One of the most immersive and rarefied experiences in the history of cinema, Andrei Tarkovsky’s STALKER embarks on a metaphysical journey through an enigmatic post-apocalyptic landscape. A hired guide – the „Stalker“ of the title – leads a writer and a scientist into the heart of the Zone, the restricted site of a long-ago disaster, where the three men eventually zero in on the Room, a place rumored to fulfill one’s most deeply held desires. Adapting a science-fiction novel by Arkady and Boris Strugatsky, and making what would be his final Soviet feature, Tarkovsky created a challenging and visually stunning work, his painstaking attention to material detail and sense of organic atmosphere further enriched by this vivid new restoration. At once a religious allegory, a reflection of contemporary political anxieties, and a meditation on film itself-among many other interpretations – Stalker envelops the viewer by opening up a multitude of possible meanings. Restored by Mosfilm from a 2k scan of the original negative.
Dubbed the Geena Davis Inclusion Quotient (GD-IQ), the tool not only can identify a character’s gender, but it knew to a fraction of a second how long each actor spoke, and were on-screen.
Culturegraphy investigates cultural information exchange over time also known as ‚memes‘. These networks can provide new insights into the rich interconnections of cultural development.
[in]Transition […] is the first peer-reviewed academic journal of videographic film and moving image studies.
Practitioners of these forms (which include, inter alia, the ‘video essay’, ‘audiovisual essay’, and ‘visual essay’ formats) explore the ways in which digital technologies afford a new mode of carrying out and presenting film and moving image research.
Computers Watching Movies shows what a computational system sees when it watches the same films that we do. The work illustrates this vision as a series of temporal sketches, where the sketching process is presented in synchronized time with the audio from the original clip. Viewers are provoked to ask how computer vision differs from their own human vision, and what that difference reveals about our culturally-developed ways of looking. Why do we watch what we watch when we watch it? Will a system without our sense of narrative or historical patterns of vision watch the same things?
It wouldn’t be a Rocky movie without an epic montage, a good and bloody fight, oh and some dialogue, too. There are, in fact, only a few basic narrative elements that make up the formula for all six Rocky films. Using empirical data collection (i.e. watching the six movies over six days straight), Rocky Morphology analyzes the Rocky series in order to identify its key narrative elements.
‚Motion structures‘ is an approach to explore and interact with time-based media, such as film, video, and motion graphics in a different way. We want to represent spatial and temporal transformations in a moving image sequence as a 3D shape. The transformation from a 2D image sequence to a 3D shape are done automatically by a custom software we wrote.
As a fan of film as well as data, I saw that there was a wealth of quantitative information about the movie world, and far too few outlets that examined them – so I founded BoxOfficeQuant.com.
Through this site, I hope to report on the financial state of the industry and attempt to predict its future; but I’d also like to dive deeper into the creative aspects. I’d like show that statistics can be beautiful themselves, as well as a route to appreciate the art of film.