I analyze the genre preferences of UK film audiences, applying correspondence analysis to data produced for the BFI’s report Opening Our Eyes on the cultural contribution of film. Although there is a weak correlation between the interactively coded variable ‘gender-age’ and genre, I identify clear patterns of genre preferences that extend the original interpretation of this data showing how vie...

In this paper, we explore the problem of recognizing named entities in microposts, a genre with notoriously little context surrounding each named entity and inconsistent use of grammar, punctuation, capitalization, and spelling conventions by authors. In spite of the challenges associated with information extraction from microposts, it remains an increasingly important genre. This paper present...

introduction How genre is understood and configured in analyses of disciplinary texts and discourses is key to understanding the nature of student work in the disciplines. The question of genre is also intimately linked to what we know about expert texts in a discipline. These relationships have been studied for some time in France, first through traditional-formalist frames of text types and m...

In this paper, we propose a new video genre detection using semantic classification with multi-modal features. MPEG-7 audio-visual descriptors are used as multi-modal features. From the low-level multimodal features, genre as high-level semantic meaning is detected by using GINI index in Classification And Regression Tree (CART) algorithm. Experimental results show that the proposed method is u...

A friend of mine in the UK Paddy Walsh has passed on to me your recent ruminations on “How genre theory saved the world”. I note that Paddy is a former subject English teacher and SNS English consultant, and familiar with work done using genre theory in the UK. As I was one of the genre theorists with whom you exchanged articles in English in Australia a good many years ago, I thought I might r...

The article under studies deals with the issue of comparative aspects genre. Particular emphasis has been placed on genre form (in sense a characteristic matrix/canon as complex specific factors), which functions in terms continuous literary process and, accordingly, adapts to its contextual changes, deviations, objections, innovations, correlations, needs receptive environment. author’s and re...

In “The Death of Genre: Why the Best YA fiction Often Defies Classification” (The ALAN Review, 35.1: 43-50), Scot Smith speaks of having to constantly reclassify and reshuffle texts as he and his students consider the books on the genre lists used in his classes. Knowing that “Young adult literature has a long tradition of authors whose works defy genre classification” (43), he mulls over the i...

We describe a system for automatic chord transcription from the raw audio using genre-specific hidden Markov models trained on audio-from-symbolic data. In order to avoid enormous amount of human labor required to manually annotate the chord labels for ground-truth, we use symbolic data such as MIDI files to automate the labeling process. In parallel, we synthesize the same symbolic files to pr...

Any automatic music genre recognition (MGR) system must show its value in tests against a ground truth dataset. Recently, the public dataset most often used for this purpose has been proven problematic, because of mislabeling, duplications, and its relatively small size. Another dataset, the Million Song Dataset (MSD), a collection of features and metadata for one million tracks, unfortunately ...