Search results for: Cinema

Authors: Esin Berktaş

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The cinema in Turkey during the 1940s was shaped under the Second World War conditions. The amateur film makers from different socioeconomic roots experienced movie production in those years. Having similar socioeconomic characteristics and autobiographies, each of them has a different understanding of cinema. Nevertheless, they joined in making movies which address native culture and audience. They narrated indigenous stories with native music, amateur players and simple settings. Although the martial law, censorship and economical deficiencies, they started to produce films in the Second World War. The cinematographers of the 1940s usually called as thetransition period cinematographers in Turkey, producing in the passage between the period of thetheatre playersand the period of thenational cinema. But, 1940- 1950 period of Turkish cinema should be defined not as a transition but a period of forming the professional conscioussness in cinema.

Keywords: Cinema in Turkey, censorship, propaganda, spectacle, audience.

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Authors: Baubek B. Nogerbek, Alma M. Aidarova

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In this article the authors are researching cultural differences between rural and urban characters in case of contemporary Kazakh cinema.Two motion pictures are analyzed: “Strizh" (2007) by AbaiKulbai and “Seker" (2009) by SabitKurmanbekov.According to the authors- opinion ateenage girl characters in these two films reflect two cultures (urban and rural) of Kazakh society, which displays complicated socio-cultural processes of modern Kazakhstan.

Keywords: Culture (urban and rural), film characters, Kazakh cinema, Kazakh society

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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, spread spectrum, JPEG2000.

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Authors: Sadi Vural, Hiromi Tomii, Hironori Yamauchi

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With the advent of digital cinema and digital broadcasting, copyright protection of video data has been one of the most important issues. We present a novel method of watermarking for video image data based on the hardware and digital wavelet transform techniques and name it as “traceable watermarking" because the watermarked data is constructed before the transmission process and traced after it has been received by an authorized user. In our method, we embed the watermark to the lowest part of each image frame in decoded video by using a hardware LSI. Digital Cinema is an important application for traceable watermarking since digital cinema system makes use of watermarking technology during content encoding, encryption, transmission, decoding and all the intermediate process to be done in digital cinema systems. The watermark is embedded into the randomly selected movie frames using hash functions. Embedded watermark information can be extracted from the decoded video data. For that, there is no need to access original movie data. Our experimental results show that proposed traceable watermarking method for digital cinema system is much better than the convenient watermarking techniques in terms of robustness, image quality, speed, simplicity and robust structure.

Keywords: Decoder, Digital content, JPEG2000 Frame, System-On-Chip, traceable watermark, Hash Function, CRC-32.

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Authors: Mete Kazaz

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Despite the internet, which is one of the mass media that has become quite common in recent years, the relationship of Advertisement with Television and Cinema, which have always drawn attention of researchers as basic media and where visual use is in the foreground, have also become the subject of various studies. Based on the assumption that the known fundamental effects of advertisements on consumers are closely related to the creative process of advertisements as well as the nature and characteristics of the medium where they are used, these basic mass media (Television and Cinema) and the consumer motivations of the advertisements they broadcast have become a focus of study. Given that the viewers of the mass media in question have shifted from a passive position to a more active one especially in recent years and approach contents of advertisements, as they do all contents, in a more critical and “pitiless" manner, it is possible to say that individuals make more use of advertisements than in the past and combine their individual goals with the goals of the advertisements. This study, which aims at finding out what the goals of these new individual advertisement use are, how they are shaped by the distinct characteristics of Television and Cinema, where visuality takes precedence as basic mass media, and what kind of places they occupy in the minds of consumers, has determined consumers- motivations as: “Entertainment", “Escapism", “Play", “Monitoring/Discovery", “Opposite Sex" and “Aspirations and Role Models". This study intends to reveal the differences or similarities among the needs and hence the gratifications of viewers who consume advertisements on Television or at the Cinema, which are two basic media where visuality is prioritized.

Keywords: Cinema, Television, Viewers of Advertisements.

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Authors: Sadi Vural, Hiromi Tomii, Hironori Yamauchi

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As the development of digital technology is increasing, Digital cinema is getting more spread. However, content copy and attack against the digital cinema becomes a serious problem. To solve the above security problem, we propose “Additional Watermarking" for digital cinema delivery system. With this proposed “Additional watermarking" method, we protect content copyrights at encoder and user side information at decoder. It realizes the traceability of the watermark embedded at encoder. The watermark is embedded into the random-selected frames using Hash function. Using it, the embedding position is distributed by Hash Function so that third parties do not break off the watermarking algorithm. Finally, our experimental results show that proposed method is much better than the convenient watermarking techniques in terms of robustness, image quality and its simple but unbreakable algorithm.

Keywords: Decoder, Digital content, JPEG2000 Frame, System-On-Chip and additional watermark.

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Authors: Sadi Vural, Hiromi Tomii, Hironori Yamauchi

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As far as the latest technological improvements are concerned, digital systems more become popular than the past. Despite this growing demand to the digital systems, content copy and attack against the digital cinema contents becomes a serious problem. To solve the above security problem, we propose “traceable watermarking using Hash functions for digital cinema system. Digital Cinema is a great application for traceable watermarking since it uses watermarking technology during content play as well as content transmission. The watermark is embedded into the randomly selected movie frames using CRC-32 techniques. CRC-32 is a Hash function. Using it, the embedding position is distributed by Hash Function so that any party cannot break off the watermarking or will not be able to change. Finally, our experimental results show that proposed DWT watermarking method using CRC-32 is much better than the convenient watermarking techniques in terms of robustness, image quality and its simple but unbreakable algorithm.

Keywords: Decoder, Digital content, JPEG2000 Frame, System-On-Chip, traceable watermark, Hash Function, CRC-32.

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Authors: R. Mofeed, N. Elgendy

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Cinema constructs mind-spaces that reflect inherent human thoughts and emotions. As a representational art, Cinema would introduce comprehensive images of life phenomena in different ways. The term “represent” suggests verity of meanings; bring into presence, replace or typify. In that sense, Cinema may present a phenomenon through direct embodiment, or introduce a substitute image that replaces the original phenomena, or typify it by relating the produced image to a more general category through a process of abstraction. This research is interested in questioning the type of images that Egyptian Cinema introduces to informal urbanism and how these images were conditioned and reshaped in the last twenty years. The informalities/slums phenomenon first appeared in Egypt and, particularly, Cairo in the early sixties, however, this phenomenon was completely ignored by the state and society until the eighties, and furthermore, its evident representation in Cinema was by the mid-nineties. The Informal City represents the illegal housing developments, and it is a fast growing form of urbanization in Cairo. Yet, this expanding phenomenon is still depicted as the minority, exceptional and marginal through the Cinematic lenses. This paper aims at tracing the forms of representations of the urban informalities in the Egyptian Cinema between 1994 and 2014, and how did that affect the popular mind and its perception of these areas. The paper runs two main lines of inquiry; the first traces the phenomena through a chronological and geographical mapping of the informal urbanism has been portrayed in films. This analysis is based on an academic research work at Cairo University in Fall 2014. The visual tracing through maps and timelines allowed a reading of the phases of ignorance, presence, typifying and repetition in the representation of this huge sector of the city through more than 50 films that has been investigated. The analysis clearly revealed the “portrayed image” of informality by the Cinema through the examined period. However, the second part of the paper explores the “perceived image”. A designed questionnaire is applied to highlight the main features of that image that is perceived by both inhabitants of informalities and other Cairenes based on watching selected films. The questionnaire covers the different images of informalities proposed in the Cinema whether in a comic or a melodramatic background and highlight the descriptive terms used, to see which of them resonate with the mass perceptions and affected their mental images. The two images; “portrayed” and “perceived” are then to be encountered to reflect on issues of repetitions, stereotyping and reality. The formulated stereotype of informal urbanism is finally outlined and justified in relation to both production consumption mechanisms of films and the State official vision of informalities.

Keywords: Cairo, cinema, informal urbanism, representation, stereotype.

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Authors: Mladen Milicevic

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In this paper subjective film sound will be addressed as it gets represented in narrative cinema. First, “meta-diegetic” sound will be briefly explained followed by transition to “oneiric” sound. The representation of oneiric sound refers to a situation where film characters are experiencing some sort of an altered state of consciousness. Looking at an antlered state of consciousness in terms of human brain processes will point out to the cinematic ways of expression, which “mimic” those processes. Using several examples for different films will illustrate these points.

Keywords: Oneiric, ASC (altered states of consciousness), film, sound.

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Authors: Berceste Gülçin Özdemir

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The representation of women characters in cinema has been discussed for centuries. In cinema where dominant narrative codes prevail and scopophilic views exist over women characters, passive stereotypes of women are observed in the representation of women characters. In films shot from a woman’s point of view in Turkish Cinema and even in the films outside the main stream in which the stories of women characters are told, the fact that women characters are discussed on the basis of feminist film theories triggers the question: ‘Are feminist films produced in Turkish Cinema?’ The spaces that are used in the representation of women characters are observed to be used as spaces that convert characters into passive subjects on the basis of the space factor in the narrative. The representation of women characters in the possible surveillance spaces integrates the characters and compresses them in these spaces. In this study, narrative analysis was used to investigate women characters representation in the surveillance spaces. For the study framework, firstly a case study films are selected, and in the second level, women characters representations in surveillance spaces are argued by narrative analysis using feminist film theories. Two questions are argued with feminist film theories: ‘Why do especially women directors represent their female characters to viewers by representing them in surveillance spaces?’ and ‘Can this type of presentation contribute to the feminist film practice and become important with regard to feminist film theories?’ The representation of women characters in a passive and observed way in surveillance spaces of the narrative reveals the questioning of also the discourses of films outside of the main stream. As films that produce alternative discourses and reveal different cinematic languages, those outside the main stream are expected to bring other points of view also to the representation of women characters in spaces. These questionings are selected as the baseline and Turkish films such as Watch Tower and Mustang, directed by women, were examined. This examination paves the way for discussions regarding the women characters in surveillance spaces. Outcomes can be argued from the viewpoint of representation in the genre by feminist film theories. In the context of feminist film theories and feminist film practice, alternatives should be found that can corporally reveal the existence of women in both the representation of women characters in spaces and in the usage of the space factor.

Keywords: Feminist film theory, representation, space, women filmmaker, women characters.

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Authors: Delia Enyedi

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Throughout film history, the regular return of 3D cinema has been discussed in connection to crises caused by the advent of television or the competition of the Internet. In addition, the three waves of stereoscopic 3D (from 1952 up to 1983) and its current digital version have been blamed for adding a challenging technical distraction to the viewing experience. By discussing the films Dial M for Murder (1954) and Goodbye to Language (2014), the paper aims to analyze the response of recognized auteurs to the use of 3D techniques in filmmaking. For Alfred Hitchcock, the solution to attaining perceptual immersion paradoxically resided in restraining the signature effect of 3D, namely protrusion. In Jean-Luc Godard’s vision, 3D techniques allowed him to explore perceptual absorption by means of depth of field, for which he had long advocated as being central to cinema. Thus, both directors contribute to the foundation of an auteur aesthetic in 3D filmmaking.

Keywords: Alfred Hitchcock, authorship, 3D filmmaking, Jean-Luc Godard, perceptual absorption, perceptual immersion.

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Authors: Sicheng Liu

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Based on the key issue of the current fourth world studies, the article aims to analyze the features of character-settings in Chinese ethnic minority films. As a generalizable transformation, this feature progresses from a microcosmic representation. It argues that, as the mediation, films note down the current state of people and their surroundings, while the ‘fourth world’ theorization (or the fourth cinema) provides a new perspective to ethnic minority topics in China. Like the ‘fourth cinema’ focusing on the depiction of indigeneity groups, the ethnic minority films portrait the non-Han nationalities in China. Both types possess the motif of returning history-writing to the minority members’ own hand. In this article, the discussion entirely involves three types of cinematic role-settings in Chinese minority themed films, which illustrates that, similar to the creative principle of the fourth film, the themes and narratives of these films are becoming more individualized, with more concern to minority grassroots.

Keywords: Fourth world, Chinese ethnic minority films, ethnicity and culture reflection, mother tongue (muyu), highlighting to individual spirits.

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Authors: Perumal, V., Hassan, H., Bolong, J., Osman, M. N.

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Film, as an art form playing a vital role and is a powerful tool in documenting, influencing and shaping the society. Films are the collective creation of a large number of separate individuals, each contributing with creative input, unique talents, and technical expertise to the project. Recently, the Malaysian Independent (or “Indie") filmmakers have made their presence felt by winning awards at various international film festivals. Working in the digital video (DV) format, a number of independent filmmakers really hit their stride with a range of remarkably strong titles and international recognition has been quick in coming and their works are now regularly in exhibition or in competition, winning many top prizes at prestigious festivals around the world. The interaction factors among crewmembers are emphasized as imperative for group success. An in-depth interview is conducted to analyze the social interactions and exchanges between filmmakers through Social Exchanges Theory (SET). Certainly the new millennium that was marked as the digital technology revolution has changed the face of filmmaking in Malaysia. There is a clear need to study the Malaysian independent cinema especially from the perspective of understanding what causes the independent filmmakers to work so well given all of the difficulties and constraints.

Keywords: Digital filmmaking, technology, interaction, crewmembers, cinema, independent filmmaker.

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Authors: Arishai Akraudom

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The objective of this research was to study the themes of alcoholic beverage advertisements in Thailand after the enactment of the 2008 Alcoholic Beverage Control Act. Data was collected through textual analysis of 35 television and cinema advertisements for alcoholic beverage products broadcast in Thailand. Nine themes were identified, seven of which were themes that had previously been used before the new law (i.e. power, competition, friendship, Thainess, success, romance and safety) and two of which were new themes (volunteerism and conservation) that were introduced as a form of adaptation and negotiation in response to the new law.

Keywords: Alcoholic Beverage Control Act 2008, Alcohol Advertising, Analysis of Themes, Narrative Structure, Health Communication.

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Authors: Pavel Janak

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This paper covers various aspects of film piracy over the Internet. In order to successfully deal with this matter, it is needed to recognize motivational factors related to film piracy. Thus, this study discusses group factors that could motivate individuals to engage in pirate activities. Furthermore, the paper discusses the theoretical effect on box office revenues and explains it on a proposed scheme of solutions for decreasing revenues. The article also maps the scheme of incentive motivational anti-piracy campaigns. Moreover, the paper proposes the preliminary scheme for system dynamic modeling of the Internet film piracy. Scheme is developed as a model of behaviors, influences and relations among the elements pertaining to the Internet film piracy.

Keywords: Box office, Cinema, Film, Internet piracy, Uploading

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Authors: Hsin-Yun Lee, Hao-Hsi Tseng

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Previous studies mass evacuation route network does not fully reflect the step-by-step behavior and evacuees make routing decisions. Therefore, they do not work as expected when applied to the evacuation route planning is valid. This article describes where evacuees may have to make a direction to select all areas were identified as guiding points to improve evacuation routes network. This improved route network can be used as a basis for the layout can be used to guide the signs indicate that provides the required evacuation direction. This article also describes that combines simulation and artificial bee colony algorithm to provide the proposed routing solutions, to plan an integrated routing mode. The improved network and the model used is the cinema as a case study to assess the floor. The effectiveness of guidance solution in the total evacuation time is significant by verification.

Keywords: Artificial bee colony, Evacuation, Simulation.

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Authors: Aliakbar Akbari, Majid Hashemipour, Shiva Mirshahi

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Radio-frequency identification has entered as a beneficial means with conforming GS1 standards to provide the best solutions in the manufacturing area. It competes with other automated identification technologies e.g. barcodes and smart cards with regard to high speed scanning, reliability and accuracy as well. The purpose of this study is to improve production line-s performance by implementing RFID system in the manufacturing area on the basis of radio-frequency identification (RFID) system by 3D modeling in the program Cinema 4D R13 which provides obvious graphical scenes for users to portray their applications. Finally, with regard to improving system performance, it shows how RFID appears as a well-suited technology in a comparison of the barcode scanner to handle different kinds of raw materials in the production line base on logical process.

Keywords: Radio Frequency Identification, Manufacturing and Production Lines, 3D modeling

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Authors: Mario Mastriani

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Super-resolution is nowadays used for a high-resolution image produced from several low-resolution noisy frames. In this work, we consider the problem of high-quality interpolation of a single noise-free image. Such images may come from different sources, i.e., they may be frames of videos, individual pictures, etc. On the other hand, in the encoder we apply a downsampling via bidimen-sional interpolation of each frame, and in the decoder we apply a upsampling by which we restore the original size of the image. If the compression ratio is very high, then we use a convolutive mask that restores the edges, eliminating the blur. Finally, both, the encoder and the complete decoder are implemented on General-Purpose computation on Graphics Processing Units (GPGPU) cards. In fact, the mentioned mask is coded inside texture memory of a GPGPU.

Keywords: General-Purpose computation on Graphics ProcessingUnits, Image Compression, Interpolation, Super-resolution.

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Authors: Grzegorz Zinkiewicz

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The paper explores affective potential implicit in Bergman’s movies. This is done by the use of affect theory and the concept of affect in terms of paradigmatic and syntagmatic relations, from both diachronic and synchronic perspective. Since its inception in the early 2000s, affect theory has been applied to a number of academic fields. In Film Studies, it offers new avenues for discovering deeper, hidden layers of a given film. The aim is to show that the form and content of the films by Ingmar Bergman are determined by their inner affects that function independently of the viewer and, to an extent, are autonomous entities that can be analysed in separation from the auteur and actual characters. The paper discovers layers in Ingmar Bergman films and focuses on aspects that are often marginalised or studied from other viewpoints such as the connection between the content and visual side. As a result, a revaluation of Bergman films is possible that is more consistent with his original interpretations and comments included in his lectures, interviews and autobiography.

Keywords: Affect theory, experimental cinema, Ingmar Bergman, film as autonomous entity.

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Authors: Syed Sultan Ahmed

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The current education system in India is adept in equipping and assessing the scholastic development of children. However, there is an immediate need to strengthen co-scholastic areas like life-skills, values and attitudes to equip students to face real life challenges. Audio-visual technology and their respective media can make a significant contribution to a value based learning curriculum. Thus, co-scholastic skills need to be effectively nurtured by a medium that is entertaining and impactful. Films in general have a tremendous impact in our society. Films with a positive message make a formidable learning experience that can influence and inspire generations of learners. Leveraging on this powerful medium, EduMedia India Pvt. Ltd. has introduced School Cinema a well researched film-based learning module supported by a fun and exciting workbook, designed to introduce and reaffirm life-skills and values to children, thereby having a positive influence on their attitudes.

Keywords: Co-Scholastics, Entertaining, Educative, Holistic- Development

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Authors: Mohamed Adel Serhani, Abdelghani Benharref, Rachida Dssouli, Rabeb Mizouni

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Nowadays, people are going more and more mobile, both in terms of devices and associated applications. Moreover, services that these devices are offering are getting wider and much more complex. Even though actual handheld devices have considerable computing power, their contexts of utilization are different. These contexts are affected by the availability of connection, high latency of wireless networks, battery life, size of the screen, on-screen or hard keyboard, etc. Consequently, development of mobile applications and their associated mobile Web services, if any, should follow a concise methodology so they will provide a high Quality of Service. The aim of this paper is to highlight and discuss main issues to consider when developing mobile applications and mobile Web services and then propose a framework that leads developers through different steps and modules toward development of efficient and secure mobile applications. First, different challenges in developing such applications are elicited and deeply discussed. Second, a development framework is presented with different modules addressing each of these challenges. Third, the paper presents an example of a mobile application, Eivom Cinema Guide, which benefits from following our development framework.

Keywords: Mobile applications, development of mobile applications, efficient mobile application, secure mobile application.

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Authors: D. Germanò, D. Plutino, G. Cannistraro

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The theatre-auditorium under investigation following the highly reflective characteristics of materials used in it (marble, painted wood, smooth plaster, etc), architectural and structural features of the Protocol and its intended use (very multifunctional: Auditorium, theatre, cinema, musicals, conference room) from the analysis of the statement of fact made by the acoustic simulation software Ramsete and supported by data obtained through a campaign of acoustic measurements of the state of fact made on the spot by a Fonomet Svantek model SVAN 957, appears to be acoustically inadequate. After the completion of the 3D model according to the specifications necessary software used forecast in order to be recognized by him, have made three simulations, acoustic simulation of the state of and acoustic simulation of two design solutions. Improved noise characteristics found in the first design solution, compared to the state in fact consists therefore in lowering Reverberation Time that you turn most desirable value, while the Indicators of Clarity, the Baricentric Time, the Lateral Efficiency, Ratio of Low Tmedia BR and defined the Speech Intelligibility improved significantly. Improved noise characteristics found instead in the second design solution, as compared to first design solution, is finally mostly in a more uniform distribution of Leq and in lowering Reverberation Time that you turn the optimum values. Indicators of Clarity, and the Lateral Efficiency improve further but at the expense of a value slightly worse than the BR. Slightly vary the remaining indices.

Keywords: Indoor, Acoustic, Acoustic simulation

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Authors: Ilona Copik

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The aim of this study is to analyze the representation of memories of the forced displacement of Poles and Germans from the eastern territories in 1945 as depicted by Polish and German feature films between the years 1945-1960. The aftermath of World War II and the Allied agreements concluded at Yalta and Potsdam (1945) resulted in changes in national borders in Central and Eastern Europe and the large-scale transfer of civilians. The westward migration became a symbol of the new post-war division of Europe, new spheres of influence separated by the Iron Curtain. For years it was a controversial topic in both Poland and Germany due to the geopolitical alignment (the socialist East and capitalist West of Europe), as well as the unfinished debate between the victims and perpetrators of the war. The research premise is to take a comparative view of the conflicted cultures of Polish and German memory, to reflect on the possibility of an international dialogue about the past recorded in film images, and to discover the potential of film as a narrative warning against totalitarian inclinations. Until now, films made between 1945 and 1960 in Poland and the German occupation zones have been analyzed mainly in the context of artistic strategies subordinated to ideology and historical politics. In this study, the intention is to take a critical approach leading to the recognition of how films work as collective memory media, how they reveal the mechanisms of memory/ forgetting, and what settlement topoi and migration myths they contain. The main hypothesis is that feature films about forced displacement, in addition to the politics of history - separate in each country - reveal comparable transnational individual experiences: the chaos of migration, the trauma of losing one's home, the conflicts accompanying the familiar/foreign, the difficulty of cultural adaptation, the problem of lost identity, etc.

Keywords: Forced displacement, Polish and German cinema, war victims, World War II.

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