Abstract: Following previous studies about Writing and Seeing, this paper focuses on the aesthetic assumptions within the concept of Winter Journey (Voyage d’Hiver/Winterreise) both in Georges Perec’s Saga and the Oulipo Group vis-à-vis with the creations by William Kentridge and Michael Borremans. The aesthetic and artistic connections are widespread. Nevertheless, we can identify common poetical principles shared by these different authors, not only according to the notion of ekphrasis, but also following the procedures of contemporary creation in literature and visual arts. The analysis of the ongoing process of the French writers as individuals and as group and the visual artists’ acting might contribute for another crossed definition of contemporary conception. The same title/theme was a challenge and a goal for them. Let’s wonder how deep the concept encouraged them and which symbolic upbringings were directing their poetical achievements. The idea of an inner journey became the main point, and got “over” and “across” a shared path worth to be followed. The authors were chosen due to the resilient contents of their visual and written images, and looking for the reasons that might had driven their conceptual basis to be. In Pérec’s “Winter Journey” as for the following fictions by Jacques Roubaud, Hervé le Tellier, Jacques Jouet and Hugo Vernier (that emerges from Perec’s fiction and becomes a real author) powerful aesthetic and enigmatic reflections grow connected with a poetic (and aesthetic) understanding of Walkscapes. They might be assumed as ironic fictions and poetical drifts. Outstanding from different logics, the overwhelming impact of Winterreise Lied by Schubert after Wilhelm Müller’s poems is a major reference in present authorship creations. Both Perec and Oulipo’s author’s texts are powerfully ekphrastic, although we should not forget they follow goals, frameworks and identities. When acting as a reader, they induce powerful imageries - cinematic or cinematographic - that flow in our minds. It was well-matched with William Kentridge animated video Winter Journey (2014) and the creations (sharing the same title) of Michael Borremans (2014) for the KlaraFestival, Bozar, Cité de la musique, in Belgium. Both were taken by the foremost Schubert’s Winterreise. Several metaphors fulfil new Winter Journeys (or Travels) that were achieved in contemporary art and literature, as it once succeeded in the 19th century. Maybe the contemporary authors and artists were compelled by the consciousness of nothingness, although outstanding different aesthetics and ontological sources. The unbearable knowledge of the road’s end, and also the urge of fulfilling the void might be a common element to all of them. As Schopenhauer once wrote, after all, Art is the only human subjective power that we can call upon in life. These newer aesthetic meanings, released from these winter journeys are surely open to wider approaches that might happen in other poetic makings to be.
Abstract: 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.
Abstract: Augmented Reality and Augmented Intelligence are radically changing information technology. The path that starts from the keyboard and then, passing through milestones such as Siri, Alexa and other vocal avatars, reaches a more fluid and natural communication with computers, thus converting the dichotomy between man and machine into a harmonious interaction, now heads unequivocally towards a new IT paradigm, where holographic computing will play a key role. The OLOS® platform contributes substantially to this trend in that it infuses computers with human features, by transferring the gestures and expressions of persons of flesh and bones to anthropomorphic holographic interfaces which in turn will use them to interact with real-life humans. In fact, we could say, boldly but with a solid technological background to back the statement, that OLOS® gives reality to an altogether new entity, placed at the exact boundary between nature and technology, namely the holographic human being. Holographic humans qualify as the perfect carriers for the virtual reincarnation of characters handed down from history and tradition. Thus, they provide for an innovative and highly immersive way of experiencing our cultural heritage as something alive and pulsating in the present.
Abstract: 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.
Abstract: A lot has been said and discussed regarding the rationale and significance of the Bechdel Score. It became a digital sensation in 2013, when Swedish cinemas began to showcase the Bechdel test score of a film alongside its rating. The test has drawn criticism from experts and the film fraternity regarding its use to rate the female presence in a movie. The pundits believe that the score is too simplified and the underlying criteria of a film to pass the test must include 1) at least two women, 2) who have at least one dialogue, 3) about something other than a man, is egregious. In this research, we have considered a few more parameters which highlight how we represent females in film, like the number of female dialogues in a movie, dialogue genre, and part of speech tags in the dialogue. The parameters were missing in the existing criteria to calculate the Bechdel score. The research aims to analyze 342 movies scripts to test a hypothesis if these extra parameters, above with the current Bechdel criteria, are significant in calculating the female representation score. The result of the Principal Component Analysis method concludes that the female dialogue content is a key component and should be considered while measuring the representation of women in a work of fiction.
Abstract: Among the historical dramas of Yeşilçam Cinema in Turkey, the films that narrate the tales of the Independence War and the Foundation of the Turkish Republic reserve a respectable portion. There are 64 films produced between 1923 and 1974 that represent the historical period. The dominance of nationalist discourses on the historical films to narrate the Indepence War and the Foundation Process in Yeşilçam Cinema broadly reflects the discourse of the official historiography of Turkish Republic. The antagonistic representation of the non-Muslim groups and ethnic diversities in Ottoman society in the historical Yeşilçam films of Independence War would be interpreted through the impact of nationalism in Turkish politics. The prominence of the nationalistic discourses to structure the filmic historiography of the Early Republican Period in Yeşilçam Cinema exhibits the impact of the official state ideology on the culture and society in Turkey until the 90s.
Abstract: This study aims to explore the less well-known animation “Final Flight of the Osiris”, consisting of an initial exploration of the film color, storyline, and the simulacrum meanings of the roles, which leads to a further exploration of the light-shadow contrast and the psychological images presented by the screen colors and the characters. The research is based on literature review, and all data was compiled for the analysis of the visual vocabulary evolution of the characters. In terms of the structure, the relational study of the animation and the historical background of that time came first, including The Wachowskis’ and Andy Jones’ impact towards the cinematographic version and the animation version of “The Matrix”. Through literature review, the film color, the meaning and the relevant points were clarified. It was found in this research that “Final Flight of the Osiris” separates the realistic and virtual spaces by the changing the color tones; the "self" of the audience gradually dissolves into the "virtual" in the simulacra world, and the "Animatrix" has become a virtual field for the audience to understand itself about "existence" and "self".
Abstract: 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.
Abstract: 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.
Abstract: 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.
Abstract: 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.
Abstract: For the music composer Myriam Marbe the musical
time and memory represent 2 (complementary) phenomena with
conclusive impact on the settlement of new musical ontologies.
Summarizing the most important achievements of the contemporary
techniques of composition, her vision on the microform presented in
The Concert for Daniel Kientzy, saxophone and orchestra transcends
the linear and unidirectional time in favour of a flexible, multivectorial
speech with spiral developments, where the sound substance
is auto(re)generated by analogy with the fundamental processes of
the memory. The conceptual model is of an archetypal essence, the
music composer being concerned with identifying the mechanisms of
the creation process, especially of those specific to the collective
creation (of oral tradition). Hence the spontaneity of expression,
improvisation tint, free rhythm, micro-interval intonation, coloristictimbral
universe dominated by multiphonics and unique sound
effects, hence the atmosphere of ritual, however purged by the
primary connotations and reprojected into a wonderful spectacular
space. The Concert is a work of artistic maturity and enforces respect,
among others, by the timbral diversity of the three species of
saxophone required by the music composer (baritone, sopranino and
alt), in Part III Daniel Kientzy shows the performance of playing two
saxophones concomitantly. The score of the music composer Myriam
Marbe contains a deeply spiritualized music, full or archetypal
symbols, a music whose drama suggests a real cinematographic
movement.
Abstract: An optimisation method using both global and local
optimisation is implemented to determine the flapping profile which
will produce the most lift for an experimental wing-actuation system.
The optimisation method is tested using a numerical quasi-steady
analysis. Results of an optimised flapping profile show a 20% increase
in lift generated as compared to flapping profiles obtained by high
speed cinematography of a Sympetrum frequens dragonfly. Initial
optimisation procedures showed 3166 objective function evaluations.
The global optimisation parameters - initial sample size and stage
one sample size, were altered to reduce the number of function
evaluations. Altering the stage one sample size had no significant
effect. It was found that reducing the initial sample size to 400
would allow a reduction in computational effort to approximately
1500 function evaluations without compromising the global solvers
ability to locate potential minima. To further reduce the optimisation
effort required, we increase the local solver’s convergence tolerance
criterion. An increase in the tolerance from 0.02N to 0.05N decreased
the number of function evaluations by another 20%. However, this
potentially reduces the maximum obtainable lift by up to 0.025N.
Abstract: 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.
Abstract: 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.
Abstract: 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.
Abstract: 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.
Abstract: 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.
Abstract: 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.
Abstract: 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.