The objective of this thesis is to investigate the history of interactive videos and examine some possible reasons as to why they have never been successful. Because the method of interactivity is often disrupting to the narrative, I wanted to make something that was much more fluid. To this end, I produced Man Alone Interactive, a branching story that allows users to choose their path without stopping the narrative. The purpose for creating it was to see if a different interactive mechanic would aid in the user immersion. In order to fully test this, two versions of the movie were created. One with the relatively standard interactive technique of stopping the story to display the choices and another that had the choices onscreen as the video progressed. The two versions were then used in a study to determine which was more engaging to users. This paper examines the research that led to the design, the process by which the story and different versions were created and the results of the study.

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Film does not exist without architecture. In every movie that has ever been made throughout history, the cinematic image of architecture is embedded within the picture. Throughout my studies and research, I began to see that there is no director who can consciously or unconsciously deny the use of architectural elements in his or her movies. Architecture offers a strong profile to distinguish characters and story. In the early days, films were shot in streets surrounded by architecture, and then they were projected on the exterior walls of buildings where the audience could come and watch. Here, I have studied elements such as light, time, space and matter- storymaking tools common to both Architect and Director. Light, for example, in architecture, is used as a strong theme by Louis I. Kahn, 'the most poetic of architects' in his Kimbell Art Museum. Similarly, Alfred Hitchcock, renowned filmmaker, utilizes light to distinguish the characters of his movies to create remarkable and sometimes horrifying scenes. This thesis aims to capture the cinematic movement of these elements in the building design. The project's program is a film museum and school that is sited in Southwest Washington DC. / Master of Architecture

Die empirische Arbeit untersucht den interlingualen Transfer von französischen und deutschen Filmtiteln im vergangenen Jahrhundert. Sie basiert auf einem Korpus von 3.200 französischen Originaltiteln und ihren deutschen Neutiteln und schließt eine Forschungslücke der Filmtitelübersetzung für das Sprachenpaar deutsch-französisch. Im theoretischen Teil werden die text- und übersetzungswissenschaftlichen Grundlagen dargelegt. Filmtitel bilden eine eigene Textsorte, die unter Zuhilfenahme der Textualitätskriterien von de Beaugrande/Dressler spezifiziert wird. Anhand ausgewählter Beispiele aus dem Korpus werden maßgebliche Funktionen von Filmtiteln, wie Werbung, Information, Identifikation, Kontakt und Interpretation erörtert. Auf E. Prunčs Translationstypologie basieren jene fünf Strategien, die bei der Übertragung von französischen Filmtiteln in den deutschen Sprach- und Kulturraum zum Einsatz kommen: Identität, Analogie, Variation, Innovation sowie hybride Formen. Ausführlich werden Übersetzungen von Umtitelungen abgegrenzt. Die Auswertung des Korpus ergibt, dass Titelinnovation die am häufigsten angewandte Strategie beim Titeltransfer im gesamten Untersuchungszeitraum darstellt, während Titelidentitäten am seltensten zum Einsatz kommen. Die Betrachtung kürzerer Zeitspannen zeigt gewisse Tendenzen auf, beispielsweise die deutliche Zunahme von Hybridtiteln in jüngster Zeit. Erstmals wird in dieser Arbeit das Phänomen der Mehrfachbetitelungen in verschiedenen deutschsprachigen Ländern aufgegriffen, indem nach Motiven für unterschiedliche Neutitel in Deutschland, der ehemaligen DDR und Österreich gesucht wird. Den Abschluss bildet eine Betrachtung der Filmtitel aus rechtlicher und ökonomischer Perspektive, denn zusammen mit ihren Filmen stellen Titel von hoher Kommerzialität geprägte Texte dar, und wie jedes Wirtschaftsgut erfahren auch sie eine präzise juristische Regulierung. / The empirical study is an analyse of the interlingual transfer of french and german movie titles of the past century. It is based on a corpus of 3,200 french original titles and their new german titles, closing a gap in the research of german and french movie title translation. The theoretical part introduces the basics of the linguistics of texts and translation. Movie titles are a specific kind of text, which is distinguished by the textual criteria of de Beaugrande/Dressler. By using choosen examples of the corpus the mainly functions of movie titles are displayed, as there are promotion, information, identification, contact and interpretation. There are five strategies, basing on the translation typology of Prunč, which are used whenever french movie titles were transferred into german language and culture: identity, analogy, variation, innovation and hybrid forms. The difference between translation and transtiteling is explained in detail. Results of the analytical part are that title innovations are the strategy most often applied when transferring titles, while title identities are used only rarely. The outcome of observing shorter periods is that there are different tendencies, like the significant increase of hybrid titles in the last decades. For the first time this study analyses multiple titles in different german speaking countries, searching for the motivation of alternative new titles in Germany, the former GDR and Austria. The final part is the juristical and economic consideration of movie titles, since motion pictures and their titles are a highly commercialised kind of text and therefore subjects of their corresponding laws.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-09-27T18:49:15Z No. of bitstreams: 1 gheysalemesgoncalvesgama.pdf: 4548618 bytes, checksum: 237e8caee2745f73a0be0a21f32bed87 (MD5) / Approved for entry into archive by Diamantino Mayra (mayra.diamantino@ufjf.edu.br) on 2016-09-27T20:48:27Z (GMT) No. of bitstreams: 1 gheysalemesgoncalvesgama.pdf: 4548618 bytes, checksum: 237e8caee2745f73a0be0a21f32bed87 (MD5) / Made available in DSpace on 2016-09-27T20:48:27Z (GMT). No. of bitstreams: 1 gheysalemesgoncalvesgama.pdf: 4548618 bytes, checksum: 237e8caee2745f73a0be0a21f32bed87 (MD5) Previous issue date: 2016-05-31 / A presente tese pretende investigar a mudança na representação da identidade cultural analisando o papel alegórico desempenhado pela estrada nos road movie brasileiros lançados entre 1960 e 2015. A hipótese revela que este grupo de obras fílmicas apresenta, num determinado momento histórico, representações de identidade coletiva (a identidade nacional), modificando-se posteriormente, para representar uma identidade fragmentada. Como resultado desse esforço observa-se a existência daquilo que presentemente estamos chamando de duas fases do road movie brasileiro: a “Viagem Física” (congrega filmes lançados entre a década de 1960 até 1998) e a “Jornada Interior” (com filmes de 1998 até 2015). O que mais diferencia essas duas fases são as alegorias assumidas pela estrada nestes road movies, que se modificam, ao mesmo tempo em que se verifica mudança na própria identidade cultural, esta última confirmada em autores como Anderson (2008); Bauman (2008, 2001, 1998) e Hall (2005). Se na primeira fase a estrada é apresentada como uma alegoria da nação e do povo brasileiro, na segunda fase, começa a representar a transformação individual, odisseia subjetiva, um espaço existencial, de transformação, que se configura como um ritual de passagem. A tese é amparada, para além dos fundamentos teóricos, na análise fílmica de seis películas: Iracema, uma transa amazônica (BODANZKY; SENNA, 1974); Bye bye Brasil (DIEGUES, 1979); Jorge, um brasileiro (THIAGO, 1988); Central do Brasil (SALLES, 1998); Cinemas, aspirinas e urubus (GOMES, 2005) e Dromedário no asfalto (VARGAS, 2014). Assim, se busca demonstrar, observando a representação de algumas características sociais e culturais presentes no cinema nacional, a real confluência entre as mudanças alegóricas nos road movies brasileiros com as transformações na construção da nossa própria identidade cultural. / This thesis aims to investigate the change in the representations of the cultural identity by analyzing the allegorical role played by the road in the Brazilian road movies released between 1960 and 2015. The hypothesis is that this group of films brings about, in a given historical moment, representations of collective identity (national identity), but changing later to represent a fragmented identity. As a result of this effort one might find the existence of what is now being called the two phases of the Brazilian road movie: the "Physical Journey" (congregating films released between 1960 to 1998) and the "Journey Within" (films from 1998 to 2015). What most distinguishes these two phases are the allegories personified by the road in these road movies, which change at the same time that changes in the cultural identity occur, the latter being confirmed by authors such as Anderson (2008); Bauman (2008, 2001, 1998) and Hall (2005). If the first phase, the road is presented as an allegory of the nation and of the Brazilian people, whereas in the second phase it begins to represent the individual transformation, the subjective odyssey, an existential space of transformation, which is configured as a rite of passage. The thesis is supported, in addition to the theoretical foundations, by the cinematic analysis of six films: Iracema, uma transa amazônica (BODANZKY; SENNA, 1974); Bye bye Brasil (DIEGUES, 1979); Jorge, um brasileiro (THIAGO, 1988); Central do Brasil (SALLES, 1998); Cinemas, aspirinas e urubus (GOMES, 2005) e Dromedário no asfalto (VARGAS, 2014). Thus, this work seeks to show, by watching the representation of some social and cultural characteristics present in the national cinema, the real confluence between the allegorical changes in Brazilian road movies with those in the construction of our own cultural identity.

El presente trabajo de investigación consiste en el análisis del arquetipo del héroe postclásico en las películas y series de terror/thriller para la creación de una adaptación. Se busca describir las características que posee este arquetipo de personaje en tramas del género de terror / thriller. Así mismo, exponer cuales son las variables que cada formato posee: cine y televisión para poder realizar una adaptación. La investigación tiene como base la metodología cualitativa, debido a que se busca entender y exponer los procesos que conlleva el poder crear adaptaciones de un formato a otro. Además, las técnicas utilizadas son las de análisis de casos, ya que al ser un tema de enfoque audiovisual se centrará en analizar los códigos visuales y sonoros que se han empleado en este tipo de adaptaciones. / This research work consists of the analysis of the postclassic hero archetype in horror/ thriller movies and series for the creation of an adaptation. The aim is to describe the characteristics of this character archetype in plots of the horror/thriller genre. Likewise, expose which are the variables that each format has: film and television in order to carry out an adaptation. The research is based on qualitative methodology, because it seeks to understand and expose the processes involved in creating adaptations from one format to another. In addition, the techniques used are those of case analysis, since being an audiovisual approach, it will focus on analyzing the visual and sound codes that have been used in this type of adaptation. / Trabajo de investigación

Despite the widespread availability and importance of nonnumeric data, marketers do not have the tools to extract information from large amounts of nonnumeric data. This dissertation attempts to fill this void: I developed a scalable methodology that is capable of extracting information from extremely large volumes of nonnumeric data. The proposed methodology integrates concepts from information retrieval and content analysis to analyze textual information. This approach avoids a pervasive difficulty of traditional content analysis, namely the classification of terms into predetermined categories, by creating a linear composite of all terms in the document and, then, weighting the terms according to their inferred meaning. In the proposed approach, meaning is inferred by the collocation of the term across all the texts in the corpus. It is assumed that there is a lower dimensional space of concepts that underlies word usage. The semantics of each word are inferred by identifying its various contexts in a document and across documents (i.e., in the corpus). After the semantic similarity space is inferred from the corpus, the words in each document are weighted to obtain their representation on the lower dimensional semantic similarity space, effectively mapping the terms to the concept space and ultimately creating a score that measures the concept of interest. I propose an empirical application of the outlined methodology. For this empirical illustration, I revisit an important marketing problem, the effect of movie critics on the performance of the movies. In the extant literature, researchers have used an overall numerical rating of the review to capture the content of the movie reviews. I contend that valuable information present in the textual materials remains uncovered. I use the proposed methodology to extract this information from the nonnumeric text contained in a movie review. The proposed setting is particularly attractive to validate the methodology because the setting allows for a simple test of the text-derived metrics by comparing them to the numeric ratings provided by the reviewers. I empirically show the application of this methodology and traditional computer-aided content analytic methods to study an important marketing topic, the effect of movie critics on movie performance. In the empirical application of the proposed methodology, I use two datasets that combined contain more than 9,000 movie reviews nested in more than 250 movies. I am restudying this marketing problem in the light of directly obtaining information from the reviews instead of following the usual practice of using an overall rating or a classification of the review as either positive or negative. I find that the addition of direct content and structure of the review adds a significant amount of exploratory power as a determinant of movie performance, even in the presence of actual reviewer overall ratings (stars) and other controls. This effect is robust across distinct opertaionalizations of both the review content and the movie performance metrics. In fact, my findings suggest that as we move from sales to profitability to financial return measures, the role of the content of the review, and therefore the critic's role, becomes increasingly important.

There is nothing impossible in the world. Humans use their imagination to make their dreams come true or to achieve their desires. In architecture, a project should be completed by team effort and technology. Architects and engineers transform their ideas and imagination into an real object: space. Like a film, reflecting the director's thought and expression. How can space be defined ? A wall, a column.... every element in architecture can define a space, even though it might be only a door. A wall can be a separation as defining edges of a space, but a wall also is a connection as indicating other spaces for human to enter. A column is not just a part of the structure in architecture; it may guide people approaching a space or imply that there is another different space beyond?.... / Master of Architecture

Este projeto analisa quatro filmes da América Latina que têm como ponto comum o fato de estarem centrados em personagens que realizam viagens em seus países de origem (dois filmes) e na América do Sul (outros dois). O objetivo é demarcar nestas obras construídas sob a necessidade do deslocamento, dados constitutivos de identidade e pertencimento a uma dada geografia física e humana. Os que percorrem a América Latina são Diários de Motocicleta, dirigido pelo brasileiro Walter Salles e El viaje la aventura de ser joven, do cineasta argentino Fernando Ezequiel Pino Solanas. Os que centram suas narrativas em território nacional são Central do Brasil, também de Walter Salles, e Facundo, la sombra del tigre, do diretor argentino Nicolás Sarquís. O estudo aborda a relação dessas obras com o contexto cultural e político da América Latina dos anos 60, com destaque pontual a Brasil e Argentina, e discute como se apropriam do gênero road movie. Defende, ainda, que os quatro expõem e traduzem uma das tensões centrais da pós-modernidade, que é a sua convivência com o universo cultural da chamada modernidade sólida. Tal procedimento deriva principalmente da condição de percorrer a estrada e nela afirmar uma identidade configurada por valores quase sempre idealizados e nostálgicos, formando um conjunto de filmes que expressa a persistência das ficções-nacionais e pan-continentais no cinema contemporâneo de Brasil e Argentina. / This project will analyze four Latin American movies that have in common the fact of being centered in characters that travel around their country of origin (two movies) and South America (two other movies). The objective is to demarcate in these movies, which were built under the need of displacement, relevant information regarding the identity and belonging of a given physical and human geography.The two movies that take place in Latin America are Diários de Motocicleta, directed by the Brazilian Walter Salles and El viaje la aventura de ser joven, from the Argentinean filmmaker Fernando Ezequiel Pino Solanas. The other two movies that focus their narratives on national territory are Central do Brasil also from Walter Salles and Facundo, la sombra del tigre from Argentinean director Nicolás Sarquís. The study addresses the relationship of these works with the political and cultural context in Latin America on the 60s, with focus on Brazil and Argentina, and discusses how these movies also appropriate the road movie style. It also defends the idea that these movies expose and reflect one of the central tensions of post-modernity, which is its coexistence with the cultural universe called solid modernity. This procedure comes mainly from the condition of riding the road and on it reaffirming an identity shaped by values that are, almost always, idealized and nostalgic, forming a set of films that express the persistency of national fixation and pan-continental for Brazil and Argentinas contemporary cinema.