Com base em uma pesquisa documental de trabalhos publicados por psicanalistas e acadêmicos vinculados ao pensamento kleiniano, o presente estudo tem por finalidade descrever os modos como as teorias de Melanie Klein e autores pós-kleinianos têm sido aplicadas na análise de obras cinematográficas, evidenciando as principais características e contingências metodológicas que resultam dessa abordagem. O trabalho tem início com uma contextualização das intersecções entre os campos da psicanálise e do cinema, enfatizando-se as proposições de Christian Metz sobre o estudo psicanalítico de filmes. O argumento central da pesquisa é desenvolvido a partir de um trabalho inacabado em que Melanie Klein analisa o filme Cidadão Kane, de Orson Welles, seguido dos comentários de Laura Mulvey a respeito desse ensaio de Klein. A noção de fantasia inconsciente elemento central do pensamento kleiniano é discutida à luz das elaborações teóricas de Hanna Segal sobre a experiência estética propiciada pelas artes, e aprofundada com as contribuições de Graham Clarke e Michael OPray sobre a experiência do psicanalista como espectador no cinema. Foi realizada uma revisão crítica de trabalhos publicados por psicanalistas e acadêmicos que analisam sete filmes por uma perspectiva notadamente kleiniana. A partir dessa revisão, foi possível discernir elementos da abordagem kleiniana utilizados por esses autores na análise do complexo temático de filmes, particularmente a noção de mundo interno, a potência das fantasias inconscientes e a experiência estética do psicanalista como espectador, que oferece sua subjetividade para dar voz aos efeitos emocionais mobilizados pela obra cinematográfica / Based on a documentary research of papers published by psychoanalysts and academics associated with the Kleinian thought, this study aims at describing the ways in which theories of Melanie Klein and post-Kleinian authors have been used in the analysis of films, revealing the main characteristics and methodological contingencies that result from such an approach. The work begins with a contextualization of the intersections between the fields of psychoanalysis and cinema, emphasizing the propositions of Christian Metz on the psychoanalytic study of film. The central argument of this research is developed from Melanie Kleins unfinished analysis of Orson Welles Citizen Kane, followed by Laura Mulveys comments on Kleins essay. The notion of unconscious phantasy a central element of Kleinian thought is discussed in light of the theories of Hanna Segal on the aesthetic experience afforded by the arts, followed by the accounts of Graham Clarke and Michael OPray on the experience of the analyst as a spectator in the movie theatre. A critical review of the works published by psychoanalysts and scholars who analyse seven films under a particularly Kleinian perspective was performed. Based on the results of the review, it was possible to discern elements of Kleinian approach deployed by these authors in their analysis of the filmic thematic complex, especially the notion of inner world, the potency of unconscious fantasies and the aesthetic experience of the analyst as a spectator, who offers her/his subjectivity to voice the emotional effects elicited by the film

Com base em uma pesquisa documental de trabalhos publicados por psicanalistas e acadêmicos vinculados ao pensamento kleiniano, o presente estudo tem por finalidade descrever os modos como as teorias de Melanie Klein e autores pós-kleinianos têm sido aplicadas na análise de obras cinematográficas, evidenciando as principais características e contingências metodológicas que resultam dessa abordagem. O trabalho tem início com uma contextualização das intersecções entre os campos da psicanálise e do cinema, enfatizando-se as proposições de Christian Metz sobre o estudo psicanalítico de filmes. O argumento central da pesquisa é desenvolvido a partir de um trabalho inacabado em que Melanie Klein analisa o filme Cidadão Kane, de Orson Welles, seguido dos comentários de Laura Mulvey a respeito desse ensaio de Klein. A noção de fantasia inconsciente elemento central do pensamento kleiniano é discutida à luz das elaborações teóricas de Hanna Segal sobre a experiência estética propiciada pelas artes, e aprofundada com as contribuições de Graham Clarke e Michael OPray sobre a experiência do psicanalista como espectador no cinema. Foi realizada uma revisão crítica de trabalhos publicados por psicanalistas e acadêmicos que analisam sete filmes por uma perspectiva notadamente kleiniana. A partir dessa revisão, foi possível discernir elementos da abordagem kleiniana utilizados por esses autores na análise do complexo temático de filmes, particularmente a noção de mundo interno, a potência das fantasias inconscientes e a experiência estética do psicanalista como espectador, que oferece sua subjetividade para dar voz aos efeitos emocionais mobilizados pela obra cinematográfica / Based on a documentary research of papers published by psychoanalysts and academics associated with the Kleinian thought, this study aims at describing the ways in which theories of Melanie Klein and post-Kleinian authors have been used in the analysis of films, revealing the main characteristics and methodological contingencies that result from such an approach. The work begins with a contextualization of the intersections between the fields of psychoanalysis and cinema, emphasizing the propositions of Christian Metz on the psychoanalytic study of film. The central argument of this research is developed from Melanie Kleins unfinished analysis of Orson Welles Citizen Kane, followed by Laura Mulveys comments on Kleins essay. The notion of unconscious phantasy a central element of Kleinian thought is discussed in light of the theories of Hanna Segal on the aesthetic experience afforded by the arts, followed by the accounts of Graham Clarke and Michael OPray on the experience of the analyst as a spectator in the movie theatre. A critical review of the works published by psychoanalysts and scholars who analyse seven films under a particularly Kleinian perspective was performed. Based on the results of the review, it was possible to discern elements of Kleinian approach deployed by these authors in their analysis of the filmic thematic complex, especially the notion of inner world, the potency of unconscious fantasies and the aesthetic experience of the analyst as a spectator, who offers her/his subjectivity to voice the emotional effects elicited by the film

The aim of this work is to find specific preferences of Czech film consumers. By these specific preferences it is meant the type of stories, heroes or genres which does Czech film audience prefer. The analysis is made on the most popular films (i.e. with the biggest attendance) in last twenty years using the theory of Erving Goffman, especially his concept of frame analysis. By using the terms of frame analysis the content of the selected films is compared with the same amount of the most popular films in USA. This comparison is then used to find the differences or similarities among these two different areas, but in particular it is done to underline the specifics of Czech film audience. Powered by TCPDF (www.tcpdf.org)

This Master's thesis focuses on elements and manifestations of propaganda in selected films from the James Bond film series. The first part defines the scope of term "propaganda" from the point of view of communication and media studies. It also describes various authors' perspectives on different types and ways of propagandist persuasive message spread and how it can be revealed using discourse analysis. The thesis reflects especially the pragmatic approach of authors Jowett and O'Donnell and is compared to other cardinal approaches. The theoretical part also puts propaganda into context of time, i. e. the Cold War, and it mentions specific cases of its impact. The thesis deals with James Bond films as such, in particular with their narrative and its mythological and stereotypization constituent. James Bond films are examined, in the practical part, using content analysis. The aim is to detect described pro-eastern propaganda elements, analyse their manifestation and answer the research questions.

In der vorliegenden Arbeit wird das Wachstum von Ta- und TaN-Schichten auf Si- und SiO_2-Substraten untersucht Die Schichten werden dabei unter technologienahen Bedingungen mittels Magnetron-Sputtern abgeschieden. Die Untersuchungen erfolgen hauptsächlich mit winkelaufgelöster röntgenstrahlungsangeregter Photoelektronenspektroskopie (ARXPS). Die Analysen erfolgen in situ, ohne Unterbrechung des Ultrahochvakuums, um die Deposite vor Oxidation und Kontamination zu schützen. Zur zerstörungsfreien Tiefenprofilanalyse wird ein Quantifizierungsalgoritmus beschrieben und angewandt. Für die Kombination Ta/Si wird die Bildung einer zunächst unvollständigen TaSi_2-Schicht, danach das Aufwachsen von Ta auf diese Zwischenschicht beobachtet. Für die Kombination Ta/SiO_2 wird eine Reduktion des SiO_2-Substrates bei gleichzeitigem Aufwachsen von Ta-Oxiden beobachtet. Auf dem durchmischten Schichtstapel wächst danach Ta auf. Für die Kombination TaN/Si wird die Bildung einer Si-N-Zwischenschicht bei gleichzeitigem Wachsen einer TaN-Schicht beobachtet. Für die Kombination TaN/SiO_2 wird das Aufwachsen einer TaN-Schicht ohne Ausbilung von Zwischenschichten beobachtet. Das Wachstumsverhalten des Ta/Si-Systems wird zusätzlich mit in situ Rastertunnelmikroskopie und -spektroskopie untersucht. Es wurden Untersuchungen zur thermischen Stabilität von abgeschiedenen Schichten an den Systemen Ta/Si und TaN/SiO_2 durchgeführt. Als mögliche Alternative zur winkelaufgelösten XPS wurden Untersuchungen mittels synchrotronstrahlungsangeregter Photoelektronenspektroskopie bei variierter Anregungsenergie durchgeführt.

This diploma thesis deals with animated clip and its application in teaching process, in particular in arts and music classes at secondary basic school, by means of project methodology. The theoretical part, besides project method, which is the center point of this work, also focuses on history of animated film, together with animated clip and its asset. Subsequently, the final section of the practical part applies the findings of the theoretical part. The final section of this diploma thesis is a model animated clip Adebars Reise "The Flight of a Stork" and a draft for the project education in arts and music education at secondary basic school, on the topic of animated clip.

Audiovisuelle Medien, insbesondere Filme und Fernsehsendungen entwickelten sich innerhalb der letzten einhundert Jahre zu bedeutenden Massenmedien. Große Bestände audiovisueller Medien werden heute in Datenbanken und Mediatheken verwaltet und professionellen Nutzern ebenso wie den privaten Konsumenten zur Verfügung gestellt. Eine besondere Herausforderung liegt in der Indexierung, Durchsuchung und Beschreibung der multimedialen Datenbestände. Die Segmentierung audiovisueller Medien, als Teilgebiet der Videoanalyse, bildet die Grundlage für verschiedene Anwendungen im Bereich Multimedia-Information-Retrieval, Content-Browsing und Video-Summarization. Insbesondere die Segmentierung in semantische Handlungsanschnitte bei narrativen Medien gestaltet sich schwierig. Sie setzt ein besonderes Verständnis der filmischen Stilelemente vorraus, die im Rahmen des Schaffensprozesses genutzt wurden, um die Handlung und Narration zu unterstützten. Die Arbeit untersucht die bekannten filmischen Stilelemente und wie sie sich im Rahmen algorithmischer Verfahren für die Analyse nutzen lassen. Es kann gezeigt werden, dass unter Verwendung eines mehrstufigen Analyse-Prozesses semantische Zusammenhänge in narrativen audiovisuellen Medien gefunden werden können, die zu einer geeigneten Sequenz-Segmentierung führen. / Audiovisual media, especially movies and TV shows, developed within the last hundred years into major mass media. Today, large stocks of audiovisual media are managed in databases and media libraries. The content is provided to professional users as well as private consumers. A particular challenge lies in the indexing, searching and description of multimedia assets. The segmentation of audiovisual media as a branch of video analysis forms the basis for various applications in multimedia information retrieval, content browsing and video summarization. In particular, the segmentation into semantic meaningful scenes or sequences is difficult. It requires a special understanding of cinematic style elements that were used to support the narration during the creative process of film production. This work examines the cinematic style elements and how they can be used in the context of algorithmic methods for analysis. For this purpose, an analysis framework was developed as well as a method for sequence-segmentation of films and videos. It can be shown that semantic relationships can be found in narrative audiovisual media, which lead to an appropriate sequence segmentation, by using a multi-stage analysis process, based on visual MPEG-7 descriptors.