Relevant bibliographies by topics / Actors and actresses

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Actors and actresses'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Actors and actresses"

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Barba, Eugenio. "The Actor's Energy: Male/Female versus Animus/Anima." New Theatre Quarterly 3, no. 11 (August 1987): 237–40. http://dx.doi.org/10.1017/s0266464x00015220.

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INTEREST IN ACTORS who play female roles and actresses who play male roles is periodically rekindled. At such times, one might almost suspect that behind these disguises, these contrasts between reality and fiction, lie hidden one of the theatre's secret potentialities. One also often speaks of the actor's female side and the actress's male side, and attempts to develop these forthwith by means of apposite exercises.
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Granzer, Susanne Valerie. "'The Shadow of One’s Own Head' or The Spectacle of Creativity." Performance Philosophy 3, no. 3 (December 21, 2017): 685. http://dx.doi.org/10.21476/pp.2017.33151.

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When acting, the actor/actress experiences a complex regime of signs in his/her body, mind, mood and gender. These signs are both disturbing and promising. On the one hand, the act of creativity makes a wound obvious which has been incarnated within man. It tells him/her that he/she is not the sole actor of his/her actions. On the other hand, precisely this way acting on stage becomes an event. The act of this event reveals a way of be-coming in which one acts while at the same time being passive, in which the actor/actress is both agent and patient of his/her own performance. This complex artistic experience catapults actors/actresses into an open passage, into an in-between where they are liberated from the illusion of being the sole actors of their performances. One might even say that by this turn an actor/actress experiences a change, an “anthropological mutation” (Agamben). Or, to have it differently: the artist suffers a kind of “death of the subject”.It is remarkable that this loss of the predominance of subjectivity is a crucial aspect of acting which may affect the audience in a particularly intensive way. Why? Perhaps because it updates an extremely intimate connection between audience and actors/actresses which vicariously reflects the in-between of life and death. A passage by which life presents itself as itself? Life – by its plane of immanence?
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Stieger, Stefan, and Christoph Burger. "Body Height and Occupational Success for Actors and Actresses." Psychological Reports 107, no. 1 (August 2010): 25–38. http://dx.doi.org/10.2466/01.07.pr0.107.4.25-38.

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The association of body height with occupational success has been frequently studied, with previous research mainly finding a positive effect among men and positive or null effects among women. Occupational success has almost exclusively been measured so far by short-term success variables (e.g., annual income). In the present study, the relationship of success and height was examined in a group of actors and actresses using a large online database about movies (Internet Movie Database) where heights of actors and actresses are stated. The number of roles played in movies and television series during each actor's lifetime was used as a measure of long-term occupational success. No height effect was found for male actors but a significant negative effect was found for actresses, even after controlling for possible confounding influences (age and birth year). Compared to the general population, actors and actresses were significantly taller; however, actresses who were shorter than average were more likely to achieve greater occupational success, in terms of being featured in more movies.
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Marques, J. Frederico. "The Semantic Representation of Actresses and Actors." Empirical Studies of the Arts 24, no. 1 (January 2006): 81–93. http://dx.doi.org/10.2190/721b-7fak-paxy-cbuw.

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Muhammad Irkham Firdaus. "Tinjauan Hukum Islam Terhadap Jasa Endorser di Media Sosial." At-Tasyri': Jurnal Hukum dan Ekonomi Syariah 3, no. 2 (February 23, 2023): 35–46. http://dx.doi.org/10.55380/tasyri.v3i2.403.

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In the marketing strategy, Endorsement is one of the strategies of business actors to introduce goods or service products to consumers through the intermediary of actresses, youtubers, or selebrgram, especially on Instagram or youtube social media. And celebrities have accounts on social media, especially Instagram and their youtobe accounts have many followers, and make an impact on many parties seeing the uploads of these actresses, youtobers and selebgrams. In this transaction using a service rental system that is paid and has a grace period. The freedom of business actors in using endorsement services has many impacts, both positive and negative impacts. This shows that the endorsement strategy is an ijarah contract that uses a written contract in terms of freedom, the endorsement strategy has several negatve impacts. And this endorsement strategy includes 3 parties, namely business actors who use endorsement services, actresses, youtubers and celebrities who receive endorsement services, and finally consumers who buy the products after seeing products that have been introduced through endorsement services. But there are also many endorsements of goods or services that are not in accordance with the shari’a which can damage the ijarah contract, and cause the contract to be invalid or defective because it does not meet the requirements and pillars of ijarah conract. Then, discrepancies were found regarding buying and selling between business actors and consumers, resulting in fraud gue to online transaction that cannot meet face to face and it is difficult to know whether these business actors are truly trustworthy or can harm consumers. Then regarding Islamic business ethics between actresses, youtobers, and celebrities against brand account followers who become consumers for business actors on social media, several discrepancies were also found regarding the concept of Islamic business ethics and the principles of Islamic business ethics
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Davis, Tracy C. "Actresses and Prostitutes in Victorian London." Theatre Research International 13, no. 3 (1988): 221–34. http://dx.doi.org/10.1017/s0307883300005794.

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Despite the tendency for Victorian performers to be credited with increasing respectability and middle-class status and for actors to receive the highest official commendations, the popular association between actresses and prostitutes and belief in actresses' inappropriate sexual conduct endured throughout the nineteenth century. In the United States, religious fundamentalism accounts for much of the prejudice, but in Great Britain, where puritanical influences were not as influential on the theatre, other factors helped to preserve the derogatory view of actresses. In certain times and places actresses did have real links with the oldest of all ‘women's professions’, but the notion that the dual identity of Roman dancers or the exploits of some Restoration performers justify the popular association between actresses and prostitutes in the Victorian era is patently insufficient. The notion persisted throughout the nineteenth century because Victorians recognized that acting and whoring were the occupations of self-sufficient women who plied their trades in public places, and because Victorians believed that actresses' male colleagues and patrons inevitably complicated transient lifestyles, economic insecurity, and night hours with sexual activity. In the spirit of Gilbert and Gubar's axiom that experience generates metaphor and metaphor creates experience, the actress and the prostitute were both objects of desire whose company was purchased through commercial exchange. While patrons bought the right to see them, to project their fantasies on them, and to denigrate and misrepresent their sexuality, both groups of women found it necessary constantly to sue for men's attention and tolerate the false imagery. Their similarities were reinforced by coexistence in neighbourhoods and work places where they excited and placated the playgoer's lust in an eternal loop, twisted like a Mobius strip into the appearance of a single surface.
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Nguyen, Bernard. "Theatre in Québec: A Test Of Perseverance." Canadian Theatre Review 110 (March 2002): 23–25. http://dx.doi.org/10.3138/ctr.110.006.

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For the first time in Quebec, a Chinese-born actress is making her way to the major leagues. Aimee Lee played Ling, the Asian maid, in the TV series Cauchemar d’amour, which screened on TVA last fall. Appearing on the TV screen is the ultimate goal for most French Canadian actors and actresses. Lee was so impressive in her debut that a local TV critic compared her to a feminine version of Kato, the famous servant in the Pink Panther films.
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Brown, Richard, and Gretchen Davis. "Ages of Oscar-winning Best Actors and Actresses." Mathematics Teacher 83, no. 2 (February 1990): 96–102. http://dx.doi.org/10.5951/mt.83.2.0096.

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The Curriculum and Evaluation Standards for School Mathematics (National Council of Teachers of Mathematics, Commission on Standards for School Mathematics 1989) has urged a greater emphasis on statistics in the curriculum. It recommends that students generate information related to their interests and then use the information to formulate and support conjectures. This article illustrates an example of implementing these recommendations by considering the work of one student who wondered if a gender difference exists in the ages at which actors and actresses win Oscars.
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Redelmeier, Donald A., and Sheldon M. Singh. "Survival in Academy Award–Winning Actors and Actresses." Annals of Internal Medicine 134, no. 10 (May 15, 2001): 955. http://dx.doi.org/10.7326/0003-4819-134-10-200105150-00009.

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Staud, Roland. "Survival in Academy Award–Winning Actors and Actresses." Annals of Internal Medicine 138, no. 1 (January 7, 2003): 77. http://dx.doi.org/10.7326/0003-4819-138-1-200301070-00023.

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Dissertations / Theses on the topic "Actors and actresses"

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Bowman, Barbara A. "How Do Actors and Actresses Age?: Self-Monitoring and Aging." UNF Digital Commons, 1995. http://digitalcommons.unf.edu/etd/92.

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This study investigates the relationship between life events, self-monitoring, and aging. This relationship is explored in the following five areas: religious practices, social networks, intergenerational relationships, retirement, and leisure. It was hypothesized that, compared to low self-monitors, high self-monitors would (a) spend less time in private devotional activities as they age, (b) feel a heavier impact from the reduction in the quantity of social networks, (c) have more distant intergenerational ties, (d) adjust to forced retirement more quickly, and ( e) be less satisfied with leisure time as they age. The 120 volunteer participants ranged in age from 51 through 93. The Self-Monitoring Scale (Snyder, 1974) and the Impact of Events Inventory were administered in structured individual interviews. Findings support the hypothesis that high self-monitors will experience more impact from the reduction in the quantity of social networks as they age. However, the results fail to support the other four hypotheses. Possible alternative explanations for these findings are explored. An appeal is made for future research on the topic of self-monitoring and aging.
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Yuen, Nancy Wang. "Performing authenticity how Hollywood working actors negotiate identity /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1692357331&sid=13&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Shing, On-ki Angel. "The star as cultural icon : the case of Josephine Siao Fong Fong /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22199792.

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Dodd, Alan. "From stars to celebrities : Hollywood stardom in the age of celebrity culture." Thesis, University of Aberdeen, 2010. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=167617.

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This thesis examines the changing nature of Hollywood stardom and how this is informed by an emergent celebrity culture. Through several case studies this study augments older forms of analysis with Bourdieu’s concept of capital to create a new model of stardom that can accommodate recent cultural developments. In chapter one four key forms of capital are identified. After contextualising this new model within the history of classic Hollywood and older academic approaches to stardom in chapter two, the analysis of Nicole Kidman’s star text in chapter three shows how her image has evolved to combine all forms of cultural capital and as such exemplifies an entirely new formulation of the Hollywood film star. Chapter four applies this analysis to the small screen, with the case studies of Michael J. Fox and Sarah Jessica Parker showing how some performers are able to accrue cultural capital by simultaneously working in film and television, establishing television as a legitimate site for Hollywood stardom and its associated capital. In chapter five a case study of Brand Beckham shows how the capital of contemporary celebrity can be effectively deployed in order to generate a similar allure to that of the classic Hollywood star and with it a similar level of Hollywood power. The final chapter examines the simultaneous unravelling of one brand and the creation of another in light of the increasing power of the fan within celebrity culture. A detailed study of Britney Spears’s presence on perezhilton.com highlights the involvement of the audience as producers of her image and demonstrates how new technologies can be used to create an entirely new form of fame for the gossip columnist, which in turn has been appropriated by the Hollywood system as the next site for legitimate fame.
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Lau, Wai-sim, and 劉慧嬋. "Chinese martial arts stardom in participatory cyberculture." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50533824.

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The participatory cyberspace, epitomized by the concept of Web 2.0, has become a key venue of Chinese stardom in the post-cinema era.Web 2.0 invites its users to contribute to the content through an architecture of participation. Fans can search, poach, edit, and post filmic and publicity materials about stars, formulating seamless, collaborative reworkings of the star image and generating a new star-fan dynamic. At the crossroads of participatory cyberspace and cinema, transnational Chinese movie stars call our attention to the critical concern of Chineseness. In recent years, a number of Chinese movie stars have attained prominent presence in the global cinematic arena. These acting talents, who are either identified as martial arts performers or known for their performances in martial arts films, won global acclaim as a result of the worldwide reception and esteem for Hong Kong action films and Fifth Generation directors’ films from mainland China. As these stars begin to engineer personae stretching beyond their ethnic identities for the global setting, their stardom engenders discourses of ethnicity and cosmopolitanism.What does it mean to call these stars “Chinese” in the global cyber setting? How do their fans interact to reshape their star personae on the Web? How can one approach and understand “Chineseness” within cyber fan discourse? All these questions point to a central problem of how to conceptualize Chineseness in participatory cyberspace. My agenda in this study is to investigate Chinese movie stardom as a web-based phenomenon by establishing a new theoretical framework for considering Chineseness in participatory cyberspace. I have created a set of four analytical matrixes, each examining a particular Chinese star through a specific fan-based practice on a specific participatory site: vidding Donnie Yen and critiquing Zhang Ziyi on YouTube; photo-sharing about Jackie Chan on Flickr; “friending” Jet Li on Facebook; and discussing Takeshi Kaneshiro on fan forums. Through close investigation of these five Chinese stars, I demonstrate that the cyber setting enables collaborative fan reworkings of star texts and multiple directionality of approaching Chineseness. Cyber fans produce intertextual, multi-faceted star personae, different from traditional film personae whose meanings are anchored in a rigid established representational framework. Through the relentless scrutiny, quotation, manipulation self-affiliation by fans enabled by cyber technology, Chineseness becomes an utterly illusive and indefinable entity, a new form of signification whose meaning is always changing. This unstable, hybrid Chineseness challenges the notion of a star’s given ethnicity, redefining the archetypal martial arts body in unpredictable, manifold and provocative terms for the cyber era. With the aim of advancing the critical theorization of Chineseness, this study unfolds and analyzes the dynamics of the vital relationship between Chinese stardom, web technologies, and fan discourse. It also serves as a timely response to the challenges posed by cyber culture for the disciplines of cinema and cultural studies, in light of the proliferating yet inadequate current efforts in this field.
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Murray, Susan Dorrit. ""Hitch your antenna to the stars!" : early television and the renegotiation of broadcast stardom /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Choi, Wing-yee Kimburley. "Reading audiences : spectatorship and stars in Hong Kong cinema : the case of Chow Yun-fat /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19853397.

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Bode, Lisa Merle Theatre Film &amp Dance UNSW. "From shadow citizens to teflon stars : cultural responses to the digital actor." Awarded by:University of New South Wales. Theatre, Film and Dance, 2005. http://handle.unsw.edu.au/1959.4/20593.

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This thesis examines an intermittent uncanniness that emerges in cultural responses to new image technologies, most recently in some impressions of the digital actor. The history of image technologies is punctuated by moments of fleeting strangeness: from Maxim Gorky's reading of the cinematographic image in terms of 'cursed grey shadows', to recent renderings of the computer-generated cast of Final Fantasy: The Spirits Within as silicon-skinned mannequins. It is not merely the image's unfamiliar and new aesthetics that render it uncanny. Rather, the image is received within a cultural framework where its perceived strangeness speaks allegorically of what it means to be human at that historical moment. In various ways Walter Benjamin, Anson Rabinbach and N. Katherine Hayles have claimed that the notion and the experience of 'being human' is continuously transformed through processes related to different stages of modernity including rational thought, industrialisation, urbanisation, media and technology. In elaborating this argument, each of the four chapters is organized around the elucidation of a particular motif: 'dummy', 'siren', 'doppelg??nger' and 'resurrection'. These motifs circulate through discourses on different categories of digital actor, from those conceived without physical referents to those that are created as digital likenesses of living or dead celebrities. These cultural responses suggest that even while writers on the digital actor are speculating about the future, they are engaging with ideas about life, death and identity that are very old and very ambivalent.
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Shing, On-ki Angel, and 盛安琪. "The star as cultural icon: the case of Josephine Siao Fong Fong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952823.

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Drake, Philip Justin. "Stardom after the star system economies of performance in contemporary Hollywood cinema /." Connect to e-thesis, 2002. http://theses.gla.ac.uk/942/.

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Thesis (Ph.D.) -- University of Glasgow, 2002.
Ph.D. thesis submitted to the Department of Theatre, Film and Television Studies, University of Glasgow, 2002. Includes bibliographical references. Print version also available.
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Books on the topic "Actors and actresses"

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Ewing, Barbara. The actresses. London: Little, Brown, 1997.

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Ewing, Barbara. The actresses. London: Warner, 1998.

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Strick, Philip. Greatmovie actresses. New York: Beech Tree Books, 1985.

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Suganuma, Masako. Sutā 55: Actressess actors directors. Tōkyō: Tsukuba Shobō, 1996.

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Mikhlalah le-ḥinukh ʻa. sh. Daṿid Yelin. Friends, ed. Famous Jewish people in the arts, actors & actresses. New York, NY: American Friends of David Yellin Teachers College, 2000.

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Conlon, Laura. Actors. Vero Beach, FL: Rourke Press, 1994.

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A, LuKanic Steven, ed. Film actors guide. Los Angeles, Calif: Lone Eagle, 1991.

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Parry, Lloyd Albert. Star shine: Candid photos of actors, actresses, and musicians. Oakland, Or: Elderberry Press, 2004.

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Young, Jordan R. Reel characters: Great movie character actors. Beverly Hills, CA: Moonstone Press, 1986.

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Heaton, Dean. Remember me!: Burial sites of actors. Mesa, Ariz: Val Vista Books, 2004.

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Book chapters on the topic "Actors and actresses"

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Aebischer, Pascale. "Shakespeare, the Actress and the Prostitute: Professional Respectability and Private Shame in George Vandenhoff’s Leaves from an Actor’s Notebook." In Victorian Shakespeare, 190–202. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230504141_12.

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"Actors, Actresses, Stars." In Hitchcock on Hitchcock, Volume 1, 65–96. University of California Press, 2019. http://dx.doi.org/10.1525/9780520960947-004.

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Giesen, Rolf, and Anna Khan. "Animators to Become Actors and Actresses (Sort of)?" In Acting and Character Animation, 35–40. CRC Press, 2017. http://dx.doi.org/10.4324/9781315155036-10.

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"Animators to Become Actors and Actresses (Sort of)?" In Acting and Character Animation, 35–40. Taylor & Francis Group, 6000 Broken Sound Parkway NW, Suite 300 Boca Raton, FL 33487-2742: CRC Press, 2017. http://dx.doi.org/10.1201/9781315155036-11.

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Austen, Jane. "Chapter XVIII." In Mansfield Park. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199535538.003.0020.

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Every thing was now in a regular train; theatre, actors, actresses, and dresses, were all getting forward: but though no other great impediments arose, Fanny found, before many days were past, that it was not all uninterrupted enjoyment to the party themselves, and that...
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Potter, Lois. "Roles." In Shakespeare and the Actor, 72—C5.P34. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780198852612.003.0005.

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Abstract Chapter 5 discusses the roles that are the main reason actors want to play Shakespeare. The career path of a leading Shakespeare actor will include roles suitable for young, middle-aged, and older men; the situation is very different for women. For both, however, there are some roles that are ‘coveted’ and some that no one wants to play. This chapter looks at both kinds and at the special problems of those, like Falstaff and Richard III, that often require an exhausting physical transformation of the actor. It also considers why, given the high failure rate of Macbeth productions in the theatre, so many actors want to play the title character, and why actresses are not bothered by the fact that the female roles in the plays were not written for women to play.
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Sunday, Uduakobong, and Rotimi Williams Olatunji. "Dilemma of Child Actors and the Nigerian Video Film Industry." In Advances in Media, Entertainment, and the Arts, 295–315. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-0329-4.ch014.

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Demands on the actors include ability to interpret the writer's scripts, memorise the lines, and be at rehearsals anywhere, anytime, and anyhow; obvious dilemma is associated with the involvement of child actors. A child has the right to survival and development, education, leisure, amongst others, which are to be undertaken under the guidance, supervision, and care of parents. If a child actor has a dutiful parent or guardian, effectiveness may be attained in creating a balance between acting and other areas of needs; without a conscientious parent, where the child actor is overwhelmed by the acting environment, his education may suffer even as he can commit himself to the lifestyle of the make-believe world of acting. Drawing from two child actresses in Nigeria, this chapter exemplifies the dilemma of child actors and the challenge it poses to such child rights. It offers suggestions on how the effect of the dilemma could be resolved.
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Brown, Pamela Allen. "The Innamorata Ignites." In The Diva's Gift to the Shakespearean Stage, 29–63. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198867838.003.0002.

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The bold “woman in love” evolved from trends in commedia erudita and commedia grave that ignited when actresses reshaped the role to showcase their stellar skills. This amorous agent was a radical change from the passive virgo of regular comedies that followed classical precedent. The ambitious diva created her own vehicles full of pathos and variety, and played tragedy and tragicomedy as well as comedy. Elizabeth and her court heard glowing reports about Italian players in Paris, and soon brought Italian actors and actresses to England. Several Italian troupes played in London in the 1570s, as more information streamed in from travelers, touring actors, foreign newsletters, and popular pamphlets. When paying theaters opened, audiences clamored for amorous and amusing Italian plots. Playwrights began to feature the imported innamorata, expanding the size and importance of the role, stressing her southern passions, and emulating the diva’s glamour, a strategy that “Italianated” the boy player.
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Davis, Jim, and Tracy Cattell. "Robert Burns and Theatre." In Performing Robert Burns, 30–43. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474457149.003.0003.

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Robert Burns enjoyed multiple connections with the theatre during his lifetime. He visited the theatre when resident in Edinburgh and supported the building of a theatre in Dumfries, which he also attended. He wrote several prologues to be spoken by actors and actresses, most notably advocating the need for a national Scottish drama and for the rights of women. He also campaigned locally in support of actors’ benefits. Although he contemplated writing for the stage and was familiar with dramatic literature, past and present, he did not complete any dramas.
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Grimm, Joshua. "The Most Inhuman Thing of All." In Ex Machina, 11–34. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781800348301.003.0002.

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This opening chapter presents an overview of the 2014 film Ex Machina. The description of the film is intercut with details about filming, background on the director, actors, and actresses, and observations on the film’s structure, design, and script. Compiling interviews from Alex Garland, Alicia Vikander, Oscar Isaac, and Domhnall Gleeson, as well as movie reviews and critical essays about Ex Machina, this chapter intersperses analysis with a focus on key scenes that will be discussed in-depth later in the book.
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Conference papers on the topic "Actors and actresses"

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Wen, Liuchun. "A Comparative Analysis of Actors' and Actresses' Oscar Acceptance Speeches Based on Big Data Methodology." In The International Conference on New Media Development and Modernized Education. SCITEPRESS - Science and Technology Publications, 2022. http://dx.doi.org/10.5220/0011911700003613.

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Tsukiyama, Takuto, Sho Ooi, and Mutsuo Sano. "A Perceptive Mobile Program to Analyze Finger Posture on the Piano using Machine Learning and Object Detection." In 5th International Conference on Artificial Intelligence and Big Data. Academy & Industry Research Collaboration Center, 2024. http://dx.doi.org/10.5121/csit.2024.140413.

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People from various professions are involved in the production of anime, including directors, animation directors, character designers, and voice actors/actresses. Specifically, the role of an animation director is of importance in the realm of animation. The animation director serves as the unifying force in shaping the animation's style by meticulously reviewing and redrawing the key animations provided by the key animators. The aim of this study is to develop a redrawing system using GLCIC to reduce the workload on animation directors when redrawing original key animation. Specifically, this study devised a system that employs GLCIC to analyze and learn the distinctive drawing styles of individual animation directors from images of their work and subsequently apply those styles to the conversion process. In the experiment, we asked people whose hobby is drawing to experience the developed system, and conducted a qualitative evaluation using a questionnaire and a quantitative evaluation using KLM analysis. As a result, we found that there were issues with ease of modification and UI. Additionally, the KLM analysis revealed that improving the system could reduce work time by a quarter. In the future, we think to improve the system with the aim of increasing work efficiency.
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Tsukiyama, Takuto, Sho Ooi, and Mutsuo Sano. "SAMURAI：A Transformation System for Animation Characters based on GLCIC to Alleviate the Workload of Animation Directors." In 5th International Conference on Artificial Intelligence and Big Data. Academy & Industry Research Collaboration Center, 2024. http://dx.doi.org/10.5121/csit.2024.140417.

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People from various professions are involved in the production of anime, including directors, animation directors, character designers, and voice actors/actresses. Specifically, the role of an animation director is of importance in the realm of animation. The animation director serves as the unifying force in shaping the animation's style by meticulously reviewing and redrawing the key animations provided by the key animators. The aim of this study is to develop a redrawing system using GLCIC to reduce the workload on animation directors when redrawing original key animation. Specifically, this study devised a system that employs GLCIC to analyze and learn the distinctive drawing styles of individual animation directors from images of their work and subsequently apply those styles to the conversion process. In the experiment, we asked people whose hobby is drawing to experience the developed system, and conducted a qualitative evaluation using a questionnaire and a quantitative evaluation using KLM analysis. As a result, we found that there were issues with ease of modification and UI. Additionally, the KLM analysis revealed that improving the system could reduce work time by a quarter. In the future, we think to improve the system with the aim of increasing work efficiency.
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Chronopoulou, Anna. "Music in the service of the directorial vision: The case study of the theatrical performance of Acharnians in 1976 by the Greek Art Theatre (Theatro Technis)." In 8th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2022. http://dx.doi.org/10.32591/coas.e-conf.08.03033c.

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Someone could claim that a well prepared, contemporary theatrical production consists of a thorough planning, a period of rehearsals and the final presentation of the work before the audience. Whether we talk about a collective theatrical organization or a hierarchical one, we should agree upon the fact that the directorial vision could be considered as the motivating gear of a theatrical performance. It is the director’s or the team’s directorial vision – in the cases of alternative, collective theatrical productions – which guides those who participate in a theatrical performance and, therefore, it is commonly accepted by actors and actresses that one should follow instructions, find his path and “build” his role as part of a team which serves a certain objective. Because of the diversity and complexity of modern productions as well as the increasing need for high quality, original performances – in terms of mise-en-scène, acting, stage and costume design, lightning and music – certain professional collaborates are called to participate in the stage of the preparation and contribute to the final aesthetics of a production. In the case of preparing the theatrical performance of an ancient Greek Comedy, the musician plays a significant role, as the choruses of ancient comedy are an integral part of this genre. The performance of the ancient Greek Comedy Acharnes in 1976 by the theatrical group of Greek Art Theatre (Theatro Technis), under the directorial guidance of Karolos Koun and the music which Christos Leontis composed for its needs, is a case study for the current thesis, the analysis of which intends to reveal the way the composer collaborated with the director and the members of the theatre company. The play, written by Aristophanes, was first taught and presented to the ancient Athenian audience in 425 B.C. The choral parts, accompanied by music and sang by the members of the chorus, have since antiquity been considered to be of significant importance for this ancient theatrical genre. It is, therefore, quite intriguing to thoroughly and methodologically examine the way the music composed for the needs of a specific performance contributed to the overall outgrowth of a contemporary attempt to present the ideas and the beliefs of an ancient Greek poet to the modern Greek theatrical audience. Did the composer follow the instructions of the director? Did he serve the directorial vision? Did he interact with the director and the members of the Greek Art Theatre? In what ways and up to what extent was music co-responsible for the commonly accepted success of this particular performance? It will be attempted to answer the above questions with the help of the composer’s personal testimony, his kind contribution of archival material from his personal files, accompanied by the simultaneous, cross-examined analysis of the performance which was filmed in 1976.
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Satoh, Shiníchi. "Towards actor/actress identification in drama videos." In the seventh ACM international conference. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/319878.319899.

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Satoh, Shin'ichi. "an actor/actress annotation system for drama videos." In the seventh ACM international conference. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/319878.319939.

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Žofčák, Jakub. "DETERMINING FACTORS OF CZECH FILM ATTENDANCE IN THE YEARS 2003–2017." In 4th International Scientific Conference – EMAN 2020 – Economics and Management: How to Cope With Disrupted Times. Association of Economists and Managers of the Balkans, Belgrade, Serbia, 2020. http://dx.doi.org/10.31410/eman.2020.295.

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The paper analyzes the determining factors affecting Czech film attendance in the years 2003–2017 and places this topic into the context of the information asymmetry faced by film-goers. Using the regression (OLS) model and a unique population-level dataset (415 observations), the hypothesis of a positive relationship between film attendance and audience rating is confirmed. The increase in audience ratings by Czech-Slovak Film Database website’s users by one percentage point is, ceteris paribus, associated with an increase in attendance by 1.8%. Factors which have proven to determine film attendance also include: specific genres; film sequels; casting of a popular actor, actress or director; the personality of the director Zdeněk Troška; the Czech Lion Awards; and a premiere in certain years. In the decision-making process of a viewer who faces information asymmetry one can rely on these determinants as economic signals and on viewer ratings as information from an intermediary.
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Garcia, Miguel Lorenzo B. "Transgressive Mae: Transwoman Representation and Identity in 3 Will Be Free." In GLOCAL Conference on Asian Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/cala2022.5-2.

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Representation of marginalized groups in the media is significant for its understanding by and acceptance in the society. Particularly, the transgender community has long been neglected in the media, with most portrayals being problematic and negative (McInroy and Craig, 2015). The recent inclusion of these communities in the Boys Love (BL) series afforded a transwoman character actress, Jennie Panhan, a transwoman role, erasing the misconception that transgenderhood is pretention, as Mocarski, et al. (2019) contend. With scant attention paid to transgender representation in media, this study aims to investigate the identity construction of a transwoman in the BL series, 3Will Be Free, through a linguistic landscape study of language and sexuality in films (Hiramoto and Vitorio 2019). Specifically, the study employs a social semiotics approach, including one on language (Zimman 2019), to examine transgender identity. Findings reveal that the transwoman portrayal was realistic, intersectional, and nuanced. The portrayal of the genital reconstruction surgery assists transgender individuals to use her as a model (Mocarski et al. 2019). The makeup, accessories, dress, and hairstyle were emblematic of the efforts toward transnormativity. Furthermore, her actions challenge cisnormativity, gender roles and expectations, and capitalism. Moreover, her language constructed her identity, and other people’s language was also employed to affirm her transwomanness. Finally, the portrayal of her relationship with people who accept her destabilize the notion that LBTQI+ people cannot be part of their own family, as she developed a domestic and familial relationship with her boyfriend. The intersectional portrayal promotes transnormativity, strengthening transgender people’s acceptance in society. Although commercial and female-oriented, BL could be reappropriated to raise awareness on LGBT issues and further their causes.
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Fortin, Moira. "Practice as Research a collective form of activism from a South American perspective." In LINK 2023. Tuwhera Open Access, 2023. http://dx.doi.org/10.24135/link2022.v4i1.202.

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As a Chilean living in Aotearoa/ New Zealand I am constantly looking to Latin and South America. Living in the diaspora has allowed me to examine and reflect upon the different socio-political issues arising in the region from afar and with perspective. As an actress and researcher, I am on an ongoing exploration considering how to share research projects from a creative activist standpoint, moving beyond traditional academic research publications into forms that are situated and accessed in the exchanges of everyday relationships and resistance. Written academic outputs are primarily intended for reading, although some contain images or photographs that complement and / or enrich the verbal content. These outputs tend to reach a small portion of the population, the highly educated elite with economic means to access books and participate in conferences or symposiums. Practice as research emerges from a rigorous process of research, critical analysis, and embodied distillation of academic texts. Practice as research relates to my aim to share research not only with wider audiences reaching communities with different cultural and linguistic backgrounds. It also relates to my intention to create work that could resonate outwards, across borders and boundaries, transferring content from one format to another, from the academic world to a medium of expression such as theatre, illustration, dance and/or digital. The concept of transposition emphasizes the creative process that operates in the transition from one medium to another, it “designates the idea of ​​transference, but also that of transplantation, of putting something in another place, of removing certain models, but thinking of another register or system” (Wolf, 2001, p. 16). The transposition process creates a new object, precisely from other languages, cultural contexts, and disciplinary formats (Wolf, 2001). The idea of ​​transmedia transformation certainly applies to my way of finding spaces to share research. Working across languages, Spanish, English, German and French has enabled me to work collectively and in collaboration with other artists, researchers, and activists. These collective actions have been produced through different media and artistic languages where each of us bring our specific artistic experiences, aesthetic incarnations, and gender experiences to inform our research practices.
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