In this paper we describe a proposal for researching the annotation behavior of experts in the audiovisual domain, more specifically in relation to cinema. It gives particular focus to tagging behavior, but explores also other film annotation practices used by scholars in their own research, as well as standards and behavior adopted by indexing experts. The main research problem that this thesi...

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Three-dimensional (3D) video is gaining a strong momentum both in the cinema and broadcasting industries as it is seen as a technology that will extensively enhance the user’s visual experience. One of the major concerns for the wide adoption of such technology is the ability to provide sufficient visual quality, especially if 3D video is to be transmitted over a limited bandwidth for home view...

In this paper we present the XIMPEL interactive video platform. XIMPEL has been developed for the Clima Futura climate game, in which we use interactive video as a basis for scenario-driven games, with additional mini-games for elaborating on specific topics or tasks that arise during game play. XIMPEL has also been deployed in education, for creating short viral videos which allow for further ...

This paper analyses the contribution that cultural activities make to social integration and satisfaction with life for older adults, using a nationally representative Dutch sample. Older people participate less frequently in social gatherings and have fewer close contacts than the adult population in general. They also experience increased feelings of loneliness. In contrast, older Dutch adult...

Beginning with classic Hollywood melodramas of the 1940s, cinema has maintained a prolific output of films with their own take on mental illnesses-none more so than the rare syndrome of dissociative identity disorder (DID). DID films are a popular and enduring genre, whose influence can be seen throughout mainstream cinema. Exploration of DID in cinema is a useful exercise in that it touches on...

Channel 4’s tradition of supporting, promoting and contributing to British cinema culture entered a new phase in 1998. Its film-making operations were consolidated into a single, semi-vertically integrated studio called FilmFour. On 1 November it launched a brand-new pay-TV channel of the same name. This channel programmed a variety of cinema, premiering world cinema films, FilmFour’s own produ...

The article engages Hungarian film production between 1945 and 2005 from a twofold perspective. It surveys women’s inclusion in the film-making profession and assesses the representation of women in Hungarian cinema. The study seeks answers to the questions whether state-socialist emancipation rhetoric and policies targeting women’s employment and social inclusion have also affected 1) the doma...