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Along with the gods the two worlds cast12/29/2023 ![]() ![]() Yet no significant group differences were observed in self-reported emotional arousal or satisfaction with the whole experience. The viewers from the 3D condition rated their experience as more perceptually realistic and reported being less distracted during the film than their 2D counterparts. This study investigated the effect of stereoscopic realism (3D effect) on viewers' attention, emotion, and satisfaction by collecting data from 225 cinema patrons who were leaving the movie theatre having just viewed Thor. While 3D movies and fantasy film genre rise in popularity, the empirical exploration of viewers' cognitive and emotional engagement with film is currently limited and entirely derived from laboratory-based studies of small samples. The online version of this text can be found open access at These “realistic” elements form a bridge to utopic engage-ments – most strikingly, an oscillation between being in and letting go of control. While realism in some form or other appears important to most of the informants, the point of recognition is not the portrayal of daily routines but rather relationships and places. The analysis employs the concepts of realism and fantasy, which have been used to understand media pleasures as concerned both with the familiar and the utopic. The paradox that relief from everyday chores is found in a game that, to a great degree, simulates similar activities is analysed on the basis of 13 online or email qualitative interviews. ![]() Here, the focus is on the articulated pleasures of playing the digital games The Sims 2 and The Sims 3. Media use is a mundane activity that may nevertheless be highly pleasurable. The results of this paper are robust enough to suggest to policymakers in other countries to review their own policies that advocate merely protectionism as a way to make a more attractive national culture. Finally, the subsidy policy was barely noticeable before the late 1990s and is now too late and too limited to be credited for any significant impact on the success of the Korean film industry which began from the early 1990s. Second, the screen quota system, from 1966 until present, has not been effective because imposing a mandatory number of days for screening Korean movies does not ensure that the domestic audience will watch these movies. Furthermore, the import quota system strongly induced Korean filmmakers to produce bad quality movies and theaters to avoid showing Korean films. First, the import quota regime (1956–1986) limited the number of films to be imported, but not the number of Korean audience to see these imported films. The conclusion is, surprisingly at a first glance, that protectionist policies have played an insignificant role. This paper assesses whether Korean film policies, particularly protectionist ones, have been instrumental in the success of the Korean film industry.
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