Film Making

Future AI Animation Andheri stands at the forefront of India's evolving creative education ecosystem, responding to a major transformation underway in animation, visual effects, and digital content production. As artificial intelligence increasingly integrates with creative technologies, the way stories are designed, visuals are produced, and media is consumed has changed significantly. Mumbai, particularly Andheri West, has emerged as a central hub for this shift due to its deep connection with the film, OTT, advertising, and digital media industries. Within this dynamic environment, Future AI Animation Andheri has established itself as a careerfocused institute that combines creativity, technology, and real industry exposure. The institute addresses the growing demand for skilled professionals who understand both artistic fundamentals and intelligent production tools. This transformation has elevated the importance of VFX + AI in Andheri, where creative workflows are now driven by automation, real-time engines, and AIassisted processes. Why Andheri Is a Creative and Technology Hub Andheri West has long been recognized as one of Mumbai's most influential creative zones. Its strategic location provides direct access to film studios, post-production houses, OTT content creators, advertising agencies, and digital startups.

Avec ce film qui prend pour cadre le Chili actuel et les crimes de prêtres condamnés par leur hiérarchie à une discrète pénitence, le cinéaste P.Larraín rompt avec la veine de ses trois longs-métrages précédents, qui composaient -selon ses propres termes -une « trilogie de la dictature ». Cet effet de rupture, pourtant, ne résiste guère à l'examen. Sourds au monde, imperméables à la culpabilité et à la contrition, les protagonistes du film sont bel et bien le signe de ce que le réalisateur y poursuit son esquisse d'une société marquée par l'insistance passive du fait dictatorial : bien que la dictature soit réduite à l'état de vague évocation, le microcosme malsain de El club apparaît comme l'image d'un pays dont l'histoire commence toujours au pointzéro du coup d'Etat militaire. L'article ambitionne d'explorer cette transaction métaphorique avec le passé. Les questions de l'occultation et du dévoilement traversent l'oeuvre dans son entier, aussi la réflexion sera-t-elle structurée autour du taire, du faire dire et du dire et de l'hypothèse que ces postures pourraient être rapportés à l'histoire récente du Chili.

El siguiente artículo indaga sobre las formas y sentido estético que asumen ciertos objetos singulares en la obra chilena inicial del cineasta Raúl Ruiz. Esté análisis considera como factores de identidad objetual una variable icónica, otra funcional y una simbólica; y como medios de consistencia expresiva tres poéticas materiales denominadas de “cuerpos vítreos”, “juguetes” y “proyecciones”, que tendrán representaciones escénicas en toda la obra sucesiva del cineasta.

Learning involves mental processes, acquisition of some skills and competencies which must be relatively permanent within the cognitive abilities of the learners. These skills may be acquired in a formal learning environment or an informal learning environment. The later explains a situation in which people acquire knowledge through direct and indirect contact with various forms of mass media, like newspapers, television, radio, etc. Oje and Babalola (2000), defined learning as the mental activity by which knowledge and skills, habits and attitudes, virtues and ideas are acquired, retained and utilized, resulting in the progressive adaptation and modification of conduct and behaviour. It is important to note here that this process of learning is usually enhanced through the various learning resources used by undergraduate students in higher institutions of learning. Learning resources according to Oje and Babalola (1999) are information, represented and stored in variety of media an...

This paper draws both on the authors’ experiences of making a participatory film exploring collective leadership in diverse communities, and on a world café style workshop at the 2018 Voluntary Sector and Volunteering Research Conference organised by the National Council for Voluntary Organisations and the Voluntary Sector Studies Network. The intention is to provoke dialogue about the opportunities and challenges of participatory filmmaking as a research method, and whether it is an appropriate methodological approach for voluntary sector research, with the potential to advance thinking on about and the use of mixed-media methods.

He is the author of two books, The Grotesque in Contemporary Anglophone Drama (2016) and Irony and Identity in Modern Irish Drama (2006), and editor of collections of essays and journal issues on subjects ranging from Anglophone drama and Irish literature to cultural memory and structuralist theory. His translations into Czech include works by J.

Eco-social imaginaries—the tales and spectacle of our interpretation in dealing with the associated ecology of our built and social worlds—are always at work in our everyday lives. Extraction is intricately inherent as an aspect of this and shapes our myths, childhood memories, the color of the lands around us, where we dance, and even where seagulls gather. This article discusses attempts of disentanglement in three zones of sacrifice using feminist research methods in design in the form of architectural essay films. We claim that essayistic filmmaking is an approach to eco-social imaginaries that could enable graduate research to unbound itself from closeted methodologies that overlook situated knowledge, affects, matters of concern and more than human worlding. We discuss this within the posthumanist feminist approach and feminist pedagogies.

5 articles consacrés à la question documentaire depuis l'angle du rapport au réel et à la "vérité", par une réalisatrice documentaire pionnière du documentaire en animation.

Science et documentaire, histoire d'un malentendu ;
Suspension d'incrédulité, gagner l'attention des spectateurs ;
Bien plus qu'un langage, les couches narratives en documentaire ;
Cause toujours ! De l'impunité en documentaire
Au point, moelleux, enfariné ? L'art d'accomoder le spectateur

Several studies have focused on the economic impact that can be attributed to films and series on tourism in a certain location. Many have focused on the general economic effects such as employment due to the increase of films or series. Others on the effects of film tourism on the overall image of a particular destination. In the case of Mexico, tourism contributes 8.4% to its overall GDP (INEGI, 2023). Through our study, we show how the films and series can contribute to tourism and through it to economic growth in developing countries in which tourism contributes significantly, like Mexico, by highlighting the overall Gross Production Output, intermediate consumption, and GDP of the filmmaking industry growth rates according to the satellite data account of culture in Mexico from 2015 to 2021 and proceeding to construct a econometric evaluation. The measurement is performed using a comparison of fixed and random panel data models and a set of tests that allow for us to measure the influence of film and tv series on tourism in Mexico so as to strongly suggest economic policies that will further benefit growth through the means of the film industry towards tourism.

Cinémas d'Amérique latine est mis à disposition selon les termes de la licence Creative Commons Attribution -Pas d'Utilisation Commerciale -Pas de Modification 4.0 International. Ao longo de muitos anos, a obra fílmica de Alejandro Jodorowsky esteve distante do público e do campo da reflexão cinematográfica. A discórdia com o produtor Allen Klein -detentor dos direitos de El Topo (México, 1970) e La montaña sagrada (México, EUA, 1973) impediu o acesso aos seus principais filmes. Seu primeiro filme, Fando y Lis (México, 1967) tampouco era acessível. Ao longo dos anos de 1980 e 1990, Jodorowsky era mais conhecido por suas outras atividades -roteirista de histórias em quadrinhos, principalmente, especialista em tarô, terapeuta, romancista, poeta -que como cineasta. Sabia-se que o roteirista do famoso desenhista Moebius tinha realizado filmes. No entanto, era extremamente difícil chegar até eles. A curiosidade de conhecer seus filmes se originava, muitas vezes, a partir do interesse e da admiração de suas histórias em quadrinhos. Esse ostracismo somente terminou nos anos 2000, quando começou a ser possível baixar os seus filmes pela internet. Assim, as já velhas e as novas gerações puderam entrar em contato pela primeira vez com a sua filmografia. Em 2004, Jodorowsky e Klein fizeram as pazes e anunciaram a remasterização dos filmes em DVD e sua posterior distribuição pela Europa e pelos EUA, o que foi feito em 2007. Em 2006, as cópias em 35 mm de El Topo e La montaña sagrada foram restauradas e exibidas na sessão Classics do Festival de Cannes do mesmo ano. Podemos afirmar que durante todo esse período em que o cinema de Jodorowsky permaneceu inacessível, a reavaliação e a reinterpretação de sua filmografia foram praticamente nulas. Nesse espaço de tempo os antigos clichês sobre a sua obra se mantiveram, em sua maior parte, intactos. Este ensaio se insere, portanto, no contexto da reinterpretação crítica que a filmografia de Jodorowsky vem sofrendo nos últimos anos. Se podemos afirmar que o interesse estético pelos seus filmes se renovou no âmbito internacional, também constatamos que o estudo de sua filmografia aplicada ao contexto cinematográfico mexicano ainda é bastante parco. Quais foram os efeitos provocados pelos seus filmes no interior da cinematografia mexicana? Como foi a recepção

In this study we will take a look at how subscriptions for videos-on-demand (SVOD) service providers have gained momentum in the case of Mexico and what this means for other developing countries. These services have had a major impact on the filmmaking industry as a new distribution channel and have come to revolutionize it. What we found in Mexico is the importance for regulatory policies that need to be implemented to ensure the continual growth of the filmmaking industry that has a spillover effect in other industries like tourism, information technologies, and the overall service sector. However, the regulations proposed so far regarding quotas for percentage of films that need to be of Mexican filmmakers might not be the best option according to a Monte Carlo simulation. We propose that the Monte Carlos simulation model can be used in policy decisions and might be of benefit for simulating economic policies regarding the regulation of creative industries like that of film exposure through SVOD providers.

Le Journal de Frida Kahlo : des pleins et des liés Paru dans Mélusine, n°XXXIII, Editions L'Âge d'Homme, « Autoreprésentation féminine », 2013, p. 172-182 L'art de Frida Kahlo est un ruban autour d'une bombe. Le Journal de Frida Kahlo (1907-1954), connu du grand public depuis 1995 1 , représente, à ce jour, le document le plus improbable retraçant les dix dernières années de la vie d'une peintre qui a mêlé, tout au long de son existence, l'exercice artistique à la pulsion vitale et politique du Mexique et du monde. Davantage connue pour les cinquante-cinq autoportraits qui constituent presque la moitié de sa production picturale, l'artiste crée ici un autre type d'oeuvre autobiographique, destiné au départ à ne pas sortir du cadre de l'intime 2 , où elle laisse libre cours à la spontanéité et à la fulgurance de l'image écrite et peinte. Soulignons cette originalité du Journal dans ce qui serait le corpus des livres d'artistes : Frida Kahlo est alternativement/simultanément celle qui écrit et celle qui peint 3 . Quoique l'écriture diaristique soit restée marginale dans le surréalisme, l'introspection, elle, se trouve au coeur des préoccupations du mouvement. L'autoreprésentation à la fois corporelle et intérieure caractérise l'activité créatrice -picturale, surtout, mais aussi littéraire -des femmes surréalistes, au point qu'« il est impossible d'ignorer la forte pulsion auto-représentative

Le Journal de Frida Kahlo : des pleins et des liés Paru dans Mélusine, n°XXXIII, Editions L'Âge d'Homme, « Autoreprésentation féminine », 2013, p. 172-182 L'art de Frida Kahlo est un ruban autour d'une bombe. Le Journal de Frida Kahlo (1907-1954), connu du grand public depuis 1995 1 , représente, à ce jour, le document le plus improbable retraçant les dix dernières années de la vie d'une peintre qui a mêlé, tout au long de son existence, l'exercice artistique à la pulsion vitale et politique du Mexique et du monde. Davantage connue pour les cinquante-cinq autoportraits qui constituent presque la moitié de sa production picturale, l'artiste crée ici un autre type d'oeuvre autobiographique, destiné au départ à ne pas sortir du cadre de l'intime 2 , où elle laisse libre cours à la spontanéité et à la fulgurance de l'image écrite et peinte. Soulignons cette originalité du Journal dans ce qui serait le corpus des livres d'artistes : Frida Kahlo est alternativement/simultanément celle qui écrit et celle qui peint 3 . Quoique l'écriture diaristique soit restée marginale dans le surréalisme, l'introspection, elle, se trouve au coeur des préoccupations du mouvement. L'autoreprésentation à la fois corporelle et intérieure caractérise l'activité créatrice -picturale, surtout, mais aussi littéraire -des femmes surréalistes, au point qu'« il est impossible d'ignorer la forte pulsion auto-représentative

المستخلص
هدف البحث إلى الكشف عن فاعلية برنامج تدريبي قائم على تحسين مهارات الوظائف التنفيذية لتنمية إدارة الذات والمهارات الأكاديمية لدى أطفال التّوحد، واعتمد هذ البحث على المنهج شبه التجريبي، وتتكون عينة البحث (6) من أطفال التّوحد كعينة تجريبية و(6) من أطفال التّوحد عينة ضابطة، ممن تتراوح أعمارهم ما بين (8-12) سنة، واستمارة جمع البيانات الأولية عن الأطفال ذوي اضطراب التّوحد {إعداد الباحثة}، ومقياس الطفل التوحدي {إعداد عادل عبد الله. 2003}، مقياس مهارات الوظائف التنفيذية لدي ذوي اضطراب التّوحد (إعداد أحمد علي محمد أحمد بلح)، ومقياس إدارة الذات (إعداد الباحثة)، ومقياس المهارات الأكاديمية (إعداد الباحثة)، واستمارة جمع البيانات الأولية للأطفال ذوي اضطراب التّوحد (إعداد الباحثة)، بالإضافة إلى البرنامج التدريبي، وجاءت نتائج البحث تشير إلى وجود فروق ذات دلالة إحصائية بين القياس القبلي والبعدي على مقياس إدارة الذات بعد تطبيق البرنامج لصالح القياس البعدي (85.7 إلى 49.6)، وتوجد فروق ذات دلالة إحصائية بين القياس القبلي والبعدي على مقياس المهارات الأكاديمية بعد تطبيق البرنامج، لصالح القياس البعدي (85.7 إلى 52.2).

Artificial intelligence (AI) has made substantial progress in diverse areas, including the entertainment business. AI technologies are being used more and more in film making to make production process more efficient, boost creativity, and even impact storytelling. This paper presents an examination of the utilisation of AI in the field of filmmaking; encompassing its influence on pre-production, production, post-production, and audience engagement. It also covers the utilisation of diverse AI approaches, including machine learning, computer vision, natural language processing, and generative adversarial networks, in various elements of film making. Furthermore, it examines the ethical implications, obstacles, and potential future developments of AI in film making. The study contributes to the ongoing discourse on the intersection of technology and creativity in modern cinema and adds to the continuing discussion on the relationship between technology and creativity in modern cinema.

This study aimed to carry out a case study in radio, television and cinema department at higher education level by using game-based learning approach and to measure whether this application has an effect on academic motivation. For this purpose, a case study covering fourteen weeks was conducted at Çanakkale Onsekiz Mart University, Faculty of Communication, Department of Radio, Television and Cinema, RTS-3029 coded Advertising Film Applications-I course, and a quantitative research was carried out using the academic motivation scale. Academic motivation was analysed with seven sub-dimensions of the scale: intrinsic motivation - knowledge, intrinsic motivation - accomplishment, intrinsic motivation - stimulation, identified regulation, introjected regulation, external regulation and amotivation. During the case study with the participants, studies covering film making processes were carried out through commercial off-the-shelf (COTS) games named Cine Tracer and Cine Tracer 2.  The study, in which there were experimental and control groups consisting of 30 participants each, was analysed with a quantitative pretest-posttest control group quasi-experimental design method. In the study, it was hypothesised that academic motivation (H1) and intrinsic academic motivation (H2) would increase positively, while extrinsic academic motivation (H3) would not change. H1 and H2 hypotheses were tested and no significant difference was found.

BRESSON TÉLÉPATHE Emprise, méprise Dans ses fameuses Notes sur le cinématographe, comme dans divers entretiens, lorsqu'il s'agit d'expliquer sa démarche, Robert Bresson insiste souvent sur le fait que le caractère automatique de la prise (de vues et de son) constitue un moyen essentiel pour saisir l'irréductible singularité du modèle filmé : « une mécanique fait surgir l'inconnu 1 » pour prélever un seul énoncé lapidaire-qui inviterait à des comparaisons avec Jean Epstein ou André Bazin, pour rester sur le terrain de la pensée francophone du cinéma. On peut être également sensible au fait que le cinéaste propose, de manière certes ponctuelle (ce sont justement des détails qui me retiendront par la suite), un rapprochement avec la télépathie afin de décrire la relation tissée avec ses interprètes : « Entre eux et moi : échanges télépathiques, divination » ; ou encore cette autre sentence qui avance une idée comparable : « Ton film commence quand tes volontés secrètes passent directement à ton modèle 2. » La métaphore de la télépathie semble désigner la maîtrise du réalisateur qui userait de moyens situés hors (soit en deçà, soit au-delà) des méthodes de direction d'acteur habituelles, déployant un pouvoir d'ordre occulte s'exerçant à distance de l'interprète. Si l'on reste du côté du créateur, la justification paraît assez évidente : l'automaticité tant vantée, associée aux appareils de prise de vues et de son, risque de réduire,

Cinema is primarily a visual media (sound came much later to cinema) and responsibility of the film's vision entirely dependent upon the CALL of cinematographer. A film's choreography (characters' movements) and mise en scene (what you put in a scene) both are largely designed by the CALL of cinematographer. Actually Cinematographer calls for the final inner & out look of a film , webs , ads , shows , docus and reels and he or

The Blue Lamp. Fearnley was even more involved in the making of Street Corner, which dealt with the work of women police officers. He had a complete veto on the script, which went through seven rewrites, and also on the choice of locations. The final collaboration was on The Long Arm, which covered the work of the CID and was the last film to be shot at Ealing Studios before it was sold to the BBC. But, as Rock points out, the culture in Britain was changing. Television was replacing the cinema as the major source of entertainment; a succession of police corruption scandals blackened the image of the Met; and in cinema itself the British New Wave was about to appear. At Scotland Yard, the replacement of Commissioner Scott by someone who did not share his enthusiasm for the use of cinema, and later the retirement of Fearnley, put an end to an era of productive collaboration between the police and the film industry. This is a carefully argued, well researched and persuasive study which adds an important dimension to our understanding of the British film industry.

Dans L’Image en cours l’organicité, la poésie et le croisement s’opèrent autour de l’image : croisement de deux univers a priori distincts qui entrent pourtant en collision et en résonance, celui du cinéaste russe dissident, Andreï Tarkovski, et d’une photographe de guerre, Sophie Ristelhueber, par l’intermédiaire de l’écriture de la philosophe et anthropologue Christine Bergé. Des échos se créent entre leurs deux univers et cela par le biais de l’image, soit par sa matérialisation concrète derrière l’objectif d’artiste (la caméra ou l’appareil photo), soit par sa conceptualisation par la philosophe. Qui plus est, la création artistique et l’élaboration de concepts sont liées, comme il est précisé en page 8 de la publication : « photographier, dit Ristelhueber, c’est donner une forme à une idée ».

Hayat, bazen karşımıza çıkarcı insanları çıkarır. Bu kişiler, sizinle sadece menfaatleri doğrultusunda ilişki kurarlar ve sizi çıkarları tükendiğinde hızla terk ederler. Çıkarcı insanlar, hayatımızın bir parçası haline geldiğinde, bu kişilerin temel bir yanılgı içinde olduklarını gözlemlemek kaçınılmazdır: Karşısındaki insanın her şeyin farkında olmadığını zannederler. Oysa, çoğu zaman bu çıkarcı bireyler, kendi çıkarlarına odaklanmışken, asıl olanı gözden kaçırırlar; yani, karşılarındaki kişinin farkındalığını. Çıkarcı insanlar, ilişkilerini kendi menfaatleri üzerine kurarlar. Onlar için önemli olan, size olan dostlukları ya da sevgileri değil, sizden elde edebilecekleri kazançlardır. Bu kazanç maddi olabilir, manevi olabilir ya da sosyal statü olabilir. Ancak ne olursa olsun, çıkarcı kişiler için önemli olan tek şey, kendi çıkarlarının tatmin edilmesidir. Bu noktada yaptıkları en büyük hata, karşılarındaki kişiyi aptal yerine koymak ve onların bu çıkar oyunlarını fark etmediğini düşünmektir.

This research explores the concept of autotopography as an intermediate space emerging through the interplay of the self with the other and the performativity of autotopographical production. It discusses performative productions in which spatial imaginaries take on visual and auditory forms through creative processes in which self and space intertwine and transform each other. Focusing on the homely spaces, it discusses three subsequential architectural essay films within their context of making. These films are performative autotopographical practices that attempt rather uncanny narratives of the home through drawing, filming, and modelmaking both as collective and individual. We claim that the performative making of architectural essay films interweaves multiple forms of recording and many states of subjective encounter to build a spatial narrative. And, the in-between spatialities that we magnify trace the multitudes of creative and imaginative translations of monologues, dialogues, and polylogues that shapeshift into architectures, blurring the definite and established threshold of the home.

Unlike Crimes and Misdemeanors or Match Point, which approached similar themes, Cassandra's Dream by Woody Allen (2007) had no good reviews. However, according to the author of this article, for those who analyse this screenplay from the perspective of the legacy of Greek tragedy in Western culture, its merits should not be underestimated. The frequent references to Greek tragedy, either titles or characters, prove that the American director wants to present Cassandra's Dream as a contemporary instance of Greek tragedy, and contemporary men and women as victims of an almost almighty and mocking tragic irony. The author's aim is also to show the evident similarities of this screenplay to Match Point and, above all, to Crimes and Misdemeanors, the matrix screenplay for the three films.

El objetivo será indagar sobre la potencia del escrache, producida por el activismo artístico de H.I.J.O.S en conjunto con el GAC, como herramienta sensible capaz de construir una imagen/acontecimiento transformador de la subjetividad colectiva en un sentido emancipatorio. Con tales fines, el trabajo ha sido dividido en cinco secciones. La presente introducción, tres partes correspondiente al desarrollo del trabajo: contexto de fines del siglo XX, el análisis del activismo artístico de HIJOS y el GAC, el análisis del escrache desde una mirada crítica y unas breves palabras a modo de cierre. El contexto posdictadura y las demandas de justicia en las producciones artísticas En el último cuarto del siglo pasado El Proceso de Reorganización Nacional tenía como fin establecer el "orden" que se había visto comprometido con la movilización social y política de los años anteriores. Durante este período los dictadores se propusieron quebrantar toda acción que intentara disputar el poder. El ejercicio de la violencia política mediante el establecimiento del terror en la sociedad y la desaparición sistemática de personas singularizó a la dictadura frente a otros regímenes totalitarios. La restauración de la democracia a partir de 1983, bajo la presidencia de Raúl Alfonsín, permitió que se llevaran a cabo los juicios solicitados por allegados a las víctimas. Sin embargo, las condenas fueron disueltas por las leyes de Punto Final y Obediencia Debida promulgadas entre 1986-1987. En un extenso período de impunidad emergen diferentes organizaciones, como grupo Escombro, grupo Etcétera, colectivo Situaciones, entre otros, buscando justicia contra el sistema represivo que seguía operando. Dentro de estas propuestas, a fines de la década del noventa, la organización H.I.J.O.S (Hijos e Hijas por la Identidad y la Justicia contra el Olvido y el Silencio) junto a la colaboración del colectivo GAC (Grupo de Arte Callejero), utiliza el "escrache" como herramienta sensible capaz de poner en evidencia la cara de los condenados absueltos que pretendían pasar desapercibidos. La imagen producida a través del brought to you by CORE View metadata, citation and similar papers at core.ac.uk

Motivated by a need to engage students in the critical evaluation of visual information, and by a desire to teach students how to use digital technologies as a way of exploring and expressing geographical constructs and processes, the geography departments at Arizona's three universities sought and received funding from the Arizona Board of Regents for learner-centered curricular development organized around the theme of "Mediated Geographies. " In this paper, we explore how critical pedagogy and learner-centered education strategies were used to engage students in semester-long documentary and photo essay projects. Some of the student projects discussed in this essay are posted for viewing at the project Web site: http://geography.asu.edu/lukinbeal/mediated.html. This project was funded by the Arizona Board of Regents' (ABOR) Learner Centered Education Grant Program. For more information about ABOR's program, see

Du 15 septembre au 17 septembre 2023,
dans le cadre des Journées Européennes du
Patrimoine et de la Culture, et de la candidature
de Clermont-Ferrand au titre de Capitale
européenne de la culture 2028, VIDEOFORMES
a accueilli, à la Chapelle de l’Oratoire, l’oeuvre
vidéo INcoming, réalisée en 2016 par l’artiste
chilien Enrique Ramirez. L’occasion de revenir
sur une oeuvre à la poétique troublante et d’une
extrême actualité.

In an era characterised by rapid technological advancement and attention scarcity, the ability to forge deep emotional connections with audiences is paramount. This paper delves into the nexus of emotion, storytelling, and immersive technologies, particularly in the realm of contemporary filmmaking. Focusing on the iconic Star Wars franchise as a case study, it investigates how innovative filmmaking techniques and immersive storytelling transcend traditional boundaries, captivating audiences and shaping cultural paradigms. Drawing on a diverse array of academic disciplines including film studies, psychology, virtual reality, and sound design, the study elucidates how immersive environments engender emotional resonance and transform narrative engagement. Through a comprehensive literature review, key theoretical frameworks such as presence, immersion, and empathy are explored, highlighting their critical roles in crafting compelling cinematic experiences. The paper also examines the tangible impact of immersive technologies on audience perceptions and experiences, shedding light on the evolving landscape of entertainment design and audience engagement. Ultimately, this study offers valuable insights into the complex interplay between technology, emotion, and storytelling in contemporary cinema, paving the way for further research in this burgeoning field.

The New Media Initiative project of Ryerson University had been successful in applying image and video processing techniques in creating special effects in film making. Our system utilizes a graph cut image segmentation and snakes active contour approach to obtain object cut outs in 3-D with tracking. It uses exemplar-based inpainting for background filling for missing regions uncovered by object transformation. The two methods combined allows for easy video object editing with reduction in user input. Previously implemented shot detection by twin window amplification method and steerable pyramids texture generation is also part of the system. Lastly, a set of transformation was implemented that serves as a basis for testing the system.

The New Media Initiative project of Ryerson University had been successful in applying image and video processing techniques in creating special effects in film making. Our system utilizes a graph cut image segmentation and snakes active contour approach to obtain object cut outs in 3-D with tracking. It uses exemplar-based inpainting for background filling for missing regions uncovered by object transformation. The two methods combined allows for easy video object editing with reduction in user input. Previously implemented shot detection by twin window amplification method and steerable pyramids texture generation is also part of the system. Lastly, a set of transformation was implemented that serves as a basis for testing the system.

This paper presents a new approach to formation control of a swarm of unmanned aerial vehicles (UAVs) to track a moving target in dynamic environment based on the artificial potential field method combined with a state feedback controller. In this approach, an attractive potential field is generated between the leader and the target by the relative position of them to drive the leader to track the target. The other robots in the swarm are controlled by the attractive potential field between them and the leader to follow the leader. By the influence of the potential field between neighboring robots, the organization of the swarm is stable and robust, and the collisions do not happen in the swarm. Obstacle avoidance is driven by a repulsive potential field thatis created in the region around the obstacles. The effectiveness of the proposed approach has been verified in simulations.  Index Terms-formation control, potential field method, nonlinear control, aircraft control

Unmanned aerial vehicles (UAVs), specifically quadrotors, have revolutionized various industries with their maneuverability and versatility, but their safe operation in dynamic environments heavily relies on effective collision avoidance techniques. This paper introduces a novel technique for safely navigating a quadrotor along a desired route while avoiding kinematic obstacles. The proposed approach employs control barrier functions and utilizes collision cones to ensure that the quadrotor's velocity and the obstacle's velocity always point away from each other. In particular, we propose a new constraint formulation that ensures that the relative velocity between the quadrotor and the obstacle always avoids a cone of vectors that may lead to a collision. By showing that the proposed constraint is a valid control barrier function (CBFs) for quadrotors, we are able to leverage on its realtime implementation via Quadratic Programs (QPs), called the CBF-QPs. We validate the effectiveness of the proposed CBF-QPs by demonstrating collision avoidance with moving obstacles under multiple scenarios. This is shown in the pybullet simulator. Furthermore we compare the proposed approach with CBF-QPs shown in literature, especially the well-known higher order CBF-QPs (HO-CBF-QPs), where in we show that it is more conservative compared to the proposed approach. This comparison also shown in simulation in detail.

Unmanned aerial vehicles (UAVs), specifically quadrotors, have revolutionized various industries with their maneuverability and versatility, but their safe operation in dynamic environments heavily relies on effective collision avoidance techniques. This paper introduces a novel technique for safely navigating a quadrotor along a desired route while avoiding kinematic obstacles. The proposed approach employs control barrier functions and utilizes collision cones to ensure that the quadrotor's velocity and the obstacle's velocity always point away from each other. In particular, we propose a new constraint formulation that ensures that the relative velocity between the quadrotor and the obstacle always avoids a cone of vectors that may lead to a collision. By showing that the proposed constraint is a valid control barrier function (CBFs) for quadrotors, we are able to leverage on its realtime implementation via Quadratic Programs (QPs), called the CBF-QPs. We validate the effectiveness of the proposed CBF-QPs by demonstrating collision avoidance with moving obstacles under multiple scenarios. This is shown in the pybullet simulator. Furthermore we compare the proposed approach with CBF-QPs shown in literature, especially the well-known higher order CBF-QPs (HO-CBF-QPs), where in we show that it is more conservative compared to the proposed approach. This comparison also shown in simulation in detail.

El trabajo aborda el escrache como una de las nuevas formas de acción colectiva, que irrumpió en la década de 1990 en Argentina. La palabra proviene del lunfardo, habla que originariamente empleaba, en la ciudad de Buenos Aires y sus alrededores, la gente de "clase baja". Se trataba de una protesta realizada en los domicilios de los genocidas de la última dictadura cívico-militar; de una "condena social" como respuesta a las "leyes de impunidad". La agrupación hijos se podría decir fue la "inventora" del escrache, con su lucha profundizó y le dio contenido al "derecho humano a la verdad", derecho fundamental de toda la sociedad argentina-víctima de la dictadura-a conocer la verdad y luchar por ella, más allá del riesgo y el peligro que este ejercicio implicara. Se relaciona al escrache con la parrhesía de Michel Foucault como acto verídico, de decir verdad, de hablar franco, de "escupir" la verdad ante un Estado que pretende ocultarla o ignorarla. En este sentido, la agrupación hijos se erigió como la parrhesiasta por excelencia. Palabras clave: escrache, Argentina, hijos, derecho a la verdad, parrhesía.

Bhutan until the last decade drastically restricted its contact with the outside world, and recent media interest has focussed only on Bhutan's late reception of global satellite TV and the Internet. To date there has been no scholarly account of its indigenous DV film industry; one that has produced nearly a hundred featurelength films, none of which have yet been screened outside Bhutan. The author of this report has had unique access to the country and, as a screenwriter and director herself, has by working in collaboration with Bhutanese colleagues gained added insights into the creative and practical dilemmas faced by film-makers there. She also highlights areas of concern to film theorists with regard to questions of spectatorship, as well as narrative strategies around the notion of the dream. Present-day perceptions of Bhutan Until 1999, the Western world paid little attention to the small Buddhist kingdom of Bhutan in the eastern Himalayas. As well as its geographical remoteness, Bhutan was isolated politically as first its ally Tibet was annexed by the Chinese (1949-1951), and then the neighbouring independent kingdom of Sikkim was subsumed into India (1975). The government of Bhutan also discouraged foreign visitors, and culturally the country's existence only sporadically impinged on us through texts such as James Hilton's 1933 novel Lost Horizon, which first coined the term 'Shangri-La' to connote a remote, lost paradise. 1 However, inside Bhutan since the mid-1990s there have been moves to engage with global culture, culminating in the country's becoming, in 1999, the last on earth to receive international satellite TV, negotiating a 48-channel satellite package, which included CNN, MTV and a variety of Hollywood and Bollywood movie channels. This event cued a spate of world press coverage, which opined that sudden access to global electronic media would spell 'trouble in paradise' in a stable society that, on its outward surface, seemed to retain essentially feudal characteristics (David 1999; Scott-Clark and Levy 2003). This coverage overlooked two important points. Firstly, that Bhutan is not a passive victim of new media as they suggest: The introduction of these media and their likely effects has been, 1 Lost Horizon was later adapted into the 1937 Frank Capra film of the same name.

I'm honoured and particularly pleased to return to La Trobe University to speak about Ordinary People. The last time I was invited to speak at this university I had just begun shooting Ordinary People and I spoke at the time about the film as an imagined object. Tonight I am going to speak about it as a lost object. There's a repetition in play here which I rather like. The French psychoanalyst Jacques Lacan said that repetition was a missed encounter with the real, and that is my subject: a missed encounter. The Australian journalist Peter Manning, who knew the history of cutting Ordinary People, said to me last year: 'what is going to be unbearable for you is that when the film is released, it is going to receive a lot of critical acclaim and you're going to be left standing in the sidelines saying, but-'. Manning's comments have proved prescient. Ordinary People screened on the ABC in March this year to critical acclaim. It has been selected for a number of local and international festivals, including Mumbai, The Real Life on Film Festival, and the inaugural Aus Fest, the Australian Digital and Video Film Festival. Before making Ordinary People I'd never held a camera, never done a film-making course and wasn't even a surreptitious wannabe film-maker. Now I've made a film reaching an audience that my academic work will never see, I've been paid quite handsomely for it, and nobody has had a bad word to say about the film. So why would I want to jeopardise this almost mythical success by speaking against my own film? Because that's what I want to do tonight: raise a series of 'buts' about the film you've just seen. Raising buts about one's own film involves a curious and difficult speaking position. Contractually I'm bound to say nothing critical against the funding body that now owns the film. But it is not only fear of litigation that makes my speaking position so difficult. It is also that I'm speaking against my own work, against a film that carries my name. Director, writer, co-producer, researcher: Ordinary People is my film. It is the result of four rather terrible years of hard slog, working in a medium that wasn't my own, amongst professionals who, in the main, held creative,

The study investigates piracy from three categories of stakeholders outside the 3% elite population that patronizes the mega
stores. The youth represent a high population of movie viewers found in the suburban areas of selected cities. It also took
account of those in the universities that constitute major patronage but do not actually pay the right price for the films. There
was the need to study the unique and peculiarity of Nigerian piracy, the level of awareness of consumers of pirated products,
the level of involvement of the youths, and if operates uniquely, and exhibits different dynamics from foreign examples, as
well as the effectiveness of the antipiracy bodies. This study selected 16 low-budget filmmakers and sampled the opinions
of 500 online-dependent university students including TV/DVD-playback suburban youth population. Findings reveal that
those who advertently or inadvertently patronize pirated movies account for 88%, with 93% proliferation of low-quality pictures. 100% of university students sampled depend wholly on online downloads, except if compelled to stream online. Mutual suspicion characterizes Nigeria’s film industry, and the study identified six categories that unfortunately make the list of
collaborators of Nigerian pirates with unregistered marketers accounting for 93.8%, unscrupulous practitioners outside the
registered unions (75%), while 53.3% implicated the regulators. Nigerian film piracy exhibits a special peculiarity of illegally
copying, printing, and publicly selling these counterfeits with impunity. And sadly, to the chagrin of creative artists. The study
concludes that Nigerian pirates and their patrons enjoy the unhindered liberty of operating publicly, and the law enforcement
agents do not yet have the magic wand to end it. Getting listed by Netflix has become a major breakthrough, while the return of cinema viewing centres presently serves as another avenue of direct negotiation and control for Nollywood filmmakers

Dans son ultime recueil 1 , Serge Daney, soucieux de poser quelques principes esthétiques permettant de légitimer le cinéma qu'il aimait, esquissait une distinction entre « films à scénarios » et « films à histoire ». C'est cette distinction et ses enjeux esthétiques et cinématographiques que je me propose de réfléchir et de préciser, en insistant d'entrée de jeu sur les multiples acceptions du terme scénario.

cinéaste-artisan par Robert Daudelin D ans l'atelier de l'artisan, rien ne se perd. S'il est couturier, il empile dans un grand sac de coton les retailles qui serviront aux réparations, ultimement à la confection d'un joli patchwork; s'il est menuisier, il y a toujours une tablette de l'atelier où s'entassent les bouts de bois qui finiront bien par servir, parfois même ils deviendront sculpture. Au cinéma, cela a un nom : Le plan sentimental, court métrage de Jacques Leduc, bricolé en 1977 au moyen de plans non utilisés durant l'année de montage des sept chapitres de la saga documentaire qu'est «Chronique de la vie quotidienne». Recevant le prix Albert-Tessier en novembre dernier, Leduc avouait candidement ne s'être jamais «senti artiste», insistant sur le caractère collectif de la réalisation d'un film. Plusieurs génériques («Chronique de la vie quotidienne», Albédo, Le dernier glacier) proclament d'ailleurs explicitement cet esprit de collaboration. Mais quoi qu'il en soit de cette volonté de rompre avec ce discutable « un film de », l'ensemble des films attribués au cinéaste n'en constitue pas moins une oeuvre. Sans doute peut-on dire de Jacques Leduc qu'il est un « natural filmmaker » et que cinéaste, il l'est depuis ses premières séances de