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Algorithmic systems are used almost everywhere in our everyday lives and have strongly made their indispensable way into the film industry. This new reality has changed the rigid entertainment business models and has significantly impacted copyright law. The critical question that arises is how cinematographic authorship rights are affected by artificial contributions. Consequently, the main issue at hand is determining the legal status of the film author when it comes to using artificially created works. Since the film is a collectively created work of art, the possible authors were first determined by reviewing the relevant regulations. During this analysis, it has been revealed that an artificially created effort that lacks human creative participation is not considered a contribution and, consequently, not an author in the dogmatic copyright systems. This opens Pandora's box about the philosophical question of whether an artificial intelligence can or must be equated with a natural person if the creative cognitive processes are like those of a human being. Despite correct approaches, the well-intentioned proposals of the legal systems examined need to be revised. Solutions such as the e-person, the factually attributable natural person and a particular form of fair use will be experimented with in the future. A final national and international copyright solution for filmmakers has yet to be seen on the horizon. [ABSTRACT FROM AUTHOR]

Within the framework of the article, the phenomenon of variability of translation reception of Q. Tarantino’s film discourse is considered. The authors conduct a comparative analysis of translation solutions used by the Russian-speaking translators as part of their work on Q. Tarantino’s films when transmitting significant elements of the author’s idiostyle. The focus is on the analysis of variability and evaluation of the advantages and disadvantages of the Russian-language translations of the film discourse of this director, which together make up the translation reception of his film works. The research methods include the continuous selection method, the method of contextual analysis, the method of functional semantic analysis, descriptive method, the method of contextual analysis, the method of interpretation of the film text, as well as methods of quantitative calculation. The original film texts of Q. Tarantino’s English-language films “Pulp Fiction”, “Inglourious Basterds”, “The Hateful Eight” and “Once Upon a Time in ... Hollywood” and their translations into the Russian language have served as the material for the study. The authors analyze the film dialogues and films by Q. Tarantino as the main means of nonverbal and verbal representation of his idiostyle. It is argued that the films by Q. Tarantino are a significant example for the study of some aspects of translation reception into the Russian language due to the presence of a large layer of intertextual component in these works. It is emphasized that the interpretation of a literary text involves projecting the translator’s worldview onto the conceptual sphere of the translated work, as a result of which the latter becomes a co-author of the script. After analyzing the empirical material, the authors conclude that, regardless of the time of the release of the film, translators most often resort to such translation methods, as direct translation, modulation and addition, broadcasting numerous lexical, stylistic and pragmatic-semantic features of Q. Tarantino’s film discourse. Thanks to the development of information and telecommunication technologies and as translators gain more access to information, there are opportunities for improving the quality of translations due to the expansion of background knowledge in the field of pop-cultural and historical realia of the original linguaculture, actualized in the original film discourse.

We present empirical evidence on a firm's decision to eliminate a product from a multi-product line, in a market with rapid product turnover, using weekly micro-level data from a major metropolitan movie market. While film offerings are broadly similar across the market, the timing for removing a specific film varies at the theater level. Theaters are more likely to end a film's run when the nearest competitor is showing the same film and is owned by the same chain; a film is more likely to survive when the nearest theater is showing the film, but is under different ownership. Theater- and movie-specific factors affect a film's run length, including the film's within-theater relative revenues, number of screens, and film rating. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Communication Theory & Research / Iletisim Kuram ve Arastirma Dergisi is the property of Gazi University, Faculty of Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Photoacoustic (PA) technology can be used for non-invasive imaging of blood vessels. In this paper, we report on our prototype PA imaging system with a newly designed ultrasound sensor and its visualization performance of microvascular in animal. We fabricated an experimental system for animals using a high-frequency sensor. The system has two modes: still image mode by wide scanning and moving image mode by small rotation of sensor array. Optical test target, euthanized mice and rats, and live mice were used as objects. The results of optical test target showed that the spatial resolution was about two times higher than that of our conventional prototype. The image performance in vivo was evaluated in euthanized healthy mice and rats, allowing visualization of detailed blood vessels in the liver and kidneys. In tumor-bearing mice, different results of vascular induction were shown depending on the type of tumor and the method of transplantation. By utilizing the video imaging function, we were able to observe the movement of blood vessels around the tumor. We have demonstrated the feasibility of the system as a less invasive animal experimental device, as it can acquire vascular images in animals in a non-contrast and non-invasive manner. [ABSTRACT FROM AUTHOR]

Technological change and development have been ongoing in the motion picture industry since its beginnings some 125 years ago. What further advancements of digitalization can be expected over the next decade and what are its implications for the industry’s value chain? To answer this question, we conducted an international two-stage Delphi study. The results suggested a more frequent use of smartphones as cameras, the emergence of full digital film sets and digital star avatars, as well as advancements in VR-based and interactive movies. The findings imply challenges for traditional players in the motion picture value chain. Production technology becomes both simpler and more complex, leading to the threat of new entrants.

The current study aims to explore whether virtual reality can be more effective that traditional 2 D in influencing empathy, sympathy, movie coolness and word-of-mouth. A factorial design 2 (movie story: documentary, animation) x 2 (technology format: 2 D, VR) between-subjects experiment approach was employed. The 2 D counterparts are available on YouTube and the VR version was downloaded to be experienced with the Oculus Rift headset device. A total of 145 participants were recruited. Findings reveal the combined effects of technological format and movie genre have a significant influence on coolness perception. Empathy influence movie coolness and these, in turn, predict word-of-mouth. [ABSTRACT FROM AUTHOR]

Spontaneous locomotor activity (SLA) is a useful parameter reflecting physical and mental status of experimental animals. Here we aimed to establish a novel and simple method to assess mouse SLA using motion picture. Movement of C57BL/6 mice was continuously recorded by an infrared video camera connected with a single board computer. The geometric center of mouse outline in each frame was calculated using an image processing library, OpenCV in a programming language Python. Moving distance of the geometric center every second was utilized as an index of mouse SLA. Twenty-four hours assessment of SLA showed that mice repeated active and resting phase. Mice moved more actively during the dark period compared with the light period. Time-frequency analysis of SLA followed by unsupervised clustering classified their active and resting phase. Administration of a sedative, chlorpromazine (5 mg/kg) abolished mouse SLA for 8 h. In contrast, administration of a central nervous stimulant, caffeine (25 mg/kg) increased SLA for 3 h. In conclusion, we here established the automatic measurement system of mouse SLA using motion picture. This system is composed of common equipment and analysis software written in freely available programming language. We also confirmed that it is applicable for drug assessment.

International marketing manager decisions pertaining to a new experience product's global rollout are critical to the product's country-level performance. Extending work on the lead-lag and success-breeds-success effects, the authors examine how the country-specific factors of economic wealth and national culture influence the effects of a new experience product's global rollout decisions (i.e., the time lag from initial lead country introduction to target country introduction and the number of countries in which the product was introduced before its introduction in the target country) on the product's country-level performance. The authors employ hierarchical linear modeling and, from an examination of 259 unique movies gathered from 16 countries, corresponding to 2,523 total entries between 2006 and 2007, find significant interaction effects between a country's economic wealth and national culture and time lag and target country position on the new experience product's country-level performance. The authors conclude with a discussion of the theoretical and practical implications. [ABSTRACT FROM AUTHOR]

There has been a paradigm shift in the manner in which movies are marketed these days. Rather than direct advertising, movie producers all over the world started harnessing the potential of Word-of-Mouth (WOM) and Word-of-Mouth-Marketing (WOMM). Studies reveal that WOM creates numerous effects over the recipients. One among them is information effect. In this article an effort is made to theoretically establish the relationship between the antecedents of information effect of WOM in Motion Picture Industry (movie genre, star value, production budget, screen count, crew reputation and poster) and their impact on the potential movie-goers (awareness, attitude change and purchase intention) based on the findings of the previous studies in this domain. Moreover, a hypothesized model portraying the relationship between the antecedents of information effect of WOM and box office revenue is added to the existing literature. [ABSTRACT FROM AUTHOR]

This article is devoted to the study of the similarities and differences between the literary text and the film version of two historical novels by English writer Hilary Mantel “Wolf Hall” (“Wolf Hall”, 2009) and “Bring up The Bodies” (“Bring up The Bodies”, 2012). These works attract the attention not only of literary scholars in Russia and other countries, but also of representatives of cinema. Wolf Hall is a historical television series based on the novel by Hilary Mantel and his sequel “Bring the Body”, directed by Peter Kozminsky for the BBC 2 (2015). The article presents various points of view of authoritative scientists on the possibility of transmitting the ideological and artistic meaning of the book by means of the cinema. The author pays attention to how the concept of the director is embodied and whether it corresponds to the historical concept of the author—editing techniques, the play of actors, the re-creation of scenery and costumes, and the speech portrait of the characters. In the course of a comparative analysis, the question of decoding the ideological and artistic intent of a literary work by means of cinema was considered: the writer, according to his own conception, is guided by the idea that is revealed in the text, and the film director solves a double task in screening fiction—to convey the concept of the author to the viewer and reflect his own vision of the work. It is concluded that the televised adaptation of this artistic text focuses more on its key positions, depicting them from a different angle, but at the same time retaining the uniqueness of the original work. Статья посвящена сравнительному анализу литературно-го текста и экранизации двух исторических романов английской писательницы Хилари Мантел «Волчий зал» («Wolf Hall», 2009) и «Внесите тела» («Bring up The Bodies», 2012). Оба произведения привлекают внимание не только отечественных и зарубежных литературоведов, но и представителей кинематографа. «Wolf Hall» — исторический телесериал, основанный на одноименном романе Х. Мантел и его продолжении «Внесите тела», снятый режиссером Питером Козмински для канала BBC (2015). В статье приводятся разные точки зрения авторитетных ученых на возможность передачи идейно-художественного смысла книги через кино. Автор обращает внимание на то, каким об-разом воплощается концепция режиссера, соответствует ли она исторической концепции автора и средствам ее воплощения на уровнях пространственно-временной организации, идеи и мотива, актерской игры, воссоздания декораций и костюмов, речевого портрета персонажей. В ходе сравнительного анализа рассмотрен вопрос расшифровки идейно-художественного замысла литературного произведения посредством кино: писатель реализует одну задачу — раскрыть свою идею в тексте, кинорежиссер в экранизации художественной литера-туры решает две — выявить концепцию автора и отразить собственное ви́дение произведения. В результате исследования делается вы-вод, что телеадаптация рассматриваемого художественного текста в большей степени акцентирует внимание на его ключевых позициях, изображая их под иным углом, но при этом сохранив уникальность исходного произведения.

The Motion Picture Editors Guild (MPEG) is the labor union representing post-production workers in the Hollywood motion picture industry, including seven sound craft classifications. The sound craft has low status within the hierarchical structure of the Hollywood film industry in comparison to other filmmaking crafts. This article evaluates the workings of the MPEG in concerns with the sound craft and status within the industry through a thirty-plus year review of their professional journal, website, sound practitioner discourse, and other industrial documents. The article argues that the union does not sufficiently protect sound practitioners from employer exploitation, contributes to the alienation of sound practitioners from their work, and constraints the level of and recognition for creative contributions. These actions are seen as perpetuating the low status of sound practitioners and the sound craft, which weakens the power of the union. [ABSTRACT FROM AUTHOR]

Gabe races to the door to prevent entry while Adelaide, Zora, and Jason are huddled together several feet away. Adelaide and Zora go back and forth, before everyone realizes that danger is imminent, prompting Adelaide to fling open the back door and hop in. The ghoul charges Adelaide from behind and just as she closes in, Adelaide quickly turns around and plunges the fireplace poker into her solar plexus, disabling the ghoul, then driving the poker deeper into the ghoul's body. What viewers will inevitably ask themselves is was Adelaide Wilson the real Adelaide or was she actually the little girl that kidnapped Adelaide Wilson many years earlier?. [Extracted from the article]

The present study explores the effects of product-focused virtual reality (VR) media type (termed virtualgraph) such as still and motion pictures, on product attitudes in terms of user attitudes, and telepresence. Two experiments were conducted. In experiment 1, all 51 participants were shown product images produced by each type of media type, and the users' attitudes and telepresence were measured. Virtualgraph had the highest recorded telepresence and was associated with the most positive attitudes toward the products compared to still pictures and motion pictures. In experiment 2, which was designed to assess the delayed effects, participants were contacted via cellular phone four weeks following experiment 1. The results demonstrated that participants in the virtualgraph group maintained a more stable attitude toward the products over time compared to those in the still picture and motion picture groups. [ABSTRACT FROM AUTHOR]

This study focuses on organization and activity of the U.S. Army's 164th Signal Photo Company in the CB1 Theater and the still and motion pictures related to Japanese military Comfort Women captured by army photographers. With attention to related documents and testimonies, this study addresses the "seen side" and "blind side" of the photographers, as well as the intent and nature of the army photographers' activities. Moreover, these images help to uncover the stories of individual Korean Comfort Women who became subjects in these still and motion pictures. Nevertheless, these still and motion pictures do not easily reveal the entire truth. Rather, they appear to be concealing something. The voices of women are silenced in the still and motion pictures. As a result, this study was only able to access their voices through interrogation reports, news articles, and personal accounts by the interrogators who interviewed the women. [ABSTRACT FROM AUTHOR]

After Hollywood and Bollywood, the recent success of the Korean motion picture industry has been described as the rise of "Hallyuwood," suggesting that Korea has become the third pillar of the global motion picture industry. In order to explain the emergence of Hallyuwood, this paper uses a global value chain (GVC) approach and highlights some of the economic determinants in the internationalization of the Korean movie industry. Using input-output data and firm-level information, the paper first analyzes the position of Korea in the motion picture GVC and assesses the ways in which the movie production has become more global. The results indicate that Korea is the country with the strongest comparative advantage in the motion picture value chain. The paper then discusses different aspects of the internationalization of the Korean motion picture industry, in particular: the role of co-production and foreign partners, the concentration and vertical integration of the industry, and the creation of a global brand. Finally, the paper looks at the main challenges the Korean industry will face if it desires to further expand and remain competitive, discussing government policies and the impact of the rise of China on Korea's movie industry. Overall, the paper emphasizes that while typically national, cultural products can also benefit from global business strategies. [ABSTRACT FROM AUTHOR]

Technology is a means of creating any product. However, in the onscreen art, it is one of the elements creating the art space of film. Considering the main stages of the development of cinematography, this article explores the influence of technology of sound recording on the creating a special artistic and physical space of film (the beginning of the use a sound in movies; the mastering the artistic means of an audiovisual work; the expansion of the spatial characteristics for the screen sound; and the sound in a modern cinema). Today, thanks to new technologies, the sound in a cinema forms a specific quasirealistic landscape, greatly enhancing the impact on the viewer of the virtual screen images.

An empirical exploration of global film franchises provides insights for managers of film franchises, investors in franchisable products, and scholars interested in motion picture performance. Performance tends to deteriorate as extensions are introduced: production budgets rise, advertising expenditures remain similar, and the number of opening-weekend theaters experiences a jump with the first sequel and then remains similar in subsequent installments. However, revenue, return-on-investment (ROI) and audience and critical reviews fall, and foreign performance becomes increasingly important. Offsetting deteriorating performance, risk falls: revenue and ROI become more predictable. An early change in the lead actor causes reduced performance, but changes in key product characteristics and inputs in later installments help prolong the franchise. ROI of the current installment is the most critical financial determinant of whether a further extension will occur, but high-budget films and those with higher domestic share of revenue are also more likely to yield further extensions. [ABSTRACT FROM AUTHOR]

Over the past two decades, the film industry in China has experienced dramatic growth. However, little research has been conducted to examine the features of this fast-growing sector from the geographical perspective. Drawing on quantitative data sources, this paper presents a pilot study of the changing geographies of film production and consumption in mainland China. It explores the tendencies of concentration and deconcentration in China’s film sector, identifies the major centres of film production and consumption in the country, and investigates the factors that may impact the formation and transition of such geographical patterns. The major purpose is to enrich our understanding of the economic geography of the film industry by providing new evidences from a transitional economy. The outcome reveals that the development and spatial distribution of the film industry in China have been affected both by market and non-market factors. Compared to its counterparts in Western countries, the Chinese state tends to play a more influential role in shaping the patterns of film production and consumption in the country. [ABSTRACT FROM AUTHOR]