This chapter constitutes a detailed example of Computational Media Aesthetics at work. A short history of approaches to the problems posed by automatic content management in its broadest context is presented, cast in the light of their ability to obtain the much needed semantic grid with which to interpret their object. Our consideration is then further narrowed to the video medium, where we identify two common categories of solution to the problem, the kitchen sink and the brittle mapping, note their relative weaknesses, and show them to be directly attributable to the nature of the semantic grid chosen, or lack thereof. Focusing on our domain of Film, we argue that the best semantic grid for its interpretation is that within which its creators work; namely film grammar.
By: Brett Adams, Chitra Dorai, Svetha Venkatesh
Published in: RC22655 in 2002
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