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Open access

Yuan Zhang and Hsia-Ching Chang

Abstract

Healthcare communication on Twitter is challenging because the space for a tweet is limited, but the topic is too sophisticated to be concise. Comparing medical-terminology hashtags versus lay-language hashtags, this paper explores the characteristics of healthcare hashtags using an entropy matrix which derived from information theory. In this paper, the entropy matrix comprises of six different components used for constructing a tweet and serves as a framework for the structural analysis with the granularity of tweet composition. These granular components include image(s), text with semantic meanings, hashtag(s), @ username(s), hyperlink, and unused space. The entropy matrix proposed in this paper contributes to a new approach to visualizing the complexity level of hashtag collections. In addition, the calculated entropy could be an indicator of the diversity of a user’s choice across those tweet components. Furthermore, the visualizations (radar graph and scatterplot) illustrate statistical structures and the dynamics of the hashtag collections measured by entropy. The results from this study demonstrate a manifest relationship between tweet composition and the number of being retweeted.

Open access

Tingting Jiang, Jiaqi Yang, Cong Yu and Yunxin Sang

Abstract

Mobile devices are gaining popularity among online shoppers whose behavior has been reshaped by the changes in screen size, interface, functionality, and context of use. This study, based on a log file from a cross-border E-commerce platform, conducted a clickstream data analysis to compare desktop and mobile users’ visiting behavior. The original 2,827,449 clickstream records generated over a 4-day period were cleaned and analyzed according to an established analysis framework at the footprint level. Differences are found between desktop and mobile users in the distribution of footprints, core footprints, and footprint depth. As the results show, online shoppers preferred to explore various products on mobile devices and read product details on desktops. The E-commerce mobile application (app) presented higher interactivity than the desktop and mobile websites, thus increasing both user involvement and product visibility. It enabled users to engage in the intended activities more effectively on the corresponding pages. Mobile users were further divided into iOS and Android users whose visiting behaviors were basically similar to each other, though the latter might experience slower response speed.

Open access

Ágnes Pethő

Open access

Hajnal Király

Abstract

I argue that the trope of the doll, recurrent throughout the films of Manoel de Oliveira, is a visual figure that beyond narrative becomes a discourse on modernity and modernism, stillness and movement, life and death. Accordingly, I propose an overview of occurences of dolls and of “dollness” throughout the work of Oliveira – from Aniki Bobó (1942) to The Strange Case of Angelica (2010) – with the aim of tracking the line of transformations of an emblematic object into an aesthetic principle, a central figure involving psychoanalytical concepts such as the Freudian “uncanny,” the fetish or the transitional object.

Open access

Daniel Wiegand

Abstract

This article offers a case study in intermediality and explores relationships between tableaux vivants performances and early cinema around 1900. It locates processes of intermedial exchange not only at the level of form but also at the level of modes of address and reception. More specifically, the study is concerned with how bourgeois notions of beauty were transferred to the film image and reconciled with the attraction value of cinema. As a discussion of early film theory reveals, the concept of “beauty in film” depended on a taming of filmic motion, something that had already been realized in performance practices of tableaux vivants. In the subsequent analysis of the cultural context of tableaux vivants in European variety theatres, I outline a specific mode of address, which I term “beauty-as-attraction:” an overlap of the older aesthetics of the beautiful and the more modern aesthetics of attraction. Through concluding film analysis, I show how tableaux vivants became a model and source of inspiration for early cinema, thus bringing to fruition the two-fold address of beauty-as-attraction in a new media context.

Open access

Melinda Blos-Jáni

Abstract

This article examines how sensual aspects of the moving image, such as visual errors, blurring and technical disturbances are employed in found footage films dealing with Eastern European socialist past and the regime changing events. In the selected films Eastern European socialist visual culture is reworked with the cinematic practices of the post-media age in order to shape the spectators’ historical consciousness. By deliberate reframing and intensifying the medium-specific noises of the archival sources, or by an artificially created visual precariousness a new type of spectatorial awareness is created. The article delineates four different strategies through which the mediality of the recycled archival footage is brought to the fore and made operational (engaging the senses of its viewers).

Open access

Fátima Chinita

Abstract

The article examines three films by Roy Andersson, Songs from the Second Floor (Sånger från andra våningen, 2000), You, the Living (Du levande, 2007), and A Pigeon Sat on a Branch Reflecting on Existence (En duva satt på en gren och funderade på tillvaron, 2014). The Swedish director depicts the human condition afflicted by the loss of its humanity through a personal style that he calls “the complex image,” a tableau aesthetic that instigates social criticism, and is dependent upon long shots, immobility, unchanging shot scale, and layered compositions. The author establishes a connection between artistic and social space and scrutinizes the challenges that this “complexity” poses for the film viewer from an intermedial perspective in which cinema enters into a dialogue with two other art forms: painting and theatre. Four specific issues are discussed: (1) the intertwining of reality and artificiality as a “hyperreality;” (2) the visual compositions which are simultaneously self-contained and entirely open, highlighting a tension between volume and surface; (3) the opposition between stasis and movement, conveying a meaningful social contrast and the characters’ angst; (4) the pictoriality of the image.

Open access

Andrea Virginás

Abstract

Given the present proliferation of profilmic electronic screens in narrative feature films, it is of some interest to examine their role apart from that of denoting objects pertaining to everyday reality. Electronic screens within the European-type filmic diegeses – characterized by adhering to conventions of (hyper)realism, non-hypermediation and character-centered storytelling – in a digital era are used not only as props, but as frames that re-order and aestheticize levels of reality (Odin 2016), while focusing, in a hypnotic manner, the viewers’ attention (Chateau 2016) on traumatic memories related to usually female characters, and consequently to the collectivities they represent in the respective diegetic worlds. These electronic screens force the viewer to constantly shift between the actual cinematic screen conventions and the mental screen (Odin 2016) of smaller formats, training the film viewers for experiences of expanded and fragmented cinema (Gaudreault and Marion 2015).

Open access

Francesco Sticchi

Abstract

In this essay I analyse Matteo Garrone’s Tale of Tales (2015) within the perspective of embodied cognition. I consider film experience as an affective-conceptual phenomenon based on the viewer’s embodiment of the visual structures. Baruch Spinoza stands at the foundation of my analytical approach since his thought was based on the absolute parallelism between the body and the mind. This paradigm redefines anthropocentrism and rejects dualism; however, the criticism of the rationalist ideal is also one of the main characteristics of the film Tale of Tales: by staging baroque and excessive characters, it allows the viewer to embody a notion of subjectivity that is performative and relational. Therefore, by combining the cognitive analysis of the film with my theoretical framework I will present a radical criticism of abstract rationality and present an ecological idea of the human.