The new commercial-grade Electroencephalography (EEG)-based BrainComputer Interfaces (BCIs) have led to a phenomenal development of applications across health, entertainment and the arts, while an increasing interest in multi-brain interaction has emerged. In the arts, there is already a number of works that involve the interaction of more than one participants with the use of EEG-based BCIs. H...

This paper takes a look at narrative forms as of yet unexplored in the field of digital interactive storytelling, and proposes methods for how they can be used in engaging ways for the user. Although the various Digital Interactive Storytelling (DIS) prototypes available produce several different story genres, they stem from the same classic narrative form. With this paper, we aim to introduce ...

in this article we study the attitudes of iranian cinema audience toward popular films. affected by classic elite cultural theories, popular culture and consumers of popular culture have been humiliated for many years. according to this theories, audience of popular magazines, popular music, popular films and other popular culture products, have been considered as passive victims. cultural stud...

See Teresa dc Lauretis, 'Aesthetic and Feminist Theory: Rethinking Women's Cinema', New German Critique 34, Winter 1985, pp 154-175. Madame X, a harsh, pitiless beauty, the cruel, uncrowned ruler of the China Seas, launched an appeal to all women willing to exchange an everyday existence of almost unbearable boredom, though safe and easy, for a world of uncertainty and danger, but also full of ...

this paper aims to study the imagination of tehran through 1340s and 1350s iranian cinema and the main question is that what kind of representation on city was fueled by cinema. this study was conducted based on analysis of four impressive films in these two decades. two of them are popular movies (ganje gharoon and khater khah) and the two other (khesht-o ayeni and ragbar) are related to avant...

............................................................................................................................. 3 Introduction ....................................................................................................................... 4 Part I: The Language of Film .......................................................................................... 6 Part II: An ...

Paradoxically enough, the impression left on the reader by Georges Sadoul's admirable book on the origins of the cinema is of a reversal, in spite of the author's Marxist views, of the relations between an economic and technical evolution and the imagination of those carrying on the search. The way things happened seems to call for a reversal of the historical order of causality, which goes fro...