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Films are one of the most widely used tools in mood induction procedures (MIPs). However, there is a large variation in the effect sizes, and individuals watching the same clip targetting a specific emotion often report feeling varying emotions as well. This study is aimed at examining the influence of empathy and Theory of Mind -- specifically the cognitive, affective and mixed routes -- on mood induction involving clips aimed at eliciting anger, disgust, sadness and fear.

This content analysis and methodological literature review of the social science research on character identification in traditional entertainment media focuses on the conceptual and operational definitions of identification and the level of consistency between them.

Stage 1 IPA at PCI RR

This behavioral study explores how audiences respond to changes in the visual and/or acoustic environment of a horror film scene. Participants will view film segments that either follow the conventional threat scene model (conventional), violate the conventional model (abandoned or unprompted), or a control (a scene from a horror film that is not a threat scene) in one of three conditions: audio only, video only, and combined audiovideo. Participants will provide retrospective arousal, valence, and expectancy ratings on 7-point Likert scales after each stimulus is completed. After the experimental condition, participants will fill out a short questionnaire concerning their long-term level of horror media exposure.

The relationship between Theory of Mind, films, and moral understanding carves a rich ground for new understanding. This study explores these relationships and, by using several measure of theory of minds and reflection on characters and films, illuminates their interactions with each other.

Our study tests the way that expectations and their violation in the conclusion of a narrative affect the enjoyment and appreciation of romantic comedies. In an online experiment, participants read a pretested romantic comedy story and are randomly assigned to read and ending that either confirmed expectations set up by the story's exposition or violated their expectations in either a major or minor way. We measure enjoyment and appreciation of the story, and see how violated expectations, self-esteem, need for cognitive closure, and relatedness need fulfillment moderate story appeal.

In this exploratory project we aim to explore how people use ICTs during the isolation period due to COVID-19

Videogame research was at least partly established on autographic methods (e.g. Sudnow 1983; Dibbell 1994) and later made significant breakthroughs via ethnography, and autoethnography in particular (e.g. Boellstorff 2008; Pearce 2011). The persistent and occasionally fair criticism against autoethnographic approaches in the study of play and everything else has always been that one scholar, from their own experiential perspective, is relatively limited when it comes building an understanding of a phenomenon in its often wide-ranging diversity (e.g. Atkinson & Hammersley 1983). The awareness of one’s first-person resources and viewpoints is often enough for an attentive scholar to make good use of any limited method (as all methods are), however, personal approaches like autoethnography – unless mixed with other methods – remain the most suitable for exploratory analysis of selected focus areas. In the research of videogames, including single player games, this is a special limitation due to their “forking paths” that make sure that a playthrough never reveals more than a part of the design (e.g. Miller 2008). To further develop the methodology of autoethnographic technology use, this study introduces multiverse autoethnography: a first-person study of videogames and other playable technology by several scholars at once. With reference to tandem approaches that have been experimented earlier (e.g. Sundén & Sveningsson 2012), a multiverse autoethnography of several scholars concerning a single videogame pursues a comprehensive “front yard” of the garden that, ultimately, helps to understand the rich playable multiverse. As such, this study paves the way for crowdsourced approaches that include the benefits of in-depth autoethnographic understanding without being limited to a single or dual points of view. The study will be carried out with several students in January-March 2021 at University of Jyväskylä. All students carry out a personal autoethnography in Cyberpunk 2077 or Among Us, either by playing them or following related live-streams for a minimum of 30 hours. Personal field notes are coded, combined, and turned into code families that are comparative analyzed to produce a map of the most central themes and their relations in these videogames. The ultimate goal of the study is to develop multiverse autoethnography as a method, i.e. to explore which field note, coding, and analytic techniques are best suited to be collectively applied in future projects.

This is a preregistered protocol for a systematic literature review using the PROSPERO template.

To create suspenseful, dramatic or comical situations, filmmakers make creative decisions about the flow of story information: when, how and, most importantly, who to deliver information for it to come across effectively. They often use Dramatic Irony, a narrative device where the audience knows something that at least one characters does not, thereby creating drama and a divergence in perspectives in relation to the differential knowledge provided. Viewers are first shown the installation scenes that reveal the key information that the character(s) does not have access to and following, are shown the exploitation scenes that stage the dramatic irony conflict, in which the characters’ goals or wellbeing are impacted as a consequence of their ignorance e.g. misunderstandings or decoys. We hypothesized that the salient divergence of knowledge in dramatic irony scenes prompts spectators to infer the character’s mental states and thus proposed Theory of Mind (ToM) as a critical sociocognitive mechanism underlying the comprehension of dramatic irony. For the first time, we directly tested the hypothesis that ToM is implicated in film narratives by manipulating audience access to knowledge from the installation scenes (Study 1). In a between-subjects design, participants watched one of two knowledge conditions: in the Dramatic Irony condition, they watched 6 clips from different Harold Lloyd silent comedy films with complete scenes of dramatic irony (context, installation scene and exploitation scene); and in the Control condition, the installation scenes were edited out so participants only watched the context and exploitation scenes, which still maintained narrative coherence, allowing us to compare whether viewers process the same exploitation scenes engaging more in ToM reasoning when they know more than the character vs. when they do not. We hypothesized that if participants in the dramatic irony condition build a more complex event model, or alternatively different event models for character perspectives, there would be deeper moments of processing of the cognitive states in the exploitation scenes. This should be confirmed by delays or slowed-down moments in a novel self-paced viewing task as well as eye-tracking data: (a) pupil data as an indirect marker of processing load and (b) the analysis of spatio-temporal distribution of attention, i.e. what part of the images participants are processing differently across conditions, which would inform us about how participants extract information about characters’ mental states, and whether there are longer viewing times when event models are switched/updated to follow character perspectives.

This article explores the state of affairs in Zimbabwe’s film industry. It addresses the question: does a Zimbabwean film industry exist? The complex answer depends on at least two parameters. The first is one’s chosen definition of a film industry. The second is the extent of one’s knowledge of realities on the ground. The article argues that the Zimbabwean film industry, like most in Africa, is necessarily a work in progress. That is, it is constantly adapting to social, political and economic conditions in the search for a sustainable model or growth. Since 1980, the industry has been in a prolonged search for itself. A general feature has been the search for ways with which to replace thirty-year old colonial heritages of filmmaking, distribution and exhibition. Today what was traditionally a minority activity is becoming open to broader participation. The future, though, remains an unknown x. Funding, distribution and profitability are still sore points. For the first time, however, what seem like true foundations are being laid.

This project aims at investigating the impact of different types of editing techniques on time perception

Pengaruh empat dimensi Social Identity, yakni Reflective, Belonging, Unsatisfaction, Unconcious terhadap perilaku perundungan dunia maya (Cyberbullying) dalam lingkup komunitas penggemar konten-konten bertemakan pahlawan super di Indonesia.

Pengaruh empat dimensi Social Identity, yakni Reflective, Belonging, Unsatisfaction, Unconcious terhadap perilaku perundungan dunia maya (Cyberbullying) dalam lingkup komunitas penggemar konten-konten bertemakan pahlawan super di Indonesia.

Viewers can recognize character strengths as bravery, perseverance, and honesty in films, which can inspire them to further develop these strengths themselves (Linkins et al., 2014; Oliver & Hartmann, 2010). Character strengths - which were first identified by Peterson and Seligman (2004) in their Values In Action (VIA) classification - are 24 positive personality traits reflected in thoughts, behaviours, and feelings, and define what having a good character entails (Peterson & Seligman, 2004). However, research on how stories can exactly inspire strengths is scarce, especially among children. Yet, this is an important issue as films are omnipresent in children’s lives (Lissak, 2018), and thus may be an important source of inspiration for them. Furthermore, previous findings indicate that the development of character strengths can make people feel more connected to others (Niemiec & Wedding, 2013; Oliver et al., 2012). However, less is known about how films can support social acceptance toward other people. This is also an important issue as today’s children are exposed to many diversities which requires them to think and act in new ways towards new peers (Yeh, 2013). At heart, stories often portray a protagonist that overcomes many challenges while the stakes are getting higher, and with doing that displaying character growth. In storytelling, this is defined as a Positive Change Arc (Weiland, 2016). Preliminary findings revealed that children can follow the protagonist’s character arc and can change accordingly (de Leeuw et al., 2022). In that way, stories can be inspiring and an accelerated way of gaining life experience. In this study, we follow up on this research and examine whether this also applies to other film stories, and in particular the film "Raya and the Last Dragon". The present study will examine how film stories can inspire character strengths in children. This will be studied by doing qualitative in-depth duo interviews with primary school children aged 6 to 12 years. Children will be invited together with a sibling or friend to talk about their experiences with films in general and with the film "Raya and the Last Dragon" specifically. This film is chosen because it is praised for its strong portrayals of character strengths, including hope, humour, bravery, perseverance, and forgiveness (Chen, 2021; Collider, 2021; Lacson, 2021; Metacritic, 2021; Lee, 2021; Hojder, 2021; Rotten Tomatoes, 2021; Tallerico, 2021). Furthermore, reviewers praise the film because of its emphasis on the importance of trusting others, coming together, and finding common ground (Chen, 2021; Hojder, 2021; Rotten Tomatoes, 2021; Lacson, 2021). Chen, S.A. (2021). Raya and the last dragon. Common Sense Media. https://www.commonsensemedia.org/movie-reviews/raya-and-the-last-dragon Collider. (2021, January 26). Why Disney’s ‘Raya and the last dragon’ blends an epic fantasy world with contemporary filmmaking elements. Collider. https://collider.com/raya-and-the-last-dragon-interview-don-hall-carlos-lopez-estrada-qui-nguyen-disney/ de Leeuw, R. N. H., Weijers, A., Ahle, A., & Daalmans (2022). Stories to spark strengths: Children’s experiences with film from the inside out. [Manuscript in preparation]. Communication & Media, Radboud University. Hojder, R. (2021, March 1). Movie review – Raya and the last dragon (2021). Flickering Myth. https://www.flickeringmyth.com/2021/03/movie-review-raya-and-the-last-dragon-2021/ Lacson, T (2021, March 5). Interview: Raya and the last dragon cast on creating the world of Kumandra from home. Comics Beat. https://www.comicsbeat.com/interview-raya-and-the-last-dragon-cast-creators/ Lee, B. (2021, March 2). Raya and the last dragon review – charming and stylish Disney tale. The Guardian. https://www.theguardian.com/film/2021/mar/02/raya-and-the-last-dragon-disney-review Linkins, M., Niemiec, R., Gillham, J., & Mayerson, D. (2014). Through the lens of strengths: A framework for educating the heart. The Journal of Positive Psychology, 10(1), 64-68. https://doi.org/10.1080/17439760.2014.888581 Lissak, G. (2018). Adverse physiological and psychological effects of screen time on children and adolescents: Literature review and case study. Environmental Research, 164, 149-157. https://doi.org/10.1016/j.envres.2018.01.015 Metacritic (2021). Raya and the last dragon. Metacritic. https://www.metacritic.com/movie/raya-and-the-last-dragon Niemiec, R. M., & Wedding, D. (2013). Positive psychology at the movies: Using films to build virtues and character strengths. Hogrefe Publishing. Oliver, M. B., & Hartmann, T. (2010). Exploring the role of meaningful experiences in users’ appreciation of “good movies”. Projections, 4(2), 128-150. https://doi.org/10.3167/proj.2010.040208 Oliver, M. B., Hartmann, T., & Woolley, J. K. (2012). Elevation in response to entertainment portrayals of moral virtue. Human Communication Research, 38(3), 360-378. https://doi.org/10.1111/j.1468-2958.2012.01427.x Peterson, C., & Seligman, M. E. P. (2004). Character strengths and virtues: A handbook and classification. Oxford University Press/American Psychological Association. Rotten Tomatoes (2021). Raya and the last dragon. https://www.rottentomatoes.com/m/raya_and_the_last_dragon Tallerico, B. (2021, March 5). Raya and the last dragon. RogerEbert. https://www.rogerebert.com/reviews/raya-and-the-last-dragon-movie-review-2021 Weiland, K. M. (2016). Creating character arcs: The masterful author’s guide to uniting story structure, plot, and character development. PenForASword. Yeh, Z. T. (2013). Role of theory of mind and executive function in explaining social intelligence: A structural equation modeling approach. Aging & Mental Health, 17(5), 527-534. https://doi.org/10.1080/13607863.2012.758235

Hubungan faktor faktor Social Identity oleh Cameron (2004), yakni In-group Ties, Centrality dan In Group Affection dengan perilaku perundungan dunia maya (Cyberbullying) terhadap outgroup dalam lingkup komunitas penggemar konten-konten bertemakan pahlawan super di Indonesia.

This research project addresses the process of innovation and discovery in culture, using a large historical dataset of video game speedruns.

This study seeks to investigate how the inclusion of perceived stereotypical vs. individuating traits of media characters influence character judgments.

What are the ingredients that make a good meme? Internet memes are new forms of communication that can be found all over social media platforms. Despite their popularity, these digital stimuli have gone largely unnoticed in the affective sciences. Although there are many databases of emotional stimuli available to researchers, there is no emotional database of internet memes. The goal of our study is to collect, validate, and describe 300 user-generated memes rated on their aesthetic evaluation, features, and elicited emotions. We will use this database to sample stimuli for future experiments on internet memes. Since this is the first study of its kind, we are reluctant to make specific predictions about the ratings. However, based on the literature of aesthetic psychology, we have some reason to believe internet memes are subject to processing fluency. Processing fluency is a hedonically-marked metacognitive feedback mechanism. People tend to prefer stimuli that are processed with ease rather than difficulty. Internet memes that are judged to be fast to process or easier to understand should also have higher ratings of overall liking. Other variables like prototypicality and truthiness have also been linked to processing fluency where prototypical stimuli are processed fluently and fluency increases judgment of truth. Since fluency is hedonically marked, fluently processed memes should generate higher levels of positive valence emotions like amusement while memes that are harder to understand generate negative valence emotions like confusion and frustration. We also have reason to believe aptness is a key factor in the liking of internet memes. Internet memes can be thought of as visual metaphors that illuminate a relationship between two domains. Aptness is the closeness or fit of this relationship. We will be measuring subjective aptness which has been shown to increase humor ratings of internet memes. Incongruity theory of humor suggests that incongruity and surprise are key to humor. Researchers have also explored how aptness and incongruity interact in creating humorous metaphors. So, we will test if these factors also increase evaluations of humor.

In film music, a common way to induce anxiety in viewers is through the use of drone tones (sustained tones that are usually very low in pitch). Drone tones are typically slowly introduced into an existing soundscape or underneath other music as a covert suspense signal. What makes these drone tones so successful as a suspenseful musical device? Their effectiveness can be somewhat attributed to a learned association with scary film music at large (McClelland, 2014). However, the question remains as to why drone tones became such a common suspenseful musical device to begin with. We hypothesize that the drone tones may succeed at inducing anxiety by mimicking low, sustained natural sounds that are threatening, such as the growing low rumbling of an approaching avalanche. The following paradigm investigates the power of drone tones to signal an approaching threat by combining gaze data collected via eye tracking, skin conductance responses, and self-reported responses from participants.

This study will be about the effect of guilt appeals in nature documentaries on pro-environmental behavioral intentions.

In recent years research assumed that ever since the airing of The Sopranos, the amount of morally ambiguous characters (MACs) in popular media increased. But since there is little empirical evidence for this plausible but not proven claim, we conduct a content analysis investigating plot and character summaries of the 250 most popular movies which released between 1996 and 2020. We analyze the protagonists in terms of their moral nature, their character traits, and moral transgressions they commit. We aim to make statements about the prevalence, role, and position of MACs in movies over the past twenty five years. As theoretical background we include relevant aspects of the Model of Intuitive Morality and Exemplars (MIME) and the Affective Disposition Theory (ADT).

The color analysis and direct emotion measurement will be used to study whether the WeChat profile photo's color was related to the subthreshold depressive symptoms of individuals. An attempt was made to use the color of the WeChat profile photo's to predict an individual's depression through the Big Five personality traits.

An Holistic Approach to India’s particular TRIBE’s/ ADIBASI’s Culture, Heritage, Customs, Traditional Beliefs and Values, Practices, Cultural Development, Inter-cultural Facts; Intra-cultural facts, Language origin, Language Attitudes, Language Adoption , Value Maintenance, Cultural Maintenance through language, Language Technology and Future Perspectives of the Tribal community. Ethno-linguistics study on any Tribal community will be appreciated. The status of the community’s language and how they are dealing with a dominant language near them can be also be studied and included in your research work. Notwithstanding the above mentioned areas research papers, nearby thematic areas, are too welcomed.

This project proposes a series of experimental studies to examine the use of Theory of Mind (ToM) in cinematic narrative understanding and in particular to investigate the cognitive processing of dramatic irony, as a proposed limit case of viewers’ ToM. Dramatic irony is a narrative device, often used in cinema, where the audience is shown critical facts ahead of one or more characters, thereby creating drama and a divergence in perspectives in relation to the differential knowledge provided. Understanding cinematic dramatic irony requires inferring and updating mental states in a dynamic way over time, integrating different sources of information, therefore capturing some of the richness and complexity that defines real-world ToM processing in comparison to classic psychological lab tasks which require participants to recognize false beliefs from highly-stylized and decontextualized images or cartoons.

The impact of alcohol depictions and advertising on adolescent drinking behavior is a much debated topic. Risk factors for adolescent consumption include exposure to alcohol depictions in music videos. Music and the artists as a role model have an major influence on the consumption from alcohol and recipients possibly underestimate the negative effects on their own health. In addition, public health researchers have demonstrated a link between exposure to alcohol advertising and drinking behavior and argued that increased perceptions of alcohol consumption among young people could lead to higher consumption, which should be addressed through greater regulation of marketing One strategy to protect against harmful representations, which has already been proposed in a number of countries, is the presentation of a Disclosure. The aim of this study ist o examine whether disclosure in music videos in which alcohol is consumed has an influence on the recipients' perception of conseqeuence. An experimental study shows the participants the music video 'Flasche Luft' by the music group BHZ from Germany. The participants were divided into three experimental groups. The first group got to see the music video with a full disclosure with health and consequence warnings. The second group got a short disclosure with the warning that alcoholic beverages are consumed. The third group has no disclosure. Q: To what extent does the presentation of a warning in music videos in which harmful products are shown affect the attitude towards harmful products and the consequence perception of the consumer behavior of the recipients?

Paid loot boxes are randomised monetisation methods in video games that provide the player-consumer with randomised rewards of varying value (Nielsen & Grabarczyk, 2019). Loot boxes are structurally and psychologically similar to gambling (Drummond & Sauer, 2018). Loot box purchasing has been linked to problem gambling in 15 published studies in Western countries (Close et al., 2021; Garea et al., 2021; Zendle & Cairns, 2018). Publishing loot box probability disclosures that reveal the exact probabilities of obtaining randomised rewards has been proposed as a non-restrictive consumer protection measure that provides transparency and may reduce potential loot box harms (King & Delfabbro, 2019; McCaffrey, 2019; Xiao, 2021). Presently, this measure has been adopted as law only in the People’s Republic of China (PRC) (Xiao et al., 2021). In all other countries (e.g., the US, South Korea, Japan), the video game industry has broadly adopted the measure as self-regulation (Entertainment Software Association (ESA), 2019; NHN Japan 株式会社 [NHN Japan Corporation] et al., 2012; 한국게임산업협회 [Korea Association of Game Industry; K-GAMES], 2018): for example, all mobile games on the Apple App Store and Google Play Store in all countries are required to provide them (Gach, 2019; Kuchera, 2017; McCaffrey, 2019; Xiao et al., 2021). Xiao et al. (2021) conducted a survey of the loot box probability disclosures of the 100 highest-grossing iPhone games in the PRC and found that 95.6% of video games containing loot boxes disclosed probabilities. However, because the PRC legal requirement and Apple’s self-regulation were in force simultaneously, it could not be determined whether the PRC legal requirement was necessary in addition to Apple’s self-regulation to ensure a high level of compliance. A replication of the survey in another country would shed light on the effectiveness of self-regulation acting alone. Xiao et al. (2021)’s survey found a variety of different methods of disclosure of varying prominence and accessibility because the relevant loot box probability disclosure law did not require specific methods of disclosure. This is reflected in two aspects: firstly, the location of the disclosure, and secondly, the method of disclosure at any given location. There are three possibilities as to location: (i) disclosure made in-game only; (ii) disclosure made on the official website only; and (iii) disclosure made at both locations. As to the second aspect, Xiao et al. (2021) identified six subcategories of in-game disclosures and five subcategories of official website disclosures. Probability disclosure self-regulation in Western countries is similarly worded in general terms and did not require specific, uniform and prominent methods of disclosure (cf. the South Korean industry self-regulation (한국게임산업협회 [Korea Association of Game Industry; K-GAMES], 2018)). It is expected that loot box probability disclosures prompted by Western self-regulation are not prominent and not easily accessible, similar to the situation identified in the PRC by Xiao et al. (2021). Zendle et al. (2020) conducted a survey of the prevalence of loot boxes in UK iPhone games using a highest-grossing list captured on February 28th 2019. It has been suggested that, since then, video game companies have begun to stop implementing loot boxes and instead adopt other monetisation methods, such as battle passes (Petrovskaya & Zendle, 2020), either to avoid bad press or to act more ethically (Xiao, 2021), as demonstrated by commercial decisions taken by companies such as Epic Games (Fortnite Team, 2019; Psyonix Team, 2019; Valentine, 2019). A further survey in the UK would shed light on whether loot box prevalence has decreased two years after Zendle et al. (2020)’s survey. Therefore, a survey replicating Xiao et al. (2021)’s methodology will be conducted in the UK to assess: (i) the effectives of self-regulation acting alone, (ii) the methods of compliance (i.e., prominence and accessibility of probability disclosures) in Western countries, and (iii) any industry changes in loot box implementation and prevalence. References: Close, J., Spicer, S. G., Nicklin, L. L., Uther, M., Lloyd, J., & Lloyd, H. (2021). Secondary analysis of loot box data: Are high-spending “whales” wealthy gamers or problem gamblers? Addictive Behaviors, 117, 106851. https://doi.org/10.1016/j.addbeh.2021.106851 Drummond, A., & Sauer, J. D. (2018). Video Game Loot Boxes Are Psychologically Akin to Gambling. Nature Human Behaviour, 2(8), 530–532. https://doi.org/10.1038/s41562-018-0360-1 Entertainment Software Association (ESA). (2019, August 7). Video Game Industry Commitments to Further Inform Consumer Purchases. ESA Official Website. https://www.theesa.com/perspectives/video-game-industry-commitments-to-further-inform-consumer-purchases/ Fortnite Team. (2019, January 25). Loot Unboxing. Fortnite Official Website. https://www.epicgames.com/fortnite/en-US/news/loot-unboxing Gach, E. (2019, May 30). Google Now Requires App Makers to Disclose Loot Box Odds. Kotaku. kotaku.com/google-now-requires-app-makers-to-disclose-loot-box-odd-1835134642 Garea, S. S., Drummond, A., Sauer, J. D., Hall, L. C., & Williams, M. N. (2021). Meta-analysis of the relationship between problem gambling, excessive gaming and loot box spending. International Gambling Studies, 0(0), 1–20. https://doi.org/10.1080/14459795.2021.1914705 King, D. L., & Delfabbro, P. H. (2019). Video Game Monetization (e.g., ‘Loot Boxes’): A Blueprint for Practical Social Responsibility Measures. International Journal of Mental Health and Addiction, 17(1), 166–179. https://doi.org/10.1007/s11469-018-0009-3 Kuchera, B. (2017, December 21). Apple adds new rules for loot boxes, requires disclosure of probabilities. Polygon. https://web.archive.org/web/20200821095535/https://www.polygon.com/2017/12/21/16805392/loot-box-odds-rules-apple-app-store McCaffrey, M. (2019). The macro problem of microtransactions: The self-regulatory challenges of video game loot boxes. Business Horizons, 62(4), 483–495. https://doi.org/10.1016/j.bushor.2019.03.001 NHN Japan 株式会社 [NHN Japan Corporation], グリー株式会社 [GREE, Inc.], 株式会社サイバーエージェント [CyberAgent, Inc.], 株式会社ディー・エヌ・エー [DeNA Co., Ltd.], 株式会社ドワンゴ [DWANGO Co., Ltd.], & 株式会社ミクシィ [mixi, Inc.]. (2012). ゲーム内表示等に関するガイドライン [Guidelines for In-Game Disclosures and Other Matters]. https://web.archive.org/web/20120709220824/http:/www.gree.co.jp/news/press/2012/0622_01/In-game_display_guidelines.pdf Nielsen, R. K. L., & Grabarczyk, P. (2019). Are Loot Boxes Gambling? Random Reward Mechanisms in Video Games. Transactions of the Digital Games Research Association, 4(3), 171–207. https://doi.org/10.26503/todigra.v4i3.104 Petrovskaya, E., & Zendle, D. (2020). The Battle Pass: A Mixed-Methods Investigation into a Growing Type of Video Game Monetisation. https://doi.org/10.31219/osf.io/vnmeq Psyonix Team. (2019, August 6). Crates Leaving Rocket League Later This Year. Rocket League Official Website. www.rocketleague.com/news/crates-leaving-rocket-league-later-this-year Valentine, R. (2019, August 9). Epic Games commits to loot box transparency across portfolio. GamesIndustry.Biz. https://www.gamesindustry.biz/articles/2019-08-09-epic-games-commits-to-loot-box-transparency-across-portfolio Xiao, L. Y. (2021). Regulating Loot Boxes as Gambling? Towards a Combined Legal and Self-Regulatory Consumer Protection Approach. Interactive Entertainment Law Review, 4(1), __. Xiao, L. Y., Henderson, L. L., Yang, Y., & Newall, P. W. S. (2021). Gaming the system: Sub-optimal compliance with loot box probability disclosure regulations in China. Behavioural Public Policy, Forthcoming, __. https://doi.org/10.31234/osf.io/e6yw8 Zendle, D., & Cairns, P. (2018). Video game loot boxes are linked to problem gambling: Results of a large-scale survey. PLoS One 13(11): E0206767, 13(11). https://doi.org/10.1371/journal.pone.0206767 Zendle, D., Meyer, R., Cairns, P., Waters, S., & Ballou, N. (2020). The prevalence of loot boxes in mobile and desktop games. Addiction, 115(9), 1768–1772. https://doi.org/10.1111/add.14973 한국게임산업협회 [Korea Association of Game Industry; K-GAMES]. (2018). 건강한 게임문화 조성을 위한 자율규제 시행기준 [Criteria on Implementation of Self-regulation for Healthy Game Culture]. http://www.gsok.or.kr/regulations-on-self-regulation/?uid=89&mod=document&pageid=1

A narrative about Mumbai’s traffic signal ‘industry’, Madhur Bhandarkar’s film Traffic Signal (2007) has a plot that revolves around the lives of the people living on the fringes of the hierarchal class structure in Mumbai: prostitutes, tricksters, eunuchs and vendors selling various goods amongst others. This paper aims to study the various aspects to this marginalized faction’s gaze towards the centre and its relationship with the gaze that is directed from the centre towards the periphery. The paper is divided into three major sections. The first section discusses the film’s representation of the periphery’s gaze towards the centre through a few characters that are a part of the ensemble that is set up around a fictional traffic signal in Mumbai. The second section analyses how the marginalized in the film manipulate and channelize the centre’s gaze towards them, moulding it in a way that they find most beneficial. The final section looks at instances in the film where the periphery’s gaze towards the centre turns surveillant in nature, giving them the occasional access to power over the centre. Bhandarkar’s film is particularly interesting because it’s one of the films that launch into counter-narratives of Mumbai, wresting the nous of the narrative away from the economic centre.

ReaGilès are pre-fabricated, self-contained, education and entertainment complexes situated on 400m² sites at local schools or public open spaces consisting of a 60-seat cinema, 30- seat computer and Internet facility, community care and policing centre. These complexes are intended to service historically underserviced peri-urban black dormitory townships of South Africa and to help create jobs, especially amongst the youth, women and the disabled. The ReaGilè concept, on roll-out, has the potential to revolutionise exhibition and distribution in local film industries in ways mirroring the ground-breaking Nollywood straight-to-DVD model. The article discusses the potential of the ReaGilè concept to offer solutions to the twincrises of 1) representation stemming from existing film distribution networks that limit microbudget filmmakers, and 2) of government departments and local municipalities’ tendency towards dividing practices that objectivise the subject through frustrating development via delays, paperwork, never-ending meetings, fees, endless formalities and legalities, and red tape. The authors posit that ReaGilè has the potential to creatively disrupt and redesign formal distribution models and to fracture the narrow modernisation paradigm they deploy, replacing them with a responsive communication re/ordering and flexible distribution that restore subjectivity to the disenfranchised South African subject (the filmmaker and audience from the township).

Discussions of violence in cinema and the ‘cinema of violence’ have tended to fixate on the limited definition of violence in its mimetic, graphic forms. Violence is traced to ‘screen violence’, horror movies and thrillers, a definition of ‘violent cinema’ linked Simkin calls ‘the representation of the damaged body’. This special issue conceptualizes violence in infinitely more interesting ways. It emphasizes the fact that violence is, in fact, not out there at all. Rather, it is all around us, all over us, and is – indeed – us. Not only is violence often invisible to the naked eye, but it is always implicating us such that without us there would be no violence. In fact, there is no single violence. Rather, violence is regarded in the plural. There are violences. Furthermore, the act ofseeing of violences is, in this account, impossible on the basis of dominant, monocular ways of seeing. As such, there are plural visualities as opposed to any one organizing visuality. The trope of mimetic violence is not only layeredon top of other amimetic tropes but is undermined by them. The articles presented here therefore encourage us to visualize violence critically. We are encouraged to see, first of all, the everyday worlds and subtexts that produce,reproduce and sustain significantly finer, less visible, quotidian violences and cultures of violence that march in step with our daily practices

The documentary films of Indian filmmaker Dakxin Bajrange Chhara focus, not on his own community, but on marginalized nomadic communities within his home state of Gujarat. In order to understand these films I draw on Partha Chatterjee's theory of "political society" to argue that Bajrange's portrayal of the social injustices directed against these other communities serves also to challenge the historical stigma his own community feels as a result of having been labeled a "Criminal Tribe" by the British. By highlighting the victimhood of India’s Denotified and Nomadic Tribes (DNTs), Bajrange seeks to embue them with the “moral attributes of a community.”

The objective of this work is to find the general opinion of the Chilean cinematographic production present in our country through the application of a specially designed survey in order to be able to access this information. After the analysis of the data collected, the information was categorized with the help of a statistical program (Nvivo11 Pro) that allowed to develop appropriate conclusions. This research makes it possible to clarify the main factors that keep Chilean film development stagnant; Where a greater investment and support added to better strategies of diffusion of changes of power the general scenario of film production in the country, allowing its progress and progress.