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Journal articles on the topic 'Motion picture audiences'
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Smith, Jeffery A. "Hollywood Theology: The Commodification of Religion in Twentieth-Century Films." Religion and American Culture: A Journal of Interpretation 11, no. 2 (2001): 191–231. http://dx.doi.org/10.1525/rac.2001.11.2.191.
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A motion picture is a product formed by the intricate inter-play of film industry forces and cultural expectations. Hollywood must attract audiences and audiences crave gratification or, perhaps, edification. Movies with religious themes can deal with momentous issues, but take the risk of affronting deeply held beliefs. Problems naturally arise when matters as sensitive and speculative as the activity of the Creator and the role of the created become entertainment marketed to mass audiences. Technicolor scenery, special effects, celebrity actors, spiced-up scripts, and other big-screen production values may seem disrespectful or may divert attention away from serious reflection. Critics of consumer society have pointed to the manipulation, superficiality, and commercialization found in mass media environments and film scholars have evaluated movies with religious topics, but questions remain about cinematic treatments of ultimate meaning. The motion picture industry's customers have a multitude of spiritual perspectives.
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Wang, Yan, Jingjing Han, and Songzhu Zheng. "Measure audiences' satisfaction through user generated content-satisfaction research in motion picture industry." International Journal of Arts and Technology 10, no. 4 (2017): 285. http://dx.doi.org/10.1504/ijart.2017.092496.
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Han, Jingjing, Songzhu Zheng, and Yan Wang. "Measure audiences' satisfaction through user generated content-satisfaction research in motion picture industry." International Journal of Arts and Technology 10, no. 4 (2017): 285. http://dx.doi.org/10.1504/ijart.2017.10013815.
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Wang, Yan, Mimi Zhang, Songzhu Zheng, Jianping Chai, and Bo Li. "Measure Audiences’ Satisfaction through User Generated Content–Satisfaction Research in Motion Picture Industry." International Journal of Multimedia and Ubiquitous Engineering 12, no. 1 (January 31, 2017): 69–78. http://dx.doi.org/10.14257/ijmue.2017.12.1.06.
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Chen, Man, Xiaomin Han, Xinguo Zhang, and Feng Wang. "The business model of Chinese movies." Journal of Contemporary Marketing Science 2, no. 3 (December 17, 2019): 246–61. http://dx.doi.org/10.1108/jcmars-02-2019-0015.
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Purpose The motion picture industry is a cultural and creative industry. Unlike its US counterpart, the Chinese motion picture industry is still developing. Therefore, learning from the US market, the purpose of this paper is to analyze the business model of Chinese movies from the perspective of new product diffusion. Design/methodology/approach Based on 66 movies released in the US and 21 movies released in China, this paper first compares the diffusion curves of Chinese and US movies through the movie life cycle and box office trends. Next, it analyzes the moviegoing behaviors of Chinese and US audiences based on the innovation and imitation coefficients in the Bass model. Finally, it compares the attention to information of Chinese and US audiences from the perspective of interpersonal word-of-mouth (WOM). Findings In the USA, a movie’s highest weekly box office is usually in its opening week, followed by a weekly decline in revenue; in China, there is no difference in box office performance between the first two weeks, but a weekly decline in revenue similarly follows. US audiences pay more attention to advertisements for movies than WOM recommendations, while Chinese people pay more attention to WOM recommendations. Neither the Chinese nor the US market differs in the volume of WOM between the first week before release and the opening week, and these two weeks are the most active period of WOM in both markets. Practical implications During the production phase for Chinese movies, we should satisfy opinion leaders’ needs. During the distribution phase, we should not only focus on market spending before the movie’s release, but also increase market spending in the opening week. During the theater release phase, we should stimulate WOM communication between moviegoers and thereby attract many more opinion seekers. Originality/value Few studies have investigated the Chinese motion picture industry from the perspective of new products. This paper compares and analyzes the diffusion of Chinese and US movies using the Bass model of new product diffusion, providing systematic theoretical guidelines for the commercial operation of the Chinese motion picture industry.
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Stamm, Michael. "Watching News in Public: The Rituals and Responses of Newsreel Theater Audiences." JCMS: Journal of Cinema and Media Studies 63, no. 2 (January 2024): 96–118. http://dx.doi.org/10.1353/cj.2024.a919193.
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abstract: From roughly 1930 to 1950, newsreel theaters played important roles in urban and film cultures. These small (200- to 600-seat) theaters showed hour-long loops of news that patrons could drop into from morning to midnight. Some aspects of the newsreel theater experience extended the rituals of nickelodeon spectatorship of earlier decades, and others predated the post–World War II development of television news consumption. Newsreel theaters allowed patrons to pass the time watching motion picture news, and they became politically charged spaces offering ways for people to watch and react vocally to the news in public as members of groups.
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Zweig, Noah. "Foregrounding Public Cinema and Rural Audiences: The USDA Motion Picture Service as Cinematic Modernism, 1908–38." Journal of Popular Film and Television 37, no. 3 (November 16, 2009): 116–25. http://dx.doi.org/10.1080/01956050903218091.
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Wei, Yating. "Deep-Learning-Based Motion Capture Technology in Film and Television Animation Production." Security and Communication Networks 2022 (February 11, 2022): 1–9. http://dx.doi.org/10.1155/2022/6040371.
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With the popularity of King Kong, Pirates of the Caribbean 2, Avatar, and other films, the virtual characters in these films have become popular and well loved by audiences. The creation of these virtual characters is different from traditional 3D animation but is based on real character movements and expressions. An overview of several mainstream motion capture systems in the field of motion capture is presented, and the application of motion capture technology in film and animation is explained in detail. The current motion capture technology is mainly based on complex human markers and sensors, which are costly, while deep-learning-based human pose estimation is becoming a new option. However, most existing methods are based on a single person or picture estimation, and there are many challenges for video multiperson estimation. The experimental results show that a simple design of the human motion capture system is achieved.
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Gutzeit, Lilly Joan, and Victor Tiberius. "Business and Management Research on the Motion Picture Industry: A Bibliometric Analysis." Journalism and Media 4, no. 4 (December 14, 2023): 1198–210. http://dx.doi.org/10.3390/journalmedia4040076.
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The motion picture industry is subject to extensive business and management research conducted on a wide range of topics. Due to high research productivity, it is challenging to keep track of the abundance of publications. Against this background, we employ a bibliographic coupling analysis to gain a comprehensive understanding of current research topics. The following themes were defined: Key factors for success, word of mouth and social media, organizational and pedagogical dimensions, advertising—product placement and online marketing, tourism, the influence of data, the influence of culture, revenue maximization and purchase decisions, and the perception and identification of audiences. Based on the cluster analysis, we suggest the following future research opportunities: Exploring technological innovations, especially the influence of social media and streaming platforms in the film industry; the in-depth analysis of the use of artificial intelligence in film production, both in terms of its creative potential and ethical and legal challenges; the exploration of the representation of wokeness and minorities in films and their cultural and economic significance; and, finally, a detailed examination of the long-term effects of the COVID-19 pandemic and other crises on the film industry, especially in terms of changed consumption habits and structural adjustments.
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Aziz al-Quraishi, Zuhair Abbas, and Shaker Nima Harz Alaak. "The role of television in activating the behavior of recreational tourists in the city of Baghdad." Iraqi Administrative Sciences Journal 1, no. 1 (March 30, 2017): 246–84. http://dx.doi.org/10.33013/iqasj.v1n1y2017.pp246-284.
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TV is considered the strongest media in comparison with other means, therefore, its effects were and are still the strongest in human and his social, economic, purchasing and tourist behaviors. Studies emphasized the importance of TV and its distinct from other traditional media, in that it can mix between the picture, voice and motion in a more perfected way through color, shape and motion as well as it made the audience watch what is going on in the world directly. It also employed the rest of traditional communication means for its interest, in that it became a new means for information, recreation and education, it was able to effectively impress the audience because it reaches millions of audiences at the same moment. Thus, it represents the greatest revolution in the field of human communication, The tourist's behavior represents a study on the individuals' choices, their purchasing and using goods and services to satisfy their needs and desires. Hence, the employees of the tourist activity should have a full understanding of all facts and internal and external factors affecting the tourist's behavior which is influenced by a big collection of factors, including psychological, social, personal factors which should be taken into consideration when trying to motivate or push consumers or tourists to buy .
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Rødje, Kjetil. "Intra-Diegetic Cameras as Cinematic Actor Assemblages in Found Footage Horror Cinema." Film-Philosophy 21, no. 2 (June 2017): 206–22. http://dx.doi.org/10.3366/film.2017.0044.
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This article proposes a reconceptualization of the term “actor” within motion pictures and presents the argument that “acting” is a matter of distributed agency performed by heterogeneous assemblages. What constitutes an actor is what I will label as a “cinematic actor assemblage,” a term that comprises what is commonly known as human actors as well as material entities that play an active part in motion picture images. The use of intra-diegetic cameras in contemporary found footage horror films constitutes a particular case of such cinematic actor assemblages. Through a dynamic relational performance, cameras here take on roles as active agents with the potential to affect other elements within the images as well as the films’ audiences. In found footage horror the assemblage mode of operation creates suspense, since the vulnerability of the camera threatens the viewer's access to the depicted events. While human characters and individual entities making up the camera assemblage are disposable, the recording is not. Found footage horror crucially hinges upon the survival of the footage. I will further suggest that these films allow filmmakers to experiment with the acting capabilities of intra-diegetic cameras.
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Hallett, Hilary A. "Based on a True Story: New Western Women and the Birth of Hollywood." Pacific Historical Review 80, no. 2 (May 1, 2011): 177–210. http://dx.doi.org/10.1525/phr.2011.80.2.177.
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This article explores early publicity about Hollywood that promoted Los Angeles as a New West supporting a New Western Woman who became a key, if often slighted, element in the “grounding of modern feminism.” The New Western Woman was both an image that sought to attract more women into movie audiences and a reality that dramatized the unconventional and important roles played by women workers in the early motion picture industry. By describing these women as expertly navigating the city, the West, and professional ambitions simultaneously, this publicity created a booster literature that depicted Los Angeles as an urban El Dorado for single white women on the make. In response, tens of thousands of women moved west to work in the picture business, helping to make Los Angeles the first western boomtown where women outnumbered men.
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Kenevisi, Mohammad Sadegh, and Mahmoud Mobaraki. "Translating the Translated: An Intertextual Approach in Subtitling Ernest Hemingway’s Adaptation of To Have and Have Not to Nakhoda Khorshid." International Journal of Linguistics, Literature and Translation 6, no. 6 (June 8, 2023): 54–63. http://dx.doi.org/10.32996/ijllt.2023.6.6.6.
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Literary texts have been regularly adapted into the motion picture since the invention of talkies. Accordingly, the relationship between the original literature, the adapted movie and its translation for international audiences, mainly in the form of subtitling, have become an attractive and growing source of study. This intertextuality is argued to influence the perception and evaluation of the vulnerable subtitle by the viewers. Therefore, adopting an intertextual approach to the subtitling of dialogue in the Iranian film Captain Khorshid, the present study aims at discussing the extent to which the subtitle corresponds to the audiences’ expectations. For this purpose, Ernest Hemingway’s To Have and Have Not and the adapted film Captain Khorshid, directed by Naser Taghva’i, are analysed. Farahzad’s (2009) model of intertextuality and Sanatifar and Kenevisi’s (2017) reformulated model of Grice are employed as the models for analysing, establishing and assessing the relationship between the texts. After discussing the relationship between the literary text and the adapted movie within the theory of intertextuality, the English subtitle of the Persian soundtrack is discussed by comparing it with the original English quote. This intertextual relationship is maintained to be mainly the source of comparison between the literature, i.e. protext, and the adaptation film, i.e. metatext, by the audience of the film as well. In other words, when the film is subtitled back into the language of the original literary work, the protext and the metatext meet, and a reunion occurs. Therefore, it is concluded that the more the subtitle corresponds to the original literary text, the more it is evaluated by the audience to be accurate.
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May, Lary. "Making the American Way: Moderne Theatres, Audiences, and The Film Industry 1929–1945." Prospects 12 (October 1987): 89–124. http://dx.doi.org/10.1017/s0361233300005548.
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Three years after the start of the Great Depression, and shortly after A Franklin Roosevelt assumed the presidency, Terry Ramsaye, editor of the motion picture industry's major trade journal, wrote an editorial entitled “New Deal, Superman and Today.” No doubt many readers thought the world had turned upside down. For years civic reformers had attacked the movies for incarnating the dangers of city life: consumption, class mixing, and a sexual revolution. Now Ramsaye assumed the critic's stance, seeing hard times as divine retribution for the industry's folly. Atop the editorial pulpit, he condemned the Hollywood producers as equal to the monopolists whose speculation and grandiose illusions brought about the stock market crash in 1929. Even more dangerous, film producers spread lavish ideals through the powerful medium of sound films, which were displayed in sumptuous theatres that corrupted public life. After three years of bankruptcies and theatre closings, Ramsaye saw a New Deal pointing the way toward business and cultural reform. Like an old-fashioned revivalist, he then exhorted Hollywood to shed the foreignstyled theatre and create models more in touch with national traditions, “more a part of the town and less something that was imposed by outside Supermen.”
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Denham, Bryan. "Oriental Irritants and Occidental Aspirants: Immigrant Portrayals in Hearst Magazines, 1905–1945." Journalism & Communication Monographs 24, no. 1 (February 4, 2022): 4–64. http://dx.doi.org/10.1177/15226379211070038.
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William Randolph Hearst became editor and proprietor of the San Francisco Examiner in 1887, and by 1935, he had assembled a media empire consisting of nearly 30 major newspapers, 13 magazines, 8 radio stations, 3 news wires, and 2 motion picture companies. Most scholarship about Hearst has focused on his newspapers; less studied have been the magazines he acquired early in the 20th century. This monograph examines immigrant representations in Hearst magazines published between 1905 and 1945, focusing on how magazine fiction, nonfiction, and “fact-fiction” articles presented immigrants and immigration as social and political issues. Like Hearst himself, the publications favored immigrants from Germany and the Scandinavian countries of northern Europe and tended to disfavor those from China and Japan and, to a lesser extent, Mexico. According to the magazines, immigrants from the Far East and Mexico were “undesirables” who threatened society by, allegedly, importing, selling, and using hazardous drugs. Newspaper advertisements, news articles, and editorials extended these portrayals to wider audiences. Hearst also applied cross-media promotion to motion pictures, with writers converting fiction from his magazines into screenplays for Cosmopolitan Productions and MGM. The monograph contains examples of how magazine content and iconic covers have informed contemporary films and television series. In recent years, stylized representations have glamorized lifestyles but have also perpetuated cultural stereotypes that may contribute to anti-immigrant attitudes.
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Mengxiao, Xu, and Mahyuddin Bin Ahmad. "Explore Issues and Challenges Involving Female Characters in Documentary Filming." Journal of Law and Sustainable Development 11, no. 3 (August 1, 2023): e713. http://dx.doi.org/10.55908/sdgs.v11i3.713.
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Purpose: A documentary film or documentary is a non-fictional motion picture intended to reflect reality, typically for the goals of instruction, preservation of history, or training. Documentary filming heroines must always be noble, alluring, and seductive, regardless of the type of roles they perform.
Method: The same method of objectification is employed in Michael Bay's “Transformers” film, on the other hand, are what ultimately influence both male and female filmmakers as well as audiences to make sense of the narratives, reasoning, and symbolisms that the media industry, particularly cinema, uses to construct its framework and establish its method of operation.
Result: As a result, it serves as an essential medium for female creative expression and a source of knowledge for women. The mild paradox that results from this is that women are not hired for jobs where past employment is required to prove one's value.
Conclusion: The fallouts of the review provide a more thorough picture of female representation in documentary filming and how viewers have evolved to perceive it through time. Unfortunately, women face a variety of problems in addition to media underrepresentation.
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Feng, Guangchao C. "A comparative study of the online film ratings of US and Chinese audiences: An analytical approach based on big data." International Communication Gazette 81, no. 3 (April 10, 2018): 283–302. http://dx.doi.org/10.1177/1748048518767799.
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Many movies have influenced many societies in various ways, but the factors that affect films’ ratings remain understudied. This article goes beyond examining a variety of factors that determine such ratings by focusing on the interaction effect of the country difference with other predictors of film ratings between the world’s top two movie markets, the US and China, using big data gathered from the Internet. The country difference significantly moderates the effect of predictors such as the film’s year of release, its Motion Picture Association of America ratings, country of origin, and its awards. Predictors such as whether it was adapted from a novel, whether it was based on a true story, its production budget, and its ‘star power’ exert the consistent main effects on film ratings across the countries. However, box office success and sequels were found to be insignificant predictors of film ratings. The article then discusses the implications of these findings and suggests directions for future research.
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Saltmarsh, Sue. "Spirits, Miracles and Clauses: Economy, Patriarchy and Childhood in Popular Christmas Texts." Papers: Explorations into Children's Literature 17, no. 1 (May 1, 2007): 19–27. http://dx.doi.org/10.21153/pecl2007vol17no1art1201.
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In this paper I explore the notion of childhood as it is re/configured in Christmas texts through the discursive frames of industrialisation and global capitalism. Through a poststructuralist analysis of three Christmas texts from the 1840s, 1940s and 1990s, I map discursive shifts in the ways that children and childhood are constructed in relation to the discourses of capitalist societies. Three texts are examined in detail: A Christmas Carol, published by Charles Dickens in 1843; the 1947 version of the film, Miracle on 34th Street; and the 1999 Walt Disney film, The Santa Clause. While these texts provide only a small sample from the thousands of texts available, their commercial success and sustained popular appeal makes them particularly significant sites of analysis. Dickens' text is widely considered 'the most often repeated and imitated secular Christmas story of all' (Belk 2005, p.18), which has itself 'become sacred Christmas literature' (Belk 2005, p. 19). The success of Miracle on 34th Street led to several remakes for television audiences, with major motion picture remakes released in 1973 and again in 1994, while The Santa Clause the role credited with launching actor Tim Allen from a successful television career into a string of Hollywood blockbuster films won the 1995 People's Choice Award (USA) for Favourite Comedy Motion Picture, and was followed by sequels in 2002 and 2006 (IMDb, 2007). When considered together, these three popular, enduring and commercially successful texts illustrate some of the ways in which cultural texts are implicated in constructing children, over time, as particular kinds of economic subjects.
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Marshall, Andrea. "Our stories, our selves: Star Wars fanfictions as feminist counterpublic discourses in digital imaginaria." Journal of Fandom Studies 8, no. 3 (September 1, 2020): 277–88. http://dx.doi.org/10.1386/jfs_00024_1.
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Fanfiction has a long and varied history in the Star Wars franchise since it began in 1977 with the debut of the first film, Star Wars Episode IV: A New Hope. The decade of the 1970s created new possibilities for science fiction multiverses and metanarratives; science fiction became an adaptive film genre that could be reimagined with seemingly infinite narrational results. The myriad of genre films that were released in the mid-to-late 1970s revealed dynamic syntheses with horror (e.g. Alien, Invasion of the Body Snatchers and Close Encounters of the Third Kind), franchises that previously had existed solely on television (Star Trek: The Motion Picture) and musical theatre (The Rocky Horror Picture Show). Cinematic audiences became increasingly accustomed to science fiction tropes and themes in film; audience participation in the theatre (e.g. The Rocky Horror Picture Show) expanded to print zines (often with fanfiction) for multiple franchises as well as fan conventions. Fanfiction’s beginnings as an analogue culture dramatically changed with the advent of the internet and the evolution of fandoms as digital cultures. Web-based platforms such as FanFiction.net and Archive of Our Own (AO3) host sundry fan communities’ creative outputs including podcasts, art and, most frequently, fanfiction stories. The release of Star Wars: The Force Awakens in 2015 immediately captured the fandom’s imagination; the animosity and tension between the new villain Kylo Ren (Ben Solo) and protagonist Rey of Jakku particularly fascinated the young adult fans who were lately converted to the Star Wars fandom due to this pairing (known as Reylo within the fandom and within cinematic circles). The newest generations of fans were acclimated to audience participation and paratextual interactions due to their positions as digital natives. The Reylo fan phenomenon particularly erupted into fanfictions as critical data artefacts, even predicting Reylo as a romantic pairing years before the second and third films in the franchise trilogy Star Wars: The Last Jedi and Star Wars: The Rise of Skywalker. The Reylo pairing is just one example of how online Star Wars fanfiction communities expand audience participation to autonomous collective identity formation. This article examines feminist fanfictions in the Star Wars fandom as gendered critical data artefacts, as collaborative communities of practice, and as counterpublic discourses that apply feminist critiques to conventional gender roles within the most recent film trilogy and the fandom itself.
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Norden, Martin F. "“We Are Coming Out to the Light”." Feminist Media Histories 3, no. 4 (2017): 195–203. http://dx.doi.org/10.1525/fmh.2017.3.4.195.
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Lois Weber gave many speeches during her career as a film writer-director, but until now our knowledge of them has been limited to journalistic summaries and brief quoted excerpts. The current article advances our understanding of this dimension of Weber's career (and helps restore her “voice,” in a sense) by providing the text of an entire speech, reconstructed from five primary sources. Weber discussed a wide range of film topics in this public talk, which she delivered to the Los Angeles Woman's Club in July 1913. They included censorship issues, film's educational possibilities, her interest in greater authenticity in films, and her desire to uplift films and to correct the misinformation surrounding what she called “the glamour and danger of motion picture work.” It typifies the many speeches she gave to audiences made up of women who shared her interest in raising the standards of Hollywood and its products.
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Canning, Gregory. "Damaged Goods: Motion Pictures, Syphilis, and Maritime Audiences." Canadian Journal of Film Studies 28, no. 1 (March 2019): 25–43. http://dx.doi.org/10.3138/cjfs.28.1.2019-0011.
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Silenzie, Ricardo, and Muhammad Adi Pribadi. "Interaksi Simbolik dalam Komunikasi Pemasaran Terpadu di PT. Creative Motion Pctures: Studi Kasus Komunikasi Pemasaran Film Once Upon a Time in Indonesia." Prologia 4, no. 2 (October 1, 2020): 310. http://dx.doi.org/10.24912/pr.v4i2.6514.
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Integrated marketing communication planning in film marketing activities is implemented as a sales solution and promotes a film title to the public in a variety of effective and interactive ways in which the message in the film can touch the appropriate target audience. PT. Creative Motion Pictures is a film company that uses an integrated marketing communication planning formula to meet the needs of its audience. PT. Creative Motion Pictures formulas when planning marketing communication. The influence of symbolic interaction has a major contribution in the marketing communication planning of PT. Creative Motion Pictures. This research uses a qualitative methodology with a case study method. Data collection was done by participant observation, in-depth interviews with PT. Creative Motion Pictures. The conclusion of this research is that it has 4 stages of integrated marketing communication planning namely Film Products, Target Market, Promotion, Distribution. At all stages there are symbolic interactions such as language selection, organizational regulations, and company vision.Perencanaan komunikasi pemasaran terpadu dalam kegiatan pemasaran film diterapkan sebagai solusi penjualan dan mempromosikan sebuah judul film kepada masyarakat dengan berbagai cara yang efektif dan interaktif dimana pesan dalam film bisa menyentuh target audience yang sesuai. PT. Creative Motion Pictures merupakan perusahaan film yang menggunakan formula perencanaan komunikasi pemasaran terpadu untuk memenuhi kebutuhan penontonnya. PT. Creative Motion Pictures formula-formula yang ketika melakukan perancanaan komunikasi pemasaran. Pengaruh Interaksi simbolik memiliki kontribusi yang besar dalam perencanaan komunikasi pemasaran PT. Creative Motion Pictures. Penelitian ini menggunakan metodologi kualitatif dengan metode studi kasus. Pengumpulan data dilakukan dengan observasi partisipan, wawancara yang mendalam dengan tim PT. Creative Motion Pictures. Kesimpulan dari penelitian ini yakni memiliki 4 tahapan perencanaan komunikasi pemasaran terpadu yaitu Produk Film, Target Pasar, Promosi,Pendistribusian. Pada semua tahapan tersebut terdapat interaksi lambing-lambang seperti, pemilihan bahasa,peraturan organisasi, sampai visi perusahaan.
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Fitria, Nora, Nyak Mutia Ismail, and Cut Mulia Zuhra. "The Employment of Figurative Language in a Motion Picture Artwork." International Journal of Education, Language, and Religion 5, no. 2 (December 2, 2023): 136. http://dx.doi.org/10.35308/ijelr.v5i2.7598.
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This study aimed at finding out the use of figurative language in an artwork, specifically movie called Toy Story 3. The method used in this study was descriptive qualitative which provided the necessary data analysis to gain the information needed from the movie. The data soure was movie entitled Toy Story 3 with xxxx minutes in length. In collecting data, the researcher used document analysis; later in daa analysis, the interactive analysis consisting of data reduction, data display, and dat verification was employed. Te result shows that there are three types of figurative language consisted in the movie: Metaphor, Simile, and Hyperbole. The metaphors were used to describe something by comparing it with other objects, Hyperbole ws employed iin order to make the language used in the film increase a child's imagination to infinity, and Simile usage enhances the sentences to spark the curiosity of the audience—merely children. Then, it was aso found that regarding the frequency, Metaphor occurs nine times and represents 60%, Hyperbole occurs five times and represents 33%, and Simile occurs one time and represents 7%. Iin conclusion, The movie Toy Story 3 used only a few figurative speeches because the target audience is children, hence simple forms of language uses are utilized.
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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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Heinemann, Julia. "Motion Pictures of the Royal Family." French Historical Studies 44, no. 2 (April 1, 2021): 191–216. http://dx.doi.org/10.1215/00161071-8806426.
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Abstract This article explores the role of letter writing in the political practice of the French royal family. By focusing on the use of letters exchanged by Henri III, François d'Anjou, and Catherine de’ Medici between 1574 and 1584, it analyzes how both kinship relations and notions of royal authority were negotiated and intertwined by letter. In a dynamic communication process, the correspondents discussed and framed familial relationships and political concepts. The letters were read, seen, and heard by a broader audience at court, thus transcending modern categories such as public and private, formal and informal, or intimate and official. The article argues that the correspondence produced specific, sometimes opposing pictures of the royal family that were supposed to be visible. This use of letters shaped social relations and political processes during the Wars of Religion in early modern France. Cet article traite du rôle de la correspondance dans les pratiques politiques de la famille royale française. En me concentrant sur l'usage des lettres par Henri III, François d'Anjou et leur mère Catherine de Médicis dans les années 1574–84, j'analyse comment les correspondants négocient ensemble les relations de parenté et les concepts politiques. La discussion et la modélisation de cette conception familiale de l'autorité royale par les lettres sont partie prenante d'un processus de communication dynamique. La fonction de ces lettres est d’être lues, vues et entendues à la cour. Ce faisant, cette communication outrepasse les divisions « modernes » entre le privé et le public, le formel et l'informel ou encore l'intime et l'officiel. Cet usage de l’écrit est spécifique aux relations sociales et aux processus politiques pendant les guerres de Religion à l’époque moderne.
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Borden, Amy E. "Shadows, Screens, Bodies, and Light." Screen Bodies 5, no. 1 (June 1, 2020): 1–17. http://dx.doi.org/10.3167/screen.2020.050102.
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Considering how American publications wrote about x-ray, still, and photochemical motion pictures as shadows reveals a discursive bridge among the three varieties from the performance practice of ombromanie (shadowgraphy). This process produced shadows of performing bodies where the bodies were accompanied by the impression created by the interaction of the bodies and the light source. That organization of bodies and technology, as complex as a body and a fluoroscope or as low-tech as hands, a candle, and a screen, can help historians contextualize popular narratives of early cinema that suggested audiences believed that motion pictures were real enough to jump offscreen. The resulting images drag the profilmic event and the peculiarities of the medium into a cultural understanding of cinema’s potential to both represent and display life in motion.
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Schubert, Linda. "Plainchant in Motion Pictures: The "Dies irae" in Film Scores." Florilegium 15, no. 1 (January 1998): 207–29. http://dx.doi.org/10.3138/flor.15.011.
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Several summers ago, the album Chant, a collection of plainsong performed by the monks of Santo Domingo de Silos, hit the top of the popular music charts, triggering the release and reissue of more chant albums by other groups. These included Greatest Hits—Chant, Mad About the Monks, and Chill to the Chant. In the meantime, the monks of Santo Domingo de Silos have followed up Chant with several other albums (Chant Noel, Chant II, Easter), and there is also a Chant video (see Chant, Visions, and Requiem). Though it may seem that plainchant has only just been discovered in popular culture, it has been heard for many years in film, a medium with strong ties to popular as well as "art" audiences. Some chants have become standard melodies for films, in particular the "Dies irae" from the Roman Catholic Mass for the Dead. The "Dies irae" is, in fact, one of the most frequently heard chants in film, used in television theme songs, commercials, and even a Christmas film (It's a Wonderful Life). Death, danger or the supernatural are invariably part of the story or visual situation where it is used.
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Funk, Clayton. "An upswing to something better: Social space and the upward climb in vaudeville theatre." Visual Inquiry 12, no. 1 (May 1, 2023): 73–83. http://dx.doi.org/10.1386/vi_00088_1.
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Vaudeville theatre was an important visual form of popular culture and entertainment that featured such specialty acts as comedy and song and dance, as well as lectures, lantern slide shows and motion pictures with subject matter from faraway lands, and themes of American patriotism. American vaudeville began in nineteenth-century saloons as floorshows and burlesque, but it was eventually upgraded to family entertainment, which appealed to middle- and upper-class audiences, before individual theatres were subsumed by franchised theatre chains. Vaudeville theatre directors, who were known as impresarios, programmed an innovative spectrum of acts that ranged from classical music and art to folk songs, and to acrobats, which appealed to a wide range of social classes. Following the theories of Henri Lefebvre, the social space of the theatre became a conceptually dynamic space, where class distinctions blurred and audience members could then dream of life in a higher social station, or what American Mid Victorians knew as ‘self-improvement’. A conundrum emerges, however, when we see that most of the programmes were plentiful with racial, ethnic and gender stereotypes, which were entertaining to White audience members. The vertical social climb of the gilded age in the 1900s was complicated with the social relations of uneasy, decadent consumerism. Individuals driven by desire thought their ‘un-comfort’ might be remedied by entertainment, as they looked for an upswing to something better.
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Sohn, Minsung, and Minsoo Jung. "Effect of Viewing Smoking Scenes in Motion Pictures on Subsequent Smoking Desire in Audiences in South Korea." JMIR Public Health and Surveillance 3, no. 3 (July 17, 2017): e46. http://dx.doi.org/10.2196/publichealth.7093.
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Allison, Deborah. "Surviving "Certain Death": Narrational Reliability in American Motion Picture Serial Cliffhangers of the Golden Age." JCMS: Journal of Cinema and Media Studies 62, no. 5 (2022): 123–46. http://dx.doi.org/10.1353/cj.2022.a907194.
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abstract: American sound serial chapter endings frequently placed the protagonist(s) in mortal peril before the following week's installment would reveal how they evaded seemingly certain death. Frequently relying on audience memory lapse, these solutions, or "take-outs," did not always play fair. Drawing on a 20 percent sample of golden age serials (1936–1945), I analyze the narrational methods and reliability of cliffhangers and their take-outs. I propose that there are three key strategies, which I term sequential, augmented , and incompatible . I show how these categories move progressively further from the cliffhanger's nineteenth-century literary precedents and from conventions of classical Hollywood narration alike.
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Luiz, Tiago Marques. "Romeo and Juliet’s Rewriting in the Walt Disney Animated Movie Pocahontas: Adaptation Studies, Comparative Literature and Theory of Intertextuality." Cadernos de Tradução 43, no. 1 (January 24, 2023): 1–23. http://dx.doi.org/10.5007/2175-7968.2023.e87714.
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Intertextuality has been a driving force for Adaptation Studies, but few scholars have highlighted its relevance, rather prioritizing issues such as audience reception, cinematographic technique or aesthetics and, occasionally, fidelity. However, the starting point for any audiovisual production (be it film, television or theater) is the written matter, the text. Inserted within the field of Adaptation Studies in dialogue with Comparative Literature and Theory of Intertextuality, the present papers assesses the extent to which there are points of contact between William Shakespeare’s tragedy Romeo And Juliet the Walt Disney animated motion picture Pocahontas. The paper initially discusses the adaptation of Shakespeare’s text as a starting point for film productions, proceeding to theoretical reflections between Comparative Literature, Adaptation Theory, intertextuality and rewriting, and to the comparative analysis between the tragedy and the motion picture, which leads to the conclusion of a retroversive movement between source and adapted texts, which invites to the question of intertextual rewriting in Adaptation Studies
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Farnia, Fatemeh. "Is the Film as Empowering as the Book? Studying Empowerment in A Monster Calls." Dzieciństwo. Literatura i Kultura 1, no. 1 (July 24, 2019): 147–58. http://dx.doi.org/10.32798/dlk.33.
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The aim of the paper is to discuss A Monster Calls (2016) by J. A. Bayona, a film adaptation of Patrick Ness’s novel (2011) of the same title, based on an original idea by Siobhan Dowd, from the empowerment theory perspective. The author of the article indicates that there are some significant changes between the book and the motion picture, especially when it comes to the ways of empowering the protagonist and the works’ potential young audience. The results of this comparative study show that the film is more affectively empowering than the novel. This is mainly because in the book, Ness skillfully uses verbal narration (accompanied by Jim Kay’s illustrations), while in the film, Bayona takes advantage of the possibilities offered by the audiovisual medium, therefore providing the audience with artistic and psychological empowerments.
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Black, Rebecca, Jonathan Alexander, Vicky Chen, and Jonathan Duarte. "Representations of Autism in Online Harry Potter Fanfiction." Journal of Literacy Research 51, no. 1 (January 7, 2019): 30–51. http://dx.doi.org/10.1177/1086296x18820659.
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From literary canons all the way to the motion picture industry, the artistic and popular cultural experience of marginalized or nonmainstream groups has been one of being represented by the other. In this article, we explore how online fanfiction, as an audience-driven, interactive form of writing, may offer a way for members of nonmainstream groups to push back against and offer alternatives to stereotypical and normative discourses. We focus on how autistic people, family members, teachers, and advocates cast autistic characters in their fanfiction stories, how these stories represent autism and how, given the affordances of an online publishing platform, audience members respond to such representations. Findings suggest that these online narratives diversify available representations of autistic characters; moreover, the interactive nature of the online publishing forum allows readers to respond to and potentially disrupt stereotypical thinking and common fictional tropes surrounding autism.
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McGrath, Jason. "Suppositionality, Virtuality, and Chinese Cinema." boundary 2 49, no. 1 (February 1, 2022): 263–92. http://dx.doi.org/10.1215/01903659-9615487.
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In Chinese performance arts, one thing that was largely abandoned in the shift from traditional drama to motion pictures was the suppositionality of Chinese operatic performance, and the transition to digital cinema, particularly in the case of big-budget blockbusters that compete for mass audiences in greater China as well as abroad, raises the question of if and how an aesthetic of suppositionality is related to the emerging virtual realism enabled by computer-generated imagery (CGI). The concept of suppositionality not only helps us to evaluate how contemporary Chinese animation and CGI blockbusters remediate premodern cultural narratives but also provides an analytical measure for approaching the growing phenomenon of motion capture and composited performances. The “virtual realism” of CGI frees Chinese filmmakers to reject the ontological realism of photography and instead favor an aggressively animated style of visual effects while returning actors to a reprise of the suppositional performance style of traditional opera.
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Caddoo, C. ""Put Together to Please a Colored Audience": Black Churches, Motion Pictures, and Migration at the Turn of the Twentieth Century." Journal of American History 101, no. 3 (December 1, 2014): 778–803. http://dx.doi.org/10.1093/jahist/jau540.
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Juknevičiūtė, Laima. "The soft power implications of the new South Korean cinema: Approaching audiences in East Asia and Lithuania." Acta Orientalia Vilnensia 12, no. 1 (January 1, 2011): 121–37. http://dx.doi.org/10.15388/aov.2011.0.1100.
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Vytautas Magnus UniversitySouth Korea’s experience wielding soft power is usually associated with the Korean Wave, which swept the Asian region off its feet predominantly during the first decade of this century. In this article I will however argue that the phenomenon of the Korean Wave has never been intended as a calculated attempt on the part of the South Korean government to enhance the overall South Korean image worldwide and thus increase South Korean international might and prestige. To prove the validity of this hypothesis, I will provide a concise historical overview of the inception, development and spread of South Korean popular culture, while at the same time tracing its underlying soft power implications. I will likewise attempt to discuss the popular reception of the Korean Wave in three East Asian countries, i.e. Mainland China, Taiwan and Japan, and one European country, i.e. Lithuania. The scope of the endeavour has been largely restricted to the cinematic aspect of the Korean Wave, for I consider the creation of motion pictures and drama serials to be by far the most precious, influential and revealing form of art.
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Abdul Rani, Mohd Khairul Azahari, and Sharulnizam Ramli. "Development of Tawaf Simulation in Hajj Training in the New Norms." Environment-Behaviour Proceedings Journal 7, SI7 (August 31, 2022): 571–78. http://dx.doi.org/10.21834/ebpj.v7isi7.3831.
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Advances in technology through education will help the way people communicate and learn in nearly every aspect of modern life. Motion graphic has become progressively known because of their ability to catch the audience's attention rather than words alone. This globalized era somehow creates problems in combining information whereby confusion and difficulty in recalling information occur. Despite this, motion graphics could be an effective tool in education in conveying information successfully as it can convey much information compared to still pictures. Keywords: Tawaf Simulation, Motion Graphic, Hajj Training, New Norms. eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI7%20(Special%20Issue).3831
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Rahmi, Affiza, and Heldi Heldi. "PERANCANGAN MOTION COMIC 2D PERAN DAN FUNGSI MAMAK DALAM SISTEM KEKERABATAN MINANGKABAU." DEKAVE : Jurnal Desain Komunikasi Visual 10, no. 4 (November 30, 2020): 528. http://dx.doi.org/10.24036/dekave.v10i4.110729.
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The contribution and function of information and communication media as information disseminators include studying and preserving the civilization of social and cultural values in the Minangkabau community both in print media, 2D audio visual and 3D media. As today, modern society or the millennial generation does not really care about the role and function of the Mamak towards their nephews, and millennial youth tend to see the values of tracing traditions as ancient, while the influence of outside culture is very vulnerable to be diminished, including in Minangkabau. So there is a need for information and communication media to disseminate education to Minangkabau adolescents such as 2D motion comics which present moving picture stories to discuss the role and function of Mamak in looking after their nephews. As the target audience, Minangkabau youth are expected to be interested in understanding the values of Minangkabau cultural civilization through this motion comic. This design method uses the 4D development model, namely define, design, develop, and disseminate. While the data analysis method uses a SWOT analysis, namely Strengths, Weaknesses, Opportunities, and Threats. The main media in this design work is the Motion comic, which consists of illustrations of moving cutouts where the final result is using Youtube Channel to play Motion comic videos online. Furthermore, it is supported by other media in the form of T-shirts, posters, comics, pins, note books, stickers, x-banners.Keyword: Motion Comic, Mamak, Minangkabau,
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Mik, Anna. "Disability, Race, and the Black Satyr of the United States of America: The Case of Grover Underwood from Rick Riordan’s The Lightning Thief and its Film Adaptation by Chris Columbus." Dzieciństwo. Literatura i Kultura 1, no. 1 (July 24, 2019): 130–46. http://dx.doi.org/10.32798/dlk.20.
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This article aims to present the book-to-film metamorphosis of Grover Underwood from Rick Riordan’s novel The Lightning Thief (2005), adapted in 2010 by Chris Columbus for the screen. This character in both works is presented as an excluded member of the society: in the empirical world, as a disabled person, in the mythological one, as a satyr. What is more, in the motion picture, Grover, played by a Black actor, poses as an even more marginalised character, as a representative of a community discriminated in the USA. Therefore, the images of this character reflect the various levels of exclusion and show the ideological significance of a contemporary adaptation for the young audience. The comparative analysis is performed with the use of reception studies and critical race theory perspectives.
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Fronc, Jennifer. "“HISTORICAL PRESENTATION” OR “LIBEL TO THE RACE”?: CENSORSHIP AND THE BIRTH OF A NATION." Journal of the Gilded Age and Progressive Era 14, no. 4 (October 2015): 612–15. http://dx.doi.org/10.1017/s1537781415000432.
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On April 9, 1915, the fiftieth anniversary of General Lee's surrender at Appomattox, The Birth of a Nation opened in Boston. Audience members were “prepared for the unusual” the moment they entered the Tremont Theatre. After “a young man in evening dress and a silk hat” took tickets, “two young women in flounced hoop skirts and with long curls … ma[d]e a sort of graceful minuet bow, and hand[ed] you a program.” While “soldiers ‘on guard’ in the Civil War uniforms of the North and South” flanked the aisles, another costumed young woman “escort[ed] you to your seat.” As the film projector flickered to life, a title card issued an important caveat to the audience: “This is an historical presentation of the Civil War and Reconstruction period and is not meant to reflect in any way upon any race or people of today.” D. W. Griffith did not write this title card; rather, the National Board of Censorship of Motion Pictures (NBC) inserted it to fend off protestors and signal its commitment to filmmakers’ First Amendment rights.
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Bakker, Gerben. "Stars and Stories: How Films Became Branded Products." Enterprise & Society 2, no. 3 (September 2001): 461–502. http://dx.doi.org/10.1093/es/2.3.461.
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Between 1890 and 1940, motion pictures changed from technological novelties into heavily branded consumer products. The high sunk costs and short “shelf-life” of movies led film producers to borrow branding techniques from other consumer goods industries. They tried to build audience loyalty around a number of characteristics, but eventually learned that stars and stories were the most effective “promotion machines,” able swiftly to generate massive brand-awareness and to persuade consumers to see a new film. Data from the United States, Britain, and France showing the disproportionate distribution of income and fame among stars confirm their role as persuaders. Ultimately, film producers extended the life of their products by licensing their instant, tradable brands to other consumer goods industries.
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Khalilov, Vladimir. "Films as pedagogical tools: Cinema and the Teaching of History in the USA." Russia and America in the 21st Century, no. 3 (2023): 0. http://dx.doi.org/10.18254/s207054760026353-5.
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The article explores the historical and educational value of cinematic works drawing on the experience of the United States. The specific abilities of cinema to influence the audience in unique ways, to distribute certain information, and to develop skills of critical and historical thinking have turned it, at least potentially, into a powerful pedagogical tool. However, in the process of practical realization of this potential in educational institutions, many obstacles and challenges arise, depriving films of a significant portion of their pedagogical efficacy. By examining a number of films used in American schools, the author demonstrates how they can serve as effective and authentic pedagogical instruments, while also highlighting the issues that emerge when motion pictures are deployed as tools for learning and education.
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Ko, Fuji. "Esoteric Symbolism in Animated Film Storytelling." Chinese Semiotic Studies 14, no. 3 (August 28, 2018): 347–70. http://dx.doi.org/10.1515/css-2018-0021.
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Abstract Esoteric symbolism of various kinds is dispersed in media for mass communication, and from the semiotic perspective, films, historically the primary medium for motion pictures, are the most powerful weapons for worldwide attraction. In this paper, two famous cartoon animated movies by Disney, Moana and Zootopia, are under analysis. For one thing, they use profound symbols in conveying a message to the audience, especially to children, and for another, their impact on society is wide due to the breadth and diversity of Disney-branded products. Thus, the present paper discusses these two movies using semiotic theories of signs, codes, and symbols, weaving them together to trace the system of communication between the text (here referring to the cinematic texts) and its audience, and especially how a heroine frame is built in the adventure genre. Interpreting the hidden meaning or occult symbolism requires a special kind of knowledge if we aim to convey the essence of the story to our children beyond merely knowing the plot of the film. The films Moana and Zootopia feature a number of interior or hidden elements such as metaphors and allegories, and illuminati or esoteric symbolism, even though they are animated ones.
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Bracken, Cheryl Campanella, Gary Pettey, Trupti Guha, and Bridget E. Rubenking. "Sounding Out Small Screens and Telepresence." Journal of Media Psychology 22, no. 3 (January 2010): 125–37. http://dx.doi.org/10.1027/1864-1105/a000017.
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The number of small and mobile screens being used for entertainment is growing daily. This paper presents the findings of the impact of smaller video format (specifically the Apple iPod), media content, and sound delivery on audience responses. The 2 × 2 × 2 experimental design varied screen size, content, and sound delivery. Participants were exposed to one of two presentations either on an iPod or on a 32 inch (81.2 centimeters) television with sound being supplied by either speakers or a headset. Participants saw either a 10-minute fast-paced (multiple cut) action sequence or a 10-minute slow-paced (long cut) conversation sequence from a feature length motion picture. The effects of differences in immersion, spatial presence, and social realism were measured. Screen size impacted reported sensations of spatial presence with subjects who viewed larger screens reporting higher levels. Subjects with headphone delivery reported higher levels of immersion than subjects with speaker delivery. Furthermore, several interactions between screen size, content pace, and sound delivery were found.
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Barranco, Raymond E., Nicole E. Rader, and Anna Smith. "Violence at the Box Office." Communication Research 44, no. 1 (July 8, 2016): 77–95. http://dx.doi.org/10.1177/0093650215614363.
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The negative effects of violent content in movies have recently been a hot topic among both researchers and the general public. Despite growing concern, violence in movies has persisted over time. Few studies have examined why this pattern continues. To fill this gap in the literature, we examine how Motion Picture Association of America (MPAA) movie rating descriptors predict ticket sales of 2,094 movies from 1992 to 2012. We test the validity of three theoretical models: (1) the reflective model, (2) the reactance model, and (3) the market model. We find that violent content is linked neither to violence in the broader U.S. culture (i.e., the reflective model) nor to a psychological reactance by adolescents (i.e., the reactance model). Rather, we find, especially among PG-13 (parents strongly cautioned) movies, that violent content leads to increased ticket sales, suggesting that market demand (i.e., audience preferences) is responsible for continued violent content. We discuss the implications of our findings.
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Barron, Hal S. "Rural America on the Silent Screen." Agricultural History 80, no. 4 (October 1, 2006): 383–410. http://dx.doi.org/10.1215/00021482-80.4.383.
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Abstract This article analyzes American silent film depictions of rural life in order to understand their role in the creation of new conceptions of the countryside during the first third of the twentieth century. The rise of motion pictures during the 1910s and 1920s was a critical component of an emerging consumer culture in the United States that coincided with its broader transformation from a rural to an urban society. Because of this conjuncture, silent movies depicting agrarian life were instrumental in establishing new understandings of rural society for a modern, urban nation. They resonated with city audiences, particularly those who had been raised on the farm, as well as with rural and small-town moviegoers, and they helped to reconcile both groups to vexing social changes. Besides providing comfort in a time of transition, however, these films also facilitated the new order by subverting traditional understandings of agrarian life and distancing it from its previous position at the core of American culture.
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Oliveira Lopes, Rui. "A New Light on the Shadows of Heavenly Bodies." Religion and the Arts 20, no. 1-2 (2016): 160–96. http://dx.doi.org/10.1163/15685292-02001008.
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The distinct tradition of Indian shadow puppetry has been the subject of much interest among scholars, focusing mainly on its origin, the mutual exchange between different regions across Asia, and the relationship between theater performance and popular culture. This study discusses the similarities of shadow puppets with temple mural painting and loose-leaf paintings, and shows how puppets may have shifted technically from narrative paintings on loose-leaf folios toward motion pictures, in order to create a more interactive link between the audience and the storyteller. The first part of this paper explores the archetypal and psychological meanings of shadow in Indian culture and religion, as well as its relationship with the origins of painting. The main issues include archetypal references to the shadow of Hindu gods described in Vedic, epic, and Purāņic sources, the use of prototypes to transmit knowledge to humankind, and the analysis of shadow puppets as moving pictures. Secondly, the paper analyzes the materiality of puppets and their consistency with Indian aesthetics and art criticism in the form of theoretical principles found in classical texts and art treatises such as the Nāțyaśāstra, the Viṣṇudhārmottāra, and the Śilpaśāstra.
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Marchand, Andre, Thorsten Hennig-Thurau, and Sabine Best. "When James Bond shows off his Omega: does product placement affect its media host?" European Journal of Marketing 49, no. 9/10 (September 14, 2015): 1666–85. http://dx.doi.org/10.1108/ejm-09-2013-0474.
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Purpose – This paper aims to contribute to the marketing literature and practice by examining the effect of product placements on the host brand. The declining effectiveness of traditional advertising has prompted increasing interest in strategies for placing products in media programming. Most existing research adopt the perspective of the brands embedded in media products, with limited attention to the impact that product placement has on the media product that serves as a host brand for the embedded brands. The authors investigate this effect in the context of motion pictures and develop a theory-driven conceptual model. Design/methodology/approach – The authors test their hypotheses with two experiments in which randomly assigned participants view one of seven versions of a custom-made, seven-minute short film that differ in their level of placement prominence. Findings – The results from a mediation analysis indicate that, after controlling for audiences’ general attitudes toward the embedded brand, greater placement prominence heightens consumers’ reactance to persuasion attempts and negatively affects their evaluations of the host brand. A post hoc experiment confirms that even very low levels of placement prominence can worsen host brand evaluations. Originality/value – This research is among the first to investigate the effects of product placement from a host brand perspective. It issues a warning to producers of entertainment content: a product placement strategy may generate additional earnings, but it also can lower audiences’ evaluations of the focal entertainment product.
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Costa, Stefano, and Francesco Ripanti. "Excava(c)tion in Vignale. Archaeology on stage, archaeology on the Web." AP: Online Journal in Public Archaeology 3 (January 6, 2017): 97. http://dx.doi.org/10.23914/ap.v3i0.31.
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As an orchestra or a rock star, archaeologists have their audience too. This paper wants to highlight an integrated approach between fieldwork, its account and its dissemination to the public in different ways, including social media. This potential integration has come to life in the 2011 excavation of the Roman mansio of Vignale (Italy) and it has been named “Excava(c)tion”. It doesn’t mean a new way of digging but another way of approaching the excavation, an approach integrated toward and with the public, both on site and on the social Web. “Excava(c)tion” conceives the site as a stage and digging as a performance, through a continuous dialogue between archaeologists and the public. Archaeologists share their work in the form of guided tours (live, theatrical-like performances), communicative diaries and videos (edited, motion-picture performances) and on a blog (www.uominiecoseavignale.it). They receive back comments and oral accounts from the local community about the main themes of common interest. “Excava(c)tion” means engagement both of archaeologists and the public in the pursuit of a global multivocality during archaeological excavation.
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Tehseem, Tazanfal, Wajiha Amjad, and Muhammad Abbas. "Persuading Through the Print Media: A Discourse Historical Analysis of No- confidence Resolution Against IK in Pakistan." Global Digital & Print Media Review V, no. I (March 30, 2022): 131–43. http://dx.doi.org/10.31703/gdpmr.2022(v-i).13.
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This research aims at addressing the newspaper headlines during the time of the no-confidence motion to oust the then Prime Minister of Pakistan, Mr Imran Khan and in doing so it highlights the various linguistic choices which help the journalists to persuade the masses. It is found that the newspapers employ various techniques and ways to portraya political conflict and bring it to the public's eye. Drawing on Wodak's Discourse Historical Approach (DHA, 2016) for Critical Discourse Analysis(Fairclough, 1995) the study highlights the ideological perspective presented by the different newspapers through their respective linguistic choices for the same move. It reveals how the various uses of language portray the events differently. The overall findings show that newspapers steer the viewpoint of the general public, and how the news coverage cast an impact on the audience and shapes their opinion. Moreover, the newspapers sensationalize the situation to create the desired impact. By the use of metaphors, phrases and idioms the papers intensify the scenario and paint a dramatic color to the picture.