Search

This article considers human-autonomy teams (HATs) in which two human team members interact and collaborate with an autonomous teammate to achieve a common task while dealing with unexpected technological failures that were imposed either in automation or autonomy. A Wizard of Oz methodology is used to simulate the autonomous teammate. One of the critical aspects of HAT performance is the trust that develops over time as team members interact with each other in a dynamic task environment. For this reason, it is important to examine the dynamic nature of teammate trust through real-time measures of team interactions. This article examines team interaction and trust to understand better how they change under automation and autonomy failures. Thus, we address two research questions: 1) How does trust in HATs evolve over time?; and 2) How is the relationship between team interaction and trust impacted by the failures? We hypothesize that trust in HATs will decrease as autonomy failures increase. We also hypothesize that team interaction would be related to the development of trust and recovery from the failures. The results implicate three general trends: 1) team interaction dynamics are linked to the development of trust in HATs; 2) trust in the autonomous teammate is only associated with recovery from autonomy failures; 3) team interaction dynamics are related to both automation and autonomy failure recovery.

This article will offer a close reading of two Warner Bros. direct-to-video animated features—Tom and Jerry & the Wizard of Oz (2011) and Tom and Jerry: Back to Oz (2016)—as an example of the transmedia tendencies of studios in the conglomerate era. Although The Wizard of Oz (1939) and Tom and Jerry were originally MGM productions, the modern distribution of these works provides an insight into the complicated post-‘Golden Age’ trajectories of studio archives. Ted Turner’s brief takeover of MGM in the mid-1980s stripped the studio of many of its assets, while the merger of Turner’s company with Warner Bros. in 1996 brought these MGM properties under Warner control. The Tom and Jerry/Wizard of Oz crossover films heavily reference the 1939 MGM movie (the songs, the ruby slippers, and so on)—something that other adaptations of Baum’s novels have not been permitted to do. This paper will suggest that these new extensions of old brands subtly rewrite MGM’s industrial history in favour of establishing them as Warner Bros. franchises, while also re-establishing the brand identity of the 1939 film at a time where Oz adaptations are facing greater competition, particularly from the successful stage musical Wicked (2003).

Anne Sexton’s poem “The Double Image” is explored, delving into the complexities of the role of the author as confessional poet, daughter, mother, and anorectic. This piece begins by noting the differences between the final published piece and the earlier drafts of the poem, focusing on the subtle differences and attempting to decipher why these changes were made. The significance of Sexton’s childhood home in the poem is noted, as this is seen to infantilise the author and creates a narcissistic regression often seen in anorectic patients. Sexton’s recurrent mouth imagery is addressed, as it is the gateway for food (or lack thereof) and plays a crucial role in the works of Sexton throughout her work and life. This topic is further developed into using hunger and eating metaphorically by Sexton, noting that as a daughter she engulfed everything in her mother’s world. The placement of the portraits in the poem is another aspect that Sexton changes consistently throughout the drafts and this piece delves into theories of the significance the position of the portraits might have had. This piece ends with the importance the color green has for the author in her work, possibly linking it to the choice of using green for the wicked within the original technicolor version of The Wizard of Oz (LeRoy & Fleming, 1939).

In everyday conversation, it is common for participants to repeat all or part of the other’s utterances, and such repetition is often accompanied by elements such as backchannels. If the repetitive utterances of a dialogue system are monotonous, the user may get bored quickly. In this study, we define complexity as the number of elements and patterns associated with repetitive utterances, and examine the effect of the complexity of repetitive utterances on the user’s perceived empathy and desire to continue dialogue. A dialogue experiment was conducted with five university students using both automatic chat-oriented dialogue system and the Wizard of Oz method. The complexity of the repetitive utterances was divided into three conditions: low, moderate, and high, and templates of repetitive utterances were made according to each condition. The results suggest that moderate complexity may be the most effective in increasing the user’s perceived empathy and desire to continue dialogue.

Our purpose is to investigate the potential use of chatbots for information sharing and social connection within a co-living space. To this end, we designed a chatbot for residents of a co-living space based on the following principles: (1) The range of shared information is limited to three areas derived from the similarities of the residents, and it takes a ‘give-and-take QnA’ structure, where one should answer a question from another resident after they ask a question. (2) Conversation is designed to resemble a human-like dialogue to reveal the presence of other residents. 19 residents of a co-living space used the chatbot for a week through the Wizard of Oz method, and six participants were asked about their chatbot experience through a semi-structured interview after the usage. A total of 58 interactions occurred, and the reply rate of the chatbot's question was 76%. The interview revealed that the users were satisfied with chatbot's provision of information that could only be given by fellow residents, and the chatbot increased the presence of other residents, creating a feeling of social connection. We conclude the paper by proposing design principles for chatbots in collective housing.

L. Frank Baum’s The Wonderful Wizard of Oz (1900) and Victor Fleming’s film The Wizard of Oz (1939) play an important intertextual role in Margaret Atwood’s critical and fictional writings. Atwood has often been inspired by both versions of this modern fairy tale and has drawn attention to the main issues it raises (e.g. the transformative power of words, gendered power relationships, the connection between illusion and reality, the perception of the artist as a magician, and different notions of home). She has creatively explored and exploited themes, settings, visual motifs, allegorical content and characters (Dorothy, her three companions, the Wizard and the witches, especially Glinda the Good and the Wicked Witch of the West), subversively adapting her literary borrowings with a parodic twist and satirical intent. Parts of Life Before Man (1979) may be interpreted as a rewrite of a story defined by Atwood as “the great American witchcraft classic”.

Human biology creates empathy through storytelling and emulation. Throughout history, humans have honed their capacity to understand optimum storytelling and relate to others in new ways. The bioethical concepts of Leon Kass’s Wisdom of Repugnance and Arthur Caplan’s Yuck Factor attempt to describe, and in Kass’s case even support, society’s abhorrence of that which is strange, against God or nature, or simply the “other.” However, speculative fiction has been assessing the “other” for as long as we’ve told speculative stories. The last thousand years of social liberalization and technological progress in Western civilization can be linked to these stories through feedback loops of storytelling, technological inspiration and acceptance, and social change by growing the audience’s empathy for these speculative characters.Selecting highlights of speculative fiction as far back as the Bible and as recently as the latest movie blockbusters, society has grappled back and forth on whether monsters, superhumans, aliens, and the “other” are considered villainous, frightening and yucky, or heroic, aspirational and yummy. The larger historical arc of speculative fiction, technological acceptance and history demonstrates the clear shift from yucky to yummy. Works include The Bible, Talmud, stories of alchemists and the Brazen Head, Paradise Lost, Frankenstein, Dr. Jekyll and Mr. Hyde, The Wonderful Wizard of Oz, gothic horror films of Germany and the U.S., Superman and the Golden Age of comics, and recent blockbusters, among others. La biología humana crea empatía mediante la narración y la imitación. A través de la historia, los humanos han perfeccionado su capacidad para comprender la narración óptima y relacionarse con otros de nuevas maneras. Los conceptos bioéticos de Wisdom of Repugnance de Leon Kass y Yuck Factor de Arthur Caplan son un intento de describir, y en el caso de Kass, hasta apoyar la aversión de la sociedad a lo que es extraño, contra Dios o la naturaleza, o sencillamente, "lo otro”". Sin embargo, la ficción especulativa ha estado evaluando "lo otro" desde que hemos contado historias especulativas. Los últimos mil años de liberalización social y progreso tecnológico en la civilización occidental pueden vincularse a estas historias a través de los bucles de reacción a la narración, la inspiración tecnológica y la aceptación, y el cambio social al aumentar la empatía de la audiencia por estos personajes teóricos. Seleccionando los puntos importantes de la ficción especulativa desde los tiempos de la Biblia y tan recientemente como las últimas películas taquilleras de largometraje, la sociedad ha luchado con la idea de si los monstruos, los superhombres, los alienígenas, y "los otros" se pueden considerar abominables, terroríficos o asquerosos, o heroicos, inspiradores y sabrosos. El gran arco de ficción especulativa, aceptación tecnológica e historia demuestra un claro cambio de asqueroso a sabroso. Las obras incluyen la Biblia, el Talmud, las historias de alquimistas, y The Brazen Head, Paraíso Perdido, Frankenstein, El extraño caso del doctor Jekyll y el señor Hyde, El mago de Oz, películas góticas de horror alemanas y estadounidenses, Superman y la era dorada de las historietas, tebeos o cómics, y las recientes películas taquilleras, entre otras. A biología humana cria empatía através de narrativa e simulação. Através da história, humanos os humanos aperfeiçoaram a sua capacidade de compreender a melhor forma de contar histórias e de se relacionar com os outros de novas maneiras. Os conceitos bioéticos de Wisdom of Repugnance de Leon Kass e Yuck Factor de Arthur Caplan tentam descrever, e no caso de Kass até apoiar, o repúdio da sociedade por aquilo que é estranho, contra Deus ou natureza, ou simplesmente o "outro". No entanto, a ficção especulativa tem avaliado o “outro” desde que contamos estórias especulativas. Os últimos mil anos de liberação social e progresso tecnológico na civilização occidental podem ser ligados a essas histórias por meio de ciclos de feedback de narrativas, inspiração e aceitação tecnológica e mudança social aumentando a empatia do público por esses personagens especulativos. Selecionando destaques da ficção especulativa desde a Bíblia e tão recentemente quanto os mais recentes sucessos de bilheteria de filmes, a sociedade tem disputado para trás e para frente sobre se monstros, super-humanos, alienígenas e o "outro" são considerados vilões, assustadores e nojentos, ou heróicos, aspiracionais e deliciosos. O maior arco histórico da ficção especulativa, da aceitação tecnológica e da história demonstra a clara mudança do nojento para o delicioso. Os trabalhos incluem a Bíblia, o Talmud, estórias de alquimistas e Brazen Head, Paradise Lost, Frankenstein, Dr. Jekyll and Mr. Hyde, The Wonderful Wizard of Oz, filmes de horror góticos da Alemanha e dos Estados Unidos da América, Superman e a era de ouro dos quadrinhos, e os recentes sucessos de bilheteria, entre outros. A biología humana cria empatía através de narrativa e simulação. Através da história, humanos os humanos aperfeiçoaram a sua capacidade de compreender a melhor forma de contar histórias e de se relacionar com os outros de novas maneiras. Os conceitos bioéticos de Wisdom of Repugnance de Leon Kass e Yuck Factor de Arthur Caplan tentam descrever, e no caso de Kass até apoiar, o repúdio da sociedade por aquilo que é estranho, contra Deus ou natureza, ou simplesmente o "outro". No entanto, a ficção especulativa tem avaliado o “outro” desde que contamos estórias especulativas. Os últimos mil anos de liberação social e progresso tecnológico na civilização occidental podem ser ligados a essas histórias por meio de ciclos de feedback de narrativas, inspiração e aceitação tecnológica e mudança social aumentando a empatia do público por esses personagens especulativos. Selecionando destaques da ficção especulativa desde a Bíblia e tão recentemente quanto os mais recentes sucessos de bilheteria de filmes, a sociedade tem disputado para trás e para frente sobre se monstros, super-humanos, alienígenas e o "outro" são considerados vilões, assustadores e nojentos, ou heróicos, aspiracionais e deliciosos. O maior arco histórico da ficção especulativa, da aceitação tecnológica e da história demonstra a clara mudança do nojento para o delicioso. Os trabalhos incluem a Bíblia, o Talmud, estórias de alquimistas e Brazen Head, Paradise Lost, Frankenstein, Dr. Jekyll and Mr. Hyde, The Wonderful Wizard of Oz, filmes de horror góticos da Alemanha e dos Estados Unidos da América, Superman e a era de ouro dos quadrinhos, e os recentes sucessos de bilheteria, entre outros.

Examples are powerful tools for creativity and can provide inspiration and structure. However, novices often don’t know when to seek examples or how to apply them. Showing real-time examples targeted to the current task (adaptive conceptual guidance) may help novices consider inspiration more often and better implement the ideas that examples illustrate. We explore this in a Wizard-of-Oz system, Shown, that presents examples based on the user’s current activity while drawing a comic strip. Shown’s design is informed by interviews with novice and expert comic artists (n=18). A between-subjects experiment (n=24) found that adaptive conceptual guidance improved the clarity and uniqueness of drawings and stories compared to non-adaptive examples. Users also found the examples more useful and inspirational than those without adaptive guidance. Our results present an initial exploration of the challenges and benefits of contextually showing examples in interactive creativity tools.

I have framed this essay based on one of my all-time favorite films, The Wizard of Oz. I actually saw the film in the theater at a Saturday matinee and I was fascinated by Judy Garland’s journey from a small Kansas community to the magical land of Oz. When she ended up in Oz Dorothy was directed to “Follow the Yellow Brick Road” as a way to get to the Emerald City. For a working class, Black girl like me growing up in the pre-Civil Rights era, there was no yellow brick road to follow to the Emerald City. I was going to have to actually make the road. Fortunately, I would encounter “road pavers” along the way that made my journey possible. This essay describes a version of that journey.

We present ALTCAI, a Wizard of Oz Embodied Conversational Agent that has been developed to explore the use of interactive agents as an effective and engaging tool for delivering health and well-being advice to expectant and nursing mothers in Nigeria. This paper briefly describes the motivation and context for its creation, ALTCAI’s various components, and presents a discussion on its adaptability and potential uses in other contexts, as well as on potential future work on extending its functionality.

This ensemble takes its textile design inspiration from "The Wizard of Oz". Paying homage to the cinematic classic by transitioning from black and white to emerald green in an interesting array of lines and dots. The surface of each piece is an adventure of its own making. Hand and computer aided techniques work together to create a layered streetwear look that is striking from near and far. The outfit begins with dye sublimation printed fabric in the form of a white jersey knit t-shirt. Keeping with the black and white theme the oversized black denim bomber jacket was hand screen-printed with metallic white and charcoal ink. Lastly, the emerald green satin skirt provides a feminine contrast to the t-shirt and oversized jacket, it showcases a geometric laser-cut dot pattern that draws the eye in and shimmers with movement.

Understanding user needs and behavior in automated vehicles (AVs) while traveling is essential for future in-vehicle interface and service design. Since AVs are not yet market-ready, current knowledge about AV use and perception is based on observations in other transportation modes, interviews, or surveys about the hypothetical situation. In this paper, we close this gap by presenting real-world insights into the attitude towards highly automated driving and non-driving-related activities (NDRAs). Using a Wizard of Oz AV, we conducted a real-world driving study (N = 12) with six rides per participant during multiple days. We provide insights into the users’ perceptions and behavior. We found that (1) the users’ trust a human driver more than a system, (2) safety is the main acceptance factor, and (3) the most popular NDRAs were being idle and the use of the smartphone.

Autonomous ride-sharing services have the potential to disrupt future transportation ecosystems. It is critical to understand factors that influence user experience in autonomous vehicles (AVs) to design for widespread adoption. We conducted an on-road driving study in a mock AV to examine how the amount of information provided by an in-vehicle digital assistant, and the manner in which information is delivered, can impact one's overall AV experience. Passengers were divided into two cohorts, based on their assigned in-vehicle digital assistant (Lilly vs. Julie). Through a mixed-methods analysis, the data showed that quantity and quality of information presented via the digital assistant had a significant impact on one's confidence in an AV's driving capability and willingness to ride again. These findings highlight that although the two cohorts were identical with respect to the actual vehicle driven, differences in in-vehicle digital assistant design can alter passengers’ perceptions of their overall AV experience.

Electric vehicles’ (EVs) nearly silent operation has proved to be dangerous for bicyclists and pedestrians, who often use an internal combustion engine’s sound as one of many signals to locate nearby vehicles and predict their behavior. Inspired by regulations currently being implemented that will require EVs and hybrid vehicles (HVs) to play synthetic sound, we used a Wizard-of-Oz AV setup to explore how adding synthetic engine sound to a hybrid autonomous vehicle (AV) will influence how pedestrians interact with the AV in a naturalistic field study. Pedestrians reported increased interaction quality and clarity of intent of the vehicle to yield compared to a baseline condition without any added sound. These findings suggest that synthetic engine sound will not only be effective at helping pedestrians to hear EVs, but also may help AV developers implicitly signal to pedestrians when the vehicle will yield.

Voice technology has experienced tremendous growth in both sophistication and popularity in recent years. This paper considers how researchers and designers might build novel and intuitive voice interfaces. We begin by briefly describing two of the key design techniques for voice design---elicitation methods and Wizard of Oz. We then describe the available tools for prototyping and implementing voice interfaces, and attempt to categorize these according to their function, ease of use, and the fidelity of prototypes they can produce. Finally, we conclude by describing three major aspects of voice communication that are not yet supported by existing prototyping tools, and motivate the need for new design tools in future work.

As social robots continue to show promise as assistive technologies, the exploration of appropriate and impactful robot behaviors is key to their eventual success. Teens are a unique population given their vulnerability to stress leading to both mental and physical illness. Much of teen stress stems from school, making the school environment an ideal location for a stress reducing technology. Our mixed-methods study \hl{was an attempt to understand teens' operation of, and responsiveness to, a robot only capable of movement compared to a robot only capable of speech.} Stemming from a human-centered approach, we introduce a Participatory Wizard of Oz (PWoz) interaction method that engaged teens as \hl{operators, users, and witnesses} in a uniquely transparent interaction. In this paper we illustrate the use of the PWoz interaction method as well as how it helps \hl{identify engaging robot interactions}. Using this technique, we present results from a study with 62 teens that includes details of the complexity of teen stress and a significant reduction in negative attitudes toward robots after interactions. \hl{We also analyzed the teens interactions with both the verbal and non-verbal robots} and identified strong themes of (1) authenticity, (2) empathy, (3) emotional engagement, and (4) imperfection creates connection. Finally, we reflect on the benefits and limitations of the PWoz method and our study to identify next steps toward the design and development of our social robot.

A maioria dos museus pelo mundo afora possui lojas que oferecem mercadorias associadas ao que está exposto ou a algum artista específico. O foco de interesse deste artigo é o estudo do campo do Design através do consumo dos objetos associados ao filme O Mágico de Oz que são vendidos nas lojas localizadas no National Museum of American History. Nosso objetivo é compreender tal consumo com base na noção de habitus abordada por Pierre Bourdieu.

Danielle Birkett and Dominic McHugh, eds., Adapting the Wizard of Oz: Musical Versions from Baum to MGM and Beyond New York: Oxford University Press, 2019 [272 pp. ISBN: 9780190663186. $35.00 (paperback)]. Photographs, music examples, illustrations, tables, appendix, and index.

Stories have a remarkable way of illustrating theories. This article will use Frank Baum’s The Wonderful Wizard of Oz to illustrate the tension between Mary Parker Follett’s power with systems and ...

The German post-war writer, filmmaker and actor, Fritz Genschow, is well-known as the teller of fairy tales at the West-Berlin Radio station RIAS. In addition, he was the first filmmaker who used color in his film Rotkappchen (1937), even before the legendary use of Technicolor in The Wizard of Oz (1939). In the article by Petra Anders, new perspectives on Genschow are elaborated on the basis of his early work: First, his feature film Der Kampf um den Stiefen Ast (1937) is one of the rare and hitherto unmentioned original films in early days of children’s and youth film that were released prior to the book version in the early days of children’s and youth film. Secondly, in cooperation with his partner Renee Stobrawa, Genschow developed the innovative educational concept of a studio of the youth film that held together the Storyworld of the diverse, convergent and transfictional media network of Genschow productions of children's theatre, film and book (General Stift und seine Bande, 1937). Thirdly, based on reviews by the contemporary daily German film magazine Film-Kurier, it can be outlined that although Genschow’s films initially belonged to the genre of Kulturfilm of the nineteen-thirties they were soon devalued by the Youth Film Head Office in the Reich Propaganda Headquarters of the NSDAP.

In this chapter, addressed to my daughter, I read Hans Christian Anderson’s ‘The Red Shoes’ against-the-grain of patriarchal interpretation. I read the totemic red shoes from a feminist perspective to reveal that Karen’s red ruby glistening slippers represent a burgeoning sexual desire and creative urge brought on by her first menstruation. I expose an explicit link between desire, poetic catharsis and menstruation in Anderson’s ‘The Red Shoes,’ and which is also evident in the Grimm fairy tale ‘The Almond Tree’ and the Metro-Goldwyn-Mayer filmic adaptation of The Wizard of Oz (1939), directed by Victor Fleming. I argue that red shoes bring about a girl’s entrance into becoming a woman beyond societal expectations imposed on them in patriarchal cultures, which affirmatively invokes the wild zone.

Resumo: Este artigo tem como objetivo ressaltar o desenvolvimento histórico-social da imagem da bruxa de acordo com as perspectivas culturais, sociais e religiosas desde os primórdios de nossa civilização ocidental até a era contemporânea. Este panorama histórico será discutido com base na influência mitológica no que se refere à formação da imagem feminina transgressora que deu origem à renomada “caça às bruxas” na Idade Média. Para tanto, tomaremos como base os escritos de Civita, (1997), Blécourt (2017), Clark (2006), Maxwell-Stuart (2017), Page (2017), Sharpe (2017), Wallis (2017) e de versões fílmicas contemporâneas, desde The Wizard of Oz (1939) até The Witch (2015), que retratam a transformação da imagem da bruxa para que possamos analisar, através de sua iconografia, como tal imagem foi e é relegada aos ditames de diversas épocas históricas. Abstract: This article aims at discussing the historical-social development of the witch’s image according to cultural, social and religious perspectives since the earlier stages of our Western civilization until the contemporary era. This historic overview will be discussed according to mythological influences referring to the construction of the female image as transgressor which originated the acclaimed Middle Age “witch hunt”. In order to do so, we will use works by Civita, (1997), Blécourt (2017), Clark (2006), Maxwell-Stuart (2017), Page (2017), Sharpe (2017) and Wallis (2017) apart from contemporary film versions from The Wizard of Oz (1939) through The Witch (2015), which depict the witch’s image transformation, so we can analyze, through its iconography, how such image was and is determined by the demands of several historical eras.

Mobile app designers aim to develop the best mobile software interfaces in the least amount of time, and rely on testing ideas with prototypes in lieu of building costly, fully functioning applications. Yet, designers cannot effectively prototype some complex app experiences, including augmented reality applications like Pokemon GO, because existing tools lack the needed features, or because prototyping in them is too time intensive to be feasible. To solve this problem, we introduce Lake, a mobile application prototyping tool that enables the creation of complex mobile applications with the same ease as paper prototyping. By leveraging the Wizard of Oz technique used in paper prototyping in our digital medium, we enable designers to prototype at the same low cost as paper, but at a much higher fidelity. Through a pilot study (N=6), we find that designers are able to gather organic in-context feedback from complex prototypes made with Lake.

Several studies have investigated the clinical efficacy of remote-, internet- and chatbot-based therapy, but there are other factors, such as enjoyment and smoothness, that are important in a good therapy session. We piloted a comparative study of therapy sessions following the interaction of 10 participants with human therapists versus a chatbot (simulated using a Wizard of Oz protocol), finding evidence to suggest that when compared against a human therapist control, participants find chatbot-provided therapy less useful, less enjoyable, and their conversations less smooth (a key dimension of a positively-regarded therapy session). Our findings suggest that research into chatbots for cognitive behavioural therapy would be more effective when directly addressing these drawbacks.

In the last few years, interest in intelligent voice assistants (IVAs) to aid older adults in living healthier and longer at home has seen a drastic increase. As these devices become more integrated into the lives of older adults to assist with health and wellness tasks, it is rapidly becoming important to understand how to design systems that also match older adults' goals for how they want to govern their personal health tasks. As a first step in understanding older adults' needs for autonomy in intelligent health assistant (IHA) design, we conducted a Wizard of Oz (WOZ) study that included a semi-structured interview with 10 older adults to understand their needs and concerns about IHAs for consumer health. We present our findings as opportunities to design IHAs that help inform users in order to meet their needs for autonomy.

This essay departs from a focus on fidelity in the study of adapted film by coining the term adaptive dissonance to describe a trend existing in instances of multiple films made from a single source. Meeusen uses the representative example of L. Frank Baum's The Wonderful Wizard of Oz (1900) and four of its film adaptations to posit that when films are added to this kind of adaptation web, they consistently have a greater degree of ideological tension than do their source texts, and that this adaptive dissonance has profound implications, such as troubling depictions of race and gender.

This research explores ideal methods of persuasion through computer-mediated dialogue. We attempt to identify which persuasive strategy is most successful. We designed a Wizard of Oz laboratory experiment, where participants interact with a human wizard via a custom-developed web-based chat interface. The wizard attempted to persuade participants to learn more about Tai Chi using the following persuasive strategies: Emotional Positive, Emotional Negative, Rational Positive, and Rational Negative. Based on the results of the pre- and post-chat questionnaire, participants' interest in learning Tai Chi was significantly greater after completing the dialogue and 69% percent of the participants printed a flyer to receive more information. Furthermore, conversations using the Emotional Positive strategies resulted in more successful persuasion than rational ones. The results of our study suggest that Emotional Positive strategies may be the most effective. We also suggest successful strategies as a design guideline for autonomous dialogue systems for persuasion. We explore strategies for persuasion via acomputer-mediated dialogue about Tai Chi.We use a Wizard of Oz approach instead of a dialogue system.These strategies combined positive, negative, rational and emotional framings.Participants' interest in Tai Chi increased after completing the dialogue.Conversations with more Emotional Positive statements were the most successful.

This chapter brings new insights to Wicked, the most successful attempt to rework Baum’s story since the 1939 movie. Wicked is the biggest musical hit of the early twenty-first century, but its phenomenal success would never have been possible without its close ties to The Wizard of Oz. Based on Gregory Maguire’s novel by the same name that turns L. Frank Baum’s story on its head, the musical Wicked makes the Wicked Witch of the West a misunderstood young woman doing battle with a wizard who is an interloper from another world that has taken over Oz and made the Talking Animals scapegoats for all of the land’s ills. Despite their new interpretation of the familiar tale, the show’s creators wanted to include as many resonances as possible from the famed MGM film, a crusade that took them into difficult legal waters that resulted in unwelcome changes to the show courtesy of lawyers at Universal Pictures, the show’s principal producer. This chapter is a consideration of how Stephen Schwartz and Winnie Holzman, the writers of Wicked, appropriated narrative and musical aspects of Baum’s original book and the 1939 film, where they ran into problems in doing so, and how some of those problems were solved.

Chapter 4 discusses the musical underscore in The Wizard of Oz. Contemporary discourse on the musical soundtrack has emphasized its role in underscoring—literally and figuratively—the film’s extraordinary content, often stressing its “special” and “effect”-like qualities. Studio publicists plugged the score’s idiosyncratic length and complexity, and Herbert Stothart also drew connections between music and elaborate illusions: “music and sound must be highly imaginative, unreal while super-realistic. Here sounds must stir the fantasy. . . . The difficulty is to blend music and the special sound effects.” Elsewhere Stothart averred that the striking hues of Technicolor warranted special musical treatment. From studio records, contemporary newspaper accounts, the conductor’s score, and the film itself, musical gestures are identified in the underscore that work as and in tandem with special effects.

This chapter addresses the early stage adaptations of several of Baum’s books. The first musical comedy in 1902–1903 generated huge excitement, and inspired Baum to continue with his second novel in 1904. The following two decades were full of interchange between novels, stage productions, and films, with each iteration fueling interest in the world of Oz and its fantastic characters. The chapter examines several of these productions, including basic information about their contributions, but the focus is on the relationship between the stars chosen for the roles and the talents (dancing, singing, comedy, drama) they brought to the version they starred in. For example, Montgomery and Stone, a comedy duo popular in vaudeville and on Broadway, were the stars of the first show. Thus, it was the Tin Woodman and the Scarecrow who were the focus. Other performers, such as Charles Ruggles and Charlotte Greenwood, were the main attractions to their specific productions, too. In the end, the most successful Oz productions found clever ways to allow star players to shine and showcase their talents while maintaining some element of the narrative. It is this formula that would, in part, lead directly to the powerful impact of the 1939 film musical.

To paraphrase one of the most famous lines in movie history, we are not in Kansas—or in Oz—anymore. Nevertheless, the songs of The Wizard of Oz have continued to resonate well beyond the 1939 MGM film, extending deep into the political, cultural, and social contexts of the early twenty-first century. This chapter explores something of the afterlives of the songs, with a special focus on the most popular one, “Over the Rainbow,” which has achieved iconic status over the past eighty years. And if there is any overarching legacy of the songs, it is perhaps the idea that however much we dream or hope, we should not give up our home, our roots.

This chapter examines the contribution of the often overlooked dance sequences in The Wizard of Oz. It explores the social and cultural significance of the choreographed musical numbers and how they contribute to the film and to its immense popularity over the last seventy-five years. Close analysis is given to the jitterbug scene, which was cut from the original film. The choreography and “The Jitterbug” song are examined in detail, providing an excellent comparison point from which to explore other dance numbers, such as the Yellow Brick Road reprisal skipping sequence and the scarecrow’s dance. Within this discussion, key cultural and social themes are also addressed, specifically issues of race and social-dance and performance-dance practices. Finally, the question of why dance numbers were eliminated from the final cut is raised.

More than a century after its first publication, L. Frank Baum’s The Wonderful Wizard of Oz has proved to be one of America’s most enduring literary masterpieces. Although it is framed as a children’s novel, the book is widely acknowledged to have transcended such a modest status. It has been called “America’s greatest and best-loved fairy tale,”...

Neste artigo, ao nos apropriarmos de um viés fenomenológico, buscamos nos traços afetivos das personagens do conto ‘O Mágico de Oz’ relações possíveis com a Matemática. As peculiaridades das personagens e as buscas particulares de cada uma delas deixam evidente, nesta história clássica da cultura de massa, a personificação de determinados afetos, colocando-os em uma condição de destaque a qual justifica considerar a coexistência dos mesmos no âmbito de ensinar e aprender Matemática. Percepções, medos, conceitos, crenças emergem da leitura de cada uma das personagens – Oz e suas diferentes facetas; Dorothy e a finalidade; Espantalho e o ser burro; Lenhador de Lata e os sentimentos; Leão e o medo – e se unem a uma trama de discussões teóricas que permitem pensar sobre questões vinculadas ao ensino e aprendizagem de Matemática.

AI-driven characters that learn directly from human input are rare in digital games, but recent advances in several fields of machine learning suggests that they may soon be much more feasible to create. This study explores the design space for interacting with such a character through natural language text dialogue. We conducted an observational study with 18 high school students, who played Minecraft alongside a Wizard of Oz prototype of a companion AI character that learned from their actions and inputs. In this paper, we report on an analysis of the 186 natural language messages that players sent to the character, and review key variations in syntax, function and writing style. We find that players’ behaviour and language was differentiated by the extent to which they expressed an anthropomorphic view of the AI character and the level of interest that they showed in interacting with it.

This article discusses feeling at home through the lens of three works of art: the film The Wizard of Oz, Homer’s epic poem, The Odyssey, and Samuel Beckett’s play Waiting for Godot. For Dorothy home is a metaphor for the state of her sense of self at a moment of developmental crisis. For Odysseus home is a very real place and utterly crucial to his identity as a Greek warrior, husband, father, son, and king. For Estragon and Vladimir, the homeless tramps of Waiting for Godot, home is a concept all but unthinkable, and yet an idea of what home might mean persists in what the two mean to one another.

This article examines David Lynch’s Mulholland Drive from Kristeva’s concept of intertextuality. To achieve this aim, this study provides a close reading of the selected film so as to trace and illustrate the polyphonic network of references, citations, quotations and intertexts of Mulholland Drive to the significant already-made films such as Sunset Boulevard, The Wizard of Oz, and Persona.