scholarly journals Cinematic Doppelgängers: Twin Peaks as a Case Study of a Cancelled Series’ Transformation into Feature Film

2018 ◽  
Vol 4 (1) ◽  
Author(s):  
Kristina Graour
Keyword(s):  
Feature Film ◽  
Twin Peaks ◽  
Series Transformation

scholarly journals Case Study -Analysis on Blind Monitoring Results of the Feature Film -

2011 ◽  
Vol 7 (2) ◽  
pp. 235-262
Author(s):  
전윤수
Keyword(s):  
Study Analysis ◽  
Feature Film ◽  
Case Study Analysis

Rob Roy: Britain’s First Feature Film

2018 ◽  
Author(s):  
Caroline Merz
Keyword(s):  
Language Production ◽  
English Language ◽  
Film Production ◽  
Feature Film ◽  
Study Approach ◽  
Feature Films ◽  
Production History ◽  
History Of ◽  
Film Making

What was the potential for the development of a Scottish film industry? Current histories largely ignore the contribution of Scotland to British film production, focusing on a few amateur attempts at narrative film-making. In this chapter, Caroline Merz offers a richer and more complex view of Scotland’s incursion into film production,. Using a case-study approach, it details a production history of Rob Roy, produced by a Scottish company, United Films, in 1911, indicating the experience on which it drew, placing it in the context of other successful British feature films such as Beerbohm’s Henry VIII, and noting both its success in Australia and New Zealand and its relative failure on the home market faced with competition from other English-language production companies.

Widely Applicable Multi-Variate Decision Support Model for Market Trend Analysis and Prediction with Case Study in Retail

2014 ◽  
pp. 989-1018 ◽  
Author(s):  
Leo Mršić
Keyword(s):  
Time Series ◽  
Decision Support ◽  
Bayesian Network ◽  
Real Life ◽  
Heterogeneous Data Source ◽  
Decision Support Model ◽  
Market Trends ◽  
Series Transformation ◽  
Support Model

Chapter explains efficient ways of dealing with business problems of analyzing market environment and market trends under complex circumstances using heterogeneous data source. Under the assumption that used data can be expressed as time series, widely applicable multi variate model is explained together with case study in textile retail. This Chapter includes an overview of research conducted with a brief explanation of approaches and models available today. A widely applicable multi-variate decision support model is presented with advantages, limitations, and several variations for development. The explanation is based on textile retail case study with model wide range of possible applications in perspective. Complex business environment issues are simulated with explanation of several important global trends in textile retail in past seasons. Non-traditional approaches are revised as tools for a better understanding of modern market trends as well as references in relevant literature. A widely applicable multi-variate decision support model and its usage is presented through built stages and simulated. Model concept is based on specific time series transformation method in combination with Bayesian logic and Bayesian network as final business logic layer with front end interface built with open source Bayesian network tool. Explained case study provides one of the most challenging issue in textile retail: market trends seasonal/weather dependence. Separate outcomes for different scenario analysis approaches are presented on real life data from a textile retail chain located in Zagreb, Croatia. Chapter ends with a discussion about similar research’s, wide applicability of presented model with references for future research.

Extending the Haunted Mansion : Spatial Poaching, Participatory Narratives and Retrospective Transmedia

2020 ◽  
Author(s):  
Rebecca Williams
Keyword(s):  
Video Games ◽  
Theme Parks ◽  
Feature Film ◽  
Board Games ◽  
Physical Spaces

This chapter offers detailed discussion of the transmediality of theme parks and how their narratives and experiences extend across media forms. It takes Disney’s Haunted Mansion as an extended case study, a ride which has been turned into a feature film, but has also seen its narrative universe expanded across comics and novelizations, board games, and video games. Despite the fact that the ride lacks a coherent story, fans have demanded a greater narrative to the ride, causing tensions between Disney and its fans. Introducing the concepts of spatial poaching and retrospective transmedia, the chapter focuses on how producers and fans co-construct transmedia narratives through physical spaces, and over extended periods of time.

scholarly journals Subtitling’s cross-cultural expressivity put to the test: A cross-sectional study of linguistic and cultural representation across Romance and Germanic languages

Multilingua ◽  
2019 ◽  
Vol 38 (5) ◽  
pp. 505-528 ◽  
Author(s):  
Marie-Noëlle Guillot
Keyword(s):  
Cross Sectional Study ◽  
Cultural Representation ◽  
Cross Cultural ◽  
Cross Sectional ◽  
Communicative Practices ◽  
Feature Film ◽  
Germanic Languages ◽  
Cultural Pragmatics ◽  
Initial Focus

Abstract This article focuses on linguistic and cultural representation in AVT as a medium of intercultural literacy. It has two objectives: it puts to the test increasingly accepted assumptions about AVT modalities’ distinctive meaning potential and expressive capacity, with a case study of communicative practices in their representation, via AVT, in subtitles across Romance and Germanic languages. The second objective is to make a start on a neglected question to date, by considering, concurrently, the respective potential for representation of different types of languages, Indo-European in the first instance, in different pair configurations. The study applies to (Romance) French, Italian, Spanish and (Germanic) English and German and uses a cross-cultural pragmatics framework to explore representation, per se and comparatively across the languages represented in the main data, Lonnergan’s 2016 feature film Manchester by the Sea. Data is approached qualitatively from a target text end in the first instance and primarily, in a subset of scenes from across the film. Quantitative analysis is used complementarily for diagnostic purposes or as a complementary source of evidence, with initial focus on types of features identified in earlier studies as a locus of stylised representation in subtitling with evidence of distinctive pragmatic indexing (e.g. pronominal address, greetings, thanking). The study is a pilot study and is exploratory at this stage, but part of a broader endeavour to inform debates about, and build up the picture of, AVT as cross-cultural mediation and, ultimately, promote our understanding of films in translation’s societal impact.

Channel 4 and the Red Triangle: A Case Study in Film Curation and Censorship on Television

2014 ◽  
Vol 11 (4) ◽  
pp. 481-498
Author(s):  
Justin Smith
Keyword(s):  
Audience Research ◽  
Policy Makers ◽  
Feature Film ◽  
Home Video ◽  
Film And Television ◽  
The Press ◽  
History Of ◽  
The Uk ◽  
Autumn And Winter

This article charts the history of an experiment, conducted during the autumn and winter of 1986–7, in which Channel 4 trialled an on-screen visual warning symbol to accompany screenings of a series of international art-house films. The so-called ‘red triangle’ experiment, though short-lived, will be considered as a case study for exploring a number of related themes. Firstly, it demonstrates Channel 4's commitment during the 1980s to fulfilling its remit to experiment and innovate in programme form and content, in respect of its acquired feature film provision. Channel 4's acquisitions significantly enlarged the range of international classic and art-house cinema broadcast on British television. Secondly, it reflects contemporary tensions between the new broadcaster, its regulator the IBA, campaigners for stricter censorship of television and policy-makers. The mid-1980s was a period when progressive developments in UK film and television culture (from the rise of home video to the advent of Channel 4 itself) polarised opinions about freedom and regulation, which were greatly exacerbated by the press. Thirdly, it aims to shed light on the paradox that, while over thirty years of audience research has consistently revealed the desire on the part of television viewers for an on-screen ratings system, the UK is not among some forty countries that currently employ such devices on any systematic basis. In this way the history of a specific advisory experiment may be seen to have a bearing on current policy trends.

Filled with Secrets: Fire Walk With Me as a Twin Peaks Film

2018 ◽  
pp. 11-26
Author(s):  
Lindsay Hallam
Keyword(s):  
David Lynch ◽  
Feature Film ◽  
Twin Peaks ◽  
The Many

This chapter examines how David Lynch's Twin Peaks: Fire Walk With Me enriched and expanded the underlying mythology of the Twin Peaks universe despite being narrowed in scope. It details the excitement of fans when it was announced that David Lynch was going to return to Twin Peaks in the form of a feature film. It also reveals how fans did not anticipate the Twin Peaks film to be a prequel that shows the last seven days in the life of Laura Palmer. The chapter points out how Fire Walk With Me film was not intended to appease those who wanted to know the fates of the many characters after the series finale, but to delve deeper into the mysteries surrounding Laura's death and the connection to a supernatural realm. It examines Fire Walk With Me's shooting script that several scenes which include series regulars in cameo appearances.

“And Introducing Elvis Presley”

2020 ◽  
pp. 18-57
Author(s):  
Landon Palmer
Keyword(s):  
Star System ◽  
Power Structures ◽  
Generic Structure ◽  
Feature Film ◽  
Cross Platform ◽  
The Media ◽  
The 1950S ◽  
Rock N Roll ◽  
Studio Era

Chapter 1 offers a case study that illuminates how norms of studio-era film production came to be negotiated with the multimedia context of the 1950s and early 1960s. In exploring the production of “Elvis movies” from 1956 to 1961, this chapter examines how Hollywood transformed Presley the rock ’n’ roll star into a singular screen attraction. Producer Hal Wallis, a veteran of the studio era, sought a balance between the cyclical, generic structure of the former star system with the new opportunities for cross-platform promotion portended by the media landscape of the 1950s. Presley’s rebel-oriented 1950s films put on display what modern media fame meant in the second half of the 1950s and suggest a hierarchical relationship between television and film. Subsequently, Presley’s 1960s work enacted an assembly-line integration of feature film and LP record production, demonstrating how Wallis’s star-making formula during the studio era translated to a cross-platform context. In this way, Hollywood adapted to the “electronic age” of the 1950s while maintaining strict control over the output of a star’s labor, reconfiguring the power structures of the star system by aligning media industries into the synchronous production of a multimedia star image.

scholarly journals The Art of Opera: Variability of Artistic Languages of Screen Forms

2014 ◽  
Vol 6 (4) ◽  
pp. 72-83
Author(s):  
Alexandra Vadimovna Mesyanzhinova
Keyword(s):  
Feature Film ◽  
Movie Theaters ◽  
Metropolitan Opera ◽  
Digital Format ◽  
Multimedia Technologies ◽  
Live Broadcast ◽  
The Spectator ◽  
Franco Zeffirelli ◽  
La Traviata

Specifics of an artistic language of screen forms of opera and its variations (movies, TV performances, live broadcasts in movie theatres) could be explicated successfully using a case study of different interpretations of the same work. The article retrospectively illustrates variability of an artistic language of the operatic screen forms using a case study of screen adaptations of Giuseppe Verdi's La Traviata (1853). The article analyzes a film-opera by Franco Zeffirelli (1982), a film-opera by Mario Lanfranchi (1968), TV-broadcast of Adrian Marthalers staging of La Traviata at Zurich Central station (2008), and the live broadcast in movie theaters of Willy Deckers production at the Metropolitan Opera (2012). The author presumes that the format of an opera-film through interacting with the audience primarily on emotional and symbolic levels appears as static. TV live broadcasts of opera productions, which have replaced filmed opera, convey the completeness and stasis of what is happening on screen thus allowing the viewer to feel the spontaneity of theatrical action and actually ushering the spectator into the space of each frame. Live broadcasts of opera performances in movie theatres create a unique symbiosis of arts: a live, devoid of stasis and predetermination, feature film emerges. Nowadays, when theatres are increasingly offering live broadcasts of their performances in Internet, it is possible to state that the operatic art is not just oriented towards the screen arts but is searching new opportunities to adapt itself to the screen format, and can no longer exist independently off the screen. All this affects the artistic language of screen and theatrical forms of the operatic art. Although the operatic art interacts well with the multimedia technologies, the issues of interpretation and transformation of the artistic forms, which arise when recordings of elapsed performances are converted to digital format and viewed on modern devices, require a very delicate approach. Tablet computers and other media devices, which are able to reproduce nearly every recording, in a certain sense, allow customization of the technical and aesthetic forms of an art piece according to the users preferences, thus introducing personalized artistic accents of a viewer.

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