“Did you know that David Beckham speaks nine languages?”:AI-supported production process for enhanced personalization of audio-visual content

The introduction of artificial intelligence (AI) into the media production process has contributed to the automation of selected tasks and stronger hybridization of man and machine in the process; however, the AI-supported production process has expanded from the traditional, three-stage model by a new phase of consumer evaluation and feedback collection, analysis, and application. This has opened a way for far-reaching content personalization and thus offers a new type of media experience. Powering the production process with a constant stream of consumer data has also affected the process itself and changed its nature from linear to cyclical

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Grup de treball ICE-UB:From English Acquisition to English Learning and Teachin

The New Reflexivity: Puzzle Films, Found Footage, and Cinematic Narration in the Digital Age

“The New Reflexivity” tracks two narrative styles of contemporary Hollywood production that have yet to be studied in tandem: the puzzle film and the found footage horror film. In early August 1999, near the end of what D.N. Rodowick refers to as “the summer of digital paranoia,” two films entered the wide-release U.S. theatrical marketplace and enjoyed surprisingly massive financial success, just as news of the “death of film” circulated widely. Though each might typically be classified as belonging to the horror genre, both the unreliable “puzzle film” The Sixth Sense and the fake-documentary “found footage film” The Blair Witch Project stood as harbingers of new narrative currents in global cinema. This dissertation looks closely at these two films, reading them as illustrative of two decidedly millennial narrative styles, styles that stepped out strikingly from the computer-generated shadows cast by big-budget Hollywood. The industrial shift to digital media that coincides with the rise of these films in the late 90s reframed the cinematic image as inherently manipulable, no longer a necessary index of physical reality. Directors become image-writers, constructing photorealistic imagery from scratch. Meanwhile, DVDs and online paratexts encourage cinephiles to digitize, to attain and interact with cinema in novel ways. “The New Reflexivity” reads The Sixth Sense and The Blair Witch Project as reflexive allegories of cinema’s and society’s encounters with new digital media. The most basic narrative tricks and conceits of puzzle films and found footage films produce an unusually intense and ludic engagement with narrative boundaries and limits, thus undermining the naturalized practices of classical Hollywood narration. Writers and directors of these films treat recorded events and narrative worlds as reviewable, remixable, and upgradeable, just as Hollywood digitizes and tries to keep up with new media. Though a great deal of critical attention has been paid to both puzzle and found footage films separately, no lengthy critical survey has yet been undertaken that considers these movies in terms of their shared formal and thematic concerns. Rewriting the rules of popular cinematic narration, these films encourage viewers to be suspicious of what they see onscreen, to be aware of the possibility of unreliable narration, or CGI and the “Photoshopped.” Urgent to film and cultural studies, “The New Reflexivity” suggests that these genres’ complicitous critique of new media is decidedly instructive for a networked society struggling with what it means to be digital

Decoding the consumer’s brain: Neural representations of consumer experience

Understanding consumer experience – what consumers think about brands, how they feel about services, whether they like certain products – is crucial to marketing practitioners. ‘Neuromarketing’, as the application of neuroscience in marketing research is called, has generated excitement with the promise of understanding consumers’ minds by probing their brains directly. Recent advances in neuroimaging analysis leverage machine learning and pattern classification techniques to uncover patterns from neuroimaging data that can be associated with thoughts and feelings. In this dissertation, I measure brain responses of consumers by functional magnetic resonance imaging (fMRI) in order to ‘decode’ their mind. In three different studies, I have demonstrated how different aspects of consumer experience can be studied with fMRI recordings. First, I study how consumers think about brand image by comparing their brain responses during passive viewing of visual templates (photos depicting various social scenarios) to those during active visualizing of a brand’s image. Second, I use brain responses during viewing of affective pictures to decode emotional responses during watching of movie-trailers. Lastly, I examine whether marketing videos that evoke s

Dynamic Scene Creation from Text

Visual information is an integral part of our daily life. Typically, it tends to convey more information than simple textual information. A visual depiction of a textual story, as an animation or video, provides a more engaging and realistic experience and can be used in different applications. Examples of such applications include but are not limited to education, advertisement, crime scene investigation, forensic analysis of a crime, treatment of different types of mental and psychological disorders, etc. Manual 3D scene creation is a time-consuming process and requires expertise of individuals familiar with the content creation environment. Automatic scene generation using textual description and a library of developed components offers a quick and easy alternative for manual scene representation and proof of concept ideas. In this thesis, we propose a scheme for extraction of objects of interest and their spatial relationships from a user-provided textual description to create a 3D dynamic scene and animation to make it more realistic

Software application for computer aided vocabulary learning in a blended learning environment

This study focuses on the effect of computer-aided vocabulary learning software called \u27ArabCAVL on students\u27 vocabulary acquisition. It was hypothesized that students who use the ArabCAVL software in blended learning environment will surpass students who use traditional vocabulary learning strategies in face-to-face learning environment even though both groups were using the same framework for introducing vocabulary. Pre-test and post-test were used for assessing the previously mentioned factors, while a questionnaire with open-ended questions was used to elicit students\u27 attitudes toward using the software. Despite the fact that both the Nation (2001) framework and the ArabCAVL software showed a significant increase in students\u27 vocabulary recognition and usage, the results of the treatment group exposed to ArabCAVL software were clearly higher than those of the control group. Finally, the results supported the previously mentioned hypothesis, and it was shown that students had a positive attitude toward the software

Vocabulary retention in a spaced repetition longitudinal field study with high-school language learners

Despite a large amount of research on spaced repetition in L2 courses to retain vocabulary over time, we still do not see its full implementation in everyday classrooms. Laboratory and field studies (on spaced repetition) have worked with participants of different ages and have demonstrated that information can be retained over time, even after several years. Some studies introduced spaced repetition in the classroom, but none of them integrated them fully as part of the curriculum for a whole year. This thesis describes an attempt to integrate spaced repetition in a high-school language course where students take a standard test at the end of the course. To investigate the implementation of spaced repetition, a main research study was conducted in which high-school students rehearsed 100 Spanish words every thirty days in eleven learning sessions. Participants were tested prior and during the treatment to monitor learning. Subjects were also tested 30, 60 and 70 days after the treatment to test vocabulary retention. Analysis of the results revealed that spaced repetition seems to play an important role in long-term vocabulary retention considering 70 days after the last learning session most of the words were still remembered. Further analysis revealed that the highest retention scores were obtained when the interstudy interval and the retention interval were equal in length. A final important finding was that lack of student motivation and engagement has emerged as a crucial factor that can negatively affect learning and consequent vocabulary retention. The implications of these findings for vocabulary learning research, and for vocabulary teaching in the classroom, are considered

Evaluating Copyright Protection in the Data-Driven Era: Centering on Motion Picture\u27s Past and Future

Since the 1910s, Hollywood has measured audience preferences with rough industry-created methods. In the 1940s, scientific audience research led by George Gallup started to conduct film audience surveys with traditional statistical and psychological methods. However, the quantity, quality, and speed were limited. Things dramatically changed in the internet age. The prevalence of digital data increases the instantaneousness, convenience, width, and depth of collecting audience and content data. Advanced data and AI technologies have also allowed machines to provide filmmakers with ideas or even make human-like expressions. This brings new copyright challenges in the data-driven era. Massive amounts of text and data are the premise of text and data mining (TDM), as well as the admission ticket to access machine learning technologies. Given the high and uncertain copyright violation risks in the data-driven creation process, whoever controls the copyrighted film materials can monopolize the data and AI technologies to create motion pictures in the data-driven era. Considering that copyright shall not be the gatekeeper to new technological uses that do not impair the original uses of copyrighted works in the existing markets, this study proposes to create a TDM and model training limitations or exceptions to copyrights and recommends the Singapore legislative model. Motion pictures, as public entertainment media, have inherently limited creative choices. Identifying data-driven works’ human original expression components is also challenging. This study proposes establishing a voluntarily negotiated license institution backed up by a compulsory license to enable other filmmakers to reuse film materials in new motion pictures. The film material’s degree of human original authorship certified by film artists’ guilds shall be a crucial factor in deciding the compulsory license’s royalty rate and terms to encourage retaining human artists. This study argues that international and domestic policymakers should enjoy broad discretion to qualify data-driven work’s copyright protection because data-driven work is a new category of work. It would be too late to wait until ubiquitous data-driven works block human creative freedom and floods of data-driven work copyright litigations overwhelm the judicial systems

Mood Base Recommendation System using KNN Algorithm

It depends on client interest. A typical methodology depends on the film proposal framework .it helps for the client to prescribe the framework and recommended to them. In this substance this proposal framework recommends to the clients as indicated by their advantage. with the goal that the clients check out the film proposal framework, the client temperament is matter .each individual has their own advantage to coordinate with any program .an individual ought to need to take interest their own decisions, for example, a few group is watch to like blood and gore flicks and a few group is watch to like activity and daring motion pictures. For instance, "mission incomprehensible and quick and irate" In any case, film proposal framework is center around useful and in educated motion pictures. A few groups resemble to watch such items which concern their present/certain life. The large model is in now days "2021"the world is turning out to be casualty by Corona virus - 19(corona infection). In "virus "film which was discharge in 2011.it is for the most part requested on bio war. Most motion pictures had likeness now daily's circumstance. Generally, the specialty of proposal framework zeroed in on the substance approach for the clients yet sadly, they are neglecting to wants of clients .in online media film recommender framework is proposed to famous motion pictures. Since the greater part of individuals resemble and their rating level is increment because of the watchers. In this state we ought not to have measure the ubiquity of film. In specific cases we should zero in on their plot character and topic of the substance. there is one technique which name is crossover .it is based on parts of substance which worried to the film highlight. The outcomes of study, it zeroed in on the temperament of clients that make the customized substance of suggestions