Search results for: movie avatar

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: M. Siedlikowski, F. Rauch, A. Tsimicalis

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Osteogenesis Imperfecta (OI) is a genetic disorder of childhood onset that causes frequent fractures after minimal physical stress. To date, OI research has focused on medically- and surgically-oriented outcomes with little attention on the perspective of the affected child. It is a challenge to elicit the child’s voice in health care, in other words, their own perspective on their symptoms, but software development offers a way forward. Sisom (Norwegian acronym derived from ‘Si det som det er’ meaning ‘Tell it as it is’) is an award-winning, rigorously tested, interactive, computerized tool that helps children with chronic illnesses express their symptoms to their clinicians. The successful Sisom software tool, that addresses the child directly, has not yet been adapted to attend to symptoms unique to children with OI. The purpose of this study was to develop a Sisom paper prototype for children with OI by seeking the perspectives of end users, particularly, children with OI and clinicians. Our descriptive qualitative study was conducted at Shriners Hospitals for Children® – Canada, which follows the largest cohort of children with OI in North America. Purposive sampling was used to recruit 12 children with OI over three cycles. Nine clinicians oversaw the development process, which involved determining the relevance of current Sisom symptoms, vignettes, and avatars, as well as generating new Sisom OI components. Data, including field notes, transcribed audio-recordings, and drawings, were deductively analyzed using content analysis techniques. Guided by the following framework, data pertaining to symptoms, vignettes, and avatars were coded into five categories: a) Relevant; b) Irrelevant; c) To modify; d) To add; e) Unsure. Overall, 70.8% of Sisom symptoms were deemed relevant for inclusion, with 49.4% directly incorporated, and 21.3% incorporated with changes to syntax, and/or vignette, and/or location. Three additions were made to the ‘Avatar’ island. This allowed children to celebrate their uniqueness: ‘Makes you feel like you’re not like everybody else.’ One new island, ‘About Me’, was added to capture children’s worldviews. One new sub-island, ‘Getting Around’, was added to reflect accessibility issues. These issues were related to the children’s independence, their social lives, as well as the perceptions of others. In being consulted as experts throughout the co-creation of the Sisom OI paper prototype, children coded the Sisom symptoms and provided sound rationales for their chosen codes. In rationalizing their codes, all children shared personal stories about themselves and their relationships, insights about their OI, and an understanding of the strengths and challenges they experience on a day-to-day basis. The child’s perspective on their health is a basic right, and allowing it to be heard is the next frontier in the care of children with genetic diseases. Sisom OI, a methodological breakthrough within OI research, will offer clinicians an innovative and child-centered approach to capture this neglected perspective. It will provide a tool for the delivery of health care in the center that established the worldwide standard of care for children with OI.

Keywords: child health, interactive computerized communication tool, participatory approach, symptom management

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Authors: Tamara Matevosyan

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In this globalized world, intercultural communication is becoming essential for understanding communication among people, for developing understanding of cultures, to appreciate the opportunities and challenges that each culture presents to people. Moreover, it plays an important role in developing an ideal personification to understand different behaviors in different cultures. Native speakers assimilate sociolinguistic knowledge in natural conditions, while it is a great problem for language learners, and in this context feature films reveal cultural peculiarities and involve students in real communication. As we know nowadays the key role of language learning is the development of intercultural competence as communicating with someone from a different cultural background can be exciting and scary, frustrating and enlightening. Intercultural competence is important in FL learning classroom and here feature films can perform as essential tools to develop this competence and overcome the intercultural gap that foreign students face. Current proposal attempts to reveal the correlation of the given culture and language through feature films. To ensure qualified, well-organized and practical classes on Intercultural Communication for language learners a number of methods connected with movie watching have been implemented. All the pre-watching, while watching and post-watching methods and techniques are aimed at developing students’ communicative competence. The application of such activities as Climax, Role-play, Interactive Language, Daily Life helps to reveal and overcome mistakes of cultural and pragmatic character. All the above-mentioned activities are directed at the assimilation of the language vocabulary with special reference to the given culture. The study dwells into the essence of culture as one of the core concepts of intercultural communication. Sometimes culture is not a priority in the process of language learning which leads to further misunderstandings in real life communication. The application of various methods and techniques with feature films aims at developing students’ cultural competence, their understanding of norms and values of individual cultures. Thus, feature film activities will enable learners to enlarge their knowledge of the particular culture and develop a fundamental insight into intercultural communication.

Keywords: climax, intercultural competence, interactive language, role-play

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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: Victoria H. Hamilton

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Charles Bonnet Syndrome (CBS) is when a person experiences pseudohallucinations that fill in visual information from any type of sight loss. CBS arises from an epiphenomenal process, with the physical actions of sight resulting in the mental formations of images. These pseudohallucinations—referred to as visions by the CBS community—manifest in a wide range of forms, from complex scenes to simple geometric shapes. To share these unique visual experiences, a remote co-creation website was created where CBS participants communicated their lived experiences. This created a reflexive process, and we worked to produce true representations of these interesting and little-known phenomena. Digital reconstruction of the visions is utilised as it echoes the vivid, experiential movie-like nature of what is being perceived. This paper critically analyses co-creation as a method for making digital assets. The implications of the participants' vision impairments and the application of ethical safeguards are examined in this context. Important to note, this research is of a medical syndrome for a non-medical, practice-based design. CBS research to date is primarily conducted by the ophthalmic, neurological, and psychiatric fields and approached with the primary concerns of these specialties. This research contributes a distinct approach incorporating practice-based digital design, autoethnography, and phenomenology. Autoethnography and phenomenology combine as a foundation, with the first bringing understanding and insights, balanced by the second philosophical, bigger picture, and established approach. With further refining, it is anticipated that the research may be applied to other conditions. Conditions where articulating internal experiences proves challenging and the use of digital methods could aid communication. Both the research and CBS communities will benefit from the insights regarding the relationship between cognitive perceptions and the vision process. This research combines the digital visualising of visions with interest in the link between metaphor, embodied cognition, and image. The argument for a link between CBS visions and metaphor may appear evident due to the cross-category mapping of images that is necessary for comprehension. They both are— CBS visions and metaphors—the experience of picturing images, often with lateral connections and imaginative associations.

Keywords: Charles Bonnet Syndrome, digital design, visual hallucinations, visual perception

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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: Rashmi Dyondi, Shishir K. Jha

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The purpose of the paper is to address the strategic risk issues surrounding Hindi film distribution in Mumbai for a film distributor, who acts as an entrepreneur when launching a product (movie) in the market (film territory).The paper undertakes a fundamental review of films and risk in the Hindi film industry and applies Grounded Theory technique to understand the complex phenomena of risk taking behavior of the film distributors (both independent and studios) in Mumbai. Rich in-depth interviews with distributors are coded to develop core categories through constant comparison leading to conceptualization of the phenomena of interest. This paper is a first-of-its-kind-attempt to understand risk behavior of a distributor, which is akin to entrepreneurial risk behavior under conditions of uncertainty. Unlike extensive scholarly work on dynamics of Hollywood motion picture industry, Hindi film industry is an under-researched area till now. Especially how do film distributors perceive risk is an unexplored study for the Hindi film industry. Films are unique experience products and the film distributor acts as an entrepreneur assuming high risks given the uncertainty in the motion picture business. With the entry of mighty corporate studios and astronomical film budgets posing serious business threats to the independent distributors, there is a need for an in-depth qualitative enquiry (applying grounded theory technique) for unraveling the definition of risk for the independent distributors in Mumbai vis-à-vis the corporate studios. Need for good content was a common challenge to both the groups in the present state of the industry, however corporate studios with their distinct ideologies, focus on own productions and financial power faced different set of challenges than the independents (like achieving sustainability in business). Softer issues like market goodwill and relations with producers, honesty in business dealings and transparency came out to be clear markers for success of independents in long run. The findings from the qualitative analysis stress on different elements of risk and challenges as perceived by the two groups of distributors in the Hindi film industry and provide a future research agenda for empirical investigation of determinants of box-office success of Hindi films distributed in Mumbai.

Keywords: entrepreneurial risk behavior, film distribution strategy, Hindi film industry, risk

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Authors: Karen V. Lee

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The background and significance of this study involves an autoethnographic story that shares research results about how music and movies influence the suicide of a new music teacher working in a public school. The performative narrative duet demonstrates how music and movies highlight social issues when the new teacher cannot cope with allegations surrounding professional issues. Both university advisors are drawn into deep reflection about the wider political issues that arise around the transition from the student-teacher internship process to the teaching career with the stark reality of teaching profession in the 21st century. This performance of story and music creates a transformative composition of reading, hearing, feeling while provoking visceral and emotional responses. Sometimes, young teachers are forced to take a leave of absence to reflect upon their practice with adolescents. In this extreme circumstance, the outcome was suicide. The qualitative research method involves an autoethnographic story as the author is methodologist, theoretician, and participant. Sub-themes surround film, music education and how movie resources have influenced his tragic misguided decision regarding social, emotional, physical, spiritual, and practical strategies to cope with the allegations. Major findings from this story demonstrate how lived experiences can resonate the importance of providing more education and resources to new teachers. The research provides substantive contribution, aesthetic merit, as the impact of movies and music influences the suicide. The reflexive account of storied sensory experiences situated in culture settings becomes a way to describe and seek verisimilitude by evoking lifelike and believable feelings from others. Sadly, the circumstance surrounding the story involving the allegations of a teacher sexually harassing a student is not uncommon in society. However, the young teacher never received counseling to cope with the allegations but instead was influenced by music and movies and opted for suicide. In conclusion, stories share the implications for film and media studies as music and movies can encourage a moral mission to empower individuals with despair and emotional impairment to embrace professional support to assist with emotional and legal challenges encountered in the field of teaching. It is from media studies that education and awareness surrounding suicide can disseminate information about the tragic outcome.

Keywords: music, movies, suicide, narrative, autoethnography

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Authors: Riikka Elina Kallio

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“The walls have ears” phrase is defining the era of dictatorship in Portugal (1926–1974) and political unrest decades in Finland (1917–1948). The phrase is referring to the policing of the political, secret police, PIDE (Policia Internacional e de Defesa do Estado 1933–1969) in Portugal and VALPO (Valtiollinen Poliisi 1939–1948) in Finland. Free speech at any public space and even in private events could be fatal. The members of the PIDE/VALPO or informers/collaborators could be listening. Strict censorship under the Salazar´s regime was controlling media for example newspapers, music, and the film industry. Similarly, the politically affected censorship influenced the media in Finland in those unrest decades. This article examines the similarities and the differences in the images of the political police in Finland and Portugal, by analyzing Finnish and Portuguese films from the nineteen-thirties to nineteensixties. The text addresses two main research questions: what are the common and different features in the representations of the Finnish and Portuguese political police in films between the 1930s and 1960s, and how did the national censorship affect these representations? This study approach is interdisciplinary, and it combines film studies and criminology. Close reading is a practical qualitative method for analyzing films and in this study, close reading emphasizes the features of the police officer. Criminology provides the methodological tools for analysis of the police universal features and European common policies. The characterization of the police in this study is based on Robert Reiner´s 1980s and Timo Korander´s 2010s definitions of the police officer. The research material consisted of the Portuguese films from online film archives and Finnish films from Movie Making Finland -project´s metadata which offered suitable material by data mining the keywords such as poliisi, poliisipäällikkö and konstaapeli (police, police chief, police constable). The findings of this study suggest that even though there are common features of the images of the political police in Finland and Portugal, there are still national and cultural differences in the representations of the political police and policing.

Keywords: censorship, film studies, images, PIDE, political police, VALPO

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Authors: Juliana Kurniawati, Helen Diana Vida

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Visiting mall is one of the Indonesian communities’ lifestyle who live in urban areas. Indonesian people, especially who live in Jakarta, use a shopping mall as one of the favourite places to get pleasure. This mall visitors come from various social classes. They use the shopping mall as a place to identify themselves as urban people. Jakarta has a number of great shopping malls such as Plaza Indonesia, Plaza Senayan, Pondok Indah Mall, etc. The shopping malls become one of the popular places since Jakarta's public sphere such as parks and playgrounds are very limited in number compared to that of shopping malls. In Jakarta, people do not come to a shopping mall only for shopping. Sometimes they go there to look around, meet up with some friends, or watch a movie. We can find everything in the shopping malls. The principle of one-stop shopping becomes an attractive offer for urban people. The items for selling are various, from the cheap goods to the expensive ones. A new era in consumer culture began with the advent of shopping was localized in France in the 19th century. Since the development of the online store and the easier way to access the internet, everyone can shop 24 hours anywhere they want. The emergence of online store indirectly has an impact on the viability of conventional stores. In October 2017, in Indonesia, two outlets branded goods namely Lotus and Debenhams were closed. This may a result of increasingly rampant online stores and shopping style urban society shift. The rising of technology gives some influence on the development of e-commerce in Indonesia. Everyone can access e-commerce. However, those who can do it are the middle up class to high class people. The development of e-commerce in Indonesia is quite fast, we can observe the emergence of various online shopping sites on various social media platforms such as Zalora, Berrybenka, Bukalapak, Lazada, and Tokopedia. E-commerce is increasingly affecting people's lives in line with the development of lifestyle and increasing revenue. This research aims to know the reasons of urban society choosing e-commerce as a medium for grocery shopping, how e-commerce is affecting their shopping styles, as well as why society provides confidence in the online store for shopping. This research uses theories of lifestyle by David Chaney. The subject of this research is urban society who actively shop online on Zalora, the communities based in Jakarta. Zalora site was chosen because the site is selling branded goods. This research is expected to explain in detail about the changing style of the urban community from the shopping mall to digital media by emphasizing the aspect of public confidence towards the online store.

Keywords: e-commerce, shopping, lifestyle, changing

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Authors: Eva Nolan, Timothy Mcnichols

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Gamers spend over 3 billion hours collectively playing video games a week, which is arguably not nearly enough time to indulge in the many benefits gaming has to offer. Much of the previous research on video gaming is centered on the effects of playing violent video games and the negative impacts they have on the individual. However, there is a dearth of research in the area of non-violent video games, specifically the emotional and cognitive benefits playing non-violent games can offer individuals. Current research in the area of video game play suggests there are many benefits to playing for an individual, such as decreasing symptoms of depression, decreasing stress, increasing positive emotions, inducing relaxation, decreasing anxiety, and particularly improving mood. One suggestion as to why video games may offer such benefits is that they possess ideal characteristics to create and maintain flow experiences, which in turn, is the subjective experience where an individual obtains a heightened and improved state of mind while they are engaged in a task where a balance of challenge and skill is found. Many video games offer a platform for collaborative gameplay, which can enhance the emotional experience of gaming through the feeling of social support and social inclusion. The present study was designed to examine the effects of collaborative gameplay and flow experience on participants’ perceived mood. To investigate this phenomenon, an in-between subjects design involving forty participants were randomly divided into two groups where they engaged in solo or collaborative gameplay. Each group represented an even number of frequent gamers and non-frequent gamers. Each participant played ‘The Lego Movie Videogame’ on the Playstation 4 console. The participant’s levels of flow experience and perceived mood were measured by the Flow State Scale (FSS) and the Positive and Negative Affect Schedule (PANAS). The following research hypotheses were investigated: (i.) participants in the collaborative gameplay condition will experience higher levels of flow experience and higher levels of mood than those in the solo gameplay condition; (ii.) participants who are frequent gamers will experience higher levels of flow experience and higher levels of mood than non-frequent gamers; and (iii.) there will be a significant positive relationship between flow experience and mood. If the estimated findings are supported, this suggests that engaging in collaborative gameplay can be beneficial for an individual’s mood and that experiencing a state of flow can also enhance an individual’s mood. Hence, collaborative gaming can be beneficial to promote positive emotions (higher levels of mood) through engaging an individual’s flow state.

Keywords: collaborative gameplay, flow experience, mood, games, positive emotions

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Authors: Marta Kaprzyk

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The cinema of Alejandro González Iñárritu hasn’t been subjected to a lot of detailed analysis yet, what makes it an exceptionally interesting research material. The purpose of this presentation is to discuss the significance of urban space in three films of this Mexican director, that forms Death Trilogy: ‘Amores Perros’ (2000), ‘21 Grams’ (2003) and ‘Babel’ (2006). The fact that in the aforementioned movies the urban space itself becomes an additional protagonist with its own identity, psychology and the ability to transform and affect other characters, in itself warrants for independent research and analysis. Independently, such mode of presenting urban space has another function; it enables the director to complement the rest of characters. The basis for methodology of this description of cinematographic space is to treat its visual layer as a point of departure for a detailed analysis. At the same time, the analysis itself will be supported by recognised academic theories concerning special issues, which are transformed here into essential tools necessary to describe the world (mise-en-scène) created by González Iñárritu. In ‘Amores perros’ the Mexico City serves as a scenery – a place full of contradictions- in the movie depicted as a modern conglomerate and an urban jungle, as well as a labyrinth of poverty and violence. In this work stylistic tropes can be found in an intertextual dialogue of the director with photographies of Nan Goldin and Mary Ellen Mark. The story recounted in ‘21 Grams’, the most tragic piece in the trilogy, is characterised by almost hyperrealistic sadism. It takes place in Memphis, which on the screen turns into an impersonal formation full of heterotopias described by Michel Foucault and non-places, as defined by Marc Augé in his essay. By contrast, the main urban space in ‘Babel’ is Tokio, which seems to perfectly correspond with the image of places discussed by Juhani Pallasmaa in his works concerning the reception of the architecture by ‘pathological senses’ in the modern (or, even more adequately, postmodern) world. It’s portrayed as a city full of buildings that look so surreal, that they seem to be completely unsuitable for the humans to move between them. Ultimately, the aim of this paper is to demonstrate the coherence of the manner in which González Iñárritu designs urban spaces in his Death Trilogy. In particular, the author attempts to examine the imperative role of the cities that form three specific microcosms in which the protagonists of the Mexican director live their overwhelming tragedies.

Keywords: cinematographic space, Death Trilogy, film Studies, González Iñárritu Alejandro, urban space

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Authors: Mohammad Sabbagh

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Anyone who reads the Torah or the Quran learns that GOD created everything that is around us, seen and unseen, in six days. Within HIS plan of creation, HE placed for us a key proof of HIS existence which is essentially computers and the ability to program them. Digital computer programming began with binary instructions, which eventually evolved to what is known as high-level programming languages. Any programmer in our modern time can attest that you are essentially giving the computer commands by words and when the program is compiled, whatever is processed as output is limited to what the computer was given as an ability and furthermore as an instruction. So one can deduce that GOD created everything around us with HIS words, programming everything around in six days, just like how we can program a virtual world on the computer. GOD did mention in the Quran that one day where GOD’s throne is, is 1000 years of what we count; therefore, one might understand that GOD spoke non-stop for 6000 years of what we count, and gave everything it’s the function, attributes, class, methods and interactions. Similar to what we do in object-oriented programming. Of course, GOD has the higher example, and what HE created is much more than OOP. So when GOD said that everything is already predetermined, it is because any input, whether physical, spiritual or by thought, is outputted by any of HIS creatures, the answer has already been programmed. Any path, any thought, any idea has already been laid out with a reaction to any decision an inputter makes. Exalted is GOD!. GOD refers to HIMSELF as The Fastest Accountant in The Quran; the Arabic word that was used is close to processor or calculator. If you create a 3D simulation of a supernova explosion to understand how GOD produces certain elements and fuses protons together to spread more of HIS blessings around HIS skies; in 2022 you are going to require one of the strongest, fastest, most capable supercomputers of the world that has a theoretical speed of 50 petaFLOPS to accomplish that. In other words, the ability to perform one quadrillion (1015) floating-point operations per second. A number a human cannot even fathom. To put in more of a perspective, GOD is calculating when the computer is going through those 50 petaFLOPS calculations per second and HE is also calculating all the physics of every atom and what is smaller than that in all the actual explosion, and it’s all in truth. When GOD said HE created the world in truth, one of the meanings a person can understand is that when certain things occur around you, whether how a car crashes or how a tree grows; there is a science and a way to understand it, and whatever programming or science you deduce from whatever event you observed, it can relate to other similar events. That is why GOD might have said in The Quran that it is the people of knowledge, scholars, or scientist that fears GOD the most! One thing that is essential for us to keep up with what the computer is doing and for us to track our progress along with any errors is we incorporate logging mechanisms and backups. GOD in The Quran said that ‘WE used to copy what you used to do’. Essentially as the world is running, think of it as an interactive movie that is being played out in front of you, in a full-immersive non-virtual reality setting. GOD is recording it, from every angle to every thought, to every action. This brings the idea of how scary the Day of Judgment will be when one might realize that it’s going to be a fully immersive video when we would be getting and reading our book.

Keywords: programming, the Quran, object orientation, computers and humans, GOD

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Authors: Lulu Wang, Yongjun Xu, Xiaoyang Qiao

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The Forbidden City is well known for being full of Chinese cultural and historical relics. However, the Masters in the Forbidden City, a documentary film, doesn’t just dwell on the stories of the past. Instead, it focuses on ordinary people—the restorers of the relics and antiquities, which has caught the sight of Chinese audiences. From this popular documentary film, a new way can be considered, that is to show the relics, antiquities and painting with a character of modern humanities by films and TV programs. Of course, it can’t just like a simple explanation from tour guides in museums. It should be a perfect combination of scenes, heritages, stories, storytellers and background music. All we want to do is trying to dig up the humanity behind the heritages and then create a virtual scene for the audience to have emotional resonance from the humanity. It is believed that there are two problems. One is that compared with the entertainment shows, why people prefer to see the boring restoration work. The other is that what the interaction is between those history documentary films, the heritages, the audiences and collective memory. This paper mainly used the methods of text analysis and data analysis. The audiences’ comment texts were collected from all kinds of popular video sites. Through analyzing those texts, there was a word cloud chart about people preferring to use what kind of words to comment the film. Then the usage rate of all comments words was calculated. After that, there was a Radar Chart to show the rank results. Eventually, each of them was given an emotional value classification according their comment tone and content. Based on the above analysis results, an interaction model among the audience, history films/TV programs and the collective memory can be summarized. According to the word cloud chart, people prefer to use such words to comment, including moving, history, love, family, celebrity, tone... From those emotional words, we can see Chinese audience felt so proud and shared the sense of Collective Identity, so they leave such comments: To our great motherland! Chinese traditional culture is really profound! It is found that in the construction of collective memory symbology, the films formed an imaginary system by organizing a ‘personalized audience’. The audience is not just a recipient of information, but a participant of the documentary films and a cooperator of collective memory. At the same time, it is believed that the traditional background music, the spectacular present scenes and the tone of the storytellers/hosts are also important, so it is suggested that the museums could try to cooperate with the producers of movie and TV program to create a vivid scene for the people. Maybe it’s a more artistic way for heritages to be open to all the world.

Keywords: audience, heritages, history movies, TV programs

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Authors: Vivian Franco

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There has been a great deal of research about vowel production of second language learners of Spanish, vowel variation across Spanish dialects, and more recently, research related to Spanish heritage speakers’ vowel production based on speech style. However, there is little investigation reported on Spanish heritage speakers’ vowel production in regard to task modality by incorporating own comparison groups of monolinguals and late bilinguals. Thus, the present study investigates the influence of speech style on Spanish heritage speakers’ vowel production by comparing Spanish-English early and late bilinguals and Spanish monolinguals. The study was guided by the following research question: How do early bilinguals (heritage speakers) differ/relate to advanced L2 speakers of Spanish (late bilinguals) and Spanish monolinguals in their vowel quality (acoustic distribution) and quantity (duration) based on speech style? The participants were a total of 11 speakers of Spanish: 7 early Spanish-English bilinguals with a similar linguistic background (simultaneous bilinguals of the second generation); 2 advanced L2 speakers of Spanish; and 2 Spanish monolinguals from Mexico. The study consisted of two tasks. The first one adopted a semi-spontaneous style by a solicited narration of life experiences and a description of a favorite movie with the purpose to collect spontaneous speech. The second task was a reading activity in which the participants read two paragraphs of a Mexican literary essay 'La nuez.' This task aimed to obtain a more controlled speech style. From this study, it can be concluded that early bilinguals and monolinguals show a smaller formant vowel space overall compared to the late bilinguals in both speech styles. In terms of formant values by stress, the early bilinguals and the late bilinguals resembled in the semi-spontaneous speech style as their unstressed vowel space overlapped with that of the unstressed vowels different from the monolinguals who displayed a slightly reduced unstressed vowel space. For the controlled data, the early bilinguals were similar to the monolinguals as their stressed and unstressed vowel spaces overlapped in comparison to the late bilinguals who showed a more clear reduction of unstressed vowel space. In regard to stress, the monolinguals revealed longer vowel duration overall. However, findings of duration by stress showed that the early bilinguals and the monolinguals remained stable with shorter values of unstressed vowels in the semi-spontaneous data and longer duration in the controlled data when compared to the late bilinguals who displayed opposite results. These findings suggest an implication for Spanish heritage speakers and L2 Spanish vowels research as it has been frequently argued that Spanish bilinguals differ from the Spanish monolinguals by their vowel reduction and centralized vowel space influenced by English. However, some Spanish varieties are characterized by vowel reduction especially in certain phonetic contexts so that some vowels present more weakening than others. Consequently, it would not be conclusive to affirm an English influence on the Spanish of these bilinguals.

Keywords: Spanish-English bilinguals, Spanish monolinguals, spontaneous and controlled speech, vowel production.

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Authors: Taekyun Hur, Yoonyoung Kim, Junkyu Lim

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Previous works on leisure activities had been categorizing activities arbitrarily and subjectively while focusing on a single dimension (e.g. active-passive, individual-group). To overcome these problems, this study proposed a Korean leisure activities’ matrix model that considered multidimensional features of leisure activities, which was comprised of 3 main factors and 6 sub factors: (a) Active (physical, mental), (b) Relational (quantity, quality), (c) Expert (entry barrier, possibility of improving). We developed items for measuring the degree of each dimension for every leisure activity. Using the developed Leisure Activities Dimensions (LAD) questionnaire, we investigated the presented dimensions of a total of 78 leisure activities which had been enjoyed by most Koreans recently (e.g. watching movie, taking a walk, watching media). The study sample consisted of 1348 people (726 men, 658 women) ranging in age from teenagers to elderlies in their seventies. This study gathered 60 data for each leisure activity, a total of 4860 data, which were used for statistical analysis. First, this study compared 3-factor model (Activity, Relation, Expertise) fit with 6-factor model (physical activity, mental activity, relational quantity, relational quality, entry barrier, possibility of improving) fit by using confirmatory factor analysis. Based on several goodness-of-fit indicators, the 6-factor model for leisure activities was a better fit for the data. This result indicates that it is adequate to take account of enough dimensions of leisure activities (6-dimensions in our study) to specifically apprehend each leisure attributes. In addition, the 78 leisure activities were cluster-analyzed with the scores calculated based on the 6-factor model, which resulted in 8 leisure activity groups. Cluster 1 (e.g. group sports, group musical activity) and Cluster 5 (e.g. individual sports) had generally higher scores on all dimensions than others, but Cluster 5 had lower relational quantity than Cluster 1. In contrast, Cluster 3 (e.g. SNS, shopping) and Cluster 6 (e.g. playing a lottery, taking a nap) had low scores on a whole, though Cluster 3 showed medium levels of relational quantity and quality. Cluster 2 (e.g. machine operating, handwork/invention) required high expertise and mental activity, but low physical activity. Cluster 4 indicated high mental activity and relational quantity despite low expertise. Cluster 7 (e.g. tour, joining festival) required not only moderate degrees of physical activity and relation, but low expertise. Lastly, Cluster 8 (e.g. meditation, information searching) had the appearance of high mental activity. Even though clusters of our study had a few similarities with preexisting taxonomy of leisure activities, there was clear distinctiveness between them. Unlike the preexisting taxonomy that had been created subjectively, we assorted 78 leisure activities based on objective figures of 6-dimensions. We also could identify that some leisure activities, which used to belong to the same leisure group, were included in different clusters (e.g. filed ball sports, net sports) because of different features. In other words, the results can provide a different perspective on leisure activities research and be helpful for figuring out what various characteristics leisure participants have.

Keywords: leisure, dimensional model, activity, relationship, expertise

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Authors: Marsha D. Loda

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College enrollment is declining and generation Z, today’s college students, are struggling. Before the pandemic, researchers characterized this generational cohort as unique. Gen Z has been called the most achievement-oriented generation, as they enjoy greater economic status, are more racially and ethnically diverse, and better educated than any other generation. However, they are also the most likely generation to suffer from depression and anxiety. Gen Z has grown up largely with usually well-intentioned but overprotective parents who inadvertently kept them from learning life skills, likely impacting their ability to cope with and to effectively manage challenges. The unprecedented challenges resulting from the pandemic up ended their world and left them emotionally reeling. One of the ramifications of this for higher education is how to reengage current Gen Z students in the classroom. This research presents qualitative findings from 24 single-spaced pages of verbatim comments from college students. Research questions concerned what helps them learn and what they abhor, as well as how to engage them with the university outside of the classroom to aid in retention. Students leave little doubt about what they want to experience in the classroom. In order of mention, students want discussion, to engage with questions, to hear how a topic relates to real life and the real world, to feel connections with the professor and fellow students, and to have an opportunity to give their opinions. They prefer a classroom that involves conversation, with interesting topics and active learning. “professor talks instead of lecturing” “professor builds a connection with the classroom” “I am engaged because it feels like a respectful conversation” Similarly, students are direct about what they dislike in a classroom. In order of frequency, students dislike teachers unenthusiastically reading word or word from notes or presentations, repeating the text without adding examples, or addressing how to apply the information. “All lecture. I can read the book myself” “Not taught how to apply the skill or lesson” “Lectures the entire time. Lesson goes in one ear and out the other.” Pertaining to engagement outside the classroom, Gen Z challenges higher education to step outside the box. They don’t want to just hear from professionals in their field, they want to meet and interact with them. Perhaps because of their dependence on technology and pandemic isolation, they seem to reach out for assistance in forming social bonds. “I believe fun and social events are the best way to connect with students and get them involved. Cookouts, raffles, socials, or networking events would all most likely appeal to many students”. “Events… even if they aren’t directly related to learning. Maybe like movie nights… doing meet ups at restaurants”. Qualitative research suggests strategy. This research is rife with strategic implications to improve learning, increase engagement and reduce drop-out rates among Generation Z higher education students. It also compliments existing research on student engagement. With college enrollment declining by some 1.3 million students over the last two years, this research is both timely and important.

Keywords: college enrollment, generation Z, higher education, pandemic, student engagement

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Authors: Aya Al Masri, Kamel Guerchouche, Youssef Laynaoui, Safoin Aktaou, Malorie Martin, Fouad Maaloul

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Introduction: Mobile C-arms move throughout operating rooms of the operating theater. Being designed to move between rooms, they are not equipped with relays to retrieve the exposition information and export it outside the room. Therefore, no light signaling is available outside the room to warn the X-ray emission for staff. Inadvertent exposition of staff outside the operating theater is a real problem for radiation protection. The French standard NFC 15-160 require that: (1) access to any room containing an X-ray emitting device must be controlled by a light signage so that it cannot be inadvertently crossed, and (2) setting up an emergency button to stop the X-ray emission. This study presents a system that we developed to meet these requirements and the results of its clinical test. Materials and methods: The system is composed of two communicating boxes: o The "DetectBox" is to be installed inside the operating theater. It identifies the various operation states of the C-arm by analyzing its power supply signal. The DetectBox communicates (in wireless mode) with the second box (AlertBox). o The "AlertBox" can operate in socket or battery mode and is to be installed outside the operating theater. It detects and reports the state of the C-arm by emitting a real time light signal. This latter can have three different colors: red when the C-arm is emitting X-rays, orange when it is powered on but does not emit X-rays, and green when it is powered off. The two boxes communicate on a radiofrequency link exclusively carried out in the ‘Industrial, Scientific and Medical (ISM)’ frequency bands and allows the coexistence of several on-site warning systems without communication conflicts (interference). Taking into account the complexity of performing electrical works in the operating theater (for reasons of hygiene and continuity of medical care), this system (having a size <10 cm²) works in complete safety without any intrusion in the mobile C-arm and does not require specific electrical installation work. The system is equipped with emergency button that stops X-ray emission. The system has been clinically tested. Results: The clinical test of the system shows that: it detects X-rays having both high and low energy (50 – 150 kVp), high and low photon flow (0.5 – 200 mA: even when emitted for a very short time (<1 ms)), Probability of false detection < 10-5, it operates under all acquisition modes (continuous, pulsed, fluoroscopy mode, image mode, subtraction and movie mode), it is compatible with all C-arm models and brands. We have also tested the communication between the two boxes (DetectBox and AlertBox) in several conditions: (1) Unleaded room, (2) leaded room, and (3) rooms with particular configuration (sas, great distances, concrete walls, 3 mm of lead). The result of these last tests was positive. Conclusion: This system is a reliable tool to alert the staff present outside the operating room for X-ray emission and insure their radiation protection.

Keywords: Clinical test, Inadvertent staff exposition, Light signage, Operating theater

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Authors: Sanjay Ranade

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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: Kaustav Mukherjee

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In this paper we propose a Neural Style Transfer solution whereby we have created a Lightweight Separable Convolution Kernel Based GAN Architecture (SC-GAN) which will very useful for designing filter for Mobile Phone Cameras and also Edge Devices which will convert any image to its 2D ANIMATED COMIC STYLE Movies like HEMAN, SUPERMAN, JUNGLE-BOOK. This will help the 2D animation artist by relieving to create new characters from real life person's images without having to go for endless hours of manual labour drawing each and every pose of a cartoon. It can even be used to create scenes from real life images.This will reduce a huge amount of turn around time to make 2D animated movies and decrease cost in terms of manpower and time. In addition to that being extreme light-weight it can be used as camera filters capable of taking Comic Style Shots using mobile phone camera or edge device cameras like Raspberry Pi 4,NVIDIA Jetson NANO etc. Existing Methods like CartoonGAN with the model size close to 170 MB is too heavy weight for mobile phones and edge devices due to their scarcity in resources. Compared to the current state of the art our proposed method which has a total model size of 31 MB which clearly makes it ideal and ultra-efficient for designing of camera filters on low resource devices like mobile phones, tablets and edge devices running OS or RTOS. .Owing to use of high resolution input and usage of bigger convolution kernel size it produces richer resolution Comic-Style Pictures implementation with 6 times lesser number of parameters and with just 25 extra epoch trained on a dataset of less than 1000 which breaks the myth that all GAN need mammoth amount of data. Our network reduces the density of the Gan architecture by using Depthwise Separable Convolution which does the convolution operation on each of the RGB channels separately then we use a Point-Wise Convolution to bring back the network into required channel number using 1 by 1 kernel.This reduces the number of parameters substantially and makes it extreme light-weight and suitable for mobile phones and edge devices. The architecture mentioned in the present paper make use of Parameterised Batch Normalization Goodfellow etc al. (Deep Learning OPTIMIZATION FOR TRAINING DEEP MODELS page 320) which makes the network to use the advantage of Batch Norm for easier training while maintaining the non-linear feature capture by inducing the learnable parameters

Keywords: comic stylisation from camera image using GAN, creating 2D animated movie style custom stickers from images, depth-wise separable convolutional neural network for light-weight GAN architecture for EDGE devices, GAN architecture for 2D animated cartoonizing neural style, neural style transfer for edge, model distilation, perceptual loss

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Authors: Ajay Ivan

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This paper focuses on the cultural politics of health-promotional and disease-preventive pedagogic practices in the context of the national tobacco control programme in India. Tobacco consumption is typically problematised as a paradox: tobacco poses objective health risks such as cancer and heart disease, but its production, sale and export contribute significantly to state revenue. A blanket ban on tobacco products, therefore, is infeasible though desirable. Instead, initiatives against tobacco use have prioritised awareness creation and behaviour change to reduce its demand. This paper argues that public health communication is not, as commonly assumed, an apolitical and neutral transmission of disease-preventive information. Drawing on Michel Foucault’s concept of governmentality, it examines such campaigns as techniques of disciplining people rather than coercing them to give up tobacco use, which would be both impractical and counter-productive. At the level of the population, these programmes constitute a security mechanism that reduces risks without eliminating them, so as to ensure an optimal level of public health without hampering the economy. Anti-tobacco pedagogy thus aligns with a contemporary paradigm of health that emphasises risk-assessment and lifestyle management as tools of governance, using pedagogic techniques to teach people how to be healthy. The paper analyses the pictorial health warnings on tobacco packets and anti-tobacco advertisements in movie theatres mandated by the state, along with awareness-creation messages circulated by anti-tobacco advocacy groups in India, to show how they discursively construct tobacco and its consumption as a health risk. Smoking is resignified from a pleasurable and sociable practice to a deadly addiction that jeopardises the health of those who smoke and those who passively inhale the smoke. While disseminating information about the health risks of tobacco, these initiatives employ emotional and affective techniques of persuasion to discipline tobacco users. They incite fear of death and of social ostracism to motivate behaviour change, complementing their appeals to reason. Tobacco is portrayed as a grave moral danger to the family and a detriment to the vitality of the nation, such that using it contradicts one’s duties as a parent or citizen. Awareness programmes reproduce prevailing societal assumptions about health and disease, normalcy and deviance, and proper and improper conduct. Pedagogy thus functions as an apparatus of public health governance, recruiting subjects as volunteers in their own regulation and aligning their personal goals and aspirations to the objectives of tobacco control. The paper links this calculated management of subjectivity and the self-responsibilisation of the pedagogic subject to a distinct mode of neoliberal civic governance in contemporary India. Health features prominently in this mode of governance that serves the biopolitical obligation of the state as laid down in Article 39 of the Constitution, which includes a duty to ensure the health of its citizens. Insofar as the health of individuals is concerned, the problem is how to balance this duty of the state with the fundamental right of the citizen to choose how to live. Public health pedagogy, by directing the citizen’s ‘free’ choice without unduly infringing upon it, offers a tactical solution.

Keywords: public health communication, pedagogic power, tobacco control, neoliberal governance

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