Audiovisual Analysis Research Articles

BEDAWANG NALA: ARTISTIC INSPIRATION FOR A FICTION FILM TO STRENGTHEN ENVIRONMENTAL EDUCATION AWARENESS

This research explores the philosophical and symbolic value of Bedawang Nala in Balinese architectural art and the development of its narrative in fiction films based on Hindu mythology. Bedawang Nala, depicted as a giant fire-haired turtle with dragons Anantabhoga and Basuki, reflects cosmic balance and natural harmony in Tri Hita Karana. This qualitative research uses an interdisciplinary perspective involving the views of cultural studies and the creativity of film art creation. Data was obtained through in-depth interviews to explore the meaning and connection of the Bedawang Nala concept with environmental themes, audiovisual observations of traditional Balinese architecture, and literature studies on Bedawang Nala and ecological issues. Data were analyzed using interview transcript interpretation techniques to identify main themes related to the philosophical and symbolic values of Bedawang Nala, audiovisual analysis, and literature synthesis that connects findings from interviews and observations with current discussions about ecological education. The findings show that the Bedawang Nala mythology is not just an aesthetic ornament but has an educational value relevant to contemporary environmental issues. The development of this mythology-based film narrative can be an effective academic and cultural reflection tool, strengthening ecological awareness in society. This research suggests making and evaluating films based on Bedawang Nala and exploring other local mythologies to increase the educational impact and environmental awareness through film media.

The musicality of traumatic memories: A video essay

This video essay attempts an audiovisual analysis of subjectively motivated sounds and music in Lynne Ramsay’s We Need to Talk About Kevin (2011) based on Danijela Kulezic-Wilson’s ideas about “film musicality” and “integrated soundtracks”.

Exploring The Impact of Digital Technology Transformation in Islamic Education: The Islamic Education Teachers Perspective

The empowerment of digital education is one of the government’s reforms to ensuring that Malaysia’s education system remains relevant. However, some teachers still do not recognise the significance of adopting digital technology, resulting in the rejection of a few Islamic education teachers. Thus, the purpose of this study is to investigate how Islamic education teachers perceive the impact of digital technology use in the classroom. Using a case study design and a qualitative research approach, the study included five Islamic education teachers who are proficient in digital technology and were chosen by a snowball sampling process. Interviews, in-person observations, and audio-visual analysis were used to gather data. Using NVIVO 14 software, the data was subjected to a thematic analysis. Credibility, transferability, and dependability are ensured for qualitative research data by triangulation, member check and peer review, rich and thick audit trail, and inter-rater. The study’s aims, which include improved productivity in the classroom; problem-solving efficacy; quick access to information; and more systematic data management, are addressed via four main themes and eight sub-themes. It is intended that this study will offer a viewpoint that encourages Islamic education teachers to make the most of digital technology in the classroom and in day-to-day operations.

Interpretation of Jae Hee Choi: Cadenza "Clarinet Concerto No. 3 in Bb – Allegro Moderato" by Carl Philip Stamitz

The research of Cadenza "Clarinet Concerto No. 3 in Bb – Allegro Moderato” by Carl Philipp Stamitz by Jae Hee Choi is motivated by the clarinet solo performance of a clarinetist performing the cadenza part of this concerto. The focus of this research is to find out the interpretation and technique of Jae Hee Choi's clarinet playing by analyzing the cadenza part through the interpretation and technique of playing the clarinet to be able to have a good impact in interpreting an interpretation of playing music, especially concertos in the baroque era. The method used in this research is a descriptive research method with three stages of analysis. The first stage is audio-visual analysis. The second stage rewrites the notation with the Sibelius application. The third step is to analyze the rewritten notes and make a comparison between the cadenza played by Jae Hee Choi and the original cadenza in this concerto. This research found two very important things namely; clarinet interpretation and technique. Interpretation includes interpretation of expression, rhythm, melody, and dynamics. The clarinet playing technique includes blowing techniques and fingering techniques.

Perbandingan notasi pertandingan bulutangkis nomor tunggal putra pada olimpiade Rio 2016 dan Beijing 2020

This research aims to compare the match notations between the men's singles matches in Rio 2016 and Rio 2020. It is urgent to discuss this matter because the Olympics is a routine event held every 4 years, to prepare for the next Olympics, team officials can evaluate the Rio match resume. 2016 and Tokyo 2020. This research is classified as quantitative research and the method used is audiovisual analysis. The sample for this research is the men's singles final match for badminton) at the 2016 Rio and 2020 Beijing Olympics. Data collection procedures, data were obtained from the IOC (international Olympic Committee's) website. The spreadsheet used to collect data was using a spreadsheet in the Excel 2019 application. Data analysis was used, namely the difference test with the help of SPSS 21. The results of the research obtained a description of the hitting techniques carried out up to the rally and rest times as well as comparisons. The conclusion obtained is that there is a difference between rally time and rest time between the Rio 2016 and Tokyo 2020 matches.

Indigenous filmmaking practices: healing in times of climate crises

The psychological impacts of the climate crisis and its triggers can have long-lasting consequences for public mental health. Many indigenous communities have an in-depth understanding of these impacts, and some of their filmmakers have depicted them through their audiovisual work. By challenging colonial perspectives, these indigenous filmmakers offer invaluable insights into how communities might navigate into adaptation and recovery to cope with the challenges brought about by climate change. Unfortunately, audiovisual work has often been overlooked in climate-related disaster studies despite its significant contributions. Drawing on community-based feminism and the decolonial turn, I sought to explore the healing practices employed by communities in Upper Xingu, Brazil, through the practice of indigenous filmmaker Takumã Kuikuro. To achieve this, I drew on audiovisual analysis of Takumã Kuikuro’s documentaries and records (short videos) from the decolonial panorama. Additionally, I conducted semi-structured interviews with the filmmaker and three members of the People’s Palace Projects, who have worked closely with Takumã, culminating in a validation meeting. I highlight three key findings for this article: (i) healing through rituals as esthetic and ethical-sacred practices within the territory, (ii) bodies in collectivism, and (iii) cascading effects on healing audiences: weaving networks from reciprocities. In seeking a discussion of the findings, I contend that there is an inextricable bond between the community-based healing responses to the climate crisis shown by Takumã’s lenses and the Politics of the Bodies proposed by the Colombian philosopher Laura Quintana, allowing us to frame the decolonial understanding of healing as a political and collective action both within and with territories. Therefore, placing the indigenous cinema as a source of knowledge will enable us to bring community-based discussions that disaster risk reduction has neglected due to its embeddedness in epistemic injustice, from which at-risk communities have been predominantly seen as incapable of knowing their geographies. The rituals and collaborative practices grounded in reciprocity demonstrate forms of adaptation in which mental health becomes a collective responsibility woven into nature at its core.

Audiovisual analysis of exploring microbiology through the cultural lens

The cultural bridge in the use of toothpastes with fluoride and xylitol in the reduction of Streptococcus mutans and the prevention of cavities is not clear. The antibacterial effect of pediatric toothpastes on Streptococcus mutans was compared. Each toothpaste was dissolved in different concentrations, and placed in Petri dishes with Streptococcus mutans ATCC 25175 and observed at 24 and 48 hours. The results show that there is variability in sensitivity depending on the concentration and exposure time. The toothpaste that had the greatest inhibitory effect on Streptococcus mutans was the one that had fluoride and xylitol.

Towards a unified terminology for sonification and visualization.

Both sonification and visualization convey information about data by effectively using our human perceptual system, but their ways to transform the data differ. Over the past 30 years, the sonification community has demanded a holistic perspective on data representation, including audio-visual analysis, several times. A design theory of audio-visual analysis would be a relevant step in this direction. An indispensable foundation for this endeavor is a terminology describing the combined design space. To build a bridge between the domains, we adopt three of the established theoretical constructs from visualization theory for the field of sonification. The three constructs are the spatial substrate, the visual mark, and the visual channel. In our model, we choose time to be the temporal substrate of sonification. Auditory marks are then positioned in time, such as visual marks are positioned in space. Auditory channels are encoded into auditory marks to convey information. The proposed definitions allow discussing visualization and sonification designs as well as multi-modal designs based on a common terminology. While the identified terminology can support audio-visual analytics research, it also provides a new perspective on sonification theory itself.

Weaving the network of collectivism –Kuqingas affective glue in China: Analyzing the reality showX-Change

This article examines the ways in which kuqing – bitter emotions – are performed, amplified and circulated in the Chinese reality show X-Change (2006–2008). Taking a social relational approach to affect, we understand kuqing as an embodied, socially informed and relationally inscribed affective response to suffering and pain. Building on the historical roots of kuqing, textual and audiovisual analysis is applied to capture its expressions and affective registers in the program. The analysis reveals that, while claiming to reduce the alarming urban–rural divide, the program engages in two juxtaposed and competing affective arrangements. The first recruits kuqing into neoliberal logics and individualistic subjectivity, but is counterproductive in that it reproduces structural class inequalities. The second results in a rearrangement in which kuqing circulates relationally and articulates with Confucian filiality and family ethics, weaving both the rural bitter underclass and the urban middle class into an intersubjective collectivist identity and relationship, thereby strengthening social cohesion and managing social division. Based on the analysis, we offer new insights into relationships between reality TV, power structures and the complex ‘emotional regime’ in a contemporary China challenged by its social ruptures.

Thinking about platforming with more traditional mediatization: Lessons from audiovisual analysis

Since the mid-1990s, film and television industries are more and more confronted with the appearance of new intermediation services which have created platforms. In a project funded by the Social Sciences and Humanities Research Council of Canada (SSHRC), we try to analyze the place and role that these new services are taking in the audiovisual sector. Our corpus is composed of the platforms of four companies that have developed activities on a vast international scale, Netflix (with its service of the same name), Amazon (Prime Video service), Disney (Disney+) and Apple (Apple TV+). Based on our corpus, it seems to us that some changes have been the result of firms’ activities, but that it is not as linear as it may appear at first sight. Transformations are at work but there is also some “Old Media Persistence.” Thus, we find a certain “contamination” of old practices originating from the organization of industrial channels and forms in the mutations currently presented by these new intermediation services.

Off-Screen Sound Separation Based on Audio-visual Pre-training Using Binaural Audio.

This study proposes a novel off-screen sound separation method based on audio-visual pre-training. In the field of audio-visual analysis, researchers have leveraged visual information for audio manipulation tasks, such as sound source separation. Although such audio manipulation tasks are based on correspondences between audio and video, these correspondences are not always established. Specifically, sounds coming from outside a screen have no audio-visual correspondences and thus interfere with conventional audio-visual learning. The proposed method separates such off-screen sounds based on their arrival directions using binaural audio, which provides us with three-dimensional sensation. Furthermore, we propose a new pre-training method that can consider the off-screen space and use the obtained representation to improve off-screen sound separation. Consequently, the proposed method can separate off-screen sounds irrespective of the direction from which they arrive. We conducted our evaluation using generated video data to circumvent the problem of difficulty in collecting ground truth for off-screen sounds. We confirmed the effectiveness of our methods through off-screen sound detection and separation tasks.

‘Can I Be Gay in the Army?’: British Army recruitment advertising to LGBTQ youth in 2017–18 and belonging in the queer military home

ABSTRACT In 2017, the British Army opened its ‘This is Belonging’ recruitment campaign, aimed at groups of young people who were considered traditionally less likely to join the Army, with marketing at Pride in London aimed at LGBTQ youth. The campaign’s next phase, in 2018, consisted of live-action and animated YouTube videos targeting specific groups including young women, religiously observant youth, emotionally sensitive young men, youth with average fitness levels, and, in the animations, LGBTQ youth again. While every other theme appeared in both sets of videos, the live-action set contained a video depicting homosocial male bonding instead of any LGBTQ theme. The Army’s acknowledgement of LGBTQ identities during recruitment in 2017–18 suggested certain advances from the 2000s position where LGBTQ personnel were expected to keep their sexuality private. A close audiovisual analysis of the LGBTQ-themed video, ‘Can I be Gay in the Army?’, and its intertextual relationship with the other videos nevertheless reveals hesitancy over how to represent a legibly gay male soldier that hints at limits to the institution’s inclusion of sexual difference. Drawing on both ‘LGBT’ and ‘Queer’ scholarship, the paper illustrates how concepts of domesticity and futurity can contribute to critical understandings of LGBTQ military inclusion.

Folkloric Voices in Neorealist Cinema: The Case of Giuseppe De Santis

Scholars agree that a fundamental incongruity lies at the core of neorealism’s “lack of audiophilia” (Sisto 2014). While neorealist directors aimed to bridge the gap between their films and the portrayed protagonists – notably marginalised, subaltern people –, the music and voices of the latter tended to be muted and disempowered by soundtracks that relied on well-established norms of film-scoring practices (Dyer 2006). This remark applies to several post-war Italian films, but the case of Giuseppe De Santis seems to complicate it. Through audiovisual analysis and the study of archival sources, this article examines how the director participated in the wave of rediscovery of folklore in post-war Italy, and how he contributed to the creation of (ambiguous) discourses about the folk’s voice, which leftist intellectuals regarded as the repository of anti-capitalist values.
 Firstly, I explore internal tensions in De Santis’ remediation of folk music. My analysis of the values attached to this repertoire in the rural film Caccia tragica (1947) shows that De Santis tended at once to affirm the “folk music vs capitalism” dichotomy, and to blur the line of such divide through several (involuntary?) short-circuits. The examination of these discursive fractures helps provide a nuanced understanding of the position occupied by folk music in post-war Italian cultural politics.
 Secondly, I claim that a comprehensive approach to film soundtracks may call into question the idea of neorealism’s indifference to the subalterns’ voice. Indeed, sound, more than music, proved essential for the director to try and empower the portrayed folkloric communities. I demonstrate the point by analysing the construction of folkloric soundscapes in Caccia tragica, where resonance is given to bells, whistles, and clapping that subvert the hegemonic world of the film’s villains. My account is complemented by a discussion of music and sound in Noi che facciamo crescere il grano (ca. 1953), one of De Santis’ unfinished projects.

Linguistic Dominance and Translanguaging: Language Issues in Generations: The Legacy

The use of language(s) in media is very important as it can determine inclusion or exclusion. As such, the use of language in the media is contentious. This paper traces two language issues in one of the SABC's longest-running soap operas, Generations: The Legacy, language ideology and a tool against that language ideology. The former refers to a linguistic dominance of isiZulu and the latter refers to translanguaging. With the use of transcription data analysis and audio-visual analysis, the current study has concluded that there are issues of linguistic dominance and translanguaging in Generations: The Legacy. These language issues are perpetuated through the narrative and characters of the story. The appropriate theoretical framework for this paper is the use of language in popular culture, with the view that the use of languages in popular culture can exclude and include, can empower, and disempower. Focusing on the dialogues of the soap using selected episodes as case studies for analysis, the study has also concluded that creative decisions made in the soap are ideological. These findings raise questions about the use of media to perpetuate certain language ideologies and raise questions about whose interests are served by these language ideologies and how to fight these language ideologies.

Correlation between Human Emotion and Temporal·Spatial Contexts by Analyzing Environmental Factors

In this paper, we propose a method for extracting emotional factors through audiovisual quantitative feature analysis from images of the surrounding environment. Nine features were extracted such as time complexity, spatial complexity (horizontal and vertical), color components (hue and saturation), intensity, contrast, sound amplitude, and sound frequency. These nine features were used to infer “pleasant-unpleasant” and “arousal-relaxation” scores through two support vector regressions. First, the inference accuracy for each of the nine features was calculated as a hit ratio to check the distinguishing power of the features. Next, the difference between the position in the two-dimensional emotional plane inferred through SVR and the ground truth determined subjectively by the subject was examined. As a result of the experiment, it was confirmed that the time-complexity feature had the best classification performance, and it was confirmed that the emotion inferred through SVR can be valid when the two-dimensional emotional plane is divided into 3 × 3.

Análisis de la realización de espectáculos televisivos en directo: Italia en Eurovisión 2021

This paper aims to study the production of live television at the Eurovision Song Contest, a contest characterized by the use of avant-garde and experimental technologies and staging. The filming and production of the winning performance in 2021, «Zitti e buoni», by the Italian group Måneskin, is selected as a case study, as it breaks with previous trends. The main objectives of this research are to analyze the selected performance from a discursive and formal perspective and to identify the visual references on which the production is based. We apply a formal audiovisual analysis while considering intertextual practices and the intention to appropriate pop culture references. The formal audiovisual analysis highlights the respect for a functional and classic audiovisual grammar that tries to make itself invisible to highlight the members of the band with their charisma. Faced with previous practices trying to break spatial and temporal continuity, the performance claims a classical audiovisual grammar and an apparently simple staging based on nostalgia.

Walking through the city soundscape: an audio-visual analysis of sensory experience for people with psychosis.

This article discusses how an aspect of urban environments - sound and noise - is experienced by people walking in the city; it particularly focuses on atypical populations such as people diagnosed with psychosis, who are reported to be particularly sensitive to noisy environments. Through an analysis of video-recordings of naturalistic activities in an urban context and of video-elicitations based on these recordings, the study details the way participants orient to sound and noise in naturalistic settings, and how sound and noise are reported and reexperienced during interviews. By bringing together urban context, psychosis and social interaction, this study shows that, thanks to video recordings and conversation analysis, it is possible to analyse in detail the multimodal organization of action (talk, gesture, gaze, walking bodies) and of the sensory experience(s) of aural factors, as well as the way this organization is affected by the ecology of the situation.

Staging a ‘real’ masculinity in a ‘fake’ world: creativity, (in)authenticity, and the gendering of musical labour

ABSTRACT A distinction between creativity and commerce as opposing forces is central to discourses surrounding popular music, and this distinction facilitates a gendered hierarchy of valued and devalued forms of musical labour. The practice of singing has typically been coded as feminine and has held a lower status than the masculinized practices of playing an instrument or composing. Accordingly, male pop singers tend to be assessed as inauthentic – and, by extension, insufficiently masculine – by some critics and audiences. In this article, I investigate how entwined notions of creativity and authenticity might shape contemporary pop artists’ representations of masculinity. Through a case study of Justin Timberlake’s music video Say Something (2018), I demonstrate how the showcasing of particular forms of musical labour can function to authenticate constructions of masculinity in accordance with artistic and creative ideals with roots in the Romantic era. My approach to audiovisual analysis merges perspectives from critical musicology and cultural studies, in order to investigate the processes by which ‘real’ masculinities are articulated on multiple levels.

Enhanced Audio Tagging via Multi- to Single-Modal Teacher-Student Mutual Learning

Recognizing ongoing events based on acoustic clues has been a critical yet challenging problem that has attracted significant research attention in recent years. Joint audio-visual analysis can improve the event detection accuracy but may not always be feasible as under many circumstances only audio recordings are available in real-world scenarios. To solve the challenges, we present a novel visual-assisted teacher-student mutual learning framework for robust sound event detection from audio recordings. Our model adopts a multi-modal teacher network based on both acoustic and visual clues, and a single-modal student network based on acoustic clues only. Conventional teacher-student learning performs unsatisfactorily for knowledge transfer from a multi-modality network to a single-modality network. We thus present a mutual learning framework by introducing a single-modal transfer loss and a cross-modal transfer loss to collaboratively learn the audio-visual correlations between the two networks. Our proposed solution takes the advantages of joint audio-visual analysis in training while maximizing the feasibility of the model in use cases. Our extensive experiments on the DCASE17 and the DCASE18 sound event detection datasets show that our proposed method outperforms the state-of-the-art audio tagging approaches.

The seduction of colors in a gray universe: telluric teachings that art brings us/ A sedução das cores em um universo cinzento: ensinamentos telúricos que a arte nos traz

This work analyzes the dystopian universe of the Brazilian feature movie Divine Love (Divino Amor, Gabriel Mascaro, 2019) focusing on the elements that form the diegetic universe. The movie shows Brazil in 2027, the seeds of cultural and religious moral agenda have flourished, religious and technological faith involves the landscape, institutions and the bodies of the characters. Amid a gloomy atmosphere and a gray landscape, evangelical seduction breaks out in attractive colors, dry ice smoke and lively music. Many of the projects in bloom in Brazil today go towards extreme views in this diegetic universe, such as encouraging advances in technology; dehydration of art and education; courtship between State and Religion.The Ecosophy expanded the theoretical framework of the audiovisual analysis method aimed at the diegetic universe by drawing attention to the non-human components that produce individual and collective subjectivity. This theory articulates the three ecological records: environment, social relations and human subjectivity as a way of perceiving the components of the production of subjectivities, in order to better understand and propose transformations in the face of the contemporary standardization of behaviors.