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It has been claimed that the HR "profession" suffers from a chronic shortage of social legitimacy. In this article, we advance the idea that HR is also to some extent subject to public stigmatization for being immoral. In other words, we maintain that certain aspects of contemporary HR work can be conceptualized as morally dirty work. We provide empirical support for this contention by analyzing a set of 28 films portraying HR practitioners at work. The research results comprise both task‐related and method‐related filmic representations of HR work as immoral, thus furnishing a comprehensive and nuanced picture of the moral issues that can affect the HR profession. Furthermore, the results show that some of the HR characters analyzed—typically those who hold a role as (co‐)protagonists in the story—realize the immorality affecting their work and decide to distance themselves from it by either exiting the role, trying to reform it, or openly raising resistance against their employer. These research results suggest the need to integrate dirty work scholarship into study of the HR profession, while they provide important indications in terms of future HR research, practice and education. [ABSTRACT FROM AUTHOR]

The purpose of this study is to investigate primary school teachers' perceptions regarding the frequency of using educational platforms, digital applications, and videos for teaching science and geography. Data collection was carried out through a questionnaire survey in which 107 primary school teachers voluntarily participated. The analysis included: the frequency with which teachers use videos in science lessons, from various sources; the frequency of students using digital games and videos from various sources; the frequency of teachers creating/editing videos; the frequency of teachers using educational platforms and applications in science lessons; and the frequency of students using digital applications. The results show that primary school teachers use videos in science and geography lessons, most frequently using video clips, and that they rarely create, edit, or adapt videos using digital applications. Primary school teachers consider that students frequently use digital games and quite rarely use digital applications.

Marketers frequently create social media content (i.e., firm-generated content; FGC) to ignite interest in new movies. Thus, there is a clear need to understand the magnitude and heterogeneity of the effect of FGC on movie demand and associated user-generated content (UGC). The authors empirically examine the complex interactions among FGC, UGC, and sales using social media (tweet) data that are normally available to firms. They investigate two potential mechanisms by which FGC may drive box office revenues: (1) a direct mechanism, such that users who see FGC directly drive revenue, and (2) an indirect "ripple effect," by which FGC increases movie-related UGC, which then drives consumption. By analyzing 145,502 firm-generated and 5.9 million user-generated Twitter posts associated with 159 movies, the authors find a positive and significant effect of FGC on movie sales, which UGC fully mediates, which supports the indirect ripple effect reasoning. Impressions of FGC by followers of firm accounts, as opposed to nonfollowers of firm accounts, mainly drive the effect of FGC on UGC. In addition, FGC by movie accounts is more effective than that by actors and studios. Firms' regular posts with a movie-specific hashtag are more effective than replies, retweets, and posts without the hashtag. The finding of the ripple effect suggests that movie executives should focus on creating FGC that sparks conversations among followers when new movies are released. [ABSTRACT FROM AUTHOR]

Online review platforms often present reviews from both critics and general users. In this research, the authors propose a measure called "topic consistency" to capture the degree of overlap between critic and user review content. High topic consistency suggests greater information recall due to repeated presentation of the same topics, which may increase the memorability of movie attributes and therefore positively affect movie demand. The authors measure the topic consistency between critic and user reviews using topic models and further study the financial consequences of this measure using data for movies released in the United States. Topic consistency is positively associated with subsequent box office revenue, suggesting a positive relationship between topic consistency and movie demand. Furthermore, the effect of topic consistency on demand is the greatest for movies with mediocre review ratings and when the review ratings from critics are close to those from users. Using lab experiments, the authors provide evidence of the causal link between topic consistency and consumers' willingness to watch a movie, and support for the potential mediation through the information recall of reviews. Movie producers and advertisers should consider highlighting or inducing a central theme for critics and users to discuss, as the more the review content of critics and users overlaps, the higher a movie's revenue. [ABSTRACT FROM AUTHOR]

This study examines the degree to which political alienation viewers consider themselves to have audiovisual productions. To understand the preferences of millennials and centennials in the Spanish-speaking world, a survey was conducted with 998 individuals from Spain and Mexico, two countries with high rates of OTT consumption. The survey revealed that young people feel justified in expressing their discontent with audiovisual productions on social media, potentially leading to an “audience dictatorship, “ which stifles creative freedom and expression. In this sense, young people with discursive power in social networks to change and censor production see it as plausible to use this channel as a denunciation or complaint.

Copyright of Iluminuras is the property of Revista Iluminuras and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The cinematographic narrative method presents the changes and transformations in urban life with a critical approach, and solutions to the future urban problems are investigated in a different discipline. Thus, the present study aimed to compare and analyze Space Sweepers and Elysium based on urban and social elements included in these movies to reflect on futuristic urban representations in movies. The two films share a future where the consequences of the climate crisis is experienced in societies with a wide gap between the social classes. Based on the visual narrative employed in the movies, the concept of livable city was redefined, and future problems were investigated based on the relationship between the human and life. In the paper, futuristic urban representations were analyzed based on the transformations in the dystopian narrative. It was determined that while the transformation could lead to positive outcomes in human life, it could render the cities less livable, lead to social distances, isolate individuals, alter and transform the concept of urban spaces, which would be dominated by digital technologies. [ABSTRACT FROM AUTHOR]

Fanfiction is the medium of choice for fans to express themselves, as well as their love for the books they read and the movies and television shows they watch. While it is been around for a while, so much so that even some classics are in a way fanfiction. The cyber space though has truly unleashed fan fiction, making it a hundred times more diverse and so much more accessible to all. This paper will deal with the various cultural effects of fanfiction as well as its effects on the social sphere. It shall look into the legal aspects of fanfiction, the rules of copyright that must be adhered to and those that are often flouted by fans, whether knowingly or unknowingly. It shall look into the issues that arise out of the ease of availability and how this affects children and young teens. Finally, it shall shed some light upon the various aspects of financing fan fiction, the difficulties as well as the possibilities. [ABSTRACT FROM AUTHOR]

This research examines the attitudes and awareness of the EFL learners and teachers to the integration of English movies in their classes. Thus, the article will deal with the nature of using movies in EFL classroom by teachers and the acceptance of it by the learners. The study has been conducted on the teachers and learners of the Cadet Colleges of Bangladesh in the academic year 2022-2023. The participants in this study are English teachers of varied experience and students of pre-intermediate and intermediate levels, aged 12-18. The data are collected through two questionnaires prepared for teachers and learners respectively. Both qualitative and quantitative data are collected and used for preparing results. The results of the study have shown the impacts of using movies in EFL classroom and the problems and prospects of using it in the secondary level institutions of Bangladesh. The study concludes that movies are being used by some of the teachers but many are interested to use; and presenting the target language in a more natural way movies attract students' attention. [ABSTRACT FROM AUTHOR]

Recently, multiple health organizations and advocacy groups have pushed for giving an R-rating for movies depicting tobacco imagery. This study examined several predictors of U.S. adults' opinion toward an R-rating policy for movies depicting cigarette smoking. We used data from the Health Information National Trends Survey (2020 cycle), for a nationally representative sample of 3,865 US adults (aged ≥ 18). The outcome variable was opinion toward an R-rating policy (support, neutral, and oppose) for movies depicting cigarette smoking. A weighted adjusted multinomial logistic regression analysis with comparisons of support versus oppose, support versus neutral, and neutral versus oppose was performed. About 48.2% of respondents were supportive of, 31.1% were neutral toward, and 20.7% were opposed to an R-rating policy. Adults aged 50 to 64 years (adjusted odds ratio [aOR] = 2.28, p =.008) and ≥65 years (aOR = 4.54, p <.001) (vs. 18–34 years) were more likely to support the R-rating policy than oppose it. Non-Hispanic Black respondents (vs. non-Hispanic Whites) were 1.74 times more likely to support than oppose the policy (aOR = 1.74, p =.04), whereas adults with a household annual income of US$75,000 or more (vs. <$20,000) and those with moderate (vs. liberal) political viewpoints were more likely to be neutral than oppose the policy. Former and current e-cigarette users (vs. never users) were less likely to support than oppose the policy. Tailored messaging addressing the rationale behind R-rating policy should be directed towards communities based on age, race/ethnicity, household income, e-cigarette usage, and political ideologies. [ABSTRACT FROM AUTHOR]

With representation issues in Hollywood coming under intense scrutiny, the movie industry is wrestling with gender- and race-related imbalances in its power structure. One area of concern is the small proportion of women and people of color retained as film directors, coupled with little evidence of improvement in representation among widely released U.S. movies over time. In this study, the authors examine factors that explain gender- and race-related performance disparities in the movie industry. They estimate a two-stage model that accounts for the effects of selection in matching director gender and race to (1) projects of varying potential, (2) production budgets, and (3) the number of screens secured during distribution. They use instrumental variables for revenue, budget, screens, and audience reviews and find that once endogeneity and selection are captured by the models, gender- and race-based performance differences disappear. The results show evidence of biases favoring male, nonminority directors in project assignment, budgeting, and distribution. These biases are stronger for movies with female and minority lead actors but weaker for directors with high clout and for international directors. A matched-sample analysis illustrates that women directors produce similar outcomes with lower budgets and that minority directors produce outsized revenues with equivalent budgets. [ABSTRACT FROM AUTHOR]

This article about possible neural underpinning of repeated attraction to watching movies is dedicated to the memory of Prof. Eran Zaidel, who made outstanding contributions to neuroscience (and loved watching movies).The film is an art form crafted by multiple artists from diverse fields, contributing specialized skills, talents, and creativity to the final product. Attention-attraction to all artworks has deep biological roots. Movies have been attracting audiences repeatedly ever since they were introduced over 100 years ago. Although countless studiesanalyzed the nature of the art, the neural underpinning of repeated attraction to viewing movies has been understudied. Here, clues gleaned from non-film findings are proposed. The perspective suggests that functionsof the mesolimbic “reward pathway” associated with pleasure and joy, the brain regions responding to facial beauty, to pictorial art aesthetics, and to music listening with increased dopamine levels are all recruited in the repeated attraction

Copyright of GeSec: Revista de Gestao e Secretariado is the property of Sindicato das Secretarias e Secretarios do Estado de Sao Paulo (SINSESP) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ética y Cine Journal is the property of Etica y Cine Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the scientific world, Professor Jean-Martin Charcot is known for his contribution to the establishment of the anatomo-clinical method in neurology in Paris at the Salpêtrière hospital. However, media attention in the late 1800s has focused on his work on hysteria. In this article, we aim to review how he has been depicted in two recent French movies: Augustine (2012) and Le Bal des Folles (The Mad Women’s Ball) (2021). We will compare his image in those two films to articles at the time of his death and contrast how he is represented in other biographical works. Both in the newspapers and in the movies, Charcot’s public lessons and experimental work on hypnosis in hysteria are put forward. The two movies offer a new perspective, as both directors were women, and both movies focus on a woman patient’s journey at La Salpêtrière. His depiction remains superficial in Le Bal des Folles, portraying a cold, insensitive, and despotic approach to patients. He plays a more central role in Augustine, in which he develops intimacy with one of his patients and a more human and caring side is displayed, in parallel to his authoritative and meticulous figure. Both movies refer to him as a divine authority, but they also allude to his scientific method. In summary, Charcot’s recent representations in cinema add a woman’s perspective to life under Charcot at La Salpêtrière, which continues to shape further the image we have of this founder of modern neurology. [ABSTRACT FROM AUTHOR]

The concept of anarchism has been overshadowed for a long time due to its critical approach to the social system and its negative connotations, but it is an active and influential worldview that is no less active and influential than other ideologies in terms of intellectual and social impact. It is inconceivable that anarchism, which has many influences in the social-political phenomena of the historical process, in the studies conducted in different fields and in the utopian universe of thought, does not naturally affect cinema. In the first part of this study, the conceptual approaches of anarchist theorists were examined and the topography of the anarchist influence experienced in the world was tried to be understood. In the second part, the main focus is to see the effects of anarchism on the cinematic universe and to examine its qualitative indicators and ideological plan based on the film sample. [ABSTRACT FROM AUTHOR]

Condillac’s (1754) “Traité des sensations” is the philosophical background of modern discussions on the relationship between perception and multimodal communication. The differences between perception and communication and the transitions between them are discussed with a focus on odor and color. It becomes clear that even at this primary level, the complex interactions of different modalities are the precondition for effective and rich communication. The second part discusses Cassirer’s “Philosophy of Symbolic Forms” as a relevant framework for multimodality studies. Basic aspects are first commented on with a focus on music and visual art. The interaction is even more complex and rich in the case of language; the difficulty of large symbolic forms is mainly due to semantic composition and only to a lesser degree to syntactic concatenation. The first must merge/blend different semantic spaces. It must allow for the plurality of levels of integration from the lexical level, the level of phrases and sentences, up to texts and discourse. The third part focuses on multimodality in film. It treats the representation of movement and action in (film) narratives, the visual perception and representation/communication of movement and action, and the integration of music, moving images, and language. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Arqueologia is the property of Revista de Arqueologia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study explores the transformation of values in transnational remake movies, focusing on their popularity and the incorporation of new elements to suit target audience preferences. An analysis of The Lake House, a remake of the Korean film Il Mare, reveals shifts in values and the integration of American cultural aspects. These changes stem from audience demands, business considerations, and Hollywood's global influence. Remakes require more than simply reproducing original content; they involve capturing cultural nuances from both versions. Utilizing Hall's representation approach and qualitative methods, the study assesses transnational remakes and their conveyed values. The research identifies shifts from South Korean values to those of the American target market, such as the transition from interdependence to self-reliance and a preference for directness, assertion, and rationality. The American film industry should carefully evaluate the suitability of movies for its audiences, recognizing changes in scenes and messages. The establishment of American values in remakes is influenced by the success of original films and their formulas. As transnational products, movies must be repackaged for target audiences. The industry faces complex processes to align the values of popular films with audience tastes while maintaining the essence of original works.

Every day, the world of media is at our fingertips, whether it is watching movies, listening to the radio, or browsing online media. On average, people spend over 8 h per day consuming messages from the mass media, amounting to a total lifetime dose of more than 20 years in which conceptual content stimulates our brains. Effects from this flood of information range from short-term attention bursts (e.g., by breaking news features or viral 'memes') to life-long memories (e.g., of one's favorite childhood movie), and from micro-level impacts on an individual's memory, attitudes, and behaviors to macro-level effects on nations or generations. The modern study of media's influence on society dates back to the 1940s. This body of mass communication scholarship has largely asked, "what is media's effect on the individual?" Around the time of the cognitive revolution, media psychologists began to ask, "what cognitive processes are involved in media processing?" More recently, neuroimaging researchers started using real-life media as stimuli to examine perception and cognition under more natural conditions. Such research asks: "what can media tell us about brain function?" With some exceptions, these bodies of scholarship often talk past each other. An integration offers new insights into the neurocognitive mechanisms through which media affect single individuals and entire audiences. However, this endeavor faces the same challenges as all interdisciplinary approaches: Researchers with different backgrounds have different levels of expertise, goals, and foci. For instance, neuroimaging researchers label media stimuli as "naturalistic" although they are in many ways rather artificial. Similarly, media experts are typically unfamiliar with the brain. Neither media creators nor neuroscientifically oriented researchers approach media effects from a social scientific perspective, which is the domain of yet another species. In this article, we provide an overview of approaches and traditions to studying media, and we review the emerging literature that aims to connect these streams. We introduce an organizing scheme that connects the causal paths from media content → brain responses → media effects and discuss network control theory as a promising framework to integrate media content, reception, and effects analyses.

The development of websites in this digital era is crucial to creating captivating and relevant online experiences. The combination of server-side programming and client-side technologies along with MySQL database management forms the foundation for a dynamic user interface emphasizes the significance of integrating various technologies to achieve this goal. This project involves the use of PHP, HTML, CSS, JavaScript, and MySQL, with the integration of The Movie Database (TMDB) API, showcasing the intricate fusion of creativity, technical prowess, and data integration. The resulting website offers a comprehensive list of films with detailed information and posters, enhancing the user experience and making it an essential read for those interested in crafting immersive online experiences. The abstract of this research aims to explore the process of website development using diverse technologies and data integration and to analyze its impact on user experience. By examining aspects such as security, performance, and routine maintenance, this study aims to provide in-depth insights into producing captivating and relevant online experiences in the context of modern web development.

In today's fast-paced world, recommendation systems have become indispensable tools, aiding users in making personalized decisions amidst an overwhelming array of choices. These systems leverage user data and preferences to generate tailor-made recommendations based on individual tastes and behaviors. This research paper introduces the development and implementation of Pranik Movies, an ultimate recommendation system for personalized movie suggestions. The system incorporates collaborative and content-based filtering techniques, utilizing machine learning algorithms to analyze user behaviors, ratings, and viewing histories. A comprehensive overview of the research framework is provided, encompassing system architecture, data pre-processing, feature engineering techniques, and model selection and design. Text processing methods such as stemming, bag-of-words (BoW), and TF-IDF (Term Frequency-Inverse Document Frequency) are employed for processing and analyzing textual movie data. The accuracy of recommendations is enhanced through the assessment of film similarities, utilizing algorithms like cosine similarity and Euclidean distance. The paper concludes by outlining future directions for advanced machine learning techniques, social media integration, expanded content support, and the refinement of the evaluation framework. Pranik Movies signifies a significant advancement in recommendation systems, enabling personalized and precise movie recommendations within a vast and diverse cinematic landscape. [ABSTRACT FROM AUTHOR]

Copyright of Jordanian Educational Journal is the property of Association of Arab Universities and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Movies and news reports represent for many the first source of interaction with social robots. Congruently, as tools for the dissemination of popular representations of robots, movies can have a direct impact on public perception, acceptance, and discourse about this type of technology. In this article, a content analysis of popular movies and franchises involving (fictional) social robots was conducted (k = 34). With this analysis, we sought to understand a) the main tropes used in movies involving robotic characters, b) the type of human-robot relationships depicted in those movies, and c) how the fictional robots compared with real robots in terms of their abilities. The results suggest that robots tend to be typically depicted in a polarized way that either emphasizes their extreme social abilities or their violent and destructive motives, with the former being slightly more prevalent. As a result, the relations between humans and robots tend to be either friendship or antagonism. Fictional robots are often portrayed as having advanced technical abilities that allow them to navigate multiple complex social settings and engage in different occupations typically performed by humans, in contrast with the abilities held by the most popular commercially available robots we have today. Movies and news reports represent for many the first source of interaction with social robots. Social robots tend to be portrayed in a very polarized way. Recommendations for future research and robot development are discussed. [ABSTRACT FROM AUTHOR]

The paper is focused on two movies, dedicated to the life and deeds of the Bulgarian poet and revolutionary Hristo Botev. Chronologically, the first one – “Freedom or Death” (1968), was directed by Nikola Korabov – a film director, considered as a part of so-called classical era of the Bulgarian cinematography. The second one, entitled simply “Botev” (2022), was directed by Maxim Guenchev – a contemporary movie director, known with his history-based works. In different time contexts, both movies were met with considerable criticism by the audience and cinema professionals. The paper pays particular attention to the reasons why these films provoked so many pronounced negative reactions. The first movie was not accepted positively because of the political circumstances took place in 1968. Prague Spring affected the whole socialist block. Thus, the movie by Nikola Korabov was seen as deviating from the politically correct line of the Bulgarian socialism, so its screening was stopped by the ideological censorship. The interpretation of the main character and the way the history events were shown was regarded as diverting from the socialist canon. Consequently, the movie was prohibited for public display. “Botev” movie’s reception was not particularly warm as well. The audience was influenced by the director’s pro-Russian point towards the Russian aggression in Ukraine. The same attitude was shared by the main movie character from the screen. It should be taken into account that nowadays the national-populism is in constant raise, and the dictionary of the social dialogue, dedicated to the problems of the national identity, is radicalized respectively. Concerning the artistic language of the first movie, it is defined as a style mixture with no coherent intention, as involving unnecessary Biblical reminiscences, overexaggerated aestheticization with no plot motivation. Summarizingly, the movie was seen as a display of mannerism, unfitting the idea of the national hero’s concept in its socialist version. The movie “Botev” by Maxim Guenchev leaves an impression for amateur, informal event, targeted for close friends and the families of the cast. In conclusion, the image of Hristo Botev was not properly screened either in the socialist period or in the 21 century and more than 30 years after its collapse. [ABSTRACT FROM AUTHOR]

Implicit learning is acquiring knowledge about the underlying structure of a complex stimulus from the environment by a naturally occurring process that happens without conscious effort or intervention. With technological advancement, watching movies with English subtitles has become available in so many ways or platforms. This means that implicit certainty of learning new words through this form of entertainment is inevitable. Thus, this study aimed to determine the frequency of watching movies with English subtitles and correlate it with the vocabulary performance of Special Program in the Arts (SPA) learners of Sara National High School, Sara, Iloilo. Using stratified random sampling, 123 SPA learners were identified as respondents of the study. Descriptive statistics was used to describe the data. Inferential statistics was used to establish the differences and relationships among the variables considered in the study. The results showed that SPA learners in general had "low" frequency of watching movies with English subtitles, which means that they watch 2 to 3 movies or episodes per week. In vocabulary skills, data showed that in general, SPA learners had "good" level of vocabulary skills, which means that they have good vocabulary skills that lead to satisfactory reading comprehension. However, when grouped according to grade level, Grade 7 had a "low" frequency of watching movies with English subtitles. Similarly, they had a "poor" level of vocabulary skills. Also, the results obtained from the tests showed that the SPA learners' frequency of watching movies with English subtitles significantly related to their vocabulary performance r(121)=.61, p. 000. [ABSTRACT FROM AUTHOR]

Viewpoint dependency in dynamic events is still an open question. Movies present a unique case of complex visual stimuli where consecutive shots are filmed from multiple viewpoints. In the present study, we have examined whether people remember viewpoint-specific information in movie-like visual scenes. We have used naturalistic activities which involved two actors where a) the sequence is presented from one or both actors' viewpoints and b) the individual actions were in a natural order or they were scrambled. The results indicated that memory for individual shots decreased when the sequence was presented from both actors' perspectives. Also, people were mostly unaware of the order manipulation, and reordering the individual actions did not lead to a decrease in memory performance. The results favor the film-form model, which suggests that the spatial relations in movie scenes are represented by taking the first shot of a scene as the basis and incorporating the views in subsequent shots accordingly. This argues for an economical encoding in visual events, which favors narrative continuity over spatial relations. [ABSTRACT FROM AUTHOR]

Copyright of International Journal of Language Academy is the property of Rota Kariyer and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Mainstream media is a common source of information on mental health, and its portrayal of mental disorders can influence public perceptions and stigmatisation. Recently, autism has received increased attention in mainstream media. This scoping review aims to contribute to the existing literature on the portrayal of autism and its stigmatising effect by mapping the characteristics and range of records that describe the representation of autism in mainstream media with a focus on non-fiction media (newspapers and social media) and fiction media (movies & TV, and literature). We extracted 31 articles from PubMed and PsychInfo, as well as conducting secondary searches, covering articles published between 2010 and 2022, with a time frame of media from 1988 to 2022. Most of the articles focused on newspapers and movies & TV. Our findings suggest that while the portrayal of autism in media varies, stigmatisation is most prominent in newspapers and movies & TV, often with a negative tone and stereotypical portrayal such as savantism. One possible reason for this could be the lack of representation of experts by experience in these media outlets. In contrast, our review found that literature often has a more diverse and positive representation, and social media tends to have a more supportive tone. Our recommendation is that autistic individuals should be included in the content creation process. Furthermore, future research should focus on newer forms of media, particularly social media, where self-representation is more common, and investigate how this affects the portrayal and stigmatisation of autism. [ABSTRACT FROM AUTHOR]

Background and purpose: Children in developed countries spend a significant portion of their waking hours engaging with audiovisual content and video games. The impact of media consumption on children's health and well‐being has been widely studied, including its effects on tic disorders. Previous studies have shown that tic frequency can both increase and decrease during activities like gaming and television watching, resulting in mixed findings. Methods: To better understand the impact of audiovisual media on tics, we conducted a fine‐grained tic manifestation analysis. We focused on the effects of the impact of a movie scene with suspensful elements and a video game designed to heighten anticipation, thought to stimulate phasic and striatal dopamine release. We closely monitored tic frequency throuhghout these experiences based on moment‐to‐moment tic annotation. The study included 20 participants (19 males aged 7‐16) diagnosed with tic disorders (Yale Global Tic Severity Scale≥8), and we tested the replicability of our findings with an independent group of 36 children (15 females, aged 7‐15) with tic disorders. Results: During film viewing, we observed significant synchronization in the temporal tic patterns of various individuals despite diversity in their tic profiles. Furthermore, employing a video game developed for our study, we found that tic frequency increases during anticipation of a pending reward. This finding was replicated in a second experiment with an independent cohort. Conclusions: Our results indicate that tic frequency is affected by media elements in the short‐term, and call for further investigation of the long‐term impacts of exposure to such tic triggers. [ABSTRACT FROM AUTHOR]

A variety of studies have suggested that at least some children with autism spectrum disorder (ASD) view the world differently. Differences in gaze patterns as measured by eye tracking have been demonstrated during visual exploration of images and natural viewing of movies with social content. Here we analyzed the temporal randomness of saccades and blinks during natural viewing of movies, inspired by a recent measure of "randomness" applied to micro‐movements of the hand and head in ASD (Torres et al., 2013; Torres & Denisova, 2016). We analyzed a large eye‐tracking dataset of 189 ASD and 41 typically developing (TD) children (1–11 years old) who watched three movie clips with social content, each repeated twice. We found that oculomotor measures of randomness, obtained from gamma parameters of inter‐saccade intervals (ISI) and blink duration distributions, were significantly higher in the ASD group compared with the TD group and were correlated with the ADOS comparison score, reflecting increased "randomness" in more severe cases. Moreover, these measures of randomness decreased with age, as well as with higher cognitive scores in both groups and were consistent across repeated viewing of each movie clip. Highly "random" eye movements in ASD children could be associated with high "neural variability" or noise, poor sensory‐motor control, or weak engagement with the movies. These findings could contribute to the future development of oculomotor biomarkers as part of an integrative diagnostic tool for ASD. Lay Summary: The eye movements of young children were analyzed after watching short video clips featuring social interactions. The results showed that the times of the eye movements are distributed in a way that indicates noisier and more random eye movement behavior in children with ASD compared to TD. Furthermore, greater oculomotor randomness was observed in more severe ASD cases, as well as in children with low IQ scores. This unique oculomotor behavior may lay the groundwork for the development of future diagnostic tools. [ABSTRACT FROM AUTHOR]

This article presents a Foucauldian reading of the movies Girl, Interrupted (1999) and Unsane (2018) which deal with women in psychiatric institutions. Building on Foucault's conceptualization of asylums, the medical gaze, and confinement as a paradigm of power, the researchers study the female protagonists in the two movies as characters struggling with psychological issues stemming from their rejection of gender normativity. The experiences of Susanna and Sawyer in asylums are a reflection of a larger struggle against social expectations and sexual norms. [ABSTRACT FROM AUTHOR]

The undeniable correlation between listening and speaking underscores the notion that proficient listeners often manifest prowess in spoken communication. Consequently, the extensive exposure to English movies plays a pivotal role in enhancing the speaking skills of English as a Foreign Language (EFL) learners, providing them with an avenue to surmount linguistic challenges. The technological advancements in the form of digital videos, English films, and the ubiquity of video-streaming platforms have made movies readily accessible for language learning purposes, contributing to the evolution of EFL. This research delves into the significance of watching movies as a means to address speaking difficulties. Conducted with thirty-five EFL university students pursuing Master’s degrees at Ziane Achour University, Djelfa, this study employs both quantitative and qualitative methodologies, utilizing questionnaires and interviews to construct a comprehensive framework. The data analysis emphasizes that watching English movies is a pivotal factor in overcoming challenges associated with fluent English speaking.

The motion picture industry is subject to extensive business and management research conducted on a wide range of topics. Due to high research productivity, it is challenging to keep track of the abundance of publications. Against this background, we employ a bibliographic coupling analysis to gain a comprehensive understanding of current research topics. The following themes were defined: Key factors for success, word of mouth and social media, organizational and pedagogical dimensions, advertising—product placement and online marketing, tourism, the influence of data, the influence of culture, revenue maximization and purchase decisions, and the perception and identification of audiences. Based on the cluster analysis, we suggest the following future research opportunities: Exploring technological innovations, especially the influence of social media and streaming platforms in the film industry; the in-depth analysis of the use of artificial intelligence in film production, both in terms of its creative potential and ethical and legal challenges; the exploration of the representation of wokeness and minorities in films and their cultural and economic significance; and, finally, a detailed examination of the long-term effects of the COVID-19 pandemic and other crises on the film industry, especially in terms of changed consumption habits and structural adjustments.

Some cultural products (e.g. books and movies) catch on and become popular, while others fail. Why? While some have argued that success is unpredictable, we suggest that period-to-period shifts in sentiment—what we term sentiment volatility—enhance engagement. Automated sentiment analysis of over 4,000 movies demonstrates that more volatile movies are evaluated more positively. Consistent with the notion that sentiment volatility makes experiences more stimulating, the effect is stronger in genres where evaluations are more likely to be driven stimulation (i.e. thrillers rather than romance). Further, analysis of over 30,000 online articles demonstrate that people are more likely to continue reading more volatile articles. By manipulating sentiment volatility in follow-up experiments, we underscore its causal impact on evaluations, and provide evidence for the role of stimulation in these effects. Taken together, the results shed light on what drives engagement, the time dynamics of sentiment, and cultural analytics or why some cultural items are more successful. [ABSTRACT FROM AUTHOR]

Abstract Background Media has a reputation for painting a narrow, simplistic, sensationalized portrait of eating disorders. There is little analysis of how film and TV portray eating disorders nor the implications of this representation. This study fills that gap by comparing demographics of US film and TV characters since the 1980s to actual population demographics of people with eating disorders. Methods We compiled a dataset of TV and movie characters with eating disorders and categorized characters’ gender, age, race/ethnicity, and sexual orientation. We narrowed the dataset to include only US media depictions to facilitate comparisons with empirical prevalence, resulting in a total of 66 characters over the period 1981 to 2022. We then compared the demographic characteristics of our sample to national statistics on eating disorder prevalence. Results US media depictions of eating disorders overrepresented characters who were heterosexual (75.56%), White (84.85%), women (89.39%), and under age 30 (84.85%). This does not accurately reflect the populations experiencing eating disorders in the US. Conclusions Eating disorders have an image problem. TV and movies inaccurately portray them as primarily affecting heterosexual, White, women under age 30. Misrepresentation could fuel existing stigmas that inhibit individuals with eating disorders from seeking and receiving treatment. It could also perpetuate stereotypes that fuel misperceptions of the disease by medical providers, families, and policymakers. We recommend more accurate representation in the media to better reflect current demographics and increase awareness of the range of people who can experience eating disorders.