To see the other types of publications on this topic, follow the link: Film audience.
Journal articles on the topic 'Film audience'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Film audience.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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, the young audience uses, mainly, imagery coding to interpret the text and achieve an emotional experience. Conversely, when the text and schema do not match, the young audience uses both proposition coding and imagery coding. Practical implications – Based on the results found in this study, companies should use different texts to match the different schema of young audiences to ensure that audiences can process coding and enjoy emotional experiences when using smartphone. Originality/value – Dual-coding theory is applied to determine which coding system the audience use to interpret the new-media text, such as smartphone films.
2
Hanchard, Matthew, Peter Merrington, Bridgette Wessels, Kathy Rogers, Michael Pidd, Simeon Yates, David Forrest, Andrew Higson, Nathan Townsend, and Roderik Smits. "Developing a computational ontology to understand the relational aspects of audience formation." Emerald Open Research 2 (February 12, 2020): 5. http://dx.doi.org/10.35241/emeraldopenres.13465.1.
Full textAbstract:
In this article, we discuss an innovative audience research methodology developed for the AHRC-funded ‘Beyond the Multiplex: Audiences for Specialised Film in English Regions’ project (BtM). The project combines a computational ontology with a mixed-methods approach drawn from both the social sciences and the humanities, enabling research to be conducted both at scale and in depth, producing complex relational analyses of audiences. BtM aims to understand how we might enable a wide range of audiences to participate in a more diverse film culture, and embrace the wealth of films beyond the mainstream in order to optimise the cultural value of engaging with less familiar films. BtM collects data through a three-wave survey of film audience members’ practices, semi-structured interviews and film-elicitation groups with audience members alongside interviews with policy and industry experts, and analyses of key policy and industry documents. Bringing each of these datasets together within our ontology enables us to map relationships between them across a variety of different concerns. For instance, how cultural engagement in general relates to engagement with specialised films; how different audiences access and/or share films across different platforms and venues; how their engagement with those films enables them to make meaning and generate value; and how all of this is shaped by national and regional policy, film industry practices, and the decisions of cultural intermediaries across the fields of film production, distribution and exhibition. Alongside our analyses, the ontology enables us to produce data visualisations and a suite of analytical tools for audience development studies that stakeholders can use, ensuring the research has impact beyond the academy. This paper sets out our methodology for developing the BtM ontology, so that others may adapt it and develop their own ontologies from mixed-methods empirical data in their studies of other knowledge domains.
3
Saryusz-Wolska, Magdalena. "Powojenna widownia filmowa w Berlinie. Przyczynek do nowej historii kina." Prace Kulturoznawcze 20 (March 27, 2017): 121–32. http://dx.doi.org/10.19195/0860-6668.20.10.
Full textAbstract:
Post-war Film Audience in Berlin. A Contribution to the New Cinema HistoryThe article aims to present the advantages of the new cinema history as a research tool in the field of cultural participation. It focuses on early post-war cinema audience in Berlin, their motivations, practices and habits. Watching films is treated as an exemplary social, economic and political phenomenon that influences all kinds of using and producing popular culture. The author stresses that films are usually made for their audiences. Hence, film studies should pay more attention to the cinemagoers as well as to their parallel activities, such as reading film magazines, observing film posters, or watching film advertisements. Moreover, historical audience studies are a necessary step while analyzing the changing modes of cultural participations. Information on historical practices is especially useful, at a comparative level, in order to support theses on the specificity of contemporary cultural activities.
4
Suwarto, Dyna Herlina, Benni Setiawan, and Gilang Jiwana Adikara. "The Fragmentation of Indonesian Film Audience." Jurnal Komunikasi: Malaysian Journal of Communication 37, no. 1 (March 31, 2021): 74–87. http://dx.doi.org/10.17576/jkmjc-2021-3701-05.
Full textAbstract:
Nowadays, films can not only be watched in conventional media such as cinema, screening and television but also digital media such as streaming, download and shared archives. This study aims to determine the pattern of audience fragmentation, especially in the cinephile segments. The research employs an explorative qualitative method. The data collection methods include diaries and interviews. Informants were determined using a purposive sampling technique which includes visitors of the movie screened by the Jogja Movie Night, DIY Watching Club, and Cultural Department in July 2018. The results of this study show that, first, conventional media such as cinema and screening are still considered important because they provide a tasting guide, a space for social interaction and technical facilities. Second, attention is managed differently when dealing with conventional and new media. The focus of watching a movie can be created in different ways tailored to the viewing space. Third, film content is used as inspiration to produce films as hobbies and learning space. Also, it can be diverted in other forms such as short stories, performance scripts. Although being exposed to unlimited choices, film viewers only access the relative channels for a certain period. They need public space to interact with film fans, educate their appetite and watch satisfaction. Digital media is used to facilitate the autonomy of choosing and treating films based on their needs and desires. Keywords: Film audience fragmentation, audience interests, consumption pattern, new media, cinephelia.
5
Pautz, Michelle C. "Argo and Zero Dark Thirty: Film, Government, and Audiences." PS: Political Science & Politics 48, no. 01 (December 31, 2014): 120–28. http://dx.doi.org/10.1017/s1049096514001656.
Full textAbstract:
ABSTRACTWith the prevalence and accessibility of film today, we must wonder how film affects its audience. In particular, how does film influence an audience’s perceptions of the government? Regardless of the content, research demonstrates that film has the power to shape perceptions of its moviegoers on a range of subjects. In this study, two recent films,ArgoandZero Dark Thirty, were chosen as case studies to explore how Hollywood portrays the intelligence community in film and shapes opinions about the government more broadly. This research found that about 25% of viewers of the two films changed their opinion about the government after watching one of the movies. Additionally, many of those changes are reflected in an improvement in the sentiments about the government and its institutions. This exploratory research provokes interesting discussions about the ability of film to influence the perceptions of an audience.
6
Ramos Caro, Marina, and Ana Rojo. "“Feeling” audio description." Translation Spaces 3 (November 28, 2014): 133–50. http://dx.doi.org/10.1075/ts.3.06ram.
Full textAbstract:
There is evidence suggesting that watching movies usually provokes an emotional response in the audience that may differ according to the type of film viewed. For example, Grodal (2009) argues that the type of response provoked by mainstream cinema is different from that elicited by avant-garde films. In visually impaired audiences, the emotional impact of films is inevitably mediated by the Audio Description (AD) provided. In most countries AD norms do not cater for variations between different types of films. There exists, therefore, the possibility that the emotional impact of the film could be affected or altered by the AD. This paper aims to explore possible differences in the response of sighted versus unsighted audiences when watching avant-garde and narrative films. A pilot study is designed to measure the emotional response through self-response questionnaires. Our results indicate that differences between both types of audience are more prominent for avant-garde films.
7
Latifah, Latifah. "Film as Media of Religious Dialogue: The Reception of Three Indonesian Contemporary Films." DINIKA : Academic Journal of Islamic Studies 1, no. 3 (December 30, 2016): 263. http://dx.doi.org/10.22515/dinika.v1i3.87.
Full textAbstract:
The paper examines the audiences response in consuming of religious representation in three Indonesian contemporary films: Ayat-Ayat Cinta (Verses of Love), 3 Doa 3 Cinta (3 Wishes 3 Loves), and Perempuan Berkalung Sorban (Woman with a Scarf Around her Neck). By examining the audiences response in media, particularly through electronic delivery, the paper shows that the public dispute of the Islam representation in this film serves as communication media of religious dialogue. The examination of audiences response on those three films illuminates the various impacts of Islamic film label embedded in their cinematic representation. Islamic film can be a profitable trademark since it gives more reasons to attract audience than entertainment motive does. Representation of religion analogue to religious teaching and practice creates religious film as media for religious dialogue between people, state, the faith communities, and film makers.Keywords:film, representation, religious-dialogue
8
Chen, Huan, Yifan Zuo, Rob Law, and Mu Zhang. "Improving the Tourist’s Perception of the Tourist Destinations Image: An Analysis of Chinese Kung Fu Film and Television." Sustainability 13, no. 7 (April 1, 2021): 3875. http://dx.doi.org/10.3390/su13073875.
Full textAbstract:
Cultural media, film, and television works can increase the popularity of the image of tourist destinations, thereby promoting the sustainable development of the tourism industry and obtaining economic benefits. This study takes Chinese kung fu film and television as examples to explore the mechanism of audience participation in the perception of tourist destinations. It further explores the mediating effect of cultural contact. The study took the image perception of tourist destinations as the dependent variable and audience participation as the independent variable. A total of 331 subjects were surveyed, and a multi-layer regression model was established to test the rationality and validity of the hypothetical theoretical model. The research results show that audience participation in martial arts films and television tourism can directly and indirectly affect the audience’s perception of martial arts culture. At the same time, the viewer can achieve contact with martial arts culture through film and television, accordingly forming his or her perception of the destination. In other words, film and television audience participation can bring more cultural contact to the audience. In turn, cultural contact can enhance the image perception of tourist destinations and play an important intermediary role in the process of audience participation by enhancing the perception of tourist destinations. By confirming the variable relationship in Wushu film and television tourism, this research fills the gap between the two aspects, which contributes to promoting the two-way interaction between Wushu film and television works and tourism marketing and achieving the long-term sustainable development of tourism destinations.
9
Knauss, Stefanie. "Religion and Film." Brill Research Perspectives in Theology 4, no. 1 (January 22, 2020): 1–103. http://dx.doi.org/10.1163/24683493-12340009.
Full textAbstract:
Abstract Is cinema evil, or sacramental? Can films make theological contributions? Can film-viewing be a religious practice? How do films, values and power interact? The study of film and religion engages a range of diverse questions through different approaches and methods. In this contribution, I distinguish three complementary approaches. In the first section, I discuss those that focus on the film as text, the representation of religion in film, and how theology happens in film. The next section will broaden this perspective by taking into consideration how films affect audiences, and how the relationship between film and audience might have religious dimensions or serve religious functions. In the third section, attention to the text and the audience are combined with the consideration of both film and religion as agents in cultural processes in order to think about how film and religion are shaped by and shape value systems and ideologies. In the last section I will begin to tackle the difficult question of theory and method. I consciously postpone this part until the end because, in many cases, methodologies and theoretical frameworks are implied in and emerge from concrete case studies rather than being consciously reflected upon. This final section has two goals: it will make explicit some of these underlying assumptions to serve as a starting point for a more sustained reflection on the theories and methodologies of the field, and it will highlight some of the pitfalls we encounter if we are not methodologically and theoretically precise in our work.
10
Ovitamaya, Eklesia. "RESEPSI PENONTON REMAJA FILM DUA GARIS BIRU TENTANG ISU PENDIDIKAN SEKS." Jurnal Audience 4, no. 01 (March 24, 2021): 73–85. http://dx.doi.org/10.33633/ja.v4i01.4232.
Full textAbstract:
AbstrakFilm Indonesia yang mengangkat isu tentang pendidikan seks masih dianggap tabu. Pada sisi yang lain, sebagai media alternatif, pesan dalam film dapat dipahami dengan mudah oleh para penontonnya. Penelitian ini membahas resepsi penonton remaja film Dua Garis Biru tentang isu pendidikan seks. Penelitian ini menggunakan kerangka encoding-decoding Stuart Hall untuk menganalisis pemakanaan audiens dari setiap adegan dalam film. Temuan data menunjukkan bahwa audiens terbagi ke dalam tiga kelompok pembacaan: dominan hegemonik, negosiasi, dan oposisi. Posisi pembacaan penonton ini dipengaruhi oleh latar belakang dan pengalaman dari para penonton remaja. Selain itu, para penonton menginterpretasikan film Dua Garis Biru tidak hanya memberikan pesan tentang pendidikan seks, melainkan juga kesetaraan gender, nilai-nilai yang dipegang, dan bagaimana lingkungan keluarga memberikan pendidikan seks kepada para remaja.Kata Kunci: Encoding-decoding, Film, Pendidikan Seks, Remaja, Resepsi Audiens.AbstractIn Indonesia, movies that bring sensitive issues such as sex education was previously considered taboo. On the other hand, as an alternative media that is easily understood by the audience, movies are used as one of the most effective means of delivering messages. This study aimed to determine the reception of Dua Garis Biru's teenage audiences about sex education issues. This study used Stuart Hall's encoding-decoding analysis method to determine the audiences’ meaning of each scene in the movie.The findings show that the reception of the film audience of Dua Garis Biru showed three reading positions. There were dominant reading, negotiation reading, and opposition reading. The position of the reading was highly influenced by the background and experiences of teenage audiences. Furthermore, the audiences interpret Dua Garis Biru movie as giving the messages about sex education issues but also gender equality issues, the values of the beliefs held, and how the family provided sexual education to the teenagers.Keyword: Audiences reception, Encoding-Decoding, Movie, Sex Education, Teenagers.
11
Animbom Ngong, Paul. "Music and sound in documentary film communication: an exploration of Une Affaire de Nègres and Chef!" CINEJ Cinema Journal 8, no. 1 (March 11, 2020): 156–84. http://dx.doi.org/10.5195/cinej.2020.265.
Full textAbstract:
This paper examines the function of music and sound as important elements of documentary film communication. It considers the soundtrack to have equal value as the visual track. This is even more appalling when sound is viewed as an aesthetic constituent of a film or as acoustic signs with equal communicative value as visual signs. Two films are used to show the role music and sound play in facilitating comprehension in a documentary film. Focusing particularly on testimonies, narrative commentary, filmic silence and music, the study shows how documentary films provide a unique medium to engage an audience in a story of facts and provides a unique vehicle for information transmission. The success of these two films among mainstream audiences indicates the power of a thoughtful and intentional soundtrack which accentuates the subject without dictating it and provides examples of a utilisation of music to build an emotional connection between the audience and the film’s subject matter.
12
Pafort-Overduin, Clara, John Sedgwick, and Lies Van de Vijver. "Identifying Cinema Cultures and Audience Preferences." TMG Journal for Media History 21, no. 1 (June 28, 2018): 102. http://dx.doi.org/10.18146/2213-7653.2018.340.
Full textAbstract:
For this study we have adopted a comparative approach to better understand the regularities and differences of cinema markets and cultures. Our subject is the film preferences and choices of audiences in the cities of Ghent (Belgium), Utrecht (Netherlands) and Bolton (United Kingdom) in 1934 and 1935. Saturday, January 5th, 1935 serves as a pivotal date and the starting point for analysis of the film programming data of these three cities. Our findings show that by adopting a comparative approach it is possible to detect ‘unique’ titles that reflect the peculiarities of the local film culture. The data confirms that audiences in Bolton, Ghent, and Utrecht were attracted strongly to films originating in their own or neighbouring countries, particularly if they contained elements of song and dance.
13
Chinniah, Sathiavathi. "K. Balachander: An Innovative Filmmaker." Asian Journal of Social Science 37, no. 4 (2009): 574–98. http://dx.doi.org/10.1163/156853109x460291.
Full textAbstract:
AbstractThis study aims to contribute to existing literature on Indian cinema by exploring the works of K. Balachander. An academic enquiry into K. Balachander's films is justified given his presence in the Tamil film industry for some 40 years and the numerous awards he had obtained over this period for his filmic contributions, including the prestigious Padmashree Award which he won in 1987. In the bigger study of which this is a small part, I also study female representation in his films, as well as how various groups of audience interpret the portrayal of women in three specific films directed by him. Keeping in mind the varied audience groups of Tamil cinema, three different groups have been selected for this purpose, namely the rural and urban audiences in India and the diaspora audience in Singapore. Emphasis on the audience allows this study to build on earlier research on the reception of films at the point of consumption. I hope in this to provide a new perspective on audience reception of female portrayals in Tamil films.
14
Rubiyanto, Rubiyanto. "STRATEGI MEMBIDIK KETERSEDIAAN AUDIENS DALAM INDUSTRI TELEVISI (Studi Deskriptif Tayangan Film India ANTV)." Bricolage : Jurnal Magister Ilmu Komunikasi 4, no. 01 (March 13, 2018): 083. http://dx.doi.org/10.30813/bricolage.v4i01.1654.
Full textAbstract:
<p>ABSTRACT<br />The success of ANTV captured the attention of the audience through the Indian Movie show influenced ANTV's position to television in the first rank. The television, which used to be in the last number among rival televisions, tried the first time to broadcast an Indian movie called Mahabharata, which had been successfully aired by TPI in the 1990s. The latest version of the Indian movie gets a great reception from the audience. This article aims to describe ANTV's strategy in the television industry through Indian movie to win the competition. According to Pringle and Starr (2006: 123-125), when planning a program to be aired, the television managers should pay attention to the nine factors, namely (1) Strength or Weakness of Competing Stations, (2) Building Audience Flow, (3) Building Audience Habit, (4) Available Audience, (5) Audience Interest, (6) Advertiser Interest, (7) Budget, (8) Inventory Program, and (9) Local Production Capabilities. The authors limit this study to the available audience and the scheme programing of ANTV. The research method used qualitative descriptive with data collection technique, consist of interview, observation, and documentation. Based on the results of research and data analysis can be concluded that the Indian movie impressions in accordance with the ANTV audience target, so this show succeeded in drawing the attention of the audience, and became the top program. Scheme of ANTV programs illustrate the suitability of the broadcast time slot division and the available audience. These two conclusions refer to Pringle and Starr's thoughts. ANTV's strategy review to win the competition in the television industry opens up a new idea. In this research describe not only on-air programs but also strengthened by off-air program.<br /><strong>Keywords:</strong> Program, Indian Movie, ANTV, Available Audience</p><p><br />ABSTRAK<br />Keberhasilan ANTV merebut perhatian audiens melalui tayangan Film India memengaruhi posisi ANTV menjadi televisi di peringkat pertama. Televisi yang tadinya berada di nomor buncit di antara televisi saingan, mencoba kali pertama menayangkan film India berjudul Mahabharata, yang pernah sukses ditayangkan TPI tahun 1990-an. Versi terbaru film India ini mendapat sambutan luar biasa dari audiens. Artikel ini bertujuan mendeskripsikan strategi ANTV dalam industri televisi melalui tayangan film India untuk memenangkan persaingan. Menurut Pringle dan Starr (2006:123-125), ketika merencanakan sebuah program yang akan ditayangkan hendaknya pengelola televisi memperhatikan Sembilan faktor, yaitu: (1) Strength or Weakness of Competing Stations, (2) Building Audience Flow, (3) Building Audience Habit, (4) Available Audience, (5) Audience Interest, (6) Advertiser Interest, (7) Budget, (8) Program Inventory, dan (9) Local Production Capabilities. Penulis membatasi kajian pada ketersediaan audiens (available audience) dikaitkan dengan daypart pada pola pemrograman ANTV. Metode penelitian menggunakan kualitatif deskriptif dengan teknik pengumpulan data, terdiri dari wawancara, observasi, dan dokumentasi. Berdasarkan hasil penelitian dan analisis data dapat disimpulkan bahwa tayangan film India sesuai dengan target audiens yang diusung ANTV, sehingga tayangan ini</p><p>berhasil menyedot perhatian penonton, dan menjadi program unggulan. Penjadwalan program acara di ANTV menggambarkan kesesuaian pembagian slot waktu siaran dan ketersediaan audiens. Kedua simpulan ini sesuai dengan pemikiran Pringle dan Starr. Kajian strategi ANTV untuk memenangkan persaingan dalam industri televisi ini membuka sebuah pemikiran baru, yaitu gambaran strategi yang tidak hanya terpaku pada tayangan on-air, namun juga diperkuat dengan kemasan program off-air.<br /><strong>Kata kunci:</strong> Program, Film India, ANTV, Ketersediaan Audiens</p>
15
Washti Sera, Juvenah, Vimala Perumal, and Ah-Cho Koo. "The Portrayal of Claustrophobic Behaviours and Events in Film." International Journal of Creative Multimedia 2, no. 1 (April 30, 2021): 57–68. http://dx.doi.org/10.33093/ijcm.2021.1.4.
Full textAbstract:
The recent outbreak of Covid-19 as a global pandemic has taken a toll on people worldwide. Based on an article from Malaysiakini, the number of calls to the Crisis Preparedness and Response Centre (CPRC) increases significantly everyday indicating the large community who faces emotional and psychological distress during these hard times. Some have even related the situation as claustrophobic events. For creative content creators, claustrophobia can be an attractive story but requires different and complex techniques of presenting it. Therefore, in order to effectively inform amateur filmmakers on claustrophobia, this research focuses on the claustrophobic events portrayed in four nominated or award-winning films which simulates real claustrophobic events. The target audience for this research will be focused on amateur filmmakers and young content makers who are a vessel to help educate audiences on claustrophobia in a right manner. It is important to do a critical analysis on how successfully films have relayed this message to their audience with their visuals alongside with relatable stories and characters. Film has the ability to bring spotlight to claustrophobia for it is a perfect tool of education and definitely for entertainment, escaping from reality. This is supported in a Forbes article where it claims that there is an increased consumption of digital content from mobile apps to movie and music streaming due to the world’s population under lockdown. By studying how films portray the message of claustrophobia, it will help amateur film makers and short film content makers to have further information to relay their message effectively to their audience
16
Griffin, Lauren N. "Audience Reactions to Climate Change and Science in Disaster Cli-fi Films: A Qualitative Analysis." Journal of Public Interest Communications 1, no. 2 (December 22, 2017): 133. http://dx.doi.org/10.32473/jpic.v1.i2.p133.
Full textAbstract:
Little scholarly attention has been paid to how audiences interpret pop culture messages about climate. This paper addresses this issue by taking up the case of disaster cli-fi films and exploring how audiences react to film representations of climate change. It draws on data from focus groups to evaluate audience responses to disaster cli-fi films. Analysis reveals that by only briefly discussing climate change in their plotlines, the films weaken their environmental message. The paper concludes with a discussion of the effects of disaster cli-fi films on environmental attitudes and suggestions for further research.
17
Gottschalk, Marion. "Cinema and audience: complicit partners in creating cultural meanings." Revista Crítica Cultural 1, no. 1 (June 1, 2006): 29. http://dx.doi.org/10.19177/rcc.v1e1200629-31.
Full textAbstract:
Through the analysis of a selection of texts, which explore the relation between films and audience, this essay strives to demonstrate that cultural meanings in film can be built and determined through the participation of the audience. This essay will also show how such participation reveals the diverse ways through which film can perform as a potential source for facilitating, or even preventing the cultural understanding among differing social groups.
18
Satkauskaitė, Danguolė, and Alina Kuzmickienė. "Conveying Frenchness in the Dubbing of Animated Film Ratatouille." Sustainable Multilingualism 16, no. 1 (May 1, 2020): 205–26. http://dx.doi.org/10.2478/sm-2020-0010.
Full textAbstract:
SummaryDue to globalization, migration, tourism and other reasons multiculturalism and multilingualism have become the rule rather than the exception. In this context films, on the one hand, serve as a reflection of multilingual and multicultural reality, on the other hand, multilingualism inevitably occurs by translating films for different audiences since (interlingual) translation involves at least two languages. Films, in which characters belong to different cultures and languages, pose a considerable challenge to translators. Such a case is the American animated film “Ratatouille” (2007), which action takes place in France and most of its characters are French. However, by adapting the film for the main target audience – the children – the character identity is revealed not using complete foreign language dialogues but creatively combining various modes: verbal acoustic (dialogues and lyrics), verbal visual (written texts), nonverbal visual (images) and nonverbal acoustic (nondiegetic music). The same modes are applied to render culture-specific items, especially food and drink names. Since verbal mode varies depending on the target audience, American English source language as well as Lithuanian, Russian and French dubbed versions of the film “Ratatouille” will be compared in order to determine semiotic modes, which convey Frenchness. Additionally, by comparing selected dubbed versions of the film, amusing translations, resulting exactly from the encounter of cultures and languages, will be presented as well. For the research methodological approaches of audiovisual translation, multimodality and comparative method will be applied.
19
Sari, Annisa Rachmatika, and Matius Ali. "EKSIBISIONISME FILM RIDING THE LIGHTS." REKAM: Jurnal Fotografi, Televisi, dan Animasi 14, no. 1 (August 15, 2018): 27. http://dx.doi.org/10.24821/rekam.v14i1.2135.
Full textAbstract:
Tulisan ini menelaah bentuk eksibisionisme film Riding The Lights berupa konstruksi sinematik yang melakukan penyesuaian diri pada kategorisasi akal. Dalam proses tersebut, terjadi peristiwa film yang memberi cerapan inderawi. Hal ini bertujuan untuk membangun kesadaran penonton atas wujud objek. Adapun konsep perhatian Münsterberg digunakan untukmenemukan bentuk eksibisionisme dalam film Riding The Lights. Konsep perhatian berada dalam teori Photoplay yang menganggap bahwa proses mental disebabkan oleh penyesuaian diri yang dilakukan oleh film pada struktur dasar berpikir penonton. Pada teori psikologi film ini, konsep perhatian ditempatkan sebagai salah satu proses mental ketika menyaksikan film, yakni sebuah fase ketika mata penonton menerima cerapan inderawi secara tidak sadar. Hasil telaah menunjukkan bahwa bentuk eksibisionisme dalam film Riding The Lights mengarahkan penonton pada tokoh wanita berbaju hijau.AbstractExhibitionism in the Film of ‘Riding the Lights’. This paper examines the form of film exhibitionism in Riding The Lights, in the form of cinematic constructions that made adjustments to the categorization of reason. In that process, there was a moment that the film gave a sensational perception. It aimed to build the audience’s awareness of the object’s form. As for the concept of Münsterberg’s attention was used to discover the form of exhibitionism in the film of Riding The Lights. The concept of attention lied in the theory of Photoplay, which assumes that mental processes are caused by the adjustment carried by the film on the basic structure of audiences’ thoughts. In the theory of psychology of this film, the concept of attention was placed as one of the mental processes when watching the show, which became a phase when the eyes of the audience received sensational perception unconsciously. The results of the study showed that the form of exhibitionism in the film of Riding The Lights ledthe audience to the figure of women in green.
20
Safa, Safa, and Eko Harry Susanto. "Promosi Cyber Film Bumi Manusia." Prologia 4, no. 2 (October 1, 2020): 377. http://dx.doi.org/10.24912/pr.v4i2.6672.
Full textAbstract:
Promotion in the cyber world today, if it is connected with the film industry becomes an interesting aspect to be understood and researched as part of advertising communication activities. One of the local films that successfully attracted the attention of the audience, and the author to do research is the Earth Human Film adapted from the novel titled the same as the film by the leading Indonesian literary writer, the well-known controversy, namely Pramoedya Ananta Toer. How did the promotion of cyber film human earth produced by Frederica from Falcon Pictures Production House succeeded in gaining an audience of 1,296,714 people in less than 1 (one) month since its initial airing released. This study uses the promotion mix theory (promotional mix) by G. Belch and M. Belch, with 6 basic elements namely advertising, direct marketing, internet marketing, sales promotion, publication, and personal selling. The results showed the dominant Falcon Pictures using internet marketing, advertising and publications, and chose not to use personal selling to promote human earth films. Suggestion The writer needs to explore the application to increase the number of movie sales and improvise the film's storyline to expand the audience segmentation.Promosi di dunia cyber saat ini, jika dihubungkan dengan industri perfilman menjadi satu aspek yang menarik untuk dimengerti dan diteliti sebagai bagian dari aktivitas komunikasi periklanan. Salah satu film lokal yang sukses menarik perhatian audiens dan Penulis untuk melakukan penelitian adalah Film Bumi Manusia yang diadaptasi dari Novel berjudul sama dengan filmnya, hasil karya sastrawan terkemuka Indonesia yang terkenal sekaligus kontroversial yaitu Pramoedya Ananta Toer. Dengan menggunakan metode kualitatif, Peneliti menguraikan bagaimana Promosi Cyber Film Bumi Manusia yang diproduseri oleh Frederica dari Rumah Produksi Falcon Pictures ini berhasil mendapatkan perolehan penonton sebesar 1.296.714 orang dalam waktu kurang dari 1 (satu) bulan sejak rilis tayang perdana. Penelitian ini menggunakan teori bauran promosi (promotional mix) oleh G. Belch dan M. Belch, dengan 6 elemen dasar yaitu iklan, direct marketing, internet marketing, promosi penjualan, publikasi, dan personal selling. Hasil penelitian menunjukkan Falcon Pictures dominan menggunakan internet marketing, beriklan dan publikasi, serta memilih untuk tidak menggunakan personal selling untuk promosi Film Bumi Manusia. Saran Penulis perlu adanya eksplorasi publikasi untuk menaikkan angka penjualan film dan improvisasi alur cerita film guna memperluas segmentasi penonton.
21
Ma, Youwen, and Yi Wan. "Data Analysis Method of Intelligent Analysis Platform for Big Data of Film and Television." Complexity 2021 (April 16, 2021): 1–10. http://dx.doi.org/10.1155/2021/9947832.
Full textAbstract:
Based on cloud computing and statistics theory, this paper proposes a reasonable analysis method for big data of film and television. The method selects Hadoop open source cloud platform as the basis, combines the MapReduce distributed programming model and HDFS distributed file storage system and other key cloud computing technologies. In order to cope with different data processing needs of film and television industry, association analysis, cluster analysis, factor analysis, and K-mean + association analysis algorithm training model were applied to model, process, and analyze the full data of film and TV series. According to the film type, producer, production region, investment, box office, audience rating, network score, audience group, and other factors, the film and television data in recent years are analyzed and studied. Based on the study of the impact of each attribute of film and television drama on film box office and TV audience rating, it is committed to the prediction of film and television industry and constantly verifies and improves the algorithm model.
22
Kjeldgaard-Christiansen, Jens. "A Structure of Antipathy." Projections 13, no. 1 (March 1, 2019): 67–90. http://dx.doi.org/10.3167/proj.2019.130105.
Full textAbstract:
Many narrative films feature villains, major characters that audiences are meant to condemn. This article investigates the cognitive-affective underpinnings of audience antipathy in order to shed light on how filmic villainy is constructed. To that end, the article introduces an analytical framework at the intersection of cognitive film theory and moral psychology. The framework analyzes villainy into three categories: guilty intentionality, consequential action, and causal responsibility.
23
Voskolovich, Nina Alexandrovna, and Igor Nikolaevich Molchanov. "Social and Economic Aspects of Forming Film Audience." Journal of Flm Arts and Film Studies 4, no. 4 (December 15, 2012): 109–18. http://dx.doi.org/10.17816/vgik44109-118.
Full textAbstract:
The article reveals the interplay of the economic, physical and social factors determining Russian movie audience. Social changes and the corresponding process of forming consumptive preferences regarding films, television and internet as three competing spheres, require the commercial stimulation of the audience’s activity which includes artistic promotion.
24
Chusna, Aidatul, M. Taufiqurrohman, and Lynda Suzanna. "Gender Role in Rural Life: An Audience Reception Analysis on Banyumas Films in Reformation Era." Lingua Cultura 11, no. 2 (November 30, 2017): 115. http://dx.doi.org/10.21512/lc.v11i2.1818.
Full textAbstract:
This qualitative research was aimed at investigating audience’s responses on gender role in rural life represented in Banyumas films. The data were taken from library research, questionnaire, and group discussion with Banyumas natives. The audience consisted of female and male university students as well as Banyumas film community. Media viewing was conducted before the discussion. The study findings show that the audiences, both males and females, tend to be receptive to the shifting role of wife as the breadwinner of the family since factories in Banyumas give more work opportunities to women than men. In addition, the respondents are appreciative to the role of Banyumas women who are actively involved in the cultural preservation. However, they think that it rarely happens as Banyumas people prefer working in factories to preserve the tradition.
25
Mayangky, Nissa Almira, Desiana Nur Kholifah, Imanuel Balla, and Indra Jiwana Thira. "Pengaruh Rating Film Terhadap Jumlah Audience Yang Menonton Film." Indonesian Journal on Software Engineering (IJSE) 5, no. 2 (December 12, 2019): 113–20. http://dx.doi.org/10.31294/ijse.v5i2.6963.
Full textAbstract:
Abstrak: Film menjadi salah satu bentuk hiburan yang ditawarkan dan diminati sejumlah audience dengan disajikan melalui adaptasi dari novel, komik, atau serial televisi, serta melalui berbagai macam media. Perkembangan perfilman dari tahun ke tahun semakin berkembang dan mulai diminati. Keinginan penonton dalam mencari, menggunakan dan menilai suatu film telah membuat dunia perfilman saat ini menjadi sorotan utama sineas dalam menyalurkan hobi, minat, bakat, dan usaha mereka. Penelitian ini dilakukan untuk mengetahui tentang apakah tingginya rating atau penilaian sebuah film berpengaruh pada banyaknya jumlah penonton. Penelitian ini menggunakan Metode kuantitatif deskriptif. Populasi dalam penelitian ini adalah semua penonton film box office tahun 2014-2015. Penelitian ini menggunakan 2 variabel yaitu rating dan views dengan jumlah data sebanyak 696 data. Pengolahan data yang digunakan algoritma regresi linier. Hasil pengolahan data implementasi algoritma regresi linier pada rapidminer menunjukan pengaruh rating film hanya sebesar 0,011. Kecilnya angka rating ini menunjukan bahwa pengaruh yang diberikan rating film terhadap jumlah audience tidak terlalu signifikan atau tidak berpengaruh.
26
Griff, Catherine. "Film audience testing in Australia: Capturing the audience before it bites." Studies in Australasian Cinema 6, no. 2 (January 2012): 159–74. http://dx.doi.org/10.1386/sac.6.2.159_1.
Full text
27
Anissimov, Vladislav E., Anna S. Borissova, and Grigoriy R. Konson. "Linguocultural Localization of Movie Titles." Russian Journal of Linguistics 23, no. 2 (December 15, 2019): 435–59. http://dx.doi.org/10.22363/2312-9182-2019-23-2-435-459.
Full textAbstract:
Due to intensive growth of film production and the expansion of the “market of film consumption”, the need for high-quality translation of feature films into different languages is becoming more and more pressing. While a foreign language film is localized, text elements are not only translated, but also adapted to the culture of the target audience, i.e. we are witnessing transition from one language and cultural code to another. Taking into account their structural, semantic, and functional pragmatic features, film titles are vivid representative materials for the study of modern translation practices in the light of the cultural transference concept (Bassnett 2005, Bastin 1990, Cranmer 2015, Jurt 2007, Кatan 1999, Leinen 2007, Thill 2007, Schreiber 1998, Slyshkin, Efremova 2004, Obolenskaya 2013, Snetkova 2009, Fedorova 2009). The purpose of the article is to identify the strategies of linguocultural localization of French film names for the modern Russian-speaking audience, as well as to determine the degree of its adequacy. Regardless of the choice of the translation strategy, the title should correspond to the plot, thematic focus and ideological and figurative content of the film, while remaining interesting and attractive to the audience. We analysed of eighty-seven French feature films of various genre affiliations (detectives, action films, dramas, melodramas, comedies, thrillers and fantasy), released in Russian from 2000 to 2018, and their translation equivalents. We used the methods of semantic, pragmatic, contextual and linguocultural analysis to identify a set of problems arising in the process of localization of film titles and to offer recommendations for their translation into Russian, considering the communicative specifics of the modern film discourse and the ethnic and cultural characteristics of the target audience.
28
Nightingale, Virginia. "What's Happening to Audience Research?" Media Information Australia 39, no. 1 (February 1986): 18–22. http://dx.doi.org/10.1177/1329878x8603900107.
Full textAbstract:
The 1980s seem to be the time for a rekindling of interest in audience research. Marketers, advertisers, film and television production houses, and public funding bodies for film production, all seem unanimous in their calls for more and better research. In such a climate, academic research has a special and complicated role to play, and some difficult choices to confront.
29
MAGEE, GAYLE SHERWOOD. "Song, Genre, and Transatlantic Dialogue in Gosford Park." Journal of the Society for American Music 2, no. 4 (October 23, 2008): 477–505. http://dx.doi.org/10.1017/s1752196308080140.
Full textAbstract:
AbstractHidden in plain sight, the five songs in the middle of, Gosford Park (2001) prepare the audience for the untangling of sordid relationships and the resolution of a murder mystery at the end of the film. This article presents a detailed analysis of the film's central musical sequence using video captures, reception history, transcriptions, and other approaches from music history and film studies. As is shown, the close relationship between music and image reflects the fascination of US audiences with British-themed films and the equally complicated appeal of Hollywood films to British audiences. Additionally, the songs provide a surfeit of narrative information crucial to the resolution of the multiple story lines. Lastly, the songs complicate and expand the work's seemingly straightforward murder-mystery genre to include such incompatible models as the British heritage film, Hollywood musicals, melodramas, and the double feature. Informing this musical sequence, and the entire film, is a complex, reciprocal transatlantic exchange founded on mutually inaccurate, yet often irresistible, myths of history and identity.
30
Tkalec, Gordana, Iva Rosanda Žigo, and Žarka Dolinara. "Film Reception by Means of New Media or How the Film Escaped from the Cinema." European Journal of Interdisciplinary Studies 7, no. 2 (January 21, 2017): 105. http://dx.doi.org/10.26417/ejis.v7i2.p105-111.
Full textAbstract:
The biggest change in film reception occurred in the moment when the film audience began to watch films over the Internet, or with devices that can connect to it, i.e. computers, laptops and smartphones. The paper redefined notions of contemporary audience and different horizons of expectations, and a new horizon of expectations has been established, and that is the horizon of device expectations. Also, we have redefined the conative function i.e. the empty spaces function, individual and social reception of the film, while the theory of production relations in the case of the production of art has been applied to the film industry. The paper applies to the film received through social networks requirements of all characteristics of new media, which is also a novelty in scientific thinking.
31
Elinwa, Onotina Jeiva. "Audience Readings and Meaning Negotiation in the Film Viewing Space: An Ethnographic Study of Nollywood’s Viewing Center Audiences." SAGE Open 10, no. 3 (July 2020): 215824402093953. http://dx.doi.org/10.1177/2158244020939537.
Full textAbstract:
This research aims to investigate the social experiences of Nigerian film audiences in viewing centers to examine the possibility that social experiences are a potent influencer of the meaning construction process in the film viewing space. This study was conducted among other existing studies of the Nigerian film audience and it took on a performative approach. It involved the use of ethnography and unstructured interviews. The study examined Nollywood viewing center audiences during their shared practice of film viewing. Observing these audiences revealed several ways in which audiences negotiate meanings within the viewing center space from film texts based on their social identity and actual social experiences. It majorly revealed that viewers develop interpersonal understanding of each other’s similar relevant social situations through self-identification and then use this understanding in the interpretive process of meaning production.
32
Kurnia, Novi. "CONSUMING GENDER AND DISABILITY IN INDONESIAN FILM." Jurnal ASPIKOM 3, no. 3 (September 21, 2017): 570. http://dx.doi.org/10.24329/aspikom.v3i3.175.
Full textAbstract:
This study aims to examine the film audience reception on gender and disabilities representation towards What We Don’t Talk About When We Talk About Love (Yang Tidak Dibicarakan Ketika Membicarakan Cinta, 2013). This film directed by a prominent Indonesian woman film director, Mouly Surya, and produced in 2013. Such audience study is very important in the scholarship of women and Indonesian films dominated by studies on women representation in the film and women filmmakers. Employing reception analysis based on Stuart Hall’s work, this study involves six Indonesian students as informant of a series of in-depth interviews. The study finds that the personal experiences and knowledge of informants, as well as their film habits, but not their gender, influences their interpretation toward the issue of gender and disabilities in the film.
33
Tamsil, Ilma Saakinah. "Representasi dan Komodifikasi Kepiluan dalam Film Dancing In The Rain." Journal of Education, Humaniora and Social Sciences (JEHSS) 3, no. 1 (August 8, 2020): 213–21. http://dx.doi.org/10.34007/jehss.v3i1.271.
Full textAbstract:
The film tells stories and theme about the suffering of others as a humanist always aim to arouse the emotions and feelings of the audiences. This Film get a lot of positive responses from various parties, especially films that emphasize the sorrow. The purpose of this paper is to analyze the narrative structure of the film Dancing In The Rain as a representation and commodification of depression for the audience. The author uses a qualitative descriptive study in which the representation and commodification of heartache in Dancing In The Rain movie is analyzed through the analysis of narrative structure according to Tzvetan Todorov, the presentation of moral values in the film, and the relation with the culture industry as a medium for image formation. How the sadness and heartache of autistic sufferers is commodified as a product that entertains and motivates the audiences. The conclusion, the reality in the film will be a learning through representation and the commodification of heartache give a description of the conditions, experiences and problems faced by the main character (autistic sufferers) struggling to faced life.
34
Trisnawati, Ririn Kurnia, Dian Adiarti, and Mia Fitria Agustina. "Gender stereotypes in Nancy Meyers� �The Intern� (2015): A study of film audience response." EduLite: Journal of English Education, Literature and Culture 6, no. 1 (February 28, 2021): 147. http://dx.doi.org/10.30659/e.6.1.147-164.
Full textAbstract:
Previous film studies focusing on gender stereotypes have been sufficiently conducted, yet what remains understudied is the study of film audience about dynamic gender stereotypes shown in one film. Conducting film audience study with the issue of dynamic gender stereotype allows discussions about audience�s perceptions, awareness and underlying knowledge of gender stereotypes. This study attempts to unravel responses collected from thirteen audience of Nancy Meyer�s �The Intern� (2015) and formulates two research objectives i.e. first, to discuss how the audience of �The Intern� perceive the dynamics of gender stereotype depicted in the film and, second, to examine the underlying insights of their perceptions. The incorporated theories are film audience study, serving also as methodological approach,�and the discourse of gender stereotype and its changing perspectives. The finding and discussion show that the audience of �The Intern� perceive the inclusion of gender stereotypes and its dynamic change in the film, and their perceptions are followed by several reasons and insights: the story-line of �The Intern� and the audience�s prior knowledge about gender stereotypes. Awareness and sensibility of gender stereotypes are also revealed after watching �The Intern�. Lastly, discussion about the intersection of the audience�s prior knowledge with the exposure about gender stereotype from various resources is also carried out.
35
Bañuelos Marco, Amaya. "Making intersexuality visible through the circulation of Lucia Puenzo's XXY." La Manzana de la Discordia 11, no. 2 (October 31, 2016): 21. http://dx.doi.org/10.25100/lamanzanadeladiscordia.v11i2.1621.
Full textAbstract:
This article looks at how the film XXY (Lucía Puenzo, 2007) makes intersexuality visible and transmits to the public identities that question the binaries man-woman and homo-hetero by means of its circulation. By acknowledging the challenges of assessing the film’s sociological impact without carrying out audience research, this is a study that analyses the importance of the film’s form in normalising intersexuality as well as its effect in helping the film circulate across various film festivals. Since film exhibition and circulation are emerging academic fields, this research also needs to look at unconventional sources in order to argue that the film’s circulation enables it to be discussed across multiple platforms and to different audiences. By considering the film’s funding, this article argues that film festivals are platforms which allow films to obtain distribution agreements, and therefore increase their exhibition windows, and also have an important and often unacknowledged role in promoting progressive thinking into society. The article ends by examining how through fiction discourses normally restricted to the academic and medical fields can be mediated to general audiences as exemplified by XXY. In addition, the film’s availability under different genre categories makes it accessible to diverse audiences.
36
Baranowski, Andreas M., Rebecca Teichmann, and Heiko Hecht. "Canned Emotions. Effects of Genre and Audience Reaction on Emotions." Art and Perception 5, no. 3 (August 10, 2017): 312–36. http://dx.doi.org/10.1163/22134913-00002068.
Full textAbstract:
Laughter is said to be contagious. Maybe this is why TV stations often choose to add so-called canned laughter to their shows. Questionable as this practice may be, observers seem to like it. If such a simple manipulation, assumingly by inducing positive emotion, can change our attitudes toward the film, does the opposite manipulation work as well? Does a negative sound-track, such as screaming voices, have comparable effects in the opposite direction? We designed three experiments with a total of 110 participants to test whether scream-tracks have comparable effects on the evaluation of film sequences as do laugh-tracks. Experiment 1 showed segments of comedies, scary, and neutral films and crossed them with three sound tracks of canned laughter, canned screams, and no audience sound. Observers had to rate the degree of their subjective amusement and fear as well as general liking and immersion. The sound-tracks had independent effects on amusement and fear, and increased immersion when the sound was appropriate. Experiment 2 was identical, but instead of canned sounds, confederates of the experimenter enacted the sound-track. Here, the effects were even stronger. Experiment 3 manipulated social pressure by explicit evaluations of the film clips, which were particularly influential in comedies. Scream tracks worked as well as laugh tracks, in particular when the film was only mildly funny or scary. The information conveyed by a sound track is able to change the evaluation of films regardless of their emotional nature.
37
Kartika, Rina, and Tunjung Riyadi. "Namestyle sebagai Pencitraan Visual Sebuah Film Animasi." Humaniora 2, no. 2 (October 31, 2011): 1322. http://dx.doi.org/10.21512/humaniora.v2i2.3195.
Full textAbstract:
Animation movie is one communication media. Image shape that could give reality impression to be interested message sender. History showed that special animation movie gives its own space and style to impress the audience. It is factual that audiences in any ages could acknowledge and enjoy animation moview. The fast-moving development of animation is along with the development of animation technology. Other factor is about promotion and story appeal of related movie. Promotion and story will give identity towards movie title. The movie title, which written suitably, has different appeal that will approach audience to watch the movie. In defining title and identity, there are different ways and designs, so the identity will last remain in the mind of the reader. The article describes namestyle and its relation with characters in some movies, especially Hollywood animation movie.
38
RUSSELL, JAMES. "Evangelical Audiences and “Hollywood” Film: Promoting Fireproof (2008)." Journal of American Studies 44, no. 2 (February 5, 2010): 391–407. http://dx.doi.org/10.1017/s002187580999140x.
Full textAbstract:
By any criteria, Evangelical Christians constitute a significant segment of the American population, but they have always been a difficult audience for the American film industry to target, because many Evangelicals view themselves as ideologically opposed to Hollywood – a fraught relationship often referred to as the “Culture Wars.” This essay uses the recent hit Fireproof (2008) to examine the complex relationship between Hollywood, Evangelical audiences and independent Christian film producers.
39
Bai, Zhihong. "On Translation Strategies of English Movie Titles." Journal of Language Teaching and Research 9, no. 1 (January 1, 2018): 119. http://dx.doi.org/10.17507/jltr.0901.15.
Full textAbstract:
Movie titles are films’ eyes, having double effect of art appreciation and commercial advertisement, and directly playing the role of guidance and promotion. Good film names could convey the films' content as well as arouse audience's interest to get great box. With the continuous development of international cultural exchanges, film begins to get the attention of every nation increasingly as an important media in cultural exchange. With the opening of the Chinese market, we have more and more English movies. The Chinese audiences need to understand the movie titles before they enjoy the movies. But due to different cultural traditions, contexts, customs and thinking modes between the western and eastern world, the choices of their film names embodies distinctive cultural features. Movie titles convey the story to the audience to attract them. This requires the translation of movie titles to be accurate and embody the commercial values. This paper analyzes the translation strategies of English movie titles and explores a new strategy according to previous research results and research methods. This paper introduces the definition of translation strategies and some features of English movie titles and functions. Then it describes the principles of English movie titles translation and points out the translation strategies of English film titles. It is hoped that the context can help people to realize the necessity of proper translation of English movie titles, and accordingly promote the development of films in international market.
40
Barker, Martin. "Envisaging ‘Visualisation’: Some Challenges from the International Lord of the Rings Audience Project." Film-Philosophy 10, no. 3 (October 2006): 1–25. http://dx.doi.org/10.3366/film.2006.0026.
Full text
41
Thomsen, Morten, and Lene Heiselberg. "Arousing the audience: The two-peak structure of drama film trailers." Journal of Scandinavian Cinema 10, no. 1 (March 1, 2020): 45–65. http://dx.doi.org/10.1386/jsca_00013_1.
Full textAbstract:
Film trailers are considered the most important marketing tool for a feature film; however, they have rarely been discussed in audience research. This article examines audiences’ emotional responses to film trailer content based on an exploratory study using skin conductance to measure emotional arousal as well as self-reports on recall, evaluation and the desire to see the film. The results indicate that it is not the overall level of arousal that is likely to affect these factors, but instead a specific pattern of arousal that allows variation and build-up to memorable scenes. Based on the analysis of four drama film trailers, we suggest that a two-peak structure provides an optimal arousal curve.
42
Sharikov, Alexander V. "Film Viewing of the Russians on TV Channels: Sociological Analysis." Journal of Flm Arts and Film Studies 10, no. 3 (September 15, 2018): 128–43. http://dx.doi.org/10.17816/vgik103128-143.
Full textAbstract:
In the context of increasing digitalization of media-space, the analysis of broadcasting films on Russian leading TV channels is of intense interest. The article examines the specific character of movie broadcasting in general and the films preferred by Russian TV audience. The analysis is based on the viewing grids of 22 Russian channels in the July of 2018 taking into account the main data of film repertoire on TV and the preferences of the audience in accordance with the age categories.
43
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.
Full textAbstract:
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 built. Finally, this platform is utilized to produce the film and television work Van Gogh in Dream, which is evaluated and analyzed through questionnaires. The results show that the technology system of this set of film and television production is complete, and the production level of film and television works have been significantly improved. The audience recognition of film and television production based on this technology is 55%, and the impression evaluation is over 56%. However, knowledge acquisition is only 20%, and historical understanding is above 50%. These dimensions show that compared with traditional film production, artificial intelligence films can bring a better experience to audiences, but knowledge acquisition is less. Therefore, professional knowledge will be improved at the later stage. The above results provide a theoretical basis for the application of artificial intelligence technology in film production and production mode.
44
Kartal, Esma. "It Is a Man's World: Romantic Relief In The Hollywood Blockbuster." CINEJ Cinema Journal 3, no. 2 (October 13, 2014): 165–74. http://dx.doi.org/10.5195/cinej.2014.89.
Full textAbstract:
The Hollywood action blockbuster has been known to benefit from conventions that assure its success at the box-office. Since these films are often identified with male genres, they feature male protagonists, causing them to mostly appeal to male audiences. Nevertheless, to attract female spectators as well, blockbusters incorporate female characters and what I like to call “romantic relief” into their narrative. Moments of romantic relief allow both the characters in the film and the audience to forget about the main action of the film briefly. These, however, fail to change the storyline in any significant way. This article largely focuses on romantic relief and its manifestation in such films as Avatar, Armageddon, Transformers and The Hobbit: The Desolation of Smaug.
45
Xie, Ying. "Ideology Manipulation of the Chinese-English Subtitled “Main Melody” Films: A Case Study of Wolf Warrior II and The Wandering Earth." International Journal of Applied Linguistics and English Literature 10, no. 2 (March 31, 2021): 43. http://dx.doi.org/10.7575/aiac.ijalel.v.10n.2p.43.
Full textAbstract:
Films are the reflection of the mainstream ideology in a specific culture. More importantly, the process of film translation itself is equivalent to the rewriting process by the translator (Lefevere 1992), which embodies and even strengthens the manipulation of social ideology. As the “Main Melody” films that focus on propagandizing the official messages of the Communist Party of China (CPC), Wolf Warrior II (2017) and The Wandering Earth (2019)’s rewritten subtitles intensively embody the ideology manipulation under the regime of the CPC and the Chinese government. By discussing how audiences from different social, cultural, ethnic backgrounds might employ their experience and knowledge about the Chinese society and politics to decode the subtitles in ways that contradict the intended meaning, this paper seeks to investigate the effectiveness of the rewritten subtitles’ ideological manipulation towards the Chinese audience and the English-speaking audience.
46
Chen, Jialiang. "A Comparative Study of English and Chinese Film Title Translation——from the Perspective of "Four Values"." International Linguistics Research 3, no. 4 (December 23, 2020): p120. http://dx.doi.org/10.30560/ilr.v3n4p120.
Full textAbstract:
With the deepening of cultural exchanges between China and western countries, interaction and dissemination of film works have become a common trend. A film title is the "eye" of a film; therefore, concerning the differences between English and Chinese languages, film title translation should not only convey necessary information about the films to the corresponding audience in the target language, but also arouse the interest of the audience to achieve a satisfactory box office. Based on the theories of functional equivalence and communicative translation, and especially the evaluation standard of film title translation—the realization of "four values", the thesis makes a comparative analysis of English and Chinese in film title translation and evaluates it with evidence from the successful experience of C-E (Chinese to English) and E-C (English to Chinese) film title translation from 2016 to 2019 in order to provide references for C-E film title translation under three translating techniques, thus promoting the value of title translation and the entrance of Chinese films to international markets.
47
Lam, Celia, and Jackie Raphael. "X-Men bromance: film, audience and promotion." Celebrity Studies 9, no. 3 (January 22, 2018): 355–74. http://dx.doi.org/10.1080/19392397.2018.1426026.
Full text
48
Ackerman, Kenneth. "Film and audience: The falling tree problem." Reviews in Anthropology 26, no. 2-3 (August 1997): 189–202. http://dx.doi.org/10.1080/00988157.1997.9978178.
Full text
49
Fu, W. Wayne. "National Audience Tastes in Hollywood Film Genres." Communication Research 40, no. 6 (April 22, 2012): 789–817. http://dx.doi.org/10.1177/0093650212442085.
Full text
50
Hong, Yanyan. "The power of Bollywood: A study on opportunities, challenges, and audiences’ perceptions of Indian cinema in China." Global Media and China 6, no. 3 (June 14, 2021): 345–63. http://dx.doi.org/10.1177/20594364211022605.
Full textAbstract:
India has long been known for its prestigious Mumbai-based film industry, namely Bollywood, and remains by far the largest producer of films in the world. With the growing global reach of Indian cinema, this study looks at an intriguing Indian-film fever over the last decade in the newly discovered market of China. Through examining key factors that make Indian films appealing to Chinese and exploring the opportunities and challenges of Indian cinema in China, this article draws upon insights gained from the narratives of local audiences. Data were collected from semi-structured interviews with 32 Indian-film audiences residing across 14 different cities in mainland China. Thematic analysis identified the following five appealing factors, which explain why the Chinese enjoy Indian films: content-driven story, social values, star power, audience reviews and cultural connections. While a comprehensive list of opportunities was derived showing the potential future of Bollywood in China, results found that China’s unique institutional context and an ongoing India–China geopolitical tensions also present challenges, which in turn add to the overall complexity of films’ success in the Chinese market. This article argues the powerful role of Bollywood in bridging cultures and improving India–China ties, as Indian films have made Chinese people more aware of India in a favourable way.