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Books on the topic 'Video content analysis'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 January 2023

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1

Li, Ying, and C. C. Jay Kuo. Video Content Analysis Using Multimodal Information. Boston, MA: Springer US, 2003. http://dx.doi.org/10.1007/978-1-4757-3712-7.

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2

Content-based analysis of digital video. Boston, MA: Kluwer Academic Publishers, 2004.

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3

Li, Ying. Video content analysis using multimodal information: For movie content extraction, indexing, and representation. Boston, MA: Kluwer Academic Publishers, 2003.

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4

Li, Ying. Video Content Analysis Using Multimodal Information: For Movie Content Extraction, Indexing and Representation. Boston, MA: Springer US, 2003.

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5

Jay, Kuo C. C., ed. Video content analysis using multimodal information: For movie content extraction, indexing, and representation. Boston, Mass: Kluwer Academic Publishers, 2003.

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6

Bernard, Merialdo, and Lian Shiguo, eds. TV content analysis: Techniques and applications / Yiannis Kompatsiaris, Bernard Merialdo, and Shiguo Lian. Boca Raton, FL: Taylor & Francis, 2012.

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7

Coelho, Alessandra Martins. Multimedia Networking and Coding: State-of-the Art Motion Estimation in the Context of 3D TV. Cyprus: INTECH, 2013.

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8

(Korea), Kungnip Pangjae Yŏn'guso. Chinŭnghyŏng yŏngsang chŏngbo insik kisul ŭl iyong han chaenan kwalli kodohwa kibŏp kaebal =: Advancement of disaster management techniques for intelligent video contents analysis. Sŏul T'ŭkpyŏlsi: Kungnip Pangjae Kyoyugwŏn Yŏn'guwŏn, Pangjae Yŏn'guso, 2010.

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9

Soriano, Cheryll Ruth, and Earvin Charles Cabalquinto. Philippine Digital Cultures. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463722445.

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Social media platforms have been pivotal in redefining the conduct of contemporary society. Amid the proliferation of a range of new and ubiquitous online platforms, YouTube, a video-based platform, remains a key driver in the democratisation of creative, playful, vernacular, intimate, as well as political expressions. As a critical node of contemporary communication and digital cultures, its steady uptake and appropriation in a social media-savvy nation such as the Philippines requires a critical examination of its role in the continued reconstruction of identities, communities, and broader social institutions. This book closely analyses the diverse content and practices of amateur Filipino YouTubers, exposing and problematising the dynamics of brokering the contested aspirational logics of beauty and selfhood, interracial relationships, world-class labour, and progressive governance in a digital sphere. Ultimately, Philippine Digital Cultures: Brokerage Dynamics on YouTube offers a fresh, compelling, and nuanced account of YouTube as an important site for the mediation of culture, economy, and politics in Philippine postcolonial modernity amid rapid economic globalisation and digitalisation.
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10

Hanjalic, Alan. Content-Based Analysis of Digital Video. Springer, 2004.

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11

Hanjalic, Alan. Content-Based Analysis of Digital Video. Springer, 2013.

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12

Content-Based Analysis of Digital Video. Boston: Kluwer Academic Publishers, 2004. http://dx.doi.org/10.1007/b106003.

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13

Hanjalic, Alan. Content-Based Analysis of Digital Video. Springer, 2013.

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14

Hanjalic, A. Content-Based Analysis of Digital Video. Kluwer Academic Publishers, 2004.

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15

Kuo, C. C. Jay, and Ying Li. Video Content Analysis Using Multimodal Information: For Movie Content Extraction, Indexing and Representation. Springer, 2003.

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16

Lian, Shiguo, Yiannis Kompatsiaris, and Bernard Merialdo. TV Content Analysis: Techniques and Applications. Taylor & Francis Group, 2012.

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17

Lian, Shiguo, Yiannis Kompatsiaris, and Bernard Merialdo. TV Content Analysis: Techniques and Applications. Auerbach Publishers, Incorporated, 2012.

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18

Lian, Shiguo, Yiannis Kompatsiaris, and Bernard Merialdo. TV Content Analysis: Techniques and Applications. Auerbach Publishers, Incorporated, 2012.

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19

Lian, Shiguo, Yiannis Kompatsiaris, and Bernard Merialdo. TV Content Analysis: Techniques and Applications. Auerbach Publishers, Incorporated, 2012.

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20

Lian, Shiguo, Yiannis Kompatsiaris, and Bernard Merialdo. TV Content Analysis: Techniques and Applications. Auerbach Publishers, Incorporated, 2012.

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21

Short, Deborah J., Jana J. Echevarria, and MaryEllen J. Vogt. Making Content Comprehensible for English Learners: The SIOP Model with Enhanced Pearson EText with Video Analysis Tool -- Access Card Package. Pearson Education Canada, 2016.

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22

Korsgaard, Mathias Bonde. Music Video Transformed. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.015.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter asks what music video has become today and how its audiovisual aesthetics have changed online. It suggests that music videos generally through process of remediation content more actively than any other media form, performing the dual function of “visualizing music” (by recasting a song visually) and “musicalizing vision” (by structuring images according to musical logic). The discussion identifies and provides an overview of several new music video types that have come into existence online, placing them in five categories. In particular, the chapter focuses on interactive music videos and music video apps through close analyses of both Arcade Fire’s interactive video “We Used to Wait” and Björk’s interactive “app album”Biophilia. Both of these actively challenge what we have come to expect of music videos while still performing some familiar functions, prompting us to consider whether they are even music videos.
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23

Borelli, Melissa Blanco, ed. The Oxford Handbook of Dance and the Popular Screen. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.001.0001.

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This anthology offers contemporary perspectives on dance in the context of the popular screen. It analyzes the role played by the dancing body in popular culture and its multi-layered meanings in film, television, music videos, video games, commercials, and Internet sites such as YouTube. It explores how dance and choreography function within the filmic apparatus, and how the narrative, dancing bodies, and/or dance style set in motion multiple choreographies of identity such as race, gender, sexuality, class, and nation. It also considers the types of bodies that are associated with specific dances and their relation to power, access, and agency, as well as the role(s) of a specific film in the genealogy of Hollywood dance films. The book is divided into five sections that examine dance in films such asMoulin Rouge!, Dance Girl Dance, Dirty Dancing, and Save the Last Dance; the different aspects of commercial dance films in the context of identity politics, technology, commercialism, and the politics of moving bodies; how dance and its practice are constructed in films as a form of self-discovery and individual expression; the impact of music videos on popular dance and its dissemination; and how dance video games such as Dance Central influence concepts of choreography, embodiment, and dance pedagogy.
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24

Maler, Anabel. Musical Expression among Deaf and Hearing Song Signers. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.4.

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Deaf people are often portrayed as living in a world of silence, cut off both from experiencing musical works and from musical expression. There are, however, many different forms of musical expression in Deaf culture, including “song signing.” This essay explores the idea that deafness, rather than being a disadvantage for musical expression, actually enables distinctive musical performances within the context of song signing. The first section surveys the different varieties of signed song performance, the second contains analyses of videos, and the third compares the Deaf and hearing song-signing communities. Analysis of multiple song-signing videos reveals that deaf and hearing song signers exploit different techniques in expressing themselves musically. The analyses explore the signers’ principal differences in terms of communication, use of space, and rhythmic techniques. The videos analyzed throughout the article reveal how both deafness and hearing can be musical resources in the context of song-signing performance.
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25

Barradas Jorge, Nuno. ReFocus: The Films of Pedro Costa. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474444538.001.0001.

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This is the first English-language study of internationally acclaimed Portuguese filmmaker Pedro Costa, examining the cultural, production and exhibition contexts of his feature films, shorts and video installations. It situates Costa’s filmmaking within the contexts of Portuguese, European and global art film, looking into his working practices alongside the impact of digital video, forms of collaborative authorship, and the intricate dialogue between modes of production and aesthetics. Considering the exhibition, circulation and reception of Costa’s creative output in settings such as film festivals, the art gallery circuit and the home video market, ReFocus: The Films of Pedro Costa provides an essential critical analysis of this major filmmaker – as well as of the multifaceted production and consumption practices that surround contemporary art cinema.
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26

Bavelas, Janet Beavin. Face-to-Face Dialogue. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190913366.001.0001.

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Face-to-face dialogue is the basic and universal form of language use, from everyday life to professional interactions. This book, written for a range of readers from researchers to practitioners, presents a program of research into the key features that make face-to-face dialogue unique: First, interacting in dialogue is highly reciprocal, with constant moment-by-moment interchanges. Dialogues that are face-to-face are also multimodal, combining speech with hand and facial gestures (including gaze) that contribute to both the content and the coordination of a dialogue. The book starts with two essential changes of focus, from individuals to interactions and from nonverbal communication to co-speech gestures. These lead to a wide variety of video-based experiments into how dialogue works, always from an interactional rather than an individual perspective. Results include the influence of the listener on the speaker, the importance of co-speech gestures in the coordination and management of dialogue, and an empirically supported model of mutual understanding as a constant, three-step micro-process of co-construction. Finally, there are applications to dialogues in a variety of practical settings, including psychotherapy, computer-mediated communication, infant autism, and medical consultations. Because microanalysis of even the most ordinary face-to-face dialogue reveals precision and skill on a second-by-second level, virtually every study includes examples from actual dialogues, and a supplementary website provides video analysis of these examples, which brings the details of face-to-face dialogue to life.
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27

Edwards, Michael, John Kitchen, Nikki Moran, Zack Moir, and Richard Worth. Fundamentals of Music Theory. The University of Edinburgh, 2021. http://dx.doi.org/10.2218/ed.9781912669226.

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This open e-book is the result of a project funded by a University of Edinburgh Student Experience Grant, Open e-Textbooks for access to music education. The project was a collaboration between Open Educational Resources Service, and staff and student interns from the Reid School of Music. As a proof-of-concept endeavour, the project aimed to explore how effectively we could convert existing course content into convenient and reusable open formats suitable for use by staff and students both within and beyond the University. The resulting e-book presents open licensed educational materials that deal with the building blocks of musical stave (sometimes known as staff) notation, a language designed to communicate about musical ideas which is in use around the world. The resources in this e-book include video lectures and their transcripts, as well as supporting text explanations, examples and illustrations. The materials introduce topics such as the organisation of discrete pitches into scales and intervals, and temporal organisation of musical sounds as duration, in rhythm and metre. These rudiments are presented through an introduction to the elements of five-line stave notation, and through critical discussion of the advantages and limitations served by notational systems in the representation and analysis of musical sounds. This serves as the basis of further explanations, to illustrate musical concepts including key, time signature, harmonisation, cadence and modulation. We anticipate that subsequent versions of this e-book will update and develop the contents and presentation of the materials, following the success of this student-led collaboration.
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28

Shultz, Sandra J., Peggy A. Houglum, and David H. Perrin. Examination of Musculoskeletal Injuries. 4th ed. Human Kinetics, 2016. http://dx.doi.org/10.5040/9781718215528.

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Examination of Musculoskeletal Injuries, Fourth Edition, guides current and future athletic trainers and rehabilitation professionals through the examination and evaluation of musculoskeletal injuries both on and off the field. The text presents injury examination strategies in on-site, acute, and clinical settings and provides the information on mastering the skills needed for the Board of Certification examination for athletic trainers as determined by the sixth edition of Athletic Training Role Delineation Study/Practice Analysis for entry-level athletic trainers. This updated fourth edition contains foundational information on a wide spectrum of injuries and the appropriate tests for examining and diagnosing them. Readers will learn to obtain an accurate injury history from the patient, inspect the injury and related areas, test motion control, palpate both bone and soft tissues, and examine function in order to gauge the player’s readiness to return to play. The fourth edition also includes the following enhancements: More than 51 short video clips that correspond to and demonstrate evaluation techniques for various musculoskeletal disorders found throughout the text.Full-color photos and medical artwork have been added throughout the text to clarify testing techniques and enhance knowledge of relevant body structures.Substantial updates provide the most recent evidence-based clinical information.An expanded selection of special tests and injury-specific examinations are now presented in a more accessible format and include a photo or video, description of the purpose, patient and clinician positions for the test, procedures performed, and possible outcomes. The content of Examination of Musculoskeletal Injuries, Fourth Edition, has been restructured and focused to provide applicable information in a straightforward manner. Examination of Musculoskeletal Injuries, Fourth Edition, is an essential resource for students of athletic training and therapy as well as current practitioners in the field who wish to use evidence-based procedures in their clinical practice to ensure safe and accurate diagnoses of injuries.
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29

McAlpine, Kenneth B. Bits and Pieces. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190496098.001.0001.

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This book explores the development of and the social, cultural, and historical context of chiptune, a form of electronic music that emerged from the first generation of video game consoles and home computers in the 1980s. Through a combination of musical and procedural analysis and practitioner interviews, the book explores the role the technical constraints of early video game hardware played in shaping the sound of 8-bit video game music and the inventive approaches to coding and composition musicians used to circumvent them. It examines the sounds, culture, and personalities behind the music and shows how chiptune links as closely to the music of Bach as to the aggressive posturing of punk or the driving electronic sounds of house. The book begins by looking at chiptune’s roots in video game music and discusses how, as the sound chips that gave rise to its distinctive voice were superseded by more sophisticated hardware, chiptune moved underground to become an important part of the demoscene, a networked community of digital artists. It discusses chiptune’s reemergence in the late 1990s as a new wave of young musicians rediscovered these obsolete machines and began to use them as quirky and characterful musical instruments, in the process taking chiptune from the desktop and placing it centre stage. The book concludes by contemplating what lies ahead; as more people incorporate the chiptune sound into their work, will it ever hit the mainstream or will it remain firmly countercultural as part of the digital underground?
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30

Brown, Matthew H. Indirect Subjects. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478021506.

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In Indirect Subjects, Matthew H. Brown analyzes the content of the prolific Nigerian film industry's mostly direct-to-video movies alongside local practices of production and circulation to show how screen media play spatial roles in global power relations. Scrutinizing the deep structural and aesthetic relationship between Nollywood, as the industry is known, and Nigerian state television, Brown tracks how several Nollywood films, in ways similar to both state television programs and colonial cinema productions, invite local spectators to experience liberal capitalism not only as a form of exploitation but as a set of expectations about the future. This mode of address, which Brown refers to as “periliberalism,” sustains global power imbalances by locating viewers within liberalism but distancing them from its processes and benefits. Locating the wellspring of this hypocrisy in the British Empire's practice of indirect rule, Brown contends that culture industries like Nollywood can sustain capitalism by isolating ordinary African people, whose labor and consumption fuel it, from its exclusive privileges.
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31

Liu, Chih-Chieh. Denaturalizing Coco’s “Sexy” Hips. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.018.

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This chapter, starting from a seemingly standardized dance promotion in Mandarin pop, one of the dominant music genres in East Asia, attempts to reveal the cultural logics and to denaturalize the corporeal discourses behind what is commonly perceived as the “naturally” spectacular hip movement of a Chinese-American superstar, Coco Lee, whose dance is, in Taiwan, often linked with the idea of “sexiness” and “American-ness.” Calling upon Judith Butler’s idea of performativity (1990) in tandem with Richard Dyer’s notion of star image (1979) and the concept of the dancing body (Thomas 1995; Foster 1996), this chapter, using music video analysis (Vernallis 2004; Beebe and Middleton 2007), delineates Coco’sHip Hop Tonight(2006) to point out the contradictions and reversals of the body in contemporary multimedial context in that “sexiness” is desexualized, “American-ness” is Sinocized, and the meaning of “Chinese-ness” continues to shift according to local cultural and political sensibilities. In this process, music video becomes an intersecting point in which cultural boundaries negotiate and body politics fight to gain the upper hand, revealing a web of complex power struggles in Taiwan where meaning of the body is locally produced yet globally contested.
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32

Clasen, Mathias. Why Horror Seduces. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190666507.001.0001.

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This book explains the appeals and functions of horror entertainment by drawing on cutting-edge findings in the evolutionary social sciences, showing how the horror genre is a product of human nature. It is the first book to integrate the study of horror with the sciences of human nature and to offer a sustained analysis of the ways in which our evolutionary heritage constrains and directs horror in literature, film, and computer games. The central claim of the book is that horror entertainment works by targeting ancient and deeply conserved neurobiological mechanisms. We are attracted to horrifying entertainment because we have an adaptive tendency to find pleasure in make-believe that allows us to experience negative emotions at high levels of intensity within a safe context. This book offers a detailed theoretical account of the biological underpinnings of the paradoxically and perennially popular genre of horror. The theoretical account is bolstered with original analyses of a range of well-known and popular modern American works of horror literature and horror film to illustrate how these works target evolved cognitive and emotional mechanisms to fulfill their function of absorbing, engaging, and horrifying audiences: I Am Legend (1954), Rosemary’s Baby (1967), Night of the Living Dead (1968), Jaws (1975), The Shining (1977), Halloween (1978), and The Blair Witch Project (1999). The book’s final chapter expands the discussion to include interactive, highly immersive horror experiences offered through horror video games and commercial haunted attractions.
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33

Lund, Cornelia. Sculpting Image and Sound. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.40.

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Digital technology increasingly has offered new possibilities of combining audio and visual elements, be it in live performances, installations, or videos. The Canadian artist and musician Herman Kolgen plays the different genres like a virtuoso, exploring overarching themes in audiovisual performances as well as audiovisual installations. This chapter offers a case study that takes Kolgen’s work as an example of artistic production that pushes its investigation of audiovisual combinations in different directions by its flexible use of analog and digital media formats. The chapter first discusses the status of Kolgen’s work in terms of categories of audiovisual production such asvisual music, live cinema, andsound art. It then focuses on an analysis of his work under three aspects: exploration of media formats, use of technology, and relation to performance and performativity. At the same time, the chapter situates Kolgen’s work in the wider context of audiovisual art.
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34

Weinel, Jonathan. Inner Sound. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190671181.001.0001.

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Inner Sound explores how altered states of consciousness have shaped the design of electronic music and audio-visual media. The book begins by discussing consciousness, and how this may change during states such as dreaming, psychedelic experience, meditation, and trance. Next, a variety of shamanic traditions are reviewed, in order to explore how indigenous societies have reflected visionary experiences through visual art and music. This provides the necessary background from which to consider how analogue and digital audio technologies enable specific capabilities for representing or inducing altered states of consciousness in psychedelic rock, electronic dance music, and electroacoustic music. Developing the discussion to consider sound in the context of audio-visual media, the role of altered states of consciousness in films, visual music, VJ performances, interactive video games, and virtual reality applications is also discussed. Through the analysis of these examples, the author uncovers common mechanisms, and ultimately proposes a conceptual model for ‘Altered States of Consciousness Simulations’. This theoretical model describes how sound can be used to simulate various subjective states of consciousness from a first-person perspective, in an interactive context. Throughout the book, the ethical issues regarding altered states of consciousness in electronic music and audio-visual media are also explored, ultimately allowing the reader to consider not only the design of Altered States of Consciousness Simulations, but also the implications of their use for digital society. In this way, Inner Sound explores the limits of technology for representing and manipulating consciousness, at the frontiers of electronic music and art.
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