50,208 research outputs found
Who is the director of this movie? Automatic style recognition based on shot features
We show how low-level formal features, such as shot duration, meant as length
of camera takes, and shot scale, i.e. the distance between the camera and the
subject, are distinctive of a director's style in art movies. So far such
features were thought of not having enough varieties to become distinctive of
an author. However our investigation on the full filmographies of six different
authors (Scorsese, Godard, Tarr, Fellini, Antonioni, and Bergman) for a total
number of 120 movies analysed second by second, confirms that these
shot-related features do not appear as random patterns in movies from the same
director. For feature extraction we adopt methods based on both conventional
and deep learning techniques. Our findings suggest that feature sequential
patterns, i.e. how features evolve in time, are at least as important as the
related feature distributions. To the best of our knowledge this is the first
study dealing with automatic attribution of movie authorship, which opens up
interesting lines of cross-disciplinary research on the impact of style on the
aesthetic and emotional effects on the viewers
Recommended from our members
Following in the steps: Gus Van Santâs Gerry and Elephant in the American independent field of cultural production
This paper considers Gus Van Sant's Gerry (2002) and Elephant (2003) as manifestations of contemporary American independent cinema that, characteristically, balance departures from mainstream/Hollywood convention with the use of frameworks that locate such films as marketable to particular niche audiences. The initial focus is on the use of formal devices, particularly in the very-long take, that mark these films out as distinct from typical mainstream production. Aspects of international art cinema are drawn upon to situate such films within particular regions of the independent spectrumâthe latter being understood here as an example of what Pierre Bourdieu terms a 'field of cultural production', in this case one that stretches from the avant-garde to the margins of Hollywood. Formal analysis is considered in relation to the substantive content of the two films and the specific contexts in which each was produced and distributed, and in relation to the kinds of audiences to which they are likely to be targeted
Film-induced tourism in the UK: the role of British Film Institute on promoting the image of the country
Film-induced tourism-also referred to as Film Tourism- is a recent growing phenomenon whose main purpose is to explore the potential touristâs motivations when planning their upcoming visit to a destination. Furthermore, this phenomenon gives power to the future filming locations in terms of creating new film heritage museums, film tours, developing new destination marketing and so on. Thus, we will study the brand new type of tourist: âCore Screen Touristâ. Core screen tourists are those who would not travel to a destination where a film has been shot unless they have seen it on screen previously. Films provide a powerful way to shape people's perceptions of the place, creating new and strengthening old ones. Gaining the power to increase international tourism and the entertainment industry, the development of the film is seen as a growing phenomenon, which must be taken into account for each tourism promotion strategy.Universidad de Sevilla. Grado en Turism
Andy Warhol: Polaroids & Portraits
Enigmatic Andy Warhol claimed he had âno real point to makeâ in producing art. Yet, his silkscreens, sculptures, paintings, and photographs reveal the artistâs profound interest in the way art intersected with fields like advertising, fashion, film, mass culture, and underground music. In his experimentations with photography and portraiture, Warhol was fascinated with representations of both the individual and the masses and used the Polaroid portrait to illustrate the fine lines between art and popular culture, celebrity and anonymity. [excerpt]https://cupola.gettysburg.edu/artcatalogs/1010/thumbnail.jp
Film in the city: a report on the film & video sub-Sector in London
The movie business, and the distribution of films through the associated cinema and home
video sectors is a truly global phenomenon. In terms of both production and distribution,
Hollywood has traditionally dominated international markets, however, with radical
innovations in information and digital technologies and the spread of the Internet, it has
become increasingly easier to make and distribute films around the world
. Coupled with this
is the ârunaway productionâ concept, whereby Hollywood productions are no longer tied to
site-specific studios and can choose to shoot and edit their (usually high-budget) movies in
locations around the globe. This has created an international market where cities, such as
Vancouver, Sydney, Brisbane, Prague, Cape Town, London and many more, compete for big
movie business. London has a thriving film and video sub-sector and a highly competitive
infrastructure, nurtured by a host of supporting institutions, which together create a powerful
creative network of players capable of competing at a global scale. The physical geography of
the city also matters to the film industry, not only in terms of shooting locations, but also in
determining where to locate, pitch or exhibit the final creative product. Consequently, the
location and interconnected value chain of producers, post-production, financiers, sales
agents and distributors, cinemas and theatres, as well as the myriad of specialised and highly
skilled workforce is key to the industryâs success. The co-location and clustering tendencies of
individuals and institutions located at close proximity in London and highlighted in this report
are evidence of the intense social networking that characterises the industry
Recommended from our members
Spectacular narratives: Twister, independence day, and frontier mythology
Big-screen spectacle has become increasingly important to Hollywood in recent decades. It formed a central part of a post-war strategy aimed at tempting lost audiences back to the cinema in the face of demographic changes and the development of television and other domestic leisure activities. More recently, in an age in which the big Hollywood studios have become parts of giant conglomerates, the prevalence of spectacle and special effects has been boosted by a demand to engineer products that can be further exploited in multimedia forms such as computer games and theme-park rides, secondary outlets that can sometimes generate more profits than the films on which they are based. These and other developments have led some commentators to announce, or predict, the imminent demise of narrative as a central component of Hollywood cinema. But the case has been considerably overstated. Narrative is far from being eclipsed, even in the most spectacular and effects-oriented of todayâs blockbuster attractions. These films still tend to tell reasonably coherent stories, even if they may sometimes be looser and less well integrated than classical models. More important for my argument, contemporary spectaculars also continue to manifest the kinds of underlying thematic oppositions and reconciliations associated with a broadly âstructuralistâ analysis of narrative. This very important dimension of narrative has been largely ignored by those who identify, celebrate or more often bemoan a weakening of plot or character development in many spectacular features
- âŠ