Hasil untuk "Motion pictures"

Jonah Jeng

This article contends that, despite the naturalization of hypermediacy in everyday life, a tension persists between the proliferation of digital media and human phenomenal experience. Everyday phenomenal experience, in its delineation of a unified spatial field populated with bounded physical objects, exists in palpable tension with the subperceptual digital networks and data flows that underpin contemporary society and are indexed by aesthetics of hypermediacy. I contend that cinema, which simultaneously appeals to phenomenal experience and has itself become permeated by hypermediacy and the related aesthetic tendency of post-continuity, is a key site for expressing this larger cultural tension. Furthermore, I propose that what I am calling the action mode – action cinema’s anxious articulation of the physical body’s limits and capacities – is ideally suited to making this tension not only seen but felt. The film Mile 22 (Peter Berg, 2018), by combining the action mode with an aesthetic and thematic exploration of extreme hypermediacy, exemplifies the action mode’s potential in this way.

Vivien Nara

This article offers a reflection on two recent romance series offered by Netflix: Our Beloved Summer (2021) from Korea and First Love (2022) from Japan. Both series were seen as successes for their local industries, and a review of their production histories as well as their place within a broader Netflix programming ecology highlights the strategies Netflix is taking with its increased investment in the drama production industries of both nations. Importantly, both series also share a temporality in their romance storytelling, one that moves between a youthful, recent past and a lackluster, adult present. Though the texts are not necessarily adjacently marked in the Netflix interface itself, both series present key similarities that hint at a winning narrative formula. Drawing on key scholarly literature on popular romance and modernity, I argue that while the temporality of “romance in the recent past” might not necessarily be marked as a working microgenre in the Netflix algorithm, it certainly presents as a transnationally translatable storytelling mode that narrativizes, entertains, and consoles audiences coming from similar experiences of modernity.

Giulia Scomazzon

Fuwei Zuo

Stephen Trinder

This article analyses Neill Blomkamp's Academy Award-winning District 9 (2009) to investigate the extent to which popular cinema might support neoliberal ideological positions. It draws upon Slavoj Žižek's psychoanalytic theory of ideology to explore how far anti-capitalist and anti-colonial tendencies in the film should be regarded as an “unconscious fantasy” (1989, p.30) that works towards reinforcing key aspects of neoliberalism. Through an exploration of private military contractor Multinational United (MNU), lead protagonist Wikus van de Merwe (Sharlto Copley), and the film's spatial composition, this article argues that District 9 works in support of neoliberalism by constructing a social reality that sidesteps genuine criticisms of neoliberalism's role in continued socio-economic marginalisation and ongoing human suffering. This is evident in hollow criticisms of corporate capitalism vis-à-vis MNU and ignorant misrepresentations of the alien Other, which reinforce discourses of cultural and ethnic superiority associated with neoliberalism.

Doron Galili

José da Silva Ribeiro, Alice Fátima Martins

Irene Depetris Chauvin

Considering recent contributions on affective geographies and on the relationships between memory and spectrality, this papere analyses aquatic imaginaries in a corpus of audiovisual works from Argentina and Chile. Through water, <em>El botón de nácar</em> (Patricio Guzmán, 2015), <em>Los durmientes</em>, <em>El exilio imaginado</em> (Enrique Ramírez, 2012-2014), and <em>Las aguas del olvido</em> (Jonathan Perel, 2013) convey an “affective mapping” that creates ways of “being together” in the aftermath of loss. While Patricio Guzmán, Enrique Ramírez and Jonathan Perel refer to the so-called “death flights” – as both the Argentine and the Chilean dictatorship use oceans and rivers to “discard” the corpses of dissidents and “drown” the truth — their works also transgress conventional geographical and historical demarcations. These films, videos and installations subvert stabilizing cartographies and use anachronism to reflect on the contradictory meanings of water as a source of life, epicenter of cultures and cemetery not only for the victims of dictatorships, but also for indigenous groups or even contemporary migrants. Finally, these works insist on an “aesthetics of affect” that makes it possible to “touch” forgotten events, spaces or subjects and to connect different memories and geographies in the present.<br />

Shane Denson

What comes after post-cinema? Such a question calls for speculation as a central mode of inquiry. However, this speculative turn is engaged not only by the question of what comes after the ‘post’; for post-cinema, at its best, is itself already a speculative term — despite the fact that it grows, historically, out of theories of loss (the loss of the index, the end of celluloid, the demise of cinema as an institution). Against this backdrop of mourning and melancholia, postcinema is speculative in at least two senses. First, the concept of post-cinema is future-oriented at root, as it purports to gain purchase on movements along an unfinished trajectory, hence speculating of necessity about its own future course as a determinant of present actuality. Second, post-cinema refers to media engaged materially in a speculative probing of the present. The ‘presence’ of experience is now more radically than ever — because materially, medially — dispersed, not just as a play of signifiers but across and within an ecology that is materially redefining the parameters for life and agency itself in post-cinematic times. Accordingly, the question of post-cinema’s passing is the question of time’s passing in the space of post-perceptual mediation.

Andrew V. Uroskie

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Equipo Secuencias

Secuencias

Alex E. Blazer

Richard Rushton

S. Metkar, S. Talbar

M. Ioannides, A. Hadjiprocopi, N. Doulamis et al.

The advent of technology in digital cameras and their incorporation into virtually any smart mobile device has led to an explosion of the number of photographs taken every day. Today, the number of images stored online and available freely has reached unprecedented levels. It is estimated that in 2011, there were over 100 billion photographs stored in just one of the major social media sites. This number is growing exponentially. Moreover, advances in the fields of Photogrammetry and Computer Vision have led to significant breakthroughs such as the Structure from Motion algorithm which creates 3D models of objects using their twodimensional photographs. The existence of powerful and affordable computational machinery not only the reconstruction of complex structures but also entire cities. This paper illustrates an overview of our methodology for producing 3D models of Cultural Heritage structures such as monuments and artefacts from 2D data (pictures, video), available on Internet repositories, social media, Google Maps, Bing, etc. We also present new approaches to semantic enrichment of the end results and their subsequent export to Europeana, the European digital library, for integrated, interactive 3D visualisation within regular web browsers using WebGl and X3D. Our main goal is to enable historians, architects, archaeologists, urban planners and affiliated professionals to reconstruct views of historical structures from millions of images floating around the web and interact with them.

Paul Elliott

Marco Grosoli

Adrian J. Ivakhiv

Shujie Liu, Ying Chen, Ye-Kui Wang et al.

The multiview video coding (MVC) standard is currently under development by the Joint Video Team as an extension of the advanced video coding (H.264/AVC) standard. An MVC encoder compresses more than one viewpoint of a scene captured by different cameras. Redundancies between views can be used for inter-view prediction in encoding as well as error concealment in decoding. In this paper, a new algorithm utilizing motion information of pictures from other views to conceal a lost picture is proposed. The algorithm first derives motion information for a lost picture based on motion fields of pictures in adjacent views. Then, traditional motion compensation is invoked within the view containing the lost picture to derive a concealed frame. Experimental results show that the proposed algorithm can improve video quality with a negligible computational complexity overhead compared to simple temporal error concealment algorithms.

H. M. Nicholson, J. P. Field