Adults with intellectual/developmental disability (IDD), and their occupational participation, are vastly under-represented in Hollywood films. Because films often provide individuals’ only experience of people with IDD, cinematic representations can influence audience perceptions. Thus, films can help inform public perceptions about desired and appropriate occupational participation for people...

U P UNTIL NOW, CINEMATIC PRISON METAPHORS HAVE BEEN NEGLECTED by both metaphor and film studies. By focusing on these ignored types of metaphor, this article fills a crucial gap in the critical understanding of metaphor. The first part of this article develops a taxonomy of prison and film metaphors. The first taxonomy (of prison metaphors) is based on the categories developed by Monika Fludern...

In this paper, we focus on the ‘reverse editing’ problem in movie analysis, i.e., the extraction of film takes, original camera shots that a film editor extracts and arranges to produce a finished scene. The ability to disassemble final scenes and shots into takes is essential for nonlinear browsing, content annotation and the extraction of higher order cinematic constructs from film. In this w...

Good camera control and planning techniques in 3D computer games can give players deeper feelings about atmosphere of games. However, most modern computer games use fixed point-of-view techniques to control the scene camera. We believe applications of some basic cinematic camera planning methods in computer games will enrich player’s gaming experience. In this paper, we discuss the principles o...

This paper presents a framework for the classification of feature films into genres, based on computable visual cues. The authors view the work as a step towards high-level semantic film interpretation, currently using low-level video features and knowledge of ubiquitous cinematic practices. Our current domain of study is the film preview (the commercial advertisements primarily created to attr...

Atom Egoyan’s Ararat (2002) has been misread and inappropriately critiqued as a failed cinematic representation of the Armenian genocide. The author of this article argues that the film is instead an ambitious meditation on the question of how to represent genocide in general, and the Armenian genocide specifically. He traces a number of themes in Ararat, including the political stakes involved...