subjects and to compare whether using immersive or non-immersive VR for visualization affects the performance. Both VR assessments consisted of the same five exercises and random sequence determined which of the environments (i.e. immersive or non-immersive) was used as first assessment. Subjects were asked to perform head rotation (right and left), flexion, extension and lateral flexion (right and left side bending). Each movement was executed five times. Moreover, the participants were invited to perform head reaching movements i.e. head movements toward 8 targets placed along a circular perimeter each 45°, visualized one-by-one in random order. Finally, head repositioning movement was obtained by head movement toward the same 8 targets as for reaching and following reposition to the start point. Thus, each participant performed 46 tasks during assessment. Main measures were: ROM of rotation, flexion, extension, lateral flexion and complete kinematics of the cervical spine (i.e. number of completed targets, time of execution (seconds), spatial length (cm), angle distance (°), jerk). Thirty-five healthy participants (i.e. 14 males and 21 females, mean age 28.4±6.47) were recruited for the cervical spine assessment with immersive and non-immersive VR environments. Comparison analysis demonstrated that: head right rotation (p=0.027), extension (p=0.047), flexion (p=0.000), time (p=0.001), spatial length (p=0.004), jerk target (p=0.032), trajectory repositioning (p=0.003), and jerk target repositioning (p=0.007) were significantly better in immersive than non-immersive VR. A regression model showed that assessment in immersive VR was influenced by height, trajectory repositioning (p<0.05), and handedness (p<0.05), whereas in non-immersive VR performance was influenced by height, jerk target (p=0.002), head extension, jerk target repositioning (p=0.002), and by age, head flex/ext, trajectory repositioning, and weight (p=0.040). The results of this study showed higher accuracy of cervical spine assessment when executed in immersive VR. The assessment of ROM and kinematics of the cervical spine can be affected by independent and dependent variables in both immersive and non-immersive VR settings.

Keywords: virtual reality, cervical spine, motion analysis, range of motion, measurement validity

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Authors: Ebru Thwaites Diken

Abstract:

This article analyzes the works of certain directors in Danish cinema, namely Susanne Bier and Lone Sherfig, in the context of transnationalisation of Danish cinema. It looks at how the films' narratives negotiate and reconstruct the local / national / regional and the global. Scholars such as Nestingen & Elkington (2005), Hjort (2010), Higbee and Lim (2010), Bondebjerg and Redvall (2011) address transnationalism of Danish cinema in terms of production and distribution processes and how film making trascends national boundaries. This paper employs a particular understanding of transnationalism - in terms of how ideas and characters travel - to analyze how the storytelling and style has evolved to connect the national, the regional and the global on the basis of the works of these two directors. Strategies such as Hollywoodization - i.e. focus on stardom and classical narration, adhering to conventional European genre formulas, producing Danish films in English language have been identifiable strategies in Danish cinema in the period after the 2000s. Susanne Bier and Lone Scherfig are significant for employing some of these strategies simultaneously. For this reason, this article will look at how these two directors have employed these strategies and negotiated the cultural boundaries and exchanges.

Keywords: transnational cinema, danish cinema, susanne bier, lone scherfig

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Authors: Hasan Gürkan, Rengin Ozan

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Cinema, as a popular mass media tool, affects the general perception of the society against sexual identity. By establishing on interaction relationship with cinema and social reality, the study also tries to answer what the importance of lesbian identity in social life in films in Turkey is. This article focus on representing the description of the women characters who call their selves lesbian in Turkey cinema. The study tries to answer these three questions: First, how the lesbian characters are represented in films in Turkey? Second, what is the reality of the lesbian sexual identity in the films? Third, what are the differences and similarities between the lesbian characters in films in Turkey before 2000s and after 2000s? The films are analysed by the sociological film interpretation in this study. When comparing the films before 2000 and after 2000, it is possible to say that there have been no lesbian characters in many films. Especially almost all of the films (Haremde Dört Kadın, Ver Elini İstanbul, Dul Bir Kadın, Gramofon Avrat, Lola and Billidikid), during 1960s, just threw looks indirect the lesbian sex identity. Just in the films Düş Gezginleri, İki Genç Kız and Nar, the women character (also called them as lesbian) are the leading role and the plot of the films is progressing over these characters.

Keywords: cinema in Turkey, lesbian identity, representation, stereotype

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Authors: H. Kelkoul, Y. Zaz

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Nowadays, the vigorous popularity of video processing techniques has resulted in an explosive growth of multimedia data illegal use. So, watermarking security has received much more attention. The purpose of this paper is to explore some watermarking techniques in order to observe their specificities and select the finest methods to apply in digital cinema domain against movie piracy by creating an invisible watermark that includes the date, time and the place where the hacking was done. We have studied three principal watermarking techniques in the frequency domain: Spread spectrum, Wavelet transform domain and finally the digital cinema watermarking transform domain. In this paper, a detailed technique is presented where embedding is performed using direct sequence spread spectrum technique in DWT transform domain. Experiment results shows that the algorithm provides high robustness and good imperceptibility.

Keywords: digital cinema, watermarking, wavelet DWT, spread spectrum, JPEG2000 MPEG4

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Authors: Eman Ayman, Gehan Nagy

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The learning environment has four main parameters that affect its efficiency which they are: pedagogy, user, technology, and space. According to Morrone, enhancing these parameters to be adaptable for future developments is essential. The educational organization will be in need of developing its learning spaces. Flexibility of design an immersive technology could be used as tools for this development. when flexible design concepts are used, learning spaces that can accommodate a variety of teaching and learning activities are created. To accommodate the various needs and interests of students, these learning spaces are easily reconfigurable and customizable. The immersive learning opportunities offered by technologies like virtual reality, augmented reality, and interactive displays, on the other hand, transcend beyond the confines of the traditional classroom. These technological advancements could improve learning. This thesis highlights the problem of the lack of innovative, flexible learning spaces in educational institutions. It aims to develop guidelines for enhancing the learning environment by the integration of flexible design and immersive technology. This research uses a mixed method approach, both qualitative and quantitative: the qualitative section is related to the literature review theories and case studies analysis. On the other hand, the quantitative section will be identified by the results of the applied studies of the effectiveness of redesigning a learning space from its traditional current state to a flexible technological contemporary space that will be adaptable to many changes and educational needs. Research findings determine the importance of flexibility in learning spaces' internal design as it enhances the space optimization and capability to accommodate the changes and record the significant contribution of immersive technology that assists the process of designing. It will be summarized by the questionnaire results and comparative analysis, which will be the last step of finalizing the guidelines.

Keywords: flexibility, learning space, immersive technology, learning environment, interior design

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Authors: Anna-Kaisa Sjolund

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The doctoral thesis examines interaction design and sensory ethnography as tools to create immersive education environments. In recent years, there has been increasing interest and discussions among researchers and educators on immersive education like augmented reality tools, virtual glasses and the possibilities to utilize them in education at all levels. Using virtual devices as learning environments it is possible to create multisensory learning environments. Sensory ethnography in this study refers to the way of the senses consider the impact on the information dynamics in immersive learning environments. The past decade has seen the rapid development of virtual world research and virtual ethnography. Christine Hine's Virtual Ethnography offers an anthropological explanation of net behavior and communication change. Despite her groundbreaking work, time has changed the users’ communication style and brought new solutions to do ethnographical research. The virtual reality with all its new potential has come to the fore and considering all the senses. Movie and image have played an important role in cultural research for centuries, only the focus has changed in different times and in a different field of research. According to Karin Becker, the role of image in our society is information flow and she found two meanings what the research of visual culture is. The images and pictures are the artifacts of visual culture. Images can be viewed as a symbolic language that allows digital storytelling. Combining the sense of sight, but also the other senses, such as hear, touch, taste, smell, balance, the use of a virtual learning environment offers students a way to more easily absorb large amounts of information. It offers also for teachers’ different ways to produce study material. In this article using sensory ethnography as research tool approaches the core question. Sensory ethnography is used to describe information dynamics in immersive environment through interaction design. Immersive education environment is understood as three-dimensional, interactive learning environment, where the audiovisual aspects are central, but all senses can be taken into consideration. When designing learning environments or any digital service, interaction design is always needed. The question what is interaction design is justified, because there is no simple or consistent idea of what is the interaction design or how it can be used as a research method or whether it is only a description of practical actions. When discussing immersive learning environments or their construction, consideration should be given to interaction design and sensory ethnography.

Keywords: immersive education, sensory ethnography, interaction design, information dynamics

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Authors: Thomas Roche, Erica Wilson, Elizabeth Goode

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Universities across the globe are considering how to effect meaningful change in their higher education (HE) delivery in the face of increasingly diverse student cohorts and shifting student learning preferences. This paper reports on a descriptive case study of whole-of-institution curriculum reform at one regional Australian university, where more traditional 13-week semesters were replaced with a 6-week immersive block model drawing on active learning pedagogy. Based on a synthesis of literature in best practice HE pedagogy and principles, the case study draws on student performance data and senior management staff interviews (N = 5) to outline the key changes necessary for successful HE transformation to deliver increased student pass rates and retention. The findings from this case study indicate that an institutional transformation to an immersive block model requires both a considered change in institutional policy and process as well as the appropriate resourcing of roles, governance committees, technical solutions, and, importantly, communities of practice. Implications for practice at higher education institutions considering reforming their curriculum model are also discussed.

Keywords: student retention, immersive scheduling, block model, curriculum reform, active learning, higher education pedagogy, higher education policy

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Authors: Luis F. Recalde, Daniela A. Bastidas, Dayana E. Gallegos, Patricia N. Constante, Victor H. Andaluz

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This article presents a non-immersive virtual lab-oratory to emulate the behavior of the Mitsubishi Melfa RV 2SDB robotic arm, allowing students and users to acquire skills and experience related to real robots, augmenting the access and learning of robotics in Universidad de las Fuerzas Armadas (ESPE). It was developed using the mathematical model of the robotic arm, thus defining the parameters for virtual recreation. The environment, interaction, and behavior of the robotic arm were developed in a graphic engine (Unity3D) to emulate learning tasks such as in a robotics laboratory. In the virtual system, four inputs were developed for the movement of the robot arm; further, to program the robot, a user interface was created where the user selects the trajectory such as point to point, line, arc, or circle. Finally, the hypothesis of the industrial robotic learning process is validated through the level of knowledge acquired after using the system.

Keywords: virtual learning, robot arm, non-immersive reality, mathematical model

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Authors: H. Haryati, A. Nor Azura

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Over the turn of the century, the advertising landscape has evolved significantly, from print media to digital media. In line with the shift to the advanced science and technology dramatically shake the framework of societies Fifth Industrial Revolution (IR5.0), technological endeavors have increased exponentially, which influenced user interaction more inspiring through online advertising that intentionally leads to buying behavior. Users are more accustomed to interactive content that responds to their actions. Thus, immersive experience has transformed into a new engagement experience To centennials. The purpose of this paper is to investigate pleasure and arousal as the fundamental elements of consumer emotions and affective responses to marketing stimuli. A quasi-experiment procedure will be adopted in the research involving 40 undergraduate students in Nilai, Malaysia. This study employed a 2 (celebrity endorser vs. Social media influencer) X 2 (high and low visual complexity) factorial between-subjects design. Participants will be exposed to a printed version depicting a fashion product endorsed by a celebrity and social media influencers, presented in high and low levels of visual complexity. While the questionnaire will be Distributing during the lab test session is used to control their honesty, real feedback, and responses through the latest Instagram design and engagement. Therefore, the research aims to define the immersive experience on Instagram and the interaction between pleasure and arousal. An advertisement that evokes pleasure and arousal will be likely getting more attention from the target audience. This is one of the few studies comparing the endorses in Instagram advertising. Also, this research extends the existing knowledge about the immersive visual complexity in the context of social media advertising.

Keywords: immersive visual experience, instagram, pleasure, arousal

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Authors: Carlos Guillermo Lloga Sanz, Maria del Carmen Tamayo Asef

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As an object of study in Cuban universities, cinema is still in its infancy. This is relevant considering the significance of cinema within the local political culture and its impact on countries of the region. Discussions about the medium have been carried out mainly in the field of film criticism. The objective of this article is to reflect on the divergences between film studies and film criticism taking into account formal and theoretical features and to explore the transcendence of this debate for the intellectual ambiance of the Island. Methodologically, the study relies on theoretical elaborations based on literature review and non-structure interviews with Cuban film critics and scholars. The study finds that the gradation proposed by the Anglo-Saxon tradition, where film studies are considered a “higher stage," compared to criticism and cinephilia, does not apply to the Cuban space. Instead, to assess the state of reflection on cinema in Cuba, it is essential to consider it a starry node traversed by epistemic, institutional, and geopolitical matrices.

Keywords: film studies, film criticism, Cuban cinema, Cuban film studies

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Authors: Günevi Uslu Evren

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Propaganda is one of the most effective methods for changing individual and mass opinions. Propaganda tries to get the message across to people or masses to effect rather than to provide objective information. There are many types of propaganda. Especially, political propaganda is a very powerful method that is used by states during in both war and peace. The aim of this method is to create a reaction against them by showing within the framework of internal and external enemies. Propaganda can be practiced by many different methods. Especially during the Cold War Era, the US and USSR have tried to create an ideological effect by using the mass media intensively. Cinema, which is located at the beginning of these methods, is the most powerful weapon to influence the masses. In this study, the historical process of the Cold War is examined. Especially, these propagandas that had been used by United States and The Soviet Union were investigated. The purposes of propaganda and construction methods were presented. Cold War events and relations between the US and the USSR during the Cold War will be discussed. Outlooks of two countries to each other during the Cold War, propaganda techniques used defectively during Cold War and how to use the cinema as a propaganda tool will be examined. The film "From Russia with Love, James Bond 007" that was filmed in Cold War were examined to explain how cinema was used as a propaganda tool in this context.

Keywords: cinema, cold war, James Bond, propaganda

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Authors: Robin Gengan

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The film industry is one of the most impactful creative sectors in modern social influence. It has relational effects on knowledge and psychological impact on the youth. Much focus in current filmmaking is either in fictional drama or documentary. The purpose of this article is to combine the two into a third genre; edutainment in which film is approached as a visual educational text. Similar to language text, cinema can be applied to semiotic reading. Film interpretation is a phenomenological order, unique to each viewer. There are cultural norms and tropes that are more universal between the practice of semiotic reading, symbolism and interpretation. Film semiotics and narration are a juxtaposition of moving visual texts and sound to create meaning through film codes and social conventions to form an educational narrative that makes the medium effective for learning and teaching. The aim of this article is to explore and set precedence for more creative building-blocks into future research on edutainment cinema. This will further stimulate and benefit innovative entrepreneurial filmmaking and future academic research.

Keywords: cinema, edutainment, epistemology, multimodality, semiotics, structuralism

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Authors: Sanne Dollerup

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This paper is an analysis of the store Tarina Tarantino through an exploration of different perspectives of play. It is based on Yelp reviews where customers disclose a very positive emotional reaction toward the store. The paper proposes some general principles for designing immersive stores based on ‘possible world’ theory. The aim is to disclose essential condition for customer engagement is an overall cohesiveness in all elements in a store. The most significant contribution in this paper is that products become props for role-playing in a store, hence making them central for maintaining that role outside the store.

Keywords: experience design, emotional brand attachment, retail design, case study

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Authors: Dorsa Moayedi

Abstract:

‘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: Dustin Dill

Abstract:

The physical movement of crossing over water points to both developing narrative tropes and innovative cinematography in World Cinema today. Two prime examples, Alamar (2009) by Pedro González-Rubio and Kaili Blues (2015) by Bi Gan, demonstrate how contemporary storytelling in a film not only rests upon these water shots but also emerges from them. The range of symbolism that these episodes in the story provoke goes hand in hand with the diverse filming sequences found in the respective productions. While González-Rubio decides to cut the scene into long and longer shots, Gan uses a single take. The differing angles depict equally unique directors and film projects: Alamar runs parallel to many definitions of the essay film, and Kaili Blues resonates much more with mystery and art film. Nonetheless, the crossing of water scenes influence the narratives’ subjects despite the generic consequences, and it is within the essay, mystery, and art film genres which allows for a better understanding of World Cinema. Tiago de Luca explains World Cinema’s prerogative of giving form to a certain type of spectator does not always line up. Given the immense number of interpretations of crossing water —the escape from suffering to find nirvana, rebirth, and colonization— underline the difficulty of categorizing it. If before this type of cross-genre was a trait that defined World Cinema in its beginning, this study observes that González-Rubio and Gan question the all-encompassing genre with their experimental shots of a universal narrative trope, the crossing of water.

Keywords: cinematography, genre, narrative, world cinema

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Authors: Krishnanunni S.

Abstract:

The COVID-19 Pandemic has had an impact on every part of our lives, and the film industry is no exception. The restrictions the pandemic has brought made filmmakers confine their films to limited spaces. In India, Malayalam cinema was the first to incorporate the pandemic into its stories and started producing films within existing constraints. The purpose of this study was to study how the limited location storytelling concept influenced Malayalam independent and lockdown films. To answer this question, the three of the most popular films that we shot during the pandemic: The Great Indian Kitchen, Joji and Joyful Mystery, were dissected through text analysis and in-depth interviews were conducted with the makers of The Great Indian Kitchen and Joyful Mystery. The study revealed that the pandemic had had an influence on the way filmmakers visualize their stories and shoot them, especially while working within the restrictions of the pandemic. It was also observed that working with limited locations was the only way for filmmakers to make films during the times of pandemic. But rather than a hindrance to their work, filmmakers saw it as a new possibility to create in times of confinement. The findings of this study expanded the work of previous researchers about films shot in limited locations and the significant changes the pandemic has brought to the film industry.

Keywords: limited location storytelling, pandemic, pandemic restrictions, lockdown cinema, pandemic films, Malayalam cinema, OTT revolution, cinema, films

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Authors: Sanjay Ranade

Abstract:

Traditional film theory assumes the cinema audience in a darkened room where cinema is projected on to a white screen, and the audience suspends their sense of reality. Shifts in audiences due to changes in cultural tastes or trends have been studied for decades. In the past two decades, however, the audience, especially the youth, has shifted to digital media for the consumption of cinema. As a result, not only are audiences watching cinema on different devices, they are also consuming cinema in places and ways never imagined before. Public transport often crowded to the brim with a lot of ambient content, and a variety of workplaces have become sites for cinema viewing. Cinema is watched piecemeal and at different times of the day. Audiences use devices such as mobile phones and tablets to watch cinema. The cinema viewing experience is getting redesigned by the user. The emerging design allows the spectator to not only consume images and narratives but also produce, reproduce, and manipulate existing images and narratives, thereby participating in the process and influencing it. Spectatorship studies stress on the importance of subjectivity when dealing with the structure of the film text and the cultural and psychological implications in the engagement between the spectator and the film text. Indian cinema has been booming and contributing to global movie production significantly. In 2005 film production was 1000 films a year and doubled to 2000 by 2016. Digital technology helped push this growth in 2012. Film studies in India have had a decided Euro-American bias. The studies have chiefly analysed the content for ideological leanings or myth or as reflections of society, societal changes, or articulation of identity or presented retrospectives of directors, actors, music directors, etc. The one factor relegated to the background has been the spectator. If they have been addressed, they are treated as a collective of class or gender. India has a performative tradition going back several centuries. How Indians receive cinema is an important aspect to study with respect to film studies. This exploratory and descriptive study looked at 162 young media students studying cinema at the undergraduate and postgraduate levels. The students, speaking as many as 20 languages amongst them, were drawn from across the country’s media schools. The study looked at nine film societies registered with the Federation of Film Societies of India. A structured questionnaire was made and distributed online through media teachers for the students. The film societies were approached through the regional office of the FFSI in Mumbai. Lastly, group discussions were held in Mumbai with students and teachers of media. A group consisted of between five and twelve student participants, along with one or two teachers. All the respondents looked at themselves as spectators and shared their experiences of spectators of cinema, providing a very rich insight into Indian conditions of viewing cinema and challenges for cinema ahead.

Keywords: audience, digital, film studies, reception, reception spectatorship

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Authors: Cristina Greco

Abstract:

The spread of the digital and we-based technologies has led to a transformation process, which has coincided with an increase in the number of cases who are beyond the mainstream storytelling and its codes on the interaction with the user. On the base of a previous research on i-docs and virtual museums, this study analyses interactive and immersive online Graphic Novel – one-page, animated, illustrated, and hybrid – to reflect on the transformational implications of this expressive form on the user perception, remembrance, and awareness. The way in which the user experiences a certain level of interaction with the story and immersion in the semantic and figurative universe would bring user’s attention, activating introspection and self-reflection processes, perception, imagination, and creativity. This would have to do with the involvement of different senses – visual, proprioceptive, tactile, auditory, and vestibular – and the activation of a phenomenon of synaesthesia (involuntary cross-modal sensory association) – where, for example, the aural reconnect the user to another sense, providing a multisensory experience. The case studies show specific forms of interactive and immersive graphic novel and reflect on application that has sought to engage innovative ways to communicate different messages and stimulate cultural memory and collective awareness. The visual semiotic and narrative analysis of the distinctive traits of such a complex textuality, along with a study of the user’s experience through observation in naturalistic settings and interviews, allows us to question the functioning of these configurations, with regard to the relationships between the figurative dimension, the perceptive activity, and their impact on the user’s engagement.

Keywords: collective awareness, cultural memory, graphic novel, interactive and immersive storytelling

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