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The article discusses the practice of recasting legacy actors in the Superman movie franchise. Topics discussed include the casting of legacy actors in several types of roles, the importance of maintaining continuity in superhero meta-franchise, and how the 2013 film "Man of Steel" separated itself from the practice of commemorative legacy casting.

In recent years, the detection of a human face from the video has become an interesting research topic due to the video surveillance and other security issues. Efficient face detection from the video has become an immense need as it can provide various identity measures in the field of defense and other security-related areas. In our proposed method we have developed an efficient method of face detection to index a particular face from different video shots. The proposed method can be divided into Different modules. In the first module, human face from the video is extracted using segmentation technique. In our proposed method, we have used Kernel-based Possibilistic C-Means for segmentation purpose. The second module in our method is the feature extraction process where shape, LBP, and some geometrical features are extracted. The various shape features like area, circularity, and eccentricity are extracted. Once the feature values are extracted we track the particular face using forward tracking process. After the tracking process, we employ the classification technique. The classifier we utilized here is the improved neural network where the weights factors are optimized using the modified cuckoo search algorithm. The performance is compared with some existing works in order to prove the efficiency of our proposed method. [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.

This study examines a small sample of song scenes from Indian films produced between 1931 and 1935. It considers the impact of the technological constraints imposed by the absence of post-production technology for sound editing and for sound-image synchronization. That impact included the common practice of simultaneous sound and image recording (to ensure synchronization of sound and image) and of filming song scenes in single takes (to ensure musical continuity). The study traces the evidence available in cinematic texts suggesting that film-makers recognized the cinematic limitations of scenes filmed in these ways and sought technological solutions based on the use of the continuous sound track as the ‘master’ track for a song scene and other musically and technologically inventive ways to produce cinematically (as well as musically) interesting song scenes. The implications of early film production practices for the relationship of song scenes to the diegesis are also considered. [ABSTRACT FROM AUTHOR]

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 focuses on the appeal and advantage of serialization in the media. The article discusses the focus on narrative art as serial art, the advantages of serialization such as lower production costs, the ability to tell a story over several episodes for greater audience feedback and involvement and increased options for the creation of suspense. The article goes on to discuss the pitfalls of serialization including the opportunity for continuity errors, the changing appearance of actors and the alienation of audiences due to lack of resolution without progress or conclusion.

The article discusses the way in which censorship, critical reception, and program format influenced the development of primetime serial television programs through an examination of the production of the program "Peyton Place." The author describes how the program deviated from the depiction of sex found in its source material, the novel "Peyton Place" by Grace Metalious, as well as the American Broadcasting Company's (ABC) related efforts to censor the program prior to its initial airing. Consideration is given to the development of the show's storyline continuity.

CONTINUITY AND ITS DISCONTENTS Paul Messaris CONTINUITY, NARRATIVE, AND CROSS-MODAL CUING OF ATTENTION Cynthia Freeland AUTEUR OF ATTENTION: THE FILMMAKER AS COGNITIVE SCIENTIST Sheena Rogers THE CONTINUITY OF NARRATIVE COMPREHENSION Malcolm Turvey CONTINUITY IS NOT CONTINUOUS Greg M. Smith MAKING THE CASE FOR NONPREDICTIVE CONTINUITY PERCEPTION Daniel T. Levin and Alicia M. Hymel EXTENDING ATOCC: A REPLY Tim J. Smith [ABSTRACT FROM AUTHOR]

Continuity and independence in the treatment of the ancient Philoctetes story give the text of Heiner Müller's Philoctetes - with its perfect interlacing of Sophoclean Neoptolemos and Euripidian Ulysses - an important place in the story of the reception of these fifth century tragedies. [ABSTRACT FROM AUTHOR]

The article discusses the accommodation by classical editing conventions of films for the processes and limitations of the sense organs. It notes that the acceptance of imperfect and disjointed visual information has allowed spatial coherence to be perceived by the brain. It mentions that technical devices for depicting space are needed in creating utmost spatial clarity.

Automatic generation of gestures linked to conversation is required in CG animation and game creation. When multiple gestures are combined in the conventional method, continuity or matching at the motion level is not considered. As a result, a machinelike impression is produced, such as a return to the upright position each time a gesture is performed. To deal with this problem, this paper proposes a method of composite gesture generation which considers continuity of motion and linkage of gestures and generates more natural conversational motions. As the first step in the proposed method, two different networks that represent the continuity and linkage of gestures are constructed. Then the combinations of gestures which are likely for a given conversational sentence are expanded as a tree, and a plan for the series of conversation motions is generated by evaluating the conversational content and gesture continuity. In the proposed method, composite gestures can be generated with allowance for continuity of motion. Consequently, more humanlike conversational motions can be generated while preserving gestures which are important in transmitting the semantics of the conversation, such as nodding while pointing, or scratching the head with one hand while placing the other hand on the hip. © 2007 Wiley Periodicals, Inc. Syst Comp Jpn, 38(10): 58–68, 2007; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/scj.20532 [ABSTRACT FROM AUTHOR]

This study explores how continuity is essential to the processes of social discourse and specifically focuses on its application as a communication strategy used by writers for The Daily Show with Jon Stewart on the Comedy Central television network. The concept of continuity is central to making individual experiences meaningful through social discourse. Broadcast journalists contribute to social discourse by using words, sounds, and images to represent stories about events that happened to other people, at other times, and in other places. As young people watch late night comedy shows such as The Daily Show for information about news and politics, they must recognize the meanings of signs that refer to past events and people from remote locations. This essay demonstrates how The Daily Show writers effectively inform an audience that lacks historical perspective about public affairs and politics and is primarily interested in being entertained. [ABSTRACT FROM AUTHOR]

Explains the influence of social conditions on scenes presented on films. Technical aspects of establishing a character or social image in motion pictures; Information on continuity editing; Observation of philosopher Augusto Ponzio on the importance of spectatorial function of a film; Comment on the representation of feminist sexual politics in the film "Meeting of Two Queens."

Explores the basic principles of anamorphic filmmaking. Division of the frame into a grid of equal partners; Continuity of the quartered frame in an edited sequence; Quartered frame in camera reframing; Quartered frame in lap dissolves.

Focuses on several visual styles used in contemporary motion pictures in the U.S. Enumeration of stylistic tactics; Dominance of reliance on single, closer views, and wide-ranging camera movements in the 60s and 70s; Assessment of the styles of directors Jonathan Demme, Spike Lee and Ron Howard.

The article explores the functions and meanings of music video editing. It presents an introduction to the grammar of shots and edits, and a discussion of how their functions differ between film and music video. It also offers an analysis of the role of editing in making meaning, creating narrative, and establishing other forms of continuity. An explanation of how music video image adapts to the processual nature of sound and an examination of the ways that music videos treat closeups of the star are given. A presentation of the means by which editing can reflect musical features is included.

The article presents an analysis of the plot of Yasujiro Ozu's film "Tokyo Story," that reflects the usage of autonomous space and narrative style. The film reveals a narrative of stasis and revelation of human intervention through the lack of tightly bound casualty. It assesses that Ozu's film is produced based from the classical Hollywood continuity style by which the camera focuses on the narrative's dominant character, the objects and space used to present externalization of character traits and the graphic configurations are not continuous.

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The article presents the author's idea on how to design a television show that will benefit young learners. It discusses the importance of having an effective introduction and ending such as in establishing continuity between the production and its cast and crew. The advantage of picking good music and suggestions on how to have a good show content are also offered.