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Positioning of Subtitles in Cinematic Virtual Reality

Sylvia Rothe, Kim Tran, Heinrich Hussmann
2018 International Conference on Artificial Reality and Telexistence and Eurographics Symposium on Virtual Environments  
Cinematic Virtual Reality has been increasing in popularity in recent years.Watching 360 degree movies with a head mounted display, the viewer can freely choose the direction of view and thus the visible  ...  The preferred method was used in the main study to compare it with dynamic, worldreferenced subtitling, where the subtitles are placed in the movie world.  ...  However, none of the investigated methods meet all requirements for each scenario in Cinematic Virtual Reality.  ... 
doi:10.2312/egve.20181307 dblp:conf/egve/RotheTH18 fatcat:ngvaoicwbjcedb4mysclkhruem

Subtitling Virtual Reality into Arabic: Eye Tracking 360-Degree Video for Exploring Viewing Experience

Amer Al-Adwan, El Mehdi Ibourk
2019 Lebende Sprachen  
The recent years have witnessed the emergence of new approaches in filmmaking including virtual reality (VR), which is meant to achieve an immersive viewing experience through advanced electronic devices  ...  This paper examines the impact of the subtitles on the viewing experience and behaviour of eight Arab participants in understanding the content in Arabic through eye tracking technology.  ...  watching audiovisual materials through virtual reality headsets.  ... 
doi:10.1515/les-2019-0016 fatcat:vtk34qfvv5adbnzzm4d4mniesa

New Aesthetic Characteristics Emerging in the Digital Cinema Era

Changhai Chen
2022 International Journal of Education and Humanities  
terms of time and space, reality, narrative techniques, virtual reality, and aesthetic acceptance.  ...  art system, digital film aesthetics has produced aesthetic implications that transcend the original system, in terms of virtual images, spatial and temporal concepts, narrative modes, sound and picture  ...  Geoff King (2000) examines digital effects and virtual scenes in contemporary Hollywood blockbusters In his book, focusing on the under-researched dynamic relationship between narrative and spectacle  ... 
doi:10.54097/ijeh.v2i1.224 fatcat:lid7kv7cffdrvi77sakon2kggy

Television and Video Screens in Filmic Narratives: Medium Specificity, Noise and Frame-Work

Andrea Virginás
2019 Acta Universitatis Sapientiae: Film and Media Studies  
between first-order narrative and metadiegetic levels (1987), as well as to Lars Elleström's extracommunicational and intracommunicational actual and virtual spheres (2018).  ...  Television and video screens introduced in filmic diegesis are attributed three main functions (spatial, temporal, and topical re-ordering) and are related to the relationships Gerard Genette establishes  ...  (Manovich 2001, 112) . be the case in virtual reality-type representations, for example. Rather, noise is introduced to (re)present the cinematic medium, "un-aisthecizing it" -to use Krämer's thesis.  ... 
doi:10.2478/ausfm-2019-0016 fatcat:l2wgaxrm7vdm3i4hbrsxw4nra4

Guidance in Cinematic Virtual Reality-Taxonomy, Research Status and Challenges

Sylvia Rothe, Daniel Buschek, Heinrich Hußmann
2019 Multimodal Technologies and Interaction  
In Cinematic Virtual Reality (CVR), the viewer of an omnidirectional movie can freely choose the viewing direction when watching a movie.  ...  In recent years, there has been a lot of research about attention guiding in images, movies, virtual reality, augmented reality and also in CVR.  ...  In Cinematic Virtual Reality (CVR), the viewer watches omnidirectional movies using head-mounted displays (HMD) or other Virtual Reality (VR) devices.  ... 
doi:10.3390/mti3010019 fatcat:prhxnbkerjbiznta6wlgbemlby

Future Memories

José van Dijck
2008 Theory, Culture and Society. Explorations in Critical Social Science  
Future memories: the construction of cinematic hindsight. Theory, Culture and Society, 25(3), 71-87.  ...  The advent of digital technologies, and particularly virtual reality environments, inspire the creation of 'virtual consciousness,' allowing either a glimpse of the past through the 'eyes' of a former  ...  through affect and sensation, rather than through techniques, forms, or aesthetics. 2 Drawing examples from digital art works and virtual reality environments, Hansen counters Deleuze's neuroaesthetics  ... 
doi:10.1177/0263276408090658 fatcat:r63g2f7mrfeafhecnd7ygrioga

Between audiovisual translation and localization: The case of "Detroit: Become Human" [chapter]

Laura Mejías-Climent
2021 Zenodo  
movies, compared to other adventure games, due to the strong presence of cinematic scenes and the lower level of interaction.  ...  , particularly in the cinematographic scenes, are quite evident.  ...  Game action implies full interaction, the dynamic moment in which the player makes the game develop fully.  ... 
doi:10.5281/zenodo.4450092 fatcat:rmrzdha7frhsxppin43wbtynqu

The Role of Sound in Film Translation: Subtitling Embodied Aural Experience in Aki Kaurismäki's Lights in the Dusk

Sari Kokkola
2014 TTR traduction terminologie rédaction  
In this way, the viewer can sense and experience what it is like to be on the outside. However, when subtitles are added, the dynamics of the entire scene change.  ...  (2009, p. 112) The textual orientation of translation studies partly explains why the role of sound in film translation has been virtually ignored.  ... 
doi:10.7202/1037744ar fatcat:n3l2kv6uz5dgdfarrhsx2pb6ke

Deathwatch: American film, technology, and the end of life/Beyond the checkpoint: visual practices in America's global war on terror

László Munteán
2017 Continuum. Journal of Media and Cultural Studies  
The word 'technology' in the subtitle refers to the use of electricity that, as Combs asserts, plays a crucial role in ending, and representing the end of, a life.  ...  Death, too, features in her book as a memory of the 9/11 attacks, a potential menace to be prevented, and an everyday reality for American soldiers deployed in the Middle East.  ... 
doi:10.1080/10304312.2017.1293007 fatcat:mjo5b7e4endx3jjjinln43zlje

FOUR. CAPTURING THE PAST AND THE VITALITY OF CRIME [chapter]

2020 Virtual Pedophilia  
The screen reveals a teenager talking to the camera against what might be a backyard backdrop, "Jesse Friedman" in subtitle.  ...  Both Andrew Jarecki's Capturing the Friedmans (2003) and Clint Eastwood's Mystic River (2003) explicitly meditate on the aestheticization of reality in the context of virtual pedophilia, focusing in  ... 
doi:10.1515/9781478009153-006 fatcat:msgfozolwzc5vg2kutmu42oucq

Cinedesign: tipografia no cinema

Luiz Fernando Las-Casas
2010 InfoDesign: Brazilian Journal of Information Design  
Sound Although sound is outside of the universe of images, their association results in a very dynamic and expressive process.  ...  Figure 5 : 5 An example of hardly personalized, virtually indifferent typography in Ordinary people(1980, Paramount Pictures).  ... 
doi:10.51358/id.v4i1.29 fatcat:7zdsqg7wafd2vpoghy4hlhna34

From subject-effect to presence-effect – A deictic approach to the cinematic

Pepita Hesselberth, Mediarep.Org
2018 NECSUS : European journal of media studies  
These films can be called post-classical to the extent that they resist classical modes of cinematic storytelling in favor of what Warren Buckland has called 'puzzle plots' – i.e., they are films in which  ...  In these films past, present, and future are often portrayed as highly mutable domains that can easily be accessed, erased, (re)designed, or modified.  ...  reality, in his view, cinema thus constructs a reality of its own.  ... 
doi:10.25969/mediarep/15058 fatcat:ixhl5cd5wjcnfoy7hsectadhjm

Representing Yugoslavia? Emir Kusturica's UNDERGROUND and the politics of post-modern cinematic historiography

Igor Krstic
1999 Tijdschrift voor Mediageschiedenis  
He was kept for over twenty years in a passive and virtual relation to reality.  ...  UNDERGROUND'S subtitle ('Once upon a time there was a country...' ) refers to Leone's' nostalgie film about friendship and betrayal, themes that are also central in UNDERGROUND. 2 ' The use of a dynamic  ... 
doi:10.18146/tmg.450 fatcat:k5rc4kf56jgvte65tgdzk244r4

The Para-Indexicality of the Cinematic Image

Seung-hoon Jeong
2011 Rivista di Estetica  
the cinematic experience of watching celluloid on a big screen that overwhelmes the spectator through the authentic, even auratic reality of every detail.  ...  James Cameron’s Avatar is a sort of animation whose major parts are CGI and not taken on celluloid, but its totally non-actual world, the virtual reality it creates, still desperately desires to reembody  ... 
doi:10.4000/estetica.1640 fatcat:ushodoxsq5fkffsniiva377ez4

D2.1. User Centered Design

ANNA MATAMALA, PILAR ORERO
2019 Zenodo  
D2.1 documents all activities and their results in the development of ImAC user scenarios and provides detailed user cases for the selected scenarios  ...  are practically non-existent nowadays: immersive content, including cinematic virtual reality, is still in its infancy and research on this new audiovisual language is ongoing [7, 8, 9, 10] .  ...  Virtual reality may produce some sort of discomfort such as virtual reality sickness when visualizing virtual reality contents, information will be provided and appropriate measures will be taken to guarantee  ... 
doi:10.5281/zenodo.3406510 fatcat:hpryryk745dkjjbqzcv4vufshy
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