Classifying Emotions in Film Music—A Deep Learning Approach

The paper presents an application for automatically classifying emotions in film music. A model of emotions is proposed, which is also associated with colors. The model created has nine emotional states, to which colors are assigned according to the color theory in film. Subjective tests are carried out to check the correctness of the assumptions behind the adopted emotion model. For that purpose, a statistical analysis of the subjective test results is performed. The application employs a deep convolutional neural network (CNN), which classifies emotions based on 30 s excerpts of music works presented to the CNN input using mel-spectrograms. Examples of classification results of the selected neural networks used to create the system are shown.

Maya Blue and Franciscan Evangelism

In the first decades of the Franciscan evangelical campaign in Yucatán, Mexico (1540–90), Maya builders and artists directed the construction and pictorial decoration of hundreds of Christian edifices, ranging from small-scale chapels to larger churches and entire monastic complexes, offering a material record of the peninsula’s religious transformation. Strategic color selection and the deployment of Maya blue pigment in particular architectural, iconographic, and liturgical contexts enabled Indigenous catechumens to reconcile post-Tridentine conceptions of divinity with precontact sacred ideologies. By weaving diverse methodologies from the study of visual sources, textual documents, and material characterization techniques, we demonstrate how colonial Maya color theory actively engineered localized Catholicism.

“I'm Hard to Catch”

This article examines Living with Pride: Ruth C. Ellis @ 100 (1999) by Yvonne Welbon, an independent documentary film centered on the life of African American lesbian centenarian Ruth Ellis to advance a queer of color theory of longevity. The analysis closely considers Ruth Ellis's assertion in the film that she: “. . . wasn't in—What you call it? . . . Closet. Never.” Although Ellis explicitly disavows “the closet” declaring instead that she was never in it, both in the film and commonly she is often referred to as “out.” The article addresses the ways in which “out,” along with Ellis's declarations of “never” and “wasn't in,” examined together as “never in,” render Ellis's living legible within black sexuality studies and LGBTQ cultural politics. Ellis advises at the end of the film that cultivating “atmosphere” interpersonally in daily life engenders longevity. Living with Pride puts forth a model of longevity that is personally and collectively grounded in black sexual difference and queer of color resistant social practices that trouble public health life expectancy discourses. Drawing on queer of color critique, black sexuality studies, and visual cultural studies, the article engages Ellis's formulation of black queer atmosphere as a site of imagining that advances the livability of racialized sexual difference.

The Analysis of Photo Images of Varosha (Cyprus)

Space is the “envelop of time” (Lefebvre, 1991, pp.339-40) and “(Social) space is a (social) product” (Lefebvre, 1991, p.26) same as Varosha, which is an abounded city since 1974, at Famagusta, known to the Greeks as Ammohostos, meaning “buried in the sand” (2020). Varosha has political, economic, and geographical importance for the Island and Europe. Thus, after the war of 1974, it is fenced off with barbed wires and is guarded by Turkish soldiers. In other words, it is impossible to cross the UN Buffer Zone (“Green Line”) and see the inside of Varosha. Signs/photos warn people to cross the fences and take photos and movies. Thus, this analysis aims to analyze the photos to reveal the hidden meanings of Varosha, because of this the writer uses Barthes's theory to find the connotation, denotation, and Saussure's theory to find the signifier and signified meanings. Then, the analysis will be supported by Color theory and Althusser's Apparatuses. Shortly, the paper tries to answer the question of what do the signs in Varosha’s photos mean according to Semiotics, Ideology and Color Theories? Consequently, in the end, the study shows that the real inhabitants/Cypriots miss the old days of Varosha.