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Larasti began her acting career with minor roles in the television films after she was scouted by a casting director from PT Soraya Intercine Film.[4] These parts led to her being cast as a series regular on the Indosiar drama series Itukan CInta (2004) alongside actors Sahrul Gunawan, Bertrand Antolin, and Fera Feriska.[5] She rose to prominence as the lead role in Azizah, one of the most popular television show in the year 2007.[6] She started acting in feature films in 2006 including Perempuan Punya Cerita (2007), Slank Gak Ada Matinya (Slank Never Dies) in 2013, and Turis Romantis (2015).
Meski baru pertama kali bermain film, dunia akting bukan hal baru bagi dara yang akrab disapa Gaby ini. Ia sudah bermain di dua sinetron yaitu Putri Titipan Tuhan dan Siapa Takut Jatuh Cinta (STJC). Dalam sinetron yang tayang di SCTV tersebut, namanya mulai dikenal saat memerankan karakter Sonya.
Karakter antagonis di STJC ini dimainkan dengan pas oleh Gabrielle yang membuat namanya lekat dengan peran antagonis. Ada yang suka dan ada juga yang jadi benci, hal itu jadi penanda keberhasilannya dalam berakting. Di akhir tahun lalu, Gabriella Larasti mendapat tawaran bermain film dari rumah produksi Super Media Pictures.
Dalam film Don't Run Away yang bergenre horor/thriller, Gaby memerankan karakter Viena yang antagonis tapi juga protagonis. Dalam film ini Gaby memang harus memerankan dua sosok karakter yang berbeda. Film yang digarap sutradara muda berbakat Adi Garing ini sedang melakukan proses syuting du kawasan Cilember Cisarua, Bogor, Jawa Barat.
Suara.com - Gabriella Larasati memulai debutnya dunia film layar lebar dengan membintagi film horor bertajuk Roh Mati Paksa. Dalam film garapan sutradara Adi Garin ini, Gabriella memerankan karakter pemberani bernama Vina.
Aktris sinetron Gabriella Larasati memainkan peran Vina di film garapan sutradara Adi Garin dan rumah produksi Super Media Pictures. Vina dikisahkan pemberani sekaligus medium untuk berkomunikasi dengan makhluk halus.
Selama syuting film dilakukan selama 10 hari, dara berusia 22 tahun itu merasa selalu deg-degan dan khawatir jika benar-benar bertemu makhluk halus. "Cukup menegangkan pas syuting karena ada beberapa kejadian mistis," ucap Gabriella Larasati.
Jakarta - Lama tak terdengar kabarnya, Kirana Larasati kembali ke dunia hiburan Indonesia dengan membintangi sejumlah film. Salah satu film yang akan diperankan oleh Kirana adalah film yang diproduseri oleh Hanung Bramantyo.
Di film yang belum diberi judul tersebut, Kirana mendapatkan kesempatan untuk beradu akting dengan aktor asal India, Shareer Sheikh. Shareer merupakan pemeran Arjuna di serial tevelisi asal India, Mahabharata.
Animation, which can reflect reality in a subjective form, is the form of cinema closest to people's imaginary worlds and is undergoing radical change. The arrival of digital technology has changed the relationship between animation audiences and animation to a great extent and has influenced the production and production of animation on a global scale [9, 10]. The modes of creation and distribution of Chinese animated films are also being experimented with and optimised [11]. The data related to the domestic animation film industry from 2015 to 2021 is shown in Figure 1. On the one hand, animated films bring economic benefits, and on the other hand, they represent the economic and cultural development of a country and its image to a certain extent [12]. Therefore, more and more experts and scholars are devoted to the study of animated films. The history of American and Japanese animated films has been studied in China, and they are also in the process of learning how to move forward [13]. Japanese animation was also based on imitation of American animation and gradually found its own style of drawing [14]. When animation reached a certain level of development, scholars and experts shifted from studying animated films to studying the animation industry. In the US, the animation industry is based on animated films, while in Japan it is based on the production committee model [15]. China, however, is still in its infancy and has not yet formed a complete industry chain. In the future, we can draw on the experience of other countries and combine it with our own development characteristics to gradually improve the animation industry. Either way, we need a sound mechanism for the protection of intellectual property rights, a reasonable division of labour, advanced technology, and a mechanism for the training of talents [16]. In addition, with the relevant policy guidance and support, there is a need to actively develop animation-related derivatives. After all, animation is not only an art form but also a commodity, with value added in all its aspects [17].
In addition to reflecting the thoughts and emotions of filmgoers, film criticism is also a good way of reflecting the views of the viewing public on a film as a whole, thus promoting the development of the film industry [18, 19]. At this stage, the Chinese film industry is undergoing structural adjustment. In an era of high-quality development, the pursuit of high box office sales must be accompanied by a focus on quality [20]. The film industry is now being restructured. Therefore, the analysis of film reviews has the following practical implications. First, it can provide producers with ideas for producing films that better meet the needs of the public [8]. Second, it can help cinemas to set up their schedules and promote their reviews [21]. In addition, it can meet the cultural needs of the audience and further promote domestic consumption. Finally, it can use emotion analysis techniques to extract, analyse, and summarise the subjective information in the text, so as to make suggestions for the production of films with Chinese cultural characteristics [22].
Text mining has been studied abroad since the last century, and today, there is a mature theoretical foundation and technical framework [23]. In the course of its development, text mining has become more and more involved in various fields [24, 25]. Nowadays, the huge amount of web data generated every day has led more and more Chinese scholars to start research in this area, including more and more research in the area of textual criticism. Of course, scholars have also adopted many research approaches to film criticism [26]. With the continuous development of Chinese web information, automatic sentiment analysis of Chinese web reviews has become an urgent problem. Some research studies on film data are based on traditional statistical modelling ideas, while others combine big data with information extraction and visualisation of the massive amount of subjective review data obtained [27]. Their diverse approach to film data allows us to analyse film data from a wider range of perspectives. However, there is still a gap in the analysis of animation film reviews, and only by combining big data with adequate research on animation film reviews can we provide powerful recommendations to the animation film industry and provide progressive data support for the development of domestic animation films [28].
By constructing a sentiment dictionary for the film domain and using the sentiment analysis algorithm described above, binary classification was performed on a film review dataset. To demonstrate the validity of the model, two other methods were used for comparison. The first method uses a sentiment dictionary on the Internet that does not introduce sentiment words in the film domain to analyse the sentiment polarity of the review data. The second method is a sentiment analysis of the review data using the SnowNLP package in Python. For ease of notation, the methods before and after the extension of the sentiment dictionary are named P and Q, respectively, and the experimental results are shown in Table 1.
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