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Affective Timelines Towards the Primary-Process Emotions Of
AFFECTIVE TIMELINES TOWARDS THE PRIMARY-PROCESS EMOTIONS OF MOVIE WATCHERS: MEASUREMENTS BASED ON SELF- EXPERIENCE AND INTERACTION ANNOTATION AND AFFECTIVE NEUROSCIENCE Marko Radeta, Zhabiz Shafieyoun and Marco Maiocchi SIP Lab | Studies on Interaction and Perception | Desi!n Department, Politecnico di Milano marko@ siplab.or!, zhabiz@ siplab.or!, marco@ siplab.or! ABSTRACT The economic success of a movie depends on audience satisfaction and on how much they are emotionally en!a!ed while watchin! it. Our research is related to the identification of such kinds of emotions felt by movie watchers durin! screenin! movie screenin!. We endorse the model of 7 Primary-process emotions from A#ective Neuroscience (SEEKING, PLAY, CARE, FEAR, GRIEF, RAGE and LUST) and ask subjects to watch 14 movies and match them with these 7 emotions. We provide a self-annotatin! application and reveal “A#ective Timelines” of clicks with arousal scenes. We verify that it is possible to discriminate movie watchers’ emo- tions accordin! to their self-annotation by obtainin! 0.51 - 0.81 ran!e of accordance in an- notatin! 14 movies and comparin! them with the authors of this study. These timelines will be matched with physiolo!ical sensors in future research. KEYWORDS: A ect Annotation, Primary-process Emotions, Movie Watchers, Movie Analysis, A ective Computing. INTRODUCTION arousal scale by using the FEELTRACE (Cowie, 2000) emo- tion annotation tool. Participants viewed the films and, in Influencing the emotions is a key factor in satisfying a movie real-time, annotated their emotional responses by moving audience and for the overall success of the movie. Movies the mouse pointer on a square two-dimensional area rep- are art-forms that involve affective, perceptual and intellec- resenting the valence-arousal emotional space.
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A Dark New World : Anatomy of Australian Horror Films
A dark new world: Anatomy of Australian horror films Mark David Ryan Faculty of Creative Industries, Queensland University of Technology A thesis submitted in fulfillment of the degree Doctor of Philosophy (PhD), December 2008 The Films (from top left to right): Undead (2003); Cut (2000); Wolf Creek (2005); Rogue (2007); Storm Warning (2006); Black Water (2007); Demons Among Us (2006); Gabriel (2007); Feed (2005). ii KEY WORDS Australian horror films; horror films; horror genre; movie genres; globalisation of film production; internationalisation; Australian film industry; independent film; fan culture iii ABSTRACT After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream.
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During the Pandemic I've Maintained My Sanity by Completing Jigsaw
1 During the pandemic I’ve maintained my sanity by completing jigsaw puzzles. However, they also came close to making me lose my sanity a time or two. The first one I completed was “The Day the Angels Cried.” I’ve looked for that puzzle for years and finally got it. It took me three months to put it together and at the end it was missing one piece! I wrote the company, but they didn’t have another copy of that puzzle. I was heartbroken. To make up for it they sent me the “Hometown Heroes” puzzle. It took me a couple of months to complete it. I framed it in an old barn wood frame and donated it to our local volunteer fire department for them to hang it in their firehouse or auction it off at their yearly fundraising event. Their choice. My bathroom is decorated New Orleans style, so my third puzzle was the “Bourbon Street” puzzle. It was amazingly easy! It only took me a month to complete it. I framed it in black and it’s now hanging in my bathroom. My current project is the cat puzzle. I couldn’t figure out what to work on next so I asked a dear friend if she would like a cat puzzle. The kids in her apartment complex call her “the crazy cat lady,” so I thought she might be interested, and she was. It’s been pretty difficult so far and will get much more difficult when I get to working on the black cat.
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Saw 3 1080P Dual
Saw 3 1080p dual click here to download Saw III UnRated English Movie p 6CH & p Saw III full movie hindi p dual audio download Quality: p | p Bluray. Saw III UnRated English Movie p 6CH & p BluRay-Direct Links. Download Saw part 3 full movie on ExtraMovies Genre: Crime | Horror | Exciting. Saw III () Saw III P TORRENT Saw III P TORRENT Saw III [DVDRip] [Spanish] [Ac3 ] [Dual Spa-Eng], Gigabyte, 3, 1. Download Saw III p p Movie Download hd popcorns, Direct download p p high quality movies just in single click from HDPopcorns. Jeff is an anguished man, who grieves and misses his young son that was killed by a driver in a car accident. He has become obsessed for. saw dual audio p movies free Download Link . 2 saw 2 mkv dual audio full movie free download, Keyword 3 saw 2 mkv dual audio full movie free. Our Site. IMDB: / MPA: R. Language: English. Available in: p I p. Download Saw 3 Full HD Movie p Free High Quality with Single Click High Speed Downloading Platform. Saw III () BRRip p Latino/Ingles Nuevas y macabras aventuras Richard La Cigueña () BRRIP HD p Dual Latino / Ingles. Horror · Jigsaw kidnaps a doctor named to keep him alive while he watches his new apprentice Videos. Saw III -- Trailer for the third installment in this horror film series. Saw III 27 Oct Descargar Saw 3 HD p Latino – Nuevas y macabras aventuras del siniestro Jigsaw, Audio: Español Latino e Inglés Sub (Dual). Saw III () UnRated p BluRay English mb | Language ; The Gravedancers p UnRated BRRip Dual Audio by.
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M Usic , M Oviesand M
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Jigsaw: Torture Porn Rebooted? Steve Jones After a Seven-Year Hiatus
Originally published in: Bacon, S. (ed.) Horror: A Companion. Oxford: Peter Lang, 2019. This version © Steve Jones 2018 Jigsaw: Torture Porn Rebooted? Steve Jones After a seven-year hiatus, ‘just when you thought it was safe to go back to the cinema for Halloween’ (Croot 2017), the Saw franchise returned. Critics overwhelming disapproved of franchise’s reinvigoration, and much of that dissention centred around a label that is synonymous with Saw: ‘torture porn’. Numerous critics pegged the original Saw (2004) as torture porn’s prototype (see Lidz 2009, Canberra Times 2008). Accordingly, critics such as Lee (2017) characterised Jigsaw’s release as heralding an unwelcome ‘torture porn comeback’. This chapter will investigate the legitimacy of this concern in order to determine what ‘torture porn’ is and means in the Jigsaw era. ‘Torture porn’ originates in press discourse. The term was coined by David Edelstein (2006), but its implied meanings were entrenched by its proliferation within journalistic film criticism (for a detailed discussion of the label’s development and its implied meanings, see Jones 2013). On examining the films brought together within the press discourse, it becomes apparent that ‘torture porn’ is applied to narratives made after 2003 that centralise abduction, imprisonment, and torture. These films focus on protagonists’ fear and/or pain, encoding the latter in a manner that seeks to ‘inspire trepidation, tension, or revulsion for the audience’ (Jones 2013, 8). The press discourse was not principally designed to delineate a subgenre however. Rather, it allowed critics to disparage popular horror movies. Torture porn films – according to their detractors – are comprised of violence without sufficient narrative or character development (see McCartney 2007, Slotek 2009).
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Darrenmcfarlane(2018CV)
Darren McFarlane 34 Riddell Parade Profile Elsternwick, VIC 3185 M 0412 948 183 From a PhD in Polymer Chemistry to working on TVC’s, Australian and US features, [email protected] Australian Drama, and to then being approached by Leigh Whannell and James Wan to produce a short film version of their feature script, “Saw” - a highly experienced production person with a great breadth of credits, enthusiasm for challenges, strong work ethic, a positive ‘can do’ attitude and a sense of humour. Features Line Producer - “High Ground”, High Ground Pictures - 2018 Directed by Stephen Johnson. Produced by David Jowsey, Greer Simpkin & Maggie Miles. Line Producer - “Brothers’ Nest”, Jason Byrne Productions - 2017 Directed by Clayton Jacobson. Produced by Jason Byrne. Production Manager - “Guilty”, ABC Co Production - 2017 Directed by Matthew Sleet. Produced by Maggie Miles. Construction Co-ordinator - “The Moon and the Sun”, Lightstream Films - 2014 Produced by Paul Currie and Bill Mechanic. Production Assistant - “Charlotte’s Web”, Paramount Pictures - 2005 Directed by Gary Winick and produced by Jordan Kerner. Additional AD - “The Extra”, Ruby Entertainment - 2005 Directed by Kev Carlin and produced by Stephen Luby and Mark Ruse. Additional AD - “Three Dollars”, Arenafilm - 2005 Directed by Rob Connolly and produced by John Maynard. Dance Club/Rave Scene Producer - “One Perfect Day”, Lightstream Films - 2004 Directed by Paul Currie and produced by Charles Morton. TV Series Producer - “Seconds”, Head Space Entertainment - 2019 Director Tony Rogers, Writer Jaime Brown (6 x 60 min episodes) - In Development. Production Manager - “Superwog”, ABC/Princess Pictures - 2018 Produced by Paul Walton & Amanda Reedy (6 x 30 min episodes).
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Dead by Daylight “SAW®” Chapter Launches on Steam, Xbox One and Playstation®4
PRESS RELEASE STOCKHOLM, SWEDEN (January 23, 2018) Dead by Daylight “SAW®” Chapter Launches on Steam, Xbox One and PlayStation®4 Starbreeze Publishing, together with Behaviour Digital and global content leader Lionsgate (NYSE: LGF.A, LGF.B), today released the “SAW®” chapter for Dead by Daylight. SAW is one of the most successful horror franchises ever, grossing nearly $1 billion at the worldwide box office. The “SAW” chapter lets players take on the infamous character of Amanda Young, one of Jigsaw’s most well-known protégés, with a brand-new power and feature: the reverse bear trap. In an innovative twist of a classic Dead by Daylight mechanic, Amanda disguised as The Pig can place reverse bear traps on survivors, spicing up the game of cat-and-mouse as every second counts for the survivors to escape. The new survivor introduced in the chapter is David Tapp, a relentless cop set on bringing down The Pig. The two will fight it out inside iconic locations from the films. The new chapter is available today for $6.99 on Windows PC through Steam and other digital distribution channels as well as on Xbox One and the PlayStation 4® computer entertainment system. The “SAW” chapter includes: • New Killer + Perks and Power - The Pig • New Survivor + Perks - David Tapp • New Map - Gideon Meat Plant Visit the website for more information and videos: www.deadbydaylight.com/saw. Dead by Daylight is an asymmetrical multiplayer horror game in which one crazed killer hunts four friends through a terrifying nightmare. Players take on the roles of both killer and survivors in a deadly game of cat and mouse.
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Nouveautés Mai 2021
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Downloadable
Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including the display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: ____________________________ ______________ Matthew Boyd Smith Date Bits and Pieces: Brutality in Millennial Horror Films and French Art Cinema By Matthew Boyd Smith Master of Arts Film and Media Studies ___________________________ Matthew Bernstein, Ph.D. Advisor ____________________________ Michele Schreiber, Ph.D. Committee Member ___________________________ Karla Oeler, Ph.D. Committee Member Accepted: ___________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________ Date Bits and Pieces: Brutality in Millennial Horror Films and French Art Cinema By Matthew Boyd Smith B.A., University of South Carolina, 2007 Advisor: Matthew Bernstein, Ph.D. An abstract of A thesis submitted to the Faculty of the James T. Laney School of Graduate Studies of Emory University in partial fulfillment of the requirements for the degree of Master of Arts in Film and Media Studies 2013 Abstract Bits and Pieces: Brutality in Millennial Horror Films and French Art Cinema By Matthew Boyd Smith This thesis examines a new strain of brutality in American and French horror films in the 2000s.
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UNIVERSAL PICTURES Presents a BLUMHOUSE/GOALPOST
UNIVERSAL PICTURES Presents A BLUMHOUSE/GOALPOST Production In Association with NERVOUS TICK PRODUCTIONS ELISABETH MOSS ALDIS HODGE STORM REID HARRIET DYER MICHAEL DORMAN and OLIVER JACKSON-COHEN Executive Producers LEIGH WHANNEL COUPER SAMUELSON BEATRIZ SEQUEIRA JEANETTE VOLTURNO ROSEMARY BLIGHT BEN GRANT Produced by JASON BLUM, p.g.a. KYLIE DU FRESNE, p.g.a. Screenplay and Screen Story by LEIGH WHANNELL Directed by LEIGH WHANNELL The Invisible Man_Production Information 2 PRODUCTION INFORMATION What you can’t see can hurt you. Emmy Award winner ELISABETH MOSS (Us, Hulu’s The Handmaid’s Tale) stars in a terrifying modern tale of obsession inspired by Universal’s classic Monster character. Trapped in a violent, controlling relationship with a wealthy and brilliant scientist, Cecilia Kass (Moss) escapes in the dead of night and disappears into hiding, aided by her sister Emily (HARRIET DYER, NBC’s The InBetween), their childhood friend James (ALDIS HODGE, Straight Outta Compton) and his teenage daughter Sydney (STORM REID, HBO’s Euphoria). But when Cecilia’s abusive ex, Adrian (OLIVER JACKSON-COHEN, Netflix’s The Haunting of Hill House), commits suicide and leaves her a generous portion of his vast fortune, Cecilia suspects his death was a hoax. As a series of eerie coincidences turn lethal, threatening the lives of those she loves, Cecilia’s sanity begins to unravel as she desperately tries to prove that she is being hunted by someone nobody can see. JASON BLUM produces The Invisible Man for Blumhouse Productions. The Invisible Man is written, directed and executive produced by LEIGH WHANNELL, one of the original conceivers of the Saw franchise who most recently directed Upgrade and Insidious: Chapter 3.
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VICE Studios and Screen Australia Present in Association with Film Victoria and Create NSW a Blue-Tongue Films and Pariah Production
VICE Studios and Screen Australia present In association with Film Victoria and Create NSW A Blue-Tongue Films and Pariah Production Written and Directed by Mirrah Foulkes Starring Mia Wasikowska and Damon Herriman Produced by Michele Bennett, Nash Edgerton and Danny Gabai Run Time: 105 Minutes Press Contact Samuel Goldwyn Films [email protected] SYNOPSES Short Synopsis In the anarchic town of Seaside, nowhere near the sea, puppeteers Judy and Punch are trying to resurrect their marionette show. The show is a hit due to Judy's superior puppeteering, but Punch's driving ambition and penchant for whisky lead to an inevitable tragedy that Judy must avenge. Long Synopsis In the anarchic town of Seaside, nowhere near the sea, puppeteers Judy and Punch are trying to resurrect their marionette show. The show is a hit due to Judy's superior puppeteering, but Punch's driving ambition and penchant for whisky lead to an inevitable tragedy that Judy must avenge. In a visceral and dynamic live-action reinterpretation of the famous 16th century puppet show, writer director MIRRAH FOULKES turns the traditional story of Punch and Judy on its head and brings to life a fierce, darkly comic and epic female-driven revenge story, starring MIA WASIKOWSKA and DAMON HERRIMAN. 2 DIRECTOR’S STATEMENT JUDY AND PUNCH is a dark, absurd fable treading a line between fairy-tale, fantasy and gritty realism, all of which work together to establish a unique tone while upsetting viewer expectations. When Vice Studios’ Eddy Moretti and Danny Gabai approached me with the idea of making a live action, feminist revenge film about Punch and Judy, they encouraged me to let my imagination go wild and take the story wherever I felt it needed to go.
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