The commercial Hindi cinema has been subjected to domestic and foreign criticism for its exceptionally formulaic and stereotypical feature productions. These productions, however, have their sources in the oral and written epics and the popular dramatic genres of traditional Indian culture. Content borrowed from the Ramayana, the Mahabharata, and other pan-Indian tales frequently enlarges and r...

Stereoscopic/3D image and video quality assessment (IQA/VQA) has become increasing relevant in today’s world, owing to the amount of attention that has recently been focused on 3D/stereoscopic cinema, television, gaming, and mobile video. Understanding the quality of experience of human viewers as they watch 3D videos is a complex and multi-disciplinary problem. Toward this end we offer a holis...

The JISC funded IRIOS (Integrated Research Input and Output System) project developed a demonstrator integrating research information input (projects) and output (publications) datasets allowing data to be linked and exported in CERIF format. C4D (CERIF for Datasets), extends this platform to manage research datasets as outputs from research projects. Although research datasets vary and are ext...

The overall aim of CERIF for Datasets (C4D) is to develop a framework for incorporating metadata into CERIF (the Common European Research Information Format) such that research organisations and researchers can better discover and make use of existing and future research datasets, wherever they may be held. CERIF provides a standardised way of managing and exchanging research information and ha...

Despite her fame and cultural prominence as a Spanish dancer, Antonia Mercé La Argentina did not appear in major film projects, like many of peers. In this article, we examine the recent discovery footage contextualize these preserved fragments within development Western cinema presence imaginary industry time. These visual sources reveal how negotiated between art technology, stage screen, eco...

Cinema industry has chosen Digital Cinema Package (DCP) as encoding format for the distribution of digital films. DCP uses JPEG2000 for video compression. An efficient implementation of coding and decoding for this format is complex, however. Currently deployed equipment is expensive and has high maintenance costs, preventing art-house cinema theaters from acquiring it. Therefore, we conduct th...

An effort is underway to enable digital cinema distribution with new products and new standards covering a wide range of technology. Exhibitors, studios, equipment manufacturers, and others involved in this effort require a universal, long-term digital cinema standard. Complicating the drive toward a single standard, however, are two issues: 1) not all players have the same priorities in specif...

The primary focus of this paper is accessibility barriers for visually impaired people and people with dyslexia. Due to their disability a segment of these people have limited accessibility to the subtitle content presented on television and in the cinema. It is utterly important to be able to participate in such social and cultural events, but if the material presented is in a non familiar lan...