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Do Computers Dream of Cinema? Film Data for Computer Analysis and Visualisation

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Abstract

I don’t know if cybernetic measurements of novel-rhythms have already been made, I would find them enlightening; and if there were any, I would like to compare ‘War and Peace’ and ‘Raskolnikov’, would like to see these two samples together. If you x-rayed them, materialised them,they would maybe both produce fantastic graphs as by-products of literature.

Keywords

  • Manual Annotation
  • Frame Grab
  • Shot Boundary
  • Film Study
  • Shot Detection

These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

I don’t know if cybernetic measurements of novel-rhythms have already been made, I would find them enlightening; and if there were any, I would like to compare ‘War and Peace’ and ‘Raskolnikov’, would like to see these two samples together. If you x-rayed them, materialised them, they would maybe both produce fantastic graphs as by-products of literature. Boiled down to one formula – another comparison between Tolstoy and Dostoyevsky: Tolstoy is in his shortest novel still lengthy, Dostoyevsky breathless until complete breathlessness.1

– Heinrich Böll

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Notes

  1. 1. Heinrich Böll, ‘Annäherungsversuch. Nachwort zu Tolstois Roman “Krieg und Frieden”’, pp. 163–87, in Neue politische und literarische Schriften (Cologne: Kiepenheuer und Witsch, 1973, pp. 175–76). Author’s translation.

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  2. 4. Klemens Gruber, Barbara Wurm, Vera Kropf (eds), Digital Formalism. Die kalkulierten Bilder des Dziga Vertov (Vienna, Cologne, Weimar: Maske & Kothurn, Issue 55, No. 3, 2009).

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  3. 5. Dziga Vertov, Šestaja čast’ mira / Odinnadcatyj, Edition Filmmuseum, Munich 2010 [DVD Publication].

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  4. 7. Kyrill Shutko, ‘Vorwort’, in: W. Beilenhoff (ed.), Poetica Kino. Theorie und Praxis des Films im russischen Formalismus (Frankfurt am Main: Suhrkamp, 2005, pp. 3–9). [AU: FULL CITE FOR “BEILENHOFF” OK?] Translated from the German by Oliver Hanley.

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  5. 11. See Vlada Petric’s profound work on Man with a Movie Camera: Vlada Petric, Constructivism in Film – A Cinematic Analysis: The Man with the Movie Camera (Cambridge: Cambridge University Press, 1993).

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  6. 16. See Viktor Shklovsky, ‘Die Temperatur des Kinos’, p.274–277, in: Beilenhoff, W. Beilenhoff (ed.), Poetica Kino. Theorie und Praxis des Films im russischen Formalismus (Frankfurt am Main: Suhrkamp, 2005, pp. 274–77). Also Boris Kazansky, ‘Die Natur des Films’, p. 113, in: Beilenhoff, Poetica Kino, p. 113.

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© 2012 Adelheid Heftberger

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Heftberger, A. (2012). Do Computers Dream of Cinema? Film Data for Computer Analysis and Visualisation. In: Berry, D.M. (eds) Understanding Digital Humanities. Palgrave Macmillan, London. https://doi.org/10.1057/9780230371934_12

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