The influence of new media on theatrical practice over the past fifty years has spurred a movement towards theatrical forms which are increasingly organized around the sensory elements of performance. This change is most noticeable in the visual approaches to theatre, and it has produced what I have labeled a theatre of visuality. This thesis argues that the tendencies for visualization found in visual media have extensively marked the performance strategies of contemporary theatre practice, resulting in a shift away from the logocentric dramatic text and towards theatre performance organized around the visual. Looking at four contemporary productions of Georg Buchner’s Woyzeck –Thomas Ostermeier’s Woyzeck (2005), Vesturport’s Woyzeck (2005), Robert Wilson’s Woyzeck (2000), and Josef Nadj’s Woyzeck ou l’Ébauche du Vertige (1994)– this thesis produces a preliminary typology of four distinct visualities/theatrical forms which make up the theatre of visuality: hyperrealism, synesthesia, superficiality, and visual narration. This thesis contributes to the conceptualization and understanding of postdramatic theatre by linking the theatre’s rejection of the text to the increased centrality of the visual in performance, and by tracing these shifts to the influence of visual media.

Qu'est-ce qui prédispose le Portugal, le Brésil, le Québec, et l'Indiana aux USA, à mettre en place des sites institutionnels des récits de vie comme les musées de la personne, contrairement en France, où des initiatives de ce genre relèvent de la vie privée ? Nous nous interrogeons sur la force que peuvent revêtir ces récits de vie vidéos et sur le choix de ces pays de les podcaster : s’agit-il de redonner la parole à toutes les générations, les rendre plus visibles ou audibles, dans le but de transmettre, de laisser des traces pour la postérité ? Quelle est la teneur des ces traces, et qu’est-ce qui s’opère dans l’interaction entre générations ? Nous recherchons à podcaster et étudier les traces sémiotiques, sémantiques, sémiologiques des récits de vie issus de ce réseau de sites « Musée de la personne » de ces 4 pays. Nous considérons que les traces de la mémoire vivante des récits présents sur des supports numériques ou audiovisuels, constituent un édifice aussi matériel qu’un musée dans un espace donné. Le récit de vie traduirait une immémorialité, « un mouvement permanent entre temps présent et temps passé, des informations ou des événements passés et présents marquent le dialogue présent ». Nous sommes en présence de normes nouvelles, mais surtout en présence de paradigmes successifs ou de mouvements paradoxaux de recontextualisation et de reconfiguration symbolique, au fur et à mesure que ces récits de vie se transmettent d’un citoyen à un autre. Ces récits et « ces pratiques mémorielles sont très vivants chez les Anglais et les Australiens ». Il nous semble que les récits de vie peuvent participer à la formation du lien social entre générations, entre citoyens nationaux et non nationaux. Ce lien social doit s’inscrire dans l'attention et la responsabilité portée et partagée entre ascendants et descendants. Ce programme d'attention aux générations s'appelle la « neguentropie ». Il s'agirait d'un programme éthique et responsable de l'attention portée à autrui, basé sur la générosité.Tous ces dispositifs d'attention, ces récits de vie doivent s’inscrire dans une « noopolitique » de la santé publique aussi bien physique que mentale. Il s'agit de prendre garde « aux déficits attentionnels et aux troubles intergénérationnels ». Un « psychopouvoir » devrait être mis en place par nos gouvernements au service « d'une politique industrielle des technologies de l'esprit ». / What predisposes Portugal, Brazil, Quebec, and Indiana in the USA, to set up institutional sites of “life stories” on supports (media) videos (like virtual museums), unlike in France, where such initiative remains private life? We will try to focus on the strength of life stories, and we will try to understand why countries chose to podcast them. Actually, do they use life stories in order to hand over to the rising generation, and to make them more visible and audible, so that life stories are passing on and leave prints forever (to let posterity)? Besides, what is the content of these prints, and what do they occur to the generations? Also, what about the interaction between them? In fact, we will try to podcast and study semiotic, semantic and semiological prints of life stories that we can find on the following websites, called “Museum of the person" which is suitable for the four countries that we have previously mentioned. It seems that life stories prints found in digital and audiovisual media, are like a material building, as real as a museum in a given and real place. Moreover, we have to say that a life story is like a "permanent movement between the past and the present” that influences the present dialogue. We are facing with such new standards, especially with successive paradigms or paradoxical movements of recontextualization and symbolic reconfiguration, every time that a life story is told from a citizen to another. Life stories and memory passing down generation to generation, are very common to English and Australian people. It truly seems that life stories prints are part of a social link between all the generations, and also between national and non-national citizens. This important social link takes part of aspecific care/ attention to memories and their responsibility that are shared between ascendants and descendants. This care program is called "neguentropy". It is an ethical and responsible program based of the attention to others, and generosity. All this plan of actions, relying on the attention of life stories, should be part of a”physical and mental public noopolitic health program”. The aim is to face attention deficit disorder and intergenerational discord. Finally, a "psychopower" should be set up by our governments in order to serve an “industrial policy of spirit mind technology”.

The purpose of this project is to develop a way of communication between school and parents. It aims to help parents to be more involved in their children's education. One of the main aspects and focus of this project is the analysis of the use of streaming video.

This essay starts out in the world of art science looking out through the glasses of Anne D’Allevas analysis of performance and videoart, digital art and Roland Bathes Semiotics. By using Meta narratives and Popular culture we will examine how one music video and one video artwork lives in the same sphere. The point of this essay is to raise awareness of how popular culture is viewed both within, but also outside of the academic world. This essays will thoroughly analyze and discuss the differences that can be discovered when comparing music videos to video art. By connecting these findings to meta narratives we will uncover cultural and time specific traits, temporalities and narrative-structures.

Durante la década de los 90s, el Perú se encontraba en una situación política inestable debido a conflictos internos previos y a cambios que ocurrían en el mundo. La población, entonces, adopta una actitud pragmática en búsqueda de la reconstrucción nacional; actitud que puede verse reflejada en la producción artística de la época. Frente a este contexto, el presente trabajo de investigación busca analizar cómo se representa el hedonismo en los videos musicales de la banda peruana “Nosequien y los Nosecuantos” durante los años 90. Para su desarrollo; en un primer momento, se explicará el papel del videoclip dentro del proceso comunicativo. Posteriormente, definiremos el hedonismo como doctrina moral. Y, por último, se describirá el contexto sociocultural de los 90s en el Perú. Este artículo de investigación se basará en una visión del mundo interpretativa y se realizará bajo un enfoque cualitativo. Asimismo, la técnica metodológica que se usará para la obtención de datos será la del análisis de contenido. / During the 1990s, Peru was in an unstable political situation due to previous internal conflicts and changes that occurred in the world. Population, then, adopts a pragmatic attitude in search of national reconstruction; attitude that can be seen reflected in the artistic production of the time. In this context, this research work seeks to analyze how hedonism is represented in the music videos of the Peruvian band “Nosequien y los Nosecuantos” during the 90s. For its development, at first; the video clip role in the communication process will be explained. Subsequently, hedonism will be defined as a moral doctrine. And finally, the sociocultural context of the 90s in Peru will be described. This research article will be based on an interpretive worldview and will be done with a qualitative approach. Likewise, the methodological technique that will be used to obtain data will be that of content analysis. / Trabajo de investigación

No description available.

Esta investigación, cuya finalidad es diseñar una plataforma virtual en la que las personas puedan tener acceso a un editor de videos amigable por las herramientas que posee y fácil de utilizar; así como también, tener la posibilidad de subir sus propias creaciones a la plataforma para poder compartirlo con sus amigos o contactos, se presenta como un proyecto factible que si puede ser rentable en el tiempo y soluciona los problemas de jóvenes y emprendedores que aún no dominan el manejo de las herramientas en las plataformas de edición de video, es por ello que les proponemos como solución un editor de videos con herramientas básicas, video tutoriales cortos explicando las funciones de las herramientas, plantillas de video para una mejor edición, formatos dependiendo la red social a la que va dirigido el video, entre otras opciones, con el objetivo que el usuario se familiarice con la plataforma. La solución a este problema fue validada mediante entrevistas tanto a posibles usuarios como a expertos en el tema, tomando en cuenta las opiniones y recomendaciones que van a permitir realizar modificaciones y así llegar a desarrollar una página y prototipo de editor de video acorde a lo que nuestro segmento de clientes está buscando. Del mismo modo, se realizaron publicaciones por medio de las redes sociales como Instagram y Facebook para que nuestro proyecto llegue a más usuarios y así tener una comunicación más directa con ellos. Asimismo, se realizaron los cálculos financieros a 3 años de nuestro proyecto tomando en cuenta las simulaciones de órdenes de compra en las últimas semanas y la proyección de nuestras ventas según las inversiones en marketing que se realizarán cada cierto tiempo. De igual manera, los financiamientos a los cuales vamos a acceder por parte del banco, de los accionistas y de un financiamiento no tradicional; finalmente, mencionar nuestros ratios e indicadores financieros que sustentan la viabilidad de TOMA4. / This research, whose purpose is to design a virtual platform in where people can have access to a friendly video editor due to the tools it has and easy to use; as well as having the possibility of uploading your own creations to the platform and to share it with your friends or contacts, it is presented as a feasible project that can be profitable over time and solves the problems of young people and entrepreneurs who have not yet mastered the management of tools in video editing platforms, that is why we propose a video editor with basic tools as a solution, short video tutorials explaining the functions of the tools, video templates for better editing, formats dependent on the network social which the video is directed, among other options, with the aim that the user becomes familiar with the platform. The solution to this problem was validated through interviews with both possible users and experts on the subject, taking into account the opinions and recommendations that will allow modifications, in that way develop a page and video editor prototype according to what our customer segment is looking for. In the same way, publications were made through social networks such as Instagram and Facebook so that our project reaches more users and to have more direct communication with them. Likewise, the financial calculations for 3 years of our project were carried out taking into account the simulations of purchase orders in recent weeks and the projection of our sales according to the marketing investments that will be made from time to time. In the same way, the financing to which we are going to access from the bank, the shareholders and non-traditional financing; finally, mention our financial ratios and indicators that support the viability of TOMA4. / Trabajo de investigación

Video-recorded music lessons (on multi angle DVDs) were used to inspire and improve understanding among experts from different cultures and discourses of music education. To make the process manageable and focused we developed the Analytical Short Film (2-3 minutes) to address particular areas of interest and starting points for debate. We asked selected music teachers from seven nation-states to allow a typical and (in their opinion) good lesson to be recorded. We also asked the students and their parents for permission. At a symposium, national experts and researchers presented views on „their“ lessons through Analytical Short Films. Discussion included implicit and explicit comparisons. The presenters also used a lesson from one of the other countries to stimulate discussion about assumptions in and challenges to their own views. We documented all comparisons made and compared these to derive cross cultural categories (tertia comparationis). These categories should be relevant for understanding what makes a music lesson „good“. The different perspectives and discussions offered by the authors in this book provide rich and diverse material for researchers, teachers and teacher educators.

Syftet med uppsatsen är att belysa hur kvinnoideal och värderingar reproduceras på Instagram genom att undersöka hur de gestaltas i reklamfilm som använder influencer marketing. Genom att analysera och jämföra den visuella gestaltningen med det verbalt uttryckta i samband med betalda samarbeten kan frågeställningarna besvaras. 1) Vilka likheter och skillnader finns mellan det visuella och det verbala framställandet av kvinnoideal och värderingar i betalda influensersamarbeten? 2) På vilket sätt använder sig företagen av influencers uttalade ideal och värderingar i reklam?  De teoretiska utgångspunkterna har behandlat skapandet av influencers, förtroendet till influencers, feministisk teori och marknadsföring, feministisk blickteori, Goffmans teori om könsframställning samt gestaltningskomponenterna. I studien har jag utifrån denna teoretiska ram och en semiotisk innehållsanalys analyserat två reklamfilmer från de svenska företagen Aimn och Deodoc som använder influencer marketing publicerade på Instagram. Därefter har jag jämfört det visuella materialet med verbalt material i form av de medverkande influencers uttalade åsikter som de yttrat i reklam för respektive företag. I min analys av det rörliga materialet är underordning och en sexualiserad bild av kvinnan frekvent förekommande i porträtteringen. I Aimns video användes ofta en ovanifrån-vinkel och ifråntagandet av blicken som förminskar och underordnar objektet i relation till betraktaren. I Deodocs video användes en neutral kameravinkel och hon har en blick som möter kameran, på så sätt en kontroll av sin egen blick och en mer jämställd maktrelation till betraktaren. Beröring användes både i syftet att uttrycka ömtålighet och styrka i båda reklamfilmerna. I det verbala materialet användes starka ord och värderingar som anspelade på en stolt och stark kvinna. Dessutom uttrycktes ett värde i att vara naturlig och ”som man är” i det verbala materialet medan det visuella uttryckte en iscensättning och idealet som en fixad attraktiv kvinna. Resultatet tyder alltså på att de två kvinnliga influencerna gestaltades olika i den visuella och verbala gestaltningen.  På frågeställning ett kunde slutsatsen dras att i Deodocs video överensstämmer värderingarna även om företaget prioriterat en visuellt snygg scen där Bianca Ingrosso sexualiseras snarare än porträtteras som naturlig. Verbalt lyfter man i kampanjen menstruation som något naturligt som ingen bör skämmas för men i det den visuella gestaltningen görs detta på ett attraktivt sätt. I Aimns video så har slutsatsen för den första frågeställningen dragits att videon visuellt anspelar på kroppen som ett objekt medan influencern Nicole Falciani verbalt uttalar sig om insidan och vad kroppen kan göra som det viktiga. På den andra frågeställningen om hur företag använder sig av influencers unika och förtroendeingivande särställning i reklam har slutsatsen dragit att dessa företag har använt en influencer för att skapa förtroende och tillit till företaget och budskapet. / The purpose of this essay is to examine how women's ideals and values are reproduced on Instagram by examining how they are embodied in commercials that use influencer marketing. By analyzing and comparing the visual design with the verbally expressed within a paid collaboration, the questions can be answered: 1) What are the similarities and differences between the visual and the verbal presentation of women's ideals and values in paid influencer collaborations? 2) In what way do companies use influencers' stated ideals and values in advertising? The theoretical basis explains the creation of influencers, trust for influencers, in addition to a feminist theory, marketing, feminist gaze theory, Goffman's theory of gender representation and the design components. The study uses semiotic content analysis to analyze two commercials from the Swedish companies Aimn and Deodoc that uses influencer marketing published on Instagram. Then I compared the visual material with the verbal material in the form of the participating influencers' expressed opinions that they expressed in advertising for each company. In my analysis of the visual material, subordination and a sexualized image of the woman are frequent in the portrayal. Aimn's video frequently uses a camera angle from above and presents Nicole without a gaze which diminishes and subordinates her in relation to the observer. In Deodoc’s video, a neutral camera angle is used and Bianca is given a gaze that meets the camera, thus she owns her gaze and has equal power relationship to the viewer. Touch was used both to express fragility and strength in both commercials. In the verbal material, strong words and values which alluded to a proud and strong woman were used. Additionally, a value in being natural was expressed in the verbal material while the visual expressed a staging and the ideal of a fixed attractive woman. The results thus indicate that the two female influencers were portrayed differently in the visual and verbal portrayal. To answer the first question, it could be concluded that in Deodoc's video, the values are consistent even if the company prioritizes a visually attractive scene where Bianca is sexualized rather than portrayed as natural. Verbally, the campaign shows menstruation as something natural that no one should be ashamed of, but in the visual design, this is done attractively. In Aimn's video, the conclusion for the first question has been drawn that the video visually alludes to the body as an object while the influencer Nicole Falciani verbally speaks about the inside and what the body can do as the most important. To answer the second question about how companies use influencers' unique and trustworthy position in advertising, it has been concluded that these companies have used an influencer to create trust and confidence in the company and the message.

To the religiously minded, few things carry greater importance than a connection to the divine. For centuries, the literature of prophets and the work of gifted artists have served to create a liminal space where man and Maker can meet. The advent of cinema and the creation of the Internet pose unique questions for the artist seeking to lead an audience toward an encounter with God. In a modern world where discretionary time is dominated by on-demand video streaming, the value of understanding cinema and its myriad potential is particularly relevant. As a religious organization, The Church of Jesus Christ of Latter-day Saints has eagerly (and to a certain extent, uniquely) embraced and used film to further its aims. This thesis will further the conversation already begun on the topic of spirituality in official LDS Church productions, particularly adding new analysis regarding the form and content of more recent institutionally produced films. How do stylistic trends in recent official film productions of the LDS Church relate to the broader academic and theological discussion regarding cinematic spirituality? After the introduction and thesis overview in Chapter 1, Chapter 2 will provide a survey of prominent works regarding cinematic spirituality. Theories that entertain how movies speak to human spirits are varied and highly subjective. Many theories about what makes a work "spiritual" grow from particular religious traditions and are informed by that theorist's beliefs about God's nature. Some theories are dependent on loosely measured criteria (editing pace, complexity of music, distance between camera and subject, etc.), while others rely almost entirely on the "feeling" a work conveys (which may or may not be determined by objectively measurable parts).Chapter 3 relates the prominent theories laid out in Chapter 2 to the cinematic efforts made by The Church of Jesus Christ of Latter-day Saints in the past two decades. Examining the form and content of these media projects will reveal trends that indicate inherent assumptions on the part of the LDS Church's media department regarding the purpose and potential of spirituality and film. Chapter 4 explores how the Church's typical approach compares and contrasts with films made by independent Latter-day Saint filmmakers. Some stylistic possibilities will be derived from the efforts of Mormon artists more generally and may have implications for how Latter-day Saint films could help spiritually engage audiences.