From the 'cinematic' to the 'anime-ic': Issues of movement in anime

This is the author's accepted manuscript. The final published article is available from the link below.This article explores the way that movement is formally depicted in anime. Drawing on Thomas Lamarre's concepts of the `cinematic' and the `anime-ic', the article interrogates further the differences in movement and action in anime from traditional filmic form. While often considered in terms of `flatness', anime offers spectacle, character development and, ironically, depth through the very form of movement put to use in such texts.The article questions whether the modes of address at work in anime are unique to this form of animation.Taking into account how the terms `cinematic' and `anime-ic' can be understood (and by extension the cinematic and animatic apparatus), the article also begins to explore how viewers might identify with such images

The art of video MashUp: supporting creative users with an innovative and smart application

In this paper, we describe the development of a new and innovative tool of video mashup. This application is an easy to use tool of video editing integrated in a cross-media platform; it works taking the information from a repository of videos and puts into action a process of semi-automatic editing supporting users in the production of video mashup. Doing so it gives vent to their creative side without them being forced to learn how to use a complicated and unlikely new technology. The users will be further helped in building their own editing by the intelligent system working behind the tool: it combines semantic annotation (tags and comments by users), low level features (gradient of color, texture and movements) and high level features (general data distinguishing a movie: actors, director, year of production, etc.) to furnish a pre-elaborated editing users can modify in a very simple way

Visual motherese? Signal-to-noise ratios in toddler-directed television

Younger brains are noisier information processing systems; this means that information for younger individuals has to allow clearer differentiation between those aspects that are required for the processing task in hand (the ‘signal’) and those that are not (the ‘noise’). We compared toddler-directed and adult-directed TV programmes (TotTV/ATV). We examined how low-level visual features (that previous research has suggested influence gaze allocation) relate to semantic information, namely the location of the character speaking in each frame. We show that this relationship differs between TotTV and ATV. First, we conducted Receiver Operator Characteristics analyses and found that feature congestion predicted speaking character location in TotTV but not ATV. Second, we used multiple analytical strategies to show that luminance differentials (flicker) predict face location more strongly in TotTV than ATV. Our results suggest that TotTV designers have intuited techniques for controlling toddler attention using low-level visual cues. The implications of these findings for structuring childhood learning experiences away from a screen are discussed

Spectatorship and Social Cognition: Per Persson's Understanding Cinema

This paper places Per Persson's book Understanding Cinema in relation to cognitive film theory and the increasing necessity of it to further engage with the psychological and anthropological literature on social cognition. This paper focuses upon Persson's ability to integrate cognitive and cultural perspectives when explaining a spectator's comprehension of point‐of‐view editing, variable framing and character psychology. It is argued that Persson's theoretical framework would have been more explanatorily complete if it had adopted an analytical dualist stance as a means to theorise the ontologically mixed nature of the psychological processes in question

A window on reality: perceiving edited moving images

Edited moving images entertain, inform, and coerce us throughout our daily lives, yet until recently, the way people perceive movies has received little psychological attention. We review the history of empirical investigations into movie perception and the recent explosion of new research on the subject using methods such as behavioral experiments, functional magnetic resonance imagery (fMRI) eye tracking, and statistical corpus analysis. The Hollywood style of moviemaking, which permeates a wide range of visual media, has evolved formal conventions that are compatible with the natural dynamics of attention and humans’ assumptions about continuity of space, time, and action. Identifying how people overcome the sensory differences between movies and reality provides an insight into how the same cognitive processes are used to perceive continuity in the real world

Online leadership discourse in higher education: a digital multimodal discourse perspective

As leadership discourses in higher education are increasingly being mediated online, texts previously reserved for staff are now being made available in the public domain. As such, these texts become accessible for study, critique and evaluation. Additionally, discourses previously confined to the written domain are now increasingly multimodal. Thus, an approach is required that is capable of relating detailed, complex multimodal discourse analyses to broader sociocultural perspectives to account for the complex meaning-making practices that operate in online leadership discourses. For this purpose, a digital multimodal discourse approach is proposed and illustrated via a small-scale case study of the online leadership discourse of an Australian university. The analysis of two short video texts demonstrates how a digital multimodal discourse perspective facilitates the identification of key multimodal systems used for meaning-making in online communication, how meaning arises through combinations of semiotic choices (not individual choices), and how the results of multimodal discourse analysis using digital technology can reveal larger sociocultural patterns – in this case, divergent leadership styles and approaches as reflected in online discourse, at a time of immense change within the higher education sector