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Relevant bibliographies by topics / Action and adventure films

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Academic literature on the topic 'Action and adventure films'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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Journal articles on the topic "Action and adventure films"

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Azizah, Zulfa Nur, Siti Awalia Maryani, and Siti Hotimah Afriani. "ACTION OF ADVENTURE FORMULA IN MULAN 2020." Saksama 1, no. 2 (December 8, 2022): 177–85. http://dx.doi.org/10.15575/sksm.v1i2.27823.

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Films that have action and adventure genres appeal to the audience by displaying scenes that have a sense of tension due to murders, resistance, and extreme actions played by the characters. This research focuses on the narrative and analysis formula fiction. The analysis conducted on the film Mulan 2020 aims to understand the fiction of action and adventure formula, as well as what the action functions in the adventure formula. The research data is in the form of information about film units related to the formulation of the problem which includes John G. Cawelti’s four formulaic fictions, namely storylines, characters, settings, and situations contained in the animated film Mulan 2020. The data collection technique used in this study is the method of observation and literature study. The film Mulan 2020 is an adaptation of one of Disney’s animated live-action films of the same name. Overall, this film presents action and adventure that amazes and attracts the audience by displaying the martial arts skills of the main character. In each of her struggles, this film gives us a deep understanding of how the character Mulan fights for truth and freedom. And more interestingly, Mulan is a strong woman.

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Kıbrıs, Güldeniz. "Galloping Flashbacks: The Representation of National Space in Turkish Action/Adventure Films of the 1960s–1970s." DIYÂR 4, no. 2 (2023): 281–302. http://dx.doi.org/10.5771/2625-9842-2023-2-281.

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This study explores the representations of national space and its borders in twenty-four action/adventure films with historical settings. It concentrates on film series featuring comic-book heroes: Tarkan, Karaoğlan, Malkoçoğlu, Battal Gazi, and Kara Murat, all produced between 1965 and 1978. Although they have not been taken seriously as films, their prominent place in Turkish national memory, makes them effective tools for understanding varieties of Turkish nationalism in the Cold War period. This article demonstrates that political and ideological changes in the Turkey of the 1960s and 1970s were reflected, at times subtly, in the action/adventure films of the period. In particular, during the second half of the 1960s, Turkish action/adventure films transitioned to more radical and violent cinematic representations in the 1970s. Increased aggression in the depiction of Turkish action/adventure heroes was accompanied by a shrinking and more limited depiction of national space, reflecting the country’s more defensive zeitgeist.

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Sapolsky, Burry S., Fred Molitor, and Sarah Luque. "Sex and Violence in Slasher Films: Re-examining the Assumptions." Journalism & Mass Communication Quarterly 80, no. 1 (March 2003): 28–38. http://dx.doi.org/10.1177/107769900308000103.

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A content analysis of popular 1990s slasher films found more acts of violence than similar films from the 1980s. Recent slasher films rarely mix scenes of sex and violence. This finding calls into question claims that slasher films portray eroticized violence that may blunt males' emotional reactions to film violence. Slasher films feature males more often as victims of violence. However, the ratio of female victims is higher in slasher films than in commercially successful action-adventure films of the 1990s. Finally, females are shown in fear for longer periods of time.

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Krämer, Peter. "Women First: ‘Titanic’ (1997), action-adventure films and Hollywood's female audience." Historical Journal of Film, Radio and Television 18, no. 4 (October 1998): 599–618. http://dx.doi.org/10.1080/01439689800260421.

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Berry, Chris. "No Father-and-Son Reunion: Chinese Sci-Fi in The Wandering Earth and Nova." Film Quarterly 74, no. 1 (2020): 40–44. http://dx.doi.org/10.1525/fq.2020.74.1.40.

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Chinese films in “the Chinese century” are more expansively confident than ever. A new vogue for science fiction, a genre that has taken off in China alongside the country's stratospheric growth, suggests that China is ready to take up the baton of galactic discovery adventure. Chris Berry examines the father-son narratives in The Wandering Earth (Frant Gwo, 2019) and Nova (Cao Fei, 2019), two recent films that link Chinese patriarchy to the triumph and trials of modern science and progress. The Wandering Earth reaffirms those dominant models in action adventure mode, while Nova's melancholic wanderings are ambivalent and even mournful. Nova reveals a more complex and varied Chinese imagination regarding the challenges presented by the twenty-first century than a mainstream production like The Wandering Earth.

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Blumstein, Daniel T., Richard Davitian, and Peter D. Kaye. "Do film soundtracks contain nonlinear analogues to influence emotion?" Biology Letters 6, no. 6 (May 26, 2010): 751–54. http://dx.doi.org/10.1098/rsbl.2010.0333.

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A variety of vertebrates produce nonlinear vocalizations when they are under duress. By their very nature, vocalizations containing nonlinearities may sound harsh and are somewhat unpredictable; observations that are consistent with them being particularly evocative to those hearing them. We tested the hypothesis that humans capitalize on this seemingly widespread vertebrate response by creating nonlinear analogues in film soundtracks to evoke particular emotions. We used lists of highly regarded films to generate a set of highly ranked action/adventure, dramatic, horror and war films. We then scored the presence of a variety of nonlinear analogues in these film soundtracks. Dramatic films suppressed noise of all types, contained more abrupt frequency transitions and musical sidebands, and fewer noisy screams than expected. Horror films suppressed abrupt frequency transitions and musical sidebands, but had more non-musical sidebands, and noisy screams than expected. Adventure films had more male screams than expected. Together, our results suggest that film-makers manipulate sounds to create nonlinear analogues in order to manipulate our emotional responses.

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Ellermann, Marissa. "Book Review: ’80s Action Movies on the Cheap: 284 Low Budget, High Impact Pictures." Reference & User Services Quarterly 57, no. 4 (June 15, 2018): 300. http://dx.doi.org/10.5860/rusq.57.4.6711.

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’80s Action Movies on the Cheap: 284 Low Budget, High Impact Pictures is a work that sets out to examine the evolution of action movies from their cheesy low-budget origins and how they influenced the development of the action film genre. The author states that his interest in exploring the topic stems from his belief that the 1980s was the birth of the modern-day action film (1). There are 284 entries arranged chronologically that examine the films’ plots and their influencers. The entries have an informal tone, but they are well researched and use examples from other film genres to make connections. The book is intended for use by a variety of researchers, but its tone and content make it most suitable for use as an introduction to 1980s action and adventure films for action movie lovers or film students.

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Ostaszewski, Jacek. "Oddramatyzowanie akcji i antyklimaks w kinie współczesnym." Panoptikum, no. 19 (June 30, 2018): 80–94. http://dx.doi.org/10.26881/pan.2018.19.06.

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The paper discusses the influence of modernist aesthetics on the changes in the dramatic structure of film. In the films analysed by the author, the typical tricks for the classical model, such as dramatisation of action and climax as the classic denouement, are etiolated, turning into their antitheses: de-dramatising of action and anti-climax. On the examples of films such as: The Four Hundred Blows by F. Truffaut, The Adventure by M. Antonioni, Gran Torino by C. Eastwood, The Mist by F. Darabont, Smoke by W. Wang, and Three Monkeys and Once Upon a Time in Anatolia by N.B. Ceylan, the author demonstrates the functions and artistic potential of denouements which shift attention from action to characters and leave the viewer with the dilemma of an “open” ending.

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Na Nongkhai, Krittaya, and Siriporn Phakdeephasook. "Hybrid heroes: Cultural hybridization in Thai action adventure films from 1997 to 2010." Kasetsart Journal of Social Sciences 38, no. 3 (September 2017): 187–95. http://dx.doi.org/10.1016/j.kjss.2016.09.002.

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Donovan, Barna W. "Book Review: Gallagher, M. (2006). Action Figures: Men, Action Films, and Contemporary Adventure Narratives. Basingstoke, UK: Palgrave Macmillan." Men and Masculinities 10, no. 5 (April 4, 2007): 638–40. http://dx.doi.org/10.1177/1097184x06299039.

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Dissertations / Theses on the topic "Action and adventure films"

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Goulden, Jan. "The western, the buddy movie and noir : lesbian re-readings of the American action movie." n.p, 1999. http://library7.open.ac.uk/abstracts/page.php?thesisid=13.

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Wagenheim, Christopher Paul Ph D. "Male Bodies On-Screen: Spectacle, Affect, and the Most Popular Action Adventure Films in the 1980s." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1479480931551239.

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Vanhala, Helena. "Hollywood portrayal of modern international terrorism in blockbuster action-adventure films : from the Iran hostage crisis to September 11, 2001 /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3181135.

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Thesis (Ph. D.)--University of Oregon, 2005.
Typescript. Includes vita and abstract. Includes filmography (leaves 435-448) and bibliographical references (leaves 454-471). Also available for download via the World Wide Web; free to University of Oregon users.

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Collins, Ryan William. "It's All Coming Back to You: 1980s Retro Film Culture and the Masculinity of Cult." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011874/.

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The 1980s is a formative decade in American history. America sought to reestablish itself as a global power and to reassert the dominant ideology of white, patriarchal capitalism. Likewise, media producers in the 1980s sought to reassert the dominance of the white, male, muscled body in filmic representations. The identity politics of the 1980s and the depictions of the white, muscled body once prominent in the 1980s have been the site of conservative nostalgia for a young, male-dominated, cult audience that is a subset of a larger cultural trend known as retro film culture. This thesis provides historical context behind the populist 1980s B-action films from Cannon Group, Inc that celebrate violent masculinity in filmic representations with white, male action heroes. Equally important is the revival of VHS collecting and how this 1980s-inspired subculture reinforces white, patriarchal capitalism through the cult films they valorize and their capitalistic trading practices despite their claims of oppositionality against mainstream taste and Hollywood films. Lastly, this thesis reveals how a new cycle of contemporary films primarily produced outside of Hollywood reasserts and celebrates the dominance of the white, male, muscled body in filmic representations despite a postmodern and hyperconscious exterior. Overall, I argue how these areas of nostalgia are distinct, yet not unrelated, because they reassert white, patriarchal capitalism through the revival of conservative nostalgia for the 1980s.

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Kontje, Timothy. "Zero Line." Digital Commons at Loyola Marymount University and Loyola Law School, 2019. https://digitalcommons.lmu.edu/etd/797.

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An action-adventure script about a hard-driving journalist named Jen who teams up with a talented but fainthearted Iraqi archaeologist and a cynical renegade soldier turned smuggler to track down antiquities looted by ISIS after the death of her war correspondent fiancé.

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Sexton, Max. "Celluloid television culture : the specificity of film on television : the action-adventure text as an example of a production and textual strategy, 1955-1978." Thesis, Birkbeck (University of London), 2013. http://bbktheses.da.ulcc.ac.uk/25/.

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The aim of this thesis is to re-examine the use of film on British television, 1955-78, in order to demonstrate that the production of drama on British television was more complex than in the existing supposition, that television drama was either shot ‘live’ or co-existed with the recording medium of film. Instead, the types of interaction will raise questions about the process of production and how the recording of programmes on film addressed the audience watching a domestic medium. The thesis attempts to answer these questions by examining a form and mode of popular entertainment on British television that existed on film. The shot-on-film television series was a form that had been imported from the United States in the 1950s, but had been modified in Britain. The type of modification is shown to reveal how notions of value and quality were assigned to a television programme when a public service ethos determined the cultural discourse set by British television. The development of an export market and the internationalisation of British television will raise questions about the exact appeal of these programmes. At the same time, indigenous modes of film production designed for the domestic consumption of television existed side-by-side with the professional ideologies associated with commercial film-making. These professional ideologies allowed for the development of television as an international commodity. However, they created a tension between separate modes of fictional television production. The thesis concludes that the creation of separate modalities in the British adventure series at various times interacted in the 1960s and 1970s, and led to it becoming a less stable object of analysis, which requires an exploration of the often contradictory ways in which a number of key programmes functioned.

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Christie, Elizabeth, and elizabeth christie@unisa edu au. "Explosions in the Narrative: Action films with Lacan." Flinders University. Screen Studies, 2006. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20071121.092301.

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Since the late seventies, the violence, speed and spectacle associated with the genres of war films, Westerns and the spectacular melodramas of early cinema have developed into a distinct genre of its own the action film. With the development of the stylistic language at the core of this generic universe came derogatory generalisations and a tendency to categorise simplistically. To overcome these simplifications, this thesis explores the shifts in generic language to distinguish its subtleties and complexities of logic. Overwhelmingly the genre is considered masculine, but the purpose of this thesis is to explore the logic of this masculinity and analyse the effect of the feminine upon it. Beginning with overviews of the theoretical attempts to grasp the concept of genre that focus primarily on the limitations of the view of their having distinct boundaries, the theory that genre theory has failed is investigated. Leaving this view of boundaries through an exploration of symbolic universes that have translucent boundaries, the filmic movement of genre passes back and forth through the theoretical frameworks. The intention is not to analyse the overall concept of genre, but to focus on the symbolic universe and the language intrinsic to action films. The rules of action cannot be simply transposed onto other generic categories but stand-alone. Genre theory does not fail if approached from a perspective of discourse analysis focusing on the development of symbolic universes. Using Jacques Lacans theory of the four discourses, and focusing primarily on the oppositions of the Masters and the Analysts discourse, the question moves from the listing of conventions as the markers of the boundaries of genre, to exploring why the combination of certain conventions and signifiers coming together created the genre. Through Lacanian discourse analysis it becomes apparent that the generally acknowledged logic of masculine and feminine are limited. The masculine is the norm that appears to need no explanation, but the feminine has transgressed the norm and shown the construction of fantasy inherent in the genre. This has led to post-action films that are ambiguous both in their generic structure and symbolic language.

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Withey, A. "Antifoam action in thin films and bubble dispersions." Thesis, Swansea University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.636678.

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The first procedure involved bubbling air at a superficial velocity of 7mm/s through a twice filtered concentrated dispersion of silicone antifoam, both in a foam column and in an agitated tank. The rate of removal from the solution of emulsion droplets, which were deposited as an oily layer at the surface, was determined by measuring the volume concentrations and size distributions of droplets in the liquid by means of a Malvern "MasterSizer" particle size analyser. The following general trends for the rates of removal of M30 antifoam drops were found. In a 30mm diameter foam column, rates of removal were in the following order of drop diameters: 100 μm > 50 μm > 35 μm > 20 μm > 10 μm > 5 μm In a 50mm diameter foam column and the agitated tank, the order was: 10 μm > 5 μm > 20 μm > 35 μm > 50 μm > 100 μm The second procedure involved bubbling air at various superficial velocities through solutions containing different concentrations of M30 antifoam and 0.2 g/L BSA. This procedure demonstrated that foam growth was linked to the extent of droplet removal from the solution. As the effectiveness of the antifoam decreased with time, foam height increased rapidly due to accumulation of bubbles at the base of the foam layer. The third procedure involved forming two captive hemispherical bubbles of 0.8 mm diameter which were almost touching. One bubble was very rapidly expanded by the injection of a further quantity of air, producing a thin film. Laser interference patterns formed by the film draining were studied by video image analysis techniques. Whenever, an antifoam droplet appeared to be present in or near the film rapid thinning and collapse of the film occurred.

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Esmail, Ayad M. S. "Surface organisation and transistor action in naphthalocyanine and porphyrin nanoring thin films." Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/40406/.

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In this thesis, the growth of metal-free naphthalocyanine (Nc) and copper naphthalocyanine (CuNc) on both bare Si/SiO2 and octadecyltrichlorosilane (OTS) modified Si/SiO2 surface were studied. The effects of the substrate temperature on morphology and structure of Nc and CuNc thin film growth were presented. For these purposes thin films of Nc and CuNc prepared by thermal vacuum evaporation were studied using atomic force microscopy (AFM) and X-ray diffraction (XRD). We observed that the increase of substrate temperature during growth affects the morphology, preferential molecular orientation and degree of crystallinity of both Nc and CuNc thin film, which were used as active layers in organic field effect transistor (OFET) devices. Organic thin film transistors (OFETs) were fabricated using these molecules as the active layers and their electrical characteristics were measured under both vacuum and atmospheric conditions and they were found to exhibit p-type transistor action. A series of samples of the Nc and CuNc thin films were grown on Si/SiO2 and OTS-modified oxide surface at different substrate temperature but fixed equivalent deposited thickness. The growth conditions, particularly the substrate temperature strongly affect nucleation size and shape of the organic thin film. In general, the thin film morphology shows a near circular grain and elongated grain shape at low substrate temperature, while the thin Nc film shows small needle-like structure and extended needle-like crystalline structures with large gaps at high substrate temperature. The optimum substrate temperature during the growth of Nc on both surfaces is achieved at 200 °C, and this occurs for growth of CuNc at 180 °C and 160 °C on Si/SiO2 and OTS surfaces, respectively, for which the naphthalocyanine thin film shows the best morphological and electrical properties. We used Nc and CuNc thin films prepared at different substrate temperatures as active layers to fabricate bottom and top-contact organic field effect transistors. Their electrical characteristics were measured at room temperature in vacuum and air in the dark. We plotted the output characteristic and transfer characteristic of all OFET devices so that the effects of grain size and crystal structure on the performance characteristic of Nc OFET device could be investigated. Then we studied the effects of hysteresis and charge traps on device performance when exposed to air. We found that the changes generated by exposure of the device to atmosphere may be reversed by annealing the thin film to ∼100 °C in vacuum. We reported the highest mobility of (5.16 ± 0.23) × 10-2 cm2 /Vs for top-contact Nc device prepared at 200ºC on SiO2 after annealing in vacuum, and also we reported the highest mobility of (3.56 ± 0.14) × 10-2 cm2 /Vs for top-contact CuNc device prepared at 180ºC on SiO2 after annealing in vacuum. We found that the top-contact device always performs better than the bottom-contact device. We attributed this to the change of morphology of active layer in the interface between contact metal and SiO2. Solvent induced self-assembly, self-trapping, and self-organizing of c-P30 cyclic porphyrin polymers on the Au surface that are deposited from two solutions and various concentrations in ambient condition was also studied. This results in the arrangement of cyclic polymers in different configurations such as stacking columnar, supramolecular nesting and uniform height hexagonal close packed structure. These conformations are observed using scanning tunnelling microscopy. Highly covered surface stacking columnar like porous array is also observed. We show that toluene:methanol mixture can play a crucial role in self-assembly of supramolecular structure in two dimensions, π-π stacking conformation perpendicular over surface in three dimensions and single in double nested nanoring conformation. Cyclic porphyrin polymers deposited from toluene shows nested nanorings structure, such as single nanoring self-trapped inside a near-circular shape single ring on surface. Diluted solutions using a large volume of methanol relative to the toluene can suppress the adsorption of nanorings to the surface. Interestingly, adsorption of the cyclic polymer from toluene:methanol 3:5 can result in the formation of uniformly height hexagonal close packing on surface, where nanorings aggregate as columnar stacks in two layers, dependent on concentration. Our results show that the self-assembly of artificial cyclic polymers is dependent on solvent and concentration provides a significant step towards control of the three-dimensional arrangement of supramolecular conformation on surfaces using non-covalent interactions.

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Carter, Joseph. "Extreme sports as filmed entertainment: Understanding aesthetic form, style and characteristics of extreme sports films." Thesis, Queensland University of Technology, 2022. https://eprints.qut.edu.au/235392/1/Joe%2BCarter%2BThesis%281%29.pdf.

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This study examines the evolution of the production characteristics and textual elements of successful contemporary extreme sports films in the last 15 years. This knowledge is applied to the study’s creative practice component, a 57-minute documentary film (The Strez, 2021). Based on the practice led research, and the insights gained, a set of creative principles are developed to assist other filmmakers in the extreme sports film genre.

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Books on the topic "Action and adventure films"

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1964-, Tasker Yvonne, ed. Action and adventure cinema. London: Routledge, 2004.

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Nottridge, Rhoda. Adventure films. New York: Crestwood House, 1992.

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Wilshin, Mark. A cinematic history of action & adventure. Oxford: Raintree, 2006.

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Wilshin, Mark. A cinematic history of action & adventure. Chicago, Ill: Raintree, 2005.

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Lichtenfeld, Eric. Action speaks louder: Violence, spectacle, and the American action movie. Middletown, Conn: Wesleyan University Press, 2007.

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Nazzaro, Giona A. Action!: Forme di un transgenere cinematografico. Recco (Genova): Le Mani, 2000.

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Meaghan, Morris, Li Siu Leung 1958-, and Chan Stephen Ching-kiu, eds. Hong Kong connections: Transnational imagination in action cinema. Durham: Duke University Press, 2005.

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Brode, Douglas. Boys and Toys: Ulitmate Action-Adventure Movies. New York, usa: Citadel, 2003.

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Julius, Marshall. Action!: The action movie A-Z. Bloomington Ind: Indiana University Press, 1997.

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Jose, Arroyo, ed. Action/spectacle cinema. London: British Film Institute, 2000.

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Book chapters on the topic "Action and adventure films"

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Pias, Claus. "Action, Adventure, Desire." In X.media.publishing, 133–47. Berlin, Heidelberg: Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-642-18663-9_12.

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Moody, Paul. "American Adventure." In EMI Films and the Limits of British Cinema, 143–60. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-94803-4_8.

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Marchetti, Gina. "Action-Adventure as Ideology." In Cultural Politics in Contemporary America, 182–97. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003326427-17.

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Jung, Berenike. "The Films." In Narrating Violence in Post-9/11 Action Cinema, 25–111. Wiesbaden: VS Verlag für Sozialwissenschaften, 2010. http://dx.doi.org/10.1007/978-3-531-92602-5_2.

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Scanlon, Lesley. "Answering the action research ‘call to adventure’." In The Role of Research in Teachers’ Work, 42–53. Abingdon, Oxon ; New York, NY : Routledge, 2018. | Series: Routledge research in education: Routledge, 2018. http://dx.doi.org/10.4324/9781315204154-4.

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Hopkins, Dean. "Learning as an Adventure in a High-Growth Environment: The Cyberplex Story." In Action Learning Worldwide, 123–32. London: Palgrave Macmillan UK, 2002. http://dx.doi.org/10.1057/9781403920249_8.

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Schlarb, Damien B. "Narrative Glitches: Action Adventure Games and Metaleptic Convergence." In Playing the Field, edited by Sascha Pöhlmann, 195–210. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110659405-013.

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Rexing, Brayden, and Newton Lee. "God of War (2018), an Action-Adventure Game." In Encyclopedia of Computer Graphics and Games, 847–49. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-23161-2_526.

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Rexing, Brayden, and Newton Lee. "God of War (2018), An Action-Adventure Game." In Encyclopedia of Computer Graphics and Games, 1–3. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-319-08234-9_526-1.

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Wied, M., E. S. H. Tan, and N. H. Frijda. "Duration Experience under Conditions of Suspense in Films." In Time, Action and Cognition, 325–36. Dordrecht: Springer Netherlands, 1992. http://dx.doi.org/10.1007/978-94-017-3536-0_33.

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Conference papers on the topic "Action and adventure films"

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Yip, David. "Between passive viewing and active choosing in storytelling." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002037.

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Since the dawn of the Internet, abundance of content and information is constantly being created and shared at the speed of light across different media. Media technologies have given us almost unlimited access to choose and interact with vast amount of content and information. We seem to be in active control in choosing what information we want to see and interact with on the internet. Ironically, with all this interactive freedom, most of us still prefer to watch their favorite TV programs or films passively on interactive media platforms. New technologies such as streaming TV have provided many new platforms to present passive content but to what extent how these new technologies have affected the form and shape of content remains a question. Simply by looking at the ratio of programs for traditional passive viewing vs. programs with interactive content, the audience has spoken by choosing to watch conventional content passively. Interacting with content is more than just choosing what pre-made content to watch, for that we always have our remote control. Interacting with content is about having our own say or control about the outcome or direction of a story [1, 2]. Unlike what many media theories have predicted many years ago, interactive narrative has not become mainstream and would never replace conventional form of storytelling. Nevertheless, as more content is being delivered on mobile or personal computer in addition to the big screen, more interactive content will be made available in the foreseeable future. Many popular 4As video games have already mixed conventional storytelling elements with some interactive gaming functions in recent years [3]. This paper focuses on the concepts of choice and decision-making in storytelling and how interactive functions could be blended in with the narrative. Decision-making has always been an important part of storytelling, in which it’s the storyteller who make decisions for the characters and for the audience. A good story may still be best uninterrupted and told by the storytellers who know about the crafts of storytelling [4, 5]. Typical audience still enjoy watching adventure chosen for them rather than to choose their own adventure. This paper discusses the role of interactivity and the concept of choice-making in interactive storytelling.

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Dormans, Joris. "Generating Emergent Physics for Action-Adventure Games." In the The third workshop. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2538528.2538535.

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Gasselseder, Hans-Peter. "Dynamic music and immersion in the action-adventure an empirical investigation." In the 9th Audio Mostly. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2636879.2636908.

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McIntosh, Tyler Howard, Jonathan Weinel, and Stuart Cunningham. "Lundheim: Exploring Affective Audio Techniques in an Action-Adventure Video Game." In AM '22: AudioMostly 2022. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3561212.3561234.

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Smith, Thomas, Julian Padget, and Andrew Vidler. "Graph-based generation of action-adventure dungeon levels using answer set programming." In FDG '18: Foundations of Digital Games 2018. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3235765.3235817.

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Togneri, Roberto, and Sally Male. "Signals and Systems: Casting It as an Action-adventure Rather than a Horror Genre." In ICASSP 2019 - 2019 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2019. http://dx.doi.org/10.1109/icassp.2019.8682794.

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Coelho, Antonio, Leonel Dias, Rui Almeida, Nuno Castro, and Pedro Goncalves. "The Fifth Empire: The reinterpretation of Portuguese and European history in an action adventure game." In 2014 9th Iberian Conference on Information Systems and Technologies (CISTI). IEEE, 2014. http://dx.doi.org/10.1109/cisti.2014.6877077.

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Nunzi, Jean-Michel, Frank Sobel, Denis Gindre, Bouchta Sahraoui, Christine Denis, Vincent Dumarcher, Celine Fiorini-Debuisschert, Barbara Paci, and Licinio Rocha. "Laser action in periodically structured polymer films." In SPIE's International Symposium on Optical Science, Engineering, and Instrumentation, edited by Manfred Eich and Mark G. Kuzyk. SPIE, 1999. http://dx.doi.org/10.1117/12.368272.

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Chen, Antong. "Hong Kong Action Films’ Aesthetics of Violence." In 2021 International Conference on Public Art and Human Development ( ICPAHD 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220110.023.

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Isles, Isaac D., Armand Gabrielle T. Castro, Justine Richard G. Cosme, Rangie Faye N. Pagsolingan, Jullia Ramielle U. Ulanday, Ronel F. Ramos, and Manuel B. Garcia. "Stella Vee: An Isometric Action-Adventure Video Game Raising Awareness of Issues Surrounding Intellectual Property and Copyright." In 2023 IEEE 15th International Conference on Humanoid, Nanotechnology, Information Technology, Communication and Control, Environment, and Management (HNICEM). IEEE, 2023. http://dx.doi.org/10.1109/hnicem60674.2023.10589176.

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Reports on the topic "Action and adventure films"

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Lichter, Amnon, Joseph L. Smilanick, Dennis A. Margosan, and Susan Lurie. Ethanol for postharvest decay control of table grapes: application and mode of action. United States Department of Agriculture, July 2005. http://dx.doi.org/10.32747/2005.7587217.bard.

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Abstract:

Original objectives: Dipping of table grapes in ethanol was determined to be an effective measure to control postharvest gray mold infection caused by Botrytis cinerea. Our objectives were to study the effects of ethanol on B.cinerea and table grapes and to conduct research that will facilitate the implementation of this treatment. Background: Botrytis cinerea is known as the major pathogen of table grapes in cold storage. To date, the only commercial technology to control it relied on sulfur dioxide (SO₂) implemented by either fumigation of storage facilities or from slow release generator pads which are positioned directly over the fruits. This treatment is very effective but it has several drawbacks such as aftertaste, bleaching and hypersensitivity to humans which took it out of the GRAS list of compounds and warranted further seek for alternatives. Prior to this research ethanol was shown to control several pathogens in different commodities including table grapes and B. cinerea. Hence it seemed to be a simple and promising technology which could offer a true alternative for storage of table grapes. Further research was however required to answer some practical and theoretical questions which remained unanswered. Major conclusions, solutions, achievements: In this research project we have shown convincingly that 30% ethanol is sufficient to prevent germination of B. cinerea and kill the spores. In a comparative study it was shown that Alternaria alternata is also rather sensitive but Rhizopus stolonifer and Aspergillus niger are less sensitive to ethanol. Consequently, ethanol protected the grapes from decay but did not have a significant effect on occurrence of mycotoxigenic Aspergillus species which are present on the surface of the berry. B. cinerea responded to ethanol or heat treatments by inducing sporulation and transient expression of the heat shock protein HSP104. Similar responses were not detected in grape berries. It was also shown that application of ethanol to berries did not induce subsequent resistance and actually the berries were slightly more susceptible to infection. The heat dose required to kill the spores was determined and it was proven that a combination of heat and ethanol allowed reduction of both the ethanol and heat dose. Ethanol and heat did not reduce the amount or appearance of the wax layers which are an essential component of the external protection of the berry. The ethanol and acetaldehyde content increased after treatment and during storage but the content was much lower than the natural ethanol content in other fruits. The efficacy of ethanol applied before harvest was similar to that of the biological control agent, Metschnikowia fructicola, Finally, the performance of ethanol could be improved synergistically by packaging the bunches in modified atmosphere films which prevent the accumulation of free water. Implications, both scientific and agricultural: It was shown that the major mode of action of ethanol is mediated by its lethal effect on fungal inoculum. Because ethanol acts mainly on the cell membranes, it was possible to enhance its effect by lowering the concentration and elevating the temperature of the treatment. Another important development was the continuous protection of the treated bunches by modified atmosphere that can solve the problem of secondary or internal infection. From the practical standpoint, a variety of means were offered to enhance the effect of the treatment and to offer a viable alternative to SO2 which could be instantly adopted by the industry with a special benefit to growers of organic grapes.

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