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Journal articles on the topic 'Digital media and motion pictures'
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Betancourt, Michael. "‘Cinema’ as a Modernist Conception of Motion Pictures." AM Journal of Art and Media Studies, no. 16 (September 5, 2018): 55. http://dx.doi.org/10.25038/am.v0i16.254.
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In the 1960s and 1970s the Clement Greenberg’s Modernist ideology of ‘purity’ played a central role in the definition of ‘avant-garde cinema’ as a serious, major genre of film. This transfer between ‘fine art’ and ‘avant-garde film’ was articulated as ‘structural film’ by P. Adams Sitney. This heritage shapes contemporary debates over ‘postcinema’ as digital technology undermines the ontology and dispositive of historical cinema. Its discussion here is not meant to reanimate old debates, but to move past them. Article received: March 12, 2018; Article accepted: April 10, 2018; Published online: September 15, 2018; Original scholarly paperHow to cite this article: Betancourt, Michael. "‘Cinema’ as a Modernist Conception of Motion Pictures." AM Journal of Art and Media Studies 16 (2018): 55−67. doi: 10.25038/am.v0i16.254
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Murroni, Maurizio, Cristian Perra, and Daniele D. Giusto. "Slow Motion and Zoom in HD Digital Videos Using Fractals." International Journal of Digital Multimedia Broadcasting 2009 (2009): 1–12. http://dx.doi.org/10.1155/2009/496934.
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Slow motion replay and spatial zooming are special effects used in digital video rendering. At present, most techniques to perform digital spatial zoom and slow motion are based on interpolation for both enlarging the size of the original pictures and generating additional intermediate frames. Mainly, interpolation is done either by linear or cubic spline functions or by motion estimation/compensation which both can be applied pixel by pixel, or by partitioning frames into blocks. Purpose of this paper is to present an alternative technique combining fractals theory and wavelet decomposition to achieve spatial zoom and slow motion replay of HD digital color video sequences. Fast scene change detection, active scene detection, wavelet subband analysis, and color fractal coding based on Earth Mover's Distance (EMD) measure are used to reduce computational load and to improve visual quality. Experiments show that the proposed scheme achieves better results in terms of overall visual quality compared to the state-of-the-art techniques.
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Asokan, R., and T. Vijayakumar. "Design of WhatsApp Image Folder Categorization Using CNN Method in the Android Domain." September 2021 3, no. 3 (October 16, 2021): 180–95. http://dx.doi.org/10.36548/jucct.2021.3.003.
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Recently, the use of different social media platforms such as Twitter, Facebook, and WhatsApp have increased significantly. A vast number of static images and motion frame pictures posted on such platforms get stored in the device folder making it critical to identify the social network of the downloaded images in the android domain. This is a multimedia forensic job with major cyber security consequences and is said to be accomplished using unique traces contained in picture material (SNs). Therefore, this proposal has been endeavoured to construct a new framework called FusionNet to combine two well-established single shared Convolutional Neural Networks (CNN) to accelerate the search. Moreover, the FusionNet has been found to improve classification accuracy. Image searching is one of the challenging issues in the android domain besides being a time-consuming process. The goal of the proposed network's architecture and training is to enhance the forensic information included in the digital pictures shared on social media. Furthermore, several network designs for the categorization of WhatsApp pictures have been compared and this suggested method has shown better performance in the comparison. The proposed framework's overall performance was measured using the performance metrics.
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Yulandina, Aldilla, Condra Antoni, and Ardiman Firmanda. "OPTIMALISASI UNSUR LIVE SHOOT DAN MOTION GRAPHIC UNTUK PROMOSI DIGITAL LEMBAGA PAUD." JOURNAL OF DIGITAL EDUCATION, COMMUNICATION, AND ARTS (DECA) 1, no. 1 (January 25, 2018): 1–19. http://dx.doi.org/10.30871/deca.v1i1.588.
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Presentation of information for educational institutions is one of the most important means to introduce the institutions to the public. Raudhatul Athfal (RA) Ar-Rasyid Tanjungpinang needs media that can promote and provide information about the institution, because the number of registrants is decreasing during current years. This research was conducted with the creation of the institution’s profile video that applies elements of live shoot and motion graphics to easily convey information in short duration videos, and to make the profile video look interesting. The stage of making a profile video is starting from taking pictures directly (live shoot), editing to rendering process. Based on the process of designing, implementation, testing and discussion, it can be concluded that this research has been able to produce a profile video that can be used as a promotional mean for attracting new students in 2017/2018 at RA Ar-Rasyid Tanjungpinang. The result shows that 77% of 98 applicants have been informed through video profiles distributed with Videotron.
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Bhat, Romica, and Prithu Sarkar. "Covidization of Media and Entertainment Industry: Current Times and the Future Ahead." Indonesian Journal of Social Science Research 3, no. 2 (December 31, 2022): 113–20. http://dx.doi.org/10.11594/ijssr.03.02.07.
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The paper has tried to address the modification and adaptation done by the motion pictures industry on the business model, decision-making process, and revenue model, with a case study on Walt Disney. This paper also tried to understand the digital disruptiveness probable strategies taken by media organizations to conquer the spot of market leader and gain a competitive advantage from the set of homogeneous competitors. The new normal business model that has helped Disney+ to create the core competency has given the organization a long-term benefit to make a sustainable business model. The paper further indulges on how Walt Disney’s proactive, informed, and balanced decision-making process about the sudden change in media business dynamics along with the arts and communication industry is going to be a benchmark while keeping the window of both online and offline media business with growing target audience and revenue generation. In the end, we have tried to come up with a business model for the media industry in contemporary times and the future.
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Lim, Bliss Cua. "Fragility, Perseverance, and Survival in State-Run Philippine Archives." Plaridel 15, no. 2 (December 2018): 1–40. http://dx.doi.org/10.52518/2018.15.2-01bclim.
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This article considers the consequences of the 2004 dissolution of the Philippine Information Agency’s Motion Picture Division (PIA-MPD) on three key collections entrusted to it: films from the National Media Production Center; from the Movie and Television Review and Classification Board (themselves remnants of the previous archival collapse of the Film Archives of the Philippines in 1986); and lastly, a number of films produced by LVN Pictures, a studio founded in 1938. Using approaches from cultural policy, archival theory, feminist epistemology, and postcolonial historiography, the essay draws on an array of sources—archival films, legislative records, PIA documents, oral history interviews, and personal papers from members of the Society of Filipino Archivists for Film and the South East Asia Pacific Audio Visual Archives Association. The aftermath of the PIA-MPD’s abolition underscores the drawbacks of a narrowly profit-driven perspective on state film archiving that devalued analog cinema in relation to digital media while also ignoring the unique demands of audiovisual (AV) archiving by conflating it with paper-based librarianship. This study affirms the Filipino AV archive advocacy’s repeated calls for legislation to safeguard the institutional continuity and autonomy of Philippine film archives from the vagaries of political whim. Reflecting on the archivist-activists who endured the decline of various state-run film collections, the article concludes by conceptualizing archival survival as not only involving the material preservation of analog or digital AV carriers but as also entailing exhaustion and persistence on the part of archivists who persevere in institutional conditions they work to change.
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Cutting, James E. "Representing Motion in a Static Image: Constraints and Parallels in Art, Science, and Popular Culture." Perception 31, no. 10 (October 2002): 1165–93. http://dx.doi.org/10.1068/p3318.
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Representing motion in a picture is a challenge to artists, scientists, and all other imagemakers. Moreover, it presents a problem that will not go away with electronic and digital media, because often the pedagogical purpose of the representation of motion is more important than the motion itself. All satisfactory solutions evoke motion—for example, dynamic balance (or broken symmetry), stroboscopic sequences, affine shear (or forward lean), and photographic blur—but they also typically sacrifice the accuracy of the motion represented, a solution often unsuitable for science. Vector representations superimposed on static images allow for accuracy, but are not applicable to all situations. Workable solutions are almost certainly case specific and subject to continual evolution through exploration by imagemakers.
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Yetimova, Serhat, and Abdrasul İsakov. "An Analysis of the Kurmanjan Datka Movie in the Context of Historical and Ideological Film Criticism." Galactica Media: Journal of Media Studies 6, no. 2 (May 20, 2024): 96–120. http://dx.doi.org/10.46539/gmd.v6i2.434.
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Kurmanjan Datka Queen of the Mountains (2014) is a Kyrgyz historical drama film directed by Sadyk Sher-Niyaz tells the story of Kurmanjan Datka from Kyrgyz history. In this article, how the mentioned motion picture is discussed in Central Asian, Russian, Turkish and Western digital media is analyzed comparatively in the context of historical and ideological film criticism. It is tried to be understood how each country interprets the film in their own media, how they look at the history of Kyrgyzstan and its ideological discourse. In the research, critical discourse analysis method was used and conceptual and thematic classifications were made. At the end of the research, while more history and politics were discussed in the Central Asian media, the Russian and Turkish digital media did not show enough attention to the historical flow, while the Western digital media discussed the film in a multifaceted way in the context of economy-political, identity, gender and aesthetics. Another remarkable difference was that some of the Kyrgyz or Kazakh critics (especially statesmen, historians or artists) criticized the film on the economic-political axis. The in-depth and multidimensional criticisms of the film developed by the eastern critics were found in the Western media or Western journalists gave place to these views in their own digital media.
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Ochonicky, Adam. "Memory patterns." Science Fiction Film & Television 17, no. 1 (February 2024): 1–27. http://dx.doi.org/10.3828/sfftv.2024.1.
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This article asserts that the original Star Trek films (1979–91) have importance for the study of memory and media in the digital era. I advance several interrelated arguments, with a special emphasis on Star Trek: The Motion Picture . First, I address how Star Trek: The Motion Picture ’s treatment of memory corresponds to scientific models of human recollection and theories of archives and databases. Notably, the first Star Trek film expresses anxiety about the mutability of memory and potential ramifications of digitalization. Such elements anticipate major strands of scholarship on memory, digitalization, and franchises from subsequent decades. Second, I introduce the concept of “franchise recall,” which highlights the memory-driven nature of media franchises. Franchise recall manifests through self-reflexive commentary on cross-medium adaptation and/or through the use of recycled footage within installments. By mapping franchise recall across the initial six Star Trek films, I expose an underlying interconnectedness comparable to the associative operations of memory. Throughout the article, I also show how Star Trek: The Motion Picture ’s narrative and aesthetics resemble slow cinema. Overall, I demonstrate the surprising prescience and continued relevance of the original Star Trek films for grappling with the parameters and intersections of human and technological recall.
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Driscoll, Catherine, and Liam Grealy. "In the name of the nation: Media classification, globalisation, and exceptionalism." International Journal of Cultural Studies 22, no. 3 (July 5, 2018): 383–99. http://dx.doi.org/10.1177/1367877918784606.
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This article examines the relationship between exceptionalism and nationhood in media classification. The history of age-ratings is an international one, and the present challenges associated with digital media circulation are similarly international. We argue that the nation nevertheless provides an appropriate frame for understanding age-rating by attending to the ways national agencies have struggled to articulate the specificity of their work based on the specificity of domestic constituencies. Drawing on archival and ethnographic research, our central examples include the resistance of the Motion Picture Association of America to age-based film classification, the British Board of Film Classification’s examination of American films in the 1980s, contemporary Japanese videogame regulation, and the emergence of the International Age Rating Coalition. We argue that national exceptionalism is itself generalised and that media content regulation is less about producing national culture than about laying claim to a nation by differentiation.
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Jacobs, Carolyn Condon. "Convalescing Profiles." Feminist Media Histories 9, no. 3 (2023): 31–49. http://dx.doi.org/10.1525/fmh.2023.9.3.31.
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The influenza epidemic of 1918–20 was one of the deadliest events in recent human history, killing at least fifty million people worldwide and at least 675,000 Americans in just two years. Yet, because of government censorship during the pandemic and a lasting cultural silence about the flu, we still have a great deal to learn about this period. In the wake of the COVID-19 crisis, remembering the experience of the Spanish flu has become especially urgent. This essay argues that motion picture fan magazines, many of which are available digitally through the Media History Digital Library, are crucial archives of women’s experiences during the pandemic. Interactive sections of these publications gave readers—especially women and girls—rare opportunities to publicly share their own experiences with the flu. Celebrity “convalescing profiles” expressed anxieties and established expectations for women during the flu pandemic. Revisiting these publications today reveals the importance of celebrity and sites of fan engagement in forging ideas about illness and health.
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Ikonomi, Joan. "TV COMERCIAL PRODUCTION STRUCTURE FOR LIMITED BUDGET." Interdisciplinary Journal of Research and Development 6, no. 1 (March 20, 2019): 99. http://dx.doi.org/10.56345/ijrdv6n107.
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Making a great television commercial is an art in itself. Twenty years ago, there was no official available information about the steps to follow to prepare a TV commercial throughout all phases. The main reason for that knowledge gap is that the old method used was based on multiple agencies and vendors working on the same campaign, so the single groups do not have to know everything; they just needed to understand their own role and responsibility. In the last years, video production and post-production industries are changing very fast. Digital retooling is taking place, causing dramatic industry restructuring. The old player’s large post-production facilities using dedicated, proprietary equipment are being replaced by new players, small production companies, using personal computers to produce a different type of production media with the same professional result, at a lower cost. Nowadays, the significant reduction of video production costs, the more and more disappearing barriers to access video, as well as brands looking to spend less and get more has forced many advertisers to renounce to big agencies. Actually, with the new technology decreasing the cost of cameras and computers is possible to produce a TV commercial in all its phases (starting from concept, writing, production, and post-production (including animation and compositing) to final video), with a small group of professionals. The one-stop-shop is becoming a growing business model. Many creative artist and directors from big agencies have resigned to establish their own production companies, and groups of talented young people are constantly gathering from all over the world. This study will help to understand the structure and workflow of producing a TV commercial, starting from the copywriting stage until the final product, and passing through the classical production steps of cinematography and motion pictures, such as pre-production, production and post-production, understanding and analyzing every significant step of structure until the initial written concept will become a motion image. In order to reach the objective of this study, I read and reviewed several books and web materials on different topics about stages of the production, planning, budgeting, shooting and editing, equipment and techniques, communication and documentation.
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Ivanov, Andrey. "“The World Champion” and “Eleven Silent Men”: The Normative Order of Modern Russian Cinema and Nostalgia for Soviet Sports Victories." Logos et Praxis, no. 4 (December 2022): 29–36. http://dx.doi.org/10.15688/lp.jvolsu.2022.4.3.
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The article focuses on the feature films "The World Champion" and "Eleven Silent Men" released by the domestic cinema in the winter of 2021/2022, which relate to the genre of historical films about a specific event. In the absence of a universal theory and methods of analyzing historical cinema, an attempt is being made to consider films based on the assumption that they broadcast the mythologeme "USSR – The West". The current political situation is taken into account, characterized by the interest of the Russian state in the production of historical and patriotic motion pictures popular with the viewer, as well as the acute phase of confrontation between the Russian Federation and Western countries. The essence of historical films claiming to be connected with the modern context and going beyond the usual perception in the conditions of digital media communication is also taken into account. Using the example of the development of the "USSR – The West" mythologeme in feature films, the evolution of the "Us – Them" myth is shown and the approval of such a normative order in which Soviet sports victories acquire an epic scale and legendary dimension, and the actions of Soviet citizens are predictable, inscribed in the logic of rational, correct behavior. The actions of representatives of the Western world are associated with ambiguous, often caricatured images referring to heterogeneous socio-cultural phenomena. It is noted that an important factor in the success of films is what generation the audience belongs to, what forms of nostalgia they experience: this is both a restorative nostalgia, which allows us to recall the grandiose sports victories that the entire Soviet people were involved in, and a reflective nostalgia that focuses on details and contexts. After watching movies, the viewer begins to live as if in two realities. In one – cinematographic – the victories of Soviet athletes and almost fair play; in the other – objective – violations of international law and campaigns to discredit Russian athletes as heirs of Soviet winning traditions.
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Ba Tu Truong, S. Venkatesh, and C. Dorai. "Scene extraction in motion pictures." IEEE Transactions on Circuits and Systems for Video Technology 13, no. 1 (January 2003): 5–15. http://dx.doi.org/10.1109/tcsvt.2002.808084.
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Betancourt, Michael. "The “material function” in cinema: Resolving the paradox of the glitch." Semiotica 2020, no. 236-237 (December 16, 2020): 251–73. http://dx.doi.org/10.1515/sem-2019-0006.
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AbstractGlitches pose expressive challenges for digital motion pictures. These problematics reveal a “material function” that determines their identification and prescribes their semantics on-screen. These issues of materiality are familiar from the ideological critiques of avant-garde film in the 1970s, but have not been explored in relation to the semiotics of digital cinema. Developing an understanding of these problematics shows the complex problematics of using glitches for critical and expressive purposes in motion pictures.
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Usui, Fumiaki, Jun Hosoya, Ken Ito, and Laurence Thorpe. "A New HD Cine Zoom Lens for Digital Motion Pictures." SMPTE Motion Imaging Journal 114, no. 10-11 (October 2005): 383–95. http://dx.doi.org/10.5594/j16194.
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Jóźwiak, Marek, Brian Po-Jung Chen, Bartosz Musielak, Jacek Fabiszak, and Andrzej Grzegorzewski. "Social Attitudes toward Cerebral Palsy and Potential Uses in Medical Education Based on the Analysis of Motion Pictures." Behavioural Neurology 2015 (2015): 1–8. http://dx.doi.org/10.1155/2015/341023.
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This study presents how motion pictures illustrate a person with cerebral palsy (CP), the social impact from the media, and the possibility of cerebral palsy education by using motion pictures. 937 motion pictures were reviewed in this study. With the criteria of nondocumentary movies, possibility of disability classification, and availability, the total number of motion pictures about CP was reduced to 34. The geographical distribution of movie number ever produced is as follows: North America 12, Europe 11, India 2, East Asia 6, and Australia 3. The CP incidences of different motor types in real world and in movies, respectively, are 78–86%, 65% (Spastic); 1.5–6%, 9% (Dyskinetic); 6.5–9%, 26% (Mixed); 3%, 0% (Ataxic); 3-4%, 0% (Hypotonic). The CP incidences of different Gross Motor Function Classification System (GMFCS) levels in real world and in movies, respectively, are 40–51%, 47% (Level I + II); 14–19%, 12% (Level III); 34–41%, 41% (Level IV + V). Comparisons of incidence between the real world and the movies are surprisingly matching. Motion pictures honestly reflect the general public’s point of view to CP patients in our real world. With precise selection and medical professional explanations, motion pictures can play the suitable role making CP understood more clearly.
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Sarajar, Denny R. "The Use of Picture Media in Teaching German Vocabulary for Students’ at Senior High School I Tondano Minahasa." Journal of International Conference Proceedings 3, no. 2 (October 19, 2020): 217–22. http://dx.doi.org/10.32535/jicp.v0i0.922.
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One of the teacher's strategies in overcoming students' lack of vocabulary mastery is by using Picture Media (Visualmedient). And this is what will be studied in this study by limiting the use of picture media to the vocabulary mastery of German students at Senior high school 1 Tondano in Minahasa. This study aims to obtain an overview of the benefits of picture media amid the increasingly digital modernization of science in the Millennial era and the impact of the success of learning German vocabulary. The research method used in this study is descriptive experiment and documentation. Based on the analysis obtained from the results of this study, it is proven that there is a positive influence on the use of picture media in teaching German vocabulary for students of senior high school 1 Tondano. Recognizing new vocabulary in German. This means that the pictures shown or displayed by the teacher will help accelerate students' recognition of German. After direct observation and demonstration of pictures, there is a significant difference between those who use pictures and those who do not use pictures as media. Students who learn vocabulary using pictures will have better results than students who do not use pictures. This is obtained through the final test of the lesson. The use of picture media in teaching German, in particular, learning vocabulary, has a very strong and positive effect on learning outcomes in German. Even though the digital millennial era is more dominant in using electronics, picture media is still needed in teaching German vocabulary. The vocabulary that is accompanied by pictures will make students remember the vocabulary because of the help of pictures.
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Yang, Bin, Yuan Wang, and Yang Zhang. "The Transverse Motion Trajectories Acquisition of the Aeolian Saltation Sand near the Flat Bed Surface by High-Speed Digital Photography." Advanced Materials Research 346 (September 2011): 664–69. http://dx.doi.org/10.4028/www.scientific.net/amr.346.664.
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This paper describes the way to obtained the transverse motion trajectories of aeolian saltation sand by high-speed digital camera. With the assumption that the background images of the static bed surface on two consecutive pictures were uniform, the saltation sand images on each picture were distinguished from the background image of the bed surface by means of a series of image operation processing used on three sequential pictures. Then the transverse motion trajectories of saltation sand were obtained using the superimpose algorithm and the labeling algorithm. The results show that the transverse motion should be taken into consideration when modeling saltation in air.
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Beard, Terry D. "Digital sound system for motion pictures with analog sound track emulation." Journal of the Acoustical Society of America 93, no. 3 (March 1993): 1680–81. http://dx.doi.org/10.1121/1.406727.
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Hirschman, Elizabeth C. "Consumer Preferences in Literature, Motion Pictures, and Television Programs." Empirical Studies of the Arts 5, no. 1 (January 1987): 31–46. http://dx.doi.org/10.2190/3c9d-4vf6-v7nt-hbpw.
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This study examined the relationship between five motives—sensory arousal, cognitive arousal, escapism, mastery-control, and emotional involvement—and preferences for different types of content in three cultural media—television programs, motion pictures, and books. The findings both confirmed and extended prior theorization and found some intriguing differences in content preferences between women and men.
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Scholl, Jan. "4-H and 4-H Members in Motion Pictures." Journal of Youth Development 9, no. 3 (September 1, 2014): 66–78. http://dx.doi.org/10.5195/jyd.2014.52.
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Youth involved in Extension activities were portrayed on film as early as 1913. This paper provides a summary of the earliest motion pictures in which 4-H and 4-H members were a part. From the more than 400 early Extension films made by USDA, 22 4-H films were located and described. Hollywood films, with 4-H themes, were found. Reflections on film preservation and availability are addressed as well as the role of film and other media in the early twentieth century.
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Shanableh, T., and M. Ghanbari. "Loss concealment using b-pictures motion information." IEEE Transactions on Multimedia 5, no. 2 (June 2003): 257–66. http://dx.doi.org/10.1109/tmm.2003.811624.
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V, Shilpa, and Rahindh Rosh. "Kinetic Typography in Digital Media." European Journal of Arts, Humanities and Social Sciences 1, no. 4 (July 1, 2024): 61–66. http://dx.doi.org/10.59324/ejahss.2024.1(4).05.
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Kinetic typography, which involves the dynamic presentation of text through motion graphics, has become increasingly prevalent in digital media. While gaining immense popularity, the in-depth study on the current state of kinetic typography in digital media still stands a gap. This study therefore seeks to bridge this gap through a systematic review of secondary research data on kinetic typography. Issues investigated in the review are the design principles, including font, colour, motion, and sound, that influence the efficiency of kinetic typography in digital media. The study asserts that issues surrounding context, purpose, and audience in the design of kinetic typography form the basis of consideration in this area, and further research is encouraged to appreciate its potential effects on user experiences. The current review serves the purpose of presenting a current state of knowledge on kinetic typography in digital media to serve as a base for future research and practical implementation in the field.
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Baird, Jean. "Photography without Pictures." Arts 13, no. 1 (January 18, 2024): 17. http://dx.doi.org/10.3390/arts13010017.
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Magic, as an emanation of past presence in a picture, emerges as a theme in postmodern theories of photography. It is linked to various forms of actual and symbolic absence; an absence which creates a space that keeps us looking, ostensibly for something that is lost. Photography may not always have been digital, but it has always been magical. Photography Without Pictures explores the critical dialogue and disciplinary uncertainty around the terminology of an expanded photographic that derived from debates surrounding the proliferation of digital media and the previous, ontological question of the nature of photography as a technology and a pictorial medium. It is prompted by Andrew Dewdney’s conviction that in order to deal with the contemporary condition of the networked screen image, we need to “Forget Photography” (2021). Dewdney considers the paradox that while photography is now ubiquitous, it is also peculiarly and magically undead, a simulation at the behest of mutable electronic data. The article examines three instances of critical response to contemporary photography, including the interpretation and response to several photographic artworks and one simulated photograph, to distinguish characteristics of pictoriality, authorship and temporality in photographic pictures. In asking what it means to be a real photographer, we discover that the singular observer/artist has become a crowd in respect of the image sharing culture of post-internet art. Throughout his polemical argument to Forget Photography, Dewdney prefers to use the term image and imagery to refer to both the photographic and the networked image. The terms picture and image tend to be interchangeable in language and inhabit each other in practice, yet there are historical differences and continuities that make the distinction remarkable in considering questions of ontology and media continuity. Pictorial, temporal and illusory ‘magic’ are the themes through which these photographic uncertainties unfold.
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Putri, Nurul Perdana, and Hadi Gunawan Sakti. "Pengaruh Pemanfaatan Media Tutorial Berbentuk Film Motion Pictures Terhadap Motivasi Belajar Siswa." Jurnal Teknologi Pendidikan : Jurnal Penelitian dan Pengembangan Pembelajaran 6, no. 1 (April 14, 2021): 114. http://dx.doi.org/10.33394/jtp.v6i1.3617.
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The purpose of this study was to determine the effect of using tutorial media in the form of motion pictures on student motivation in class X ICT subjects at MA Darul Qur'an Wal Hadits. This research method using experiment. The population in this study were all students of class X at MA Darul Qur'an Wal Hadits 101 with a sample of 30 students. Data collection techniques in this study used a documentation questionnaire, observation and interviews. The data analysis technique used the t-test. From the research results obtained t-test of 3.481 with a significance level of 5% and d.b N-1 = (30-1 = 29) of 2.045. This shows that Ho is rejected and Ha is accepted, so it is concluded that there is an effect of the use of tutuorial media in the form of motion pictures on students' learning motivation in the X grade typology subject at MA Darul Qur'an Wal Hadits.
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Larsen, Svend. "Preserving the Digital Heritage: New Legal Deposit Act in Denmark." Alexandria: The Journal of National and International Library and Information Issues 17, no. 2 (August 2005): 81–87. http://dx.doi.org/10.1177/095574900501700204.
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In December 2004 the Danish parliament passed a new act on legal deposit which brought together all regulations concerning the collection and preservation of works published in Denmark, irrespective of type and format. The act covers works published in a physical format, works published on the Internet, radio and television broadcasts, and motion pictures. The responsibility for collecting and preserving this material (apart from motion pictures) is shared by the Royal Library and the State and University Library, and the article describes the procedures by which this responsibility will be discharged. Additional funding was secured to develop a system to meet the challenges of Internet harvesting and web archiving, and the new Danish Net Archive was ready to operate when the new law came into force on 1 July 2005. The article also considers the requirement for long-term preservation of digital material and the regulation of access to it, since both are seen as essential components in Denmark's initiatives to safeguard the nation's cultural heritage and to increase access to it.
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Koike, Atsushi, and Hitomi Murakami. "Quality Assessment of Digital Picture. Characteristics of Digital Moving Pictures." Journal of the Institute of Image Information and Television Engineers 53, no. 9 (1999): 1190–94. http://dx.doi.org/10.3169/itej.53.1190.
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Chen, Si Xi, and Shu Chen. "Research on Intangible Cultural Heritage Based on Motion Capture." Applied Mechanics and Materials 568-570 (June 2014): 676–80. http://dx.doi.org/10.4028/www.scientific.net/amm.568-570.676.
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The application of digital technology on the protection of intangible cultural heritage is a major topic of research in recent years. The motion capture technology of protection will gradually replace the traditional recording methods such as texts, pictures and videos. It is valuable to build a high-fidelity, high-modular and low-cost digital platform for choreographic data collection and extended application. This paper studies the intangible cultural heritage of Quanzhou breast-clapping dance, one of the most famous choreographic intangible cultural heritages from China with standard optical motion capture method. The data are acquiring and processing after the dance motion capture, we binds the motion data and three-dimensional model using Motion Builder and build digital demonstration platform base on an OGRE engine to display the movements. The viewer can view at any angle and distance. The system can be easily applied in motion intangible cultural heritages protection project. Furthermore, the system can be provided versatile motion data for additional use.
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Scherr, Sebastian, Florian Arendt, Thomas Frissen, and José Oramas M. "Detecting Intentional Self-Harm on Instagram: Development, Testing, and Validation of an Automatic Image-Recognition Algorithm to Discover Cutting-Related Posts." Social Science Computer Review 38, no. 6 (March 18, 2019): 673–85. http://dx.doi.org/10.1177/0894439319836389.
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Self-injurious behavior is often practiced in secrecy or involves body parts that are easy to hide, making early detection difficult and hampering intervention and treatment. However, cutting, one of the most common intentional forms of nonsuicidal self-injury (NSSI), is relatively often shared publicly via new digital media technologies. We explored NSSI on Instagram through a pioneering combination of two computational methods: First, we developed an automatic image-recognition algorithm that uncovered NSSI (or the absence of NSSI) in digital pictures, and second, we employed web-scraping techniques to obtain all pictures posted on Instagram in a given time frame under four NSSI-related hashtags in English and German. The image-recognition algorithm was then used to explore the relative prevalence of NSSI in these N = 13,132 pictures posted within 48 hr on Instagram under #cutting ( n = 4,219), #suicide ( n = 7,910), #selbstmord ( n = 173), and #ritzen ( n = 830) in June 2018. This article not only aims to raise awareness of NSSI on Instagram but also introduces the first automatic image-recognition algorithm that addresses cutting on social media and presents that algorithm’s first empirical test run on a large sample of pictures scraped from Instagram. The ultimate goal of this research is to protect vulnerable populations from contact with NSSI-related pictures posted on social media.
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Scharf, David, Jacob Wilbrink, and John A. Hunt. "SEM Stop-Frame, Color, 3D Animation for Motion Pictures." Microscopy and Microanalysis 4, S2 (July 1998): 16–17. http://dx.doi.org/10.1017/s1431927600020201.
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A stop-frame animation system has been developed for producing high-resolution, color and stereo motion picture animation sequences. The first of these sequences can be seen in the recently released IMAX 3D movies, “Four Million House Guests” a.k.a. “The Hidden Dimension”. IMAX movies have long been known for their breathtaking special effects that seem incredibly realistic because of the large projection screen (about 7 stories high) which is close to the entire audience, high resolution, and powerful audio effects. IMAX 3D is an extention to the traditional format that allows the audience to see three dimensional special effects with the aid of electronically shuttered viewing glasses. IMAX movies are an ideal medium to demonstrate the high resolution digital images that are possible with the SEM.The goal of the SEM movie project was to produce movie sequences where viewers feels like they are flying smoothly through micro-space past microscopic creatures and objects in three dimensions and in color.
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Durst, Samantha L., and Charldean Newell. "Two Thumbs Up: The Media Are the Message." Public Voices 3, no. 3 (April 11, 2017): 29. http://dx.doi.org/10.22140/pv.352.
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This account is a commentary on efforts to incorporate a "creative" project into a graduate-level public management course. Students must complete an "Images of the Public Sector" project for which they review, reflect on, and analyze the effect of specific media images of the public sector on public perceptions. The students select the images from books, music, television, motion pictures, or other art or literary form.
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Nugraha, Dadan. "Pengembangan Media Digital Berbasis Motion Graphic pada Pendalaman Materi IPS Sekolah Dasar." Jurnal Basicedu 6, no. 3 (March 30, 2022): 3649–56. http://dx.doi.org/10.31004/basicedu.v6i3.2642.
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Penelitian ini diorientasikan pada pengembangan media digital berbasis motion graphic sebagai media digital pada mata kuliah Pendalaman Materi Ilmu Pengetahuan Sosial Sekolah Dasar. Terkait kebutuhan media digital bahwa mahasiswa memerlukan berbagai jenis media digital dalam proses perkuliahan seperti e-book, infografis, audio, video dan animasi. Namun, salah satu media digital yang paling banyak diperlukan yaitu video pembelajaran. Dengan menggunakan desain berbasis penelitian atau Design Based Research (DBR) dirancanglah sebuah media digital yaitu video pembelajaran berbasis motion graphic berdasarkan analisis kebutuhan berbagai media digital yang diperlukan untuk perkuliahan Pendalaman Materi Ilmu Pengetahuan Sosial Sekolah Dasar, desain pengembangan media digital baik tahap pra produksi dan pasca produksi, ujicoba ahli media dan materi hingga evaluasi secara keseluruhan, maka dapat disimpulkan bahwa media digital dari hasil pengembangan dalam penelitian ini layak dan efektif digunakan sebagai salah satu alternatif media digital yang dapat digunakan dalam perkuliahan Pendalaman Materi Ilmu Pengetahuan Sosial Sekolah Dasar di Program Studi Pendidikan Guru Sekolah Dasar Universitas Pendidikan Indonesia Kampus Sumedang.
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Muhammad Iqbal Panjaitan and Zekson Arizona Matondang. "Perancangan Aplikasi Media Informasi Lembaga Kursus Berbasis Web." JUKI : Jurnal Komputer dan Informatika 1, no. 2 (April 29, 2021): 83–89. http://dx.doi.org/10.53842/juki.v1i2.21.
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Abstract-Website can be interpreted as a collection of pages that are used to publish information in the form of text, images and other multimedia programs in the form of animation (motion pictures, motion writings), sound, and or a combination of all of them both static and dynamic that form one a series of interrelated buildings between one page and another page. In this paper the design of applications that can be used as part of the dissemination of information to course institutions to increase the introduction of these agencies, to the design through the DFD design, database relation design and form design will be used as a reference in making websites.
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Lewis, Sarah, Robb Lindgren, Shuai Wang, and Roy D. Pea. "Learning With Media." Journal of Media Psychology 31, no. 3 (July 2019): 128–36. http://dx.doi.org/10.1027/1864-1105/a000235.
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Abstract. Digital media, such as interactive video, games, and immersive worlds, offer rich visual perspectives, often allowing one to experience events through another’s eyes. While prior research indicates that considering alternative perspectives facilitates understanding, little is known about how media-enhanced perspectives affect learning processes for higher-order concepts that require synthesis of ideas and making inferences such as reasoning about problems in science. Two experiments used digital video of a science instructional event to investigate features of visual perspective on engagement and knowledge construction. Study 1 showed that an embodied first-person viewpoint achieved using a head-mounted camera better supported learning than a traditional third-person view of the same event. In Study 2, applying a motion algorithm to both a first-person and third-person video allowed us to isolate the effects of viewpoint and camera motion. While the addition of artificial motion benefited learning for third-person viewers, only motion that is aligned with the actor’s actions and affect enhances first-person viewing. Findings are considered in terms of how certain media position learners in relation to educational content. Specifically, we argue that media features such as viewpoint and motion can be configured in ways to create “fields of potential action” that engage viewers and optimize conditions for learning.
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Shin, Suchul, Byounghyun Yoo, and Soonhung Han. "A framework for automatic creation of motion effects from theatrical motion pictures." Multimedia Systems 20, no. 3 (May 22, 2013): 327–46. http://dx.doi.org/10.1007/s00530-013-0322-4.
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Hadi, Nur. "Perancangan Motion Promotional Campaign “Positif Bermedia Sosial”." IKONIK : Jurnal Seni dan Desain 4, no. 2 (July 31, 2022): 107. http://dx.doi.org/10.51804/ijsd.v4i2.1817.
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Media sosial dan Internet menjadi konsumsi publik yang mudah di akses saat ini. Peranan media komunikasi visual menjadi penting dalam memberikan edukasi bagi masyarakat untuk menyaring beragam informasi dari media sosial agar tidak timbul perilaku negatif sebagai akibat salahnya informasi yang di akses. Media komunikasi visual harus mampu menampilkan informasi lengkap yang mudah dipahami serta menarik. Selain itu media ini harus dapat di sebarluaskan dengan mudah di berbagai platform sosial media. Media motion grafis efektif sebagai media komunikasi visual yang dapat menjangkau pengguna media sosial yang akan ditempatkan di platform digital baik itu medsos maupun media digital lainnya. Motion grafis yang dirancang akan berisikan beragam informasi dan pesan yang bertujuan untuk menggerakkan masyarakat turut serta mengkampanyekan ber-media sosial dengan positif.
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Tanaka, Kenji, Junya Hayashi, Ichiro Kawabuchi, Masahiko Inami, and Susumu Tachi. "TWISTER III: A Panoramic Autostereo Display for Motion Pictures." Journal of the Institute of Image Information and Television Engineers 58, no. 6 (2004): 819–26. http://dx.doi.org/10.3169/itej.58.819.
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DZIOPA, Zbigniew, and Maciej NYCKOWSKI. "Analysis of Results of Empirical Investigations of Launcher–Missile System Using TEMA Motion Program Environment." Problems of Mechatronics Armament Aviation Safety Engineering 9, no. 2 (June 30, 2018): 85–98. http://dx.doi.org/10.5604/01.3001.0012.1103.
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The paper presents an analysis of the pictures, recorded from the testing ground investigations, obtained with application of the fast-digital camera Phantom v9.1. The analysis was focused on determination of the kinematics of motion of the launcher-missile system. TEMA Motion program was used for motion analysis of the investigated system. The courses of variability of kinematic values characterising motion of the selected points of the launcher were determined. The results analysis showed that the launcher undergoes the linear displacement (X, Y) and angular one (alpha) that cause significant differences in the flight trajectory of the successively launched missiles
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Suyanti, Rohmawati Widya, Fittri Puji Rahmawati, Widodo Widodo, and Theresia Nurani Istiprijanti. "Peningkatan Minat Belajar Keterampilan Bercerita melalui Gambar Seri Digital pada Siswa Sekolah Dasar." Journal of Elementary School (JOES) 5, no. 2 (December 16, 2022): 211–18. http://dx.doi.org/10.31539/joes.v5i2.4290.
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This study aims to increase interest in learning storytelling skills through digital series pictures in elementary school students. In this study, we will discuss the application of digital serial images to increase interest in learning storytelling skills using digital serial images and the obstacles that arise during application and solutions to overcome them. The methods of data collection in this study were interviews, documentation, and observation. While the data analysis technique is a qualitative descriptive technique of each cycle. The results of this study can be concluded that the interest in learning storytelling skills obtained has increased from cycle I to cycle II by 19%. Thus it can be concluded that through the media of digital series pictures can increase interest in learning storytelling skills in elementary schools. This can be seen from the presentation of interest in telling stories in Indonesian subjects before the action and after the action in each cycle the results achieved have increased
Keywords: Digital Series Pictures, Interest in Learning
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Verhoeven, Deb. "Visualising data in digital cinema studies." Alphaville: Journal of Film and Screen Media, no. 11 (August 17, 2016): 92–104. http://dx.doi.org/10.33178/alpha.11.06.
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This article examines the critical role visualisation plays for digital cinema studies and proposes that cinema studies has an equally critical role to play in evaluating and developing visualisation methods. The article reflects on work undertaken in the Kinomatics Project, a multidisciplinary study that explores, analyses and visualises the industrial geometry of motion pictures and which is one of the first “big data” studies of contemporary cultural diffusion. Its examination of global film flow rests on a large dataset of showtime information comprising more than 330 million records that describe every film screening in forty-eight countries over a thirtymonth period as well as additional aggregated box-office data.
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Efendi, Mukhamad Ardiansyah. "The Use of Pictures as Media to Improve Students’ Reading Comprehension." Journal of English Teaching, Literature, and Applied Linguistics 2, no. 2 (March 28, 2021): 84. http://dx.doi.org/10.30587/jetlal.v2i2.2467.
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Reading is an important skill for developing second language competence. The success of a learning a second language is by taking the power of reading. In the classroom, we will face many techniques applied to the students under the expectation that they are able to or easy to understand the lesson. For a teacher, it is necessary to find new teaching media to overcome the problems and not to forget to motivate the students. In this paper, the writer wants to know the effect of picture as a media to improve students’ reading comprehension. The purpose of this research is to find out whether the use of pictures can improve students’ reading comprehension or not. To make the students easily understand about the reading material, teacher needs to have a teaching media. Then, the writer chooses visual media that is picture to increase students’ reading mastery. Pictures are considered as the best media in teaching reading because using picture as a teaching media are able to give the students a clear illustration regarding the correlated topics in texts, tell the students what is going on, and what are the persons in the text are talking about. Nowadays, the pictures and the technologies are becoming more and more advanced. In this decade, we can already materialize a more advanced picture that added by motion and sounds by using simple applications provided in home personal computer. Moreover, the students now are quite used and interested to apply any high tech media.
Based on the result of discussion, it can be concluded that pictures are theoretically can be a good media to help the students enhancing their reading comprehension. Therefore in this view, it is justifiable to hypothetically conclude that using pictures for strengthening students’ visual sense can help them to understand a text.
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Männig, Maria. "The Tableau Vivant and Social Media Culture." Acta Universitatis Sapientiae, Film and Media Studies 19, no. 1 (March 1, 2021): 132–55. http://dx.doi.org/10.2478/ausfm-2021-0009.
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Abstract The article aims to analyse the tableau vivant in social media culture by emphasizing its intermedial relation to technical visual media, particularly digital photography and film. By focusing on the living picture’s specific mimetic qualities, the study traces back the tableau vivant’s history in a media archaeological perspective primarily regarding photography. It explores the current revival of the tableau vivant within social media. The article examines living pictures and the aspect of self-staging, relevant to contemporary digital culture. The tableau vivant develops between two polarities: a primarily analytical approach that allows a profound exploration of a particular artwork and the performative aspects of self-staging.
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Deng, Lei Lei. "FFmpeg Technology Based on Media Asset Management System Design." Applied Mechanics and Materials 409-410 (September 2013): 1633–37. http://dx.doi.org/10.4028/www.scientific.net/amm.409-410.1633.
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The use of FFmpeg technology, overcome the current media asset management of some defects, better play the role of media assets. In response to various types of video data, audio data, text, pictures, and other media digital data storage, inventory management, query, edit material transcoding, information dissemination, and equipment and fixed assets to conduct a comprehensive management. The results show that, based on the " technology " of mass media resources, is to promote the media industry is the motive power of development, any form of content are the media core assets. The media asset design, solve the media transmission and conversion, the ultimate guarantee of effective and complete data. Keywords Key words: media assets; FFmpeg; transcoding; digital storage
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Hung, Kalai, Naomi A. Lee, Kaiping Peng, and Jie Sui. "Profile Pictures in the Digital World: Self-Photographs Predict Better Life Satisfaction." International Journal of Environmental Research and Public Health 18, no. 12 (June 21, 2021): 6667. http://dx.doi.org/10.3390/ijerph18126667.
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Profiles pictures as online identities represent an extension of the user’s self in the digital world. Changes in self-representation are responsible for reduced well-being in individuals in the offline world. However, whether profile picture selection predicts the well-being of internet users is unknown. To address this question, we tested the relationship between the type of profile picture (e.g., self-photographs or other pictures) used on social media and the life satisfaction of internet users, accounting for gender and personality traits that have been thought to relate to the selection of profile pictures. The results showed that individuals using self-photographs as profiles reported a higher level of life satisfaction compared to individuals using other pictures as profiles. This effect was influenced by gender, openness, and extraversion. Hierarchical regression and moderation analyses revealed that openness and profile type interacted to predict life satisfaction in women, while openness and profile picture independently predicted life satisfaction in men. Furthermore, extraversion directly predicted life satisfaction in both men and women. These results indicate that the consistency between one’s online and offline self-representation may characterize internet users’ well-being, with potential implications for digital wellness.
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ADAMS, BRETT, CHITRA DORAI, and SVETHA VENKATESH. "FINDING THE BEAT: AN ANALYSIS OF THE RHYTHMIC ELEMENTS OF MOTION PICTURES." International Journal of Image and Graphics 02, no. 02 (April 2002): 215–45. http://dx.doi.org/10.1142/s0219467802000573.
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This paper presents a new study on the application of the framework of Computational Media Aesthetics to the problem of automated understanding of film. Leveraging Film Grammar as the means to closing the "semantic gap" in media analysis, we examine film rhythm, a powerful narrative concept used to endow structure and form to the film compositionally and enhance its lyrical quality experientially. The novelty of this paper lies in the specification and investigation of the rhythmic elements that are present in two cinematic devices; namely motion and editing patterns, and their potential usefulness to automated content annotation and management systems. In our rhythm model, motion behavior is classified as being either nonexistent, fluid or staccato for a given shot. Shot neighborhoods in movies are then grouped by proportional makeup of these motion behavioral classes to yield seven high-level rhythmic arrangements that prove to be adept at indicating likely scene content (e.g. dialogue or chase sequence) in our experiments. The second part of our investigation presents a computational model to detect editing patterns as either metric, accelerated, decelerated or free. Details of the algorithm for the extraction of these classes are presented, along with experimental results on real movie data. We show with an investigation of combined rhythmic patterns that, while detailed content identification via rhythm types alone is not possible by virtue of the fact that film is not codified to this level in terms of rhythmic elements, analysis of the combined motion/editing rhythms can allow us to determine that the content has changed and hypothesize as to why this is so. We present three such categories of change and demonstrate their efficacy for capturing useful film elements (e.g. scene change precipitated by plot event), by providing data support from five motion pictures.
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Fuchs, Michael, and Martin Butler. "Introduction Science and Popular Audio-Visual Media." Arbeiten aus Anglistik und Amerikanistik 47, no. 2 (March 31, 2023): 171–87. http://dx.doi.org/10.24053/aaa-2022-0010.
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Our introduction to this special issue on science and popular audio-visual media sheds light on the intricate interconnections between science (and discourses about science) and different popular audio-visual media. Focusing on the topics of global warming and the ongoing pandemic, on the one hand, and the genres of horror, science fiction, and fantasy, on the other, we illustrate some functions of science and scientists in audio-visual media and also turn to the history of photography and motion pictures and their significance as both scientific tools and entertainment media, before briefly introducing the individual essays included in this issue.
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Riadi, Imam, Anton Yudhana, and Muhamad Caesar Febriansyah Putra. "Forensic Tool Comparison on Instagram Digital Evidence Based on Android with The NIST Method." Scientific Journal of Informatics 5, no. 2 (November 29, 2018): 235–47. http://dx.doi.org/10.15294/sji.v5i2.16545.
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The growth of Android-based smartphone users to access media in communicating using Instagram social media is very fast. Activities are carried out when using Instagram social media in communicating to share information such as sending chat texts and pictures. A large number of Instagram users make this application vulnerable to abuse of Instagram such as pornography crimes from Instagram users. This case can be forensic to get digital evidence in the form of chat text and pictures from Instagram messenger is a feature of Instagram. The investigation in this study uses the National Institute of Standards and Technology (NIST) method which provides several stages of collecting, examining, analyzing, reporting while forensic tools use forensic oxygen and axiom magnets. The results of the recovery and comparison of data result using Oxygen forensics and Axiom Magnets obtained digital evidence in the form of data in the form of images and chat. The data obtained by Magnet Axiom is 100% while forensic oxygen is 84%. These data are the results of the performance of both forensic applications in obtaining digital evidence that has been deleted from the Instagram messenger.
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Farooqui, Mohammad Owais, Bhavna Sharma, and Dhawal Gupta. "Inheritance of digital assets: Analyzing the concept of digital inheritance on social media platforms." Novum Jus 16, no. 3 (October 1, 2022): 413–35. http://dx.doi.org/10.14718/novumjus.2022.16.3.15.
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We are moving toward a technologically driven world where the traditional way of looking at assets merely from a physical perspective is slowing evolving to include digital assets. With our extreme indulgence in internet activities, we end up creating a heap of digital assets without realizing the risk associated with its privacy and ownership after death. We share our personal pictures, videos, thoughts, and beliefs through daily posts on social media platforms. All these files are a type of digital assets with social and emotional value, but neither the law nor the social media platforms take strong steps for preserving them and ensuring their inheritance after the user’s death. There is no universally accepted definition of digital assets and hence the concept of digital asset inheritance is in vain. This paper analyzes the posthumous rights of a social media user. It also explores the laws available in the US and India that protect the digital assets and examines the rules and regulations adopted by some of the most important social media platforms for the inheritance of the digital assets. Recommendations and suggestions for the practical implementation of digital inheritance are provided.
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Sun, Koun-Tem, Chun-Huang Wang, and Ming-Chi Liu. "Stop-motion to foster digital literacy in Elementary School." Comunicar 25, no. 51 (April 1, 2017): 93–103. http://dx.doi.org/10.3916/c51-2017-09.
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Although digital media literacy is recognized as the essential competencies required for living in a new media age, it just starts to gain focus in Taiwan's elementary education. One of the reasons is examination-oriented education, with the result that diverts scarce resources away from this informal learning. The other reason is that educators tend to think digital media education as a series of purely technical operation, which might lead student digital media learning to mindless work. Therefore, this study designed a media exhibition based on Kolb's experiential learning model for teaching students concepts of stop-motion films and techniques of film production. A design experiment involved 247 third-grade elementary students that were grouped to visit the experiential exhibition. The findings suggest that the students have improved their knowledge of stop-motion films. Analysis of these produced films also shows that they have improved their media ability to represent their ideas and communicate with others. Through the analysis of the influence of demographics on the knowledge test, the findings revealed that the experiential exhibition is more effective for female elementary students and students' relevant previous experiences may not affect their acquired knowledge. Given those results and observations, we believe that the proposed experiential exhibition is a promising way to carry out digital media literacy education in elementary schools.Although digital media literacy is recognized as the essential competencies required for living in a new media age, it just starts to gain focus in Taiwan's elementary education. One of the reasons is examination-oriented education, with the result that diverts scarce resources away from this informal learning. The other reason is that educators tend to think digital media education as a series of purely technical operation, which might lead student digital media learning to mindless work. Therefore, this study designed a media exhibition based on Kolb's experiential learning model for teaching students concepts of stop-motion films and techniques of film production. A design experiment involved 247 third-grade elementary students that were grouped to visit the experiential exhibition. The findings suggest that the students have improved their knowledge of stop-motion films. Analysis of these produced films also shows that they have improved their media ability to represent their ideas and communicate with others. Through the analysis of the influence of demographics on the knowledge test, the findings revealed that the experiential exhibition is more effective for female elementary students and students' relevant previous experiences may not affect their acquired knowledge. Given those results and observations, we believe that the proposed experiential exhibition is a promising way to carry out digital media literacy education in elementary schools. A pesar de que la alfabetización digital en medios se reconoce como una de las competencias esenciales necesarias para vivir en una nueva era de los medios de comunicación, solo acaba de empezar a ganar atención en la educación primaria de Taiwán. Una de las razones es la educación orientada a los exámenes, y como consecuencia, el que se desvíe muy pocos recursos para este aprendizaje informal. La otra razón es que los educadores tienden a pensar en la educación en medios digitales como una serie de operaciones puramente técnicas, lo que podría llevar a los estudiantes de medios digitales a aprender a trabajar sin sentido. Por lo tanto, este estudio diseñó una exhibición de contenidos basada en el modelo de aprendizaje experiencial de Kolb con el fin de enseñar a los estudiantes conceptos de videos stop-motion y técnicas de producción cinematográfica. El experimento diseñado involucró a 247 estudiantes de tercer grado de primaria que fueron agrupados para visitar la exposición experiencial. Los hallazgos sugieren una mejora en los estudiantes de su conocimiento de videos stop-motion. El análisis de los vídeos producidos también muestra que han mejorado su capacidad mediática para representar sus ideas y comunicarse con los demás. A través del análisis de la influencia de la demografía en la prueba de conocimiento, los hallazgos revelan que la exposición experiencial es más efectiva para los estudiantes de primaria femeninos, y que las experiencias anteriores relevantes de los estudiantes no deberían afectar a los conocimientos adquiridos. Teniendo en cuenta estos resultados y observaciones, creemos que la exposición experimental propuesta es una forma prometedora de llevar a cabo la educación en alfabetización digital en las escuelas primarias.