The Gangster Film: Genre and Society (2005)

Langford, Barry

doi:10.4324/9780367809195-31

Cited by 5 publications

(8 citation statements)

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“…In the first stage, each one of the 200 films of the data set was manually classified with the label of its dominant genre. In contemporary films it is not possible to classify films into a single genre, because the postmodernism paradigm has changed the classical idea of genres and nowadays multiple genres can appear in a single movie, as has been underlined by several authors [38] [39]. A dominant genre can be established for most of the movies, but it is impossible for some of them, which are labeled as independent movies.…”

Section: Testing and Resultsmentioning

confidence: 99%

On the influence of low-level visual features in film classification

et al. 2019

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Background In this paper we present a model of parameters to aesthetically characterize films using a multi-disciplinary approach: by combining film theory, visual low-level video descriptors (modeled in order to supply aesthetic information) and classification techniques using machine and deep learning. Methods Four different tests have been developed, each for a different application, proving the model's usefulness. These applications are: aesthetic style clustering, prediction of production year, genre detection and influence on film popularity. Results The results are compared against high-level information to determine the accuracy of the model to classify films without knowing such information previously. The main difference with other film characterization approaches is that we are able to isolate the influence of high-level descriptors to really understand the relevance of low-level features and, accordingly propose a useful set of low-level visual descriptors for that purpose. This model has been tested with a representative number of films to prove that it can be used for different applications.

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Section: Testing and Resultsmentioning

confidence: 99%

On the influence of low-level visual features in film classification

et al. 2019

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“…27 They live in relative luxury on goods looted from the dead, and become caught up in the violence of their environment, just like a movie gangster who asserts himself in 'ostentatious displays of wealth' and in 'the violence he inflicts on others'. 28 This latter characteristic is dwelt on at some length. In the opening scene of the film Max Rosenthal (played by David Chandler) smothers an old man with a pillow.…”

Section: Representing the Sonderkommandomentioning

confidence: 98%

Figuring the Grey Zone: the Auschwitz Sonderkommando in contemporary culture

Williams¹

2021

Trauma &Amp; Memory

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“…Instead, different means of expression locates meaning, to use Langford's terms, 'not as a process but as a situation, fixed and externalised in a binary oppositional structure (good/ bad, desire/ frustration, happiness/ misery, and so on)'. 10 Indeed, as Langford and others have suggested, melodramatic markers can be present in all of the predominant genre categories of film used by critics and scholars alike.…”

Section: Love and Melodramamentioning

confidence: 98%

“…In drawing the distinction between a process and a situation, Langford was making the point that whereas realism might rely on the use of an individual character to guide the audience through a complex narrative, melodrama relies on the moral embodiment of a situation. 43 Stone responded that: Dr Paul, in pointing to Aristotle's 'single action,' has opened my eyes to what I missed at the time. It was there certainly in my subconscious from the beginning, struggling to be heard, but its implications frightened me.…”

Section: Alexandermentioning

confidence: 99%