This project is intended to take the film To Live, directed by Zhang Yimou, and apply the Electronic Film Review (EFR) approach to it in a Chinese as a Foreign Language (CFL) setting. The Electronic Film Review project, developed by Alan K. Melby, is aimed at providing a superior language learning experience for Americans learning Chinese. Using feature films as a teaching tool has been found to stimulate and motivate students to achieve higher language levels, but in order for optimal learning to occur the material must be challenging yet accessible to the student. Most feature films, by themselves, are too advanced for the average language learner. The EFR approach provides annotations designed specifically for the feature film with the language learner in mind. These annotations can include access to vocabulary helps, grammar and cultural notes in order to bridge the gap between the learner and the film. It does not alter the film itself. This approach has been used with ESL students (English annotations), French language learners, and with Korean ESL learners (Korean annotations), but has not been developed for students learning Chinese. The purpose of this project is not only to apply the technology of the Electronic Film Review program to a Chinese film for the purpose of aiding Chinese language learners, but also to critique whether or not the tool is effective in helping students to gain better listening comprehensions skills and therefore ultimately better language skills. Previous studies have not shown clear results on this issue. This thesis will briefly review what the EFR project is and how it has been used with other films and languages as well as the findings up to this point. Then it will look at the effects of annotations on several aspects of listening comprehension as well as student preferences and reactions. It will then evaluate the results collectively to determine whether students watching the film without the help of EFR annotations show differing levels of listening comprehension achievement when compared with those using the EFR tools. Suggestions will be made for further improvements.

This report introduces a suite of command-line tools created to assist content developers with the creation of rich supplementary material to use in conjunction with feature films and other video assets in language teaching. The tools are intended to leverage open-source corpora and software (the OPUS OpenSubs corpus and the Moses statistical machine translation system, respectively), but are written in a modular fashion so that other resources could be leveraged in their place. The completed tool suite facilitates three main tasks, which together constitute this project. First, several scripts created for use in preparing linguistic data for the system are discussed. Next, a set of scripts are described that together leverage the strengths of both terminology management and statistical machine translation to provide candidate translation entries for terms of interest. Finally, a tool chain and methodology are given for enriching the terminological data store based on the output of the machine translation process, thereby enabling greater accuracy and efficiency with each subsequent application.

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Submitted by Jorge Silva (jorgelmsilva@ufrrj.br) on 2016-10-05T19:31:26Z No. of bitstreams: 1 2016 - Ulisses de Figueiredo Silva.pdf: 897802 bytes, checksum: 26dd34c15630b316ae0c0bdb68165947 (MD5) / Made available in DSpace on 2016-10-05T19:31:26Z (GMT). No. of bitstreams: 1 2016 - Ulisses de Figueiredo Silva.pdf: 897802 bytes, checksum: 26dd34c15630b316ae0c0bdb68165947 (MD5) Previous issue date: 2016-03-17 / FAPERJ / This work is an analysis of one filmic source produced in 1968: Planet of the Apes. Such an analysis is not exempt from use of own tools for film analysis, like watching the positioning of cameras, the choice of background music, framing and photography. However, they were directed to us to understand in more detail the film in its historical context. The work holds up to understand the intentions of the producers every moment of the film, trying to report such motivations for political, ideological and economic momentum experienced in the 1960s social differences, religious and morality issues are exposed in the film and work to maintain their relationship with the historical issues involved. The Cold War, therefore, is the imagination that guides us to the shooting script of the film, being our purpose to show it as a production endowed with own historical characteristics to its time of production. While corroborate the importance of a cinematographic work as a historical source - a question which naturally arises with the production of this work - demonstrate features of its production decade to accomplish your analysis. In particular, we treat the film's relationship with the so-called nuclear fear. Fear exists in this decade about the possibility of a global nuclear conflict permeates the production of our chosen source, making her a representative of the expectations of their respected for the future of planet Earth. Our research uses as the main source of the film which worked through us for analysis. We also use the book by Pierre Boulle, in which production is based and documentary about the film, so we can have broad perspective to work with our analysis. / Este trabalho trata de uma an?lise sobre uma fonte f?lmica produzida no ano de 1968: Planet of the Apes. Tal an?lise n?o se exime da utiliza??o de ferramentas pr?prias ? an?lise cinematogr?fica, como a observa??o do posicionamento de c?meras, a escolha de fundo musical, enquadramento e fotografia. Contudo, foram elas direcionadas para que possamos compreender de forma mais detalhada o filme em seu contexto hist?rico. O trabalho det?m-se ? compreens?o das inten??es dos produtores a cada momento do filme, buscando sinalizar tais motiva??es para o momento pol?tico, ideol?gico e econ?mico vivido na d?cada de 1960. Diferen?as sociais, religiosas e quest?es de moralismo s?o expostas no filme e trabalhamos para manter sua rela??o com as quest?es hist?ricas envolvidas. A Guerra Fria, portanto, ? o imagin?rio que nos norteia para a decupagem do filme, sendo nosso prop?sito demonstr?-lo enquanto uma produ??o dotada de caracter?sticas hist?ricas pr?prias ? sua ?poca de produ??o. Enquanto corroboramos a import?ncia de uma obra cinematogr?fica como fonte hist?rica ? quest?o essa que surge naturalmente com a produ??o desse trabalho ?, demonstramos caracter?sticas de sua d?cada de produ??o ao realizarmos sua an?lise. Em especial, tratamos a rela??o do filme com o chamado medo nuclear. O medo existente em tal d?cada acerca da possibilidade de um conflito nuclear global permeia a produ??o de nossa fonte escolhida, tornando ela uma representante da expectativa de seus produtores para o futuro do planeta Terra. Nossa pesquisa utiliza como fonte principal o filme sobre o qual nos debru?amos para a an?lise. Utilizamos tamb?m do livro de Pierre Boulle, no qual a produ??o se baseou e document?rios acerca do filme, para que possamos ter ampla perspectiva que colabore com nossa an?lise.

This thesis focuses on present prehension of publicistic genre of film review by its authors and seeks for its differences from original theoretical definitions including the reasoning and question on its future change. Derivation of our research is confirmation of hypothesis which was conclusion of previous bachelor thesis and it speaks of transformational tendency of film reviews in time. Combination of quantitative and qualitative technique gathering data, therefore questionnaire survey with present-day film reviewers and semi-structured interviews with well-known figures, aims to the most perfect capturing of their present output, equipment for it and values, but also theirs own authorship opinions about points of importance within writing about movies and how it is changing in time and eventually where it is heading.

The end of the Second World War brought many questions to the United States. One of the greatest among these was what to do with defeated Germany. Many clamored for the dissolution of the former Nazi State and the shameful humbling of its people while others recognized the value of a revitalized Germany as an ally against the looming threat of an emboldened and empowered postwar Soviet Union. Though retribution held sway immediately following the war, the Cold War consensus of an alliance with West Germany and a reimagining of the German people as victims rather than perpetrators won out as the years progressed. This work examines this evolving shift in perception by the United States and its people and how it can be tracked through several prominent films of the day.

隨著網路世界的興起，在面臨選擇難題時，民眾不僅會接收口耳相傳的資訊，也會以關鍵字上網搜尋目標資訊，但是在海量資料的浪潮中，如何快速的整合資料是一大挑戰。電影影評文章摘要可以幫助民眾進電影院前了解電影的資訊，透過這樣的方式確認電影是自身有興趣的電影。 本研究以電影：復仇者聯盟2影評66篇4616句、蝙蝠俠對超人：正義曙光60篇9345句、動物方城市60篇5545句、星際效應50篇4616句、高年級實習生62篇5622句為資料來源，以分群概念結合摘句之方法生成影評摘要。其中，利用K-Means演算法將五部電影的多篇影評特徵詞、句子進行分群後，使用TFIDF評比各分群語句的重要性來選取高權重語句，再以WWA方法挑選分群中不同面向的語句，最後以相似度計算最佳範本與各分群內容的相似度來決定每一群聚的排序順序，產生一篇具有相似內容段落和段落順序的影評多篇摘要。 研究結果顯示，原本五部電影影評對最佳範本之相似度為15.87%，經由本研究方法產生之摘要對最佳範本單篇摘要之相似度為21.19%。另外，因為影評中各分群的順序是比對最佳範本相似度而產生的排序，整篇摘要會具有與最佳範本相似段落排序的摘要內容，其中內容包含了電影影評中廣泛提到的相似內容，不同的相似段落讓文章摘要的呈現更具廣泛性。藉由此摘要方法，可以幫助民眾藉由自動化彙整、萃取的摘要快速了解相關電影資訊內容和協助決策。 / Abstract As Facing the Big Data issue, there are too many information on the website for reader to understand. How to perform and summarize essential information quickly is a challenge. People who want to go to a movie will also face this situation. Before choosing movies, they will search relative information of the movies. However, there are many film reviews all over the websites. Automatic text summarization can efficiently extract important information for readers, and conclude concepts of reviews on the websites. Through this method, readers can easily comprehend the best idea of all the reviews and save their time. The research presents a multi-concept and extractive film review summary for readers. It generates film review summary from the most popular blog platform, PIXNET, with extract-based method and clustering concept. The method using K-Means algorism let the film review summary focus on specific film to cluster the sentences by features, and having statistical sense and WWA method to measure the weight of sentences in order to choose the representative sentences. On the last step, it will compare to templates to decide the sequence of classified sentences and summary all represent sentences from each cluster. The research provides a multi-concept and extractive film review summary for people. From the result, there are five movies, which are used summary method increase the average similarity to 21.19% that comparing between the film reviews summary and templates summary. It shows that the automatic film reviews summarization can extract the important sentences from the reviews. Also, with comparing template method to order the cluster, it can sequentially list the cluster of the sentences to generate a movie review, which saves readers’ time and easily comprehend.

Diploma thesis Stars, points, percentage: the influence of critics reviews on the Czech cinema attendance aims to verify whether reviews and critics in printed and electronic media affect how many viewers see the movie in the cinema. Besides this main question, this study is also focused on other hypotheses associated with the general notion that a professional film critic, as an expert, has higher demands on audiovisual works, and therefore films rated in professional journals have a lower rating than when they are evaluated in the media intended for the general public. The theoretical framework of the thesis briefly deals with the definition and historical development of criticism at first in general and then with the critics and reviews of film. It also outlines the evolution of cinematography and film as media and art. In addition, some other factors that may affect cinema attendance are mentioned. The last passage summarizes the current foreign and domestic studies and works dealing with similar topics. In the research part, all the films that premiered in our country from 2006 to 2015 were analyzed by the quantitative method. There were almost 2,300 films, which were reviewed in Cinepur and Cinema magazines, on iDNES.cz and aktualne.cz news servers and Moviezone.cz, Kinobox.cz and ČSFD web portals....

This thesis revisits the effects of moving image regulation, exploring its histories in Canada with an interest in the intersections between arts practitioners and legal processes in the administration of culture. During the 1980s and 1990s, intensified film and video regulatory activities necessitated a coalition space for cultural activism populated by media artists and exhibitors, legal and academic scholars, and public intellectuals engaged with representational and identity politics, producing discourses about sexuality, pornography, race, AIDS, censorship, fundamental freedoms, and art. Considering the current state of the law, largely ignored by arts exhibitors in between moments of crisis, I ask how is the reception of this history reflected in practice with regard to regulation and self-regulation? Drawing on work that develops out of Michel Foucault’s theories of governmentality, I argue that actors across Canada were confronted with the task of negotiating not just how contemporary art survives regulatory scrutiny in public policy arenas and the courts, but also the acceptable boundaries of sexual identities and citizenship. This approach prompts a rethinking of contradictory liberal and libertarian notions of censorship to foreground the way ideas are constrained in all aspects of policy, and the way protocols of dissuasion often fail. As such, censoring acts reveal themselves to be less about restricting access than they are about the administration or legitimation of particular cultural values. This thesis historicizes the mandate of the Ontario Film Review Board, explores aspects of movement strategies as they work to crystallize identities, documents specific speech constraints and their justifications in the law, and suggests functions of counter-speech in video productions of the period. This thesis is guided by a concern with the relationship between cultural citizens and the state and asks what role does the state imagine itself playing in regulating the circulation of images? What are the (mis)understandings of censorship within more recent anti-censorship movement efforts, and what are the opportunities for cultural citizens to negotiate change, both in public policy and in popular consciousness? / Thesis (Ph.D, Art History) -- Queen's University, 2010-09-23 11:09:40.235

Cette étude s’intéresse aux écrits portant sur le cinéma québécois qui ont été publiés durant les décennies 1960-70 dans les quatre principales revues de cinéma du Québec, soient Séquences, Objectif, Cinéma/Québec et Champ libre. Cherchant à les comprendre historiquement, elle situe ces publications dans l’évolution de la critique cinématographique au Québec et dans le développement sociopolitique de l’époque. Abordant chacune des revues individuellement, ce texte présente les rédacteurs, le rôle que se donnent les comités de rédaction, ainsi que leur approche du cinéma. Il soulève également les principaux enjeux abordés par chacune d’entre elles et il révèle le discours sur le cinéma québécois qui y est publié. Par la suite, cherchant à établir des constatations sur la critique cinématographique, à partir du corpus étudié, cette étude expose les interactions existant entre ces revues : les raisons derrière leur fondation et les réactions des comités de rédaction lors de l’arrivée de nouvelles concurrentes. En définitive, soulignant les différences et les ressemblances entre les discours sur le cinéma québécois retrouvées dans ces publications, cette étude présente la perception générale de la critique envers la production cinématographique de cette époque. / This study explores the writings on Quebec cinema found in the four main Quebec film magazines of the 1960s and 70s: Séquences, Objectif, Cinéma/Québec et Champ libre. In order to understand them historically, the publications are situated in relation to the development of film criticism in Quebec and within the socio-political context of the time. Examining each of the publications individually, the study presents the editors, the roles of the board of editors, and their approach to cinema. It also identifies the key issues each of the journals addressed by outlining the discourses on Quebec cinema that were published. Based on an analysis of the corpus, and seeking to draw more definitive conclusions about film criticism, this study then examines the various levels of interaction existing between the journals : the reasons for their establishment, and the editorial boards’ reactions to the arrival of new competitors. Highlighting the differences and similarities between the discourses on Quebec cinema found in these publications, this study ultimately reveals film criticism’s general perception toward the film productions of the time.