Internet Protocol television (IPTV) is a way of delivering television over the Internet, which enables two-way communication between an operator and its users. By using IPTV, users have freedom to choose what content they want to consume and when they want to consume it. For example, users are able to watch TV shows after they have been aired on TV, and they can access content that is not part of any linear TV broadcasts, e.g. movies that are available to rent. This means that, by using IPTV, users can get access to more video content than is possible with the traditional TV distribution formats. However, having more options also means that deciding what to watch becomes more difficult, and it is important that IPTV providers facilitate the process of finding interesting content so that the users find value in using their services. In this thesis, the author investigated how a user’s online social network can be used as a basis for facilitating the discovery of interesting movies in an IPTV environment. The study consisted of two parts, a theoretical and a practical. In the theoretical part, a literature study was carried out in order to obtain knowledge about different recommender system strategies. In addition to the literature study, a number of online social network platforms were identified and empirically studied in order to gain knowledge about what data is possible to gather from them, and how the data can be gathered. In the practical part, a prototype content discovery system, which made use of the gathered data, was designed and built. This was done in order to uncover difficulties that exist with implementing such a system. The study shows that, while it is is possible to gather data from different online social networks, not all of them offer data in a form that is easy to make use of in a content discovery system. Out of the investigated online social networks, Facebook was found to offer data that is the easiest to gather and make use of. The biggest obstacle, from a technical point of view, was found to be the matching of movie titles gathered from the online social network with the movie titles in the database of the IPTV service provider; one reason for this is that movies can have titles in different languages. / Internet Protocol television (IPTV) är ett sätt att leverera tv via Internet, vilket möjliggör tvåvägskommunikation mellan en operatör och dess användare. Genom att använda IPTV har användare friheten att välja vilket innehåll de vill konsumera och när de vill konsumera det. Användare har t.ex. möjlighet att titta på tv program efter att de har sänts på tv, och de kan komma åt innehåll som inte är en del av någon linjär tv-sändning, t.ex. filmer som är tillgängliga att hyra. Detta betyder att användare, genom att använda IPTV, kan få tillgång till mer videoinnhåll än vad som är möjligt med traditionella tv-distributionsformat. Att ha fler valmöjligheter innebär dock även att det blir svårare att bestämma sig för vad man ska titta på, och det är viktigt att IPTV-leverantörer underlättar processen att hitta intressant innehåll så att användarna finner värde i att använda deras tjänster. I detta exjobb undersökte författaren hur en användares sociala nätverk på Internet kan användas som grund för att underlätta upptäckandet av intressanta filmer i en IPTV miljö. Undersökningen bestod av två delar, en teoretisk och en praktisk. I den teoretiska delen genomfördes en litteraturstudie för att få kunskap om olika rekommendationssystemsstrategier. Utöver litteraturstudien identifierades ett antal sociala nätverk på Internet som studerades empiriskt för att få kunskap om vilken data som är möjlig att hämta in från dem och hur datan kan inhämtas. I den praktiska delen utformades och byggdes en prototyp av ett s.k. content discovery system (“system för att upptäcka innehåll”), som använde sig av den insamlade datan. Detta gjordes för att exponera svårigheter som finns med att implementera ett sådant system. Studien visar att, även om det är möjligt att samla in data från olika sociala nätverk på Internet så erbjuder inte alla data i en form som är lätt att använda i ett content discovery system. Av de undersökta sociala nätverkstjänsterna visade det sig att Facebook erbjuder data som är lättast att samla in och använda. Det största hindret, ur ett tekniskt perspektiv, visade sig vara matchningen av filmtitlar som inhämtats från den sociala nätverkstjänsten med filmtitlarna i IPTV-leverantörens databas; en anledning till detta är att filmer kan ha titlar på olika språk.

In this study, I took the quantitative research approach of film statistical stylistic analysis to examine the editing pattern evolution of 130 Hollywood movie trailers over the past 60 years from 1951 to 2015; the prior studies on the overall evolution of the Hollywood movies’ editing pattern are compared and discussed. The results suggest that although the movie trailers are much shorter than the whole movies, the average shot lengths of the trailers still display a declining trend over the past 60 years, and the variations in the shot lengths are also decreasing. Second, the motions within each framedo not change significantly over the years, while the correlation coefficients between the shot lengths and the motions within the shots are moving toward a more negative correlation relationship over time, suggesting that the trailers are subject to an editing evolution trend that the shorter the shot is, the more motions there are within it, and this also aligns with the overall movies’ editing pattern evolution trend. Last, the luminance of the trailers remains almost the same over time, which does not align with the overall movies’ editing pattern evolution of becoming darker and darker over decades. Together these findings suggest that the movie trailers’ editing rhythm evolution in general aligns with that of overall movies over time while the visual editing pattern evolution of color luminance does not. The study results will improve our understanding on how the Hollywood movie trailers’ editing pattern and style have evolved over time and pave the way for future advertising studies and cognitive psychology studies on the audience’s attention, immersion and emotional response to various editing patterns of movie trailers. / Media Studies & Production

[pt] O objetivo desta tese é abrir os olhos à violência contida na imagem enquanto agente semiótico-material da guerra contemporânea. No século XXI, o drone armado militar, uma arma imagem-centrada, tem encabeçado a curadoria geopolítica dos EUA no âmbito da guerra ao terror. Na esteira do emaranhado entre Washington e Hollywood, observa-se que a violência drônica guarda as mesmas características do cinema: imagem e movimento. Contudo, a imagem de um drone não é puramente o reflexo da natureza da guerra; ela é mais que representacional, é performativa. A partir do conceito de imagem-aniquilação, esta tese argumenta que a imagem possui uma agência destrutiva ao transitar da reflexão à difração (Haraway, 1992; Barad, 2007). Ao invés de espelhar a realidade, a imagem-aniquilação cria um brutal padrão de diferença no mundo. Trata-se de uma ontologia destrutiva na qual ver e aniquilar estão em estado de superposição. Logo, tudo aquilo que está enquadrado, está potencialmente morto. É dizer, ao enquadrar corpos e objetos no terreno, cria-se um estado de violência superposicional em que se está vivo, mas virtualmente morto. Tal movimento ocorre a partir de um forte apelo transdisciplinar, no qual a disciplina de Relações Internacionais (RI) é apoiada por conceitos e ideias da Filosofia, da História da Arte, dos Estudos Culturais e dos Estudos Fílmicos do cinema. A criação do conceito de imagem-aniquilação é fruto da combinação entre a filosofia de Gilles Deleuze (Deleuze e Guattari, 1996), entendida como prática que fabrica conceitos, e a abordagem de Michael Shapiro (2020), que busca extrair teoria política das imagens fílmicas. Para a realização desde exercício, aborda-se o filme Eye in the Sky (2015), do diretor Gavin Hood. A escolha desta obra cinematográfica advém da sua crítica amplamente positiva, bem como seu status como filme que revela a realidade da guerra de drones. Desse modo, esta tese contribui tanto para a compreensão dos imaginários sociotécnicos da guerra contemporânea a partir do continuum guerra-imagem-cinema, quanto para a inovação epistêmica e metodológica nas RI. / [en] The purpose of this thesis is to shed light on the violence inherent in the image as a semiotic-material agent in contemporary warfare. In the 21st century, the armed military drone, an image-centered weapon, has spearheaded the geopolitical curatorship of the USA in the context of the war on terror. In the wake of the entanglement between Washington and Hollywood, it is observed that drone violence shares the same characteristics as cinema: image and movement. However, a drone s image is not purely a reflection of the nature of war; it is more than representational, it is performative. Building upon the concept of annihilation-image, this thesis argues that the image wields a destructive agency as it transitions from reflection to diffraction (Haraway, 1992; Barad, 2007). Rather than mirroring reality, annihilation-image creates a brutal pattern of difference in the world. It is a destructive ontology in which seeing and annihilating are in a state of superposition. Therefore, everything that is framed is potentially dead. That is to say, by framing bodies and objects in the terrain, a state of superpositional violence is created in which one is alive, but virtually dead. This movement is driven by a strong transdisciplinary appeal, in which the discipline of International Relations (IR) is informed by concepts and ideas from Philosophy, Art History, Cultural Studies, and Film Studies. The development of the concept of annihilation-image is the result of the combination of Gilles Deleuze s philosophy (Deleuze and Guattari, 1996), understood as a practice that create concepts, and Michael Shapiro s approach (2020), which seeks to extract political theory from cinematic images. For the purpose of this exercise, we examine the film Eye in the Sky (2015), directed by Gavin Hood. The choice of this cinematic work is derived from its widely positive critical acclaim, as well as its status as a film that exposes the reality of drone warfare. Thus, this thesis contributes to both the understanding of the sociotechnical imaginaries of contemporary warfare within the war-image-cinema continuum and to the epistemic and methodological innovation in (IR).

For streaming websites, media shopping platforms and movie databases, movie recommendation systems have become an important technology, where mostly hybrid methods of collaborative and content-based filtering on the basis of user ratings and user-generated content have proven to be effective. However, these methods can lead to popularity-biased results that show an underrepresentation of those movies for which only little user-generated data exists. In this paper we will discuss the possibility of generating movie recommendations that are not based on user-generated data or metadata, but solely on the content of the movies themselves, confining ourselves to movie dialog. We extract low-level features from movie subtitles by using methods from Information Retrieval, Natural Language Processing and Stylometry, and examine a possible correlation of these features’ similarity with the overall movie similarity. In addition we present a novel web application called SubRosa (http://ch01.informatik.uni-leipzig.de:5001/), which can be used to interactively compare the results of different feature combinations.

In this thesis I study representation of disability and people with disabilities in cinema today by critically analyzing parts of a movie called Penguin Bloom for the way the main character’s identity and embodied experiences are represented and the possible reasons for that representation. Since the movie is based on a book that is in turn based on a real-life story of a person who acquired disability after sustaining an accidental fall, I have used certain quotes from the book and have also referred to a couple of published media interviews to support my arguments while analyzing the movie. To be able to critically view the movie for representation of people with disabilities, particularly relating to their identity, and embodied experiences, I have used theoretical frameworks of feminist disability studies, feminist visual theories, and feminist intersectionality to uncover how and why the main character in the movie, Sam Bloom’s – who is the person in a wheelchair – identity as a mother, and a disabled person, and her embodied experiences are expressed in the movie. The analysis reveals that the societal normative stereotypes relating to people with disabilities are reflected in the movie even though the movie has been created in close collaboration with Sam Bloom and the director of the movie has also kept the book as a reference point while working on the movie.

La tesi fornisce uno studio empirico relativo agli elementi linguistici caratterizzanti il parlato faccia-a-faccia e il parlato filmico americano, due domini conversazionali solitamente detti differire in termini di spontaneità, essendo il primo generalmente descritto come la quintessenza del linguaggio parlato (in quanto totalmente spontaneo) e il secondo come non-spontaneo (essendo scritto-per-essere-parlato) e, quindi, non adatto a rappresentare l'uso generale della conversazione. Entrambe le analisi (i.e. quella multi-dimensionale, che offre una panoramica generale dei due domini presi in considerazione, e quella più specifica relativa al comportamento linguistico dell’espressione you know) basate su esempi autentici tratti da corpora dimostrano che, nonostante quanto venga generalmente descritto dalla letteratura a riguardo, conversazione faccia-a-faccia e conversazione filmica hanno molti tratti in comune e confutano l’idea che il linguaggio filmico non possa essere rappresentativo dell'uso generale della conversazione. / The present dissertation examines empirically the linguistic features characterizing American face-to-face and movie conversation, two domains which are usually claimed to differ especially in terms of spontaneity. Natural conversation is, indeed, considered the quintessence of the spoken language for it is totally spontaneous, whereas movie conversation is usually described as non-spontaneous, being artificially written-to-be spoken and, thus, not likely to represent the general usage of conversation. In spite of what is generally maintained by the literature, both the Multi-Dimensional analysis and the micro-analysis of the functions of you know based on authentic data retrieved from corpora show that the two conversational domains do not differ to a great extent and thus confutes the claim that movie language has “a very limited value” in that it does not reflect natural conversation and, consequently, is “not likely to be representative of the general usage of conversation”.

Purpose: To examine the relationship between a new movie release and the stock value of the movie producers in america, and seek a connection between movie criticts and the stock price with an attempt to find similar patterns with swedish movies and their financial performance. Theoretical Framework: Based on theories of effcient and ineffcient markets, behavioural finance and previous research in the field. Method: The study has a quantitative and a deductive approach. An event study method is used to examine five large movie studios in the USA, and the Swedish film producers are examined through the number of paying customers. Results: The results are shown i charts to explain the abnormal rate of return (AR) and the relationship between movie release and the AR. Furthermore, the movie critique is also represented charts. Both for the american and the swedish movies. Conclusion: The results show that an overall negative rate of return of -0,24 % occurs at the time of a movie release. A connection between stock price and movie release has been encountered. Positive film critique generates positive AR.

隨著娛樂經濟的時代已儼然來臨，伴隨著與文化、藝術、或是娛樂價值相結合的商品或服務，我們的生活也隨之豐富而多元，此刻內容產業也成為新世界經濟的主要推動力量。而內容產業不但創造高度的經濟價值與就業機會，而其所衍生之附加價值，更可讓社會大眾浸淫於生活美學的氛圍中，享受優質的文化環境。 而認識自己無疑是智慧的開端，本研究為一初探性之研究，從創新管理的觀點，針對與創意文化相關創作團隊所進行之專案，採用個案研究法，從中接觸到團隊旺盛的創造力與活力，並作為瞭解內容創作團隊領導者特色、團隊運作方式與創作過程，使創意團隊能以此作為依循的方向，希望能激發出更豐富及優異之創新成果。 本研究之研究個案包括，雲門舞集—《行草》之創作專案、Home Green電影公司—《你那邊幾點》創作專案、紅電影公司—《想飛》創作專案、雨龍三景—《魯賓遜漂流記》創作專案、侯孝賢映象製作公司—《千禧曼波》創作專案。 藉由多個案研究之訪談，將研究發現歸納整理如下： 壹、對於團隊領導者的觀察 1.創意團隊領導者多成長於矛盾的環境之中，一方面接受嚴謹的家庭或環境的要求與薰陶，另一方面卻又將自己與家庭學校或社會保持距離，具有邊陲情懷。 2.創造性人物具有高度的內在動機，並且勇於選擇與眾不同的道路前進。 3.創意團隊領導者具有矛盾的特質，且能在兩種極端的個性之中遊走迅速轉換。 4.出色的創意團隊領導者具備多樣專長，並藉此與不同功能的專業人員進行整合。 5.出色的創意團隊領導者願意賦予成員創作空間，讓團隊成員貢獻更多的創意，以培育全創作主義的團隊。 貳、創意團隊之啟發 1.創意團隊的成員組成具有多樣性較有助於團隊創意成果的發揮。 2.團隊成員的聘僱多採用過去已經合作過的成員。 3.團隊成員過去合作經驗與其參與創意過程的程度有所關聯。 團隊成員參與創意程度較高的團隊，其團隊成員多為長期合作的成員。 團隊成員參與創意程度中等的團隊，其團隊成員多為較少合作的成員。 4.創意團隊決策權與知識權相結合。 5.創意團隊偏重的決策方式，除了以理性為主之外，還側重以洞察與實行為主的決策模式。 6.傑出的創意團隊具有雙領導的傾向。 7. 出色的創意團隊，其團隊內具有中階管理者扮演語言轉譯及聯絡溝通的角色。 8. 實驗和原型試製作為溝通對話的橋樑與載具。 9. 創意團隊透過作中學及師徒制進行技能與知識傳承。 參、對創意過程的啟示 1. 出色的創意團隊，其創作題材之選擇多具獨創性，並與自身生活經驗與社會環境相結合。 2. 在專案正式展開前的事前計劃（pre-project planning），有助於專案的進行。

有鑑於近年台灣出現一系列以小品模式呈現之同志題材電影，且能與社會情境多方呼應，本研究遂擬由類型（genre）的觀點，借用「青春系列」之名，探討此一類型究竟呈現出哪些樣貌特徵，如何演變？是否具備做為一種電影類型的要素？而其特徵與演變反映、關聯到什麼樣的社會文化等情境因素？類型特徵與社會脈絡間如何互動？是否呼應吻合，抑或有落差不一之處，又各如何詮釋？ 在研究方法上，本研究挪用J. Swales「文本∕情境導向類型分析程序」(text-driven/situation-driven procedure for genre analysis )，試圖結合二者，除選定《藍色大門》、《十七歲的天空》、《盛夏光年》以及《渺渺》等四部範例文本，整理其「內容」、「風格」、「結構」與「目的」外，也指認出特定傳播情境，探討此類型的生成因素，以期能夠在雙向考量下，呈現出文本與情境間相互作用的連結關係，亦即類型的動態本質。 研究析論結果確實指向類型與情境脈絡之間的緊密構連。「青春系列」同時受到外來作品在概念手法上啟迪，又承繼著在地同類作品的核心傳統主題，成就出兼容並蓄的特殊風貌。而台灣社會對於同志議題在公私領域不同層次上，既開放肯定又有所保留的態度，也恰能解釋類型社群基礎。另外此類型於台灣電影工業低潮應運而生，低迷的產業活動召喚了像「青春系列」這樣具有彈性、定位明確並可預期回收成本的小品，系列作品的成功也帶動整體產業谷底反彈，更反映出台灣電影工業發展方向轉變的時代意義。 / In view of a series of Taiwan’s gay themed films appearing in a sketch mode in recent years and their topic have always responded to the social contexts in multiple ways. Thus, this study adopted the point of view of “genre”, borrowed the name of “Young Line”, and then to explore what appearances and characteristics this kind of films had presented, how they would change in the future, and whether they possessed those elements to be a genre of films. Moreover, what kind of contextual factors such as social cultures that the characteristics and changes of those films reflected and had been related to? How did the characteristics of this genre interact with the social contexts? Whether they responded to the coincidence or there were differences between each other? Then how to interpret each kind of these situations? This study adopted J. Swales’ “text-driven/situation-driven procedure for genre analysis” as the research methods, and attempted to combine these two procedures together. “Blue Gate Crossing”, “17 Formula”, “Eternal Summer”, and “Miao Miao”, these four films were selected to be the exemplary texts and to systemize their “content”, “style”, “structure”, and “purpose”. In addition, particular communication situations were also identified to probe into the generating factors of this genre of films. With the two-way considerations, this study expected to present the relational connections which interacted between the texts and the situations, and that is the dynamic nature of the genre. According to the results of this study, there was a tight articulation between the genre and the situational contexts for a certainty. “Young Line” series are inspired by the concepts and techniques of foreign films; at the same time, they also inherit the core traditional themes of local films of the same genre. Therefore, the series have achieved a particular inclusive style. With regard to the gay issues, Taiwan society has possessed a positive but also reserved attitude toward the public and private levels, and this can precisely explain the community base of this genre. Furthermore, this genre of films came with the tide of fashion when Taiwan’s film industry was at low ebb. The depressed industrial activities elicited those sketch films which were flexible, clear-targeted, and expected to have cost recovery such as “Young Line”. The success of this series was one of the forces which leaded the whole industry rebound from the bottom, and this reflected the significance of the time of the change of Taiwan’s film industry’s development direction.

En 2010, les écrans du Québec étaient occupés par des films américains dans une proportion de 78,4 %. Ce mémoire veut mettre en lumière les mécanismes de la distribution de films au Québec et la responsabilité des distributeurs dans l'offre cinématographique nationale. Après avoir décrit les cinq étapes de la fabrication d'un film, nous dressons l'inventaire des politiques fédérales et provinciales qui régissent la distribution au Québec. Nous établissons ensuite des parallèles entre les politiques nationales et celles de pays de l'Union européenne afin de considérer comment et pourquoi, pour protéger leur identité « de la déferlante américaine », ces pays tentent de réglementer l'industrie cinématographique. Par la suite, nous observons quel est le rôle de la distribution dans la filière économique en général et dans l'industrie québécoise du cinéma en particulier à travers une série d'entrevues semi-dirigées avec les principaux protagonistes du milieu. Nous nous intéressons subséquemment à l'avenir de la distribution cinématographique relativement à la dématérialisation des images et du son. Finalement, nous concluons que le menu cinématographique québécois est composé par le positionnement des distributeurs américains et québécois en réponse à une demande artificielle des consommateurs reflétée par la billetterie (box-office); positionnement légitimé par les politiques gouvernementales. / In 2010, 78,4 % of the films shown in Quebec were American. This thesis intends to shed light on the mechanisms at play when it comes to film distribution in Quebec and the responsibility that distributors have with respect to national film offerings. After having described the five steps involved in making a film, we draw up the inventory of federal and provincial policies that govern distribution in Quebec. We then establish parallels between national policies and those of European Union countries in order to consider how and why, as a way to protect their identity « from the American tidal wave », those countries try to regulate the film industry. We subsequently examine the role that distribution plays in the economic chain in general and in the Quebec film industry in particular through a series of semi-structured interviews with leading protagonists in the field. We then take a look at the future of film distribution as it relates to the dematerialization of images and sound. Finally, we conclude that the Quebec film menu is made up by the positioning of American and Quebec distributors in response to an artificial consumer demand that is reflected by the box-office, legitimized by the governments.