scholarly journals Future Movement Future – REJECTED

2021 ◽  
Vol 19 (4) ◽  
pp. 507-510
Author(s):  
Bruno Moreschi ◽  
Gabriel Pereira
Keyword(s):  
Short Film ◽  
Smart Cameras ◽  
Distant Future ◽  
Algorithmic Model ◽  
Urban Legend

In a not-too-distant future, an anonymous researcher and their team applied for funding to develop their newest invention: a new algorithmic model for smart cameras that would allow people to analyze the movement of cars at a previously unheard-of scale. This system was said to enable new forms of predictive capabilities to emerge: the algorithm would be able to, for example, predict the route drivers wanted to take but had not yet taken—including, for example, their occult inner desires for getting away with a secret lover. A panel of academic reviewers from three different universities audited and reviewed the proposed system. All that is left are segments of the video-report resulting from this meeting, which became an urban legend among technology researchers. The short film “Future Movement Future – REJECTED” is the story of a dystopian surveillance future that was barred by institutional refusal. It importantly reminds us about how total surveillance, the “almighty algorithmic eye,” may end up seeing-predicting much less than imagining-dreaming.

First Blood: The Opening of Scream

Scream ◽  
2019 ◽  
pp. 13-24
Author(s):  
Steven West
Keyword(s):  
Short Film ◽  
Opening Scene ◽  
Slasher Film ◽  
Central Characters ◽  
Urban Legend ◽  
The Way

This chapter discusses the first character seen on screen in Wes Craven's Scream named Casey, portrayed by Drew Barrymore, in a sequence generally regarded as an arresting self-contained set piece. It explains how Scream serves as a short film in its own right, priming the audience for the film's principal gimmick. It also describes the way Scream acknowledges the standard role of a prologue in a slasher film, which follow the terrorisation and murder of a short-lived character as a means of establishing the antagonist prior to the introduction of the central characters. The chapter mentions the ominous caller in Scream that is voiced by Roger Jackson who represented the vocals of the killer through a universal, gender-defying voice-changing device employed by the antagonist. It talks about Scream's opening scene and the slasher format that has its origins in an enduring urban legend referred to as 'The Babysitter and the Man Upstairs'.

Cognitive Processing of Film Cuts Among 4- to 8-Year-Old Children

2012 ◽  
Vol 17 (4) ◽  
pp. 257-265 ◽  
Author(s):  
Carmen Munk ◽  
Günter Daniel Rey ◽  
Anna Katharina Diergarten ◽  
Gerhild Nieding ◽  
Wolfgang Schneider ◽  
...  
Keyword(s):  
Eye Movements ◽  
Cognitive Processing ◽  
Media Literacy ◽  
Age Groups ◽  
Reaction Times ◽  
Time Span ◽  
Short Film ◽  
Calculation Formula ◽  
Eye Tracker ◽  
Chronological Sequence

An eye tracker experiment investigated 4-, 6-, and 8-year old children’s cognitive processing of film cuts. Nine short film sequences with or without editing errors were presented to 79 children. Eye movements up to 400 ms after the targeted film cuts were measured and analyzed using a new calculation formula based on Manhattan Metrics. No age effects were found for jump cuts (i.e., small movement discontinuities in a film). However, disturbances resulting from reversed-angle shots (i.e., a switch of the left-right position of actors in successive shots) led to increased reaction times between 6- and 8-year old children, whereas children of all age groups had difficulties coping with narrative discontinuity (i.e., the canonical chronological sequence of film actions is disrupted). Furthermore, 4-year old children showed a greater number of overall eye movements than 6- and 8-year old children. This indicates that some viewing skills are developed between 4 and 6 years of age. The results of the study provide evidence of a crucial time span of knowledge acquisition for television-based media literacy between 4 and 8 years.

A Structured Method for the Recognition of Complex Historical Tables

1997 ◽  
Vol 9 (1-3) ◽  
pp. 58-77
Author(s):  
Vitaly Kliatskine ◽  
Eugene Shchepin ◽  
Gunnar Thorvaldsen ◽  
Konstantin Zingerman ◽  
Valery Lazarev
Keyword(s):  
Nineteenth Century ◽  
Character Recognition ◽  
Optical Character Recognition ◽  
Complex Structure ◽  
Source Material ◽  
Historical Sources ◽  
Tax Assessment ◽  
Optical Character ◽  
Algorithmic Model ◽  
Machine Readable

In principle, printed source material should be made machine-readable with systems for Optical Character Recognition, rather than being typed once more. Offthe-shelf commercial OCR programs tend, however, to be inadequate for lists with a complex layout. The tax assessment lists that assess most nineteenth century farms in Norway, constitute one example among a series of valuable sources which can only be interpreted successfully with specially designed OCR software. This paper considers the problems involved in the recognition of material with a complex table structure, outlining a new algorithmic model based on ‘linked hierarchies’. Within the scope of this model, a variety of tables and layouts can be described and recognized. The ‘linked hierarchies’ model has been implemented in the ‘CRIPT’ OCR software system, which successfully reads tables with a complex structure from several different historical sources.

Surviving The Jungle Book: Trans-temporal Ventriloquism in Ian Iqbal Rashid's Surviving Sabu

2018 ◽  
Vol 15 (4) ◽  
pp. 532-552 ◽  
Author(s):  
Ana Cristina Mendes
Keyword(s):  
Short Stories ◽  
Cultural Studies ◽  
First Century ◽  
Short Film ◽  
Source Text ◽  
Temporal Ventriloquism ◽  
The Past ◽  
Film Maker ◽  
Global Power ◽  
Political Intervention

The process of screen adaptation is an act of ventriloquism insofar as it gives voice to contemporary anxieties and desires through its trans-temporal use of a source text. Screen adaptations that propose to negotiate meanings about the past, particularly a conflicted past, are acts of ‘trans-temporal ventriloquism’: they adapt and reinscribe pre-existing source texts to animate contemporary concerns and anxieties. I focus on the acts of trans-temporal ventriloquism in Ian Iqbal Rashid's Surviving Sabu (1998), a postcolonial, turn-of-the-twenty-first century short film that adapts Zoltan and Alexander Korda's film The Jungle Book (1942), itself an adaptation of Rudyard Kipling's collection of short stories by the same name. Surviving Sabu is about the survival and appropriation of orientalist films as a means of self-expression in a postcolonial present. Inherent in this is the idea of cinema as a potentially redemptive force that can help to balance global power inequalities. Surviving Sabu's return to The Jungle Book becomes a means both of tracing the genealogy of specific orientalist discourses and for ventriloquising contemporary concerns. This article demonstrates how trans-temporal ventriloquism becomes a strategy of political intervention that enables the film-maker to take ownership over existing media and narratives. My argument examines Surviving Sabu as an exemplar of cultural studies of the 1980s and 1990s: a postcolonial remediation built on fantasy and desire, used as a strategy of writing within rather than back to empire.

Duration, Compression, Extension and Distortion of Time in Contemporary Transgender Cinema

Somatechnics ◽  
2019 ◽  
Vol 9 (1) ◽  
pp. 58-83
Author(s):  
Akkadia Ford
Keyword(s):  
Life Experiences ◽  
Private Life ◽  
First Century ◽  
Short Film ◽  
New Wave ◽  
Privileged Access ◽  
Feature Film ◽  
Theoretical Issues ◽  
Over Time ◽  
Film Change

Cinema provides ‘privileged access’ ( Zubrycki 2011 ) into trans lives, recording and revealing private life experiences and moments that might never be seen, nor heard and after the time had passed, only present in memory and body for the individuals involved. Film, a temporal medium, creates theoretical issues, both in the presentation and representation of the trans body and for audiences in viewing the images. Specific narrative, stylistic and editing techniques including temporal disjunctions, may also give audiences a distorted view of trans bodily narratives that encompass a lifetime. Twenty first century cinema is simultaneously creating and erasing the somatechnical potentialities of trans. This article will explore temporal techniques in relation to recent trans cinema, comparing how three different filmmakers handle trans narratives. Drawing upon recent films including the Trans New Wave ( Ford 2014 , 2016a , 2016b ), such as the experimental animated autoethnographic short film Change Over Time (Ewan Duarte, United States, 2013), in tandem with the feature film 52 Tuesdays (Sophia Hyde, Australia, 2013), I will analyse the films as texts which show how filmmakers utilise temporality as a narrative and stylistic technique in cinematic trans narratives. These are texts where cinematic technologies converge with trans embodiment in ways that are constitutive of participants and audiences' understanding of trans lives. This analysis will be contrasted with the use of temporal displacement as a cinematic trope of negative affect, disembodiment and societal disjunction in the feature film Predestination (The Spierig Brothers, Australia, 2014), providing a further basis for scholarly critique of cinematic somatechnics in relation to the trans body.

Barbara Hammer's Jane Brakhage

2020 ◽  
Vol 6 (2) ◽  
pp. 67-94
Author(s):  
Jennifer Peterson
Keyword(s):  
Short Film ◽  
Nonfiction Film ◽  
Feminist Thought ◽  
Environmental Thought ◽  
Stan Brakhage ◽  
The Many ◽  
The Voice ◽  
Creative Life

This essay analyzes Barbara Hammer's 1974 experimental nonfiction film Jane Brakhage. Both an homage and a rebuttal to the many films of Jane Brakhage made by her husband, Stan Brakhage, Hammer's film gives Jane the voice she never had in Stan's work. The article contextualizes Jane Brakhage's production at a moment when competing strands of feminist thought took different approaches to the fraught topic of nature. Hammer's films were criticized as essentialist by feminists in the 1980s, but this essay argues that Jane Brakhage complicates that reading of Hammer's work. The film documents Jane's creative life in the mountains, but critiques the limitations of her role as a heterosexual wife and mother. By locating this short film within a larger genealogy of feminist and environmental thought, we can better appreciate the extent to which Hammer's films explore the feminist and queer potential of nature.

Choosing to be the Hero, the Joker, the Villain: An Interview with Arthur Dong

2020 ◽  
Vol 73 (3) ◽  
pp. 41-46
Author(s):  
Oliver Wang
Keyword(s):  
High School ◽  
San Francisco ◽  
Asian Americans ◽  
Asian American ◽  
Short Film ◽  
Recent Experience ◽  
West Hollywood

Oliver Wang interviews documentary filmmaker Arthur Dong. Originally from San Francisco, Dong began his career as a student filmmaker in the 1970s before releasing the Oscar-nominated short film, Sewing Woman in 1982. Since then, his films have focused on the role of Chinese and Asian Americans in entertainment industries as well as on anti-LGBQ discrimination. In the interview, Wang and Dong discuss Dong's beginnings as a high school filmmaker, his decision to turn the story of his seamstress mother into Sewing Woman, his struggle to bring together the Asian American and queer film communities and his recent experience in staging a “Hollywood Chinese” exhibit inside a renovated bar in West Hollywood.

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