Web Series Research Articles

Predicting video views of web series based on comment sentiment analysis and improved stacking ensemble model

Predicting video views of web series based on comment sentiment analysis and improved stacking ensemble model

How Visually Challenged People Understand the Film with Audio Description

This research study focuses on how Audio description helps the visually challenged students to understand the narration of a movie, The researcher used qualitative research method to collect the data, he conducted an in-depth interview with 52 visually challenged school students who are aged between 10 to 16 years old from poonamalli blind school which is in Chennai. The researcher took convenience sampling which is a type of non probability sampling method in drawing the population. The researcher conducts screening of a episode from a Tamil web series named Suzhal the vortex with and without Audio Description.The researcher asks 25 open-ended questions and collect information from every 52 participants individually. The researcher finds that the research is successful in finding out results positively using Audio Description.

Дискурс-анализ интерактивного сериала «Найден_жив» (первый сезон)

The article deals with the discourse analysis of the mythologization of time in the interactive web series "Found Alive" (first season). The author explores the formation of interactive cinema, considering its genre, stylistic and technological features. The principal feature of interactive cinema is to change the communication scheme typical for cinema, in which the viewer is assigned a passive role. Since the viewer becomes a participant in the narrative of the film and can influence the development of its plot, the discourse of interactive cinema acquires new features associated with the introduction of computer game mechanics into the structure of the film. The formation of the temporal structures of the film is enriched by the potential of game mechanics, which requires calibration of research optics. Choosing N. Fairclough's discourse analysis algorithm as a starting methodological point, the author uses J. Bogost's ideas about the work of object-oriented ontology in the study of computer games. She refuses to consider the interactive component of the series as an additional narrative and focuses on identifying the work of the aesthetics, mechanics and dynamics of the game inserts of the film to analyze the experience they form. As a result, the discourse analysis of interactive cinema involves three levels: a syntagmatic analysis of the cinematic narrative, a paradigmatic analysis of the interactive game and an appeal to the external nodes of the narrative. The author shows that the key element of the discourse of the series "Nayden_Zhiv", reproducing the principles of the work of the search and rescue team "LizaAlert", is time as the main factor in the effectiveness of the search for a missing child. The film's discourse forms the image of time as an anti-force opposing rescuers, clashing two temporal strategies. The strategy of the cinematic narrative is aimed at gradually accelerating the subjective perception of time, leading to an acute experience of its deficit. The interactive strategy uses the potential of slowing down when mastering simulators and solving quests in the subjective experience of the player delays the solution of the basic goal of the film. The external narrative nodes formed by the creators of the series when contacting the press, online and offline audiences coincide with its internal nodes. According to the author, the complex discourse of interactive cinema enhances the mythologization of time.

“It’s So Bad It Has to be Real”: Mimic Vlogs and the Use of User-Generated Formats for Storytelling

Mimic vlogs – that is, a form of fictional web series that tell stories utilising a vlog format – draw on audience expectations to elicit a particular response. Mimic vlogs use the conventions of an authentic format to tell a story in a way that resembles a genre audiences know and trust, much like mockumentaries and other forms of parodies. It is integral to understand how viewers approach and understand these videos, particularly on a platform such as YouTube which hosts both amateur, professional, usergenerated, and professionally-produced content. Mimic vlogs constitute a small part of a much larger phenomenon of replica content online, such as deep fakes, cheap fakes, fake news, misinformation and disinformation. This exploratory paper draws on primary data from YouTube viewers to investigate what methods audience members use to identify video content. Participants watched and responded to a series of eight videos made up of both user-generated vlogs and fictional mimic vlogs to determine the elements viewers considered while categorising the videos. The approaches participants employed were frequently unreliable, with participants coming to different conclusions based on the same piece of information. Contributing factors to this effect included the viewers’ perceptions around authenticity, plausibility, and markers of quality in each video. The results of this research illustrate the ways in which audiences read texts in different ways. This is in line with Stuart Hall’s encoding and decoding theory (1980) and broader audience reception studies which suggest that audiences play a vital role in interpreting texts and their meaning. Consequently, this research shows how audiences are vulnerable to even low-stakes replica content online, in part, because of their decoding of textual elements.

Storytelling Techniques and Features of Plot Structure in Web Series

Web series are a modern and actively developing audiovisual format, which, however, has so far received only limited attention from researchers. The format’s specific nature implies that it must be viewed from three angles at once: as an audiovisual product, in many ways akin to television and cinema formats; as a type of Internet content that exists in tune with the laws of its environment; and, finally, as a series per se, created with the canons and rules of serial narration in mind. Building on these three key aspects, it is possible to identify the specific format features of a web series and to find out how they influence its creation process, for example, in terms of storytelling strategies used in web series scriptwriting.This article examines nine web series of different genres, produced in nine countries around the world. The aim of the study is to discover and trace the relationship between the specific features of web series as a format and the story structure of the selected series. Joseph Campbell’s monomyth scheme serves as a main tool of analysis and allows to present this structure as a series of key stages, making it explicit. As a result, it becomes visible how the hero’s classic journey gets transformed in a web series. This makes it possible to identify the main features of storytelling in this format and the techniques used by screenwriters. These techniques include, in particular, a quick start of the story, a focus on the heroes’ inner journey, complete exclusion of their parents from the plot, and some others. Thus, the study comes to the conclusion that the specificity of web series as a format is not only taken into account by screenwriters, but also forces them to transform the classic plot schemes to a large extent.

ANALISIS SEMIOTIKA PESAN DAKWAH DALAM WEB SERIES USTADZ MILLENIAL

The Web Series “Ustadz Millenial” tells the story of a life that tells the story of the life of a young man who aspires to become a young ustadz. However, his family's troubles and death are his dreams. But he still tries to realize his ideals by preaching through social media. Based on the background above, the purpose of this study is to answer how the signified and the signifier as well as the object (referent) are displayed in the series "Ustadz Millenial" and what are the da'wah messages contained in the series "Ustadz Millenial". In its analysis, this study uses a qualitative approach with the semiotic method of Ferdinand de Saussure which focuses on the signifier and the signified as well as the object (referrent). The data studied are pieces of images, text, sounds, or sounds contained in the series "Ustadz Millenial". The results of the study show that the "Millenial Ustadz" series is full of da'wah messages, including; an invitation to use patience, forgive each other, maintain friendship, try and endeavor, keep fifteen, be devoted to both parents, preach through social media that is developing with technology in today's era, and display the hijab as a suggestion to cover the genitals.

MethBank 4.0: an updated database of DNA methylation across a variety of species.

DNA methylation, as the most intensively studied epigenetic mark, regulates gene expression in numerous biological processes including development, aging, and disease. With the rapid accumulation of whole-genome bisulfite sequencing data, integrating, archiving, analyzing, and visualizing those data becomes critical. Since its first publication in 2015, MethBank has been continuously updated to include more DNA methylomes across more diverse species. Here, we present MethBank 4.0 (https://ngdc.cncb.ac.cn/methbank/), which reports an increase of 309% in data volume, with 1449 single-base resolution methylomes of 23 species, covering 236 tissues/cell lines and 15 biological contexts. Value-added information, such as more rigorous quality evaluation, more standardized metadata, and comprehensive downstream annotations have been integrated in the new version. Moreover, expert-curated knowledge modules of featured differentially methylated genes associated with biological contexts and methylation analysis tools have been incorporated as new components of MethBank. In addition, MethBank 4.0 is equipped with a series of new web interfaces to browse, search, and visualize DNA methylation profiles and related information. With all these improvements, we believe the updated MethBank 4.0 will serve as a fundamental resource to provide a wide range of data services for the global research community.

PEMO: A New Validated Dataset for Punjabi Speech Emotion Detection

This research work presents a new valid dataset for Punjabi called the Punjabi Emotional Speech Database (PEMO) which has been developed to assess the ability to recognize emotions in speech by both computers and humans. The PEMO includes speech samples from about 60 speakers with an age range between 20 and 45 years, for four fundamental emotions, including anger, sad, happy and neutral. In order to create the data, Punjabi films are retrieved from different multimedia websites such as YouTube. The movies are processed and transformed into utterances with software called PRAAT. The database contains 22,000 natural utterances. This is equivalent to 12 hours and 35 min of speech information taken from online Punjabi movies and web series. Three annotators categorize the emotional content of the utterances. The common label that is labelled by all annotators becomes the final label for the utterance. The annotators have a thorough knowledge of Punjabi Language. The data is used to determine the expression of emotions in speech in the Punjabi Language.

Dystopia, Purity and Segregation: A Study of Hindutvavad in Indian Nationalism from the Lens of Web Series: Leila

‘Purity for all’ or ‘ Jai Aryavarta (land of the Aryans)!’1 (Bühler 1886, 5) are the slogans of the nation-state dominated by Hindus in the Netflix released web series, Leila. Based on the theoretical framework of Thomas Blom Hansen, ‘The Saffron Wave’, I have argued that secularism in India was unique to its circumstances and therefore, did not entail a separation between the state and the religion. In recent times, religious nationalism is called out for xenophobia against minorities and attacks against lower-caste communities (Hansen 1999, 134). This article attempts to examine the parallels between religious nationalism in Leila and Indian politics. Through qualitative research methodology and narrative analysis, the article compares the ideas of purity, segregation and dystopia from the series with the Indian politics. The core argument of the article is that although religious nationalism is determined by these ideas, it continues to be a multi-layered concept.

Streaming steam

Building its present identity from the reimagined recollections of a past age of industry, the steampunk movement’s array of antiquated yet spectacular machines have become hallmarks of our fascination with technology’s history. In this article, I will trace the movement’s retrofuturistic sensibilities through a wave of short films and web series that set themselves within worlds that are constructed from anachronistic devices that belong to neither the past nor the present. Instead, these are texts that, whether constructed by amateur filmmakers, professionals - and a range of practices in-between - use their science fictional identities to disrupt the seemingly linear trajectory of our media’s historical progress. Through them, the aesthetics of nineteenth-century photographic techniques and special effects are reimagined through the lens of current streaming platforms, modern computer-generated imagery and a new breed of maker cultures who desire to conflate cutting-edge innovation with the first wave of invention and experimentation that breathed life into our visual media. Most significantly, however, by exploring the proliferation and popularization of neo-Victorian machinery within the vast array of short films that have been both distributed and produced through highly digitized practices, the steampunk genre will be used to examine representations of craftsmanship and “making” that have become embedded within contemporary popular culture.

Performance, Collaboration, and the Politics of Place

This transcript shares a May 2019 conversation with Josh Healey, an Oakland-based writer, artist, and filmmaker, about his work with the independent web series The North Pole. The interview was conducted with several members of the Ethnic Studies faculty from Saint Mary’s College of California. Healey explains the connections he sees between politics, humor, and storytelling, and delves into the strategies and struggles of the creative process, including the value of personal relationships, collaboration, and representing real people and real life.

Exploring Feministic Dogmas in Pakistani Web Series: A Qualitative Content Analysis on “Churails”

Highlighting the feministic approach, the study analyzes gender roles along with three major categories i.e., self-realization, women characterization, and misogynistic approach. The study examines first-ever Pakistani web series in order to explore the representation of gender roles through dialogues that is being used to construct an image of socially constructed responsibilities of gender in Pakistani society. By employing liberal feminism as the theoretical framework, the study stresses the idea of individuality and self-realization by providing women equal opportunities in all spheres of life. The concept of self-realization specifically lightens the phenomenon of individuality as it is significant for women to know their value and self-worth in society as an individual. While analyzing the dialogues of web-series, the study conducts qualitative content analysis to interpret the contextual meanings of dialogues which shows that Pakistani web-series represent females as a source of objectification whereas male characters in the series show hate against females. On contrary, the study also discloses that Pakistani web-series are emphasizing the significance of self-realization as many dialogues show that females express their self-worth by raising their voices against crimes and fighting for their own rights

The GTVH Analysis of Verbal Humor Found in Web Series Malam Minggu Miko By Raditya Dika

This research is aimed to analyze the kinds of verbal humor and the application of GTVH (General Theory of Verbal Humor) found in the web series: Malam Minggu Miko, which centered the data in five episodes. The analysis focused on seven kinds of verbal humor by Shade (1996). The next section is the analysis of the verbal humor by adapting the GTVH Knowledge Resources or KR included six parameters which are SO (Script Opposition), LM (Logical Mechanism), SI (Situation), TA (Target), NA (Narrative), and LA (Language). The result of this research shows eleven verbal humor included; two satires, two ironies, two wits, two farces, one pun, one riddle, and one joke. The GTVH analysis by KR’s parameters through the data was also successfully applied in the ten verbal humors found in the web series: Malam Minggu Miko.

Capitán Latinoamérica: Superheroes in Cinema, Television, and Web Series by Vinodh Venkatesh

Capitán Latinoamérica: Superheroes in Cinema, Television, and Web Series by Vinodh Venkatesh

Lesbian longings and the question of a queer repertoire in The “Other” Love Story

In recent years, there has been an emerging critical discourse in South Asia that examines the changing contours of representational politics that could, in turn, be strategically mobilized to introduce an alternative idiom of same-sex love within a standard template of heterosexual storytelling. This has been complemented by an evaluation of alternative modes of sexual politics that need not necessarily conform to Western labels or paradigms of queer identities. Taking its cue from such discursive readings, this article demonstrates how Roopa Rao’s web series, The “Other” Love Story (2016), revisits some of the dominant tropes, practices, and narrative conventions of the Hindi films, released in the 1990s, to create a counter-archive for the lesbian subject who, for the most part, was conspicuous by her very absence in the popular figurations of that period in South Asia. There is a perceptible strand of lingering nostalgia and artistic homage that undergirds such an experimental project that nevertheless also becomes a disruptive site for articulating an oppositional esthetics of romance. The subtlety and restraint of such a nuanced portrayal of dissident desires and queer intimacies thus not only resist the easy appropriations that women in the subcontinent are routinely subjected to (as veritable repositories of tradition and national identity) but also retrospectively reclaim a voice for an otherwise historically silenced discourse of sexuality for the masses.

When a Subculture Goes Pop: Platforms, Mavericks, and Capital in the Production of “Boys’ Love” Web Series in China

This article examines the rise, demise, and afterlife of “Boys’ Love” (BL) web series—or male/male romantic dramas—in China. Through the production of culture perspective, it examines how the localization and adaptation of BL in China take shape amid tensions and negotiations between state regulation, digital media production, and commercial interests. Foregrounding the roles of oligopolistic video platforms, private capital, and entrepreneurial writers/directors (whom I conceptualize as cultural mavericks), this article looks at the paradoxical development of BL web series in China, where digital technology and capital catapult the subcultural genre into the limelight while subjecting it to the hegemonic incorporation by mainstream commercial culture. This article contributes to the growing body of work on BL subculture through an underexplored approach that underscores the organizational and industrial structures shaping local BL production. My analysis situates BL production within a transmedia ecosystem and approaches it not only as an emergent cultural phenomenon but also as an organic cultural economy. Through the case of Chinese BL web series, this article opens up broader discussions on the ontological dilemma of subcultures as well as the interplays between marginal and mainstream cultural formations.

Color Grading sebagai Pembangun Mood pada Setting Waktu dalam Web Series Rewrite

Color grading can be used to support the film’s narrative by creating an atmosphere or mood that complements the storyline. This study aims to analyze and describe color grading as a mood builder that is applied to time settings in Web Series Rewrite. The results of this study found that color grading in several scenes at each time setting in Web Series Rewrite is used to build the mood or atmosphere in the story. The colors that are widely used include blue and brown with a mixture of other colors, namely: red, gray and black. Light blue is used to build the atmosphere of a scene that seems cold and melancholy, brown is used to build the atmosphere of a scene that seems warm, and dark brown and reddish brown tend to build a dark atmosphere and angry conflict. The use of gray color gives a gloomy and sad impression.

Research on the Development Status and Strategies of Micro Web Series in China

In the era of "micro", the popularity of short video platforms provides a reasonable basis for developing micro web series, and the fast-paced life makes users more inclined to receive the piecemeal audio-visual experience. Along with the complement of network audio-visual industry developing planning and policies, the improvement of content audit system, the maturity of streaming technology, and the drive for content innovation, China's micro web series market has shown vigorous development. The short video platforms have provided distribution channels for micro web series, the comprehensive video platforms have joined to make the micro web series boutique, and the theatrical operation and support programs of platforms have provided a standardized and orderly market environment for micro web series. However, there are still shortcomings in the quality of episodes, policy regulation, cashing mode, content depth, and marketing channels. Micro web series is still relatively new, and little research has been conducted in this field. Therefore, it is necessary and innovative to study the development status of the micro web series. Meanwhile, this study puts forward development strategies such as branding and quality construction of micro web series to promote the healthy development of China's micro web series industry.

PENYIMPANGAN PRINSIP KESOPANAN PADA WEB SERIES INDONESIA TELUK ALASKA PRODUKSI MD ENTERTAINMENT

This study aims to describe deviations from the principle of politeness in the Indonesian Bay of Alaska Web Series dialogue. This research method uses descriptive qualitative method. The data of this research is in the form of character speech in the dialogue of the Web Series. . The data collection technique used by the researcher is the technique of documentation, listening and taking notes. The data analysis technique in this study went through three stages, namely data reduction, data presentation, and drawing conclusions. Based on the results of the research, it shows that there is a deviation from the politeness principle to the politeness maxims found in the speech of the characters in the Gulf of Alaska Web Series. The most common deviation of politeness maxim is wisdom maxim in the form of commanding and threatening speech.

Book Review: The Production of Global Web Series in a Networked Age

Book Review: The Production of Global Web Series in a Networked Age