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Copyright of Central Asian Journal of Art Studies is the property of Central Asian Journal of Art Studies 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.)

Virtual Reality (VR) is gaining popularity in recent years due to the commercialization of personal devices. VR is a new and exciting medium to tell stories, however, the development of Cinematic VR (CVR) content is still in an exploratory phase. One of the main reasons is that in this medium the user has now total or partial control of the camera, therefore viewers create their own personal experiences by deciding what to see in every moment, which can potentially hinder the delivery of a pre‐established narrative. In the particular case of transitions from one shot to another (movie cuts), viewers may not be aligned with the main elements of the scene placed by the content creator to convey the story. This can result in viewers missing key elements of the narrative. In this work, we explore recent studies that analyze viewers' behavior during cinematic cuts in VR videos, and we discuss guidelines and methods that can help filmmakers with the decision‐making process when filming and editing their movies. [ABSTRACT FROM AUTHOR]

Virtual reality (VR) filmmaking presents a unique cinematic experience requiring new and innovative ways to conceptualise and practice specific aspects of the production process. This article integrates a range of adapted and modified filmmaking thinking, approaches and components into the cinematic virtual reality (CVR) language and grammar in the two critical areas of cinematography and editing. This focus provides a range of possible strategies and tools for would-be VR film directors to engage more efficiently and effectively in VR film production. The article utilises an extended case study of the VR feature film Calling to present the director/editor's observations and experiences using transmedia journaling and three-dimensional (3D) CVR previsualisation as a simulation tool to create this dynamic, interactive CVR film. [ABSTRACT FROM AUTHOR]

OpenKinoAI is an open source framework for postproduction of ultra-high definition video, which makes it possible to emulate professional multiclip editing techniques for the case of single-camera recordings. OpenKinoAI includes tools for uploading raw video footage of live performances on a remote web server; detecting, tracking, and recognizing the performers in the original material; reframing the raw video into a large choice of cinematographic rushes; editing the rushes into movies; and annotating rushes and movies for documentation purposes. OpenKinoAI is made available to promote research in multiclip video editing of ultra-high definition video and to allow performing artists and companies to use this research for archiving, documenting, and sharing their work online in an innovative fashion. [ABSTRACT FROM AUTHOR]

Copyright of Écrans is the property of Classiques Garnier 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.)

Engaging with Harun Farocki's notion of the soft montage, our visual essay builds on our recent Seed, Image, Ground video project (2020). Commissioned by the Fotomuseum Winterthur, the moving image piece addresses the surfaces of vegetal growth in relation to the surfaces of media such as screens and images. While the video is a central reference point for this visual essay, our aim is not so much to theorise our own moving images and their juxtapositions and rhythms. Instead, in this article, we present a series of surfaces and scales that appear in and through the images. Images build upon images and this constitutes the practice-led approach in the temporal unfolding of the video. In other words, the video works as a temporal articulation of image surfaces across and upon living surfaces. Hence the central motif of the video essay and this accompanying text is to ask 'what do images of growth look like?' We also employ Celia Lury's notion of 'problem space' to consider the methodological potential in the split-screen practice and its relation to Farocki's soft montage. [ABSTRACT FROM AUTHOR]

The article examines how schematic assumptions about continuity editing were exploited to create the sensation of characters jumping between different spaces and distortion of time in Maya Deren's film "Ritual in the Transfigured Time." Topics include Deren's use of matches on action to connect frames in conjunction with a change in location, use of selective cinematography and editing to depict motion continuity, and cognitive dissonance and perception of reality created in the viewer.

Traditional cinematography has relied for over a century on a well-established set of editing rules, called continuity editing, to create a sense of situational continuity. Despite massive changes in visual content across cuts, viewers in general experience no trouble perceiving the discontinuous flow of information as a coherent set of events. However, Virtual Reality (VR) movies are intrinsically different from traditional movies in that the viewer controls the camera orientation at all times. As a consequence, common editing techniques that rely on camera orientations, zooms, etc., cannot be used. In this paper we investigate key relevant questions to understand how well traditional movie editing carries over to VR, such as: Does the perception of continuity hold across edit boundaries? Under which conditions? Does viewers' observational behavior change after the cuts? To do so, we rely on recent cognition studies and the event segmentation theory, which states that our brains segment continuous actions into a series of discrete, meaningful events. We first replicate one of these studies to assess whether the predictions of such theory can be applied to VR. We next gather gaze data from viewers watching VR videos containing different edits with varying parameters, and provide the first systematic analysis of viewers' behavior and the perception of continuity in VR. From this analysis we make a series of relevant findings; for instance, our data suggests that predictions from the cognitive event segmentation theory are useful guides for VR editing; that different types of edits are equally well understood in terms of continuity; and that spatial misalignments between regions of interest at the edit boundaries favor a more exploratory behavior even after viewers have fixated on a new region of interest. In addition, we propose a number of metrics to describe viewers' attentional behavior in VR. We believe the insights derived from our work can be useful as guidelines for VR content creation. [ABSTRACT FROM AUTHOR]

The article analyzes the horror film "Lake Mungo" by Joel Anderson. It provide particular focus on montage of early 20th-century spirit photographs, to emphasize the convergence of the living and the dead.. It also discusses presence of frightening things poised between visibility and invisibility. It further discusses characterization and cinematic techniques.

Two experiments demonstrate that a list-like database interface which benefits from the persistence of contextual information does not show the same degree of benefit of collocating objects over display changes that has been previously observed in a map-searching study. This provides some support for the claim that the nature of the task must be taken into account in choosing how to design dynamic displays. We discuss the benefit of basing design principles on theoretical models derived from film cutting methods used in cinematography, so that they can be extended to novel design situations. [ABSTRACT FROM AUTHOR]

A Hollywood movie will contain more than 1,000 edits, although filmmakers have found ways to make these transitions hardly noticeable. Why do we appear blind to film edits? In the present investigation, participants watched clips from feature films that included a brief target presented just before an edit (pre-edit targets), just after an edit (postedit targets), or in the middle of a shot (control targets). Compared with control targets, detection was disrupted for postedit targets but not for pre-edit targets. Visual features such as target eccentricity and type of transition (e.g., those that included camera movement) also influenced target detection. In Experiment 2, the audio portion of the movie was turned off, which had the effect of improving target detection, particularly for postedit targets. These findings suggest that multimodal influences, which drive attention to the narrative, have the capacity to engage viewers to the extent that cognitive processes immediately after an edit are disrupted. As magicians of cinema, film editors have acquired techniques to conceal cuts and keep us riveted to the screen. [ABSTRACT FROM AUTHOR]

The fulldome immersive film format is chiefly about space. Immersive film production is currently undergoing stages of development towards a modern, cinematic language comparable to the development of rhythmic montage developed by Eisenstein and Soviet cinema and followed by the avant-garde cinema of the 1920s. This paper explores the reciprocal interaction of cinematic montage with the fulldome format. In fulldome films, the metric aspect of rhythmic montage can be evoked through the translational time of the eye across the hemispherical screen. Immersion affords the extension of the internal logic of the film into the architectural space of the theatre. This external architecture becomes an organizing element in the compositional flow of the film, giving the viewer room to build their own field of associations to create meaning. This article questions what new cinematic language can emerge specific to a nascent avant-garde/experimental fulldome cinema, examining the potential of structural montage and collage techniques to create rhythm by combining spatial with chronological sequencing. [ABSTRACT FROM AUTHOR]

This article suggests that film can evoke hidden dimensions of ethnographic reality, not by striving for ever more realistic depictions—a position often associated with observational cinema—but rather by exploiting the artificial means through which human vision can be transcended. Achieved particularly through the use of montage, such disruptions can multiply the perspectives from which filmic subject matter is perceived, thus conveying its invisible and irreducible otherness. This, however, is an argument not to dismiss the realism of much ethnographic filmmaking, but rather to demonstrate how montage can and must be used to break with the mimetic dogma of the "humanized" camera. The effective image, we argue, depends crucially on maintaining a tension between a strong sense of reality and its occasional, and therefore only then effective, disruption through montage. [ABSTRACT FROM AUTHOR]

The article discusses the use of theatrical form and content within a film in Brechtian cinema. It states that Brechtian cinema increased the abandonment of privileged technique of montage as a source of estrangement in favor of the theatricality It tackles on the application of montage in the film "Kuhle Wampe" which consists of three episodes, separated by montage sequences that show images of apartment buildings and natural landscapes.

Cinematic tradition suggests that Hollywood films, like plays, are divided into acts. Thompson (1999) streamlined the conception of this largescale film structure by suggesting that most films are composed of four acts of generally equal length-the setup, the complicating action, the development, and the climax (often including an epilog). These acts are based on the structure of the narrative, and would not necessarily have a physical manifestation in shots and transitions. Nonetheless, exploring a sample of 150 Hollywood style films from 1935 to 2005, this article demonstrates that acts shape shot lengths and transitions. Dividing films into quarters, we found that shots are longer at quarter boundaries and generally shorter near the middle of each quarter. Moreover, aside from the beginnings and ends of films, the article shows that fades, dissolves, and other non-cut transitions are more common in the third and less common in the fourth quarters of films. [ABSTRACT FROM AUTHOR]

The article focuses on the proposed framework that aims to detect and retrieve semantic events in videos based on video contents. It notes that the multiple instance learning (MIL) framework is extended to perform the object tracking and segmentation of features and trajectories of moving objects in the video. The model also aims to extract semantic scenes by analyzing the spatiotemporal relations among objects in a video. Moreover, an overview of the said frameworks is also discussed, as well as the illustration of the design details of the learning and retrieval process.

Ozu Yasujiro's Late Spring uses time in a very distinct and compelling way. It effectively tenses the image as the 'continuous present'. Through the use of unconventional (by Western standards) editing strategies and cinematography, the characteristic durations of objects, places and people are foregrounded, and a peculiarly affecting sense of time is created. This paper constitutes an attempt to understand the way in which this specific sense of time is constructed in the film, by analyzing the editing, mise-en-scène, and sound of two scenes in very close detail. [ABSTRACT FROM AUTHOR]

This paper explores the manipulation of time in video editing, which allows us to control the chronological time of events. These time manipulations include slowing down (or postponing) some dynamic events while speeding up (or advancing) others. When a video camera scans a scene, aligning all the events to a single time interval will result in a panoramic movie. Time manipulations are obtained by first constructing an aligned space-time volume from the input video, and then sweeping a continuous 2D slice (time front) through that volume, generating a new sequence of images. For dynamic scenes, aligning the input video frames poses an important challenge. We propose to align dynamic scenes using a new notion of ‘dynamics constancy,’ which is more appropriate for this task than the traditional assumption of ‘brightness constancy.’ Another challenge is to avoid visual seams inside moving objects and other visual artifacts resulting from sweeping the space-time volumes with time fronts of arbitrary geometry. To avoid such artifacts, we formulate the problem of finding optimal time front geometry as one of finding a minimal cut in a 4D graph, and solve it using max-flow methods. [ABSTRACT FROM AUTHOR]

The article presents the views of the author on the integral connection between acting choices and filmic choices with reference to montage. According to the author, the selection and combination of the movements, gestures and expressions of actors have an interactive relationship with the selection of shots, editing patterns, design elements and audio choices.

This article examines the key features --historical, rethorical and related to genre-- that characterizes one kind of audiovisual text with scarce cinematographic tradition. The film-essay proposes a personal and nonsystematic discourse, using different tools: a personal style, a visible editing that privileges the word, or the filmic presence of the author. In this way, the film essayist builds its reflection inside the images, putting forward his/her way of thinking. [ABSTRACT FROM AUTHOR]

The article discusses the montage method as a film editing technique utilized by filmmaker Jean-Luc Godard in France. Godard has been using montage all throughout his filmmaking career because he believes that the basic function of montage is to control the difference in camera angles and thereby cut through reality from the various combination of cinematic images. Furthermore, he embraces montage as a concept necessary for binding relations between images, sound, audience and screen. It is also considered as a method and concept to produce an advance cinematography.

Reports on the Cinematography Premiere Product Award granted to the digital intermediate system, Clipster by Digital Video Systems. Recognition of achievements in the development of digital video technology; Offers of all-encompassing film conforming and finishing system; Inclusion of primary and secondary color correction packages.

The article presents a proposal addressed to the photo-kino section of the Regional Centre of Political Education sent by Russian filmmaker Lev Kuleshov. According to Kuleshov, in order to test his observations regarding the theoretical laws of cinematographic art, he needs 90 metres of negative stock. He offers a list of his experiments, which includes the dance shot from one camera setup, the dance presented with the help of editing and the dependance of the model's emotions on the factors causing those emotions. He states that all experiments will be edited so as to match the final position of the main movement in an earlier shot with the beginning of the main movement in a later shot.