Journal articles on the topic 'Voice-overs'

Cross-cultural content analysis of New Zealand and French television advertising has revealed marked differences in the use of voice-overs. New Zealand voice-overs were found to be mostly authoritative and adhered to a strong code of masculinity whereas French voice-overs used a more seductive approach, utilising more feminine voices which acted as a relay of masculine values. Interviews with creative directors suggested that the selection of a voice-over was influenced by strong cultural stereotypes and was mostly the result of a subconscious or mechanical choice. This paper argues that voice-overs are signifiers which are embedded in a cultural and communicative context. It also draws attention to the usually unsuspected presence of highly naturalised ‘vocal formations’ which exist in the advertising discourse of each country, shaping and subjecting us as sociocultural beings.

Abstract This study aims to improve the combined delivery of voice-over PowerPoint lectures and review games to increase student engagement and learning. Medical students were assigned immunology voice-over lectures prior to in-class or online learning sessions, in which students participated in teams to entertain sample exam questions in review games. Students provided quantitative feedback using a seven-point Likert scale and provided suggestions on how to improve the delivery of this pedagogy. The participating students were divided into groups that had differing access to either the voice-overs and/or review games before taking a formative quiz on the subject material. We are currently unable to conclude whether voice-overs or review games are more effective at increasing student performance on formative quizzes, yet future studies are planned to address this. More importantly, substantial feedback received from students through this ongoing study has been incorporated to improve the delivery of combining pre-assigned voice-overs with in-class gaming. Students overwhelmingly favored practice questions embedded within voice-overs and preferred multiple voice-overs of shorter length over long voice-overs for a given subject. Additionally, students greatly appreciated a brief question-and-answer review of the main points of the voice-over before beginning the in-class review game. Collectively, the students preferred this active learning pedagogy over traditional lectures. This study has provided valuable feedback to enhance the delivery of an active learning pedagogy that is relevant to both undergraduate and graduate-level immunology courses and is readily adaptable for either in-class or online learning sessions. Seed grant from California Northstate University Institute of Teaching and Learning Excellence

Telenovelas have become an attractive form of entertainment for many Ghanaians largely because of the use of local Ghanaian languages as voice-overs during telecast. The question that arises is – Does the telecast of telenovelas in a local language play any role in the promotion of Ghanaian languages? Using focus group discussions and in-depth interviews, we explored the role of Telenovelas with voice-overs in the promotion of Ghanaian languages among residents of some communities in Accra, Ghana; specifically, Lapaz, Osu and Gbawe Mallam communities, University students and market women. Findings show that due to low English literacy levels, voice-over telenovelas were preferred among residents in Lapaz community and the market women. A privately-owned television station, Max TV, emerged as the station with a wider audience due to its innovative broadcasting strategy of voice-over Telenovelas using the Ghanaian (Akan) language. Overall, the telenovelas appear to be promoting the Akan language by exposing viewers to lexical knowledge, facilitating the acquisition of new vocabulary items, and shaping children’s learning of Akan. This paper, therefore, unearths the significance of glocalization of telenovelas in the promotion of local languages in Ghana.

Each of the eight movements of Johnson's performance reflects a different aspect of his identity around which his queerness pivots. The movements range from drag to black masculinity to how Johnson negotiated race, gender, and sexuality in Ghana. Johnson's performance—utilizing slides, music, voice-overs, and dance— encouraged audience participation.

The closing decades of the twentieth century and the opening years of the twenty-first have seen a wide range of hybrid and cross-over performance forms, dance/theatre being prominent among them. In this article, Maria Shevtsova outlines the similarities between the working principles of director Lev Dodin and those of the choreographers Pina Bausch and William Forsythe, suggesting how they have set and still exemplify current trends in a networked world (Castells) of precarity (Bourdieu) and uncertainty. She also explores a broader socio-artistic context for her focus. This text is a slightly modified version of a belated inaugural lecture for her third appointed professorial chair, at Goldsmiths College, University of London, in March 2002. Maria Shevtsova is an Advisory Editor of NTQ, whose recent publications include ‘Theatre and Interdisciplinarity’ (2001), a special issue she guest-edited for Theatre Research International, and ‘The Sociology of the Theatre’ (2002), edited for Contemporary Theatre Review, which includes her essay, ‘Appropriating Pierre Bourdieu's Champ and Habitus for a Sociology of Stage Productions’. Her book on Lev Dodin and the Maly Drama Theatre of St Petersburg is due for publication in 2003.

Short experimental films by the German female director duo Lina Sieckmann und Miriam Gossing put domestic environments on cinematic display in new and challenging ways. The essay discusses the links between the films’ documentary agendas, surreal visual montages, and poetic feminine voice-overs. Selected films are placed into dialogues with Michael Renov’s concept of aesthetics in documentary film and Timothy Morton’s notion of the “hyperobject.” This theoretical framework highlights the tensions between the films’ powerful aesthetics and feminine queer desire as they decenter socially ingrained dualisms.

The article considers the possibility of using online courses in higher engineering education in order to increase its effectiveness. The organizational and methodological aspects of e-learning at the university are considered, the features of the development of an online technological course are analyzed. Based on a study of the best foreign and Russian practices, the authors suggest a possible option of combining traditional full-time education using an electronic lecture course with voice-overs by a teacher and an automated knowledge control system for students hosted on the Open BMSTU platform.

Voice-over as an audiovisual translation modality has traditionally been described for its rendering of the truth or its faithfulness. The manipulation and deviation from the original text through translation has already been the object of study in documentaries. This paper looks at the translation of TV news through voice-over. Technical and content infidelities are rendering the broadcast actualities into sexed up copies of the original, which for all intents and purposes are in sheer contravention of what translation is for as a faithful reproduction of the original and of objective and factual news reporting. The effects of the translator’s visibility in news voice-over is re-examined and the physical presence of the translator/voice talent is analyzed. This paper argues that the visibility of the translator in this instance pushes the boundaries of mediation beyond mere technicalities towards a sociopolitical sphere of reasoning and rationality by editorial policy makers. The paper also argues that synchronicity of voice-overs stemming from the rhetorical features of the voice-over styles of delivery and the idiosyncrasies of the voices creates dissonance and renders the original message with a degree of infelicities that undermine the long-celebrated standards of objectivity and neutrality. Consequently, this paper underscores the invisibility of the translator in this mode of translation mediation.

Individuals verbally express meaning not only through speech sounds and words but also prosodically through the pitch, loudness, and tempo of their voice. Through a quantitative analysis, this exploratory study examined the prosodic elements of mean pitch, pitch variability, and pitch range in a sample of 450 voice-overs and throws from 90 male and female broadcast reporters and anchors from larger markets across the United States. Findings indicate that compared to typical speakers in the general population, male broadcasters actually speak with an elevated mean pitch, more pitch variability, and use more range. However, female broadcasters were found to speak at slightly lower mean pitch levels when compared to other female speakers in the general population (but like males with more variability and range). It is hoped that this study will serve as a starting point in moving broadcast vocal coaching from that of just an art to a bit more of a science.

With the advent of metaverse, the forms of cultural exchange between countries are increasingly diversified. In particular, the game industry plays an important role in cultural communication in this new era. This paper selects the current popular open world action adventure game ‘Genshin Impact’ developed by the Chinese game company HoYoverse as the research object, and mainly focuses on the translation strategies applied in translating culture-specific items in the game characters’ names and voice-overs. ‘Genshin Impact’ is one of the Chinese games that are successfully exported and localized in Korea as well as English-speaking societies; therefore, the analysis of the translation strategies differentiated according to different cultures will be conducive to exporting and localizing games. To this end, this paper analyzed culture-specific items and investigated how the translation strategies are differentiated.

Role-playing video games can highlight a sense of player identification with a pre-made player-character through the inclusion of the voice; this can include diegetic character dialogue, the non-diegetic sung voice, and voice-overs. Ensuring that the player can connect with their player-character on an individual level is key to forming a suspension of disbelief and immersion with a game. Final Fantasy XV emphasizes collaboration between the player, player-characters, and non-playable characters during combat, cutscenes, and exploration. This camaraderie effect actively engages the player with multiple characters through the constant use of the diegetic spoken voice to communicate between the player-character, Noctis, and the three other character identities, Prompto, Ignis, and Gladiolus. The game’s opening rendition of Ben E. King’s “Stand by Me,” performed by Florence + the Machine, provides the player with four narrative themes that are present throughout the game. These themes include a coming-of-age story, character relationships, and the development of a greater evil within the narrative. Unique in its position as a pre-composed song, “Stand by Me” plants the idea that the player will not be alone in their journey, as character allies will stand by Noctis, from the beginning of the game. Final Fantasy XV uses vocalizations in both the diegetic and non-diegetic audio space in order to reflect the characteristics of the playable characters. The vocal relationship between the player’s characters provides directional feedback and information for the player within combat, alongside foretelling the stories of certain characters.

Voice-overs with muted images, often known as the “image bite,” have become an increasingly used but understudied format of political language by the television news media. Because the media can use images to fit many contexts and purposes of commentary, the media images are susceptible to continuous de-contextualization and re-contextualization. Drawing from theories of feminist critical discourse analysis and gender performance as well as scholarship on the public/private divide, we examine the commentary of one U.S. television news organization’s (NBC) re-contextualization of the same stock footage of Hillary Clinton over 10 newscasts spanning 20 months from August 1998 to June of 2000. NBC re-enforces the public/private binary in conventional masculine terms. Yet it also worked, at times, to unify the binary when covering Hillary Clinton’s U.S. Senate campaign; on those occasions at least, NBC revealed the potential erosion of gender stereotypes and a small but still significant role for human agency in the study of gender ideology.

Research shows that news media around the world tend to represent ethnic minorities in ways which nurture distorted views and invite negative attitudes. Scholars have also emphasised that, in contemporary societies, a political climate has emerged which has made overt racism unacceptable and social taboos leading to racist statements are increasingly being managed and disguised in order to avoid direct accusations. In this paper we use Multimodal Critical Discourse Analysis (MCDA) to carry out an in-depth analysis of a Romanian television news report—selected from a larger corpus—which addressed the situation of the Roma migrants in Norway. We show how this medium, with editing techniques, voice-overs, sound effects and captions, has its own subtleties for communicating racism in ways that are less obvious at a casual viewing. The case we analyse reports on a Norwegian/EU project to build a factory in Romania, so that Roma migrants can return home to work rather than live and beg on the streets of Oslo.

This article presents the results of an academic experiment dedicated to learning Russian by Chinese students, utilizing the program “I Understand!”. “I Understand!” is an innovative system of working on authentic audio-visual film production, this system was created for foreign language speakers learning Russian as second lan-guage (RSL) at B1–B2 level. The program has been implemented in 6 universities in Russia and China since 2022 and is regarded as a first application of elements of academic theatrical methodology (“Stanislavski Method”) and professional dubbing of films by RSL students. The effectiveness of work performed in the dub-bing studios opened at the participating university campuses is justified by the high level of students’ voice-overs for the cartoons and films submitted to the international festival, as well as by the accelerated transition of foreign students to a qualitatively new level of Russian language proficiency – from B1 to B2 and from B2 to C1.

Abstract In 1950s and early 1960s Hong Kong, radio permeated in everyday life as a major source of entertainment and information. It subsequently gave rise to a peculiar genre in Cantonese cinema, film adaptations of “airwave novels” (tiankong xiaoshuo dianying 天空小說電影), which flourished in Hong Kong and Southeast Asia. According to the records of the Hong Kong Film Archive, from 1949 to 1968 there were ninety-three film adaptations of radio novels and dramas. Besides drawing the historical contours of the radio-film network in the postwar colonial city, this article studies two exemplary radio stories-turned-films, Niehai chihun 孽海痴魂 (A Devoted Soul; 1949) and Cimu lei 慈母淚 (A Mother's Tears; 1953), and scrutinizes their transmedial/transnational adaptation trajectories to shed light on intermedia aesthetic criticisms. This article describes how film technology reconstituted the oral and spoken in audiovisual space, in particular the embodiment and representation of the radio acoustic. The voice-over, indicative of the radio unconscious in the film, registers the existence of a consciousness already programmed by radio sounds that reconfigures the economy of filmic diegesis. This article further investigates how such medium self-reflexivity in the form of voice-overs destabilized the Manichean structure of melodrama as an established genre in Cantonese cinema, thus making space for forms of female agency amidst contending ideologies in early Cold War.

It is ironic that interest in the roots of ‘alternative comedy’ is probably greater than ever before just as the most successful of its exponents are moving, in commercial terms, firmly into the mainstream. Perhaps that process is inevitable – and perhaps the drift into sitcoms and voice-overs does not matter so long as there remains a ferment of new activity, jostling for the less lucrative exposure of the smaller venues and the new cabaret circuit. The author of this survey, Tony Lidington, was himself in at the beginning of the ‘Pierrotters’ – which claims to be the first concert party to have existed in Brighton since the war, having now played four summer seasons there – and in 1983 he also founded the Bright Red Theatre Company. Here, he traces the development of the phenomenon of ‘alternative cabaret’ from its social and cultural beginnings, and looks at the present scene from the perspective of some fellow south coast performers – whose problems and ambitions are, he feels, representative of a nationwide network of diverse and, thankfully, often diverting talent.

At Play in the Cosmos is a game for University-level Astronomy courses. Designed as a collaboration between the Games + Learning + Society Center, an academic center at the University of Wisconsin-Madison, and Norton & Company, Cosmos is intended to support a “game-first” model of curriculum in which students play the game before engaging in other activities. Cosmos includes about 4 hours of game play and spans the entirety of course. It includes over 25 embedded simulations that are also used for homework, lectures, and demonstrations. The design process and resulting artifact was colored by institutional constraints, specifically a lengthy pre-production that demanded extensive documentation. The subsequent development process followed a relatively linear, waterfall process and resulted in linear game. Designers attempted to mediate this linearity through a crafting system that enabled players to explore the Universe and mine celestial bodies for resources. As a game intended to compete in the market, Cosmos included a relatively high production quality led by a team experienced in AAA development processes, and the chapter focuses on the development of art styles, interfaces, and fitting voice overs in on a constrained budget and timeline.

This special issue of VIEW focuses on the international circulation and distribution of ready-made content, in the form of scripted products. The following essays share an interest in considering the nuances in power dynamics (adaptation, localization, revision) that are bound to any transnational movements. They also address a fruitful variety of problems and points of view that signal the wider potential of this field of research: the transnational circulation of TV content and the currently used market strategies; common ground and cultural proximity in certain cultural groups and/or regions; the role of European countries and markets in the development of international distributed content, and their impact beyond the continent; the emerging role of OTT services in the internationalization of programming; the growing role played by curation and personalization in order to gain a competitive edge; the functions of “niche” content (such as arts programming) and or particular audience groups (such as the LGBTQIA+ community and its allies), and how these adapt to border-crossings; co-productions, but also co-distributions between different countries (such as China and the UK); processes of localizing and adapting foreign ready-made content, for example through dubbing, subtitling and voice overs; and the role of bottom-up circulation.

The subject of this research is the actor and the sense of speech “freedom” on stage and on the screen – the culture of speechification on stage and on the screen. The article raised a number of interesting questions – theatrical character, development of acting abilities depending on the type of cinematography. The author’s observations regarding speech differences in speech in movies and on stage and remarkable. Giving close attention to the use of speech elements in cinematography, the author claims that speech “impulsivities” must merge with the fixed frame. The questions of using silence in cinematography and theatre, as well as differences in its application in other spheres of art are reviewed. The conclusion is made that unlike stage actors, the diversity of voice, elocution, pace and rhythm skills of live action actors manifests functions by different laws of internal process. It is stated that speech score of stage actors is a conditionally fixed phenomenon, since stage performance is a living organism, while in cinematography, speech is more static, namely because of the do-overs and adaptation to the result desired by film director. It is underline that speech of the stage actor is strongly subordinated to rhythmic score set by text of the author, stage director, and even scenic and biological rhythms of the partner. Unlike cinematography, onstage speech is not a constant.

Purpose: The coronavirus disease 2019 pandemic saw many restrictions on the provision of emergency medical service (EMS) training through actual field trips (AFTs), requiring a search for alternatives. This study aimed to assess trainees’ reactions to virtual field trips (VFTs) and determine the characteristics of instructional design for successful VFTs using edited videos and expert interviews.Methods: This study evaluated Uzbekistan trainees’ reactions to the VFT of EMS training using questionnaires in three categories: satisfaction, relevance, and engagement. Factors of satisfaction and dissatisfaction were identified through open-ended questions.Results: A total of 286 trainees responded to the survey during 15 educational sessions conducted from 2020 to 2022. The trainees’ responses to the VFT were positive. Overall mean scores were 4.65±0.49, 4.63±0.50, and 4.63±0.50 out of 5 points for satisfaction, relevance, and engagement, respectively. The trainees reported that the most interesting and helpful videos concerned the introduction of an EMS training curriculum and the observation of training facilities, such as the simulation centers of educational institutes. The leading causes of satisfaction were (1) authenticity of the VFTs, (2) easy-to-understand content, and (3) relevance to the job. The trainees suggested that Uzbek or Russian voice-overs would be better than subtitles in the video clip for focusing on VFT.Conclusion: In situations where AFTs are not available, VFTs using edited videos and expert interviews are a good alternative to EMS education. Based on these results, it is possible that AFTs could be replaced by VFTs using qualified videos with designed instructions as a distance learning method under specific conditions.

Abstract Introduction In Denmark, many afflicted with work-related stress will not receive specialised treatment due to limited availability, distance, and stigma. Online interventions can overcome these barriers and are as effective as face-to-face interventions. We aimed at developing a therapist-guided online intervention for work-related stress, Stop for Stress, derived from the evidence-based group intervention, MARS. Methods When translating the group-based format to the online format we focused on 1) condensing the therapeutic content into digestible short videos and figures, minimizing blocks of text, and 2) creating a group effect by including case videos of patients portrayed by actors. We performed 2 pilot trials with 15 patients each measuring perceived stress, functional level, and symptoms of depression and anxiety. Results Stop for Stress comprises 14 modules including 45 case videos, 12 psychologist videos, 8 animations, 15 voice-overs of models, and more than 50 exercises. Based on evaluations from Pilot1 we implemented the following: 1) three video consultations to promote alliance and motivation, 2) scheduled first login with support, and 3) a fixed weekly time for written feedback. In Pilot2 87% completed the program, and patients improved on all outcomes (p<.001-.012). Discussion Stop for Stress poses a feasible and promising format for delivering an intervention for work-related stress. However, results should be taken with caution due to the small sample size and lack of control group. Conclusion The intervention is thus ready for a large-scale randomized controlled trial to establish the effectiveness of Stop for Stress compared to MARS.

The article argues that V. Podoroga and M. Mamardashvili's understanding of the concept of “continuous creation” is noticeably different in a number of aspects. Descartes breathed new life into the old idea of creatio continua, which thus fell into the Modern times arsenal of ideas; Mamardashvili and Podoroga, in turn, gave it today's reading, in which there are both areas of intersection and characteristic differences. V. Podoroga questions the Cartesian connection between freedom and duration in Mamardashvili's version. In the interpretation of Cartesian freedom, he believes, Mamardashvili follows Sartre: in this case, man takes on the function of God and becomes a necessary condition for his own existence. However, an analysis of classical texts shows that Mamardashvili's interpretation is quite correct: Descartes (and Mamardashvili) proceed from the discreteness of the moments in time, which require special efforts to assemble. The effort of God maintains the existence of the world; the effort of the cogito maintains the being of thought. Mamardashvili draws attention, as Descartes advises, precisely to the causes of being (secundum esse) and to the intuition of discreteness of moments of time, which is important for Descartes. It is also clear that the one who performs the act of cogito does not at all assume the function of God: on the contrary, he discovers in himself dependence on the higher being, which gives the power of creation. The roll-overs and dissonances of these interpretations show that Podoroga's thesis about the absence of "new" in Mamardashvili's ideas, replaced by the creative energy of his "Voice" in the act of thought, needs correction and clarification. It can be said that the transfer of a number of functions from the Logos to the Voice, carried out by V. Podoroga, led to a certain preponderance of corporality in understanding the peculiar method of Mamardashvili. But still, this does not depreciate the significance of the deciphering of the phenomenon of Mamardashvili, which is unique in its versatility, undertaken by him.

Background Researchers are increasingly interested in testing and developing computerized cognitive training interventions for individuals with autism spectrum disorder due to the limited accessibility of treatments for this disorder. Understanding the feasibility of testing cognitive interventions for this population is critical, especially for individuals with ASD who have low to moderate intellectual ability. Objective The aim of the study was to evaluate the feasibility of computerized cognitive training as measured by attrition rate and a parent satisfaction survey. Methods A total of 26 participants aged 8-17 years with an autism spectrum disorder diagnosis and significant intellectual impairment were enrolled (mean age 11.1 years). They were instructed to complete 25 sessions of Cogmed Working Memory Training in 5 to 6 weeks with coach assistance. Attrition rate and parent satisfaction surveys were measured after the completion of training. Results Most participants (96%, 25/26) completed the training and indicated high satisfaction (>88%). However, among the participants who completed the training, 5 participants (19%) were unable to finish in 6 weeks, the recommended training period by Cogmed. Parents noted various positive (eg, voice-overs) and negative (eg, particular graphic and sounds associated with a stimulus) features of the game that they thought affected their child’s response. Conclusions Children with autism spectrum disorder and intellectual impairments can successfully participate in computerized cognitive training interventions but may require additional weeks to complete the training beyond the time needed for children without intellectual impairments. The overall completion rate, with extended time to complete the training, was high. Developers of cognitive training programs for this population should take into account potential issues regarding the noise level of stimuli and characteristics of the visual graphics.

The rapid development of technology encourages teachers to get the benefit of technology using electronic media as learning media that supports learning process. Technology cannot only be used in helping the learning process for students in general, but also very useful for special needs students. One of learning media that utilizes technology is Powtoon as a presentation media that can be played repeatedly for special needs students (slow learners). Powtoon is Web-based animation software that allows anyone to create animated presentations by manipulating pre-created objects, imported images, provide music and user created voice-overs. Powtoon is able to present material well through visual, text, graphic, image, photo, sound and animation capabilities. This study is a case study of learning analysis and the perception of special needs students for the use of Powtoon in Research Method Course. This qualitative research method used data collection techniques through observation and interviews. The findings show that Powtoon can help the student to understand the material and the student also gives positive response to the use of Powtoon media in helping slow learner students understand the material. Keyword: Powtoon, learning media, difable learner. AbstrakPesatnya perkembangan teknologi mendorong pengajar untuk memanfaatkan teknologi menggunakan media elektronik sebagai media pembelajaran yang mendukung proses pembelajaran. Teknologi tidak hanya dapat dimanfaatkan dalam membantu proses pembelajaran bagi mahasiswa pada umumnya, namun juga sangat bermanfaat bagi mahasiswa berkebutuhan khusus. Salah satu media pembelajaran yang memanfaatkan teknologi adalah Powtoon sebagai media presentasi yang dapat diputar berulang-ulang bagi mahasiswa berkebutuhan khusus (slow learners). Powtoon adalah perangkat lunak animasi berbasis web yang memungkinkan siapa saja membuat presentasi animasi dengan memanipulasi objek yang dibuat sebelumnya, gambar yang diimpor, menyediakan musik dan membuat suara yang dibuat pengguna. Powtoon mampu menyajikan materi dengan baik melalui kemampuan visual, teks, grafis, gambar, foto, sound dan animasi. Penelitian ini adalah studi kasus analisa pembelajaran dan persepsi mahasiswa berkebutuhan khusus terhadap penggunaan Powtoon dalam Mata Kuliah Metode Penelitian. Metode penelitian yang digunakan adalah metode kualitatif dengan teknik pengumpulan data melalui observasi dan wawancara. Hasil penelitian menunjukkan bahwa Powtoon dapat membantu mahasiswa memahami materi dan mahasiswa juga memberi respon positif terhadap pemanfaatan media Powtoon dalam membantu memahami materi perkuliahan. Kata kunci: Powtoon, media pembelajaran, mahasiswa berkebutuhan khusus

Abstract Background: Discussions between oncologists and patients about Gene Expression Profiling (GEP) risk of recurrence results can be challenging especially if scores are intermediate or close to the high or low risk of recurrence thresholds. Although many clinical teams provide patients with information leaflets, these often employ complex language written to meet regulatory guidelines rather than to educate effectively the end-user. We designed two 8-minute information films that were conversational in style with simple explanatory graphics. We then compared participants’ knowledge retention after reading leaflets explaining GEP tests and recurrence risks with that following their viewing of a film. Methods: Using a randomised factorial crossover design, at time-point one (T1) women aged 45-75 yrs without breast cancer, read either a leaflet about Oncotype DX or Prosigna testing or watched the corresponding information film. They could read or watch as many times as they liked and take notes. In structured interviews that were recorded, we asked 9 different questions to determine participants’ knowledge. Next day (T2) information in the opposite format was provided and knowledge was re-assessed. The maximum possible score was 18. Additional questions probed which modality participants had found the easiest to understand, their preferences for either the film or leaflet and reasons for these. Results: 120 women from different socio-educational groups took part, 60 of whom had Oncotype DX films and leaflets and 60 the Prosigna versions. Irrespective of the GEP test being described, their knowledge scores at T1 were significantly higher following viewing of the films compared with those after reading leaflets (mean difference 4.1 points; p<0.0001; 95% CI 3.2, 5.0). When participants read leaflets first and subsequently viewed films mean knowledge significantly increased (5.3 points, p<0.0001; 95% CI 4.4, 6.3). In contrast mean knowledge decreased by 2 points (p<0.01; 95% CI -3.1, -0.8) at T2 if the film was viewed first. Extraneous and sometimes irrelevant information already read in the leaflets had confused many participants. Overall clear preferences for the film were expressed (88/120; 73.3%); (leaflet = 28/120; 23.3%); 4/120; (3.3%) no preference. Primary reasons for this included the clarity, ease of understanding and the reassurance gained from the voice-overs in the films. Conclusion: Provision of complex information in a film format using simple graphics helped participants’ understanding of GEP test results more than reading information alone and was preferred significantly by the majority. Citation Format: Lesley Fallowfield, Daniel Farewell, Hywel Jones, Shirley F May, Susan L Catt, Rachel ML Starkings, Lucy Matthews, Valerie A Jenkins. An intervention to help improve understanding of gene expression profiling tests in breast cancer: which is best, an information film or leaflet? [abstract]. In: Proceedings of the 2021 San Antonio Breast Cancer Symposium; 2021 Dec 7-10; San Antonio, TX. Philadelphia (PA): AACR; Cancer Res 2022;82(4 Suppl):Abstract nr P5-15-04.

The paper deals with the effects of prescriptivism on the Lithuanian language. The research includes one domain of language use – radio and television, and one aspect of language – lexicon, in the period between 1960 and 2010. The investigation is corpus-based and focuses on the use of words that are classified as “incorrect” by the Lithuanian norm-setters. The study is important both as a discussion of the impact of prescriptivism on language change in general, as well as of the indirect influence of media on language, since media can affect the symbolic evaluation of specific language forms.The paper consists of five chapters. The first chapter “Review of the research” discusses the theoretical assumptions and concepts needed for further analysis: it gives an overview of studies on the effects of prescriptivism conducted in Lithuania and elsewhere, presents the concepts of second-level indexicality and style, and outlines the key characteristics of media change in Lithuania that are relevant to the study. Studies on the success of prescriptivism do not give a definite answer as to whether prescriptivism works. Institutionalisation and a high degree of stigmatisation of the corrected language forms can be listed among the factors that increase its success; prescriptivism is likely to be less successful when the “forbidden” language forms are too convenient to be given up, or when prescriptivist rules are too complicated for lay language users and the rules contradict each other. In the case of media, the effect of prescriptivism is said to be weakened by media commercialisation.When applied to the analysis of non-standard words, first-order indexicality refers to situations when the non-standard forms are used as value-free instances of ordinary speech, in already established meanings; in these cases, the speakers are not aware that they are using “incorrect” forms. Second-order indexicality refers to cases when non-standard words are used for additional function, e.g., to express a speaker’s particular identity or to construct a certain (informal, friendly) speech style. The concept of style, referring to the social differences between individual speakers, is used to analyse the use of words in concrete situations. The paper gives an overview of three sociolinguistic concepts of style that are relevant in this study: style as a degree of formality (e.g., when the speaker accommodates to the formal context of the media and uses less non-standard words); as audience and referee design (e.g., use of non-standard words in programmes for young audiences); and as a speaker design (e.g., play with language by the programme host in order to construct a fun persona).In the study of non-standard lexis, it is important to account for certain features of Lithuanian media development, such as the Soviet period, which was characterised by the use of newspeak, and the commercialisation of the media in the contemporary period. Accordingly, the paper analyses the uses of incorrect words as a part of newspeak and their use for the entertainment-related purposes such as language plays in present times. The paper also addresses the transitory period of radio and TV development, which has features from both the previous and the later periods, as well as some unique characteristics of language use.The second chapter “Radio and TV speech in the prescriptive discourse” presents an analysis of the metalinguistic discourse on media speech produced by Lithuanian prescriptivists from the pre-war period up to now. The analysis shows how this discourse preserved the same dominant idea about media’s role in language standardisation. On the one hand, during this whole time, radio and television were approached as responsible for teaching listeners and viewers the “correct language”; on the other hand, simultaneously, the language of radio and television was perceived as failing to conform to the prescriptive norms set by the norm-setters. The huge societal shifts that happened during this time did not make a major influence on this discourse. It remained very stable during different periods of time. The social, cultural and political changes in society and the media were taken into account only by adjusting the argumentation – by presenting patriotic, moral, ideological or legal motives that were meant to justify the language prescriptions.The third chapter “Research methods and data” presents the Corpus of Radio and TV speech, the concept of non-standard words, and the sources of prescriptivist corrections used in the analysis. The corpus of radio and TV speech includes data from 1960 to 2011 and is constructed in a balanced way to represent the periods of Lithuanian radio and TV development (Soviet, transitory, contemporary), as well as programme genres (talk programmes, information programmes, journals/features/documentaries). The speakers are coded into six types: news reader/voice-over, talk show host, expert, celebrity, hero and vox populi. For the analysis, the non-standard words that are classified as “incorrect” in the normative tradition of the Lithuanian language were coded. These include old (mainly, Slavic) and new (mainly, English) loans, the so-called hybrid words (that have a borrowed part), semantic loans, translations, as well as some lexicalised uses of words and some lexicalised syntactic constructions. Two types of words are analysed – individual lexical words and functional words. The latter include various fillers and discourse markers, as well as pronoun constructions with tai (e.g. kažkas tai ‘some(body)’). Non-standard words were identified from older and present style guides, including the database of language corrections created by the State Commission of the Lithuanian Language.The fourth chapter “Change in the number of non-standard words: a quantitative analysis” investigates development of the use of non-standard words on radio and TV, as well as the frequency of usage of the non-standard lexical forms. According to the corpus data, the average frequency of non-standard words by one speaker is 17 per thousand words, which makes up about 2–3 “incorrect” words per minute. Non-standard discourse markers and fillers (9.8/1000 words) are used most frequently, whereas individual lexical words (5.6/1000 words) are much less frequent, and pronoun constructions with tai (1.6/1000 words) are rarer still. Closer analysis revealed that the only statistically significant change between the analysed periods (Soviet, transitory and contemporary) was a decrease of the frequency of non-standard lexical words in the contemporary period compared to the previous ones. The frequency of discourse markers/fillers and pronoun constructions with tai did not change. Regarding the speaker types, the uses of non-standard words decreased in those groups that are within easier reach of prescriptivism – news readers/voice-overs and talk show hosts. Also, to a lesser extent, in the group of experts. Those groups of speakers that are less likely to be subjected to language correction practices (ordinary people) did not seem to change their behaviour: the number of non-standard words in their speech did not decrease, on the contrary, a slight increase has been noticed. These findings confirm the effects of institutionalised prescriptivism. Regarding genres, non-standard words are least frequent in information programmes, which are mostly based on the reading of written texts. Lists of the most frequent non-standard words during the three periods overlap to a great extent, which means that despite prescriptivist practices, the most frequent non-standard words do not disappear from the air.The fifth chapter “Change in the functions of non-standard words: a qualitative analysis” investigates specific communicative situations of the usage of non-standard words and takes into account the media-related and societal contexts, as well as the stylistic and social functions of the corrected lexis. A common trait of the use of non-standard words during all periods, interpreted as the first level of indexicality, is the use of common, everyday vocabulary, most likely without being aware of the “incorrect” status of the chosen forms. Also, non-standard words are used as a part of professional language, in this case the speaker might be aware that he or she is using an ‘incorrect’ word, but chooses to use it nevertheless for convenience or because of its indexical value for professional identity. During all the periods, non-standard words are also used as indices of informal and authentic communication between close acquaintances; this function is performed by all types of the studied non-standard words, particularly old borrowings and frequent fillers.The study identified a few style- and social meaning-related uses of non-standard lexis that explain the choice of the corrected forms instead of the required equivalents. In the Soviet period, some non-standard words were used as a part of Soviet newspeak; old borrowings were used in references to the ideological enemies of Soviet rule, mainly the ones from pre-war Lithuania. In certain cases, these words were employed due to their stylistic value in an intimate and authentic discourse. The late Soviet period saw the first use of non-standard words as markers of informal communication. The use of non-standard words in the transitory period shows some of the functions from the Soviet period, e.g., they are used as an element of newspeak, albeit without the Soviet ideological value, or as expressions of informality. A particular feature of this period is the use of non-standard words as an index of live and authentic speech, which was not allowed during Soviet times, as a means of authentic communication, and the criticism and violation of Soviet taboos. The contemporary period is marked by a huge variety of functions of non-standard words. It brings in a number of new style-related functions of non-standard words: construction of youth-oriented identity and youth-oriented referee design, reference to past times (e.g., by using non-standard words reflecting the Soviet reality), or quoting. Perhaps the most distinctive features of this period are the use of non-standard words in the speech of professional journalists, as well as their use for the purposes of humour and entertainment (for the construction of certain personas), e.g., in language plays and stylisations. These uses can be explained by commercial media requirements, increasing trends of the informalisation of public speech and conversationalisation.The study concluded that the effect of prescriptivism on the use of non-standard words in radio and TV in Lithuania is limited. Firstly, the frequency of non-standard words decreased mainly in those groups of speakers that are subject to the formal, institutionalised power of language gatekeepers (media professionals). Secondly, the data shows a decrease only of those non-standard words that are easier to control by the speakers themselves – lexical words. The frequency of various function words that are more difficult to be aware of when speaking did not decrease. Thirdly, the largest decrease in non-standard lexical forms occurred in those speech situations where a prepared written text is used; this means that prescriptivist requirements have a greater effect when the speakers and the language are controlled, and less effect in spontaneous communication situations. The above-mentioned difference between professional and non-professional speakers demonstrates that speakers are able to control the lexical forms they choose.Analysis of the most frequently used non-standard words during different periods also demonstrates the limits of prescriptivism. The lists of the most frequently used non-standard words during different periods overlap to a great extent, which means that despite prescriptivist efforts, they were not eliminated from being used on air.Finally, the limited success of prescriptivism is demonstrated by the discussed social values of non-standard words, when they are used for various social and stylistic functions not possessed by a ‘correct’ equivalent. The qualitative analysis revealed the particular strength of old borrowings, which are used to create a sincere, friendly speech style, as well as a ludic speaker identity. On the one hand, it can be interpreted as a sign of the ineffectiveness of prescriptivism – if the words are needed, it is likely that they will be further used despite their ‘illegal’ status. On the other hand, when the speakers purposefully (e.g., on account of a particular association, stylistic value) choose a particular language form and are at the same time aware about its “incorrectness”, it is an effect of prescriptivism, only with the opposite outcome.The study is based on the analysis of spoken language on radio and TV, therefore it cannot be used to draw conclusions about the Lithuanian language in general. It is likely that the effect of prescriptivism on written language (because of its more formal style and particularly because of language editing practices) would be stronger. Nevertheless, broadcast media speech constitutes a considerable and important part of language use, thus we can conclude that the impact of prescriptivism on the Lithuanian language does not have far-reaching effects.

Livestock keepers comprise 2/3rds of the 2.8 billion households living on less than two dollars per day. However, as a group they tend to be marginalised and excluded from formal service provision, particularly in relation to animal health. Therefore, the following paper describes the development of the Livestock Guru, a multi-media learning programme created to meet the knowledge needs of poor livestock keepers in Tamil Nadu, India. The findings from the study illustrate the importance of both appropriate visuals, voice-overs but also the need for addressing issues in the environment in which learning will take place.

2012 verfilmte der österreichische Drehbuchautor und Regisseur JULIAN ROMAN PÖLSLER sein ‚Lebensbuch‘ Die Wand, MARLEN HAUSHOFERS 1963 erschienenen Roman. Da PÖLSLER sich exakt an die Romanvorlage halten wollte, entschied er sich für den Einsatz des Voice-overs, die ihm massive Kritik seitens der Filmtheoretiker einbrachte. Dem Film wurde in der Folge als ‚Hörbuch mit Bildern‘ jegliche Originalität abgesprochen. Daher setzt sich dieser Beitrag zum Ziel, durch den Vergleich des Films mit der Romanvorlage den persönlichen Beitrag des Regisseurs zur Deutung des Romans hervorzuheben, wobei auch auf die Funktion der Unterschiede des Films im Vergleich zum Roman im Filmgefüge eingegangen wird.

Extension educators are increasingly using social media for outreach and information delivery. But are the Facebook, Twitter, and YouTube channels of the world reaching across cultures to non-English speakers, recently resettled refugees or immigrants, migrant workers, or other underserved Extension audiences? After producing and screening over a dozen educational videos dubbed into various languages, we have found videos to be empowering educational tools for engaging nontraditional audiences, especially when screened offline in public workshops. This article outlines techniques for using videos to specifically target historically underserved audiences and non-English speakers by integrating culturally important themes and language voice-overs.

The habits of consumers in the digital era encourage advertisers to innovate to make more creative advertisements so that product messages can be conveyed effectively and efficiently to the public. BRImo's latest advertisement uses professional soccer players in the Liga 1 competition and Indonesian National Football team players Septian David Maulana and sportcaster Valentino Simanjuntak as voice overs. creative messages from football players and sportscasters into a strategy to sell products to consumers. Ads are made funny in order to attract the attention of the audience. the semiotic method is used to see the signs in the Septian David Maulana edition of BRImo's advertisement.

AbstractAs the first major overhaul of the United States’ tax code in a generation, the passage of the Tax Cuts and Jobs Act of 2017 has particular significance for the operation of US nonprofit organizations. Provisions of the Tax Act, including raising the ceiling on individual standard deductions, imposing excise taxes on highly compensated nonprofit employees, repealing the individual mandate of the Affordable Care Act, etc., are causing great uncertainty and consternation within organizations of, and bridging, the nonprofit sector. In response to some of the initial confusion, the National Council of Nonprofits offered a webinar, entitled, “Now What: How the New Federal Tax Law Impacts Charitable Nonprofits” on January 11, 2018. A one-hour slide-show with voice-overs was complemented by a running “chat” of nonprofit listeners/participants. This exploratory study undertakes a content analysis of the one-hour nonprofit participant chat that accompanied the webinar in order to take a pulse of the concerns of the practitioners as the potential impact of the law was explicated.

IntroductionGender stereotyping in television advertising is a universal phenomenon and has the potential to influence children’s perceptions of gender roles. Despite India’s enormous child population, gender representation in television advertising is hardly researched.MethodsThis study was conducted using a content analysis methodology to examine gender stereotypes in children’s television advertising in India. A total of 189 unique advertisements were selected from six prime cartoon channels, namely Nickelodeon, Disney Channel, Hungama, Cartoon Network, Discovery Kids, and Pogo TV. A stratified constructed sample of 319 central figures from 102 hours of TV viewing was collected over two consecutive weeks in November 2018 during children’s prime-time viewings.ResultsThis study examines gender role cues in children’s television advertising using McArthur and Resko’s coding method. The sample was subsequently analyzed using chi-square statistics, and the findings were contextualized and compared with those from other Asian nations. The results indicated that men significantly dominate (voice-over, product authority, autonomous roles, fact-based arguments, other products, end comments, pleasure, and practical rewards), whereas females are stereotyped (dependent roles, product users, portrayal of domestic products in domestic settings, opinion-based arguments, and self-enhancement rewards).DiscussionHowever, the results reveal a reduction in certain stereotypical aspects, such as a significant increase in women performing voice-overs and portraying characters with product authority and autonomy, while men exhibit increased involvement with domestic products and rewards such as self-enhancement, practical, and pleasure rewards. The theoretical (social learning and role congruity theory) and practical implications for advertisers and marketers are discussed based on these findings.

Abstract. Voice Over or what is known as VO is being discussed a lot, not only about the profession, but also from the industry side and the various voice over techniques used. Due to this phenomenon, many ordinary people try voice over from imitating, covering, voice over. challenges on instagram. From a journalistic point of view, voice over is also used in news programs, from various types of regular news programs, this research focuses on voice over features because it has more discussion, the way it is delivered, produces more diverse news using different voice colors, with the research subject being voice actors. overfeature news tvOne. This study is entitled The Meaning of Voice Over in Television Feature Reporting. The purpose of this study is to discuss the experiences of voice over talent from the journey of becoming voice over talent to the voice over production process on tvOne, to analyze the motives for becoming voice over talent feature news on tvOne, to find the meaning of voice over on tvOne news feature, to analyze self-representation as news voice over. This study uses a qualitative research method, Alfred Schutz's phenomenological approach to answer research questions. The results of the research in the experience of news voice over on tvOne that each informant has a different experience and it has been for many years, some have previous experience because they have served in the media before, have knowledge through training, have the ability to report or deliver news. Commonly used voice over techniques include articulation, emphasize, and intonation. The motives behind the voice over tvOne news in carrying out their work are dream motives, work experience motives, and interest motives. These motives are included in the because motive or past motives. Meanwhile, future motives or in order to motives are economic motives and learning motives. The self-representation of news voice over consists of two parts, namely the front stage and the back stage. The front stage for news voice overs is when they take voice over, voice according to the character of the feature or program script, do voice acting with an informative impression. Back stage for news voice over is script discussion with producer or scriptwriter, doing script or voice character research, practicing before doing voice over take. The meaning of voice over for news voice over is divided into five categories, namely, (1) Voice over and picture shows have the same value, (2) Voice has feelings and emotions (3) Voice over as a messenger (4) Voice over to channel interest and (5) Voice over as a learning medium. Abstrak. Voice Over atau yang dikenal VO sedang banyak diperbincangkan, tidak hanya seputar profesinya saja, tetapi dari sisi industri dan berbagai teknik-teknik voice over yang digunakan, adanya fenomena ini banyak orang awam mencoba-coba voice over dari meniru, meng-cover, voice over challenge di instagram. Dari sisi jurnalistik voice over pun digunakan pada program berita, dari berbagai jenis program berita reguler, penelitian ini fokus dalam voice over feature karena lebih banyak pembahasannya, cara penyampaiannya, menghasilkan berita yang lebih beragam dengan menggunakan warna suara yang berbeda, dengan subjek penelitian pengisi voice over feature news tvOne. Penelitian ini berjudul Makna Voice Over Dalam Pemberitaan Feature Di Televisi.Tujuan penelitian ini untuk membahas pengalaman para voice over talent dari proses perjalanan menjadi voice over talent sampai proses produksi voice over di tvOne, untuk menganalisis motif menjadi voice over talent feature news di tvOne, untuk menemukan makna dari voice over pada feature news tvOne, untuk menganalis representasi diri sebagai news voice over. Penelitian ini menggunakan metode penelitian kualitatif, pendekatan fenomenologi Alfred Schutz untuk menjawab pertanyaan penelitian. Hasil penelitian dalam pengalaman news voice over di tvOne bahwa setiap informan memiliki pengalaman yang berbeda dan sudah bertahun-tahun, ada yang memiliki pengalaman sebelumnya karena pernah bertugas di media sebelumnya, memiliki ilmu melalui pelatihan, memiliki kemampuan dalam reportase atau menyampaikan berita. Teknik voice over yang umum digunakan meliputi artikulasi, emphasize, dan intonasi. Motif yang menjadi latar belakang para news voice over tvOne dalam menjalankan pekerjaannya adalah motif mimpi, motif pengalaman pekerjaan, motif minat. Motif tersebut termasuk ke dalam because motive atau motif masa lalu. Sedangkan motif masa depan atau in order to motive yaitu motif ekonomi dan motif belajar. Representasi pada diri news voice over terdiri dari dua bagian yaitu front stage dan back stage. Front stage para news voice over adalah saat melakukan take voice over, menyuarakan sesuai karakter naskah feature atau program, melakukan voice acting bersuara dengan kesan informatif. Back stage para news voice over adalah diskusi naskah dengan produser atau penulis naskah, melakukan riset naskah atau karakter suara, berlatih sebelum melakukan take voice over. Makna voice over bagi news voice over dibagi menjadi lima kategori yakni, (1) Voice over dan tayangan gambar memiliki nilai yang sama, (2) Suara memiliki rasa dan emosi (3) Voice over sebagai penyampai pesan (4) Voice over untuk menyalurkan minat dan (5) Voice over sebagai media belajar.

This work applies a cultural historical activity theory (CHAT) framework to understand how the outcome of a high school laboratory task may be positively influenced without making changes to the hands-on practical task itself. Informed by cognitivism, novel practical instruction videos that were based on the same video but had different audio content (“one video two voice overs”) have been developed to provide opportunities to prepare for the practical task procedure and then to reflect upon the task's underlying concepts. We use the CHAT framework as a guide to change pupils’ lab roles and rules of engagement were made to structure student interaction and facilitate an equitable and cooperative learning environment. We demonstrate that students benefit from these interventions and achieve significantly higher attainment scores in GCSE chemistry examination practical-themed questions than those students who prepared for the practical task by watching either the novel videos or standard instructional videos during the lesson. In, addition the students working in the scaffolded cooperative learning environment also perceived their confidence in relation to practical-related tasks at higher levels than those in other groups. This work contributes a novel approach to laboratory teaching by placing greater emphasis on dialogic processes as a tool accomplish a practical-based activity.

In 2011, Jonas Mekas and José Luis Guerín finished their collective film project, Correspondence: Jonas Mekas – J. L. Guerín, a series of ‘film-letters’ between the two contemporary filmmakers. The film starts with Guerín (Letter to Jonas Mekas no. I), and ends, also with Guerín (Letter to Jonas Mekas no. 5). The film includes nine film-letters between the two. The film is interesting, as it is not only a project across time and space – it took three years to complete, and the correspondences sent and received from numerous locations across the globe – but is also that rarest of filmmaking, so close to diary film and first-person cinema, yet with something different waiting to be discovered.In this paper I shall discuss the following characteristics in the film correspondence between Guerín and Mekas, in order to give a clearer picture of what exactly is a film-letter:1) When is the (real) beginning of film-letters?2) The continuity and exchange of the filmed subjects and themes.3) The narration: the use of images plus voice-overs in film-letters.4) The question of audience. Article received: December 30, 2017; Article accepted: January 10, 2018; Published online: April 15, 2018; Original scholarly paper How to cite this article: Lee, Ming-Yu. "Film-Letter: the Beginning, Exchanging and Narration in Jonas Mekas and José Luis Guerín’s Correspondence." AM Journal of Art and Media Studies 15 (2018): . doi: 10.25038/am.v0i15.236

Powtoon Software Media Instruction Strategy (PSMIS) is web-based software that allows the establishment of animated presentations and the manipulation of pre-created objects, inserted pictures, music, and edited voice-overs. The study investigates students perceptions of PSMIS and the effect of PSMIS on students academic achievement. The research employed descriptive and quasi-experimental designs. The students’ perceptions were obtained with the instrument Student’s Perception Questionnaire Powtoon Software Media Instruction Strategy (SPQPSMIS), while their academic achievement was obtained with a structured Computer Achievement Test (CAT) with 30 items. A test-retest approach was used for the reliability testing, and a reliability coefficient of 0.81 was achieved using the Kuder-Richardson Formula 20.The sampled population was 85 year three students of computer department FCE(T) Omoku. The students were taught with PSMIS and the traditional lecture method. The obtained data from SPQPSM was analyzed via descriptive statistics with percentage estimation or categorization, the mean and ANCOVA at the .05 level of significance was used to test the academic performance. The findings on perception reveal that 87% of the sampled population has a preference for PSMIS to the lecture method. This is in affirmation of the high academic achievement of the students taught with PSMIS when compared with the lecture method. It is advised that lecturers be prepared with the appropriate ability to use Powtoon Software Media Instruction Strategies (PSMIS) in the classroom. KEYWORD: Academic Achievement, Instruction Strategy, Perception, Powtoon

AbstractOnline casinos are one of Sweden’s largest gambling sectors. Increased advertising investment and advertising frequency have sought to attract Generation Y consumers to these casinos, yet it has been suggested that advertising can contribute to avoidance behaviours towards products and services, including online casinos and specific gambling brands. The various advertising aspects used in gambling advertising and their impact on behaviour have not been widely researched. Thus, the purpose of this study was to explore the use of creative strategies in casino advertising and how it contributes to the avoidance of online casinos, specifically among Swedish Generation Y consumers. As an exploratory study, qualitative methods were used. Initially, 13 casino advertisements were analysed to identify the strategies used in the advertisements. These were then presented to Generation Y consumers in three focus groups and six in-depth interviews. The analysis of the advertising shows the use of people and characters in presenting the casino brand. Male voice-overs were utilised in addition to music and other casino-related sounds. The advertising also used bright colours to attract attention. The impact of these advertisements is that the content, the auditory cues rather than just music, the emotional response, and the frequency of the advertising were found to contribute to the avoidance of casino brands. Furthermore, the ethics and general attitudes to the industry impact the decision to avoid these brands. The managerial implication of this research shows the impact of advertisements on the decision to avoid a brand, specifically a casino brand.

The concept of documentary is a 'notoriously slippery eel', or even the slipperiest one in the history of cinema (Kahana, 2016). Movies inside virtual reality are one of the promising talked-about areas in the VR industry. With the involvement of virtual reality in the production of documentaries, the dialectic between virtuality and authenticity makes this concept of documentary even more elusive, especially for VR documentaries made in 3D. In the viewing experience, the virtual environment is built upon computing 'true depth'. This virtual cinematic space is set up through the modelling in software (e.g. Maya and 3D Max) and then to 3D engine (e.g. Unity or Unreal). Therefore, a dialectical critique arises: Do documentary exists in VR films? When the spaces and mise-en-scène of the documentary are all artificially created through computing software, whether it can still be considered as an authentic form of documentary? How can this sub-genre of documentary continue to exist as a kind of proclaimed ‘non-fiction’ when the film is based entirely on fictional visual input? The current discussion on the realistic qualities of VR documentaries focuses on the questioning on the virtual nature of the visual environment and neglects that listening is also part of the experience in this VE. So, is it possible to understand the authenticity of the VR documentary from the perspective of auditory system? This paper provides a perspective for understanding the auditory authenticity of non-fictional restoration of virtual environments (VE) in virtual reality (VR) documentaries. Such a perspective argues that although the VR documentaries are made with 3D modelling and computing engine, their authenticity in sound remains in line with the documentary principle. In the sound design perspective, it simultaneously creates a non-fictional soundscape to reproduce the ‘genius loci’ (spirit of place) based on the real individual perception in history. In the first part of paper, we review how the documentary film has set itself apart as a non-fictional genre based on Bill Nichols’s analysis of the boundary between traditional documentary and its counterparts in cinema. And then we place this principle on aural reality in the context of HRCS (Head-Related Coordinate System) and HRTF (Head-Related Transfer Function) to argue VR documentary as a sub-genre of the documentary film in aural technical basis. In the second part, we explore the concept of ‘soundscape’ in the sound design of VR documentaries, analysing how such a virtual sound environment establishes an authentic spirit of space in the case of Anne Frank House VR. This study only explores the auditory sound in virtual places, and does not address the discussion of artificial fictional sounds outside cinematic space (e.g. music, voice-overs, UI Panel sounds.)