Movie Genre Research Articles

Between-subject correlation of heart rate variability predicts movie preferences.

We introduce a novel and simple method for assessing audiences’ emotional responses to audiovisuals (e.g. films). Viewers (N = 21) watched movies and TV commercials from different genres while wearing photoplethysmography (PPG) optic sensors on their wrists. Heart rate variability (HRV) synchrony was observed among the audience. Based on this between-subject synchrony measure, we identified emotionally arousing segments from the materials. New participants (N = 24; N = 16) were then invited to watch these identified segments along with some randomly selected segments as control; they reported that the former was more engaging (effect size w = .67; w = .5). This finding was confirmed in an online study with a larger cohort (N = 300). While some specific effects varied depending on movie genre or gender, HRV-based editing generally performed better than the control. These findings suggest that HRV synchrony can be used as a new tool for audience psychology, and potentially also for automatically creating short trailers out of movies in a principled manner while taking into account the human perspective.

Genre based hybrid filtering for movie recommendation engine

With the dramatic rise of internet users in the last decade, there has been a massive rise in the number of daily web searches. This leads to a plethora of data available online, which is growing by the days. A recommendation engine leverages this massive amount of data by finding patterns of user behavior. Movie recommendation for users is one of the most prevalent implementations. Although it goes way back in the history of recommendation engines, collaborative filtering is still the most predominant method when it comes to the underlying technique implemented in recommendation engines. The main reasons behind that are its simplicity and flexibility. However, collaborative filtering has always suffered from the Cold-Start problem. When a new movie enters the rating platform, we do not have any user interaction for the movie. The foundation of collaborative filtering is based on the user-movie rating. In this paper, we have proposed a hybrid filtering to combat this problem using the genre labeled for a new movie. The proposed algorithm utilizes the nonlinear similarities among various movie genres and predicts the rating of a user for the new movie with the associated genres for the movie.

Auxiliary Domain Selection in Cross-Domain Collaborative Filtering

The problem of data sparsity largely limits the accuracy of recommender systems in collaborative filtering model. To alleviate the problem, cross-domain collaborative filteri ng was proposed by harnessing the information from the auxiliary domains. Previous works mainly focused on improving the model of utilizing the auxiliary information yet little on the selection of auxiliary domains, although it is observed that the result of recommendation depends on the characteristics of auxiliary dataset . In this paper, we study the validity of cross-domain collaborative filtering by movie recommendation via different auxiliary domains of different movie genres. Through extensive experiments we find that the numbe r of overlapping users between target domain and auxiliary domain is an indicator of choosing beneficial domains, while the low Ku llback-Leibler divergence between non-overlapping user ratings, rather than the overlapping user ratings, is much more significant. The results are helpful in selection of auxiliary domains in cross-domain collaborative filtering.

Improving the Prediction Quality in Memory-Based Collaborative Filtering Using Categorical Features

Despite years of evolution of recommender systems, improving prediction accuracy remains one of the core problems among researchers and industry. It is common to use side information to bolster the accuracy of recommender systems. In this work, we focus on using item categories, specifically movie genres, to improve the prediction accuracy as well as coverage, precision, and recall. We derive the user’s taste for an item using the ratings expressed. Similarly, using the collective ratings given to an item, we identify how much each item belongs to a certain genre. These two vectors are then combined to get a user-item-weight matrix. In contrast to the similarity-based weight matrix in memory-based collaborative filtering, we use user-item-weight to make predictions. The user-item-weights can be used to explain to users why certain items have been recommended. We evaluate our proposed method using three real-world datasets. The proposed model performs significantly better than the baseline methods. In addition, we use the user-item-weight matrix to alleviate the sparsity problem associated with correlation-based similarity. In addition to that, the proposed model has a better computational complexity for making predictions than the k-nearest neighbor (kNN) method.

Цитирование фортепианной музыки И. Брамса в контексте метамодернистских тенденций кинематографа XXI века

This article is devoted to quotations from the piano music of German Romantic composer Johannes Brahms as implemented in three films: “The Phantom Thread” (2017), “We have Always Lived in the Castle” (2018) and “Little Women” (2019). These films were shot by American directors Paul Thomas Anderson, Stacie Passon and Greta Gerwig following the genre of drama movies. The article aims to disclose how the quotations of Brahms' piano music (Waltz in B minor opus 39 No. 11, Rhapsody in G minor opus 79 No. 2 and Waltz in A flat major opus 39 No. 15) implements some the features of metamodernism in these films. Based on the works of famous theorists in its approach, the article focuses on the phenomenon and problems of metamodernism. The original use of musical quotes from the Brahms’ piano music in the metamodern cinema is expressed in the filmmakers' interest in the aesthetics of the past, especially Romanticism. The principles of working with musical quotes in these films consist in neutralizing the composer’s authorship, deformation of the musical text, manifold repetition of the music, and the dynamics of the sound of the quoted music. In films, by quoting the Rhapsody in G minor opus 79 No. 2 and Waltzes opus 39 No. 11 and No. 15 represent the metamodern “structure of feeling” in different ways. It is expressed in the following factors: a childlike style, emotionality, sincerity, and female perception. In these three films, by quoting Brahms's music, the film producers experiment with time, its looping, stopping and expansion. Keywords: Johannes Brahms, metamodernism, musical quotation, meaning, cinema, structure of feeling, film music, Paul Thomas Anderson, Stacie Passon, Greta Gerwig.

ЖАНР РОУД-МУВИ В ЗАПАДНЫХ ФИЛЬМАХ И КИНЕМАТОГРАФЕ МУСУЛЬМАНСКОГО ВОСТОКА

The article analyzes specific features of the Road Movie genre in a historical perspective on the example of the Western countries film production and Iran national cinematography. To that end the authors focus on genre and semantic variety of classical movies, a «proto-road-movie» and the Road Movies of nowadays. A comparative approach to the study of the genre formula provides for revealing the nuances in the stylistic techniques of directors and defining the national features of the semantic core of the Road Movie genre in both the Western movies (created in Europe and the USA) and in the films of the East (Iranian New Wave). While maintaining a number of aesthetic features that are similar in Western and Eastern Road Movies, one can nevertheless observe a significant difference in the way of representing the concept of the Path (the Road) by directors from the West and from Muslim countries. The article gives a detailed analysis of the Road concept in the context of Islamic cinema. Studying the symbolic of the Path and the Travel in Muslim tradition the authors refer to the norms of Sharia, Sufism and to the mode of the life traditions of the Middle Ages and our days. Special attention is paid to the movies of a well-known Iranian director Abbas Kiarostami. Working before and after the Islamic Revolution (1978–1979) he was the one of the founders of the New Iranian cinema.

Predicting movie genre from plot summaries using Bi-LSTM network

Movie plot summaries are highly indicative of the genre to which they belong. Depending upon the words present in the plot summaries, we can easily decide which emotion is being portrayed in the mo...

Predicting movie genre from plot summaries using Bi-LSTM network

Predicting movie genre from plot summaries using Bi-LSTM network

POVEZANOST FENOMENA AFANTAZIJA SA PREFERENCIJOM KA ODREĐENIM FILMSKIM ŽANROVIMA

Aphantasia is a recently identified condition which is defined as the inability to create mental imagery. This study aimed to examine whether the level of mental imagery of respondents can be predicted based on the preference of the movie genre and to explore whether there are statistically significant differences between respondents who prefer different movie genres in terms of aphantasia. The sample consisted of 925 respondents (M= 187, F= 738). Age range in the sample was from 18 to 85 (M = 31.13; SD = 10.93). The aphantasia was operationalized through VVIQ (Vividness of Visual Imagery Questionnaire), the Instrument for Measuring Favorite Movie Genres, made for the purpose of this research was also used. Data processing was performed on the overall score of aphantasia, as well as on separate scales of open and closed eyes, and after that on a subsample of men and women, but the results were not statistically significant in any case. Both aphantasia scales of open (α = 0.874) and closed eyes (α = 0.936) show high internal consistency reliability. The results show that the phenomenon of aphantasia cannot be predicted based on the preferences of movie genres (F(6, 918) = 0.91, p = .489, R2 = .006), as well as that there are no statistically significant differences in aphantasia between respondents who prefer different film genres (F (5/919) = 0.16, p = .976). By the method of multiple linear regression of the opposite direction, we obtained that aphantasia can statistically significantly predict only the preferences of the Comedy genre (F(2, 922) = 4.67, p =.010; R2 = .010) with β = -.12; p = .003. Since different results are obtained in the reverse order, based on aphantasia we can predict preferences for movie genres to a certain extent, which could speak in favor of previously done researches that claimed aphantasia is congenital.

Slaying the Monsters of Racism: A Geertzian Reading of Night of the Living Dead

Religion and culture are interact with each other, and by the definition of Clifford Geertz, rituals can be expressed by quite a lot of ways in art. No one can doubt that in our world we are surrounded by religious symbols, which represent themselves via paintings, musics and movies. In this article, the author wants to elaborate how the horror movie, this unique movie genre, worked in illustrate social issues of civil rights movements of 1960s. In Night of the Living Dead, the zombies represent the middle class racism and the complacency about racism, which are indifferent and bloodthirsty. The dynamic process of killing the zombies presents the rituals of the U.S. that the heroes always conquer the evil. On the other hand, the evil always stands for the shortcoming of humans. The fighting between the righteous and the evil never stops.

The Study of Rubaiyat attributed to Khayyam in Movies

Among the literati and men of culture of Iran, it is not exaggerated to call Khayyam one of the vaguest figures. One might recognize him certainly and resolutely through his philosophical and scientific works; however, it was his Rubaiyat attributed to him which created many arguments. This paper studies Hakim Omar Khayyam’s Rubaiyat in English and Persian language feature and non-biographical movies; hence, biographical movies depicting factual or imaginary life of Khayyam or any serials, TV productions, documentaries, non- English, non- Persian movies are not included. The aim is to expound any relationships between the film and Rubaiyat; therefore, according to the type of the applied quatrain, movie genre, plot, some categories are propounded to classify the movies in which Khayyam’s quatrains are quoted such as Transiency-Death, Transiency-Carpe Diem, Heaven and Hell, and Determinism. Indeed, these categories can be applied to the theme of the movies or a single scene in which the stanza is quoted.

A Collaborative Filtering based Approach to Classify Movie Genres using User Ratings

In this paper, we present an approach for classifying movie genres based on user-ratings. Our approach is based on collaborative filtering (CF), a common technique used in recommendation systems, where the similarity between movies based on user-ratings, is used to predict the genres of movies. The results of conducted experiments show that our genres classification approach outperforms many existing approaches, by achieving an F1-score of 0.70, and a hit-rate of 94\%. We also construct a multilayer network of movies, with genres as layers. We apply agglomerative clustering on the layers of this network to obtain a comprehensible taxonomy of genres which groups together similar genres using the similarity of their movies in terms of user preferences.

Analisis Komposisi Soundtrack Epic “You See Big Girl” Karya Hiroyuki Sawano dalam Serial Animasi Attack on Titan

Action-fantasy are some movie genres that has the most expansive franchises in film industry and tend to use cinematic music to correlate the atmosphere and emotions of the movie’s imaginary universe. The analysis of You See Big Girlis due to its majestic cinematic music arrangement, its suitability in accompanying the battle scene, and also can be enjoyed as an independent track despite of its role in accompanying the scene. This qualitative descriptive research aims to analyze the musical composition technique by describing the epic musical element. This research contains of literature study, discography, and observation as the research methods, along with the approach of Lehman and Derrick Werlé’sexamine on epic music to analyze the epic element. The result shows that the You See Big Girl is one of the various epic music with the use of battle and war instrument, as well as tension built gradually from a section to the following by the use of polyrhythm, marcato accent, big crescendo, sequence, sudden silence to ends the musical phrase, ostinato, and abstract theme, to portray a majestic, vibrant, war and battle scene, and the greatness through the music. Keywords: analysis, composition, animation, epic soundtrack, You See Big Girl

Movie Genre Prediction Based on Plot Synopsis

Movies have now become one of the main sources of entertainment for people. The extensive use of Internet has increased the creation and sharing of movie related data online. Movie plot summaries generally tell about the movie genres and many people read them before deciding to watch a movie. An automatic system can be applied to predict genres based on summaries. The objective dataset chosen by us consists of 14828 movies taken from Kaggle. We use different approaches such as TFIDF, Char gram, Skip gram etc to get better accuracy scores in predicting movie genre tags.

A multimodal approach for multi-label movie genre classification

Movie genre classification is a challenging task that has increasingly attracted the attention of researchers. The number of movie consumers interested in taking advantage of automatic movie genre classification is overgrowing, thanks to media streaming service providers’ popularization. In this paper, we addressed the multi-label classification of movie genres in a multimodal way. To this end, we created a dataset composed of trailer video clips, subtitles, synopses, and movie posters from 152,622 movie titles of the Movie Database (TMDb). Such a large dataset was carefully curated, organized, and made available as a contribution of this work. We labeled each movie of the dataset according to a set of eighteen genre labels. In the experimental evaluation performed in this paper, we computed different kinds of descriptors, such as Mel Frequency Cepstral Coefficients (MFCCs), Statistical Spectrum Descriptor (SSD), Local Binary Pattern (LBP) from spectrograms, Long-Short Term Memory (LSTM), and Convolutional Neural Networks (CNN). With these descriptors, we trained different monolithic classifiers using BinaryRelevance and ML-kNN techniques. Besides, we also explored the combination of classifiers/features using a late fusion strategy. The fusion of a LSTM trained on synopses and another LSTM trained on the movie subtitles provided our best results in F-Score (0.674) and AUC-PR (0.725) metrics. These results corroborate the existence of complementarity among classifiers trained on different sources of information in this field of application. As far as we know, this is the most comprehensive study developed in terms of diversity of multimedia sources of information to perform movie genre classification.

Viaje a un mito de autor a través de los géneros en El muerto y ser feliz (Javier Rebollo, 2012)

At a time when the concept of auteur cinema is being deeply questioned, the cinematographic work of Spanish director Javier Rebollo (1969-) can be understood as a sample of formal characteristics and experimental narratives leading to a reaffirmation of director as an auteur. In Rebollo’s third film, El muerto y ser feliz (The Dead Man and Being Happy) (2012), Santos, a dying hitman, goes on a journey from Buenos Aires to Northern Argentina that progressively acquires a symbolic meaning, as it is a journey from civilization to nature, from life to death, and, ultimately, from history to myth. The physical decline of Santos and his overcoming of physical death–and of linear time–through his transformation in myth, is parallel to a deconstruction of traditional cinematic language in the movie. Through a meta-reflective articulation of the road movie genre and through the distancing effect caused by the existence of two narrators who, competing with each other, simultaneously construct and deconstruct Santos’ story with their ironic and polysemic words, Rebollo attempts to reaffirm his position as a director-auteur, as the sole creator of an auteur myth (“mito de autor”) versus the traditional myth, oral and collective by nature.

The B-Subtle framework: tailoring subtitles to your needs

Large amounts of subtitles, from movies and TV shows, can be easily found on the web, for free, in almost every language. Several corpora, built from subtitles, with different annotations and purposes, are currently available. Considering that new sets of subtitles are constantly being released, we propose B-Subtle, an open source framework that allows the automatic creation of corpora constituted of sequential pairs of dialogue turns, gathered from subtitles. With the help of a configuration file, the B-Subtle framework permits to enrich subtitles and dialogue turns with extra information (such as movie genre or the polarity of an utterance); in addition, it allows different types of filtering to be applied to both subtitle files and dialogue turns. Therefore, with B-Subtle, each one can create his/her own corpus, tailored to his/her needs. Moreover, in order to replicate the process in a future experiment, the user just needs to save the configuration file. In this paper, we describe B-Subtle and demonstrate how to build different corpora with it.

A General Look on the Impact of Turkish Horror Movies: An Exploratory Study on the Opinions of Youth on Horror Movies

This study aims to examine young Turkish university students’ perceptions on horror movies and the impact of this genre on them. Also, this study aims to gain an understanding of the role of makeup and special effect makeup in horror movies for this particular audience. An exploratory survey was conducted with 1,000 randomly selected participants 18 years and older who were students studying at five universities in the Turkish Republic of Northern Cyprus. Findings suggest that 70.4% of the respondents prefer watching supernatural horror films where the djinn was reported to be the most feared religious horror character; 86.4% of women and 65.8% of men reported supernatural events as scary. With regard to the importance of makeup in horror movies, 67.1% females and 53.9% males reported that makeup in horror movies was very important, where 26.9% preferred blood as a special effect, 51.1% reported that hand-based makeup was more acceptable, and 65.4% indicated that PC-supported makeup would never replace hand-based makeup. These findings suggest that although there is a potential inclination to watch the horror movie genre, which is a very new genre in Turkish cinema as well as the makeup and special effects used in horror movies, specifically djinn makeup appears to be of importance for the young Turkish film audiences.

Predicting Users’ Movie Preference and Rating Behavior from Personality and Values

In this article, we propose novel techniques to predict a user’s movie genre preference and rating behavior from her psycholinguistic attributes obtained from the social media interactions. The motivation of this work comes from various psychological studies that demonstrate that psychological attributes such as personality and values can influence one’s decision or choice in real life. In this work, we integrate user interactions in Twitter and IMDb to derive interesting relations between human psychological attributes and their movie preferences. In particular, we first predict a user’s movie genre preferences from the personality and value scores of the user derived from her tweets. Second, we also develop models to predict user movie rating behavior from her tweets in Twitter and movie genre and storyline preferences from IMDb. We further strengthen the movie rating model by incorporating the user reviews. In the above models, we investigate the role of personality and values independently and combinedly while predicting movie genre preferences and movie rating behaviors. We find that our combined models significantly improve the accuracy than that of a single model that is built by using personality or values independently. We also compare our technique with the traditional movie genre and rating prediction techniques. The experimental results show that our models are effective in recommending movies to users.

An unconventional zombie: Subcultural genres, global art cinema and bio-power in Sebastian Hofmann’s Halley (2012)

With an unconventional living-dead protagonist and a minimalist auteur style, Halley brings to the fore how the tensions between genre movies and art cinema operate in a transnational context. Halley surprises the audience with the story of a security guard who is dead but remains alive. While his flesh decomposes, Beto goes to work and continues with his lonely life pretending that everything is fine. In this sense, the film presents an unconventional zombie: Beto is not a monster, he is harmless and he is an obedient worker, but his condition exhibits his alienation in society. This article analyses Beto’s impossible embodiment from the perspective of film categorization, taking into account the intersections between auteur cinema and subcultural genres such as zombie movies in a transnational context. To that end, I rely on Dolores Tierney’s mapping of cult cinema in Latin America as well as on Ignacio Sánchez Prado’s analysis of global art cinema in México, both of which are related to international film circuits. Secondly, this article focuses on the sociopolitical implications of Beto’s living-dead body. I trace the trope of the living-dead character and analyse its political commentary from the perspective of bio-power. Drawing from Giorgio Agamben’s exploration of the homo sacer and bare life, this article explores how Beto’s embodiment evokes his diminished agency but also its subversive potential. With a body that transcends basic medical categorizations of life and death, Beto confronts Foucault’s idea of bio-power and resists the clinic.