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The LEGO movie 2 : the awesomest, most amazing, most epic movie guide in the universe!
Companion guide to the characters, vehicles, and locations featured in The LEGO Movie 2.
Book
Movie Description
Audio description (AD) provides linguistic descriptions of movies and allows visually impaired people to follow a movie along with their peers. Such descriptions are by design mainly visual and thus naturally form an interesting data source for computer vision and computational linguistics. In this work we propose a novel dataset which contains transcribed ADs, which are temporally aligned to full length movies. In addition we also collected and aligned movie scripts used in prior work and compare the two sources of descriptions. We introduce the
Large Scale Movie Description Challenge
(LSMDC) which contains a parallel corpus of 128,118 sentences aligned to video clips from 200 movies (around 150 h of video in total). The goal of the challenge is to automatically generate descriptions for the movie clips. First we characterize the dataset by benchmarking different approaches for generating video descriptions. Comparing ADs to scripts, we find that ADs are more visual and describe precisely what
is shown
rather than what
should happen
according to the scripts created prior to movie production. Furthermore, we present and compare the results of several teams who participated in the challenges organized in the context of two workshops at ICCV 2015 and ECCV 2016.
Journal Article
War without Bodies
Historically the bodies of civilians are the most damaged by the
increasing mechanization and derealization of warfare, but this is
not reflected in the representation of violence in popular media.
In War Without Bodies , author Martin Danahay argues that
the media in the United States in particular constructs a \"war
without bodies\" in which neither the corpses of soldiers or
civilians are shown. War Without Bodies traces the
intertwining of new communications technologies and war from the
Crimean War, when Roger Fenton took the first photographs of the
British army and William Howard Russell used the telegraph to
transmit his dispatches, to the first of three \"video wars\" in the
Gulf region in 1990-91, within the context of a war culture that
made the costs of organized violence acceptable to a wider public.
New modes of communication have paradoxically not made more war
\"real\" but made it more ubiquitous and at the same time
unremarkable as bodies are erased from coverage. Media such as
photography and instantaneous video initially seemed to promise
more realism but were assimilated into existing conventions that
implicitly justified war. These new representations of war were
framed in a way that erased the human cost of violence and replaced
it with images that defused opposition to warfare. Analyzing
poetry, photographs, video and video games the book illustrates the
ways in which war was framed in these different historical
contexts. It examines the cultural assumptions that influenced the
reception of images of war and discusses how death and damage to
bodies was made acceptable to the public. War Without
Bodies aims to heighten awareness of how acceptance of war is
coded into texts and how active resistance to such hidden messages
can help prevent future unnecessary wars.
eBook
I am the Beast
Introduces the beast and describes how he became enchanted and had his life changed by Belle.
Book
Dory's story
When Dory the short-term memory fish finds herself lost, she becomes friends with Nemo and Marlin, who come with her on her journey back home.
Book
Team Batman
Batman and his fearless friends intend to keep Gotham City safe from a host of colorful crooks.
Book
Examining Suspen of Disbelief, Perceived Realism, and Involvement in the Enjoyment of Documentary-Style Fictional Films
Few empirical studies have examined the oft-mentioned psychological construct known as suspension of disbelief. This article examines suspension of disbelief as a function of perceived realism during the viewing of a genre that often blurs the lines between fiction and nonfiction: documentarystyle films. To do so, an initial model of the relationships between suspension of disbelief, perceptions of realism, narrative involvement, and enjoyment was proposed and tested. Participants (n = 205) viewed one of two full-length documentary-style movies. Differences were observed in the way that both suspension of disbelief and perceptions of realism predicted emotional and cognitive aspects of involvement, with subsequent impact on enjoyment. An explanation for these differences is offered.
Journal Article