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Dissertations / Theses on the topic 'Movies'

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Published: 4 June 2021
Last updated: 31 July 2024

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1

Ressler, Christopher Michael. "Let's All Go to the Movies." Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/79683.

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Welcome to the movies! Welcome to the stars! Welcome to this grand illusion! All of it's yours. New Urbanism. Hollywood thinks you're stupid. Scientology. Retro-futurism. Taking back color from toiletries. Personal politics. Cutting off the legs of the bioscopes. The architecture of Fun. The death of Entertainment. Freedom of speech. Sticky floors. Googie. Suburbia. Popcorn. The way we live our lives. All seen through the limelight of a night at the movies.
Master of Architecture
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2

Maxfield, Sean Michael. "Media at the movies analyzing the movie-viewing audience /." [Gainesville, Fla.] : University of Florida, 2003. http://purl.fcla.edu/fcla/etd/UFE0001560.

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3

Karahalios, Karrie. "Salient movies." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/37554.

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Thesis (M. Eng.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 1995.
Includes bibliographical references (leaves 64-65).
by Karrie Karahalios.
M.Eng.
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4

Watlington, John A. (John Andrew). "Synthetic movies." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/70623.

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5

Parry, Becky. "Movies teach movies : exploring what children learn about narrative from children's films." Thesis, University of Sheffield, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.574538.

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In this thesis I focus on children's engagements with moving image media in order to understand the role of film (and children's films in particular) in children's developing understandings of narrative. Using a collaborative and creative research methodology I invited six children in Year 5 to create stories in a variety of forms, including short films. I examined the children's understandings of narrative as expressed in their multimodal productions in the light of reader response and narrative theories. I also drew on data from interviews, the children's photography and a questionnaire to explore the role of film in the children's home and school identity and literacy practices. I demonstrate that the films the children encountered provided them with imaginative spaces in which they could create, play and perform familiar and unfamiliar, fantasy and everyday narratives. This narrative play was closely connected to identity and literacy practices (Marsh, 2005; Moje and McCarthey, 2002). Family was key to the support and encouragement of this social play (Marsh, 2005) and, at school, the playground was also key. However in the literacy classroom, some of the children encountered a discontinuity between their experiences of narrative at home and those that were valued in school. I present storied accounts of the developing identities of the children in the research group, in relation to film. I then demonstrate the distinct and complex understandings of narrative the children were able to express in spaces into which children's film and popular culture were explicitly invited. Here, I focus on children's understandings of both the characteristics of narrative across modes and on the kineikonic mode of film Burn and Parker (2003). Finally, I reflect on the challenges facing children whose primary experiences of narrative are embedded in moving image media when their experiences are not given opportunities for expression in the classroom
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6

Murphy, Kayleigh F. "(Un)dead Japan: A genre analysis of the Japanese zombie film." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/89741/4/Kayleigh_Murphy_Thesis.pdf.

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This study is an in-depth examination of the stylistic and generic characteristics of the Japanese zombie film and its relations to Japanese horror cinema and the conventions and tropes of Western zombie movies more generally. Through generic analysis of key Japanese zombie films released over the last 15 years, this study establishes the sub-genre's ties to transnational production practices and cult cinema. The first monograph length study of this kind, this study provides insight into the growing sub-genre of Japanese zombie films while concurrently broadening current scholarship and understanding of the zombie film genre.
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Rydholm, Gustav. "Recommendation System for Movies." Thesis, KTH, Skolan för elektro- och systemteknik (EES), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-200600.

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8

Тегза, Ксенія Ігорівна. "Flirting strategies in movies." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/18269.

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9

Klochko, S. S., and E. I. Zolotova. "3D movies at home." Thesis, Вид-во СумДУ, 2011. http://essuir.sumdu.edu.ua/handle/123456789/22222.

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During the three-dimensional images - the future of home cinema. However, in order to make this "magic" idea was embodied in practice need to successfully achieve two main objectives: "to equip" the film industry standard equipment to capture and further processing of 3D-video content, available to develop end-user tools for viewing movies in surround format, 3D Full HD . And although the three-dimensional image has not won a home theater, a time when every "home-cinema-goer will receive the opportunity to watch three-dimensional movies at home, getting closer. When you are citing the document, use the following link http://essuir.sumdu.edu.ua/handle/123456789/22222
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10

Hinde, Stephen John. "Attention while watching movies." Thesis, University of Bristol, 2017. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.707756.

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11

McKendry, Rebekah W. "The Implementation and Emulation of Cult Movie Marketing." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4605.

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Cult media is often an area of media studies that is difficult to define. Cult media branches through numerous time periods, genres, and fandom patterns. Cult trends are also constantly evolving over time, changing from word-of-mouth and point-of-sale advertising to social networks and Internet culture. But have the rudimentary basics of how media cults develop and spread their message changed along with the progressing marketing presentation? This dissertation explores the definition of media cults, their history, and marketing styles over time, ultimately exploring the tools utilized to market cult media and examine how these tools are now synthetically applied to many media products in hopes of garnering a passionate cult audience.
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12

Zabaleta, de Larrañaga Iñaki. "Using objective data from movies to predict other movies’ approval rating through Machine Learning." Thesis, Högskolan Kristianstad, Fakulteten för naturvetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-22111.

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Machine Learning is improving at being able to analyze data and find patterns in it, but does machine learning have the capabilities to predict something subjective like a movie’s rating using exclusively objective data such as actors, directors, genres, and their runtime? Previous research has shown the profit and performance of actors on certain genres are somewhat predictable. Other studies have had reasonable results using subjective data such as how many likes the actors and directors have on Facebook or what people say about the movie on Twitter and YouTube. This study presents several machine learning algorithms using data provided by IMDb in order to predict the ratings also provided by IMDb and which features of a movie have the biggest impact on its performance. This study found that almost all conducted algorithms are on average 0.7 stars away from the real rating which might seem quite accurate, but at the same time, 85% of movies have ratings between 5 and 8, which means the importance of the data used seems less relevant.
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Lewis, Shane. "Costume in "New Hollywood" movies /." [St. Lucia, Qld.], 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17806.pdf.

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14

Bøe, Cecilie. "Collaborative Filtering for Recommending Movies." Thesis, Norwegian University of Science and Technology, Department of Computer and Information Science, 2007. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-8746.

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There is a significant amount of ongoing research in the collaborative filtering field, with much of the research focusing on how to most accurately give item predictions to a user, based on ratings given by other users with similar rating patterns. The objective of this project is to build movie rating prediction models with a simple and intuitive representation, based on previous work within the area. Important factors are the investigation of the predictive power of these models, and the research on how the use of content information can improve accuracy when the available data is sparse. We show that latent class models provide an expressive, but yet simple way to represent the movie rating scenario, and that the models have great potential when it comes to predictive accuracy. We conclude that the inclusion of additional content features into the models can help improve the accuracy when there is little data available.

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15

Czach, Elizabeth. "Home movies then and now." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0017/MQ47772.pdf.

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Björnsson, Julia, and Sigrid Andersson. "Using Movies in English Teaching." Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-36175.

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This research synthesis investigates the topic of movies in education, and explores advantages and challenges when using movies as a tool for language development in the English classroom. With the framework of language learning theories and methods, scholarly journal articles are synthesized to explore significant themes within this area. There are several advantages relating to the use of movies in language teaching, such as the benefits of multimodality, authentic language input, and knowledge construction. The challenges that might influence the benefits of the use of film as a teaching tool are, for instance, how to create tasks that make the viewing of movies more than just entertainment for learning language and knowledge development.
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Sundqvist, Karolina. "Gender specific language in animated movies." Thesis, Högskolan Dalarna, Engelska, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:du-1325.

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18

Meagher, Mary Elizabeth. "Architecture and the movies : two examples." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/75980.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.
MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH
Includes bibliographical references (p. 125-131).
This thesis is a speculative inquiry into the relationship between movies and architecture, both of which are forms of expression simultaneously particular to the artist who created them and general, illustrative of a larger cultural sensibility. Both reveal a cultural condition: its authorities, its emphases, its concerns: And yet, as forms of expression, they are very different architecture is tactile and spatial, it is the world constructed: movies are two dimensional depictions , they are "the world viewed." But in this, we see that a relationship between them may go beyond the parallels and distinctions of their existence in the culture. Movies are unique among forms of depiction in that, through the arrangement of images in sequence, they represent movement In this, they evoke our own experience in the world and suggest the dynamic complexity of man's relation to built form and space. This thesis will examine two American movies made twenty years apart, for their revelations of a cultural understanding of built form and space. This thesis also has a second intent derived from the first. If we can think of movies as a kind of mirror of popular understanding, can we also think of them as a model, as influencing that understanding?
by Mary Elizabeth Meagher.
M.Arch.
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19

Kim, Jiyeon. "A to Z of Superhero Movies." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1934.

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This project explores the question of originality and appropriation in the creative world by using mashup video as a medium. How can old repetitive stories be deconstructed and transformed into something new? I have created alphabetically ordered montages of shots/scenes containing words/letters from superhero films. By doing so, I do not provide a concrete answer to what is really original in today’s world, but rather encourage the audience to actively participate in the viewing experience of the carefully structured ontology and see the infinite possibility of the modern-day mashup culture.
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20

Aigner, Scott J. "The Power and Influence of Movies." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243793843.

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21

Quinn, Anthony Leo. "Juliet : a role in four movies." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/10580.

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Over a period of sixty years, between 1936 and 1996, there were numerous filmed versions of Shakespeare’s Romeo and Juliet, but four in particular were made for and obtained a worldwide commercial release. George Cukor’s lavish production of 1936 with Norma Shearer as Juliet was the first feature length, big budget, ‘talkie’ of Shakespeare’s play to be made by a major studio and aimed at the cinema going public. Shearer remains, to this day, the only actress of the modern age who was a major film star when cast in the role of Juliet. In direct contrast to this, Renato Castellani’s Anglo Italian neo-realist, retrospective 1954 adaptation featured an unknown Susan Shentall, who had never acted before filming and, on completion of the film, retired and never acted again. Franco Zeffirrelli’s sweeping 1968 production with Olivia Hussey as Juliet was a worldwide commercial success and is still revered by many as being the authoritative film experience of the play. Baz Luhrmann’s1996 version, with Claire Danes playing opposite Leonardo DiCaprio, was initially decried as an affront to Shakespeare’s masterpiece and the director was accused of sacrificing the text for a highly stylised and bombastic shallow content. It is only recently that this film has been viewed by critics and academics alike in a more sympathetic and positive manner. These films, taken individually, present to us a particular performance of the ‘Juliet’ of Shakespeare’s text; but in addition to this they allow us a comparative study of the portrayal of Juliet as a celluloid reflection of the idealised woman shaped by the progressive demands of the contemporary phallocentric society in the western world. Patricia White examined this reflection theory in Feminism and Film and, in turn, referred to the studies of Molly Haskell and Marjorie Rosen in the early 1970s, and quoted them on the basis that film ‘reflects social reality, that depictions of women in film mirror how society treats women, that these depictions are distortions of how women ‘“really are” and what they “really want” ’(White 118). The theory explores the supposition that women are repeatedly and systematically portrayed in a catalogue of images that compels the viewer to see and accept them in a typology of roles which, according to White, reinforces the phallocentric ideology of women as an array of ‘virgins, vamps, victims, suffering mothers, child women and sex kittens’(White 118). A question that therefore arises and which is central to this thesis is how, specifically, has Juliet been portrayed in film? Has the Juliet of the screen been nothing more than an object of visual stimulation, an object of the scopophilic gaze and male sexual fantasy? If this is the case, how does this vary in each of the filmed versions listed? We must also consider how Juliet exists in relation to other characters in the play beyond her direct involvement with Romeo. Juliet’s role is pivotal within the play even though she does not have the most lines. She has a direct influence on Mercutio and his relationship to Romeo, even though Juliet and Mercutio fail to exchange a single line of dialogue in the entire play. Juliet’s relationship with Romeo is altered dramatically in the aftermath of Mercutio’s death. Juliet’s life is also influenced by her relationships with others such as the Nurse and Friar Laurence, each of whom will abandon her at some point in the play. How are these relationships played and interpreted in each of the films in question? One cannot write extensively of Juliet if one limits oneself to writing exclusively of her. Each of these characters and how they are portrayed needs also to be examined. So too must the directors, all male, be examined in some detail. How much do they alter the Juliet of Shakespeare’s text and for what purpose?
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秦彰婧 and Cheung-ching Lina Chun. "Tourism and movies: a study of theme park in CCTV Nanhai TV and movie town." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B41548280.

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Chun, Cheung-ching Lina. "Tourism and movies a study of theme park in CCTV Nanhai TV and movie town /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B41548280.

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24

Berglund, Hanna. "Stereotypes of British Accents in Movies : A Speech Analysis of Character Types in Movies with British Accents." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-33991.

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This essay deals with the use of linguistic stereotypes in three different movies with British accents, namely Harry Potter and the Order of the Phoenix, The Lord of the Rings: The Fellowship of the Ring and Narnia: The Lion the Witch and the Wardrobe, with a main focus on phonology. It investigates whether attitudes towards British accents found in studies about ideological beliefs about accent variation are reflected in the selected movies and discusses the notion of linguistic identity. The essay analyses how studies of perceived prestige and attractiveness of accents correlates to the character types males, females, main heroes, villains, comic relief and mentors in the selected movies. The essay finds a correlation between Received Pronunciation and every character type. It also finds that accents rated high on the discussed lists most often correlate to the character types mentor, villain and hero, while accents lower down on the list correlates with the character types comic relief and villains. The use of accents in these movies is probably intentional and not coincidental.
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French, Emma Jane. "Veneration and irreverance : Hollywood marketing of filmed Shakespeare adaptations in the 1990s." Thesis, University of Winchester, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.274444.

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Jaeger, Sara. "Linguistic Politeness in Children’s Movies. : A quantitative corpus study of politeness expressions in The Movie Corpus." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-91422.

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This study aims to analyze explicit politeness markers such as please and thank you in children’s movies using The Movie Corpus. Differences in use over time as well as between children’s movies and other genres of film are investigated, by extracting a variety of frequencies from the corpus for further analysis. The results show that politeness markers are, and have tended to be, more common in children’s movies than in other genres of film. However, the results also suggest that politeness markers are decreasing in frequency in both children’s movies and in other genres of film, but that the decreases are not consistent throughout all the decades analyzed. The study suggests that we seem to be moving towards a less polite society, or one where implicit politeness markers are preferred over explicit ones. In conclusion, it is suggested that further studies are needed to determine which results of this study that are exclusive to children’s movies rather than suggesting trends in film overall.
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Dittrich, Elisabeth, and Rebecka Karlström. "Musik i Film : The Sound of Movies." Thesis, University of Kalmar, Baltic Business School, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-2444.

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The purpose of this study is to generate a greater understanding of the different ways in which music can be used to build an identity and create image within movies, and also to explain the different impacts this can have on the parties involved. Through the history of movies music has been used as a tool for enhancement and for expression of emotions. Through music the audience relates to personal memories or emotional states and the experience is given a deeper impact, helping to create memorable movie scenes. Certain directors have created a unique identity through the use of music in their movies, and also artists have been brought forward by starring in a soundtrack. What we find interesting, and what is also the discussion in this study, is in what ways this collaboration/artistic expression can be done and what impact it has on the parties involved. This study is made from a qualitative approach based on nine interviews with respondents working in the business of movies and film music, carefully chosen to answer and fulfill our purpose from various perspectives. All the interviews are presented in full length in the appendix, and serves as the base of our analysis. Since our study is made with a qualitative approach, is it not of our intention to generalize the results. Although, we do in the analysis recognize patterns which guide us to our conclusions about film music: the characters, functions and impacts of music in film, and how it generates identity and image. These conclusions are later brought together in our figure, presented in chapter six, through which we intend to clarify and further explain our conclusion.

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28

Benenson, Alexander. "VideoLogo--synthetic movies in a learning environment." Thesis, Massachusetts Institute of Technology, 1990. http://hdl.handle.net/1721.1/64506.

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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1990.
Title as it appears in the June, 1991 M.I.T. Graduate List: Video logo--synthetic movies in a learning environment.
Includes bibliographical references (leaves 106-109).
by Alexander Benenson.
M.S.
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Palerius, Viktor. "Affect analysis for text dialogue in movies." Thesis, Uppsala universitet, Institutionen för informationsteknologi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-353232.

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With the surge of services offering video-on-demand through streaming and the increased competition in the field, the need for the provider of the service to be able to fit its content to its users is important. Machine learning can be utilized to in an automatic fashion find user or movie patterns by looking at features from its data.In this project I create a model with weighting schemes to find affective content from small texts and then explore the potential to also do this for movies by extracting affective features from the movies subtitles. The affective content is determined by using a dictionary with affective labeled words to in a Bag-of-Word fashion score sentences by a dimensional approach with three dimensions called Valence, Arousal and Dominance (V,A,D). The project also consist of a data gathering where two separate datasets are gathered with already V,A,D labeled data, one dataset is found online and the other is self-gathered. These datasets are then used for validation of the affective model and to find the best weighting schema. The best weighting schema is then used to determine affective content during the duration of a movie and utilized to find interesting segment in a movie but also to compare movies and find similarities.I find that the performance of my model is somewhat decent with best scores on the dimensions Valence and Arousal and that there are small difference based on which weighting schema is used for the model. I find that the model shows potential in the movie domain, by finding interesting segments in a movie but also finding scene-similarities between movies. It does however have its limitation by not being able to distinguish genres and missing affective content expressed through visual or audio cues. Finally I argue my model could be incorporated into a larger machine learning model to determine similarities in movies or find user patterns but it also requires similar models to determine affective content from the audio and visual in the movie
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Fedorchenko, Ilya. "Short history of computer graphics in movies." Thesis, Київський національний університет технологій та дизайну, 2019. https://er.knutd.edu.ua/handle/123456789/13178.

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Dossoumon, Mafoya. "Class and Gender Representation in Nollywood Movies." Thesis, Southern Illinois University at Edwardsville, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1549813.

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This study examines class and gender representations in Nollywood films through textual analysis of a sample of films retrieved from the website of the largest Nollywood streaming service, irokoTV. The study investigates patterns in class and gender representations in terms of similarities in portrayals, instances of stereotypes, and value assumptions in terms of who has power by answering the following questions: (1) What class stereotypes are portrayed in Nollywood films? (2) What gender stereotypes are portrayed in Nollywood films? (3) What hegemonic ideas of power are portrayed in Nollywood films as a result of class and gender representations? The study uses an exposure approach to select a sample of convenience of the top 5 films most attended to by the audience on iROKOtv and relies on close reading and a distancing technique called the "commutation test" to discuss the meaning of class and gender representations in the films. Findings indicate that even when they appear to subvert dominant ideologies, the films still reinforce long established societal norms about the importance of wealth and female gender stereotypes such as submissiveness in domestic households. The tales are often aspirational but the films lack grand ideological narratives to make them relevant to social transformation. These findings support Stuart Hall's Theory of Ideology which allows for a subversive agenda in media texts while retaining the flexibility needed to critique connections between dominant ideologies and social practices and structures.

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Baveye, Yoann. "Automatic prediction of emotions induced by movies." Thesis, Ecully, Ecole centrale de Lyon, 2015. http://www.theses.fr/2015ECDL0035/document.

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Jamais les films n’ont été aussi facilement accessibles aux spectateurs qui peuvent profiter de leur potentiel presque sans limite à susciter des émotions. Savoir à l’avance les émotions qu’un film est susceptible d’induire à ses spectateurs pourrait donc aider à améliorer la précision des systèmes de distribution de contenus, d’indexation ou même de synthèse des vidéos. Cependant, le transfert de cette expertise aux ordinateurs est une tâche complexe, en partie due à la nature subjective des émotions. Cette thèse est donc dédiée à la détection automatique des émotions induites par les films, basée sur les propriétés intrinsèques du signal audiovisuel. Pour s’atteler à cette tâche, une base de données de vidéos annotées selon les émotions induites aux spectateurs est nécessaire. Cependant, les bases de données existantes ne sont pas publiques à cause de problèmes de droit d’auteur ou sont de taille restreinte. Pour répondre à ce besoin spécifique, cette thèse présente le développement de la base de données LIRIS-ACCEDE. Cette base a trois avantages principaux: (1) elle utilise des films sous licence Creative Commons et peut donc être partagée sans enfreindre le droit d’auteur, (2) elle est composée de 9800 extraits vidéos de bonne qualité qui proviennent de 160 films et courts métrages, et (3) les 9800 extraits ont été classés selon les axes de “valence” et “arousal” induits grâce un protocole de comparaisons par paires mis en place sur un site de crowdsourcing. L’accord inter-annotateurs élevé reflète la cohérence des annotations malgré la forte différence culturelle parmi les annotateurs. Trois autres expériences sont également présentées dans cette thèse. Premièrement, des scores émotionnels ont été collectés pour un sous-ensemble de vidéos de la base LIRIS-ACCEDE dans le but de faire une validation croisée des classements obtenus via crowdsourcing. Les scores émotionnels ont aussi rendu possible l’apprentissage d’un processus gaussien par régression, modélisant le bruit lié aux annotations, afin de convertir tous les rangs liés aux vidéos de la base LIRIS-ACCEDE en scores émotionnels définis dans l’espace 2D valence-arousal. Deuxièmement, des annotations continues pour 30 films ont été collectées dans le but de créer des modèles algorithmiques temporellement fiables. Enfin, une dernière expérience a été réalisée dans le but de mesurer de façon continue des données physiologiques sur des participants regardant les 30 films utilisés lors de l’expérience précédente. La corrélation entre les annotations physiologiques et les scores continus renforce la validité des résultats de ces expériences. Equipée d’une base de données, cette thèse présente un modèle algorithmique afin d’estimer les émotions induites par les films. Le système utilise à son avantage les récentes avancées dans le domaine de l’apprentissage profond et prend en compte la relation entre des scènes consécutives. Le système est composé de deux réseaux de neurones convolutionnels ajustés. L’un est dédié à la modalité visuelle et utilise en entrée des versions recadrées des principales frames des segments vidéos, alors que l’autre est dédié à la modalité audio grâce à l’utilisation de spectrogrammes audio. Les activations de la dernière couche entièrement connectée de chaque réseau sont concaténées pour nourrir un réseau de neurones récurrent utilisant des neurones spécifiques appelés “Long-Short-Term- Memory” qui permettent l’apprentissage des dépendances temporelles entre des segments vidéo successifs. La performance obtenue par le modèle est comparée à celle d’un modèle basique similaire à l’état de l’art et montre des résultats très prometteurs mais qui reflètent la complexité de telles tâches. En effet, la prédiction automatique des émotions induites par les films est donc toujours une tâche très difficile qui est loin d’être complètement résolue
Never before have movies been as easily accessible to viewers, who can enjoy anywhere the almost unlimited potential of movies for inducing emotions. Thus, knowing in advance the emotions that a movie is likely to elicit to its viewers could help to improve the accuracy of content delivery, video indexing or even summarization. However, transferring this expertise to computers is a complex task due in part to the subjective nature of emotions. The present thesis work is dedicated to the automatic prediction of emotions induced by movies based on the intrinsic properties of the audiovisual signal. To computationally deal with this problem, a video dataset annotated along the emotions induced to viewers is needed. However, existing datasets are not public due to copyright issues or are of a very limited size and content diversity. To answer to this specific need, this thesis addresses the development of the LIRIS-ACCEDE dataset. The advantages of this dataset are threefold: (1) it is based on movies under Creative Commons licenses and thus can be shared without infringing copyright, (2) it is composed of 9,800 good quality video excerpts with a large content diversity extracted from 160 feature films and short films, and (3) the 9,800 excerpts have been ranked through a pair-wise video comparison protocol along the induced valence and arousal axes using crowdsourcing. The high inter-annotator agreement reflects that annotations are fully consistent, despite the large diversity of raters’ cultural backgrounds. Three other experiments are also introduced in this thesis. First, affective ratings were collected for a subset of the LIRIS-ACCEDE dataset in order to cross-validate the crowdsourced annotations. The affective ratings made also possible the learning of Gaussian Processes for Regression, modeling the noisiness from measurements, to map the whole ranked LIRIS-ACCEDE dataset into the 2D valence-arousal affective space. Second, continuous ratings for 30 movies were collected in order develop temporally relevant computational models. Finally, a last experiment was performed in order to collect continuous physiological measurements for the 30 movies used in the second experiment. The correlation between both modalities strengthens the validity of the results of the experiments. Armed with a dataset, this thesis presents a computational model to infer the emotions induced by movies. The framework builds on the recent advances in deep learning and takes into account the relationship between consecutive scenes. It is composed of two fine-tuned Convolutional Neural Networks. One is dedicated to the visual modality and uses as input crops of key frames extracted from video segments, while the second one is dedicated to the audio modality through the use of audio spectrograms. The activations of the last fully connected layer of both networks are conv catenated to feed a Long Short-Term Memory Recurrent Neural Network to learn the dependencies between the consecutive video segments. The performance obtained by the model is compared to the performance of a baseline similar to previous work and shows very promising results but reflects the complexity of such tasks. Indeed, the automatic prediction of emotions induced by movies is still a very challenging task which is far from being solved
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33

Svensson, Peter, and Youssef Taoudi. "Labeling Moods of Movies by Processing Subtitles." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-254547.

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Labeling movies by moods is a feature that is useful for recommendation engines in modern movie streaming applications. Movie recommendation based on moods is a feature that could improve user experience for movie streaming platforms by recommending more relevant movies to users. This thesis describes the development of a mood labeling feature that labels movies by processing movie subtitles through Natural Language Processing. Movies are processed by analysing subtitles to predict the mood of a movie through computational methods. The prototype utilizes movies pre-labeled with moods to construct a lexicon that contains information of the defining attributes for moods in movie subtitles. Using the constructed lexicon, the similarities between a movie subtitle and a lexicon can be compared to calculate the probability that a movie belongs to a specific mood. Four moods were chosen for analysis in the prototype: fear, sadness, joy, and surprise.The Naive Bayes method was chosen as the classifier for the prototype. A Naive Bayes classifier observes each occurring word in a movie without consideration to the context of the word in a text or sentence. The results showed that the classifier had trouble distinguishing between the moods. However, for all configurations of the prototype, the classifier showed higher precision for the mood fear compared to the other moods. Overall the classifier performed poorly and did not produce a reliable result.
Klassificering av filmer via stämning är en funktion som är användbar för rekommendationsmotorer i moderna filmströmmingsprogram. Filmrekommendation baserad på stämning är en funktion som kan förbättra användarupplevelsen på filmströmmande plattformar genom att rekommendera mer relevanta filmer till användarna. Denna uppsats beskriver utvecklingen av en prototyp för att klassificera filmer efter deras stämning genom att bearbeta filmens undertexter med hjälp av metoder inom språkteknologi. Filmer bearbetas genom att analysera undertexter för att avgöra stämningen hos en film. Prototypen använder filmer som är fördefinierade med stämning för att konstruera ett lexikon som innehåller information om de definierande egenskaperna för en stämning i filmtexter. Med hjälp av ett konstruerat lexikon kan likheterna mellan en filmtextning och ett lexikon jämföras för att beräkna sannolikheten för att en film tillhör en viss stämning. Fyra stämningar valdes för analys i prototypen: rädsla, sorg, glädje och överraskning.Navie Bayes-metoden valdes som klassificeringsmedel för prototypen. En Naive Bayes-klassificerare observerar varje förekommande ord utan hänsyn till ordets sammanhang i en mening eller text. Resultaten visade att klassificeringen hade problem att skilja mellan stämningarna. För samtliga konfigurationer av prototypen visade klassificeringsenheten dock högre precision för rädsla jämfört med de andra stämningarna. Sammantaget presterade klassificeraren dåligt och gav inte ett tillförlitligt resultat.
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D'souza, Ryan A. "Representations of Indian Christians in Bollywood Movies." Scholar Commons, 2019. https://scholarcommons.usf.edu/etd/7772.

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This dissertation uses discursive formation as the methodological approach to examine representations of Indian Christians in eleven Bollywood movies released during the 2004-2014 decade. The decade witnessed the exit and eventual re-entry of the Hindu Right, and the citizenry during that period experienced centrist, liberal, and secular governance. Since the present of Indian Christianity is inextricable from a colonial past, and Bollywood emerges in response to colonialism, a postcolonial intervention in methodology and theory is undertaken. A postcolonial perspective illuminates the discourses that enable the formation of the postcolonial nation, i.e., the ways a nation imagines its culture, people, traditions, boundaries, and Others. There is a suggested relationship between the representations of Indian Christians in Bollywood movies and the decade of secular governance because the analysis is approached from the position that culture and media produce and re-produce each other. The representations of Christians in Bollywood movies are a product of contemporary and historical cultural, legal, political, and social discourses. This dissertation demonstrates that representations of Christians as hypersexual women and emasculated men within an emergent Hindu modernity discursively constructs India as a Hindu nation, and Christians as the westernized Other. The theoretical contributions pertain to belonging in the nation through homonationalism and hypersexualization; the relationship between democratic representations and media; the postcolonial ambivalent identity of the Bollywood industry because of way it represents Indian Christians in response to colonialism; and the Indian Christian community’s postcolonial identity as a way to make sense of their contemporary and historical identity.
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Connors, Melanie R. (Melanie Rose). "Chutzpah: A Screenplay." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc501215/.

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CHUTZPAH is a romantic movie set in Manhattan. The events surrounding the death of a wealthy eccentric cumulate into a farcical search for the old man's fortune when it is stolen shortly after his funeral. Ellen, the protagonist, hires a detective to find out who stole her grandfather's money (a substantial sum of which was willed to her). As Mark, the detective, works on the case, a relationship between him and Ellen develops, and the search for the money becomes secondary. Ellen's charm and her relationship with her zany Yiddish relatives endear her to Mark while they together find chutzpah in disaster.
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36

Olhans, Ida. "Movies to enhance listening comprehension in theEFL classroom." Thesis, Högskolan Dalarna, Engelska, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27440.

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Movies are an occurring feature in EFL classrooms in Sweden, as well as exercises seeking to practice listening comprehension, although, there are few studies which combine the two together. The aim for this literature review was to analyse the use of film for listening comprehension development in EFL classrooms. The results show that movies can help students reach higher levels of listening because students felt more motivated and they became more active. The results also show further that teachers can help students reach higher levels of listening comprehension by using various features such as pauses, activities before, during and after the movie etc. The results also show that listening comprehension is a somewhat “take n for granted skill” which needs to be researched more about, specifically the importance of listening comprehension in the context of the other skills.
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Lau, Tsz-wan Christal. "Ethics in the production of Hong Kong movies." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/HKUTO/record/B39559105.

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Nielsen, Bianca. "Werewolves, mothers and femmes fatales: Girl power movies." Thesis, University of Canterbury. American Studies, 2004. http://hdl.handle.net/10092/4792.

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This dissertation analyses a collection of contemporary girl power movies and places these texts within an historical generic context. In "Pleasures and Problems of the ‘Angry Girl,’" Kimberley Roberts defines the phenomenon of girl power as "a structure of beliefs and a set of consumer practices that centre on the individual teenage girl's power to effect change in her universe" (217-8). Roberts outlines that the "heroines of the girl power era of the 1990s are 'pissed off and ready to do something about it'" and that "they are fighters who combat the forces against them, unapologetically and often violently" (217). Since Roberts's analysis of girl power in Freeway, there has been little academic discussion on the phenomenon in Hollywood products. While the idea that "women's films" exhibit the potential for social criticism is not new, there is yet to be a substantial project that explores female characters and their "combat" with the "forces against them" in recently released film products. Roberts's definition of girl power can be applied to a series of films produced during the mid to late nineties and first few years of the new millennium. Many films produced during this timeframe depict strong female protagonists who fight the forces of patriarchal culture "unapologetically and often violently."
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Lau, Tsz-wan Christal, and 劉芷韻. "Ethics in the production of Hong Kong movies." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B39559105.

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PASSARELLI, CARLOS ANDRE FACCIOLLA. "FRAMED BODIES: AIDS AND CORPORALITY IN NARRATIVE MOVIES." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=10161@1.

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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Este estudo busca investigar o imaginário social formado sobre o corpo das pessoas afetadas pela Síndrome de Imunodeficiência Adquirida (AIDS) e criado a partir de filmes narrativos produzidos durante os últimos 26 anos. Em um primeiro momento, discorro sobre os modos de subjetivação corporal, a partir do referencial teórico estabelecido por Mikhail Bakhtin, pela fenomenologia de Merleau-Ponty e pelos estudos de Michel Foucault sobre a história da sexualidade e a biopolítica. A construção de um marco referencial para a metodologia desta pesquisa me foi possível a partir, de um lado, da leitura de autores que se debruçaram sobre as relações entre subjetividade e cinema e, de outro, dos textos sobre o papel da linguagem na constituição da subjetividade. Desse modo, a análise dos filmes pesquisados busca identificar as imagens, representações, metáforas e sentidos construídos desde o início da epidemia, por meio de um diálogo entre essas produções culturais e autores que se dedicaram à pesquisa dos discursos sobre a epidemia no âmbito da ciência médica e do ativismo político em AIDS. Situo, então, o conjunto de representações sobre a epidemia e sua relação com a corporeidade em quatro categorias: a) a dificuldade em fazer sentido à experiência da doença, na medida em que ela não se faz notar no corpo; b) a relação do sujeito com os sintomas que surgem no corpo, de modo que a doença se faz visível, para o doente e para o outro; c) as possíveis reações diante da sensação da morte eminente devido à deterioração do corpo, e as respostas subjetivas em face da culpa e do preconceito social e; d) as estratégias de resistência que não tentam burlar a morte, mas atribuir- lhe sentidos, implicando a corporeidade num ativo processo de produção, de poder.
This study tends to investigate the social imagery created upon the body of the people affected by the Acquired Immune Deficiency Syndrome (AIDS) and formed from narrative films featured during the last 26 years. Firstly, I discuss about the bodily subjectivity processes, from the theoretical framework established by Mikhail Bakhtin, through the Merleau- Ponty´s phenomenology and in the course of Michel Foucault´s studies over the history of sexuality and biopolitics. The reading of the authors who dedicated their attention to the interconnections among subjectivity and cinema, as well as the ones who discussed the language´s role within the constitution of the subjectivity, offered me the basis for this research´s methodological framework. Thus, the selected films´ analysis tries to identify the images, representations, metaphors and meanings that were collectively built since the beginning of the epidemic, throughout a dialogue among these cultural productions and the authors who were interested on the discourses over the epidemic, within the medical science and the political AIDS activism. I locate, then, the assemblage of representations over AIDS and their relation with corporality into four categories, as follows: a) the difficult to make sense to the experiences related to illness, as long as it is not perceived within the affected body; b) the subject´s relation with the symptoms which appear alongside the body, making visible the disease, for the wronged as well as for the other; c) the possible reactions in face of imminent death , and the subjective responses to deal with the guilty and the social prejudice and; d) the resistance strategies that don´t try to overcome death, but, instead, search for new meanings to it, by implicating the corporality in an active production process, of power.
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41

Bove, V. Michael. "Synthetic movies derived from multi-dimensional image sensors." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/64847.

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42

Evans, Ryan George. "LogBoy meets FilterGirl--a toolkit for multivariant movies." Thesis, Massachusetts Institute of Technology, 1994. http://hdl.handle.net/1721.1/29073.

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43

Kattelman, Beth A. "Magic, monsters and movies : America's midnight ghost shows /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488192960167788.

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44

Black, Liza. "Picturing Indians : American Indians in movies, 1941-1960 /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/10418.

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45

Moraes, Isadora Teixeira. "Subtitling of collocational patterns in children's animated movies." reponame:Repositório Institucional da UFSC, 2015. https://repositorio.ufsc.br/xmlui/handle/123456789/135996.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Inglês: Estudos Linguísticos e Literários, Florianópolis, 2015.
Made available in DSpace on 2015-11-03T03:09:06Z (GMT). No. of bitstreams: 1 335756.pdf: 1527881 bytes, checksum: 0f0e255fab0f2d3d25a76eed052aaa7f (MD5) Previous issue date: 2015
Abstract : Due to technological innovations and to globalization, the translation of movies, or more specifically, audiovisual translation, has become an ever more common type of translation. However, most of the studies in the area focus on the technicalities involved in the activity, not taking into account the linguistic aspects of translation (Díaz Cintas & Remael, 2007). For that reason, little is known about the challenges and limitations of subtitling, and this area is constantly a target of criticism on its so called ?quality? (Carvalho, 2007). Following a descriptive approach (Toury, 2012), this research aims at uncovering the translation strategies (as defined by Chesterman, 1997; Pedersen, 2005; and Costa, 2014) used by subtitlers while rendering certain language patterns, namely collocations, from American English into Brazilian Portuguese. It takes on the methodological apparatus of corpus-based studies as they enable the processing of large quantities of data quickly and automatically. The corpus is made up of three children?s animated movies (Ice Age, Shrek and Toy Story), the subtitles of which were inserted in COPA-TRAD (Fernandes & Silva, 2013) ? a translation parallel corpus ? and analyzed following Pedersen?s (2005) classification of translation strategies for cultural expressions in subtitles. It was found that, most of the time, subtitlers will attempt to maintain the cultural expression in the translation or, at least, maintain its meaning, despite facing difficulties when dealing with puns and wordplay. In this sense, it can be attested that subtitlers were overall creative and innovative, possibly because of the movie genre they were working on ? animation. These results also show the unfounded nature of the criticism usually aimed this type of audiovisual translation.

Graças aos avanços tecnológicos e à globalização, a tradução de filmes, ou mais especificamente, a tradução audiovisual, se tornou um tipo de tradução cada vez mais comum. No entanto, a maior parte das pesquisas feitas na área foca nas tecnicalidades envolvidas nessa atividade, sem levar em conta os aspectos linguísticos da tradução (Díaz Cintas e Remael, 2007). Por esse motivo, não se sabe muito sobre os desafios e as limitações da legendagem, e não raro esta área é alvo constante de críticas relacionadas à sua  qualidade (Carvalho, 2007). Seguindo uma abordagem descritivista (Toury, 1995), espera-se descobrir as estratégias de tradução (como definidas por Chesterman, 1997; Pedersen, 2005; e Costa, 2014) utilizadas por legendadores na tradução de determinados padrões linguísticos, ou colocações, do inglês americano para o português brasileiro. A metodologia aplicada é a dos estudos com base em corpus, já que estes permitem o processamento de grandes quantidades de dados de maneira rápida e automática. O corpus é composto por três filmes infantis de animação (A Era do Gelo, Shrek e Toy Story), cujas legendas foram inseridas no COPA-TRAD (Fernandes e Silva, 2013)  um corpus paralelo de tradução  e analisadas seguindo a classificação de estratégias de tradução de expressões culturais em legendas de Pedersen (2005). Descobriu-se que, na maioria das vezes, os legendadores tentam manter a expressão cultural na tradução ou, ao menos, manter seu significado, apesar de enfrentarem dificuldades ao lidarem com trocadilhos e jogos de palavras. Nesse sentido, pode-se afirmar que os legendadores foram em geral criativos e inovadores, possivelmente devido ao gênero dos filmes em que trabalharam  animação. Esses resultados mostram também a natureza infundada das críticas que são geralmente direcionadas a esse tipo de tradução audiovisual.
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46

Chu, Eric S. M. Massachusetts Institute of Technology. "Feeling is believing : viewing movies through emotional arcs." Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/112910.

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Thesis: S.M., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2017
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 121-126).
This thesis uses machine learning methods to construct emotional arcs in movies, calculate families of arcs, and demonstrate the ability for certain arcs to predict audience engagement. The system is applied to Hollywood films and high quality shorts found on the web. We begin by harnessing deep convolutional neural networks for audio and visual sentiment analysis. These models are trained on both new and existing large-scale datasets, after which they can be used to compute separate audio and visual emotional arcs for any video. We then crowd source annotations for 30-second video clips extracted from highs and lows in the arcs in order to assess the micro-level precision of the system. Precision is measured in terms of agreement in polarity between the system's predictions and annotators' ratings. The final model combining audio and visual features achieves a precision of 0.894. Next, we look at macro-level characterizations of movies by investigating whether there exist 'universal shapes' of emotional arcs. In particular, we develop a clustering approach to discover distinct classes of emotional arcs. Finally, we show on a sample corpus of short web videos that certain emotional arcs are statistically significant predictors of the number of comments a video receives. These results suggest that the emotional arcs learned by our approach successfully represent macroscopic aspects of a video story that drive audience engagement. Such machine understanding could be used to predict audience reactions to video stories, ultimately improving our ability as storytellers to communicate with each other.
by Eric Chu.
S.M.
S.M. Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences
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47

Ryan, Cyril. "Black movie : five picture deal to make gun movies." Thesis, 1996. http://spectrum.library.concordia.ca/2626/1/MM18434.pdf.

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48

Chen, Shenk-Kun, and 陳聖昆. "Influence of movie elements on consumer’s intention to watch movies." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/3wjk69.

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碩士
淡江大學
企業管理學系碩士在職專班
102
The primary objective of this study was to investigate the influence of movie elements on consumer’s intention to watch movies. The second objective was to evaluate the difference in movie elements among different types of movies. The third objective was to determine the difference in consumer’s intention to watch movies among consumer characteristics. The object of the study is the group of film-goers with the viewing experience. We preceded the questionnaires either by internet or by paper from Feb. 14, 2014 to March 30, 2014. , and distributed 254 questionnaires in total. The 134 questionnaires of which, accounting for 53%, were collected through internet while the remaining 120 were completed by paper.A total of 254 usable samples were retrieved and used for descriptive analysis, factor analysis, reliability analysis, construct validity, t test, analysis of variance (ANOVA), and regression analysis. The study investigated four film categories, with individual element affecting the film editing, which are epic costume film, horror suspense detective film, action war and science fiction film and social problem gangster film. The findings indicate that the movie-goers prefer to view the category of action war and science fiction film. Therefore, this category of film could be the main theme in film editing in the future to help promote the viewer’s will and, therefore, increase the amount of viewers. The results suggest that movie elements have significant impact on consumer’s intention to watch movies. In addition, the difference in movie elements exists among different types of movies. Finally, the findings indicate that the difference exist in consumer’s intention to watch movies among different consumer characteristics. The study also shows the following key results: 1. The elements of movies influence consumer’s intention to watch movies. 2. The categories of film are associated with the elements of movies. 3. The characteristics of film viewers influence their intention to watch movies.
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49

Tseng, Chun-Ling, and 曾俊綾. "The emotional response and affective feeling of Moving/Touching movies." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/hc5n4q.

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碩士
國立交通大學
傳播研究所
106
Why people cry when they feel good feeling? There is the power of the moving movie that people feel good feeling but crying. What is moving movie? People always say I feel moved/touched or the movie make me moved/touched. However, few studies discuss moving movie. Most of studies focus the question is “what makes people moved”, but few people defined what moving movie is. Furthermore, many study discussed sad movie, but the experimental stimulus they used make people feel moved. In this study, based on these sad movie, I defined the moving movie is the story about social realization and self-realization. Social realization is about altruism, social bonding and prosocial behaviors. Self-realization is about self-ideal, which is people face difficulties, and they still work hard for their purpose. Some researcher think happy ending of story let people transfer negative feelings to positive affects, so I also consider whether people feel different emotion in different endings. Moving movie makes people feel mixed emotion, then people appraisal the content. After the process of cognitive appraisal, people feel moved, enjoyment and appreciation. The experiment employed a mixed design that is two between factors 2(Social realization/Non-social realization) X2 (happy/sad ending), and repeated factor X (two trials). The study found the story about social realization makes people moved/touched. People’s enjoyment, appreciation and moved are no difference in happy or sad ending. There is not significant effect in mediate factor that is cognitive appraisal.
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50

Wu, Yu-Li, and 吳玉麗. "This is Not a Romance Movie: Genre and Cultural Implications of Movies." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/jgmc3s.

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