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Journal articles on the topic 'Experience of film'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 January 2023

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1

de Roo, Ludo. "Elemental Imagination and Film Experience." Projections 13, no. 2 (June 1, 2019): 58–79. http://dx.doi.org/10.3167/proj.2019.130204.

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In an age of ecological disasters and increasing environmental crisis, the experience of any cinematic fiction has an intrinsic ethical potential to reorient the spectator’s awareness of the ecological environment. The main argument is that the spectator’s sensory-affective and emphatically involving experience of cinema is essentially rooted in what I call “elemental imagination.” This is to say, first, that the spectator becomes phenomenologically immersed with the projected filmworld by a cinematic expression of the elemental world, and second, much like there is no filmworld without landsc

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Aubert, Michelle. "Materials Issues in Film Archiving: A French Experience." MRS Bulletin 28, no. 7 (July 2003): 506–10. http://dx.doi.org/10.1557/mrs2003.147.

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AbstractThe following article is based on a presentation given as part of Symposium X—Frontiers of Materials Research on December 4, 2002, at the 2002 Materials Research Society Fall Meeting. The cinema is just over 100 years old. From the beginning of motion pictures in the mid-1890s, the materials used for films have been at the heart of cinema technology. The material first used was cellulose nitrate film—unrivaled in its mechanical, physical, and aesthetic qualities, and also dangerously flammable. In the 1950s, cellulose nitrate was replaced, for safety reasons, by cellulose triacetate. T

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Guynn, William. "LUMINOUS AMBUSH: SEIZING THE HISTORICAL EXPERIENCE OF CATASTROPHE THROUGH FILM." Culture Crossroads 14 (November 9, 2022): 37–53. http://dx.doi.org/10.55877/cc.vol14.89.

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“There are wounds with which we should never cease to suffer, and, sometimes, in the life of a civilization, illness is better than health” [Ankersmit, “Remembering the Holocaust”]. My book, “Unspeakable Histories: Film and the Experience of Catastrophe” (2016), addresses films that depict 20th century atrocities and focuses on historical experience, not historical truth, and the emotions that still adhere to unresolved traumatic events. Using key concepts and analysis from this book, my goal here is to dem onstrate, through the interpretation of three films, how such historical experiences ca

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Wohlfeil, Markus. "Learning from the professionals: film tourists’ “authentic” experiences on a film studio tour." Arts and the Market 8, no. 1 (May 8, 2018): 47–63. http://dx.doi.org/10.1108/aam-08-2017-0020.

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Purpose The purpose of this paper is to explore how consumers perceive, experience and engage with the art of filmmaking and the industrial film production process that the film studios present to them during their guided film studio tours. Design/methodology/approach Drawing on the author’s own film tourist experiences, observations and participatory interactions with fellow visitors at a major Hollywood film studio, this paper takes an autoethnographic “I’m-the-camera”-perspective and a hermeneutic data analysis approach. Findings The findings reveal that visitors experience the “authentic”

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Hesselberth, Pepita, and Carlos M. Roos. "Short Film Experience: Introduction." Empedocles: European Journal for the Philosophy of Communication 5, no. 1 (January 1, 2015): 3–12. http://dx.doi.org/10.1386/ejpc.5.1-2.3_2.

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Huang, Tseng-Lung, and Yi-Mu Chen. "Young audiences’ emotional experience on smartphone film: an application of dual-coding theory." Young Consumers 15, no. 2 (June 10, 2014): 193–208. http://dx.doi.org/10.1108/yc-07-2013-00384.

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Purpose – This study aims to determine whether smartphones create the best communication fit with a young audience. Design/methodology/approach – To validate the hypotheses, a task-based laboratory study was conducted. And smartphone film and television (TV) film were provided in the laboratory. Young respondents were recruited in the classroom and brief introduction and film were broadcasted. After watching the film, levels of respondent’s emotional experience was measured via questionnaire. Findings – The results indicate that when the text of the film matches the young audience’s schema, th

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Schwan, Stephan, and Sermin Ildirar. "Watching Film for the First Time." Psychological Science 21, no. 7 (June 7, 2010): 970–76. http://dx.doi.org/10.1177/0956797610372632.

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Although film, television, and video play an important role in modern societies, the extent to which the similarities of cinematographic images to natural, unmediated conditions of visual experience contribute to viewers’ comprehension is largely an open question. To address this question, we compared 20 inexperienced adult viewers from southern Turkey with groups of medium- and high-experienced adult viewers from the same region. In individual sessions, each participant was shown a set of 14 film clips that included a number of perceptual discontinuities typical for film. The viewers’ interpr

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Kuhn, Annette, Daniel Biltereyst, and Philippe Meers. "Memories of cinemagoing and film experience: An introduction." Memory Studies 10, no. 1 (January 2017): 3–16. http://dx.doi.org/10.1177/1750698016670783.

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Over the past two decades, the relationship between cinema and memory has been the object of increasing academic attention, with growing interest in film and cinema as repositories for representing, shaping, (re)creating or indexing forms of individual and collective memory. This Special Issue on memory and the experience of cinemagoing centres on the perspective of cinema users and audiences, focusing on memories of films, cinema and cinemagoing from three continents and over five decades of the twentieth century. This introduction considers the relationship between memory studies and film st

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D'Aloia, Adriano. "Francesco Casetti (2008) Eye of the Century: Film, Experience, Modernity." Film-Philosophy 14, no. 2 (October 2010): 181–90. http://dx.doi.org/10.3366/film.2010.0057.

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Shaw, Dan. "Robert Sinnerbrink (2016) Cinematic Ethics: Exploring Ethical Experience Through Film." Film-Philosophy 21, no. 2 (June 2017): 245–48. http://dx.doi.org/10.3366/film.2017.0046.

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Barrington, Matthew. "Luis Rocha Antunes (2016) Multisensory Film Experience: A Cognitive Model of Experiental Film Aesthetics." Film-Philosophy 23, no. 1 (February 2019): 102–4. http://dx.doi.org/10.3366/film.2019.0102.

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Kuhn, A. "Thresholds: film as film and the aesthetic experience." Screen 46, no. 4 (November 30, 2005): 401–14. http://dx.doi.org/10.1093/screen/46.4.401.

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Livingston, Paisley. "Questions about Aesthetic Experience." Projections 12, no. 2 (December 1, 2018): 71–75. http://dx.doi.org/10.3167/proj.2018.120209.

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These brief comments raise some questions about Murray Smith’s remarks, in his new volume Film, Art, and the Third Culture: A Naturalized Aesthetics of Film, on the nature of aesthetic experience. My questions concern how we might best draw a viable distinction between aesthetic and non-aesthetic experiences and focus in particular on possible links between self-awareness and aesthetic experiences. In sum, I agree with Smith in holding that we should not give up on the notion of aesthetic experience, even though aestheticians continue to disagree regarding even the most basic questions pertain

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Tei, Dugba Ransford, and Lawrence Baffoe-Arthur. "Teaching History using Feature Films: The Ghanaian Experience." Journal of Education, Management and Development Studies 2, no. 2 (July 4, 2022): 40–48. http://dx.doi.org/10.52631/jemds.v2i2.94.

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This study examines the experiences of lecturers in using feature films to teach history in the University of Cape Coast. The study specifically sought to find out the availability of historical feature films for teaching history, the criteria regarding how historical feature films are used by lecturers in teaching history and the effects of historical feature films on teaching history. The study employed descriptive research design. In all, four (4) lecturers formed the sample size for the study. The instrument used to collect data was semi-structured interview guide. The study found out that

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Philip, VG Bijoy. "Left Bank Cinema: Memories of History and the Experience of Time." Tattva - Journal of Philosophy 11, no. 1 (January 1, 2019): 1–18. http://dx.doi.org/10.12726/tjp.21.1.

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In this paper, I use two films—Les Statues MeurrentAussi (Statues also Die, 1953) directed by Resnais and Marker and Sans Soleil (Sunless, 1983) as representatives of Left Bank cinema to show how they construct experiences of time and memory using various modernist strategies. Key to this is the use of a mental journey genre in modernist cinema and the construction of a facial dispositif which leads to a perceptual experiencing of inner states. Les Statues MeurrentAussi is a key film in the history of French cinema as it highlights Alain Resnais’ and Chris Marker’s early commitment towards a p

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Treveri Gennari, Daniela. "Understanding the Cinemagoing Experience in Cultural Life." TMG Journal for Media History 21, no. 1 (June 28, 2018): 39. http://dx.doi.org/10.18146/2213-7653.2018.337.

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The new cinema history approach asserts the importance of investigating the historical reception of films. In the past two decades, empirical research on film audiences has significantly developed methodologies and questions related to film and memory. Some of these studies concentrate on a period of time in which cinema was an essential leisure activity for millions, before the arrival of television, multiplexes, videos and home cinema. Combining ethnographic audience study with cultural and cinema history has allowed new insights into the historical reception of films and confirmed the vital

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Puckett, Thomas F. N. "A Phenomenology of Film Experience." American Journal of Semiotics 15, no. 1 (2000): 311–18. http://dx.doi.org/10.5840/ajs200015/161/414.

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Gallese, Vittorio. "Naturalizing Aesthetic Experience." Projections 12, no. 2 (December 1, 2018): 50–59. http://dx.doi.org/10.3167/proj.2018.120207.

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The naturalization of the aesthetic experience of film and art can benefit from the contribution of neuroscience because we can investigate empirically the concepts we use when referring to it and what they are made of at the level of description of the brain-body. The neuroscientific subpersonal level of description is necessary but not sufficient, unless it is coupled with a full appreciation of the tight relationship that the brain entertains with the body and the world. In this article, I will discuss aspects of Murray Smith’s proposal on the aesthetic experience of art and film as present

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Acham, Christine. "trinidad+tobago film festival: Nurturing a Developing Film Industry." Film Quarterly 69, no. 3 (2016): 79–83. http://dx.doi.org/10.1525/fq.2016.69.3.79.

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Festival Report: The trinidad+tobago film festival (ttff) was a whirlwind experience: fourteen days of intense programming that left Christine Acham both exhausted and exhilarated by the too-often-unacknowledged work happening in the Caribbean today. The largest film festival in the English-speaking Caribbean celebrated its tenth anniversary from September 15–29, screening some 150 films, facilitating a film mart, curating a New Media collection, and staging both a filmmaker immersion program and a three-day academic film symposium. A cursory look at the festival's program speaks to its role a

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Schultz, Corey Kai Nelson. "Memories in Performance: Commemoration and the Commemorative Experience in Jia Zhangke's24 City." Film-Philosophy 20, no. 2-3 (October 2016): 265–82. http://dx.doi.org/10.3366/film.2016.0015.

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In this article, I examine how 24 City (2008) commemorates the factory and its workers through combining memory, the act of remembering, and its recitation, thus creating ‘memories in performance’ that construct an emotional history of this group. I use a Chinese word for commemoration, jinian ([Formula: see text]) to structure this paper into the three components of memory ([Formula: see text]), the act of remembering ([Formula: see text]), and mindful thought and recitation ([Formula: see text]), all of which combine to commemorate the factory and the sacrifice of the worker class. I examine

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Creţu, Daniela-Maria. "Gaining insight into teaching profession by using film: a preservice teachers’ experience." MATEC Web of Conferences 290 (2019): 13003. http://dx.doi.org/10.1051/matecconf/201929013003.

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Films can be used as instructional tools in higher education in different disciplines. In the context of teacher education, films with and about teachers and pupils are valuable resources for learning about the teaching profession. The purpose of this study is to examine the pre-service teachers’ reflections on a film with an educational content and message - The Triumph (The Ron Clark Story, 2006). One research question guided the investigation: What are the students’ cognitive and emotional gains for the teaching profession as a result of watching this film? The participants consisted of eig

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Fuery, Kelli. "Empty Time as Traumatic Duration: Towards a Cinematic Aevum." Film-Philosophy 24, no. 2 (June 2020): 204–21. http://dx.doi.org/10.3366/film.2020.0139.

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Frank Kermode uses the term aevum to question the links between origin, order, and time, associating experience with spatial form. Without end or beginning, aevum identifies an intersubjective order of time where we participate in the “relation between the fictions by which we order our world and the increasing complexity of what we take to be the ‘real’ history of that world”; being “in-between” time is a primary quality of the aevum. Regarding cinema, aevum identifies this third duration as emotional experience, occuring as traumatic time. It facilitates thinking beyond lived temporal experi

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Gow, Peter. "Cinema da floresta." Revista de Antropologia 38, no. 2 (December 30, 1995): 37–54. http://dx.doi.org/10.11606/2179-0892.ra.1995.111558.

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This essay is a phenomenological ethnography or cinema as meaningful lived experience in the Alto Ucayali. It also explores the analogy between films and hallucinogen ayahuasca called "cinema of the forest" that renders the normally-invisihle powerful beings in visible form . If film and ayahuasca are similar, both experiences differ from dreaming.

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Gow, Peter. "Cinema da floresta." Revista de Antropologia 38, no. 2 (December 30, 1995): 37–54. http://dx.doi.org/10.11606/2179-0892.ra.1995.111558.

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This essay is a phenomenological ethnography or cinema as meaningful lived experience in the Alto Ucayali. It also explores the analogy between films and hallucinogen ayahuasca called "cinema of the forest" that renders the normally-invisihle powerful beings in visible form . If film and ayahuasca are similar, both experiences differ from dreaming.

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Martin, Philip. "Cinema's Vital Histories: Wabi-Cinema, Forces and the Aesthetics of Resistance." Film-Philosophy 21, no. 3 (October 2017): 349–70. http://dx.doi.org/10.3366/film.2017.0055.

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Many films, both narrative and documentary, explore the relationship between history and politics or ethics. This may be accomplished when fictional narrative films enact ethical arguments regarding history in cinematic form, when documentary films explicitly seek to uncover lost histories of political oppression, or films may experientially and aesthetically stage ethical experience with respect to historical meanings and contexts. There are some cases where such ethical-historical experience is explored through the specific aesthetic form of the film in relation to its narrative. Ask This of

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Marsh, Tim. "Presence as Experience: Film Informing Ways of Staying There." Presence: Teleoperators and Virtual Environments 12, no. 5 (October 2003): 538–49. http://dx.doi.org/10.1162/105474603322761324.

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Experience and the activities that provide it are associated with the virtual places where they were encountered, and this may instill in our imagination an illusion of an environment other than where an interactive mediated environment 1 (a virtual environment, virtual reality, or computer game) resides (home, work, or on the move). Appropriate and/or stimulating experience may encourage users to continue, or become engaged in, pursing activities in a mediated environment. The termstaying there is used to describe this situation of engagement. Conversely, if experience from use does not match

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Iktia, Garcia. "KAJIAN KOMPARATIF HISTORIS FILM 'PENGABDI SETAN'." Jurnal Budaya Nusantara 2, no. 1 (September 1, 2018): 196–202. http://dx.doi.org/10.36456/b.nusantara.vol2.no1.a1712.

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Indonesian films experience development over time. In the beginning film in Indonesia served as a massmobilizer and propaganda, then suspended animation. Now Indonesian films are taken into account to internationalfestivals, especially the horror film genre. The object to be analyzed in this study is a horror film, entitled 'PengabdiSetan' by director Rudi Sudjarwo produced in 2017 which is also nominated for the Indonesian Film Festival. Researchthrough the analysis of historical studies with comparative research methods, literature study of two films that have beenadapted to the same genre,

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Miner, Kyle. "Toward a Continuous Field: Folded Subjectivities and Control in the Affective Networks of Upstream Colour." Film-Philosophy 23, no. 1 (February 2019): 35–54. http://dx.doi.org/10.3366/film.2019.0097.

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Shane Carruth's 2013 film Upstream Colour provides a model for considering identity and subject formation in what Steven Shaviro calls the “network society.” Shaviro argues that our contemporary mode of experience, at least as rendered through popular media, is characterized by “flows of affect” produced to hail us at every turn. Carruth's film offers the possibility that living in the network society means not only that we are subject to such flows, but that individuals are subject to invasive modes of fragmentation and commodification as producers of their own affect (in this case, memory an

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Tikka, Pia. "Screendance as enactment in Maya Deren’s At Land." DAT Journal 3, no. 1 (June 12, 2018): 9–28. http://dx.doi.org/10.29147/dat.v3i1.66.

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The dancer, choreographer, and filmmaker Maya Deren can be seen as one of the pioneers of screendance. Her experimental films have challenged conventional plot- driven mainstream cinema by emphasizing an ambiguous experience, open for multiple interpretations. For Deren film viewing is a socially determined ritual embodying intersubjectively shared experiences of participants. This makes her films particularly interesting for today’s neurocinematic studies. Deren’s ideas also anticipate the recent enactive mind approach, according to which the body-brain system is in an inseparable manner situ

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Hanich, Julian. "How Many Emotions Does Film Studies Need?" Projections 15, no. 2 (June 1, 2021): 91–115. http://dx.doi.org/10.3167/proj.2021.150204.

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A look at current emotion research in film studies, a field that has been thriving for over three decades, reveals three limitations: (1) Film scholars concentrate strongly on a restricted set of garden-variety emotions—some emotions are therefore neglected. (2) Their understanding of standard emotions is often too monolithic—some subtypes of these emotions are consequently overlooked. (3) The range of existing emotion terms does not seem fine-grained enough to cover the wide range of affective experiences viewers undergo when watching films—a number of emotions might thus be missed. Against t

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Bueno, Claudio Celis. "Francesco Sticchi (2019) Melancholy Emotion in Contemporary Cinema: A Spinozian Analysis of Film Experience." Film-Philosophy 25, no. 1 (February 2021): 70–73. http://dx.doi.org/10.3366/film.2021.0159.

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Tan, Eduard Sioe-Hao, and Valentijn Visch. "Co-Imagination of Fictional Worlds in Film Viewing." Review of General Psychology 22, no. 2 (June 2018): 230–44. http://dx.doi.org/10.1037/gpr0000153.

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The typical experience of narrative film is characterized by a remarkable intensity as to absorption and emotion. Current explanations attribute the experience to the realistic perceptual impact of the film. This theoretical article sets out to explain the experience as the result first of the film-viewer's acts of imagination of fictional worlds. More specifically, it seems suitable to conceptualize the film experience as arising from pretense play. Pretense play can afford room for free imagination leading to intense emotion, as well as restrictions to the imagination “quarantining” ( Leslie

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Sari, Halimah Kartika, and Nungki Heriyati. "TRANSMISSION OF TRAUMATIC EXPERIENCE THROUGH FLASHBACK IN THE FILM "SPEAK"." MAHADAYA: Jurnal Bahasa, Sastra, dan Budaya 1, no. 1 (April 23, 2021): 128–40. http://dx.doi.org/10.34010/mhd.v1i1.4851.

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This research entitled â€˜Transmission of Traumatic Experience through Flashback in The Film â€˜Speakâ€™â€™ aims to analyze the traumatic experience of Melinda delivered through some flashback illustration as narrative device in film. The method used descriptive analysis to describe the traumatic experience in the film and the data collected is taken the screenshots that categorized based on the Discourse time and Story time in order to show when the flashback occurs. Hence, to analyze the data use Cathy Caruth (1996) examined the experience of trauma is the agony of fear and anxiety that is s

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Llinares, Dario. "A Cinema for the Ears: Imagining the Audio-Cinematic through Podcasting." Film-Philosophy 24, no. 3 (October 2020): 341–65. http://dx.doi.org/10.3366/film.2020.0149.

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Podcasts have been described as “a cinema for the ears” and this application of a visual rhetoric to describe an audio-only experience results in an attempt to define what is still a relatively new medium. I argue that it is possible to consider something cinematic without the presence of moving images. Assertions in favour of the cinematic nature of podcasts often employ the visual imagination of listeners evoked by heightened audio characteristics that a particular podcast may possess. By focusing on film-centred podcasts specifically, which, in terms of content and form, are implicitly and

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Sherman, Sarah, Jeni Harden, Dawn Cattanach, and Sharon T. Cameron. "Providing experiential information on early medical abortion: a qualitative evaluation of an animated personal account, Lara’s Story." Journal of Family Planning and Reproductive Health Care 43, no. 4 (July 8, 2017): 269–73. http://dx.doi.org/10.1136/jfprhc-2016-101641.

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BackgroundAn animated film has been created to provide information to women requesting early medical abortion (EMA). The 9 min film, Lara’s Story, was created using one woman’s personal account of her experience. This study evaluated the views of women who had recently undergone EMA on the film and its potential usefulness in providing experiential information to women requesting EMA.MethodWomen who had undergone EMA within the past month were recruited. They were shown the film and interviewed in a semi-structured style. Interviews were recorded and transcribed verbatim. They were analysed us

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Smieskova, Alena. "Violence as art experience." Ars Aeterna 8, no. 1 (June 1, 2016): 1–12. http://dx.doi.org/10.1515/aa-2016-0001.

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AbstractThe article discusses Nicolas Winding Refn’s film Only God Forgives (2013), and focuses on questions of artistic representation and reception in relation to such cinematic elements as genre film, style, mise-en-scène, graphic violence and art experience. The arguments for the analyses are supported by John Dewey’s theory of art as experience where he claims that aesthetic experience is essentially infused with emotions that provide for a unifying quality cementing diverse constituent parts of the artwork. The article also takes into consideration Refn’s standpoint on the use of violenc

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Cunnington, Trevor James. "Homeopathic Repetition and Memories of Underdevelopment : The Dialectic of Subjective Experience and Objective Historical Forces." Film-Philosophy 17, no. 1 (December 2013): 383–401. http://dx.doi.org/10.3366/film.2013.0022.

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Grodal, Torben. "The PECMA Flow: A General Model of Visual Aesthetics." Film Studies 8, no. 1 (2006): 1–11. http://dx.doi.org/10.7227/fs.8.3.

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This article argues that the central dimensions of film aesthetics may be explained by a general theory of viewer psychology, the PECMA flow model. The PECMA flow model explains how the film experience is shaped by the brain‘s architecture and the operation of different cognitive systems; the model describes how the experience is based on a mental flow from perception, through emotional activation and cognitive processing, to motor action. The article uses the flow model to account for a variety of aesthetic phenomena, including the reality-status of films, the difference between narrative and

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Macionis, Niki, and Beverley Sparks. "Film-induced Tourism: An Incidental Experience." Tourism Review International 13, no. 2 (October 1, 2009): 93–101. http://dx.doi.org/10.3727/154427209789604598.

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Silver, Susan. "Film Review: Hospice—A shared experience." American Journal of Hospice Care 5, no. 3 (May 1988): 7. http://dx.doi.org/10.1177/104990918800500306.

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Wind, Annet. "Film Alzheimer Experience slaagt in opzet." Huisarts en wetenschap 54, no. 10 (October 2011): 527. http://dx.doi.org/10.1007/s12445-011-0253-2.

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Kappelhoff, Hermann, and Cornelia Müller. "Embodied meaning construction." Metaphor and the Social World 1, no. 2 (December 31, 2011): 121–53. http://dx.doi.org/10.1075/msw.1.2.02kap.

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In this article, we argue that multimodal metaphors are grounded in the dynamics of felt experiences. Felt experiences are inherently affective, with immediate sensory qualities and an affective stance. We suggest that as such, they ground the emergence and activation of metaphors. We illustrate this idea with analyzed data from a film and face-to-face conversation. Our consideration of expressive movement in speech, gestures, and feature film does not therefore target the analysis of the speech and gestures of actors. Rather we suggest an approach firmly rooted in film theory, and which consi

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Till, Benedikt, Markus Strauss, Gernot Sonneck, and Thomas Niederkrotenthaler. "Determining the effects of films with suicidal content: A laboratory experiment." British Journal of Psychiatry 207, no. 1 (July 2015): 72–78. http://dx.doi.org/10.1192/bjp.bp.114.152827.

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BackgroundMedia stories on suicide can increase suicidal ideation, but little is known about variations in media effects with regard to audience vulnerability and story contents.AimsWe investigated the impact of three drama films with suicidal content that varied with regard to the final outcome (suicide completion, mastery of crisis and death by natural causes) and tested the moderating effect of baseline suicidality of the participants on the effects.MethodWithin a laboratory setting, we randomly assigned 95 adults to three film groups. We used questionnaires to analyse the effects of the fi

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Bergera, Iñaki. "Designing from cinema: Film as trigger of the creative process in architecture." Journal of Technology and Science Education 8, no. 3 (May 21, 2018): 169. http://dx.doi.org/10.3926/jotse.372.

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The present paper examines, in a case study format, the use of films, short films and audiovisual documentaries as reasoning and references for design assignments during the first years of an architectural degree course. The aim of this fruitful and comparable experience is not so much to study and verify the well-known synergies between film and architecture, but to emphasize the methodological importance of endowing students in their first experience of design projects with realistic and feasible support – through visual references – that can increase their awareness of the desire for realis

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Xie, Zheng. "The Symmetries in Film and Television Production Areas Based on Virtual Reality and Internet of Things Technology." Symmetry 12, no. 8 (August 18, 2020): 1377. http://dx.doi.org/10.3390/sym12081377.

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To enrich the form of film and television production, improve the level of film and television production, and satisfy the film-watching experiences of audiences, based on Virtual Reality (VR) and the Internet of Things (IoT) technology, with the help of S3 Studio Max and Photoshop software, a VR film-watching system is built, which realizes the interaction with users on different devices through somatosensory interaction sensors. In addition, by utilizing Twirling720, the panoramic sound recording is achieved. Through this system, a smart IoT platform between users, films, and devices is buil

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Van de Peer, Stefanie. "Fragments of War and Animation: Dahna Abourahme’s Kingdom of Women and Soudade Kaadan’s Damascus Roofs: Tales of Paradise." Middle East Journal of Culture and Communication 6, no. 2 (2013): 151–77. http://dx.doi.org/10.1163/18739865-00602003.

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In this article, the author addresses the meaning of animated fragments in documentary films. She analyzes a Syrian and a Lebanese film, and illustrates the role and function of the hybrid form as a means through which women are now able to express themselves. Dahna Abourahme’s film Ein El Hilweh: Kingdom of Women (Lebanon, 2010) and Soudade Kaadan’s film Damascus Roofs: Tales of Paradise (Syria, 2010) are used as recent examples of documentaries addressing taboo issues by way of animated fragments. The author places these films in the wider context of the contemporary developments in animatio

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Huebner, Karla. "Nostalgia and La Jetée." Contemporaneity: Historical Presence in Visual Culture 4 (August 3, 2015): 95–107. http://dx.doi.org/10.5195/contemp.2015.132.

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This essay contemplates Chris Marker’s film La Jetée (1962) via Svetlana Boym’s conceptualization of “restorative” versus “reflective” nostalgia. It looks in part at the film’s presentation of the protagonist’s restorative nostalgia, but unlike previous examinations of nostalgia’s role in La Jetée, this essay foregrounds the viewer’s own experience of a reflective nostalgia for the film. The author considers her personal and subjective, and historically specific, encounters with La Jetée in relation to how the film may produce a similar nostalgia in others through its storytelling and unusual

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Sennikova, Veronika V. "TOMSK CHILDREN'S AND YOUTH FILM FESTIVALS AND STUDIOS: THE EXPERIENCE OF CHILDREN AND YOUTH CINEMA REVIVAL." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 43 (2021): 126–38. http://dx.doi.org/10.17223/22220836/43/9.

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Regional film festivals are part of the film process and play a special role in the formation and preservation of national and cultural identity. The author of the article refers to the regional children's cinema festival. This topic is relevant because children's filmmaking is given very little attention in the space of contemporary culture (These are films made by the children themselves). We characterize this cinema as the artistic practice of “small cinema with great meaning”. The purpose of research – to identify the specific features of the cinema, as a product of children's creativity.

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Bartsch, Anne, Anja Kalch, and Mary Beth Oliver. "Moved to Think." Journal of Media Psychology 26, no. 3 (January 1, 2014): 125–40. http://dx.doi.org/10.1027/1864-1105/a000118.

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Recent conceptualizations of eudaimonic entertainment and aesthetic experience highlight the role of emotions in stimulating rewarding experiences of insight, meaning, and reflectiveness among entertainment audiences. The current evidence is mainly correlational, however. This study used an experimental approach to examine the assumed causal influence of being moved, on reflective thoughts. Participants were randomly assigned to see one of two versions of a short film that elicited different levels of feeling moved, while keeping the cognitive, propositional content constant. Feeling moved was

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Matošević Radić, Mijana, Ante Zubčić, and Ivana Tomić. "STORYTELLING – THE TOOL OF DESTINATION MANAGEMENT COMPANIES FOR CREATING AN EXTRAORDINARY EXPERIENCE IN FILM TOURISM." DIEM: Dubrovnik International Economic Meeting 6, no. 1 (September 2021): 176–82. http://dx.doi.org/10.17818/diem/2021/1.18.

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Experience-based industries, such as tourism, gain a competitive advantage when they create an extraordinary experience for their customers. Contemporary tourists prefer authentic experiences, acquisition of new knowledge and skills as well as participation in community activities. Therefore, they don’t want to consume only the products and services in the destination, but they are really interested in the story behind the tourist products. In film tourism, the story has a special role since it is a type of product that arises from the individual experience of the location, which is displayed

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