This work will focus on the possibilities of data mining in film analysis and its use in predicting ratings on ČSFD movie diabase, based on film annotations and other attributes of the film. The main goal is to determine whether it is possible to predict user ratings of new movies and identify the attributes that affect the most the ratings on Movie Database, as well as other factors such as. revenues and attendance.

In this essay, we examine how three female superheroes in movies are portrayed and how that role has changed over time. We have chosen to examine Wonder woman, Supergirl and Black widow. The time period exanimated was a period between 1974 and 2020. The time period was chosen by availability to material from real feature movies and TV series. The purpose of the essay is to investigate whether there are any general differences in how female superheroes have been portrayed in movies and in TV series during the specified time period. What we examine is whether they have been sexualized, both in appearance and personality. We selected a goal-oriented selection that has been made of the movies and TV series we examined. Our findings indicate that the portrayal of these female super heroes has over time changed by increasing the depth of emotions. Our first analysis showed that the first portrayal did not include emotions but later on in the new movies and TV series we can find that the heroes have a more emotional story line and character. In the first movies and TV series, the superheroes do not encounter any major problems other than having to save the world, in the 2010s the storyline goes in to more depth and they face difficulties in managing their superpowers or having to deal with their past. The category of superpowers has not changed among the characters if we ignore Wonder woman. Clothes are from the beginning something that sexualized the characters and does not change over time, however, the sexualization of the superheroes' clothes is questioned in the later movies and TV series. We can also see a pattern of the female characters having feminine traits. The portrayal of a female as tender and maternal has over time not changed but there is a change over time in giving female characters’ other traits like aggression.

Films can be a source to enjoyment, cultural enrichment and relaxation. But films are alsofilled with messages and subtext that affects the one who watches the film. One of the effectsis the reproduction of racism and stereotypes. Therefore, have we chosen to analyze threemodern films that illuminate the civil rights movement. The purpose of this study is toinvestigate whether the selected reality-based films offer alternative perspectives onrelationships, racism and civil rights. This study will be based on the films The butler (2013),Niceville (2011) and Remember the Titans (2000). Based on the three selected films, a selection of scenes and sequences will also be performed.Ranking of scenes and sequences will be grounded on a variety of events so that this studycan show the breadth of the issues that are highlighted in the films. We will then combinesome of the scenes and sequences in the results and analysis to present under the sameheading. In the final part will we conclude with a summary discussion of our work.

The problem of this study was to address the question of the relationships between linguistic principles and film surface-structure. The analysis of motion pictures traditionally has been an analysis of films as art. At the same time, the techniques and effects of film often have been referred to as the "language of film." Until recently, however, no one took seriously the linguistic implications of the phrase. The theoretical evidence for linguistics of film is controversial but growing in acceptance and maturity of the concept. The study began with the assumption that film is a language. The method bypassed much of the philosophical discussion of whether film is a language in favor of finding the theory's practical usefulness. The findings produced some clues to the linguistic structure of particular films which may relate to film as a whole. The analysis clearly demonstrated the presence of visual rules of grammar. The findings not only supported a linguistic view of film but also generated structures that resembled accepted linguistic form. The basic units of analysis were found to have unit integrity, class form qualities, limitations on their employment, and a hierarchical relationship to other larger units. The analysis also pointed out some visually ungrammatical structures.

This essay analyzes how the films Less Than Zero and The Doom Generation intersect with their overlapping themes regarding sex, sexuality, and death. The intended goal of the readings in this essay is to examine how queerness was represented in film during the AIDS crisis, specifically through the feature of a sexually fluid trio of friends. It first identifies the common elements of both films, including the gender makeup of the friend group, ambiguous or unrealized queerness, the role of the car in sexual desire, and themes of death and demise. The essay then considers the context of the AIDS crisis and 80s conservatism, Lacanian ethics, and queer theory to dissect how these elements and themes are explored in opposing ways. My central argument then is that Less Than Zero uses these narrative elements in problematic ways to condemn its queer character and, subsequently, queer audiences, while The Doom Generation uses these elements to offer a more respectful and sympathetic view of its queer characters and audiences. This essay stands as another example of queer analysis conducted by a queer researcher to place both Less Than Zero and The Doom Generation in a unique conversation with one another as similar, though ultimately opposing films.

This essay analyzes and puts research into the representation of ethnicities in successful films of the years 2001 and 2021, according to Box Office. The goal with this essay is to put additional knowledge about this subject and to shed additional light on how ethnicities are represented in films. With the increase in discussion about who gets casted in films and what ethnicity should get casted, as with the hashtag #OscarsSoWhite and #HollywoodSoWhite. The results in this study show that there is a minor increase in representation of non-white ethnicities, when comparing financially successful films from 2001 and 2021. Even if there is a minor increase, the large majority is still of white ethnicity. The analysis is using a mixed method of quantitative and qualitative analysis in its collection of data. This study is also based on previous research by Arhusen, R and Olsson, F. A study that analyzed diversity in films produced by Netflix during the year 2016 and the year 2023.

Esta dissertação de mestrado tem como objetivo verificar quais são as representações sociais sobre a escola, a partir da comparação entre os filmes Os incompreendidos (1959) e Machuca (2004). Adotou-se, para esse fim, a análise da estrutura narrativa do longa-metragem ficcional, sabendo-se que é o produto cinematográfico mais acessível a um público mais amplo. É necessário salientar que, ao trabalhar com imagens, sabe-se que não existe uma leitura fixa e predeterminada, mas sim leituras particulares de imagens que concatenadas com teorias apresentam novo sentido. A análise dos dados será feita, em boa medida, à luz das teorias narratológicas de David Bordwell. / This dissertation aims verify what are the social representations about the school, through the comparison between the films The 400 blows (1959) and Machuca (2004). For this purpose, was adopted the analyze of narrative structure of fictional feature film, knowing that it is the cinematographic product more accessible for a wider audience. It is necessary emphasize when you work with images that there is not a fixed and predetermined reading, but there are private readings that concatenated with theories bring new meanings. The data analyze was largely done based on narratological theories from David Bordwell.

A proposta central desta pesquisa é analisar os filmes do cineasta russo Nikita Mikhalkov produzidos no período pós-soviético, sem, contudo, desconsiderar as demais obras do momento soviético. O estado de dissolução de valores na Rússia pós-soviética e a falta de parâmetros, principalmente dos jovens, motivaram Mikhalkov a produzir filmes cuja forma e conteúdo fossem acessíveis e emblemáticos, aproximando-se do cinema blockbuster e persuadindo o espectador através do uso incessante de símbolos. Seu público-alvo são os jovens, porém sua crítica se estende a todos os afetados pelo capitalismo, sistema que o cineasta considera ser nocivo ante a misteriosa alma russa. Diante disso, o trabalho questionará sua proposta no momento atual. / The main purpose of this research is to analyze the movies produced by the Russian film-maker Nikita Mikhalkov during the post-Soviet period, but without disregarding the other works from the Soviet period. The state of dissolution of Russian values in the post-Soviet Russia and the lack of parameters, mainly related to the youth, motivated Mikhalkov to produce movies in which the form and the content were accessible and emblematic, coming close to the blockbuster conventions and persuading the viewer by the incessant use of symbols. His target audience is the young public, but his critics extend to all people who have been affected by capitalism, a system that he considers to be harmful to the mysterious Russian soul. This dissertation will question his approach in the post-Soviet period.

A proposta central desta pesquisa é analisar os filmes do cineasta russo Nikita Mikhalkov produzidos no período pós-soviético, sem, contudo, desconsiderar as demais obras do momento soviético. O estado de dissolução de valores na Rússia pós-soviética e a falta de parâmetros, principalmente dos jovens, motivaram Mikhalkov a produzir filmes cuja forma e conteúdo fossem acessíveis e emblemáticos, aproximando-se do cinema blockbuster e persuadindo o espectador através do uso incessante de símbolos. Seu público-alvo são os jovens, porém sua crítica se estende a todos os afetados pelo capitalismo, sistema que o cineasta considera ser nocivo ante a misteriosa alma russa. Diante disso, o trabalho questionará sua proposta no momento atual. / The main purpose of this research is to analyze the movies produced by the Russian film-maker Nikita Mikhalkov during the post-Soviet period, but without disregarding the other works from the Soviet period. The state of dissolution of Russian values in the post-Soviet Russia and the lack of parameters, mainly related to the youth, motivated Mikhalkov to produce movies in which the form and the content were accessible and emblematic, coming close to the blockbuster conventions and persuading the viewer by the incessant use of symbols. His target audience is the young public, but his critics extend to all people who have been affected by capitalism, a system that he considers to be harmful to the mysterious Russian soul. This dissertation will question his approach in the post-Soviet period.

A pesquisa parte da análise fílmica para responder às perguntas: como a cidade aparece no moderno cinema brasileiro que surge nos anos 1960? Como estas questões se colocam numa década de extrema tensão política e cultural do Brasil? A premissa é que, na metrópole de crescimento tentacular e maior pólo industrial do Brasil, o jargão do progresso encobre a urbanização precária de uma sociedade desigual. Os filmes rodados neste meio oferecem um campo notável para compreendermos como a modernização conservadora revela sua face no cinema. Além do trabalho sobre os filmes, a tese procura averiguar em qual medida as obras analisadas estabelecem continuidades ou rupturas em relação à produção anterior, na forma plástica e nas narrativas. Os resultados revelam que sendo a utopia um problema na representação da cidade no cinema brasileiro, no caso de São Paulo o desajuste das personagens se deve a que o progresso da cidade resulta de um desenvolvimento que combina modernidade econômica com uma elite aferrada ao poder. / With filmic analysis as its point of departure, the research attempts to respond to the following questions: how is the city portrayed in the modern Brazilian cinema that emerged during the 1960s? How are these questions framed in a decade of such extreme political and cultural tension in Brazil? The premise is that, in the nations largest industrial hub, a metropolis of tentacular growth, the jargon of progress covers up the precarious urbanization of an unequal society. The films shot in this environment provide notable source material from which to understand how conservative modernity shows its face in cinema. In addition to its treatment of the films, the thesis also seeks to ascertain to what extent the analyzed works continue from or break with the earlier production in both their plastic form and narratives. The results show that, as utopia is a problem in the representation of the city in Brazilian cinema, in the case of São Paulo in particular, the maladjustment of the characters stems from the citys progress as a result of an urban development that combines economic modernity with a power-hungry elite.