Search

We propose an automatic method for generating flight summaries of prescribed duration, given any planed 3D trajectory of a flying object. The challenge is to select relevant time‐ellipses, while keeping and adequately framing the most interesting parts of the trajectory, and enforcing cinematographic rules between the selected shots. Our solution optimizes the visual quality of the output video both in terms of camera view and film editing choices, thanks to a new optimization technique, designed to jointly optimize the selection of the interesting parts of a flight, and the camera animation parameters over time. To our best knowledge, this solution is the first one to address camera control, film editing, and trajectory summarizing at once. Ablation studies demonstrate the visual quality of the flights summaries we generate compared to alternative methods. [ABSTRACT FROM AUTHOR]

Researchers have been writing about film and psychology for over a century, mostly referring to the perceptual processes while watching films rather than exploring the psychological implications that come with the act of filmmaking, especially the editing process. Investigating editing as an instrument for emotional regulation can not only bring helpful insights for editing professionals but also contribute to its implementation as a medium and an adjunct in psychotherapy and pedagogical settings. This project's concept is built on scientific research in FVBT (film/video-based therapy), with J. Lauren Johnson and Joshua L. Cohen representing contemporary scholars that employ the art of filmmaking in psychotherapy as a means of healing trauma. This paper investigates the potential of editing as a medium for emotional regulation through a case study conducted with four female participants aged 18 to 35. Over the course of five workshops, each lasting three hours, participants engaged in a structured program designed to explore the therapeutic benefits of film editing. Through open questionnaires and discussion groups, the self-perception and emotional awareness of the participants has been tracked and analyzed. Reoccurring themes were grouped into categories such as the differences in the editing. Emotional shifts can be noted throughout the workshop. After every editing session, the participants stated decreased frustration, sadness, and anxiety. Anger and disgust remained low, while the values for self-acceptance, self-understanding and self-awareness continued to be high. [ABSTRACT FROM AUTHOR]

Films are composed of different sequentially ordered shots limited by cuts, which bound the last frame of the outcoming shot and the first frame of the incoming shot. In turn, film editing is known to impact its aesthetics, and has been widely studied in film theory. The objective of this research was to locate and identify neuronal response patterns that make it possible to differentiate between specific types of shot changes by cut. The analysis was conducted on the neuronal rhythms of the electroencephalogram (EEG) by means of an EEG power spectral analysis. This enabled us to identify changes in neuronal excitation and inhibition based on the type of shot changes by cut. Specifically, we compared the neuronal records to locate the time windows for each electrode and frequency range exhibiting differences for various types of shot changes by cut. We combined this method with the permutation test and Spearman correlation to determine when the time windows for each electrode by frequency band are reacting to the cut event in a correlated manner among the different films. This analysis revealed that the neuronal responses to the cut depend on the variation between shots, rather than solely on the new input. Secondly, the findings allowed us to differentiate between shot changes according to the variation of the shot scale and changes due to the filming angle, or the absence thereof (i.e., cut on axis). The results expand our understanding of viewers' neurological sensitivity to and comprehension of an important film feature. [ABSTRACT FROM AUTHOR]

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

This paper discusses the renewal of the conception of film sound and music following the technological advances of the late 1970s. It analyses the ways in which film sound and music freed themselves from traditional uses and became elements to be designed creatively. The soundtrack composed by Vangelis for Blade Runner (1982) is exceptional in this regard: produced in parallel to the editing of the film, it forged an intimate connection between sound and image. Through the method of reduced listening put forward by Michel Chion in Audio-Vision (2019), this paper scrutinizes the specific ways in which sound shapes the perception of the image and narrative in Blade Runner. The first part of this paper analyses how sounds come to replace music to characterize moods and atmospheres. Ambient sounds create a concrete, sonically dense diegetic world, while music is associated with an abstract, extra-diegetic world where spectators are designated judges. This contrast is thematically relevant and delineates the struggle between humans and replicants; sound and music are used for their metaphorical implications rather than in an effort for realism. The second part discusses the agency of characters through the sonorousness of their voices and bodies. Intonations, pronunciation, and acousmatic sounds anchor characters' natures as humans or replicants to their bodies. Yet, these bodies are revealed to be mere vessels awaiting definition; in the third part, we explore how sound is used to craft synaesthetic depictions of characters, revealing their existence beyond the human/replicant divide. [ABSTRACT FROM AUTHOR]

The paper offers a description of the names used in four seasons (1-4) of the Polish TV series "Rancho." The analysis aims to show the mentality of the rural society that lives in Wilkowyje, its characteristics, and its views on political and social changes after Poland's accession to the European Union. Europe is not the only symbol of the West entering this community. It is also, above all, America, embodied by the film's protagonist, a Polish woman born in New York. For the local inhabitants, the ongoing changes are puzzling and sometimes painful, which they express vocally in their assessments of the West. Due to the specifics of the film language, proper names are studied in their contexts: in the dialogues between the characters and in the situations in which they find themselves. Occasionally, the interpretation of the onymes also requires a deeper look at the source (the film) from which they originated - as an audiovisual work (film editing, music, acting, visuals, colours, etc.). [ABSTRACT FROM AUTHOR]

Film cognition explores the influence of cinematic elements, such as editing and film color, on viewers' perception. The Kuleshov effect, a famous example of how editing influences viewers' emotional perception, was initially proposed to support montage theory through the Kuleshov experiment. This effect, which has since been recognized as a manifestation of point-of-view (POV) editing practices, posits that the emotional interpretation of neutral facial expressions is influenced by the accompanying emotional scene in a face-scene-face sequence. However, concerns persist regarding the validity of previous studies, often employing inauthentic film materials like static images, leaving the question of its existence in authentic films unanswered. This study addresses these concerns by utilizing authentic films in two experiments. In Experiment 1, multiple film clips were captured under the guidance of a professional film director and seamlessly integrated into authentic film sequences. 59 participants viewed these face-scene-face film sequences and were tasked with rating the valence and emotional intensity of neutral faces. The findings revealed that the accompanying fearful or happy scenes significantly influence the interpretation of emotion on neutral faces, eliciting perceptions of negative or positive emotions from the neutral face. These results affirm the existence of the Kuleshov effect within authentic films. In Experiment 2, 31 participants rated the valence and arousal of neutral faces while undergoing functional magnetic resonance imaging (fMRI). The behavioral results confirm the Kuleshov effect in the MRI scanner, while the neural data identify neural correlates that support its existence at the neural level. These correlates include the cuneus, precuneus, hippocampus, parahippocampal gyrus, post cingulate gyrus, orbitofrontal cortex, fusiform gyrus, and insula. These findings also underscore the contextual framing inherent in the Kuleshov effect. Overall, the study integrates film theory and cognitive neuroscience experiments, providing robust evidence supporting the existence of the Kuleshov effect through both subjective ratings and objective neuroimaging measurements. This research also contributes to a deeper understanding of the impact of film editing on viewers' emotional perception from the contemporary POV editing practices and neurocinematic perspective, advancing the knowledge of film cognition. [ABSTRACT FROM AUTHOR]

The article examines how Krystof Kieślowski's film editing techniques merge external and internal realities to convey deeper truths about human experience and memory. It argues that Kieślowski's approach to editing, while initially rooted in documentary realism, evolves to explore and represent the inner psychological and metaphysical worlds of his characters.

This article examines the role of the female film editor in the production of German silent cinema, turning to the depiction of editing in a little-known short comedy from 1926, Wenn die Filmkleberin gebummelt hat (When the Film Editor Dawdled, dir. O. F. Mauer), also known as Tragödie einer Uraufführung (Tragedy of a World Premiere). This film, about a distracted editor who mixes revue film and newsreel footage to produce an avant-garde montage film, hands authority over the film to the editor while suggesting that the film she has produced is simply a mistake. Situating the film within discourse on silent-film production practices and Weimar-era montage techniques, the article uses the film as a magnifying glass through which to consider female labor and its relationship to mediation and aesthetic form. It shows how the film offers a remarkable—and relatively early—feminist theory of montage as disruption that hinges on unruly women workers. [ABSTRACT FROM AUTHOR]

Although several research programs have explored how people track changes in objects over time, it is not clear how consistently people are aware of the precise state of dynamic scenes. The importance of object tracking is put to a particularly interesting test in cinema, where editors must combine different views of dynamically changing objects (such as actors) in a way that does not disrupt viewers' perceptual experience. Film editors' intuition and several recent studies suggest that viewers precisely track configuration changes over time and that temporal overlaps in the depiction of moving objects facilitates viewers' perception of smooth visual event continuity. We tested these hypotheses by showing large numbers of participants short edited films that varied in temporal matching between views. In several experiments, we found that participants judged a wide range of temporal overlaps (from 400 ms overlaps to 400 ms ellipses) to be equally continuous. Participants did judge 1-second ellipses to be less smooth than exact matches, and when they repeatedly scrutinized films, or compared different versions of the same films, participants discriminated between exact matches and smaller mismatches. We conclude that awareness of temporal mismatches does not always occur by default, and that the importance of precise temporal matching may be overestimated in cinema and in psychological study of event perception. [ABSTRACT FROM AUTHOR]

The article explores George Cukor's career as a director, focusing on his unique approach to working with actors. Cukor is often labeled as a "woman's director" due to his successful collaborations with female stars, but this label has also been seen as a homophobic slur. The author, Joseph McBride, delves into Cukor's methods of drawing stylized performances from actors and blurring genre boundaries in his films. While the book provides detailed insights into Cukor's directorial style and relationships with actors, it lacks engagement with existing Cukor scholarship and complete citations, making it more suitable for casual readers and fans rather than film scholars. [Extracted from the article]

Films and texts differ in terms of their possible logical structures and freedom of presentation on an output medium. While texts can be structured at any depth, the capabilities for structuring films are generally limited. In the presentation of textual documents, the sentence order is usually preserved, whereas video documents often allow rearrangements that lead to new alternations of shots. The fundamental difference between textual and video structures is taken as a starting point. Then, based on a detailed analysis of two different layouts of the film The Sunbeam by D. W. Griffith, a formal criterion for distinguishing between internal, discursively motivated and external, diegetically motivated alternations is developed. The results enable a new approach to alternation in film analysis and production. [ABSTRACT FROM AUTHOR]

This article explores the impact of integrating artificial intelligence (AI) into film editing, a field that has gradually adopted semi- and fully automated techniques, marking a turning point in film narrative and montage techniques. The study undertakes a systematic literature review and conducts fifteen semi-structured interviews with professional film editors in Spain to investigate how AI might transform workflows in film editing, in general, and documentary filmmaking, in particular. AI’s potential as a complementary tool in the management and organization of large volumes of material is discussed, while growing interest is highlighted in the development of more interactive, more dynamic interfaces. Finally, the study stresses the need for future research to broaden its current scope, further exploring the practical applications of AI-driven film editing and addressing both the ethical and creative concerns associated with its use. [ABSTRACT FROM AUTHOR]

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.)

The formation of the army’s image has acquired newfound significance in our time. Paradoxically, alongside the spread of humanist ideology, the number of violent conflicts worldwide is increasing. These stimulates the need for propaganda aimed at shaping the image of the army and enhancing the attractiveness of service. As one of the world's largest military forces, the US army has engaged in a diverse array of conflicts with over 750 military bases in approximately 80 countries (Kohli 2020). A diverse range of tools is employed to shape the image of the US army, including media, recruitment campaigns, social media, public events, etc. Among these tools, movies have their specific role. While traditionally intended for entertainment, movies have been used for over a century as a means to shape public opinion. This article delves into the main attributes of the US Army as a social institution, analyzing its four fundamental characteristics: the Militia Tradition, Mobilization Miracles, Man-Mindedness, Maritime Influence, the weapon and the enemy as distinctive attributes. Additionally, it features the seven core values of the US Army: Loyalty, Duty, Respect, Selfless Service, Honor, Integrity, and Personal Courage. The article provides a detailed analysis of how various components of movie production tools communicate the attributes and core values of the US Army and contribute to shaping its image, examining a high-viewership movie “Interceptor” (2022). The goal of the study was to find out the image of the US Army that “Interceptor” projects and to identify the verbal and visual communicative means it uses for this purpose. The content analysis made it possible to distinguish verbal and visual elements of the movie, encompassing human voice, mise-en-scène, as well as film editing techniques, to identify and highlight the messages and ideas conveyed about the attributes of the US Army. [ABSTRACT FROM AUTHOR]

Copyright of Perífrasis. Revista de Literatura, Teoría y Crítica is the property of Universidad de los Andes 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.)

During the Covid-19 pandemic, many researchers and scientists took advantage of technologies made available on the web to combat misinformation, including winning over a significant portion of the young public. From this perspective, this article analyzes the most liked and commented video on the profile of tiktoker Antonio Miranda, published during the pandemic. The objective is to analyze and discuss how the semiotic resources configured in the video contribute to the construction of meaning and the practice of popularizing science in the digital environment, through TikTok. The theoretical foundation of this study is Multimodal Social Semiotics (Burn, 2013; Hodge; Kress, 1988; Kress, 2010; van Leeuwen, 1999), which focuses on communicative social practices of creating meanings of all types, be they verbal, visual and/or sound. The most recurrent semiotic resources in filming and editing point to a powerful interaction between Antonio and the viewer, characterized by involvement, proximity, relaxation, devoid of power hierarchies, as if their worlds were familiar, similar and coinciding. Furthermore, gestures, voice and verbal language play the role of transmitting credibility, emphasizing key words and providing opportunities for fluidity and assertiveness in understanding the explanation. In this way, Antonio's video uses semiotic choices that distance him from the "ivory tower", where scientists are supposed to be located, to get closer to the street, people and their daily lives. [ABSTRACT FROM AUTHOR]

The article titled "Editors' Introduction: Why We Curate Feminist Film Archives" explores the significance of feminist film curating in uncovering forgotten women and marginalized filmmakers in film history. It emphasizes that everyone can contribute to this collective project and that feminist futures can be found in what is absent and present in the archive. The article provides examples of feminist film curating, such as digital networks, archival film festivals, and gallery exhibitions. It also discusses the challenges and complexities of restoring and curating films by overlooked female filmmakers, as well as the role of feminist film curation in addressing societal issues. The text encourages readers to join the movement of transforming and reimagining film history through the liberation of marginalized and counterfactual moving image archives. [Extracted from the article]

This work analyzes the new visual conventions on YouTube used by content creators with the aim of determining the editing techniques and resources they employ and comparing their techniques with the conventional rules of film editing. The initial hypothesis is that YouTubers have departed from the rules of classical film editing and have created their own editing code on YouTube. To study and demonstrate this phenomenon, the testimonies and videos of various lifestyle-themed content creators on YouTube are taken as the subject of analysis. The results conclude that the new creators of digital audiovisual content have developed their own editing approaches inspired by the emerging audiovisual trends of social media. [ABSTRACT FROM AUTHOR]

This interview showcases the experience that Colombian film director and editor Felipe Guerrero had at the Centro Sperimentale di Cinematografia (CSC) in Rome, where he specialized in film editing from 1996 to 1999. Guerrero is widely known for his several film and television productions from all over the world, as well as for his five credits as a film director who has been fundamental to the revitalization of contemporary Colombian and Latin American cinema (from 1999 to the present; he is currently writing his second feature-length fiction film, entitled 1948). In this interview, Felipe Guerrero speaks about the meaningful experience he had at CSC for his career as a filmmaker and underlines how honoured he was to be among the few filmmakers accepted at the CSC during the 1990s. In sum, this interview is a rare and unique insight into the memories from one of the most important contemporary Latin American filmmakers had at CSC. [ABSTRACT FROM AUTHOR]

This article seeks to provide an overview of the rich history of the Centro Sperimentale di Cinematografia (CSC) in Rome, as well as show the importance of preserving its institutional legacy. First, this article details the school's connection to the Italian State, with particular attention to its fluctuating political affiliations over the years. Next, this article considers the international vocation of the CSC and offers reflections on the school's pertinent influence on film abroad, with a specific focus on the CSC's connection to the Escuela Internacional de Cine y TV (EICTV) in Cuba and its lasting mark on its alumni from across the globe. All of this will be followed by an interview with Roberto Perpignani, a prestigious Italian film editor and editing instructor at the CSC. [ABSTRACT FROM AUTHOR]

During film viewing, humans parse sequences of individual shots into larger narrative structures, often weaving transitions at edit points into an apparently seamless and continuous flow. Editing helps filmmakers manipulate visual transitions to induce feelings of fluency/disfluency, tension/relief, curiosity, expectation and several emotional responses. We propose that the perceptual dynamics induced by film editing can be captured by a predictive processing (PP) framework. We hypothesise that visual discontinuities at edit points produce discrepancies between anticipated and actual sensory input, leading to prediction error. Further, we propose that the magnitude of prediction error depends on the predictability of each shot within the narrative flow, and lay out an account based on conflict monitoring. We test this hypothesis in two empirical studies measuring electroencephalography (EEG) during passive viewing of film excerpts, as well as behavioural responses during an active edit detection task. We report the neural and behavioural modulations at editing boundaries across three levels of narrative depth, showing greater modulations for edits spanning less predictable, deeper narrative transitions. Overall, our contribution lays the groundwork for understanding film editing from a PP perspective. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectivess'. [ABSTRACT FROM AUTHOR]

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

The paper includes pieces of information about a reissue of Postępek prawa czartowskiego (The Trial of the Devil's Law), an anonymous early printed book attributed to Sebastian Sternacki's printing shop, dated approximately 1619, and omitted from scholarly editing until now. Due to physical damage to the unique copy of editioprlnceps (Brest-Litovsk 1570), the existing state of art is incomplete, and reference to the early 17th c. full-text edition allows to fill the missing gaps. As based on the latter copy, an edition of fragments unknown to this day was prepared, namely the beginning of chapter I, a part of chapter II, prefatory verse Przedmowa do czytelnika łaskawego (Foreword to the Gentle Reader), and Dialog abo Rozmowa o Sprawiedliwości Świeckiej (Dialogue or Conversation on Secular Justice), a piece appended to the reissue of The Trial. [ABSTRACT FROM AUTHOR]

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

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

This article focuses on methods by which editors shape character in editing. Given that editors' choices of shot, take, and timing augment and vary actors' performances and directors' instructions, and that these choices shape the audience perception of film characters, we ask: what components of editors' expertise are activated in shaping material to create characters that viewers can invest in emotionally? Editors' expertise is generally referred to as 'intuitive', which is a shorthand for knowledge and experience that informs decision making at a pre-conscious level. This article argues that 'intuitive' is not incorrect, however, drawing on the authors' extensive editing practice and building on existing editing theory as well as ideas from science and film studies, we seek more specific identification and articulation of editors' expertise. This article offers an original editing taxonomy in relation to editing character. The taxonomy includes explicit articulations of kinaesthetic empathy and implicit knowledge such as laws of physics, reflex reactions, and cultural conditioning. Awareness of these pervasive but often unrecognised forms of knowledge, we argue, can enhance editors' ability to develop multifaceted characters through editing, clarify discussions between collaborators, and even enhance understanding of the art of editing more generally. [ABSTRACT FROM AUTHOR]

A match-action cut in feature films connects two shots of a single continuous movement. This type of editing often goes unnoticed and is arguably the most effective form of continuity editing. However, the literature offers little agreement on editing best practice and, by implication, on how our perceptual system deals with disjointed moving images. Studies have suggested that frames should overlap across the cut for the viewer to experience continuity, but also that leaving out frames is preferable, and even that viewers are unable to discriminate such detail. We conducted an experiment to investigate viewer preferences for match-action cuts, using type of cut as well as velocity of movement as predictors and number of overlapping/elliptical frames as the outcome variable. Thirty-nine participants determined the smoothest cut in eight film-clips in a within-subjects design. Surprisingly, we found that average viewer preferences were less than a single frame from a straight cut for all cut-types. We also found that velocity had a small but statistically significant effect on editing preferences. The preference for straight cuts found in the present study runs counter to the idea that perceived continuity across match-action cuts requires objective dis-continuity and suggests that the straight cut provides a simple rule of thumb for film editors. In addition, we interpret the conflicting results from previous studies together with our own findings based on a discrimination task of finding the optimal cut as indicating that human visual perception allows for a window of acceptable continuity cuts centered around the straight cut. [ABSTRACT FROM AUTHOR]

On April 25, 1974, everyday Portuguese citizens transformed a military coup into collective popular resistance, thus initiating a revolutionary process that marked an end to the Estado Novo. Image-makers, aware of the historical event unraveling in plain view, occupied public plazas and roamed city avenues to document a popular uprising that marked a clear end to Portugal's Fascist project. In this impetus to record radical change, film and its associated technologies promised not only to document, capture, and freeze history in the making but also to make it material, to transform the push and pull of the revolutionary project into something that could be preserved and kept. The article questions the notion that digitization produces a straightforward dematerialization of the analogue print by proposing the concept of digital (im)materiality. This (im)materiality, it argues, not only allows the transformation of revolutionary images into heritage but also makes possible their (re)activation in ways that both speak to the past and reinvent the future. Attending to the (im)materiality of Portuguese militant cinema makes it possible to approach these images not as texts to be interpreted but as social artifacts through which meaning, knowledge, and memories are made. Following Morgan Adamson's call to consider how "images of resistance endure" and how "enduring images resist," the article traces the (im)materiality of Portugal's revolutionary filmic images with the aim of thinking across temporalities. So while, on one hand. the text unpacks how images of the Portuguese Revolution were produced and, subsequently, transformed into heritage, it also reflects on the author's own engagement with the Revolution's visual archives and her co-direction of the film essay A revolução (é) provável (The Revolution [Is] Probable, 2022), where splicing, cutting, and juxtaposing digitized images makes it possible to interrogate the material texture of history while also producing other forms or knowledge and knowing. [ABSTRACT FROM AUTHOR]

An interview with filmmaker Sam Pollard is presented. He discusses his extensive career as both an editor and director, emphasizing the influence of his upbringing in Harlem and Mississippi on his work. Topics include his transition from editing to directing, his collaborations with renowned directors, and his passion for preserving and celebrating African American history and culture through film.

In the process of making a movie, directors constantly care about where the spectator will look on the screen. Shot composition, framing, camera movements, or editing are tools commonly used to direct attention. In order to provide a quantitative analysis of the relationship between those tools and gaze patterns, we propose a new eye-tracking database, containing gaze-pattern information on movie sequences, as well as editing annotations, and we show how state-of-the-art computational saliency techniques behave on this dataset. In this work, we expose strong links between movie editing and spectators gaze distributions, and open several leads on how the knowledge of editing information could improve human visual attention modeling for cinematic content. The dataset generated and analyzed for this study is available at https://github.com/abruckert/eye_tracking_filmmaking [ABSTRACT FROM AUTHOR]

Copyright of Revista Estudos Feministas is the property of Revista Estudos Feministas 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.)

Film editing has attracted great theoretical and practical interest since the beginnings of cinematography. In recent times, the neural correlates of visual transitions at edit cuts have been at the focus of attention in neurocinematics. Many Event Related Potential (ERP) studies studies have reported the consequences of cuts involving narrative discontinuities, and violations of standard montage rules. However, less is known about edits that are meant to induce continuity. Here, we addressed the neural correlates of continuity editing involving scale, and angle variations across the cut within the same scene, two of the most popular devices used for continuity editing. We recorded the electroencephalographic signal obtained from 20 viewers as they watched four different cinematographic excerpts to extract ERPs at edit points. First, we were able to reproduce the general time and scalp distribution of the typical ERPs to filmic cuts in prior studies. Second, we found significant ERP modulations triggered by scale changes (scale out, scale in, or maintaining the same scale). Edits involving an increase in scale (scale out) led to amplification of the ERP deflection, and scale reduction (scale in) led to decreases, compared to edits that kept scale across the cut. These modulations coincide with the time window of the N300 and N400 components and, according to previous findings, their amplitude has been associated with the likelihood of consciously detecting the edit. Third, we did not detect similar modulations as a function of angle variations across the cut. Based on these findings, we suggest that cuts involving reduction of scale are more likely to go unnoticed, than ones that scale out. This relationship between scale in/out and visibility is documented in film edition manuals. Specifically, in order to achieve fluidity in a scene, the edition is designed from the most opened shots to the most closed ones. [ABSTRACT FROM AUTHOR]

This paper presents a cognitive psychology experiment to explore the differences between 2D and virtual reality (VR) film editing techniques. We recruited sixteen volunteers to view a range of different display modes and edit types of experimental material. An electroencephalogram (EEG) was recorded simultaneously while the participants watched. Subjective results showed that the VR mode reflects higher load scores, particularly in the effort dimension. Different editing types have no effect on subjective immersion scores. The VR mode elicited stronger EEG energy, with differences concentrated in the occipital, parietal, and central regions. On the basis of this, visual evoked potential (VEP) analyses were conducted, and the results indicated that VR mode triggered greater spatial attention, while editing in 2D mode induced stronger semantic updating and active understanding. Furthermore, we found that while the effect of different edit types in both display modes is similar, cross-axis editing triggered greater cognitive violations than continuity editing, which could serve as scientific theoretical support for the development of future VR film editing techniques. [ABSTRACT FROM AUTHOR]

Converting polychrome illustrations in manuscripts into a woodcut format was a challenge for the pioneers of early alchemical prints, and various strategies were developed to address these issues, which encompassed both technical and content matters. An examination of the picture programs of the early sixteenth-century alchemical prints from Basel held in the Bibliotheca Philosophica Hermetica reveals various editing and printing strategies. Affected are technical representations like ovens and other devices with a long tradition, as well as series of alchemical allegories. Some of the series had a long reception including reprints in the 18th century, while others have fallen almost into oblivion – not least because woodcuts were replaced by copperplate engravings with new design possibilities. [ABSTRACT FROM AUTHOR]

A City of Sadness (1989) is a groundbreaking Taiwan film classic directed by Hou Hsiao-Hsien. This research paper aims to comment on and contribute to academic discussions of the film by investigating the performance of Chinese poetics in Liao Ching-Song's editing. Using an inverted sequence of the February 28 Incident as an example, this paper explores the film editor's cultural discourse of Du Fu's influence on his own Qi-Yun editing method that he employed to edit the sequence. Through dialogues between the ancient and the contemporary, poetics and narratives, subjectivity and objectivity, as well as the theories of Roman Jakobson, Wai-lim Yip, Pier Paolo Pasolini, and David Bordwell, this paper provides a fresh perspective for re-examining the once harshly criticised method of cinematic ellipses in the film, reaffirming the film's aesthetic function of allowing audiences to re-access a past obliterated from modern Taiwanese history. [ABSTRACT FROM AUTHOR]

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

The relationship between trade liberalisation and cultural diversity is a long-standing and controversial issue in many countries that strive to promote free flow of cultural trade as well as to sustain local cultural production. The controversy is partly attributable to multiple meanings attached to the notion of cultural diversity. In this paper we propose three operational definitions of cultural diversity relevant in the context of international cultural trade: national, inter-national and global cultural diversity. We suggest measures of these three types of cultural diversity and apply them to data for the global motion picture industry covering 37 countries/regions for years 2009–2019. We argue that the three types of cultural diversity may operate in opposite directions as a result of lower trade barriers. The paper concludes by considering the implications for cultural policy arising from our analysis. [ABSTRACT FROM AUTHOR]

The ecological fallacy is an error in the interpretation of statistical data when one ascribes to an individual the qualities of the group to which that individual belongs. In this article I show that using the average shot length (ASL) leads film researchers to commit the ecological fallacy due to the skewed nature of shot length distributions. The ecological fallacy can be avoided when analysing motion picture shot length data using methods that assess the stochastic equality of films’ shot lengths. [ABSTRACT FROM AUTHOR]

Enabling and facilitating are two significant ways in which one can become complicit in harm, and in this essay I pursue an in-depth treatment of these notions, two notions that are particularly relevant in contemporary discourse to the alleged complicity of people, especially people of privilege. It is my hope that the analysis offered here can bring a measure of clarity to discussions which embody ascriptions of complicity in public discourse. [ABSTRACT FROM AUTHOR]

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]

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

This book review discusses "Shakespeare and the Elizabethan Reformation: Literary Negotiation of Religious Difference" by Dennis Taylor. The book explores the impact of the Reformation on Shakespeare's plays and argues that the audience of the time was challenged to grapple with the religious changes through these works. However, the reviewer expresses skepticism about the author's claims and argues that the book lacks a compelling argument. The review also criticizes the editing of the book and suggests that it needed more focus and care. [Extracted from the article]