Esta pesquisa aborda a influência de métodos e técnicas da interpretação do ator no contexto do cinema brasileiro moderno, quando o trabalho, o estilo e os métodos de interpretação do Teatro de Arena encontraram seu desdobramento no estilo de interpretação de atores, em filmes precursores e clássicos do Cinema Novo. Para isso vamos identificar quais as influências técnicas desta interpretação, como o sistema de Stanislavski, o método do Actors Studio, o efeito de distanciamento de Bertold Brecht. Na análise de cenas e sequências de filmes focalizo no trabalho dos atores a interação com a estética, a câmera e a montagem, para a compreensão destas influências. Assim analiso o desempenho de Gianfrancesco Guarnieri no filme O Grande Momento de Roberto Santos, 1958; Nélson Xavier no filme Os Fuzis de Ruy Guerra, 1963; Paulo José em O Padre e a Moça de Joaquim Pedro de Andrade, 1965; Othon Bastos no filme Deus e o Diabo na Terra do Sol de Glauber Rocha, 1963, único não-representante do Teatro de Arena, mas que consolidou sua carreira de teatro na Bahia e mais tarde no Grupo de Teatro Oficina em São Paulo. Estes atores fazem parte do florescimento de uma nova abordagem de interpretação teatral, influenciados pelo estudo das técnicas e na ênfase em retratar o homem brasileiro deste momento sociopolítico e cultural. Os cineastas do Cinema Novo, que buscavam estéticas alternativas e novas formas de diálogo com a realidade brasileira, vão encontrar nestes intérpretes as parcerias para a realização de seus filmes. Sendo assim, esta pesquisa busca um aporte original à questão, e parte da experiência do teatro para fazer a análise do trabalho do ator brasileiro no cinema, levando em conta as diferenças de técnica e de condições do trabalho, mas pensando tais diferenças como o lugar de um mútuo aprendizado que evidencia muito bem tudo o quanto há de comum entre o teatro e o cinema. / This study addresses the influence of acting methods and interpretation techniques in the context of modern Brazilian cinema, when the work, style and interpretation methods of the Teatro de Arena were prominent in the styles of actors\' interpretations in the classic Cinema Novo films and their precursors. The technical influences of interpretation will be identified, such as Stanislavksi\'s system, the Actors Studio method, and Bertold Brecht\'s estrangement effect. In the analysis of film scenes and sequences, I focus on the actors and their interaction with the esthetics, the camera, and the set, to better understand these influences. Thus, I analyze the performance of Gianfrancesco Guarnieri in Roberto Santos\' 1958 film The Grand Moment; Nélson Xavier in Ruy Guerra\'s 1963 film The Guns; Paulo José in Joaquim Pedro de Andrade\'s 1965 film The Priest and the Girl; and Othon Bastos in Glauber Rocha\'s 1963 film Black God, White Devil. Othon Bastos, the only actor not representative of the Teatro de Arena, spent his formative theatrical years in the state of Bahia and later in the Grupo de Teatro Oficina in the city of São Paulo. These actors represent the flourishing of a new approach to theatrical interpretation, influenced by the study of techniques and by the emphasis on portraying Brazilians in their social, political and cultural context. The Cinema Novo filmmakers, seeking alternative esthetics and new ways to engage the Brazilian reality, find in these actors the partners they need to make their works. Thus, this study seeks to make an original contribution to the question, analyzing the work of Brazilian actors in cinema based on experience in the theater, taking into account the differences in technique and working conditions, but thinking of these differences as providing space for mutual learning, clearly demonstrating the extent of commonalities between theatre and cinema.

Tam Wai Wan Vivian. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (leaves 231-233). / Abstracts in English and Chinese. / Chapter 1 --- Orientation to Domestication --- p.1 / Chapter ´Ø --- Literature Review and Methodology --- p.6 / Chapter ´Ø --- "Popular Culture, Cultural Identity and Discourse" --- p.7 / Chapter ´Ø --- Textual Analysis and Interview --- p.13 / Chapter ´Ø --- "Ideology, Discourses and Domestication" --- p.19 / Chapter 2 --- Introduction to the Four Discourses --- p.40 / Chapter 3 --- Chow Yun-fat's Subversive Past --- p.46 / Chapter 4 --- Domesticating Chow on TV Ads --- p.62 / Chapter 5 --- Taming Chow Yun-fat on Paper --- p.83 / Chapter 6 --- Overview to Reception Analysis --- p.105 / Chapter 7 --- Newfound Pride in Chow Yun-fat --- p.114 / Chapter ´Ø --- Upper-middle Class' Actualizing Actor --- p.114 / Chapter ´Ø --- Small Business Owners' Actor of Class --- p.127 / Chapter 8 --- Colonization or Rejuvenation of the Grassroot Chow Yun-fat --- p.141 / Chapter ´Ø --- Colonizing the Secure Working Class --- p.151 / Chapter ´Ø --- Revitalized Admiration by the Cultured Middle Class --- p.158 / Chapter 9 --- Disenchantment and Alienation of the Insecure Working Class 一 A Chow Yun-fat beyond Survival --- p.168 / Chapter 10 --- Conclusion --- p.192 / Appendix 1: Sample of Interview Questions --- p.197 / Appendix 2: Selected Frames and Shot-by-shot Analysis of Chow Yun-fat Advertisements --- p.198 / Appendix 3: Chow Yun-fat's Filmography --- p.229 / Bibliography --- p.231

This is an analysis of how the Swedish newspapers Dagens Nyheter and Aftonbladet and the English newspapers The Independent and The Guardian reported about the sexual molestation and rape charges that were alleged against the Wikileaks founder Julian Assange in August 2010. Through a critical discourse analysis, a theme- and proposition analysis and a process analysis this paper aims to investigate how the above mentioned newspapers create reality in their articles. The purpose is to shed light upon with what means the journalists through the inherited structures of the newspaper illustrate actions and events, how they let other people get visible in the text and who is described as responsible for current events.    The results of the analysis shows that Aftonbladet uses a relatively large amount of propositions and speech cues to create an image of the reality that is almost explicitly angled. Dagens Nyheter and The Independent claims a higher degree of objectivity and through micro themes with different perspectives and few explicit statements they create a reality with plenty of room for the reader to make her own conclusions. The Guardian creates an image of the world where the Wikileaks is a great force of democracy and where actions are performed by humans as well as by objects and organizations.

published_or_final_version / abstract / toc / Sociology / Master / Master of Philosophy

Esta pesquisa aborda a influência de métodos e técnicas da interpretação do ator no contexto do cinema brasileiro moderno, quando o trabalho, o estilo e os métodos de interpretação do Teatro de Arena encontraram seu desdobramento no estilo de interpretação de atores, em filmes precursores e clássicos do Cinema Novo. Para isso vamos identificar quais as influências técnicas desta interpretação, como o sistema de Stanislavski, o método do Actors Studio, o efeito de distanciamento de Bertold Brecht. Na análise de cenas e sequências de filmes focalizo no trabalho dos atores a interação com a estética, a câmera e a montagem, para a compreensão destas influências. Assim analiso o desempenho de Gianfrancesco Guarnieri no filme O Grande Momento de Roberto Santos, 1958; Nélson Xavier no filme Os Fuzis de Ruy Guerra, 1963; Paulo José em O Padre e a Moça de Joaquim Pedro de Andrade, 1965; Othon Bastos no filme Deus e o Diabo na Terra do Sol de Glauber Rocha, 1963, único não-representante do Teatro de Arena, mas que consolidou sua carreira de teatro na Bahia e mais tarde no Grupo de Teatro Oficina em São Paulo. Estes atores fazem parte do florescimento de uma nova abordagem de interpretação teatral, influenciados pelo estudo das técnicas e na ênfase em retratar o homem brasileiro deste momento sociopolítico e cultural. Os cineastas do Cinema Novo, que buscavam estéticas alternativas e novas formas de diálogo com a realidade brasileira, vão encontrar nestes intérpretes as parcerias para a realização de seus filmes. Sendo assim, esta pesquisa busca um aporte original à questão, e parte da experiência do teatro para fazer a análise do trabalho do ator brasileiro no cinema, levando em conta as diferenças de técnica e de condições do trabalho, mas pensando tais diferenças como o lugar de um mútuo aprendizado que evidencia muito bem tudo o quanto há de comum entre o teatro e o cinema. / This study addresses the influence of acting methods and interpretation techniques in the context of modern Brazilian cinema, when the work, style and interpretation methods of the Teatro de Arena were prominent in the styles of actors\' interpretations in the classic Cinema Novo films and their precursors. The technical influences of interpretation will be identified, such as Stanislavksi\'s system, the Actors Studio method, and Bertold Brecht\'s estrangement effect. In the analysis of film scenes and sequences, I focus on the actors and their interaction with the esthetics, the camera, and the set, to better understand these influences. Thus, I analyze the performance of Gianfrancesco Guarnieri in Roberto Santos\' 1958 film The Grand Moment; Nélson Xavier in Ruy Guerra\'s 1963 film The Guns; Paulo José in Joaquim Pedro de Andrade\'s 1965 film The Priest and the Girl; and Othon Bastos in Glauber Rocha\'s 1963 film Black God, White Devil. Othon Bastos, the only actor not representative of the Teatro de Arena, spent his formative theatrical years in the state of Bahia and later in the Grupo de Teatro Oficina in the city of São Paulo. These actors represent the flourishing of a new approach to theatrical interpretation, influenced by the study of techniques and by the emphasis on portraying Brazilians in their social, political and cultural context. The Cinema Novo filmmakers, seeking alternative esthetics and new ways to engage the Brazilian reality, find in these actors the partners they need to make their works. Thus, this study seeks to make an original contribution to the question, analyzing the work of Brazilian actors in cinema based on experience in the theater, taking into account the differences in technique and working conditions, but thinking of these differences as providing space for mutual learning, clearly demonstrating the extent of commonalities between theatre and cinema.

La seconde moitié du XVIIIe siècle est une période de recherche et d’expérimentation dramatiques qui se traduisent, au sein de la programmation du théâtre de la Comédie-Italienne de Paris, en la conception d’une soixantaine de canevas italiens inédits, mis en scène par les acteurs-auteurs de la troupe italienne du théâtre, entre 1760 et 1779, année de la « suppression » du genre italien. À travers le dépouillement des sources périodiques, contenant les résumés des soirées et les récits des performances, des registres du théâtre, ouvrant l’accès aux effectifs des troupes, cette thèse propose la reconstitution du répertoire de pièces italiennes d’acteur et l’étude de la dramaturgie de ce spectacle parisien durant la seconde moitié du XVIIIe siècle. À partir des années 1760, la pratique de la scène, les modalités créatives et représentatives de la commedia dell’arte migrent vers les dramaturgies adjacentes à l’intérieur d’un répertoire mixte, français et italien, en donnant lieu à des phénomènes d’« hybridation » permettant de pérenniser la dramaturgie italienne et la « pratique » scénique des comédiens italiens, à l’intérieur des comédies des dramaturges français qui écrivent pour ce théâtre : J.-F. Cailhava de l’Estandoux et de J.-P. Claris de Florian. Il sera donc question de relire la « suppression » du genre italien en 1779, en les termes d’une « réexistence », en étudiant la portée globale du répertoire et de la dramaturgie italienne du point de vue de leur évolution, durant la seconde moitié du XVIIIe siècle, au sein du contexte productif et de la palette représentative de la Comédie-Italienne. / The second half of the eighteenth century represents a period of research and experimentation in dramatics that manifest themselves, within the theater’s programs of the Comédie-Italienne. These experimentations materialize in approximately sixty unpublished Italian plots, directed by the actors-authors of the Italian company between 1760 and 1779, year of the “suppression” of the Italian genre. Sorting through periodical sources, that include summaries of the evening performances and performances’s telling, and theater’s registers, which give the access to the acting company, this thesis intends to recreate the company’s repertoire of Italian plays. The intention is also to study the dramatic art of this Parisian show during the second half of the eighteenth century. From the 1760s, the experience of the stage, the creative and representative modalities of the commedia dell’arte slide towards closed dramaturgies inside a mixed repertoire French and Italian. It generates “hybrid” phenomena that give the possibility to preserve the Italian dramatic art and the scenic “technique” of the Italian comic actors, within the plays of French playwrights who have written for this theater: J.-F. Cailhava de l’Estandoux et de J.-P. Claris de Florian. This thesis will provide a rereading of the “suppression” of the Italian genre in 1779, in terms of “rebirth”. Then it will analyze the complete impact of the Italian repertoire and the dramatic art inside the productive context and the representative range of the Comédie-Italienne from the outlook of their evolution during the second half of the eighteenth century. / La seconda metà del XVIII secolo è un periodo di ricerca e sperimentazione drammatica che sfociano,nell’ambito della programmazione del teatro della Comédie-Italienne di Parigi, nella creazione di unasessantina di canovacci italiani inediti allestiti e rappresentati dagli attori-autori della compagnia italiana delteatro, tra il 1760 e il 1779, anno della « soppressione » del genere italiano. Attraverso lo spoglio delle fontiperiodiche, che contengono i riassunti degli spettacoli e i resoconti delle performance attoriali, le ricerched’archivio effettuate nei registri del teatro, che permettono di accedere agli effettivi delle troupes, la tesipropone la ricostituzione del repertorio italiano e lo studio della drammaturgia di questo teatro parigino dellaseconda metà del Settecento. A partire dal 1760 la pratica scenica, le modalità compositive e rappresentativedella commedia dell’arte migrano verso le forme drammaturgiche ad essa vicine all’interno di un repertoriobilingue, francese e italiano dando luogo a fenomeni di « ibridazione » che permettono la fissazione delladrammaturgia italiana e della pratica teatrale degli attori italiani, nella produzione francese degli autori checompogono per questo teatro : J.-F. Cailhava de l’Estandoux e J.-P. Claris de Florian. Lo studio dell’ampiezzadel repertorio e della drammaturgia italiana, considerati dal punto di vista dell’evoluzione che subiscono inseno al contesto produttivo e all’offerta rappresentativa della Comédie-Italienne, permette di rileggere la« soppressione » del genere italiano avvenuta nel 1779 come « riesistenza » e « perennizzazione » di questogenere. / Die zweite Hälfte des 18. Jahrhunderts ist eine von dramaturgischer Forschung und Experimentierfreudigkeitgeprägte Periode, was sich in den Jahren 1760 bis 1779, Jahr der ‚Abschaffung’ des italienischen Genres,innerhalb des Programms des Pariser Theaters Comédie Italienne in der Konzeption von ungefähr 60unveröffentlichten neuen italienischen Kanevas, die von Schauspieler-Autoren der italienischen Truppe desTheaters inszeniert wurden, ausdrückt. Durch die Aufarbeitung publizistischer Quellen, die neben Kritikenund Inhalten dieser Abende auch Theaterregister beinhalten, und somit einen Zugang zum Personalbestandder Truppe eröffnen, wird in der vorliegenden Dissertation eine Rekonstruktion des Repertoires deritalienischen Schauspielerstücke sowie die Untersuchung der Dramaturgie dieser Pariser Vorstellungen derzweiten Hälfte des 18. Jahrhunderts vorgenommen. Ab den 1760er Jahren verlagern sich die Szenenpraxis,die kreativen und repräsentativen Modalitäten der commedia dell’arte hin zu benachbarten Dramaturgieneines gemischten, französisch und italienischen Repertoires hin und machen Platz für hybride Phänomene,was erlaubt, die italienische Dramaturgie und die Bühnenpraxis der italienischen Schauspieler innerhalb derKomödien französischer Dramaturgen, die für dieses Theater schreiben (J.-F. Cailhava de l’Estandoux und J.-P. Claris de Florian), zu einem festen Bestandteil zu machen. Es geht also darum, die „Abschaffung“ desitalienischen Genres 1779 hinsichtlich einer „Reexistenz“ noch einmal zu überdenken, indem man denglobalen Beitrag von „italienischem“ Repertoire und „italienischer“ Dramaturgie aus Sicht ihrer Entwicklungin der zweiten Hälfte des 18. Jahrhunderts im Kontext der Produktion und der Darstellungspalette derComédie Italienne untersucht.

No description available.

This study analyzes the political view of criminality and crime politics in three political parties in the Swedish parliament, Socialdemokraterna, Folkpartiet and Moderaterna. The study seeks to describe which kind of view these parties present on the criminality in our society. The material for this study is the ideologies that the parties descend from which are, socialism, liberalism and conservatism, the political programs of these three parties have also been studied as well as the parties proposals, political documents in the Swedish parliament. The current public debate shows that the crime politics is an attractive question and the parties may seem to have similar proposals on how to lower the criminality in our society. The theory that has been used to describe the results of the study is “actors and structures” and the results are related to this theory as well as the theory has been used as an instrument to explain and sort the material and the results. The results of the study show that the parties are different in their views on criminality as a problem in our society. Socialdemokraterna has a structural view while Folkpartiet and Moderaterna have a actor-centered- view on criminality and crime politics. The results show that the parties have a different view of the source of criminality and this leads to different suggestions on which interventions that are desirable to reduce the criminality.

No description available.

Corporate storytelling is a recognized marketing strategy, however the usage of it is regarded to be unclear from a theoretical perspective. Further, the internal usage of storytelling among organizations is more common than the external use. Hence, this research was aimed towards storytelling for external stakeholders.