Film policy and the emergence of the cross-cultural: exploring crossover cinema in Flanders (Belgium)

With several films taking on a cross-cultural character, a certain ‘crossover trend’ may be observed within the recent upswing of Flemish cinema (a subdivision of Belgian cinema). This trend is characterized by two major strands: first, migrant and diasporic filmmakers finally seem to be emerging, and second, several filmmakers tend to cross the globe to make their films, hereby minimizing links with Flemish indigenous culture. While paying special attention to the crucial role of film policy in this context, this contribution further investigates the crossover trend by focusing on Turquaze (2010, Kadir Balci) and Altiplano (2009, Peter Brosens & Jessica Woodworth)

Optimizing Player and Viewer Amusement in Suspense Video Games

Broadcast video games need to provide amusement to both players and audience. To achieve this, one of the most consumed genres is suspense, due to the psychological effects it has on both roles. Suspense is typically achieved in video games by controlling the amount of delivered information about the location of the threat. However, previous research suggests that players need more frequent information to reach similar amusement than viewers, even at the cost of jeopardizing viewers' engagement. In order to obtain models that maximize amusement for both interactive and passive audiences, we conducted an experiment in which a group of subjects played a suspenseful video game while another group watched it remotely. The subjects were asked to report their perceived suspense and amusement, and the data were used to obtain regression models for two common strategies to evoke suspense in video games: by alerting when the threat is approaching and by random circumstantial indications about the location of the threat. The results suggest that the optimal level is reached through randomly providing the minimal amount of information that still allows players to counteract the threat.We reckon that these results can be applied to a broad narrative media, beyond interactive games

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

[Accepted Article Manuscript Version (Postprint)] Audience Responses to Diverse Superheroes: The Roles of Gender and Race in Forging Connections with Media Characters in Superhero Franchise Films

This study took advantage of the recent release of several mainstream, franchise action films featuring diverse casts to investigate how the gender and race of viewers interacts with those of the characters to shape viewers’ sense of connection to the characters. Through an online survey of 147 viewers, it addresses which characters within a film the viewers saw themselves as most connected to, and considers two types of subjective, virtual connections to specific characters - identification and parasocial relationship (PSR). Respondents were more likely to cite characters played by actors of the same gender or the same race as the one to which they felt most connected. Participants reported stronger parasocial relationships with characters played by actors who were women. A viewer-actor match in terms of race was associated with stronger PSR, which was attributable to African American respondents’ engagement with characters from Black Panther. Demographic correspondences between the viewers and the actors playing their selected characters were not associated with stronger identification

The Art of the Game: Issues in Adapting Video Games

On the face of things, movies and video games are similar mediums. Both engage extensively in visuals and audio, both can indulge in speculative fiction, and there is a healthy amount of sharing of inspiration and content. However, this does not guarantee successful adaptations from one form to another. Movies adapted from video games are notorious for being simply terrible, but little academic attention has been paid as to why these adaptations in particular seem so unsuccessful in every way, from audience reception, critical response, and monetary returns. This issue is based on fundamental differences in the medium. Games are, at their core, based around rules and goals, and the inevitable predictability and reliability of those rules do not make for exciting adaptations. Games also place the player at the center of the meaning-making process, a position that feels almost privileged in comparison to the more voyeuristic position of the film audience. Movies must adapt with a greater consciousness of these fundamental differences in media, or else the video game movie curse will continue to claim new victims. Advisor: Tom Ganno

A Trip to the Moon: Personalized Animated Movies for Self-reflection

Self-tracking physiological and psychological data poses the challenge of presentation and interpretation. Insightful narratives for self-tracking data can motivate the user towards constructive self-reflection. One powerful form of narrative that engages audience across various culture and age groups is animated movies. We collected a week of self-reported mood and behavior data from each user and created in Unity a personalized animation based on their data. We evaluated the impact of their video in a randomized control trial with a non-personalized animated video as control. We found that personalized videos tend to be more emotionally engaging, encouraging greater and lengthier writing that indicated self-reflection about moods and behaviors, compared to non-personalized control videos