Expanded Subjectivity as Cinema’s Self-Reflection: Affective Images in Nicolas Roeg’s Don’t Look Now

The Combined Use of Audio and Visual Media in Computer Conferencing towards Equality in Asymmetric Second-Language Conversation Hiromi Hanawa, Xiaoyu Song, Tang Mengyuang, Tomoo Inoue Abstract The purpose of this study is to explore and measure the impact on combined multimedia for Non-Native Speakers (NNS) to communicate with Native Speakers (NS).This article presents the effects of the combined use of audio and text, and substantiate increased participation of reciprocal peer interaction between NS and NNS. In this study, conversations were conducted in our lab between NS and NNS. We tested our predictions about participants’ speech, verbal and semantic knowledge after conversations throughout the experiment. Data found that the use of audio and text increased the participants’ mean length of utterance, and knowledge sharing between NS and NNS. The results indicated the impact of the combined use of audio and text on an interactive real-time discussion and positive effects on users’ memory retention. This research suggests potential development in audio or video conferencing tools which incorporate interaction between people with linguistic boundaries. Full Text: PDF DOI: 10.15640/ijlc.v5n2a4

Reviewed by: Special Effects and German Silent Film: Techno-Romantic Cinema by Katharina Loew Sean Lambert Special Effects and German Silent Film: Techno-Romantic Cinema. By Katharina Loew. Amsterdam: Amsterdam University Press, 2021. Pp. 320. Paper €117.00. ISBN 9789463725231. As Katharina Loew points out in the introduction to Special Effects and German Silent Film, the term "effect" has a peculiar meaning in the context of film studies. Not only does it index a response to the provocation of a film, it also refers to a quality in the production itself. An image on-screen can not only have an effect on a viewer, [End Page 587] but can show, itself, an effect: "That 'special effects' … came to prevail in everyday language is likely due to the fact that that phrase seems to simultaneously refer to production and reception" (24). In this confusion of the categories of production and consumption—this short-cut or short-circuit in the "work" of filmmakers and film audiences—the special effect recalls Sianne Ngai's description of the gimmick: "devices that strike us as working too little (labor-saving tricks) but also working too hard (strained efforts to get our attention)" (Ngai, 2020). Just over a year after Ngai's groundbreaking work on gimmicks, Loew's new monograph directs our attention toward cinematic tricks and special effects. Like Ngai, Loew unpacks the cultural significance of these oft-overlooked devices, showing through extensive historical examples how special effects in German silent cinema intervened into debates about the artistic value of the cinematic apparatus and furnished filmmakers with an aesthetic vocabulary to respond to the conditions of modern life. Not only will this book be of great value to scholars of Weimar and early cinema, but for anyone interested in studying the interplay of film aesthetics, capitalism, and theories of modernity. The subtitle of Loew's monograph is "Techno-Romantic Cinema." Loew argues that special effects demonstrate the application of romantic ideas to the new technology of the cinematic apparatus. Loew sees special effects or cinematic "tricks" as intervening in a vital debate in the first few decades of cinema: is a film materialistic or idealistic? Does cinema lay bare the soulless "triumph of rationalization, mechanization and market economy" or offer an "imaginative refuge from the harsh realities of modern society" (13, 41)? In other words, is film an art or a technology? Loew argues that it was the special effect, which gestures doubly toward the hyper-material (the medium itself) and the immaterial (images with an ambiguous indexicality to the world) that allows cinema to develop a language to articulate "ideas in a sensual form" (25) and show that the cinematic apparatus is both mechanical and soulful: techno-romantic. The trick or special effect, Loew argues, demonstrated that films could be not only neutral disseminators of meaning, but could perform meaning through techniques or devices, like in theater or literature. A particularly important milestone in the establishment of cinema as an art form came from Der Student von Prag (1913), which Loew analyzes in detail in Chapter 3. The film's doppelganger effects went a long way toward persuading many critics for the first time of cinema's artistic potential: "the film not only succeeded in generating unusual affective responses, the doppelganger motif also evoked a range of readings related to notions about identity and self, demonstrating that a silent, visual medium was in fact capable of addressing philosophical questions" (26). Loew's methodology is rigorously historical, and frequently makes use of "both/and" arguments to resolve apparent impasses between sources. Is film art or technology? Special effects show that it can be both. Is the camera a piece of soulless machinery, [End Page 588] or can it be expressive and emotional? Special effects let cinema express emotions through machinery. Is film idealist or materialist? Via special effects, "machine technology fulfilled the requirements of idealist aesthetics" (22). The hyphen in the word "techno-romantic" can function as a figure for Loew's overall critical project: the excavation of hyphens in the archive that hold together seemingly contradictory ideas about the cinema. This structure of argument holds Loew, the critic herself, at a distance from the...

Interruption/Interaction/Collaboration: A Critical Appraisal of the Textual @traction Interactive Event

This study aims to investigate the impact of audio-visual learning aids on enhancing the academic performance of students attending Girikirti Vihara Sunday School. Employing an experimental design with a quantitative approach, the study utilized a questionnaire administered to 12 students spanning from fourth grade elementary to third grade junior high school. Data collected through the questionnaires were analyzed using a Likert scale, while the effects of visual, audio, and audio-visual media on Buddhist religious values were assessed using the t-test. The findings reveal a significant positive correlation between the use of learning media (visual, audio, and audio-visual) and comprehension of Buddhist subjects, with achievement percentages of 85.41%, 81.25%, and 87.5%, respectively. Similarly, the impact on students' concentration during learning yielded percentages of 81.25%, 79.16%, and 83.33% for visual, audio, and audio-visual media, respectively. Moreover, the influence of these media on students' interest in Buddhist learning material was evident, with achievement percentages of 83.33%, 79.16%, and 85.41%. Regarding memory retention in Buddhist subjects, percentages of 77.08%, 81.25%, and 83.33% were achieved for visual, audio, and audio-visual media, respectively. Furthermore, the t-test analysis demonstrated a significant effect of learning media (visual, audio, and audio-visual) on the scores of Buddhist religious subjects at Girikirti Vihara Sunday School. These findings underscore the importance of utilizing effective learning media in the teaching process to enhance student achievement and comprehension.

Post-Cinematic Effects Steven Shaviro, Post-Cinematic Affect, London, Zero Books, 2010, 191pp; £10.99 paperbackSteven Shaviro's Post-Cinematic Affect engages with the effects of post-cinematic technologies on our experiences, orientations, emotions, feelings and lives. 'Post-cinematic' technologies include all that is associated with the rise of interactivity, gaming, multimedia, and the proliferation of different internet platforms, as well as various new types of text, such as the music video, the new ways, modes and contexts of experiencing and consuming them and the effects they have on consciousness and perception. Shaviro considers the rise to dominance of these 'post-cinematic' technologies in terms of a transformation of 'affects': mutations of experiential landscapes, emotional geographies, and perceptual and sensorial ecosystems. Using Raymond Williams' term, yet following and developing a distincdy Deleuzean paradigm, Shaviro characterises this as an epochal transformation in dominant 'structures of feeling'.If such post-cinematic technologies have transformed structures of feeling, this is not the first time this has happened. Consider die emergence of cinema itself. Rey Chow opens her 1995 book Primitive Passions with a reconsideration of the famous story of the turn towards a writing career of the monumental figure of Chinese literature, Lu Xun. Whilst a medical student at the very beginning of the twentieth century, Lu Xun watched with horror newsreels depicting atrocities committed in the Russo-Japanese War in Manchuria, including the executions of Chinese people. Chow emphasises the significance of the fact that this new technology (the cinematic apparatus) precipitated a peculiar response from Lu Xun: he turned away from medicine and towards literature, believing that he could do more to improve the health of China by cultural (or ideological) intervention than by medical intervention.Central to Chow's reading of this famous narrative is the following: Lu's response to the new cultural technology (cinema) sends him into a relationship with an older technology (literature). From this, Chow proposes that it is possible to perceive the effects of cinema in (and on) Lu's literature. From this point, one may broaden the perspective and begin to grasp the significance of the emergence of cinema in much, if not all, subsequent developments in literature. Indeed, we might begin to regard the majority of twentieth-century literature as 'post-cinematic', insofar as it is literature produced in a cultural world into which the cinematic apparatus has intervened. In other words, in the wake of cinema, literature could never be the same again. In this sense, Lu Xun's story is exemplary of the epochal mutation entailed in the shocks of modernity. Literature in modernity is itself post-cinematic, even if this reverses the chronological periodization and emphasis that organizes Shaviro's title. For, the 'post-cinematic' that Shaviro refers us to is of course all that new stuff that comes after cinema: computers, the internet and so on. But, as with Lyotard's 'post-modern', one of the key points about the postmodern is that the 'post' is there at the outset. Postmodern thinkers of the postmodern have long pointed out that the postmodern is implied in and active in the emergence of the modern, right from the start.Chow's reading of Lu Xun's affective response to these early experiences of (or encounters with) cinema demonstrate this explicitly. The new technology intervenes into, informs and thereby transforms the cultural landscape in ways which have knock on (albeit unpredictable) effects on other forms of cultural production and reception. To see this at a basic level, one need merely consider the extent to which so many literary best-sellers today have clearly been written with the production requirements of the standard Hollywood film form firmly in mind. This is but one register of the hegemony of the cinematic form and its 'hegemonization' of so-called literature. …

Cinema as Prosthesis: Errol Morris’s Use of the Interrotron in <em>Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr.</em>

This chapter focuses on how visual media are used to affect human perceptions of personality in non-human animals. Studies on shelter populations in the United States (Workman and Hoffman, Journal of Applied Animal Welfare Science, 18(4), 388–397, 2015; Svoboda and Hoffman, A novel, empirical test of black dog syndrome. Poster presented at the 22nd Annual Conference of the International Society of Anthrozoology, Chicago, IL, USA, 2013; Lum, Grandinetti, Halse, Sims, and Chin, The influence of a dog’s size and color on assessment of responsibility. Poster presented at the 22nd Annual Conference of the International Society of Anthrozoology, Chicago, IL USA, 2013a; Lum, Nau, and McClellan, Exploring “black dog” syndrome: How color can influence perceptions of companion animals. Poster presented at the 22nd Annual Conference of the International Society of Anthrozoology, Chicago, IL, USA, 2013b) indicate that how humans perceive homeless animals affects their adoption chances. Those perceptions, and in turn individual animal’s adoption chances, are directly influenced by photographs and videos posted on the Internet. Creating influential photographs and video that subsequently are posted on the Internet can result in saving lives through adoption from shelters and rescues. Understanding how humans assign characteristics such as “friendly,” “playful” and “happy” based on visual media will allow shelters and rescuers to increase their adoption rates, decrease euthanasia rates and save lives.

Much about early Chinese cinema remains unknown. This article demonstrates that colonialism, war and cross-cultural contact were important to the emergence and growth of a national film industry. At the same time, they instilled in filmmakers the belief that visual technologies and mass media exerted a significant influence over national sovereignty. By the 1920s, globally-circulating techniques of propaganda, as well as reinvented aesthetic traditions (e.g. yingxi, or shadowplay) shaped the cinema's form as well as its function. Yet like the Qing dynasty before it, Republican China was ensnared in an epistemological ‘net’ created by foreign interests and capital. Proto-national culture industries, such as those envisioned by the Commercial Press and patriotic overseas elites, provided one possible way out.

La historia del arte, escribió André Malraux (1951), es la historia de todo lo quepuede ser fotografiado. A mediados del siglo pasado, el uso expandido de lafotografía y del cine en la historia y en la crítica del arte invita a rever cómolos discursos de estas disciplinas fueron adaptándose y, sobre todo, explotandolas posibilidades expresivas de soportes eminentemente (audio) visuales endetrimento del medio escrito tradicional al que habían permanecido asociados,en gran medida, desde su origen en los escritos de Plinio el Viejo, Giorgio Vasariy Denis Diderot.

The prevalence of Hepatitis B and C remains high in Indonesia. These diseases impact health, productivity, social interactions, and financial status. Applying digital technology to prevent the spread of hepatitis B and C using the Hepatitis BC Maps application is an important innovation. The objective of this study was to compare people's knowledge of hepatitis B and C before and after receiving education via the Hepatitis BC Maps application prototype at the PMI Kediri. The research design was quasi-experimental with a time-series design for a single group. To obtain a sample of 66 people, a simple random sampling technique was used to determine the research sample. This study employed univariate descriptive analysis and the Wilcoxon signed-rank test for data analysis. Pretest and posttest questionnaires were utilized for data collection. After receiving an education using the Hepatitis BC Maps application prototype, the level of knowledge of voluntary blood donors at the PMI Kediri increased. Numerous variables, including education, information, occupation, and age influence the knowledge level. This educational feature is a visual medium that can aid in memory retention because it allows one to visualize something that is explained more concretely and realistically.

This study aimed to develop audio visual tutorial media learning on case based-method breaststroke swimming style basic swimming course PKO study program FIK UNIMED 2022. Video is an audio-visual medium that is able to convey information clearly through films, images and sound. This study uses Resea

To date, audiovisual performances (ie performances which may be or are fixed on a visual or audiovisual medium), are hardly protected in multilateral treaties. Like other performances, they are not protected as works under any copyright treaties. In addition, their protection under the Rome Convention was largely excluded following insistence by the USA, which, however, never acceded to the Convention. The TRIPS Agreement covers audiovisual performances only in respect of the rights of live broadcasting and communication to the public; for other rights, it is limited to performances fixed on phonograms.3 Finally, recent attempts by WIPO to achieve an international protection for audio visual performances have failed, and little hope seems left to reach this aim in the near future. The lack of a meaningful international protection is exceptional: in all other important areas of copyright and neighbouring rights covered at the national level, international protection has been achieved. The reasons for this lack of international protection may be better understood when analysing the discussions and experiences made at the WIPO Diplomatic Conferences of 1996 and 2000, and thereafter.

Shortly after the 1989 Hillsborough Stadium disaster in Sheffield, England, sixteen people brought actions claiming to suffer a “nervous shock” as a result of learning from the media about the fatal human crush that occurred during a soccer match. The plaintiffs, most of whom were relatives of the victims, demanded compensations as secondary victims, arguing that their injury was within the “immediate aftermath”—a category recognized by British law as having been involved in the consequences of a tragic event. The court rejected the claim, but not before speculating on the hypothetical possibility of a traumatic live broadcast. Numerous claims for psychiatric injury had been filed prior to this case, yet this is probably one of the first to consider whether media could cause trauma to viewers, and consequently be compensable by law. Were such a case to be heard today, however, it might find support from recent developments in psychiatric research. For there is now a growing acceptance among mental health experts that trauma could transfer, under certain conditions, through visual media. Referring to notions such as “distant trauma,” “traumatic media exposure,” and “vicarious traumatization,” clinicians and researchers are now willing to acknowledge that witnessing disastrous events through the media could cause a reaction that complies with existing PTSD clinical criteria. How did this development come about? How does such mediated trauma manifest itself? What are its social, legal, and moral consequences? And what are the implications for our understanding of both media and trauma? These are the questions this chapter sets out to explore. Psychiatry has long been in the business of understanding how external violence affects mental processes. While operating under various nomenclatures, modern conceptions of trauma have dovetailed with modern developments in technology and warfare. As already noted earlier in this book, trauma is a central theme in the grand narrative of the shock of modernity.

In the cultural sphere, the period between the October Revolution and the initiation of the first five‑year plan was marked by a series of heated public debates about the function of visual art and media in the new socialist society. Prominent theorists, including the Commissar of Enlightenment, Anatolii Lunacharskii, and writers associated with the journal Lef, such as Boris Arvatov and Sergei Tret´iakov, participated in these debates, as did modernist artists and realist painters. Photography was a central theme, and by 1925 the question of how the advances in photographic and other forms of mechanical reproduction were changing the nature of the visual had emerged as the debates’ most pressing problem. While all of the debates’ contending factions recognized the significance of photography, they also agreed that the material components of painting—particularly color and surface texture—remained essential to the development of comradely socialist relations. This article brings to light for the first time the aspects of early Soviet thought on aesthetics and communication that led to the firm establishment of painting as a visual medium essential to socialism. It demonstrates in particular that the materiality of painting and its traces were linked to the activation and transmission of the sensations of the body, which were considered necessary for the formation of socialist connections.

The Chinese folktale, Three Blind Men and an Elephant , is more than 2,000 years old. Three blind men approached an elephant and tried to describe it. The first man felt the elephant's ear and decided that it was like a fan. The second man touched the elephant's knee and decided that it was like a tree. The third man held the elephant's trunk and concluded that it was like a snake. They could not agree on what an elephant is really like (Kuo & Kuo, 1976). If each of the three men had felt the whole of the elephant, or at least experienced each of the three parts themselves, they would have gained a better idea of what animal they were trying to describe. Scientists, like the blind men, often have too narrow a focus when thinking about their field of research or particular topics. To obtain a larger, more complete picture—to understand what the ‘elephant’ is—they need as much information as possible. One way of achieving this is to take advantage of new technologies, such as video, and use it to communicate scientific methods, protocols and results. Here, I describe the possible advantages of using video to communicate scientific protocols instead of verbal descriptions, and highlight some further benefits of such an approach, in particular in educational and outreach programmes. Visual information is fundamental to communication. As humans, we have relied on our visual perception of the world to convey ideas, feelings and images ever since our ancestors started painting animals on cave walls thousands of years ago. Drawings, paintings, photography, film, television, analogue and digital video, computer‐generated images and the Internet have all further increased and enhanced the use of images to communicate information—not just in general, but specifically with regard to scientific ideas, results and communication. …