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Purpose: Recent archiving and curatorial practices took advantage of the advancement in digital technologies, creating immersive and interactive experiences to emphasize the plurality of memory materials, encourage personalized sense-making and extract, manage and share the ever-growing surrounding knowledge. Audiovisual (AV) content, with its growing importance and popularity, is less explored on that end than texts and images. This paper examines the trend of datafication in AV archives and answers the critical question, "What to extract from AV materials and why?". Design/methodology/approach: This study roots in a comprehensive state-of-the-art review of digital methods and curatorial practices in AV archives. The thinking model for mapping AV archive data to purposes is based on pre-existing models for understanding multimedia content and metadata standards. Findings: The thinking model connects AV content descriptors (data perspective) and purposes (curatorial perspective) and provides a theoretical map of how information extracted from AV archives should be fused and embedded for memory institutions. The model is constructed by looking into the three broad dimensions of audiovisual content – archival, affective and aesthetic, social and historical. Originality/value: This paper contributes uniquely to the intersection of computational archives, audiovisual content and public sense-making experiences. It provides updates and insights to work towards datafied AV archives and cope with the increasing needs in the sense-making end using AV archives. [ABSTRACT FROM AUTHOR]

Video advertisements often show actors and influence agents consuming and enjoying products in slow motion. By prolonging depictions of influence agents' consumption utility, slow motion cinematographic effects ostensibly enhance social proof and signal product qualities that are otherwise difficult to infer visually (e.g., pleasant tastes, smells, haptic sensations). In this research, seven studies, including an eye tracking study, a Facebook Ads field experiment, and lab and online experiments—all using real ads across diverse contexts—demonstrate that slow motion (vs. natural speed) can backfire and undercut product appeal by making the influence agent's behavior seem more intentional and extrinsically motivated. The authors rule out several alternative explanations by showing that the effect attenuates for individuals with lower intentionality bias, is mitigated under cognitive load, and reverses when ads use nonhuman influence agents. The authors conclude by highlighting the potential for cross-pollination between visual information processing and social cognition research, particularly in contexts such as persuasion and trust, and they discuss managerial implications for visual marketing, especially on digital and social platforms. [ABSTRACT FROM AUTHOR]

The interest of religions in communicating in the new virtual environments has led to the emergence in recent years of multimedia initiatives that seek to inform and bring their message to many people. Such is the case of 'The Pope Video', a project of the Pope's Worldwide Prayer Network (Apostleship of Prayer) born in 2016 and supported by Vatican Media, with the purpose of launching the Holy Father's monthly intentions on a global level, through the dissemination of video messages on the web and social networks. The aim of this research is to analyze this project of the Church in the audiovisual media and as a methodology we have carried out a quantitative and qualitative content analysis of the videos (n=75) published between 2016 and 2021, in order to understand its evolution in terms of the themes highlighted, the quality and use of images and sounds, the audiovisual production and its internal structure. These are digital videos with good audiovisual production and editing, as well as a professional treatment of image and sound. The Pope is the protagonist of these videos, in which he reflects on various topics of social and human interest. Francis' naturalness and his approachable language, together with the strategic use of audiovisuals to reach his followers in the present digital age, make 'The Pope Video' a good example of direct communication between a religious leader and the faithful. A paradigm of innovation by the Catholic Church in audiovisual communication. [ABSTRACT FROM AUTHOR]

Audiovisual co-creation has always had a pedagogical nature, which has been maintained in its adaptation to digital communication, although it is applied in different ways. This study analyses the pedagogical proposals in collaborative interactive non-fiction in the digital environment, and compares them with previous projects of participatory practices. As case studies we selected five interactive audiovisual projects that stand out for their educational intent and their preparation of teaching resources, and analyzed their pedagogical proposals. First, we looked at pedagogy in pre-digital or analogical collaborative creation, which was used to develop an original analytical table. We used this table to study the five collaborative projects through three identified categories. The results show that these categories continue in initiatives today, although the findings show a shift in the pedagogy about audiovisuals, particularly concerning the technical aspects, as well as a weakening of the connection between learning and participation in the collective production. Finally, we can highlight that combining educational practices with collaborative production on the Internet is important to increase citizen participation and give a social perspective to this audiovisual modality. [ABSTRACT FROM AUTHOR]

Copyright of Ciencia, Cuidado e Saude is the property of Universidade Estadual de Maringa 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.)

The television landscape is undergoing tremendous and rapid changes. In this context public broadcasters are having great difficulties to fulfil their commitment to the public they serve. This task is even harder for those entities related to minority cultures and languages. In this paper we identify some of the ways in which entertainment content can contribute to fulfilling the missions of these types of companies. We will mainly focus on the Basque Public TV, Euskal Telebista, but the results and conclusions drawn can be applied to other public service media companies of similar types, too. [ABSTRACT FROM AUTHOR]

Copyright of Espirales Revista Multidisciplinaria de Investigación is the property of Grupo Compas 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.)

We analyse the media representations of women at the Spanish-Moroccan border. We will compare those of cinematographic works that have given them a central role in the story and that operate via minority circuits, with the more habitual ones that have more of an impact on the social imaginary resulting from more widespread media. In contrast to the high number of women confined at this border and the seriousness of the specific problems affecting them, their representations are rare. When they do appear, the representations of both types clash. The more widespread ones, through the use of gender determinants, end up reifying them in the imaginary in subordinate positions which facilitate their incorporation into work networks for the first world (such as care work). Furthermore, the cinematographic works analysed provide more complex representations of these women. For example, they consider alternative discourses that are critical of the capitalist use of their bodies in the workforce. [ABSTRACT FROM AUTHOR]

Objective: to analyze the advertising campaigns of Brazil and Angola on HIV/Aids and to reflect on socio-cultural aspects related to this disease that has direct influence on its conception by human beings. Method: a descriptive and exploratory study, of a qualitative nature. The search for the audiovisual material was carried out on the YouTube video-sharing platform. The data were analyzed based on Bardin's content analysis. Four thematic categories emerged: "Protection methods addressed in the advertisements"; "Protagonists of the advertisements"; "Embedded behavioral appeals"; "Cultural aspects addressed". Results: the different cultural contexts have a direct influence on the advertising campaigns, for while in Brazil the actions are aimed at the use of condoms in the carnival period, in Angola the focus covers extramarital relations and fomite sharing. Final considerations: advertisement campaigns are important means of social transformation, and they can promote improvements in behavior changes of the individuals in the prevention of health problems and diseases. [ABSTRACT FROM AUTHOR]

In 2009, the Audiovisual Communication Services Law was passed in Argentina. One of the objectives of the new legislation is the promotion of federalism. Commercial logic was historically the protagonist in the Argentine media system, a characteristic that led to the geographical concentration of audiovisual production in the Autonomous City of Buenos Aires. In this paper, we analyze the application of communication policies in the period 2009-2015 in three cities in the south-east of Buenos Aires province, paying special attention to the emergence of providers from the public and private nonprofit sector. [ABSTRACT FROM AUTHOR]

This paper aims to address the video as a new scholarly communication form, alternative to the traditional written paper. Although the use of video could be a worthwhile option for any field of study in which videographic practice would facilitate the communication of the research findings and thus enhance our understanding of them, this practice seems especially useful when the object of study itself is the audiovisual language. For this reason and because the number of media scholars communicating their research outputs in videos has increased in recent years to the extent of becoming a new trend, I focus on the exploration of this practice in this discipline. However, could the video meet academic standards, and thus be considered as a new scholarly form? If the answer is affirmative, what exactly makes a video academic? Offering some answers to these questions is the main purpose of this article, which reviews how the transition from the written paper to the audiovisual form is evolving. This exploration will include not only these types of videos but also the online journals that make the publication of such videos possible, thereby facilitating a study of how these online platforms allow new ways of communicating research outputs in academic contexts. [ABSTRACT FROM AUTHOR]

This article is based on a study conducted on the Îles du Ponant islands in western France which focused on the relationship between islands and the medium of television. Two approaches were developed. First, a large corpus of television reports was analysed. Second, two geographers produced a documentary series presenting the results of a study on the social, economic and regional dynamics of the Îles du Ponant. Our objective is not to expand on the contents of the representations of these islands which were disseminated by traditional television media or in the documentary series developed by the above-mentioned geographers. Rather, we seek to show how this approach may prove beneficial, both for island territories and for research. We will also question the role audiovisual media play in Island Studies more generally. [ABSTRACT FROM AUTHOR]

Copyright of Educación XX1 is the property of Editorial UNED 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.)

Copyright of Enfermería Nefrológica is the property of Sociedad Espanola de Enfermeria Nefrologica 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.)

This introduction outlines the importance of transnational and transcultural perspectives for memory studies today. It discusses how the audiovisual media in particular challenge, transgress, but also reintroduce borders into Europe's mnemonic landscape. It shows how the individual contributions to this special issue address the question of audiovisual memory and the (re)making of Europe. [ABSTRACT FROM AUTHOR]

Purpose The purpose of this paper is to explore persuasive rhetoric by critically scrutinizing metaphorical devices utilized by leaders of the cloud industry. This paper introduces a critical approach to the promotion of cloud technology.Design/methodology/approach In total, 13 video clips from YouTube were analyzed, containing presentations and talks delivered by leaders of Google, Apple, Facebook and Amazon – four of the most influential companies within the information technology industry, sometimes referred to as GAFA. With the help of conceptual metaphor theory, often-repeated metaphors for cloud technologies reveal what properties were promoted and hidden.Findings GAFA mainly used the same persuasive metaphors to promote cloud computing’s positive aspects. Potentially negative or complex issues were mostly avoided. Cloud technology was uniformly described in metaphors of control, empowerment, transformation and automation. Implicitly, GAFA exerts power through the extensive dissemination of their metaphors and these are used in order to negotiate and overcome doubts about cloud computing and related technologies.Originality/value This is the first study aimed at understanding the persuasive rhetoric of GAFA, seen as a uniform object of study. [ABSTRACT FROM AUTHOR]

Copyright of Historia y Comunicación Social is the property of Universidad Complutense de Madrid 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.)

Copyright of Revista Gaucha de Enfermagem is the property of Revista Gaucha de Enfermagem 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.)

The following case study presents the most important references to the transmission of auditive and visual information in the context of communicative and ethical competences that can be found both in the Bible and in the Magisterium of the Church. The authors apply the media theology approach and will show that media theology discipline has its origins in the Bible. The conducted research analyses the Bible-theological sources of using audiovisual media to communicate messages. The goal of the research is an attempt to answer the followingquestions: How does the Bible refer to the transmission ofaword, image, sound and silence? To what extent does the Catholic Church contemporarily carry out the scientific rellection on the audiovisual media and also communicative and ethics competences? How does it fulfil the most important demands of the Second Vatican Council related to this issue? What kind of challenges, regarding the media research, awaits the contemporary theology? Where are the foundations of media theology discipline? The whole article is divided into six sections: the introduction, biblical basis of the visual and auditive transmission, audiovisuality in the teaching of the Church, communicative and ethical competences, media theology - theology of communication, and conclusions. [ABSTRACT FROM AUTHOR]

The encoding of goal-oriented motion events varies across different languages. Speakers of languages without grammatical aspect (e.g., Swedish) tend to mention motion endpoints when describing events (e.g., 'two nuns walk to a house') and attach importance to event endpoints when matching scenes from memory. Speakers of aspect languages (e.g., English), on the other hand, are more prone to direct attention to the ongoingness of motion events, which is reflected both in their event descriptions (e.g., 'two nuns are walking') and in their nonverbal similarity judgements. This study examines to what extent native speakers (L1) of Swedish ( n = 82) with English as a foreign language (FL) restructure their categorisation of goal-oriented motion as a function of their proficiency and experience with the English language (e.g., exposure, learning history, etc.). Seventeen monolingual native English speakers from the United Kingdom (UK) were recruited for comparison purposes. Data on motion event cognition were collected through a memory-based triads matching task in which a target scene with an intermediate degree of endpoint orientation was matched with two alternative scenes with low and high degrees of endpoint orientation. Results showed that the preference among the Swedish speakers of FL English to base their similarity judgements on ongoingness rather than event endpoints was correlated with exposure to English in everyday life, such that those who often watched television in English approximated the ongoingness preference of the English native speakers. These findings suggest that event cognition patterns may be restructured through exposure to FL audiovisual media. The results add to the emerging picture that learning a new language entails learning new ways of observing and reasoning about reality. [ABSTRACT FROM AUTHOR]

Research based on participation in art and audiovisual media is a methodological genre used primarily in Europe and the United States in disciplines that have a practical or productive component, such as the visual arts, communication media, design, architecture, and cinema. This article analyzes such research and its methodologies, exploring its validation and implementation in a Latin American context. The discussion addresses some of the challenges that such research faces in relation to the dominant methods of scientific research, positivist discourse, and the place of subjectivity and autobiography as fundamental notions in research based on participation in art and audiovisual media. The paper also discusses some of the epistemological directions that arise from this sort of research in a contemporary framework. [ABSTRACT FROM AUTHOR]

Purpose – This paper aims to compile an annotated list of films about or pertaining to the artist Andy Warhol. Design/methodology/approach – Films were located using library catalogs, databases and online searches. Selections were evaluated through inspection and both academic and popular film reviews. Inclusion was predicated not only on subject matter and merit but also on availability either on home media or online. Findings – Warhol’s many artistic creations can be introduced and evaluated using a combination of visual and auditory representation. Movies and television (TV) depicting Warhol through dramatization, primary source film, biographical documentary and his art in the context of other artists and movements are readily available through a variety of media. Originality/value – The selected titles provide a comprehensive introduction to the scholarly analysis of Warhol’s art and work through a format that allows the most extensive representation of Warhol’s artistic output. [ABSTRACT FROM AUTHOR]

The German National Library of Science and Technology (TIB) developed a Web-based platform for audiovisual media. The audiovisual portal optimizes access to scientific videos such as computer animations and lecture and conference recordings. TIB's AV-Portal combines traditional cataloging and automatic indexing of audiovisual media. The article describes metadata standards for audiovisual media and introduces the TIB's metadata schema in comparison to other metadata standards for non-textual materials. Additionally, we give an overview of multimedia retrieval technologies used for the Portal and present the AV-Portal in detail as well as the additional value for libraries and their users. [ABSTRACT FROM PUBLISHER]

The German National Library of Science and Technology (TIB) is developing a web-based platform for audiovisual media. The forthcoming audiovisual portal optimizes access to scientific videos such as computer animations, lecture and conference recordings. TIB's AV- Portal offers new methods for searching within videos enabled by automated video analysis with scene, speech, text and image recognition. Search results are connected to new knowledge by linking the data semantically. This paper aims at describing the TIB's portal for audiovisual media and the multimedia retrieval technologies as well as the added value for libraries and their users. [ABSTRACT FROM PUBLISHER]

Purpose – The author conducted a survey with regard to the situation of audiovisual media in European higher education, with regard to quantities, storage conditions, digitisation, and digital preservation of audiovisual media, and attitudes towards these topics. This paper aims to document the findings. Design/methodology/approach – In total, 226 of around 800 addressed institutions in 33 European states filled in an online questionnaire. Findings – The picture that presents itself is a very diverse one with a variety of content lifecycle stages, types of content and data carriers, and attitudes. Information regarding collections is often fragmentary: there were even contradictory statements from the same organisations, and only 50 percent of the responding institutions had detailed information on their collections. A correlation between lack of information and state of collections could be found: institutions that had thoroughly surveyed their collections often had repositories and dedicated considerable effort to digitisation and preservation. Practical implications – A definite need for digitisation and preservation could be confirmed. Extrapolating from the figures that were the outcome of the present survey, the hours of content existing in European higher education institutions can be expected to run well into the millions. In general, the field of digitisation and digital preservation of multimedia content in higher education could be found to be one that is still in a state of flux and more than superficial awareness of it is lower than could be expected in the information age. Originality/value – This is the first study on such a large scale to have been conducted on the subject of the preservation, management, and use of audiovisual media in European higher education. [ABSTRACT FROM AUTHOR]

This article departs from the concept of “double articulation” within domestication theory, which views media as both objects and texts. Unfortunately, its empirical application has been problematic because researchers tend to concentrate on the contextual, losing sight of specific meanings of objects and texts. Therefore, we subscribe to the concept of “triple articulation,” viewing the immediate sociospatial context of consumption as a specific articulation. Still, the practical relevance of this concept has been questioned. Therefore, we develop and test a methodology that explicitly incorporates this triple articulation in the field of convergent audiovisual media consumption. The results indicate that audiovisual media technologies are meaningfully articulated as objects, texts, and contexts. Moreover, the devised method, which allows the uncovering of articulation interactions, points out that each articulation is able to contribute independently to consumption meanings. Hence, the variation within objects, texts, and contexts raises questions about what we consider “television.” [ABSTRACT FROM PUBLISHER]

This paper probes into the institutional arrangements and the processes through which state and non-state actors engage with and define media policy in Greece. The development of the media and media regulation in Greece has been characterized for years by strong state intervention mostly in the pursuit of particularistic interests. Presently, technological developments and straitened economic conditions transform the media context and create potential for a re-appraisal of the state's media policy. Drawing on recent regulatory developments concerning the passage to digital terrestrial television and the restructuring of public audiovisual media services, the analysis identifies and discusses the main features of the policy-making process, focusing on its institutional stability, policy objectives, accessibility, transparency and sources of information. [ABSTRACT FROM AUTHOR]

Since both responses interrogate different aspects of my article 'The screen as an in-between' (Vanderbeeken ), I will address them separately. Vanhoutte rightly questions the affinities of my theses with Luddism, Orwell and Baudrillard's theoretical terrorism. My reply discusses why these reactionary positions are currently out of joint. Hoens rightly questions my interpretation of the notion 'passion for the real' and whether the examples discussed delineate the specificity of new media. My reply discusses how I take this notion as a starting point for an analysis that complements rather then criticises Badiou and Žižek and how the apparent resemblance between old and new media in fact entails significant differences. [ABSTRACT FROM AUTHOR]

Purpose – The goal of this paper is to explore how an approach upfronting the notion of crisis and related restructuring processes may yield certain strategic stakes and anchor points by which to identify and measure the forms and extent of unfolding changes or innovations broadly understood. One key objective of this exploratory project is to undertake a comparative investigation of the major commonalities and differences between the specific forms, features and manifestations of "crisis" tendencies and counter-tendencies in two sub-sectors of mediated "content": the music industry and the news media industry.Design/methodology/approach – The paper engages with issues and concerns relating to these two particular sub-sectors of the media and cultural industries and considers relevant concepts and indicators of crisis and recent developmental trends in these domains. It introduces the background setting and implications of "crisis" and introduces some distinctive concepts and other aspects of the approach of this exploratory study. It identifies key concepts in research literature surrounding deep economic crises akin to the current crisis and applies and advances initial conceptual frames further in light of manifest developmental trends and relevant indicators of crisis in the two sectors.Findings – Drawing on recently completed research studies in the music and news media industries by the current authors, the paper highlights differences and specificities across the two media domains under study. This highlights the form, features and extent of some key changes and challenges unfolding in the media sector.Originality/value – Its upfront engagement with the idea of "crisis" and related concepts of creative destruction, restructuring, multiple innovation and paradigm shifts makes this exploratory project distinctive, as does its efforts to conduct a comparative analysis of the relevant dimensions of "crisis" and restructuring based on the authors' primary research in two distinct sub-sectors within the media "content" layers. [ABSTRACT FROM AUTHOR]

Audiovisual mass media -especially television and cinema- dominate the contemporary socio-cultural milieu. Their diversity could operate as a creative dynamic in current multicultural educative context. This paper focuses on some theoretical as well as methodological issues concerning the way that analyzing popular films could establish cultural awareness and multi-vocality in the classroom. Both music and image mediascapes provide multi-ethnic echoes and visions of local and global reality that engage children in critical dialogue and self-reflection. [ABSTRACT FROM AUTHOR]

This article refutes the apparently innocent, common sense idea that the audiovisual screen is just a window to the world that displays an extra set of sensual data alongside and independent of our personal, unmediated experience of reality. On the contrary, the screen as an in-between is both a mediator and generator of reality that eventually compromises the distinction between us and our environment. Part 1 discusses three examples of mediation: eclipsing, interpassivity and audiovisual media as a truth-procedure. Part 2 discusses three examples of generation: the production of simulacra, hyperreality and the emergence of a mixed reality. [ABSTRACT FROM AUTHOR]

Contemporary film theory is noted for its sturm und drang, though in the case of the soundtrack, incompatible attitudes and methods are found mostly below the surface where theoretical presuppositions are ruled by unpredictable melodic contours and accents. This article provides a comprehensive overview of philosophical issues concerning audition. It aims to orient a diverse array of sound theories in relation to a set of core issues involving perceptual processing, language, and mind. The article sounds out various cognitive frameworks, where each type of frame projects a favored description and explanation of sonic phenomena. It argues that what is heard in a sound depends on how one listens, and with what purpose. [ABSTRACT FROM AUTHOR]

Copyright of Signa is the property of Editorial UNED 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.)

Purpose - The purpose of this paper is to present a framework to integrate emergent management theory into graduate coursework using media and film. Design/methodology/approach - The paper presents a qualitative and multi-year case study. Findings - Media used to teach management theory must not remain static. It should be updated periodically to remain effective as a pedagogical tool. Research limitations/implications - Further research should be conducted to examine long-term retention rates for information covered. Larger empirical studies should be conducted to verify findings. Practical implications - There appear to be generational differences that suggest trainers, instructors, and professors need to match media-based pedagogical tools to their audience. Originality/value - Few, if any, studies have addressed the need to update media imagery used as part of a comprehensive approach to teaching management theory and concepts. [ABSTRACT FROM AUTHOR]

Copyright of Revista FAMECOS - Mídia, Cultura e Tecnologia is the property of EDIPUCRS - Editora Universitaria da PUCRS 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.)

Background: Control of pain, fear, and anxiety of pediatric dental patients is a common concern for the parents and dental clinicians. This study aimed to compare the efficacy of audiovisual distraction (AVD) and mute-video distraction (MVD) for reduction of pain and anxiety of pediatric dental patients. Materials and Methods: This randomized split-mouth crossover clinical trial evaluated 60 systemically healthy children between 4 and 7 years requiring bilateral pulpotomy of primary maxillary first molars. The samples were randomly divided into 6 groups based on the distraction technique and sequence of its receipt: (I) control-AVD, (II) AVD-control, (III) control-MVD, (IV) MVD-control, (V) AVD-MVD, and (VI) MVD-AVD and were treated. The severity of pain and anxiety of patients during anesthetic injection was measured using physiological (pulse rate [PR]), sound, eyes, and motor (SEM) and faces pain rating (FPR) scales. Data were compared between Groups 1 and 2, 3 and 4, and 5 and 6 using crossover clinical trial analysis (P = 0.05). Results: The increase in PR and the mean FPR and SEM scales during anesthetic injection was significantly smaller in AVD than MVD (P < 0.05). No significant difference was noted between MVD and control technique regarding PR and mean FPR or SEM (P = 1.00). Conclusion: It appears that MVD has no significant efficacy for reduction of pain and anxiety of pediatric dental patients. AVD, however, can effectively decrease the pain and anxiety of pediatric dental patients during anesthetic injection. [ABSTRACT FROM AUTHOR]

The country of origin principle, the cornerstone of the EU Television Without Frontiers Directive – to become the Audiovisual Media Services Directive – is often criticised as being insensitive to the legitimate national public interest to protect viewers – and consumers – of audiovisual media content. This paper seeks to demystify this pessimistic perception of the country of origin rule from the perspective of the consumer interest. It demonstrates that the possible negative repercussions of the country of origin logic for consumer welfare are mitigated in three ways: by specific derogations possibilities foreseen in the Directive in case of violations of the fundamental rules on protection of minors and of human dignity; through the margin of broadcasting control left to the Member States in the areas beyond those coordinated by the Directive, and by means of a new two-step anti-circumvention procedure introduced by the new Directive. [ABSTRACT FROM AUTHOR]

Purpose- This paper aims to take, as a starting point, the contribution of audiovisual documentation to TV news programs, the impact of digitalisation in the organisation and design of audiovisual documentation's services is analysed. Design/methodology/approach - Data, collected by a quantitative and qualitative research on: the use of audiovisual documentation in the news, documentation requests processed by journalists, and the study of the operation of documentation services of six TV stations, serve as a basis to analyse the factors that must be taken into account when it comes to designing query systems of digital audiovisual documentation, so that these systems meet the needs of journalists and can be used with satisfactory results by the users. Findings - Audio-visual documentation is one of the constituent elements of TV information on current events, as much for its quantitative presence (40 percent of the news) as for its qualitative contribution to news messages, as well as for its general use in all the news sections. Audiovisual documentation has a greater presence in important news, and can carry out informative, completive or illustrative functions. News programs use the audiovisual documentation that these same programs have generated, using it mainly as a purely visual documentation. In documentation services, the journalist asks mainly for people's images and, to a lesser extent, formal groups and the news. A second group of categories collects around 10 percent of requests: places, animal-thing, natural phenomena, informal group; while the remaining categories (concept and work) have a marginal incidence. The analysis of documentation use in the news, as well as of the content of requests made by the journalists, offers important clues when it come to designing documentary information systems, specially regarding the analysis of audiovisual douments and databases' query, used directly by the end user. Research limitations/implications- Collected data regarding analogue TV are used to make forecasts about what should be documentation in digital TV. Originality/value - The detailed analysis of the use of audiovisual documentation in the news, as well as of the requests made by the journalists to documentation services, constitutes an important guide when it comes to successfully designing the new digital systems of audiovisual documentation. [ABSTRACT FROM AUTHOR]

Sonority is a narrative and aesthetic feature that takes part into all forms of media accounts, even in audiovisual and digital ones. This essay argues that media sonorities are based on oral traditions, narrative subjectivities, radio cultures, musical expressivities and artistic explorations. Thus, visual elements found in media can also be though of as sonorities, since they can also be described in terms of pitch, cords, notes, rhythm, silence, dissonances and beats. Media sonorities give form to contemporary digital visual elements. [ABSTRACT FROM AUTHOR]

This paper tries to stress the relevance of film analysis as an essential activity for critical citizenśeducation, and as a necessary background to study and analyse other audiovisual media, related with cinema in expressive and narrative forms. We analyse some reasons to explain why film an analysis is rejected, the nature of this concept. And, finally, we present an essays collection «Film analysis and watching guide». [ABSTRACT FROM AUTHOR]

This paper offers a reflection on film analysis nature, a regular activity in cinema teaching. In order to understand this perspective, we show the main risk factors: the empirical data fetishism, the context fetishism and the biographism return. Our proposal reivindicates the relevance of film form and the necessity for pointing out how films comunicate. [ABSTRACT FROM AUTHOR]

Purpose - The purpose of this paper is to examine the provision of audiovisual materials in UK public libraries and their economic value. Design/methodology/approach - A questionnaire survey of all the public library authorities in the UK was used to investigate current provision of audiovisual material, expected future provision, and the amounts spent on and generated by audiovisual collections. Data collected, together with those available from other reputable sources, were then used to estimate the cost benefit or value of audiovisual provision. Findings - The provision of audiovisual material in UK public libraries is widespread and varied. While audiovisual collections provide economic value and generate income from charging for loans, there are significant costs inherent in providing such services. Concerns are raised about the constant developments in media formats and the ability to make adequate provision. A cost benefit of 1:1.34 using the PVB (present value benefits) based on maximum loan charges was found, meaning that the UK gets £1.34 direct benefit from every £1.00 spent on the audiovisual service. Research limitations/implications - There are different methods used by economists to estimate value of public services, all having limitations. The method used in this research is no exception. The cost-benefit ratio found is based on maximum loan charges. However, this figure would be higher if the PYB had been based on purchase costs or lower if the PVB had been based on mean loan charges. Further, the figures do not include indirect benefits or option benefits, so are likely to be underestimates of the true cost benefit of the audiovisual service. Practical implications - This research is likely to be of interest to public library managers and funding bodies needing evidence for the value of audiovisual provision. Originality/value - This is the first attempt to put a monetary value on audiovisual provision in the UK. It also provides insights into current and future audiovisual provision. [ABSTRACT FROM AUTHOR]

Purpose - To show how the double nature of audiovisual material, that it is viewed and referenced, is reflected at the access points of a documentary database. Design/methodology/approach - To achieve this aim a journey through the indexation elements - supported by explanatory examples - is undertaken, so as to identify and analyze onomastic, thematic, geographical and chronological aspects. Findings - The findings reveal the need to identify in indexation the elements viewed in the image track and referenced in the sound track; such a need is supported by user/journalist requests, so that the documentation service is adapted to such information needs. Research limitations - The management method displayed is only valid for medium and large television companies. This derives from the complexity and cost of human resources and time dedicated. Practical implications - The practical value lies in the fact that the best proven structure for indexation of TV audiovisual documents is shown, with this being a useful and agile guide for the implantation of information services. Originality/value - There are few studies that develop the documentation management of audiovisual documents, of those that count on valid work that stems from the study of indexation in television. [ABSTRACT FROM AUTHOR]

The Ball State University Libraries' collections of audiovisual materials are unclassified and kept in closed stacks. Users must search the OPAC to find these materials, which is difficult for users who don't know what sorts of searching options are available or what materials the libraries have. The libraries have developed a series of Web forms that provide guided search options for various types of media, including feature films, non-classical music, and spoken recordings. The Media Finders provide better exposure for and more convenient searching of subsets of library materials. This paper describes the development of the Media Finders, their benefits and drawbacks, and background information on the technical elements and searching strategies used by the Media Finders. [ABSTRACT FROM AUTHOR]

This article is one of two concentrating on the conservation of audio-visual materials. This first one focuses on the conservation of one particular form of A-V material, motion-picture and film media. An outline of the main landmarks in the historical development of film conservation is given, followed by an examination of both the composition and the most common pathologies of film. Finally the environmental and other conditions for effective preservation are described. The companion piece to this article focuses on the conservation of magnetic materials, and should be read subsequent to this first paper (see Library Review, Vol. 53 No. 7). [ABSTRACT FROM AUTHOR]

This study argues that language difference is an important, though often neglected, element in contemporary flows of audiovisual media and organizations' efforts to influence them through policy. Because linguistic issues overlap a number of policy areas, including trade, culture, language, and communication, this study advocates for increased attention to language-related concerns within and across those areas by policymakers and researchers alike. Various developments associated with globalization have contributed to the significance of the transnational media trade, and are discussed in light of language difference. Special emphasis is given the handling of language in media by the European Union and North American Free Trade Agreement, two trade regimes that have treated language difference distinctly. The probable expansion of both trade regimes is likely to increase the salience of linguistic diversity among participant societies in the future. [ABSTRACT FROM AUTHOR]

In 1999, the Education Ministry has financed the National Plan for the Promotion of Cinematographic & Audiovisual Language, promoted by Lino Miccichè, from the University of Rome III, in collaboration with institutions and national and regional associations. This Plan for three annualities has been blocked by italian government, due to his inestability and a lack of political will to renew the education system. [ABSTRACT FROM AUTHOR]

The article proposes to examine the benefits of the Moving Pictures and Sound Cluster (MPS). It finds that the benefits were primarily in the area of sharing understanding of common issues such as copyright and planning for further development beyond the life of the projects. The MPS Cluster quickly emerged as a valuable forum to discuss ideas, issues and problems relating to various projects. The projects in this cluster were Click and Go Video, Handling of Tradition by Electronic Dissemination (HOTBED), Television and radio Indexing for Learning and teaching and Lifesign. With the support of the cluster group and its introduction to training offered at the British Universities Film and Video Council, HOTBED staff engaged in a series of web casts of concerts offered at the Royal Scottish Academy of Music and Drama. The use of these technologies has had a large impact on attitudes at the Academy, and the possibilities offered by the web and time-based media.