Every year throughout the holy month of Ramadan, Egyptians regularly watch television dramas. Viewership reaches its peak during Ramadan, and as a result, Ramadan drama is considered to have a great cultural and social impact on Egyptian society. Moreover, during Ramadan, video streaming services become more popular in Egypt and achieve greater success in terms of subscription rates. Therefore, this study focused on investigating the reasons why Egyptians prefer video streaming services over traditional television to watch Ramadan dramas and the impact of such services on their watching behaviors. An online questionnaire survey was circulated to a sample of Egyptian people, and 563 participants of different ages and backgrounds participated in the survey. The critical evaluation of the collected data showed how significantly the Egyptian people are affected by Ramadan drama and the extent to which it is an important part of their lives. The data also highlight that video streaming services offer many advantages over traditional television. Likewise, the study provided valuable insights into the changes occurring in Egyptians’ viewing behaviors. It was concluded that Egyptian viewers prefer video streaming services over traditional television when watching Ramadan dramas for many reasons.

In German Language: Die Hauptzwecke der biomedizinischen Signale sind die Erkennung oder Diagnose von Krankheiten oder physiologischen Zuständen. Diese Signale werden auch in der biomedizinischen Forschung eingesetzt, um biologische Systeme zu modellieren und zu studieren. Das Ziel der Signalerfassung, Vorverarbeitung und Merkmalsextraktion besteht darin, eine genaue Realisierung des Modells oder die Erkennung entscheidender Elemente oder Fehlfunktionen menschlicher Körpersysteme mithilfe von Maschinenlernen oder Deep Learning zu erreichen. Darüber hinaus ermöglicht es die Vorhersage zukünftiger klinischer oder physiologischer Ereignisse mithilfe von Maschinenlernen und Deep Learning. Das erhaltene biologische Signal ist häufig eine komplexe Kombination aus Rauschen, Artefakten und Signal. Instrumente, die Sensoren, Verstärker, Filter und Analog-Digital-Wandler verwenden, können Artefakte erzeugen. Muskelaktivitäten können Störungen einführen und die Stromleitung und elektromagnetische Emissionen gelten als die primären Rauschquellen. Eine gute Auswahl von Signalverarbeitungs- und Verarbeitungstechniken kann als Folge der beabsichtigten Designspezifikationen getroffen werden. Dieses Kapitel zielt darauf ab, Wissenschaftler und Biomedizintechniker mit potenziellen Methoden zur Merkmalsextraktion vertraut zu machen und die Grundlagen der Signalerfassung und -verarbeitungskette zu verstehen.

Since cinema was transformed into a creation medium able to express the film director's vision and philosophy, rules for employing different shot sizes in presenting the story and exploring scenes components were founded. The long shot size had been merited with its ability to present facts and reality without interfering. It was used ever since to establish the location of every film scene, and only few filmmakers managed to creatively employ the long shot in the formulation of visual texts. One of those creative filmmakers is the Swedish director “Roy Andersson” with his Lengthy-Long-Shot-Scene (LLSS) cinematic technique, i.e. the technique of using only one single lengthy long shot in shooting the film scene… Through an analytical descriptive methodology, this study attempted to study Roy Andersson's unique Lengthy-Long-Shot-Scene (LLSS) technique of filmmaking, and looked at the ability of such technique in enriching the film language. Research results emphasized that we cannot limit the film industry and define it in a specific template! In cinema, there is a wide field for creativity that is not limited by borders, and there are multiple film methods, whether through regular well-established conventions or through new experimental methodologies like the (LLSS) style.

An examination of film illumination aptitude to influence audience's feelings and attitudes towards what is displayed in front of them of shots and scenes. Existing illumination procedures have been reviewed thoroughly, and two essential hue groups (i.e., warm and cold tones) have been distinguished and ought to be inspected to address the study questions and form its conclusions. To produce the required proof to this exploration work, a few analyses with a delegate sample of viewers took place. These tests proved the existence of straight associations between different hues of film illumination and the recognized look of film actors. Furthermore, some hues of illumination showed more ability compared to others in modifying the recognized look of film actors. The investigation wrapped up that viewers' opinion of looks and appearances within film shots is connected, even partially, to various illumination hues.

This study is an attempt to investigate the ability of different colors used in cinematic lighting designs to affect audience’s impressions towards the appearance and mood of film characters. The study critically appraised existing cinematic lighting techniques and identified the two basic color groups (i.e., warm and cold colors) that should be examined in order to answer the research questions and formulate its conclusions. To provide the needed empirical evidence for this research work, some experiments with a representative sample of viewers were conducted. These experiments confirmed the existence of direct relationships between various colors of lighting and the perceived appearance and mood of film characters. Moreover, specific color hues of lighting appeared to be more effective than others in altering the perceived appearance and mood of film characters. The study concluded that audience’s perception of appearances and moods within cinematic images is linked, even in part, to different colors of lighting.

This paper is attempting to examine different criteria of evaluating animated films followed by viewing and selection committees, whether in academic programs, television channels or specialized film festivals. It is trying to present a criteria model to achieve objectivity and integrity in evaluating animation films. While there are many pages of film criticism featured in newspapers and magazines every day; as well as cinema-concerned Internet websites, one can easily note the tiny number of critics aimed towards animated films! Indeed, the art of animation was less fortunate than live action films in terms of criticism attention. Surprisingly, this fact is contradicting with the raising public interest in animated films and the number of festivals and TV channels dedicated today for such films. Taking into account the obvious absence of standardized criteria for evaluating films in general, and animated films in particular, this paper addressed film criticism in general as a background, keeping in mind the technical differences between a feature film and an animated one. Since animation is an authentic film art, which was established historically and technically before the filming of the live movement began in the late 19th century, the issue of evaluation and film criticism is naturally applied to the art of animation. Elements of animated films, such as script, directing, sound, editing, visual effects, etc. were all critically examined and appraised during the journey of this research work. The research also sought the opinions of specialists, trying to come up with an approach to address the issue of criticism and evaluation of animation films. The research outcomes are considered to be of great importance to those involved in the evaluation and selection processes of animated films as well as academics and public.