Voice-over translation (or “audio subtitles”) is the only audio-visual translation (AVT) used for feature-length films on Polish television. Since the reader (lektor) only partially overrides original dialogues and some parts of the actors’ speech are clearly audible, it can be considered as marginal L2 exposure. The aim of this study is to investigate the attitudes of Polish speakers of English towards voice-over translated television and to determine if TV shows and films with a lektor can be a source of incidental language acquisition. The study consists of two parts, a survey and an experiment. The survey investigated the attitudes of Polish speakers of English to different types of AVT, especially their opinions about the influence of voice-over translated TV shows on their English proficiency. The data reveals that Polish speakers of English have rather negative opinions about this AVT and numerous instances of unfaithful translation are easily spotted by them, which creates an image of unprofessional and inaccurate AVT. They seem not to consider films with a lektor as L2 exposure and tend to think that introducing subtitles to television would improve the L2 competence in Poland. However, the informants admitted being able to spot unfaithful translation, meaning that they pay attention to the foreign language in the background. The experiment was conducted to examine the possibility of incidental language acquisition from voice-over translated TV shows. 26 high school students, Polish learners of English watched 4 clips with voice-over translation with instances of unfaithful translation. The study has empirically proven that Polish learners of English are able to spot the differences between the original dialogue and its translation. Thus, watching voice-over television programming can be considered L2 exposure.

This dissertation thesis deals with the exploration of the issue of electronic learning supports intended to boost controlled self-study within university environment. This paper proceeds from the presumption that electronic learning supports are a suitable tool with a didactic potential in education which will make university self-study more effective and which will help students to meet the demanded requirements even more effectively than with commonly used learning materials. The paper deals with the definition of conceptual constructs from the field of electronic learning supports and also with the analysis of their didactic capabilities, limits and ways of usage with added specification of functional and didactic aspects of audio-visual learning supports. The empiric part of the paper uses a pedagogic experiment to verify the influence of the electronic learning supports on the university student's results within the controlled self-study. The paper complexly develops the theory of electronic learning supports from the point of view of current didactic resource and its inclusion into current structures of pedagogy and didactics.

The thesis evaluates the  competition law and new legislation adopted under the Digital Single Market Strategy framework and itf effect on the principle of copyright territoriality and current territorial licensing practices. The interest of consumers to access cultural content, the interest of right holders to exploit their work in exchange for renumeration and interest of distributors to secure a broader audience and high income are interests which are taken into account. The thesis discusses how the EU legislation reflects and balance these interests. The thesis also discusses the role of principle of copyright territoriality for business and financial practices in the audio-visual industry.

Le terme stéréopsie renvoie à la sensation de profondeur qui est perçue lorsqu’une scène est vue de manière binoculaire. Le système visuel s’appuie sur les disparités horizontales entre les images projetées sur les yeux gauche et droit pour calculer une carte des différentes profondeurs présentes dans la scène visuelle. Il est communément admis que le système stéréoscopique est encapsulé et fortement contraint par les connexions neuronales qui s’étendent des aires visuelles primaires (V1/V2) aux aires intégratives des voies dorsales et ventrales (V3, cortex temporal inférieur, MT). A travers quatre projets expérimentaux, nous avons étudié comment le système visuel utilise la disparité binoculaire pour calculer la profondeur des objets. Nous avons montré que le traitement de la disparité binoculaire peut être fortement influencé par d’autres sources d’information telles que l’occlusion binoculaire ou le son. Plus précisément, nos résultats expérimentaux suggèrent que : (1) La stéréo de da Vinci est résolue par un mécanisme qui intègre des processus de stéréo classiques (double fusion), des contraintes géométriques (les objets monoculaires sont nécessairement cachés à un œil, par conséquent ils sont situés derrière le plan de l’objet caché) et des connaissances à priori (une préférence pour les faibles disparités). (2) Le traitement du mouvement en profondeur peut être influencé par une information auditive : un son temporellement corrélé avec une cible définie par le mouvement stéréo peut améliorer significativement la recherche visuelle. Les détecteurs de mouvement stéréo sont optimalement adaptés pour détecter le mouvement 3D mais peu adaptés pour traiter le mouvement 2D. (3) Grouper la disparité binoculaire avec un signal auditif dans une dimension orthogonale (hauteur tonale) peut améliorer l’acuité stéréo d’approximativement 30% / Stereopsis refers the perception of depth that arises when a scene is viewed binocularly. The visual system relies on the horizontal disparities between the images from the left and right eyes to compute a map of the different depth values present in the scene. It is usually thought that the stereoscopic system is encapsulated and highly constrained by the wiring of neurons from the primary visual areas (V1/V2) to higher integrative areas in the ventral and dorsal streams (V3, inferior temporal cortex, MT). Throughout four distinct experimental projects, we investigated how the visual system makes use of binocular disparity to compute the depth of objects. In summary, we show that the processing of binocular disparity can be substantially influenced by other types of information such as binocular occlusion or sound. In more details, our experimental results suggest that: (1) da Vinci stereopsis is solved by a mechanism that integrates classic stereoscopic processes (double fusion), geometrical constraints (monocular objects are necessarily hidden to one eye, therefore they are located behind the plane of the occluder) and prior information (a preference for small disparities). (2) The processing of motion-in-depth can be influenced by auditory information: a sound that is temporally correlated with a stereomotion defined target can substantially improve visual search. Stereomotion detectors are optimally suited to track 3D motion but poorly suited to process 2D motion. (3) Grouping binocular disparity with an orthogonal auditory signal (pitch) can increase stereoacuity by approximately 30%

Cette thèse se propose d’étudier les modalités d’écriture des serious games narratifs.Ces objets, à la fois porteurs d’un objectif ludique et d’une intention sérieuse sont également porteurs de promesses narratives. L’articulation de ces trois dimensions est au cœur de cette recherche doctorale. L’enjeu de cette thèse se caractérise par la nécessité de comprendre comment le jeu de nos objets se distingue, d’envisager de quelle manière l’intention sérieuse est véhiculée et de déterminer pourquoi une dimension narrative se met en place. Notre recherche se base sur un corpus de 42 objets, que nous avons analysés en nous appuyant sur la sémio-pragmatique. Nous avons d’abord cherché à identifier les influences culturelles de nos objets afin de déterminer ce dont ces objets sont les héritiers. Nous avons ensuite cherché à déterminer le « contrat ludique » de nos objets, et mis en évidence la présence importante de « marqueurs pragmatiques de jeu ». Pour autant, l’expérience ludique se révèle souvent limitée, notamment par des challenges relevant du leurre ou de l’illusion du jeu. Nous avons alors exploré les raisons de cette jouabilité perturbée et mis en exergue l’importance de l’écrit dans nos objets.A partir de ces éléments, nous avons discerné 2 types de structures de serious games narratifs : en alternance et en association. Dans la structure en alternance, l’utilisateur est successivement confronté aux dimensions ludique, sérieuse et narrative. Dans la structure en association, ces trois composantes se répondent.Parallèlement, nous avons développé, un serious game réalisé en prise de vue réelle, à destination des médecins généralistes, pour les former à la communication. Les réflexions menées sur l’écriture du scénario, le développement et l’analyse de 2 prototypes nous ont permis de souligner que le mode en alternance contraint certes le jeu, mais favorise l’exposition de l’intention sérieuse de l’objet, au contraire de la structure en association qui la minore. / This thesis’ purpose is an exploration and study of narrative serious games’ writing modalities from the audiovisual research field point of view. Those tools have both a playful goal and a serious intention, tending also to reach narrative undertakings. The joint between play, seriousness and narrative is the main basis of this PhD research.This thesis’ stake can be defined as the need of understanding how play can be discern in serious games, as the approach of the way the serious intention is set forth and the determination of the reasons why a narrative dimension is setted.Our research is based on a 42 serious games’ corpus, which we have analyzed relying on semio-pragmatic.We had first seek to identify their cultural influence. We aimed to define objects which serious games inherited. Then we aimed to establish the « Playfull Based Act » of serious games and to highlight the major presence of « game pragmatic markers ».The playfull experience is however often felt as restricted especially because of challenges based on gaming lures or illusions. So we explored the reasons of the playfull obstruction and established the importance of writing in serious games. We have been able to define two types of narrative serious games structures from those previous elements : in alternance and in association. In the alternance structure, users are successively confronted to playfull, serious and narrative dimensions, which never be melted or crossed.In the association structure, those three dimensions answer to each other.We have developped a « real shot » serious game for general practioners in parallel,in order to train them to communication.The thoughts and researches conducted during scenario writing and the two prototypes' making and analysis have led us to emphasize the constraint aspect of the « alternance mode » of some of the games, but also its power of emphasize the serious intention of serious games, in the contrary of « association structure » which minore it.

The use of videotapes has become widespread in ESL classes in recent years. The decline in cost of tapes and VCR equipment has assisted in the spread of this technology. These tapes are often used in listening comprehension classes and may replace or supplement the use of audiotapes. However, research has not established that the addition of the visual element, especially in the movie or TV type context of many videos, is an advantage to the language learner. A total of seventy-six students participated in a listening comprehension recall exercise. Thirty-nine students viewed a videotape segment, and the remaining thirty-seven students listened to the audio portion of the same segment. Each group viewed or listened to the tape two times. Then the groups were given twenty minutes to write a recall. Each paper was scored for total idea units recalled, macropropositions, elaborations, and distortions .

Employee Training and Development (T&D) is a crucial component to an organization’s success and its ability to remain competitive. Although researchers in the field have discovered ways to enhance the effectiveness of training programs through the design, delivery, and evaluation process, research has not provided empirically-based recommendations for how to best train individuals whose cultural backgrounds may influence receptiveness of training curriculum. This is particularly relevant for employees whose cultural groups have been historically discriminated against, where cultural norms implicit in the training design may be met with resistance on behalf of the trainees. In the field of multicultural education, an instructional approach has been suggested to overcome cultural differences between instructor, curriculum writers, and students known as culturally responsive education. I evaluated a pre-training video prime based on this approach in the context of multi-site data-use training program for Native American educational professionals. Data-use training was delivered after exposure to one of two videos that framed the objectives of data use either in a culturally responsive way or in a generic mainstream fashion. Participants filled out surveys after the video but before the training, and then again after the training. Prime type was randomly assigned by training location. I hypothesized that participants who received a culturally responsive training prime would learn more during the data-usage training than participants who did not, and that this effect would be mediated by heightened affective motivators immediately following the culturally responsive prime. None of the hypothesized pathways were supported. There was no direct effect of my prime manipulation on knowledge (Hypothesis 1) or skill acquisition (H2), or on pre-training motivation to learn (H3), research-related self-efficacy (H4), goal-commitment (H5), or identification with research (H6). Furthermore, there were no indirect effects of my manipulation on knowledge (H7) or skill (H8) acquisition through pre-training motivation to learn, self-efficacy, goal-commitment, or identification with research. The motivation to learn subscale for valence had a significant positive direct effect on knowledge and skill acquisition and self-efficacy significantly positively predicted skill acquisition. Goal-commitment and motivation to learn subscales for instrumentality and expectancy had a significant negative relationship with skill acquisition. Lack of support for my hypothesized pathways is explained partially by the failure of my independent variable to influence perceptions of cultural responsiveness. A manipulation check revealed that participants did not appraise my culturally responsive priming video as significantly more relevant or culturally appropriate compared to the alternative mainstream video. Findings on the positive effects of valence and self-efficacy are discussed in support of current literature. Negative effects of expectancy are discussed in terms of stereotype threat. The implications and applications for trainers and researchers in training and minority education are followed by a consideration of this study’s limitations and suggestions for future research.

This thesis will chronicle the efforts of Church Educational System employees, those in the Church Audiovisual Department, and those in Church Correlation of the Church of Jesus Christ of Latter-day Saints, in the development of media produced specifically for use in the CES classroom.Following a brief overview of the history of Church Education and LDS motion picture production, this thesis will document the efforts in producing media support for CES from 1965 to the present. It will chronicle how CES media development, approval, and production have mirrored changes and developments in CES curriculum philosophy, Church organization, and advances in motion picture production technology. The creative and collaborative processes during each phase of media development will also be explored.

For centuries, repetition in one form or another has been seen as a significant element in the artistic palette. In numerous formats of expression, duplication and looping became a significant tool utilized by artisans in a multitude of creative formats. Yet within the realm of film, the Griffith and Eisenstein models of cinematic editing techniques (as the most popular-- and near-monolithic--narrative aesthetic criteria) effectively disregarded most other approaches, including looping. Despite the evidence for the consistent use of repetition and looping in multiple ways throughout the course of cinematic history, some theorists and practitioners maintain that the influx of the technique within digital cinema in recent years represents a sudden breakthrough, one that has arrived simply because technology has currently advanced to a point where their utilization within digital formats now makes sense both technologically and aesthetically. This situation points to a cyclical problem. Students of film and video frequently are not taught aesthetical or editorial options other than standard industry procedures. Those who are interested in varying techniques are therefore put in the position of having to learn alternative practices on their own. When they do look beyond visual norms to try applying different approaches in their projects, they risk going against the views of their instructors who are only interested in implementations of the standard methods which have been in the forefront for so long. Yet the loop s importance and prevalence as a digital language tool will only likely grow with the evolution of digital cinema. With this is mind, the dissertation addresses the following questions: To what extent can various forms of repetitive visuals be found throughout film history, and are not simply technical manifestations that have merely emerged within digital cinema? How might current educational practices in the realm of film and video work to inform students of techniques outside of the common narrative means? Finally, what other sources or strategies might be available to enlighten students and practitioners exploring both the history surrounding--and possible applications of--techniques based upon early cinema practices such as the loop?

Sound is an important aspect of storytelling. Previous studies have investigated the emotional perceptions of knocking sounds, in relation to the colour and material of the door. This study will build on these projects and investigate two new visual factors, colour grading and the speed at which a door opens, to determine how they affect emotional perception in isolation, and then how they interfere with five expressive knocking sounds. This was done by conducting four experiments. The first two experiments investigated the emotional perception of the visual factors. In the last two experiments, the visual factors were combined with the expressive knocking sounds, in order to investigate how the conveyed emotions of these visual factors interfered with the perceived emotions of the knocking sounds. The results showed that the knocking sounds had the strongest influence over the overall perceived emotion. However, the colour gradings were able to influence and interfere with the perceived emotion of the knocking sounds, while the door opening speeds did not have an effect. / Ljud är en viktig del i historieberättande. Tidigare studier har utforskat den känslomässiga uppfattningen av ljud i form av knackningsljud, samt hur dörrens färg och material påverkar den uppfattningen. Den här studien bygger på dessa projekt och utforskar två andra visuella faktorer i form av färgsättning (colour grading) och hastigheten en dörr öppnas med. Den känslomässiga uppfattningen av dessa faktorer undersöks, samt hur de påverkar fem knackningsljud med avsedda känslor. Det här undersöktes med hjälp av fyra experiment. I de två första experimenten undersöktes den känslomässiga uppfattningen av de två visuella faktorerna enskilt. I de två sista experimenten, kombinerades de visuella faktorerna seperat med de fem knackningsljuden. Här undersöktes det hur de känslorna som förmedlades av de visuella faktorerna påverkade de förmedlade känslorna av knackningsljuden. Resultatet visade på att knackningsljuden hade mest influens över den övergripande uppfattade känslan. Däremot så influerade och påverkade färgsättningen den uppfattade känslan av knackningsljuden, medan dörrhastigheten inte gjorde det.