Blood Quantum and Fourth Cinema: Post- and Paracolonial Zombies

Blood Quantum and the postcolonial zombie films contemporary with it provide objects of study to illustrate some of the distinctions between postcolonial horror and the horror of Indigeneity that exists concomitant with a continuing colonial occupation, often referred to as paracolonialism. Blood Quantum is the most expensive Indigenous-directed film to come from Canada, and its postponed release in theaters because of the covid-19 pandemic produced a particularly intense interest in the film and arguably positioned it as one of the most notable examples of paracolonial horror, a film that unsettles colonial esthetics and politics "to confront conventionalized regimes of representation and to engender Indigenous sovereignty." Here, Truscello and Watchman argue that director Jeff Barnaby imagines an Indigenous futurity beyond the racist settler imposition of the blood quantum regime by using a specifically Indigenous esthetic, a cinematic exemplar of the Fourth Eye.

From "woman in jeopardy” to COVID-19 lockdown: the gender gap in TV movies aired on Spanish generalist television (2005-2020)

The number of TV movies aired on Spain television over the last decade has increased exponentially. These primarily North American and German productions not only take up a large part of lunchtime and the afternoon;they also portray women rooted in gender stereotypes that are clearly at odds with the female gender values of autonomy and equal rights. However, 2017 saw an increase in female directors making TV movies portraying women in a significant variety of roles. This trend, which continues during the COVID‑19 pandemic, has led to a partial shift in the construction of gender. Our research assesses the transformation of gender portrayal and the ideological construction behind TV movies, including their subject matter, lead characters, frequency of airings, and target audience. This study also examines women's roles in TV-movie production, including screenwriting and directing, and seeks to ascertain the leading TV-movie production companies that broadcast their output in Spain and address the business philosophy behind these producers. Finally, we review the Spanish channels that most frequently schedule TV Movies in large numbers, as well as their guidelines, target and vision.

A deeper understanding of switching intention and the perceptions of non-subscribers

PurposeMost previous studies on new technologies and services have concentrated on their acceptance, seldom exploring in depth why users may choose not to accept technology or service and remain "non-users.” This study aims to understand free platform users' intention to switch to paid subscription platforms.Design/methodology/approachThis study utilized push-pull-mooring (PPM) theory to investigate free OTT platform viewers' switching intentions toward paid OTT platforms. A research model was established and examined via a two-stage partial least square (PLS) method. A total of 446 free users were collected from Facebook and Line for data analysis.FindingsResults show that perceived intrusiveness is the push factor and alternative attractiveness is the pull factor and that both have a positive impact on the switching intention of non-subscribers. Habit represents the mooring factor and negative affects switching intention. Perceived convenience and perceived enjoyment are shown to be two significant habitual antecedents. Furthermore, habit is revealed to moderate the effect of users' perceived advertisement intrusion and alternative attractiveness on switching intention to strengthen positive impact when the habit is strong.Originality/valueThis study is one of the pioneering studies to consider free-to-paid switching behavior on media services using PPM's structural equation model. Contrary to previous research, the study found that, in the context of the free-to-paid transition, highly accustomed users' perception of pull factors and push factors were strengthened, thus generating the tendency to switch platforms.

Adaptation of Conventional Movie Consumers to Streaming Movie and Series Platforms during Lockdown: A Systematic Literature Review from 2019 to 2021

This systematic review aims to document the adaptation of the conventional movie consumer to streaming platforms for movies, series, and videos during the lockdown. It is a relevant topic to study due to changes in the audiovisual industry, the new narrative formats, the emergence of streaming platforms, and the creation of algorithms to determine audience preferences. The research databases are EBSCO and Scielo. The search was performed by screening the information through the PRISMA methodology. The results show the existence of several factors that have influenced the increase in the consumption of streaming platforms. Finally, the absence of articles within the pandemic timeframe was observed as the main limitation in conducting this research. © 2022 IEEE.

A Review of Mirzapur Season 1 Showing How Media Frames Gun Culture and Abusive Languages

Studios have been compelled to push back the arrivals of their most prominent motion pictures to the following year or skirt dramatic deliveries entirely, drop-kicking films directly to web-based features, prompting a film industry 77.2 percent more regrettable than as of now last year, as per the media investigation organization comscore [1]. The Alternatives With the increasing number of corona cases, the hope for theatres to open decreased. [...]the search for new alternatives began and the most favourable outcome was using the OTT platform. While there are different types of OTT stages, OTT television allude to great video content transferred straightforwardly from the supplier, on to a client's screen (versatile, tablet, PC, television and so on) through Web Convention over a public organization. Various creators have utilized different models including - Innovation Acknowledgment Model (Hat), (Davis, 1989), Hypothesis of Panned Conduct (TPB) (Ajzen, 1991), Dissemination of Development (DOI), (Roger, 1995), Hypothesis of Contemplated Activity (TRA) to survey and comprehend the acknowledgment of another innovation by clients and relate it with reception of OTT media including television, voice, intuitive and others.20 as for OTT stage, Cap is utilized essentially by different creators like Cha, 2013;Cha and Chan-Olmsted, 2012.

The Proliferation of OTT Platforms Effect on Traditional Cinema Goers a Study on the Urban Population of Kolkata after Covid19 Pandemic

Majority of the viewer's opting to watch a movie in the theatre when it's a highly content driven movie. [...]a change in consumer watching habits can be seen where theatres were highly preferred for commercial/big star movies, but now it replaced by content driven movies. According to appearances, there are only 8 movie theatres per million people, and once Indians are released, two-thirds of them lose access to movies. Internet users who speak regional languages are increasing more quickly than those who speak Hindi and English. Since viewers always prefer to consume content in their own language, localised content exhibits uptake in terms of engagement. [...]major streaming services like Amazon Prime and Netflix are spending more on creating content in eight other major Indian languages in addition to Hindi and English [5].

Il Cinema Ritrovato 2022: History Repeats Itself

FQ contributing editor Carla Marcantonio returns to Il Cinema Ritrovato, the festival dedicated to the rediscovery of old films organized every summer by the Cineteca di Bologna. This year's edition marked the first time its audience of international cinephiles reassembled for a wholly in-person experience since the onset of the COVID pandemic. With a total of close to four hundred films and thirty-five to forty screenings a day, the festival offers a unique encounter with film history.

NOT JUST ESCAPISM—MEDICINE-RELATED FICTION FILMS AS THERAPEUTICAL AND EDUCATION TOOLS AMID PANDEMIC: A FILM AND LITERATURE RESEARCH

Background: During epidemic disease outbreaks, people’s daily lives are restricted by quarantine and social distancing measures that can affect not only their physical and mental health but also other aspects of their lives, including education. The quality of medical education has suffered amid the ongoing COVID-19 pandemic, with on-site classes and conferences canceled or postponed. To address the resultant gaps in learning and supplement the rigors of formal medical teaching, recent research has suggested the use of nonfictional films. However, research on the educational and therapeutic value of fictional films is currently lacking. Methods: This study explored fiction films featuring medical practices, diseases, and treatments. The researcher conducted multiple searches using the largest internet movie databases (Internet Movie Database (IMDb), the American Film Institute Catalog, and the British Film Institute’s Collections Search) and literature research focusing on studies related to the value of films as visual learning and educational tools and their therapeutic effects on viewers in times of pandemics. Results: The researcher chose a representative selection of 20 films from over 100 years of cinematic history to educate and intellectually challenge practitioners under lockdown and use as a therapeutic tool. This study identified many ways films could be a potent instrument for medical education and a wide range of educational and therapeutic possibilities for use during public health crises. Medical fiction offers a highly entertaining and effective way to expand and improve medical knowledge and practices while respecting pandemic restrictions. The findings expand our knowledge on the value of medical fiction as an educational and therapeutic tool. Conclusions: Fictional films can be an advantageous, effective, and entertaining medium for educating physicians and improving their medical skills and practices. When public health crises or other concerns necessitate «work from home» and socially distanced conditions, movies can augment and enhance high-level medical learning and offer new perspectives that might be obscured in times of trauma, making them especially valuable for those struggling with the effects of the COVID-19 pandemic. © 2022 The authors.

Graph Network based Approaches for Multi-modal Movie Recommendation System

The three times increase of SonyLiv viewers during the Tokyo Olympic, the 10% hike of YouTube users during the isolation era of covid-pandemic, and the 19% growth in Netflix user count due to the fastest growth of OTT, etc. have made the digital platform's mode all-time active and specific. The hourly increase of users' interactions and the e-commerce platform's desire of letting users engage on their sites are pushing researchers to shape the virtual digital web as user specific and revenue-oriented. This paper develops a deep learning-based approach for building a movie recommendation system with three main aspects: (a) using a knowledge graph to embed text and meta information of movies, (b) using multi-modal information of movies like audio, visual frames, text summary, meta data information to generate movie/user representations without directly using rating information;this multi-modal representation can help in coping up with cold-start problem of recommendation system (c) a graph attention network based approach for developing regression system. For meta encoding, we have built knowledge graph from the meta information of the movies directly. For movie-summary embedding, we extracted nouns, verbs, and object to build a knowledge graph with head-relation-tail relationships. A deep neural network, as well as Graph attention networks, are utilized for measuring performance in terms of RMSE score. The proposed system is tested on an extended MovieLens-100K data-set having multi-modal information. Experimental results establish that only rating-based embeddings in the current setup outperform the state-of-the-art techniques but usage of multi-modal information in embedding generation performs better than its single-modal counterparts. 1. © 2022 IEEE.

Nursing Ethics Education: Thinking, Feeling, and Technology.

Health care ethics education has focused on the four principles approach. Although relevant and important, this dimension is insufficient on its own. Emotional, cultural, spiritual, and relational aspects of ethics must also be addressed. Ethics cases are important in ethics education but should include everyday ethics scenarios that can be messy and emotional. Such situations occur regularly in nursing practice, making microethics particularly relevant to nurses. Art, songs, film, and literature provide stories that allow exploration of everyday ethics. Technology can facilitate this and promote ethics comportment, but more work is needed to demonstrate how best to do this.

The filming industry in Spain and its influence on screen tourism

Spain experiments an excellent period regarding the production of large motion-picture works. not only films but also television series. Nevertheless, the consequences of the COVID-19 pandemic present difficulties to recover the level of activity experimented before March 2020. All in all, besides the evolution of the health situation, the industry is showing proof enough of its ability to recover and adapt to the new circumstances.

Introduction: The Art of Adaptation in Film and Video Games

Dennis Cutchins (2018) Studying the transformative journey of content from one genre or medium to another is of interest to academics, members of the public who are avid consumers of media, and practitioners of adaptation—and we are all practitioners, whether delivering a message by email originally intended to be spoken, or adapting a book (like S. A. Corey’s science fiction novel Leviathan Wakes) into a television series (like Mark Fergus and Hawk Ostby’s The Expanse) into a video game (like The Expanse: A Telltale Series). Thomas (2021b) also discusses Star Wars video games as part of a wide-ranging interview with acclaimed game designer Ryan Kaufman, who is currently VP of Narrative at mobile game studio Jam City, and former Creative Director at Telltale Games. (2020) study three texts relating to Finnish forests—the film Tale of a Forest (2012), the book Tale of a Forest (2013), and a series of short documentaries called Tales from the Forest (2013)—with a focus on how each works as an environmentally conscious narrative. The film, for instance, presents images of primeval Finnish forests (which can be considered nostalgic and escapist, but still promote awareness about ecological issues), while the book and documentary series take alternative approaches, such as discussing contemporary forestry practices in an attempt to educate audiences.

A Hybrid Recommender System for Improving Rating Prediction of Movie Recommendation

Because of COVID-19 pandemic, online movies are now extremely popular. While the movie theaters have not serviced and people are staying quarantine, movies are the best choice for relaxing and treating stress. In present, recommender systems are widely integrated into many platforms of movie applications. A hybrid recommender system is one promising technique to improve the system performance, especially for cold-start, data sparsity, and scalability. This paper proposed a hybrid of matrix factorization, biased matrix factorization, and factor wise matrix factorization to solve all mentioned drawback problems. Simulation shows that the proposed hybrid algorithm can decrease approximately 11.91% and 10.70% for RMSE and MAE, respectively, when compared with the traditional methods. In addition, the proposed algorithm is capable of scalability. While the number of datasets is tremendously increased by 10 times, it is still effectively executed. © 2022 IEEE.

Spotlight: Scandinavian Scholarly Interest Group

[...]the S-SIG has helped nurture long-term collaborations and supportive academic friendships. Nordic film and media scholarship ventures far beyond the traditional concerns of regionally focused cinema studies. [...]SSIG members have pioneered areas of intense scholarly interest, including Mette Hjort's groundbreaking research on the cinemas of small nations;Eva Novrup Redvall's influential contributions to multiplatform television industry studies;Pietari Kääpä's innovative global green production initiative;and Scott MacKenzie and Anna Westerståhl Stenport's research on Arctic Indigenous cinemas, [t] r#Nii S-SIG members have additionally revitalized timeworn research areas. While the S-SIG seeks to undermine assumptions about Nordic media studies and support its members' versatility, SCMS conference programming continues to privilege submissions on amply researched male directors (e.g., Tars von Trier and Ingmar Bergman) and the same few noir texts (such as Forbrydelsen and Broen). [...]we have adopted multiple strategies to support work beyond such well-covered topics, such as by contributing Bihttoš (Rebel 2015)-Elle-Máijá Tailfeathers's experimental documentary exploring her Blackfoot and Sámi heritage-to an SCMS Indigenous cinema event our SIG co-hosted in Toronto in 2018.

Queer Times, Black Futures

"2 Kara Keeling's effort echoes Lordc's excavation of deep-earth Black wisdom that, as the late poet writes, becomes a "jewel in . . . open light" and that might service what historian Robin Kelley has termed freedom dreams-"the dream of a new world" entertained and envisioned by activists and artists that might form the "catalyst for . . . political engagement" in our time.3 Keeling enhances Kelley's principle by considering Nassim Nicholas Taleb's trope of the "Black Swan event," which is "characterized by 'a combination of low predictability and large impact'" and manifests as reliance upon what is known rather than the inevitable eruptions of the unknown.4 Keeling leverages Taleb's principle to explain how the long history of revolutions can still be narrated as surprises within the colonial mindset. "5 Freedom dreams are also, as Keeling demonstrates in her book, expressed in such layered texts as Grace Jones's video for "Corporate Cannibal" as well as C. L. R. James's 1953 study Mariners, Renegades, and Castaways.6 This orientation toward a more just future to come-one that "requires (recreation and imagination"-is recognized as "what Frantz Fanon referred to as a 'real leap.' "' Keeling's interest in these potentialities, "(re)turns," and "the (im)possible" is constructed as anticapital;the resources she identifies are for the enactment of a sustainable, ethical world that is not just divested from but radically un-invested in property, accumulation, and the injustices that follow investment in those capitalist, settler-colonial fictions.8 If poetry resists the lure of rendering the felt into material, so too does it effectively transmit queer dreams of a radical future because "Ipjoetry is a way of entering the unknown and carrying back the impossible. "9 Keeling's book resonates with Stephen Best's 2018 monograph, None Like Us: Blackness, Belonging, Aesthetic Life, in their shared concern about the character of Black study and the utopianism of queer thought.10 But whereas Best is invested in critiquing the Black history-bound subject of Afropessimism and the queer utopian subject who is alienated from an insistence upon a future bound up with narratives of reproduction, Keeling's approach seems much more expansive in its characterization of Black and queer radicalism. Queer Times, Black Futures explores the philosophical principle of the "'Black Swan' event"-that which "appears to be a random, unpredictable, outlier," otherwise called the unthinkable-through and against another of Taleb's books, Antifragile: Things That Gain from Disorder.b In so doing, it offers that what is radical, unpredictable, and capable of surviving the disasters of late capitalism and environmental catastrophe is identifiable (though not knowable) as Black and queer thought.

Convite a O abraço da serpente

O texto que segue foi escrito em 2015, logo apos eu sair da sessão do filme na 39ª Mostra Internacional de Cinema de São Paulo, em 2015. Não é um texto que respeita o cânone do gênero literario ‘artigo acadêmico’, mas tampouco é tão arbitrario que não possa ser qualificado de cientifico. Na verdade, penso que sua qualificação cientifica apenas tornou-se mais evidente de la para ca. Se isso não o afasta totalmente de uma critica de cinema, ao menos o aproxima de uma critica do olhar, pela tentativa de explicitação de alguns pressupostos do olhar do filme. Cronologicamente, de 2015 para ca não são tantos anos passados. Todavia, apos dois anos de pandemia de COVID-19, atos antes corriqueiros como ir ao cinema parecem pertencer a uma realidade cada vez mais distante. Talvez seja mais correto afirmar que esses anos de pandemia escancararam a realidade e a falsidade de certos simulacros que antes ainda passavam despercebidos. É certo que a hegemonia de novas formas menos coletivas e mais privatizadas de ver ja se anunciava antes da pandemia, mas nada se compara ao que vimos acontecer de 2020 para ca. A agudização destrutiva do processo colonizador – ao qual são submetidos os ecossistemas do planeta – potencializa a experiência de transmutação ou estranhamento que o filme pode suscitar. A continuar esse passo, em breve, o único fluxo que a pos-humanidade chegara a conhecer sera o das transfusões de sangue artificial para alimentar cérebros vegetativos.

'Chaotic Lawful': Teaching Videogames in a Licensing and Permissions Lacuna

In theory, the uses outlined above are likely to be covered by fair dealing or fair use exceptions, such as they are provided, for example, in the UK Copyright, Designs and Patents Act 1988, [1] [#N1] and in the US Copyright Act of 1976 [2] [#N2], as well as in various amendments and relevant case law. In practice however, such uses can easily fall prey to the algorithmic Digital Rights Management (DRM) tools now commonly used by popular online platforms to deal with the overwhelming task of monitoring ever-increasing amounts of user-generated content. [...]by 2017 "platforms employing AI-driven, automated copyright enforcement schemes included Scribd, 4shared, Dropbox, YouTube, Facebook, SoundCloud, Twitch, TuneCore, Tumblr, Veoh, and Vimeo." Survey and discussion Some initial impetus behind this paper came from an attempt by Abertay University lecturers and a librarian with subject-area expertise to utilise the Steam PC Café (SPCC) program, which is designed to offer multi-user access to videogames available through the popular Steam platform. [...]the effort was soon put on hold when a number of issues arose: hardware requirements were difficult to balance with available resources: the platform's frequent updates would require oversight by IT staff;it was not clear how the data collection protocols of the platform would align with the university's data protection policies;and, perhaps most importantly, it was discovered that licenses for many of the games slated for inclusion in the syllabus (such as Return of the Obra Dinn, Dear Esther, What Remains of Edith Finch and Hellblade: Senna's Sacrifice) were not available through the program.

Using Flipgrid in the Online Film Studies Classroom

[...]discussion" often wasn't organic in this platform and could become quite repetitive or stilted as students would offer short responses that tended to stymie a conversation before it had even started. In face-to-face classes, I always try to ensure there are opportunities for students to communicate ideas in both verbal discussion and written activities. [...]I wanted to translate over the same practice in my online asynchronous classes. Twitter provides an active forum in which educators share ideas and exchange questions about using Flipgrid in many types of classes, including foreign languages, mathematics, science, English language and literature, social studies, and much more. [...]a 2018 Pew Research Center Study found that 97% of teens interviewed used a social media platform like YouTube, Instagram, or SnapChat.

Copyright Under COVID-19 in Film and Media Studies

Film and media educators already rip short film clips for teaching purposes, a practice expressly protected in the United States under a "1201" exemption [https://www.federalre gister. gov / documents /2018/10/26/2018-23241/ exemption-to-prohibition-on-circumvention-of-copyright- protection-systems-for-access-control_t) [https://www.federalre gisten gov / documents /2018 /10/26/2018-23241/ exemption-to-prohibition-on-eireumvention-of-eopyright-protection-systems-for-access-control] у the Librarian of Congress, named for the provision of the Digital Millennium Copyright Act (DMCA) that permits circumvention in certain instances. For years, many scholars have looked to the statements of best practices developed by Patricia Aufderheide and the Center for Media and Social Impact [https: / /emsimpaet.org /resources/teaehing-tools /] : today, as we consider the question of whether and how to continue screening media for our online classes, including full-length films, television episodes and games, we must further develop and refine those practices.[#N1] How have faculty approached the legal issues of copyright and compliance across different national contexts? [...]a number of institutions have made the decision to digitize titles from their own media libraries and make them available to students, often limiting access to those enrolled in specific courses via the university's learning management system (LMS). In the UK and US, risk management decisions also play a part in assessing the mixed case law around whether anti-circumvention prohibitions - in the DMCA (in the US), or the Copyright, Designs, and Patents Act (CDPA) (in the UK) - prevent film faculty from otherwise permissible reliance on fair use.

Teaching Audiovisual Media in Chile: Problems and Challenges after COVID-19

[...]according to a survey conducted by the University of Chile, 80% of university students had never taken a virtual module before.