As formas de se criar e compartilhar música e imagem se encontram em constante revolução, propiciada pelas novas possibilidades de produção e divulgação de conteúdo. Artistas e público interagem de maneiras criativas e oportunas com esse novo ambiente, enquanto a comunicação como um todo traça um caminho de volta à oralidade na transmissão de conhecimento. É objetivo deste trabalho identificar a importância do conteúdo amador para a divulgação de artistas independentes, em especial no site de vídeos YouTube. Conteúdo esse que é produzido em duas frentes: o público contribui com versões cover, homenagens, registros da plateia de shows, aulas de violão, karaokês e conteúdo original republicado sem autorização; e os artistas oferecem suas cenas de bastidores, novas composições, apresentações ao vivo e participações; entremeadas com seu conteúdo de lançamento comercial - como videoclipes e álbuns. A oralidade secundária que segue o fechamento do Parêntese de Gutenberg, apresentado por Thomas Pettit, traz um novo meio de se conhecer, ouvir, tocar e compartilhar música, especialmente através desse conteúdo amador. Artistas são apresentados por seu próprio público, que relê e reescreve as canções a seu modo, registra e reporta seus acontecimentos com sua própria estética, e realimenta sua produção com seus próprios desejos. Para tanto, sete artistas independentes foram analisados quantitativamente e posteriormente entrevistados quanto a seu faturamento, execução pública e presença no YouTube. Por último, foi proposto um experimento imagético com a participação do público de uma apresentação musical de um dos artistas em questão, cujos resultados foram comparados aos de um experimento similar conduzido dez anos antes. / The ways in which music and image are created and shared are in constant revolution, caused by the new possibilities of producing and disseminating content. Artists and audience take part in creative opportunities for dealing with this new environment, as communication as a whole traces its path back to orality. The purpose of this thesis is to identify the relevance of amateur content on the promotion of independent musical artists, especially through the video website YouTube. Fans share their cover versions, tributes, concert videos, guitar lessons, karaoke animations and original ripped content; while artists share their backstage scenes, rehearsals, new compositions, live performances, special guests along with their official c ommercial releases of tracks and music videos. The secondary orality that follows the closing of The Gutenberg Parenthesis, presented by Thomas Pettit, brings new ways to get to know, listen to, play and share music, especially through the amateur content. Artists are introduced by their own audiences, who re-read and re-write their music in their own way. Fans document and report the artist happenings in their own aesthetics and refuel their production with their own desires. For that purpose, seven independent artists have been quantitatively analysed and subsequently interviewed about their revenue, broadcasts and YouTube presence. At last, an audiovisual experiment was conducted, in which a live music concert was photographed and recorded on video by amateur guests. Their outcome was compared to that of a similar experiment conducted ten years before.

This paper is a qualitative study based on a phenomenological perspective. The purpose of the study has been to examine how the artistic work with a Community Theatre can visualize the beliefs held by young girls in Skellefteå today regarding the power structures that exist in their lives and how they affect them. Furthermore, the study aims to examine how the work of a theater can provide participants with the opportunity to visualize these structures of power to the public. Questions raised in the study concerns the power structures the young girls are experiencing in their daily lives, how they affect them, how to through a theater approach them in an artistic practice and how the participants' experience of existing power structures is influenced by the work of a theater. The study began with a focus conversation about the participants' view of power in different areas. Based on the conversation, we decided to revise and orchestrate a part of Shakespeare's Othello, focusing on jealousy and men's violence against women in intimate relationships. This was rehearsed and performed to an audience during Trästockfestivalen in Skellefteå. The study ended with a further focus conversation which concerned the work of the theater production and how it affected the participants' view of power. The results show that participants believe that it has been useful to work with the power structures in this way. In particular, they have appreciated the discussions and the opportunity of amateurs to work with the profession, and in this work get visibility to real-life, current issues for an audience.

Objectiu: L'estudi del cinema no professional per veure la seva utilitat com a document primari en història. Partint d'aquest punt es deriven diferents qüestions:- El cinema serveix per fer alguna cosa més que una simple història artística?- Quin tipus d'història podem fer amb el cinema?- Quina informació podem extreure d'un film?- Com podem obtenir aquesta informació?- Quina utilitat o funció especifica pot tenir el cinema a la història?, si és que la té?- Es pot utilitzar el cinema a la història local?- Quin tipus de cinema podem utilitzar per investigacions d'història local?- Quina informació podem obtenir dels diferents tipus de cinema (professional, amateur, familiar, semi-professional)?- Podem tractar per igual i obtenir la mateixa informació, dins la investigació històrica local, del cinema professional que del no professional?- Tant el cinema professional com el no professional es poden analitzar igual?- La utilització d'aquests tipus de cinema com a documents històrics és igual en tots els nivells territorials: local, regional o nacional?Contingut: Per arribar a les conclusions finals i donar resposta a totes aquestes preguntes he recorregut el següent camí en aquest treball:1r. Començava per justificar el tema i explicar els plantejaments bàsics de la investigació.2n. Explicava les limitacions i els problemes que plantejava la investigació i les solucions donades a aquests problemes.3r. Definia els diferents tipus de cinema que es podien utilitzar en història local (professional, semi-professional, amateur i familiar) i els passos dels films (35 mm, 16 mm, 9,5 mm, 8 mm i Súper 8 mm)4t. Vaig cercar la metodologia d'anàlisi més adequada per aquesta investigació. Per això vaig plantejar una sèrie de qüestions bàsiques sobre la utilització del cinema en història i els plantejaments teòrics sobre la realitat i la ficció al cinema. Després d'aquest primer pas vaig estudiar les diferents teories i metodologies d'anàlisi cinematogràfica (teories ontològiques, teories culturalistes, del feminisme vers el cinema, d'antropologia visual, teories ideològiques, teories sociològiques i teories d'anàlisi històric-contextual). L'estudi d'aquestes teories em va permetre constatar les dificultats d'aplicació d'aquestes a determinats tipus de cinema no professional i vaig optar per proposar una metodologia d'anàlisi que, amb les influències fonamentals de la crítica textual dels textos escrits i contextual del cinema, em permetés analitzar tot tipus de films i una gran quantitat.5è. Per aplicar aquesta metodologia al cas de Reus, abans vaig haver de fer una història del cinema no professional de Reus, davant la seva inexistència. Una història que va de 1897 a 1989.6è. La investigació va treure a la llum l'existència de 690 films no professional o amb imatges de Reus, de les que vaig veure 437. Sobre aquestes vaig aplicar la metodologia i vaig fer l'anàlisi dels temes. Davant l'extensió d'una anàlisi pormenoritzada dels 7 temes proposats que es podien estudiar amb aquest material fílmic, vaig optar per estudiar dos casos: els esdeveniments històrics de Reus recollits pels films professionals i no professionals i la visió geogràfica que donen aquests materials sobre la ciutat i el seu entorn (pròxim o llunyà).Una de les conclusions bàsiques és la importància d'aquests materials per l'estudi de determinats temes, amb certs condicionats i amb una premissa bàsica: la seva urgent recuperació abans de la seva desaparició definitiva. / Objective: The study of the nonprofessional cinema to see its utility like primary document in history. From this departure point different questions were derived:- The cinema serves to do something more than a simple artistic history?- What type of history we can do with the cinema: social, economic, of the daily, political life, etc.?- What information we can extract of a film?- How we can obtain that data?- What utility or specific function can have the cinema in history? If it is that it has it? - Can be used the cinema in local history?- What type of cinema we can use for investigations of local history?- What information we can obtain from the different types from cinema (professional, amateur, professional relative)? - We can treat the same and obtain the same data, in the local historical investigation, to the professional cinema that the nonprofessional one? - As much nonprofessional the professional cinema as can be analyzed equal? - The use of these types of cinema as historical document is equal at all the territorial levels: the premises, regional or national?Content: In order to arrive, in the final conclusions, to give answer all to these questions the following way has been crossed in this work:1º) Began to justify the subject and to explain the basic expositions of the investigation.2º) The limitations and the problems were explained that raised the investigation and the solutions given to these problems. 3º) The different types from cinema were defined that could be used in local history (professional, semi-professional, amateurs and relatives) and the passages of films (35 mm, 16 mm, 9.5 mm, 8 mm and Super 8 mm), in where their characteristics and conditioners were explained. 4º) I look for the methodology of suitable analysis more for this investigation. For it a series of basic questions considered on the theoretical use of the cinema in history and expositions on the reality and the fiction in the cinema. After this first step study the different theories and methodologies from cinematographic analysis (ontológicas theories, culturalistas theories.feminism and cinema, visual anthropology, ideological theories, sociological theories and theories of contextual historical analysis). The study of these theories allowed to state the difficulties of application of these to certain types of nonprofessional cinema and I choose myself to propose an analysis methodology that, based fundamentally on the analysis of the documentary and contextual textual critic of films, allowed to analyze all type of films and a numerically ample amount. 5º) To apply this methodology to the case of Reus, before had to make a history of the nonprofessional cinema of Reus, before its nonexistence. A history that included from 1897 to 1989. 6º) The investigation brought to light the existence from 690 nonprofessional films or images on Reus, of which 437 were visionaron. On them the methodology was applied and the analysis of the subjects was made. Before the extension of a detailed analysis of the 7 proposed subjects that they were possible to be studied with this filmic material, it was chosen to study two cases: the historical events of Reus gathered by professional and nonprofessional films and the geographic vision that these cinematographic materials offer of the city and the surroundings (next or distant). One of the basic conclusions is the importance of these materials for the study of certain subjects, with certain conditioners and a basic premise: its urgent recovery before its definitive disappearance.

Abstract In recent years, studies of Taiwanese aboriginal literature have been given attentions due to the trend of localization in literature. Japanese scholars are the pioneers who are interested in and study Taiwanese aboriginal literature. They spend lots of efforts on studying Yami tribe much more than on other aborigines in Taiwan. The Yami did not have written language. They orally passed their culture on generation by generation. Therefore, they have abundant literature of oral tradition. Siyapenjipengaya, a Yami, worried that the Yami culture would be lost because of the assimilation to the Han nationality. He, therefore, recorded the culture features in literation. Yami is one of the Austronesian tribes, and they are the only aborigine who live near coasts in Taiwan. Their culture is much different from the other aborigines in Taiwan, and they are the only aborigine who do not have the tradition of headhunting and wine making. This study focused on the features of tribalism and cultural heritages in the works of Siyapenjipengaya. The works displaying tribalism were classified as the origins of the tribe, the spirits in traditional stories, life stories, and Anito¡¦s stories. The works displaying cultural heritages were classified as the knowledge of seas and oceans, cultural heritages, and Yami songs. By studying the folk stories and songs in the works of Siyapenjipengaya, the purpose of this study was to comprehend the custom and tradition of Yami culture.

As a new communication technology, Internet makes users play the role both as audiences and producers of messages. After Youtube published, the trend of amateurs¡¦ works quickly sprung up. Amateurs produce original creations and derivative works, and sharing their ideas by Youtube to hold a carnival in the cyber world. Some experienced amateurs become the favorite of news media, and even get the chance to communicate with professional movie makers. The purpose of this research is to provide Youtube video creators some success examples and key elements to follow. Based on the amateurs¡¦ point of views, this research studied on the ¡§play¡¨ experiences and the communication pleasure of experiences amateurs. By observing Youtube website, this research also found out the carnival of amateur videos. This research takes two qualitative approaches. First, by conducting five interviews, the ¡§play¡¨ experiences and the communication pleasure of experienced amateurs are discussed. To develop an understanding of the carnival of Youtube videos, researcher observed the contents, click rates, and discussions of users. The findings of this research are that the experienced amateurs have long-term accumulations of video making which combine entertaining and learning. Their communication pleasures come from the behavior of creation, and the interaction with online fans and offline friends. As the main strategy of Bakhtin¡¦ carnival theory, parody also becomes a welcomed idea of Youtube videos. But the experienced amateurs emphasized that there lays more serious core ideas in the videos, and those are the main issues should be known.

Thesis (M.A.)--York University, 2007. Graduate Programme in Communication and Culture. / Typescript. Includes bibliographical references. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR38797

Amateur theatres play an important role in the community life. The task of our research was a state social function of theatres and how to give sence to it. The basic of methodological research is a social - cognitive theory wich put stress on constant link between individual and sorrounding, that theatre meets different problems, such as: its position in local community and in the society of Lithuania, lach of understanding of its significance, low financial support for creative work.Horewew we think, that the bigest problem for amateur theatres is recogniting and development intercultural relations, social activity, possibilities of comunications links, human recourses in the society,work with children's and teenager's audience.The problem appears to very big because there are many ameteurs theatres in Lithuania wich do not understand their mission.

No description available.

This paper is a qualitative study of the pedagogical conditions and the knowledge necessary for the creation and development of an education regarding leadership in the field of amateur theatre. The purpose of the study has been for participants to reflect and create knowledge about the creation and implementation of a course for leaders of amateur theatre. Questions raised in the study concern the students’ previous experience of drama, theatre and leadership; their desire to become leaders of theatre; their own view of their need for knowledge for their future leadership; their understanding of the contents of the education and the theoretical perspectives upon which a course in theatre leadership can build. Finally, the participants’ perceptions of difficulties and possibilities of working as theatre leaders were investigated. All 13 participants have answered a questionnaire regarding their previous experience of drama, theatre and leadership and also about why they want to become theatre leaders. The participants have also taken part in four focus conversations regarding what they think they learned, how they value the knowledge they gained and what knowledge they feel will be needed in a future leadership. The data has been analyzed hermeneutically to find patterns in the participants’ perceptions of their learning. The results show that participants consider it being useful to work in groups with exercises related to their future leadership. In doing so, they reinforced prior knowledge and developed new knowledge within all areas of the education. The results also show that several participants fear there will be financial constraints and a lot of solitary work in the future. The opportunities expressed regard the participants’ increased ability to provide opportunities for children and young people to play theatre and thus develop in the art of theatre as well as personally.

Thesis (Ph. D.)--University of Hawaii at Manoa, 1981. / Bibliography: leaves [159]-162. / Microfiche. / ix, 162 leaves, bound 28 cm