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_c387474 _d387474 |
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| 001 | 387474 | ||
| 003 | ES-MaUEC | ||
| 005 | 20230411102856.0 | ||
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| 007 | cr nn 008mamaa | ||
| 008 | 230411s2019 sz | s |||| 0|eng d | ||
| 020 | _a9783031023200 | ||
| 024 | 7 |
_a10.1007/978-3-031-02320-0 _2doi |
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| 040 |
_aES-MaUEC _bspa _cES-MaUEC _dES-MaUEC |
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| 050 | 4 |
_aPN1995 _b2019 EB |
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| 100 | 1 |
_aO'Connor, Brian Clark _eautor _4aut _4http://id.loc.gov/vocabulary/relators/aut _9686748 |
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| 245 | 1 | 0 |
_aVideo Structure Meaning _cby Brian C O'Connor, Richard L. Anderson |
| 250 | _a1st edition 2019 | ||
| 264 | 1 |
_aCham _bSpringer International Publishing _c2019 |
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| 300 | _a1 recurso en línea (XIX, 79 páginas) | ||
| 336 |
_atexto _btxt _2rdacontent |
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| 337 |
_aelectrónico _bc _2rdamedia |
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| 338 |
_arecurso electrónico _bcr _2rdacarrier |
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| 347 |
_aarchivo de texto _bPDF |
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| 490 | 0 |
_aSynthesis Lectures on Information Concepts Retrieval and Services _x1947-9468 |
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| 505 | 0 | _aPreface -- Acknowledgments -- Introduction -- Five Stories to a Model of Video Structure -- Coda: Provocations on Filmic Retrieval, Hunting, Meandering, and Browsing -- Bibliography -- Author Biographies . | |
| 520 | _aFor over a century, motion pictures have entertained us, occasionally educated us, and even served a few specialized fields of study. Now, however, with the precipitous drop in prices and increase in image quality, motion pictures are as widespread as paperback books and postcards once were. Yet, theories and practices of analysis for particular genres and analytical stances, definitions, concepts, and tools that span platforms have been wanting. Therefore, we developed a suite of tools to enable close structural analysis of the time-varying signal set of a movie. We take an information-theoretic approach (message is a signal set) generated (coded) under various antecedents (sent over some channel) decoded under some other set of antecedents. Cultural, technical, and personal antecedents might favor certain message-making systems over others. The same holds true at the recipient end-yet, the signal set remains the signal set. In order to discover how movies work-their structure and meaning-we honed ways to provide pixel level analysis, forms of clustering, and precise descriptions of what parts of a signal influence viewer behavior. We assert that analysis of the signal set across the evolution of film-from Edison to Hollywood to Brakhage to cats on social media-yields a common ontology with instantiations (responses to changes in coding and decoding antecedents). | ||
| 988 | _aSynthesis Collection of Technology_2019 | ||
| 650 | 7 |
_2embne _9139492 _aPelículas cinematográficas _xAspectos psicológicos |
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| 650 | 7 |
_2embne _9140972 _aPercepción visual |
|
| 700 | 1 |
_aAnderson, Richard L., _eautor _4aut _4http://id.loc.gov/vocabulary/relators/aut _9688048 _d1970- |
|
| 776 | 0 | 8 |
_iPrinted edition: _z9783031002274 |
| 776 | 0 | 8 |
_iPrinted edition: _z9783031011924 |
| 776 | 0 | 8 |
_iPrinted edition: _z9783031034480 |
| 856 | 4 | 0 |
_uhttps://go.openathens.net/redirector/universidadeuropea.es?url=https://doi.org/10.1007/978-3-031-02320-0 _zAcceso a este recurso digital (usuarios Universidad Europea de Madrid) |
| 942 |
_2lcc _cLE |
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| 998 |
_b04/2023 _dz _eIG _zSI |
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