Dissertations / Theses on the topic 'YouTube video'
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Lorentz, Isac, and Gurjiwan Singh. "Sentiment Analysis on Youtube Comments to Predict Youtube Video Like Proportions." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-301779.
Full textSociala medier är några av världens mest populära webbplatser och låter alla användare ha en röst och uttrycka sina åsikter och känslor. Med sentimentanalys kan dessa åsikter och känslor extraheras och kvantifieras. Denna studie undersöker sentimentanalys på Youtube-kommentarer och hur användbara antalet positivt, neutralt och negativt klassificerade kommentarer kan vara i förutsägelsen av like-proportionen på en Youtube-video. Fyra olika formler för förutsägelsen som använder neutrala kommentarer på olika sätt undersöktes. Fem olika klassificerare undersöktes med förhandsträning på Youtubekommentarer, tweets och en kombination av dessa. Ett positivt samband mellan faktisk och estimerad like-proportion hittades. Den bäst presterande konfigurationen var en logistisk regression klassificerare där alla neutrala och positiva kommentarer tillskrivs till likes och träning endast sker på Youtubekommentarer. Felen för dessa förutsägelser är så stora att förutsägelserna troligen har begränsad nytta i verkligheten. Möjliga förbättringar av metoden inkluderar att filtrera ut spamkommentarer och ta med emoji-sentiment.
Häggström, Jesper. "Video Remix Tool : Implementing the Video Player of a YouTube Remix Editor." Thesis, Luleå tekniska universitet, Institutionen för system- och rymdteknik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-64163.
Full textParanthaman, Ayilan. "Youtube: A New Ground For Advertising." UOIT, 2009. http://hdl.handle.net/10155/57.
Full textLebezko, Anastasia Kostiantynivna, and Анастасія Костянтинівна Лебезко. "Youtube video hosting as a method of cultural globalization." Thesis, National aviation university, 2021. https://er.nau.edu.ua/handle/NAU/50074.
Full textYouTube is an integral part of the digital communication space because with the help of this platform we can distribute the content of various topics and purposes. As evidence, we have absolutely different types of content targeted at different social groups, from videos for kids to global economical situation news. The relevance of the study lies in the fact that YouTube video hosting is becoming more and more popular for users and the number of different kinds of content continues to grow. The aim of the study is to determine how YouTube contributes to cultural globalization in the world.
YouTube є невід’ємною частиною простору цифрових комунікацій, оскільки за допомогою цієї платформи ми можемо розповсюджувати вміст різних тем та цілей. Як доказ ми маємо абсолютно різні типи контенту, орієнтованого на різні соціальні групи, від відео для дітей до новин про світову економічну ситуацію. Актуальність дослідження полягає в тому, що відеохостинг YouTube стає все більш популярним серед користувачів, і кількість різного роду контенту продовжує зростати. Метою дослідження є визначити, як YouTube сприяє глобалізації культури у світі.
Steshenko, D., and Д. Стешенко. "Marketing component of video projects on the YouTube platform." Thesis, National aviation university, 2021. https://er.nau.edu.ua/handle/NAU/50083.
Full textToday, humanity has a unique opportunity to have instant access to a large amount of information from around the world. It is difficult to imagine the life of modern society without computer technology and the Internet. The advantage of the Internet is that it provides users with ample opportunities for self-realization. Everyone has the opportunity to start an author’s blog, in which he will be free to spread his own thoughts on a topic of interest to him.
Сьогодні людство має унікальну можливість отримати миттєвий доступ до великої кількості інформації з усього світу. Важко уявити життя сучасного суспільства без комп’ютерних технологій та Інтернету. Перевага Інтернету полягає в тому, що він надає користувачам широкі можливості для самореалізації. Кожен має можливість створити авторський блог, в якому він зможе вільно поширювати власні думки на цікаву для нього тему.
Sedlařík, Vladimír. "Informační strategie firmy." Master's thesis, Vysoké učení technické v Brně. Fakulta podnikatelská, 2012. http://www.nusl.cz/ntk/nusl-223526.
Full textMironova, Ellina. "Audience's behavior and attitudes towards lifestyle video blogs on Youtube." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21639.
Full textADAMI, ELISABETTA. "Video-Interaction on YouTube: contemporary changes in semiosis and communication." Doctoral thesis, Università degli Studi di Verona, 2009. http://hdl.handle.net/11562/337507.
Full textThis thesis investigates the interaction by means of videos on YouTube Website. Video-interaction is a new form of communication which has been taking place on YouTube since May 2006 thanks to the introduction of the ‘video response’ option. The functionality enables (You)Tubers to reply to any given video by means of another video; hence whole communication threads are built composed of videos interacting one with another. Given that so far no study has investigated this new type of communication, the general aim of the research is to provide a thorough description of video-interaction, in terms of both its process and products. Specifically, the analysis of the process of video-interaction focuses on (a) its distinctive features and structural characteristics, (b) its semiotic ‘affordances’ (Kress and van Leeuwen, 2001: 67), in terms of the material and social constraints and possibilities which the medium imposes over the semiosis, and (c) the diversified (and often conflicting) semiotic practices with which the affordances are actualized by the interactants. The analysis of the texts of video-interaction focuses on video-threads which start from some of the most responded videos on the Website and investigates the multimodal patterns of regularities and variations of sign-making in the chain of semiosis, that is to say, how videos establish relatedness in the thread while differentiating themselves. The theoretical chapter reviews some of the most influential theories of communication, namely the coding-decoding and inferential models of communication (Grice, 1957, 1975; Shannon and Weaver, 1949; Sperber and Wilson, 1986), together with the notions of coherence and cohesion traditionally used in text analysis (Beaugrande and Dressler, 1981; Fairclough, 1992; Halliday and Hasan, 1976; van Dijk, 1985). Furthermore, it confronts these models and notions with the practices of video-interaction; finally, it discusses the inadequacies of these theories for the description of video-interaction, crucially because, in video-interaction, the interlocutors’ mutual understanding of their intended meaning is not essential for communication to succeed. On these grounds the framework adopted for the analysis is introduced, i.e., social semiotics multimodal analysis (Hodge and Kress, 1988; Kress and van Leeuwen, 1996, 2006; Kress and van Leeuwen, 2001). Within this framework and on the basis of the social-semiotic category of ‘interest’ (Kress and van Leeuwen, 1996, 2006: 13), the heuristic notion of an ‘interest-driven prompt-response relation’ is devised as an analytic tool used for the description of both the process and the texts of video-interaction. The methodological chapter discusses the issues of representativeness, significance, reproducibility and verifiability implied in collecting a corpus of online data. It illustrates the criterion of popularity which has driven the selection of the data in order to overcome the aforesaid hardly solvable issues. A review of the current practices of transcription highlights their inaptness for the purposes of the present research and motivates the ad hoc transcription devised for the threads. Then the chapter illustrates the analytical methodology, which, in a cyclic process, has involved all stages of the research, from the selection of the data and their transcription, to the pilot study and up to the consequent refinement of the theoretical framework and of its analytic tools. The analysis follows a funnel process; indeed, from the regularities and variations detected at more general levels, it zooms in to more fine-grained levels of analysis. The analysis combines quantitative and qualitative methods with a textual interpretation focused on signifiers (on the semiotic resources present in the texts, rather than on their signifieds). Finally, the chapter discusses the ethical stance which has grounded the choice of conducting a covert observation on the Website, with no prior consent asked to the participants. This choice is motivated by the manifest publicity of the Website (and by the criterion of popularity driving the data selection) and by the intention of avoiding any patronizing attitude towards the authors of the videos, considered here as film-makers. This standpoint adds to the debate currently ongoing on online research ethics.
Zhang, Leticia Tian. "Understanding danmu: interaction, learning and multimodality in fan video comments." Doctoral thesis, Universitat Pompeu Fabra, 2020. http://hdl.handle.net/10803/669267.
Full textCuando ven la televisión, muchas personas usan las redes sociales para compartir opiniones y emociones en tiempo real. La covisualización mediada se estudia ampliamente bajo la denominación de “segunda pantalla” o “televisión social”. En Japón y China, una reciente tecnología permite incrustar las redes sociales (la sección de comentarios) dinámicamente en las secuencias del video, creando una forma de participación sin precedentes llamada danmu o danmaku (“barrera de fuego”). Este trabajo se propone describir las características de este género discurso emergente. Utilizando el análisis del contenido y del discurso, analizamos danmu de: 1) una serie de televisión, y 2) un hilo de “danmu graciosos” de sitios populares de repositorios de videos. Nuestros resultados revelan que los usuarios tienen diversos intereses (trama, lenguaje, cultura), se apropian de recursos multimodales (color, posición, símbolos) para hacer humor y construyen significados usando estrategias discursivas originales. Este estudio muestra el potencial del danmu como un espacio para el aprendizaje informal, la creatividad semiótica y la interacción (para)social, además de motivar futuras investigaciones sobre las prácticas de compartir videos más allá de YouTube.
Quan veuen la televisió, moltes persones fan servir les xarxes socials per compartir opinions i emocions en temps real. La covisualització mediada s’estudia àmpliament sota la denominació de “segona pantalla” o “televisió social”. Al Japó i a la Xina, una tecnologia recent permet incrustar les xarxes socials (la secció de comentaris) dinàmicament a les seqüències de vídeo, creant una forma de participació sense precedents anomenada danmu o danmaku (“barrera de foc”). Aquest treball es proposa descriure les característiques d’aquest gènere discursiu emergent. Utilitzant l’anàlisi del contingut i del discurs, estudiem danmu de: 1) una sèrie de televisió, i 2) un fil de “danmu graciosos” de llocs populars de repositoris de vídeos. Els nostres resultats revelen que els usuaris tenen diversos interessos (trama, llenguatge, cultura), s’apropien dels recursos multimodals (color, posició, símbols) per fer humor i construeixen significats utilitzant estratègies discursives originals. Aquest estudi mostra el potencial del danmu com a espai per a l’aprenentatge informal, la creativitat semiòtica i la interacció (para)social, a més de motivar futures investigacions sobre les pràctiques de compartir vídeos més enllà de YouTube.
Beran, Matěj. "Vlogy jako součást tvorby české youtuberské komunity." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-202757.
Full textWang, Hantao. "Analyzing YouTube Content Demand Patternsand Cacheabilityin a Swedish Municipal Network." Thesis, KTH, Skolan för informations- och kommunikationsteknik (ICT), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-119775.
Full textMastoureshgh, Sahel. "Measurement and Method for Receiver Buffer Sizing in Video Streaming." Digital WPI, 2012. https://digitalcommons.wpi.edu/etd-theses/617.
Full textMangaoang, Aine. "Dangerous mediations : YouTube, pop music, and power in a Philippine prison video." Thesis, University of Liverpool, 2014. http://livrepository.liverpool.ac.uk/2009748/.
Full textBertelli, Anita Presser. "Perform yourself: a performance art no youtube." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-01122015-095523/.
Full textThis work explores YouTube as a field for contemporary performance art creation. Firstly, the research approaches the website focusing in its cultural implications, investigating specific literature about YouTube as well as authors that reflect upon contemporary subjectivities, highlighting in them aspects that relate to the website users\' practices. Then, it analyses a selection of works by performers of various nationalities, gathering them in five vectors: #camgirls-attwhores, which deals with women and feminismo on the internet, relying mainly on Erica Scourti\'s work; #persona-irony, which is based on Renato Cohen theories on the performative persona; #anti-confession, which addresses the practice of confession making use of concepts by Michel Foucault, Óscar Cornago and Christopher Lasch; #body-effects, in which the main reference is the work of N. Katherine Hayles on post-humanism and #prank, which relies on writings by V. Vale and Fábio Salvatti. Finally, practical artistic experiments on YouTube are carried out, inspired by the ideas of Joseph Beuys and the artistic practices of Petra Cortright. Therefore, the research has articulated multiple cultural and artistic perspectives, both theoretical and practical, to seize the object of study, advocating a new kind of art, one that overflows traditional categories and the art market and proposing an unartistic and playful use of current technologies.
Fernández, Argote Sebastián. "El videoensayo como género periodístico. Un análisis del canal de Youtube The Nerdwriter." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/648836.
Full textThis paper analyzes the video essays of the YouTube channel The Nerdwriter by Evan Puschak. to try to define its characteristics and identify similarities with journalism. The video essay is one of the new audiovisual genres that have emerged on the YouTube platform. Therefore, the analysis of videos by The Nerdwriter, one of the pioneering channels in the genre, can help determine what their characteristics are and if journalism, particularly interpretive and cultural, is a significant part of this new online audiovisual trend.
Trabajo de investigación
Chebudie, Abiy Biru. "Monitoring of Video Streaming Quality from Encrypted Network Traffic : The Case of YouTube Streaming." Thesis, Blekinge Tekniska Högskola, Institutionen för kommunikationssystem, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-13336.
Full textJohansson, Karin. "Brassundervisning på internet : En kvalitativ studie om innehållet i instruktionsvideor på YouTube." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-54924.
Full textThe purpose of this study is to from a design theory and multimodal perspective study how instructional videos for brass instrument playing on YouTube are designed. Five videos were selected and transcribed and analyzed. The analysis showed that all videos had a similar content focusing on buzzing and tone production. The content of the videos was quite well matched with literature on the subject. The speech was used as the main resource for communication of the content. The body and instrument were used to a lesser extent, and mostly together with the speech. The technical resources in the form of, for example, digital images and text were used to a very small extent. The discussion reveals different possibilities for what the combination of resources means for the communication of the content. In the videos, musical and instrument-technical concepts were explained to different extent, which places greater or lesser demands on those who want to use the video to have their own knowledge in the field in order to gain from the teaching. Those who want to use YouTube video tutorials should be source-critical and have the ability to work independently towards a goal.
Oliveira, Jackes Alves de Oliveira. "Educação histórica e aprendizagem da "história difícil" em vídeos de youtube." reponame:Repositório Institucional da UFPR, 2016. http://hdl.handle.net/1884/45009.
Full textDissertação (mestrado) - Universidade Federal do Paraná, Setor de Educação, Programa de Pós-Graduação em Educação. Defesa: Curitiba, 09/08/2016
Inclui referências : f. 113-116
Linha de pesquisa: Teorias e práticas de ensino
Resumo: Esta dissertação está situada no campo investigativo Educação Histórica. Sua finalidade foi investigar a seguinte problemática: como a aprendizagem histórica, na perspectiva de Rüsen, é mobilizada a partir dos vídeos do Youtube? O conceito substantivo (LEE, 2003; 2005) escolhido para a investigação foi a Ditadura Militar no Paraná. Dado que esse fato na história brasileira é controverso e doloroso, utilizamse as considerações da burdening history (BORRIES, 2010) ou "história difícil" (SCHMIDT, 2015). Para tentar responder ao problema de pesquisa, foram consultados primeiramente autores da Educação Histórica: Jörn Rüsen (2001) com os conceitos de consciência histórica e de aprendizagem histórica; Schmidt, Barca e Martins (2011) em função de seus estudos acerca da teoria rüseniana; Barca (2000; 2007) com pesquisas sobre o pensamento histórico de jovens, literacia e multiperspectividade históricas; Schmidt (2009) com a cognição histórica situada. Foram consultadas sete páginas do site Youtube para a visualização, análise e categorização dos vídeos; nessa etapa foram empregados autores que dissertam sobre a relação entre a internet e a produção do conhecimento histórico (CORRÊA e SHULZ, 2011; CHARTIER, 2007). Como a pesquisa ocorreu em ambiente escolar, buscaram-se referenciais teóricos que estudam as relações entre o ensino de História, as tecnologias e a instituição escolar (COLL e MONEREO, 2010; SHERBROOKE, 2001; SILVA, 2001; TORI, 2010; RESENDE, 2013; SILVA e URT, 2015; COSTA, 2015; CUTRIM e LIMA, 2015). De cunho qualitativo (BOGDAN, BIKLEN; 1994) a condução da pesquisa se deu em duas escolas, com alunos do Ensino Fundamental II: primeiro realizou-se um estudo exploratório na "escola A" com uma turma de alunos do 9º ano; depois concretizou-se o estudo principal na "escola B" com uma turma de alunos do mesmo ano; por fim, foi entregue um questionário à professora da turma analisada. Os resultados demonstraram que as diferenças entre professores e jovens (FRONZA, 2007; 2011) que adotam a Educação Histórica na rotina escolar são significativas, levando-os a uma literacia histórica (BARCA, 2009), e que existe aprendizagem histórica baseada nas considerações de Rüsen (2011), mas apenas como a aquisição de algo que não se sabia ou a ampliação de assuntos já conhecidos, uma vez que os vídeos do Youtube foram vistos pela professora e por seus alunos como elemento para dinamizar a aprendizagem e favorecer a expansão de conteúdos. Palavras-chave: Ensino de História - Educação Histórica - Aprendizagem histórica - "História Difícil" - Vídeos do Youtube
Abstract: This dissertation lies in the investigative field of Historical Education. It aims to investigate the following problem: how is historical learning brought together on YouTube videos under Rüsen's perspective? The substantive concept (LEE, 2003; 2005) chosen for the investigation was the Military Dictatorship in the state of Paraná. Given that this event in Brazilian history is controversial and hurtful, the considerations from burdening history (BORRIES, 2010) or "harsh history" (SCHMIDT, 2015) are used. In order to try to answer the research problem, the following Historical Education authors were primarily drawn on: Jörn Rüsen (2001), with the concepts of historical consciousness and historical learning; Schmidt, Barca and Martins (2011), due to their studies on Rüsen's theory; Barca (2000; 2007), with research on the historical thinking of young people, historical literacy and multiperspectivity; Schmidt (2009), with the located historical cognition. Seven YouTube pages were visited for visualization, analysis and categorization of the videos; in this stage we used authors who discourse on the relationship between the Internet and the production of historical knowledge (CORRÊA and SHULZ, 2011; CHARTIER, 2007). Because the research was conducted within the school environment, we searched for theoretical frameworks that study the relationship among History teaching, technologies and the school (COLL and MONEREO, 2010; SHERBROOKE, 2001; SILVA, 2001; TORI, 2010; RESENDE, 2013; SILVA and URT, 2015; COSTA, 2015; CUTRIM and LIMA, 2015). The research was carried out in two schools with students on the second stage of elementary education. First, an exploratory study was performed in "school A" with a group of students on the 9th grade; then, the main study was accomplished in "school B" with a group of students on the same grade; at last, a questionnaire was given to the teacher of the group being analyzed. The results showed that the differences between teachers and young people (FRONZA, 2007; 2011) who take up Historical Education within the school day are significant, leading them towards historical literacy (BARCA, 2009). We have also found that there is historical learning based on Rüsen's considerations (2011), but it is limited to acquiring content that was unknown or increasing knowledge on topics that are already known, since the teacher and her students watched the YouTube videos as an element to boost learning and to introduce more contents. Key-words: Historical Teaching - Historical Education - Historical learning - Burdening History - Youtube videos
Segerberg, Jonathan, and Häggbom Karl. "Bad Marketing? : Marknadsaktiviteter på Youtube ur ett varumärkesperspektiv." Thesis, Linköpings universitet, Industriell ekonomi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-140989.
Full textAs social media platforms continue to grow, both youth and adults are shifting their focus from traditional media platforms to new interactive platforms. The biggest media platform for Swedish youth is YouTube, and because people spend a great deal of their time on YouTube, advertisers want to be present in promoting their brand. In this paper, the authors asked the questions: how well do advertisers use YouTube as a platform, and is their use correctly perceived by consumers? The purpose of the thesis is to examine if brands on YouTube act in a way that could be harmful for the brand’s image and market positioning. In helping to answer this question, the authors conducted a literature study to understand the communication and brand-building activities a company makes and further understand the social media platforms. Research and theory was gathered to understand companies’ usage of social media. The method chapter was created in order to decide how the data collection would be put together and how the data should be analysed. The data was gathered through 51 respondents in an internet survey and 9 people who were interviewed. The questions that were asked was related to the purpose of this paper: How do consumers perceive a brand and its market activities and do how the activities affect the consumer's perception of the brand? The conclusion that was made from the research results showed the authors that market activities on YouTube could have a harmful impact on a brand’s positioning and brand value. It was identified that the most harmful activity is to create content that the consumer is not interested in. By not being exposed on one of the biggest media channels for youth, the brand risks weakening their position and brand value. The use of influencers has the best potential to generate a good effect as the brand can ride on the wave of popularity on the platform, already established by the influencer. Many harmful brand activities were identified in this research but are not exclusive to YouTube and social media. If a brand is planning to reach an audience on YouTube they must spend resources on creating content that entertains their audience. Creating exclusive content for the consumer gives the brand added value and steers the consumer’s thought away from the content being advertising. By using these recommendations, a brand could reach out to a bigger audience and start building a loyal and engaged following.
Vicet, Marie. "Les artistes contemporains et le clip vidéo : de la naissance de MTV à l’apparition de YouTube (1981-2005)." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100010.
Full textWith the advent of music channels in the early 1980s, the music industry invested heavily in the production of music videos. To meet the high demand of music video, many filmmakers from television industry, advertising, cinema put their talents in this new TV format service. It is in this context that different visual artists were also requested and proposed their services to direct different music videos. In the early 1980s, the clip appeared some artists as the ideal format to distribute their images on television. It allowed them by its broadcast on television to reach a wider audience than museums or art galleries. For others, the clip was an experimental format, but also a potential extension to their artistic practice. So this study will analyze some of the production of certain visuals artists often ignored by art historians and critics. Through their artworks, some artists built instead a critique and questioned the format while challenging pop culture broadcast on television. If the creation of MTV was a funding event in the history of the music video, twenty-five years later, the advent of YouTube and in 2005 marked a big change in production but also in consumption of music videos. We will see that it led to new uses for Internet users and for artists who took possession available content to divert it
Watz, Tanya. "Kamouflerad reklam : En fokusgruppstudie i attityder mot produktplacering i online video om Youtube." Thesis, Mittuniversitetet, Institutionen för samhällsvetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-14478.
Full textKirkland, Benjamin Renfroe. "VOODIO: Proposal for an Online Video Content Creation Tool." Thesis, Virginia Tech, 2020. http://hdl.handle.net/10919/96554.
Full textMaster of Science
Video content is a massive source of entertainment, education, and income for a large population of online users. As more reliance upon this medium enters the field of education, formal and informal, people need tools to enhance their ability to tell stories and engage an audience. A tool that easily adjusts without compromising the interaction, the storytelling, or the visual moment, while also capturing as much information as possible, might be of great benefit to all creators of video content. Allowing tutorial creators the ability to efficiently record multiple views of their content may better aid in presenting concepts while retaining the attention of the viewership. The opportunity to present information effectively may have impacts on fields including education as well as entertainment. This thesis aims to explore possible reasons why content can be made to retain the audience's attention and to create a tool utilizing these facets for far reaching possibilities.
Hurychová, Andrea. "Marketing Strategy of YouTube in the Czech Republic." Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-197417.
Full textBoll, Cíntia Inês. "A enunciação estética juvenil em vídeos escolares no youtube." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/70596.
Full textThis study approaches the juvenile enunciation bias in the aesthetic function entangled to contemporary fetishism and digital culture. The research context involves the aesthetic function arranged in school work digital home videos published on the internet, especially on YouTube digital sharing interface.This interface where the publications of the videos that are presented in a trial time of technological, market, cultural and social convergence are localizated, in particular has a speaker - in this case the young’s - as its main “spect-author” who lives and moves between this school and Digital Culture.The analytical theoretical line research in this composition is built on the concepts of Aesthetics and Attractor in dialogue with Bakhtin and Canevacci.On the threshold of this communication support, Massimo Canevacci discusses the concept of visual attractor while the high value fetish code that, coupled with good contemporary communication, seduces espetc-actors and performs silenced puzzles.From the philosophical inquiry and under his guidance, was used as a methodological tool for assessing the notion of aesthetic from the ethical-aesthetic principle that understands the Bakhtinian theoretical thinking articulated to life, focused on the socio-historical perspective same as the creation and the expression. The relevance of this process emerges from the single young enunciative chronotope that is manifested in the form of home made videos with a typical stylistic trait and systematically establishing “itself” in their incompleteness and digital dialogicity.An experience not only nurtured by intertextuality already offered by social digital networks, but also by the aesthetic activity around school spaces which this young people are now immersed.
Dickson, Emil, and Adrian Berger. "Utformning av videoreklam - Designimplikationer för videoreklam på YouTube." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-231148.
Full textVideos have become a popular source for information gathering and entertainment. YouTube is the biggest video platform available and its free version is funded by ads. The advertisements create an interruption from the viewer experience and research has shown that the ads are disruptive and can cause irritation among the viewers. Many users choose to use plugins in their browsers which block ads to avoid the distraction. Since ad-blockers hinder the ad from reaching the viewer they also hinder the funding of the video platform. This study aims to research what parts of the ads that the user finds disruptive or irritating, and how ads should be designed in order to avoid being perceived as a source of irritation for Swedish viewers. A suggestion will be made on how to design the video ads so that they are as non-disruptive as possible for the user and therefore allowed to be a part of the viewing experience. To answer the questions at hand an experimental study was conducted with ten students. The results showed that the irritating aspects of ads are related to the running times, its placement in a video and the viewers own interest in the content of the ad. Finally, the following implications are suggested for the design of video ads: i) ads should be shorter than 15 seconds to avoid being perceived as irritating; users should be able to skip longer ads; ii) ads showing in the middle of the video should be avoided; iii) ad content should match the content of the video and, if possible, be relevant to the viewer and their interests; iv) features such as showing the time remaining of the ad should be made customisable by the user, through their user account.
Holmes, Alexander. "Paycheck.exe: Optimizing the Video Game Live Stream." Digital WPI, 2019. https://digitalcommons.wpi.edu/etd-theses/1283.
Full textTONIOLO, FRANCESCO. "YOUTUBE E VIDEOGIOCHI. PROSPETTIVE DI RICERCA SU PRODUZIONE,DISTRIBUZIONE E IMMAGINARI." Doctoral thesis, Università Cattolica del Sacro Cuore, 2019. http://hdl.handle.net/10280/58408.
Full textThe research project investigates the connections between YouTube content creators (“youtubers”) and video games. The impact of these youtubers, half influencers and half celebrities, is observed in its economic and productive dimension, and in its influence on the collective imagination. The analysis has been conducted with different sources, methodologies (both qualitative and quantitative) and theoretical prospectives, in a general framework related to creative industries, game studies and “YouTube Studies”. The research analyzes the current situation of gaming contents on the YouTube platform, and presents a model related to content creators in the creative industries.
TONIOLO, FRANCESCO. "YOUTUBE E VIDEOGIOCHI. PROSPETTIVE DI RICERCA SU PRODUZIONE,DISTRIBUZIONE E IMMAGINARI." Doctoral thesis, Università Cattolica del Sacro Cuore, 2019. http://hdl.handle.net/10280/58408.
Full textThe research project investigates the connections between YouTube content creators (“youtubers”) and video games. The impact of these youtubers, half influencers and half celebrities, is observed in its economic and productive dimension, and in its influence on the collective imagination. The analysis has been conducted with different sources, methodologies (both qualitative and quantitative) and theoretical prospectives, in a general framework related to creative industries, game studies and “YouTube Studies”. The research analyzes the current situation of gaming contents on the YouTube platform, and presents a model related to content creators in the creative industries.
Satti, Narendra Siva Prasad Reddy, and Saket Vikram Singh. "Analysis of Location based QoE for Mobile video streaming from YouTube in 4G Networks." Thesis, Blekinge Tekniska Högskola, Sektionen för datavetenskap och kommunikation, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-1939.
Full textCerqueira, Lícia Maria Costa Fajardo. "Aspectos da cultura participativa na criação de narrativas digitais que usam o YouTube como banco de dados audiovisual." Universidade Federal de Juiz de Fora (UFJF), 2016. https://repositorio.ufjf.br/jspui/handle/ufjf/4053.
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A afirmação de Lev Manovich de que vivemos a forma cultural database pode ser confirmada ao refletirmos sobre como acedemos às diferentes informações diárias. Nas últimas décadas, percebemos o acesso do cidadão comum a mecanismos de comunicação e gravação que ampliaram suas capacidades de captura e armazenamento de imagens, como verdadeiras extensões do corpo humano. Após o surgimento da web 2.0 e das possibilidades de interação entre usuários, plataformas de compartilhamento de vídeo, como o YouTube, tornaram-se pontos centralizadores dessas imagens, evidenciando a formação de uma cultura participativa na criação de vídeos. Trechos provenientes de bancos de dados, há muito, são usados em obras audiovisuais. A garimpagem do material é uma característica destas obras baseadas em imagens presentes em arquivos pessoais ou públicos. Posteriormente revisitadas, ganham novo sentido, como em A Família Bartos (1988) e O Êxodo do Danúbio (1998), do cineasta húngaro Péter Forgács e Pacific (2009) de Marcelo Pedroso. No início do século, Manovich propôs a criação de uma forma narrativa que refletisse a era em que vivemos, enquanto outros artistas buscavam também contar histórias por meio de recortes, como faz o próprio ser humano ao organizar pensamentos. Dessa forma surgiram projetos como korsakow Syndrom (2000) de Florian Talhofer, Soft Cinema (2005) de Manovich, e O Tempo não Recuperado (2006), de Lucas Bambozzi. Esta pesquisa analisa os aspectos da cultura participativa presentes em duas produções que utilizam o YouTube como banco de dados e exploram, de maneira diferente, estes aspectos. Na primeira, o músico Thiago Correa retrata as manifestações de 2013 com imagens garimpadas no YouTube, um trabalho manual que deu origem ao vídeo Brasil em Cartaz. Na segunda, o projeto YouTag de Lucas Bambozzi, o participante escolhe palavras-chave, frase ou título. A partir daí o software seleciona imagens no Youtube e dá origem a um novo vídeo, características que nos levam a acreditar que tais obras se encaixam na proposta de narrativas da era de banco de dados.
Lev Manovich’s statement that we live the database cultural form can be verified when one contemplates the way all types of information are commonly accessed in a daily basis. Over the last decades, it has been easy to observe the access of the ordinary citizen to communication tools and recording devices that have amplified their image and sound capture capabilities and image storage, these working as truly extensions of the human body. After the emergence of Web 2.0 and, consequently, the possibilities of interaction among users, video sharing platforms, such as YouTube, have become hubs for those images, giving evidence of certain participatory culture in the way online videos are created. Since long time ago, excerpts from databases have been used in audiovisual work, whose filtering of its material is based on images found in personal or public archives. Once such media is revisited, it gains new meaning, as in “The Bartos Family” (1988) and “The Danube Exudes” (1998), by Hungarian filmmaker Péter Forgács; as well as in “Pacific” (2009), by Marcelo Pedroso. Early this century, Manovich proposed the creation of a narrative form that reflected on the age we live in, while other artists also developed storytelling through clippings, mirroring the way the human being itself does in order to organize thoughts. This perspective gave rise to projects such as “Korsakow Syndrom” (2000), by “Florian Talhofer”; “Soft Cinema” (2005), by Manovich; and “Not Recovered Time” (2006), by Lucas Bambozzi. This very research analyzes some aspects of participatory culture explored differently in two productions that use Youtube as their resource. In the first work analyzed, musician Thiago Correa depicts the events of 2013 with selected images from Youtube, a manual work which led to the video Brasil em Cartaz. In the second one, in Lucas Bambozzi’s project, YouTag, the participant chooses keywords, phrase or title. From there, the software selects images on YouTube and originates a new video, which leads us to believe that these works fit the characteristics of the so-called age of database.
Kilavuz, Arda. "En studie av Karlstads universitets studenters användning av video-centric webbplatser." Thesis, Karlstads universitet, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-6519.
Full textAndersson, Julia, and Andreas Hultqvist. "Video quality encoding characterization and comparison." Thesis, Linköpings universitet, Institutionen för datavetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-158145.
Full textFörster, Felicitas. "Shreds: zur Geschichte und Stilistik parodistischer Overdubbing-Videos auf YouTube." Hochschule für Musik und Theater 'Felix Mendelssohn Bartholdy' Leipzig, 2017. https://slub.qucosa.de/id/qucosa%3A15826.
Full textThe video platform YouTube hosts hundreds of so-called shreds: videos that combine footage of preexisting musical performances with a new soundtrack, always with a humoristic intention. The present study examines the history of shreds and their stylistic devices for the first time ever.
Simon, Godwin Iretomiwa. "Digital Nollywood: Implications of digital distribution for the Nigerian video industry." Thesis, Queensland University of Technology, 2022. https://eprints.qut.edu.au/235388/1/Godwin%2BIretomiwa%2BSimon%2BThesis.pdf.
Full textWindress, Kent Anthony. "Cuban Ceremonial Batá Drumming and YouTube: Understanding Tradition, Change and Video-Sharing in the 21st Century." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/367063.
Full textThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
Full Text
Falck, Lina, and Moa Thörlind. "YouTube och Musikbranschen : En studie i hur artisters användande av YouTube som marknadsföringskanal ser ut i en allt mer digital musikbransch." Thesis, Linnéuniversitetet, Institutionen för marknadsföring (MF), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-35919.
Full textThis paper aims to analyze how music artists use YouTube as a marketing tool, and the importance YouTube has for these artists' marketing. A qualitative and inductive approach was used, while a number of interviews and a content analysis conducted as the basis for the empirical material. This to get an insight into the music industry's views on the topic, and also give an objective picture of how the platform is used as a marketing tool. Finally, the study is meant to give artists and others working in the music industry a picture of how the use of this marketing channel can be improved to create a more effective marketing. The theoretical framework was based on earlier theories of YouTube's importance, roles and potential in music artists' marketing. Theories on how YouTube enables artists to be discovered by A & R people or new fans, YouTube's impact on the music video's role as a marketing medium, and theories about the platform's impact on the balance of power within the industry has been the foundatioin. Theories about a new focus on opinion leaders; whom and when, as well as theories on relationship marketing, communication, feedback and sampling have also been applied. Finally, theories of YouTube's negative aspects, such as difficulties to stand out and illegal distribution has been looked into. In the account of the empirical material responses from the interviews with music artists and key people in the industry are included, as well as the results from the content analysis conducted by the interviewed artists' respective YouTube channels. In the analysis the theoretical framework is linked to the empirical material in a discussion and analysis. This is to compare previous theories with the industry's current opinions on the research question and the performers' actual usage of the platform, also to illustrate how music artists could improve their marketing through YouTube for more successful marketing. The conclusions of the essay is of the opinion that YouTube has evolved into a powerful marketing channel for music artists. The platform is of great importance for music artists interms of opportunities of exposure, but additional marketing activities are however required gor the material to be found by A & R departments and new fans. The music video has a continued important role for artists' exposure opportunities. YouTube creates an opportunity to build relationships between artists and fans, but this opportunity is generally not utilized fully by the artists. Feedback via the comment field could be utilized for greater levels of learning, and for stronger relationship building. One negative aspect of YouTube is that it can be considered as a way to illegaly distribute content, and it does add to reduced control over the artists own material. The creative authority seems with YouTube have moved more towards the artists themselves rather than their labels or management, but networks and resources available to the major labels seem to remain important to provide opportunities to be able stand out in the masses f available media on YouTube.
Rost, Richard, and Oskar Sandström. ""Ni måste se det här klippet" : En studie av gymnasieungdomars Youtube-vanor." Thesis, University of Kalmar, School of Communication and Design, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-511.
Full textThe purpose of this study is to show and explain how and why Swedish young people use Youtube.
We conducted a written survey, asking approximately 120 students between the ages 16 and 18. The survey was carried out in the classrooms in order to receive answers from as many students as possible. We then interviewed six of them to gain further knowledge of why they use Youtube the way they do.
The survey showed that Youtube is used by all of the students and very frequently by most of them. Comedy and music videos are by far the most popular genres that are viewed. In most cases watching video clips on Youtube is a social activity, often combined with both talking about clips and sending and receiving video links to and from friends. Very few upload videos of their own.
Explanations as to why they watch video clips on Youtube can be found in the uses and gratifications theoretical approach. We found that the primary uses of Youtube seem to be motivated by the need for entertainment and filling time. There is also an important social context to the viewing since many of the students talk with their friends and classmates about what they have seen.
Jin, Youbei. "Integration and assessment of streaming video content and API development into a spaced repetition service." Thesis, KTH, Radio Systems Laboratory (RS Lab), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-142481.
Full textDet finns en hel del repetitionssystem baserat online- lärande tjänster som finns idag, men ingen av dem är populära och allmänt accepterat som ett bra sätt för att studera. Problemet med dessa tjänster är, i stället för att utnyttja och utnyttja möjligheten till modern teknik, de helt enkelt fört din gamla inlärningsmetod för webben som ett program med exakt samma upplevelse som man kunde ha med läroböcker och flash-kort. Denna magisteruppsats projektet gäller Sharplet, ett repetitionssystem baserat webbtjänst, som försöker sticka ut genom att erbjuda vissa funktioner som ingen av de andra jämförbara tjänster har. En av dessa funktioner är att integrera YouTube- videoklipp, så att förutom text och bilder, samt ljud och video både är nu tillgänglig för läromedel. Detta examensarbete recensioner repetitionssystemi allmänhet, fokuserar sedan på några befintliga tjänster och hur man kan ge bättre service. Den största utmaningen kommer att undersöka YouTube API och studera användarbeteendeför att ge en bättre användarupplevelse. Det viktigaste resultatet av detta examensarbete är en fungerande prototyp av en ljud -och video aktiverat repetitionsbaserad tjänst. Tyvärr är det faktiska utförandet av denna prototyp oacceptabelt, därför finns det ett behov av att förbättra sina resultat innan den kan integreras med tillverkningen fördelade upprepning systemet.
Ejembi, Oche Omobamibo. "Enabling energy-awareness for internet video." Thesis, University of St Andrews, 2016. http://hdl.handle.net/10023/9768.
Full textDessì, Giulia. "Voice-over e forme ibride di YouTube: proposta di adattamento del documentario e video essay "The Hobbit Duology"." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/20389/.
Full textKumoto, Rafael Togo. "Colecionando músicas com uma câmera: mediações audiovisuais e hipermidiáticas na produção artística das sessions do YouTube." Universidade Tecnológica Federal do Paraná, 2016. http://repositorio.utfpr.edu.br/jspui/handle/1/2031.
Full textNeste trabalho, buscamos analisar uma série de processos de mediação imagética, auditiva e hipermidiática na produção videográfica das sessions, compreendida enquanto circuito de publicações de coletivos cadastrados na plataforma do website YouTube. Inspiradas em produções pioneiras como os Take Away Shows, do blog francês La Blogothèque, e as Black Cab Sessions, idealizadas pelo videasta britânico Jono Stevens, as sessions apresentam registros de performances musicais improvisadas em locais inusitados à prática musical, como monumentos públicos, cozinhas, salas de aula, metrôs, barcas e espaços de grande circulação de pessoas. Com base na premissa de que o vídeo, longe de representar um registro fiel da realidade, implica em processos de tradução e representação dos acontecimentos em imagens e sons – colocados em circulação, por sua vez, em plataformas voltadas à publicação e compartilhamento de vídeos –, desenvolvemos nossa argumentação em três momentos: primeiramente, por meio do estudo da percepção visual e auditiva, buscando nas teorias inferenciais de E.H. Gombrich a compreensão dos fenômenos de interpretação de emissões luminosas e modulações sonoras (constituintes da comunicação videográfica) enquanto processos ativos, baseados em nossas expectativas, vivências e visões de mundo. Em seguida, observamos o sistema no qual as sessions se inserem, por meio da exploração das diversas funcionalidades do YouTube que reforçam a sua condição de plataforma agregadora de conteúdo – apresentando também com maiores detalhes algumas das características mais recorrentes nos diversos perfis de produtores e produtoras do circuito observado. Em um terceiro momento, organizamos nossa análise com base em seus aspectos expressivos, de conteúdo e de participação e relevância, por meio da identificação de características consideradas importantes, tais como rastros de visualidades provenientes de outras mídias e linguagens artísticas, temáticas recorrentes de representação e perfis de participação dos coletivos. Com isso, podemos observar que, por trás da noção aparente de acaso, improviso e informalidade expressa pelas soluções adotadas na materialização das sessions, jaz uma estreita relação entre os distintos modos de performatizar, produzir e circular música comunicados nas cenas retratadas e os valores e visões de mundo daqueles(as) que participam em maior ou menor grau dos processos de negociação inerentes ao circuito – entre eles, bandas e artistas, videastas, operadores(as) de som, público espectador e entidades patrocinadoras.
In this work, we aim to analyze a range of imagery, auditory and hypermediatic mediation processes in the video production of the sessions, understood as a circuit of video publications on YouTube website. Inspired by early productions like french blog La Blogothèque’s Take Away Shows and the Black Cab Sessions, designed by British video maker Jono Stevens, the sessions present recordings of improvised, musical acts in places unusual to musical performance, like public monuments, kitchens, classrooms, subways, boats and high traffic areas. Based on the premise that video is far from portraying a faithful reproduction of reality, thus implying processes of translation and representation of events to images and sounds – moreover, implying their circulation on platforms focused on publishing and sharing videos –, our argument takes shape in three stages: first, through the study of visual and auditory perception, basing ourselves on E.H. Gombrich’s inferential theories to comprehend the phenomenon of interpreting light emissions and sound modulations (both constituents of videographic communication) as active processes, based on our expectations, experiences and view of things. Afterwards, we observe the system where the sessions are based on through the exploration of several YouTube features that reinforce its status as a content-aggregator platform; we also present in greater detail some recurring features shared by producers associated with the observed circuit. In a third step, we organize our analysis based on its aspects of expression, content and participation and relevance, by identifying some characteristics considered relevant, such as other media and artistic languages’ traces of visuality, recurring representation themes and participation profiles of the collectives. This way, we can argue that behind the apparent notion of chance, improvisation and informality expressed by the solutions adopted in the sessions’ materialization processes lies a close relationship between the different ways of performing, producing and circulating music communicated in the depicted scenes, and the values and views of things of those who participate in a greater or lesser degree of negotiation inherent to the circuit – including bands and artists, video makers, sound engineers, viewers and sponsoring entities.
Weare, Andrea M. "Beauty work : a case study of digital video production and postfeminist practices on YouTube's Icon Network." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/3213.
Full textHagersjö, Sandqvist Elias. ""In an ideal world people wouldn’t be watching my videos" : En kvalitativ studie av YouTube-musiklärares syn på sin egen praktik." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-84523.
Full textThe purpose of this study is to examine how internet-based music teachers construct their views towards video lessons. To examine this, focus groups consisting of internet-based music teachers were used as a method for data collection. The study has a qualitative research approach and a social constructionist ontological and epistemological view, and discourse psychology is used as a theoretical and analytical framework. The results shed light on interpretative repertoires where different views towards video lessons are expressed. Sometimes these interpretative repertoires are described as conflicting, such as the descriptions of video lessons as limiting or as beneficial. This is also true for the descriptions of video lessons as something for a large audience or video lessons as something for a small audience. Other interpretative repertoires are unanimous, such as the description of video lessons as market driven. The results are discussed in relation to previous research on instructional videos, YouTube and music teachers' views on teaching.
Eichenmann, Filip. "Využití on-line videa ve vzdělávání." Master's thesis, Vysoká škola ekonomická v Praze, 2013. http://www.nusl.cz/ntk/nusl-193554.
Full textMcLaren, Laura. "The Lyric Video as Genre: Definition, History, and Katy Perry's Contribution." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/38124.
Full textPaton, Nathalie. "Vers une individuation médiatisée par la participation à une scène subculturelle numérique : les auteurs de school shootings et leurs publics." Thesis, Toulouse 2, 2012. http://www.theses.fr/2012TOU20138.
Full textThis thesis deals with the phenomenon of "school shootings". It accounts for the globalization of this phenomenon, observed since school shooters started using participatory media for communication strategies. This thesis analyzes this strategy of premediation and shows how their audiences appropriate it. This extreme form of school violence creates global disruptive media events. We show how ordinary citizens take part in this event by developing contemporary forms of sociation in digital social networks. We shall highlight one particular: the cocoon community. Among the ordinary audience of the media event, we see the emergence of counter-public, “school shooting” fans. The use participatory media to remind everyone that an underground revolt is underway. The remind us of this daily in broadcasting videos to the effigy of the killers on a digital subcultural stage hosted by YouTube. These fans, as well as their audiovisual and communication practices, are at the heart of this thesis, as their subculture is suspected of constituting a pool of future killers. The investigation of this subversive subcultural scene has led us to single out a phenomenon that is characteristic of the youth in search of points of reference beyond good and evil. The most extreme, those planning to act, appear to engage in what we call a process of posthumous anti-subject individuation. Even if they know the fatal outcome awaiting them, “a suicide by cop”, they thwart it with their media strategies. By the means of imitation, they guarantee the attribution of meaning to their acts and instrumentalize the media to take their revenge by achieving social fame and the status of an anti-hero
Holmbom, Mattias. "The YouTuber : A Qualitative Study of Popular Content Creators." Thesis, Umeå universitet, Institutionen för informatik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-105388.
Full textHora, Samuel. "Fenomén video tutoriálů na YouTube." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-373001.
Full textWu, Tzu-man, and 吳姿漫. "MyYouTube:Recommending YouTube Videos Based on Video Reviewers and User Preference." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/8q4b7r.
Full text國立臺灣科技大學
電機工程系
99
The typical recommendation method of YouTube is to search those videos with similar titles or tags that are chosen and marked as favorite videos in a user account. There are four drawbacks in this method. First, not every user has a YouTube account, which may cause a cold-start problem of the collaborative filtering recommender system. Second, this method may easily be restricted to certain titles and tags and therefore neglect other videos in which a user may be interested. Third, this method may easily recommend the same videos due to successively clicking. Fourth, if the user wants to focus on a certain program, it is easy for YouTube to recommend videos of other programs because of the similarity of the titles or tags. This thesis presents a recommendation system called MyYouTube. It is mainly to recommend various and lowly repeated videos for those users who have preference about certain program but no specific watching objective. In the aspect of recommending a single program, the system simply extracts the related videos of the program from YouTube as it is very straightforward to search a specific program. In the aspect of providing various topic videos, the system adopts the network between the videos and the reviewers from YouTube to generate a recommendation watching list and also reweigh the co-reviewers between the videos which are successively being clicked. By doing this way, the videos can be recommended in priority if their reviewers have similar choices as the user. The system can also filter the videos that have many negative marks by using the preference of the reviewers. In the aspect of reducing repeated recommendation, the system uses a user's preference to decrease the weights of videos which have been previously recommended and browsed, but not elected by the user. Our experimental result demonstrates that, with same searching keywords, the proposed MyYouTube recommends more videos with various topics than YouTube in the first 22 recommendation items. In addition, MyYouTube can distinguish more efficiently than YouTube the titles of the videos of having being browsed or not by the user to reduce the repetition of recommending videos.
Chang, Chao-Wei, and 張晁偉. "Accident Video Detection from YouTube Videos for Self-driving Cars." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/543884.
Full text國立臺灣科技大學
電子工程系
107
As the perception technology of autonomous driving cars received attention in recent years, more and more researchers have investigated this issue. Specifically, to avoid car accident in road scenes is one of the critical issues for autonomous driving cars. In order to avoid car accidents, the autonomous driving cars should own the capability to detect car accidents in advance. To this end, in this thesis, we propose a novel three-stage classication architecture for dash-cam videos. First, the CNN-LSTM networks are used to detect out-of-control vehicles. Next, taking advantage of state-of-the-art object detection and object tracking schemes, we leverage the ratio of Intersection-over-union (IoU) of two bounding boxes from two vehicles to detect car accidents at the front-view images. Finally, cooperating with the inverse perspective transformation, we can confirm a car accident by using the occupancy map in the bird-view. The major contribution of this thesis is to propose a simple but eective car accident detection system based on neural networks, which can determine which frame a car accident occurs, point out which cars cause a accident and record their driving trajectories as well.