Emotional responses to different flavoured popcorns on watching different types of movies

The emotional responses to five flavoured popcorns (butter, cheese, caramel, barbecue and Thai spicy) compared to ‘not eat anything’ on watching each genre of five digital video disk (DVD) movies (action, comedy, fantasy, romance and horror movies) were measured by 100 voluntary audiences. They were recruited to participate in the sensory laboratory set as a theatre. After five minutes of watching each movie, they had to taste each of the flavoured popcorns for 25 g serving with 250 mL of drinking water than their 39 emotional and 2 sensory responses were recorded. Analysis of variance (ANOVA) and emotional ratio profiling of all flavoured popcorns on watching each movie were analysed. The results revealed that the mean overall liking score for each flavoured popcorn was not different, but the mean emotional scores that responded to each flavoured popcorn on watching each movie were different significantly (p < 0.01). During watching the action movie, butter and cheese flavoured popcorns seemed to significantly evoke most emotions on ‘daring’ and ‘pleasant’ (p < 0.01). While watching the horror movie, caramel flavoured popcorn undoubtedly evoked the most emotional responses among other flavoured popcorns. These emotional responses to each of flavoured popcorns on each of variety DVD movies might be used for movie theatre strategic promotion and advertisement to add value and distinction for the flavoured popcorn products in all cases.

THE NEW AND THE OLD IN THE FILM INDUSTRY: CINEMA, TECHNOLOGY AND NEO-VIEWERS. AN ANTHROPOLOGICAL LOOK AT THE NEW CINEMA.

Since its invention, the cinema art and industry has drawn a lot of attention from people of all sectors. It is nowadays a mass phenomenon reaching a very large audience, which has increased even more due to the proliferation of screens resulting from technological advances. As a result, going to the movie theatre has become simply an option among others. This investigation searches into what motivates the current spectator to watch films and the way in which cinema interacts with the viewer, projecting the cinematographic arts beyond the screen. In short, the research characterises the current spectator within the values and the context around him and uses an anthropological methodology to describe how the new spectator lives the cinema and the way in which the old structures and the new ones interact in our hyperconnected world. The main objective of the research is to approach generally the concept of film viewer in our times.

Hearing Film Music Topics outside the Movie Theatre

This chapter describes a cognitively informed framework based on analogy for theorizing cinematic listening; in this case, it tests the hypothesis that contemporary listeners might use associations learned from film music topics to make sense of western art music (WAM). Using the pastoral topic as a case study, a corpus of film scores from 1980–2014 determines common associations for this topic based on imagery, emotion, and narrative contexts. Then, the chapter outlines potential narratives a modern moviegoer might make by listening “cinematically” to a Sibelius movement. The hypothesis is empirically tested through an experiment where participants record their imagined narratives and images while listening to WAM and film music. The meaning extraction method, a statistical analysis for identifying associational themes, is used to analyze people’s responses.

Leveraging a Long and Tuneful History

In evaluating the success of twenty-first-century applications of surround sound technology, the popular press often fails to take into consideration the powerful role that history plays in their design. Dolby Atmos for Cinema (2012 –) has been marketed as groundbreaking and become a gold standard in cinema sound. Conceived of as a means to create a “platform” that would reach across the movie theatre, home theatre, music, and virtual reality for maximal profit, however, Atmos was always designed to move beyond it. Discussing both Atmos for Cinema and Atmos for Music (2016–), and drawing on first-hand interviews with industry insiders, this chapter situates Dolby’s platform into a longer history of multimedia surround technologies, and argues that its contribution to that history is first, in its reflection of the underrecognized hybridity of surround sound’s past, and second, to think of surround sound as a space to physically move through.

Theatrical Dialogue in the Digital Age: From Director’s Theatre to the Theatre Onscreen

Thanks to its inherent nature, theatre has been better able than other artforms to resist the challenges presented by information and digital culture, which are based on the principle of reproduction. Since a theatrical text is created anew each time, an audience can enter into a real-time dialogue with a concrete group of players recreating an authorial concept. This is true even when, as in director’s theatre, a director’s interpretation is performed by different acting companies.Today, however, the hubris of theatre critics and enthusiasts, who value unmediated dialogue as a pre-condition of theatrical pragmatics, has collided with the novel theatrical practice of live broadcasting, which was preceded by the standalone genres of radio and television plays. As a performance art, theatre possesses characteristics of a virtual object, where the information about such an object exists only in the memories of audiences or professional critics. In becoming digitised, theatre loses its former character – the uniqueness of presence in a concrete theatrical here-and-now that can never be repeated – and acquires a new mode of existence within a movie theatre represented in Russia by the Theatre HD project, which translates the theatrical educational mission into the digital age by involving new participants in creative dialogue.

Cinema-going at the Antwerp Zoo (1915–1936): A Cinema-concert Program Database

This paper outlines the genesis of the cinema-concert program database of the Belgian movie theatre Cinema Zoologie (1915–1936) deposited in the dans repository. First, it provides a detailed account of the historical sources and the data collection process. Second, it explains the structure of the database and the coding that was used to enter the data. Finally, the strengths and weaknesses of the database are discussed and its potential for future research is highlighted.

Perubahan Struktur Organisasi Kepanitiaan dalam Festival Film Mahasiswa UCIFEST

Festival film berkontribusi besar dalam menyelesaikan masalah distribusi bagi film-film alternatif seperti film-film karya mahasiswa yang ada di Indonesia. Film –film mahasiswa yang tidak dapat masuk ke jalur komersil, membutuhkan ruang atau etalase untuk menunjukkan karya mereka. Kebutuhan akan memiliki ruang eksebisi dan distribusi bagi film-film alternatif, menjadi faktor terbentuknya festival-festival film kampus. Sebagai festival film yang berada dibawah institusi dan dibentuk dengan semangat independen dari mahasiswa, festival film dapat bertahan dalam berbagai kondisi. Jaringan yang diciptakan oleh mahasiswa antar universitas juga menjadi kekuatan berlangsungnya festival film. Struktur organisasi kepanitiaan dibuat menyesuaikan kebutuhan festival film. Struktur organisasi yang dibentuk harus berjalan secara efektif dan efisien demi tercapainya kesuksesan festival film. Changes in the Organizational Structure of the Committee in the UCIFEST Student Film Festival Abstract: Film festivals contribute to solving distribution for alternative films. A short film created by students cannot enter the commercial path or screen in the movie theatre. The need to have exhibition and distribution spaces for the alternative film is a factor that the students make short film festivals on the campus. As a film festival under the university or institution, a film festival can survive in various conditions. This is because of the festival formed with the spirit of independence by students. Besides that, the network created by students between the communities or universities is also the strength of the short film festival. Another essential factor for the film festival is the organizational structure. The organizational structure must run effectively and efficiently to achieve the success of the film festival.

‘A very very long amount of time passes’: Slowness, cinema and Annie Baker’s The Flick (2013)

Annie Baker’s 2013 play The Flick prompted divisive reactions from its audience from the time of its original run, ones largely based on the play’s feeling extremely slow. Setting out from the intersection of the play’s temporal affect and the play’s setting ‐ a movie theatre ‐ this article builds on recent work on slow-cinema scholarship, particularly as it relates to theatrical exhibition, to explore contemporary discourse on both slowness and cinema. Going further, it sets this work against the backdrop of broader, multi-disciplinary conversations about the cultures of speed and slowness, before considering the particular slowness in The Flick as well as its evocation of the theatrical experience. Finally, the article concludes by asking what it means today to attend the cinema.