The Poetics of Artavazd Peleshyan's Cinema Abstract This thesis presents an analysis of the poetics of Artavazd Peleshyan's cinema based on the theory of poetics of cinema developed by David Bordwell. The first part introduces the reader to the director's work, includes a literature overview and outlines the methodological approach. The main theoretical frame of reference was provided by David Bordwell's concept of the poetics of cinema, which he developed in several publications. The second part of the thesis focuses on the analysis itself, and consists of three chapters that present the main components of a film work: thematics, stylistics and large-scale form. The first of these chapters focuses on basic thematic elements in individual Peleshyan's films and summarizes key themes represented throughout his work. The second chapter presents an analysis of the stylistic component of his work, consisting primarily of combining images and sounds expressed through the montage. This part also deals with Peleshyan's theory of distance montage and illustrates its mechanisms of distance connections using specific examples. The third and final chapter focuses on the formal aspects of Peleshyan's work and discusses its large-scale from the perspective of the essay film. This thesis presents the basic characteristics...

Orientador: Marcius Cesar Soares Freire / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-22T01:35:58Z (GMT). No. of bitstreams: 1 MartinRojo_Sara_M.pdf: 1267423 bytes, checksum: 4f139dd6a0d384ab2af2c56a24a42cc6 (MD5) Previous issue date: 2012 / Resumo: O cinema de Haneke é um cinema de hiper-realismo; de atmosfera; que fala e responde; que traz em imagens a complexidade que caracteriza nosso questionado mundo. Este trabalho tem como foco a análise da obra do diretor austríaco Michael Haneke, através de uma revisão dos recursos estéticos e manifestações discursivas mais relevantes em seus filmes, definidos como marcas autorais. Em um primeiro momento, foi necessário realizar uma contextualização da obra como parte de um momento histórico concreto, demonstrando sua total vinculação com o pensamento modernista surgido na década dos anos 1970. Posteriormente, realizou-se uma pequena revisão biográfica do autor, ressaltando sua relação direta com o universo teatral e com a proposta estético-ideológica do dramaturgo alemão Bertolt Brecht, a qual se distingue como absolutamente dominante no pensamento do diretor. E, finalmente, realizou-se uma análise detalhada dos elementos formais mais significativos presentes nesta obra como parte da intencionalidade do diretor. Os pontos centrais com os quais trabalha esta pesquisa, que por sua vez são definidos pela herança de Brecht, são: em primeiro lugar, a ativação da consciência do espectador mediante uma reflexão sobre as imagens representadas; em segundo, a mise en scène do diretor graças à qual tal ativação acontece. Espectador e cena são, portanto, os pilares deste estudo. Para conformar o corpus do presente trabalho foram selecionados os filmes de Haneke ambientados em um momento presente, contemporâneo, para após a análise dos aspetos formais encontrados, aproximar uma critica que fala diretamente sobre o nosso mundo. Os filmes escolhidos nesta pesquisa foram os seguintes: O Sétimo Continente (1989); O Vídeo de Benny (1992); 71 Fragmentos de uma Cronologia do Acaso (1994); Violência Gratuita (1997); Código Desconhecido (2000); A Professora de Piano (2001); Caché (2005) / Abstract: Haneke's cinema is a cinema of hyper-realism, atmospheric, which speaks and answers. It translates into images the complexity that characterizes our challenged world. This work focuses on analyzing the work of Austrian director Michael Haneke through a review of the most important aesthetic resources and discursive manifestations in his films, defined as copyrighted brands. Firstly, it was necessary to contextualize the work as part of a specific historical moment, demonstrating its total link with the modernist thought emerged in the mid-70s. This is followed by a short review of the author's biography, emphasizing its his direct relationship with the theatrical universe and with the aesthetic-ideological proposal by the German playwright Bertolt Brecht, which distinguishes itself as absolutely dominant in the doctrinal thinking of the director. Finally, we carried out a detailed analysis of the most significant formal elements present in this work as part of the director's intent. The main topics addressed by this research, which in turn are defined by Brecht's legacy, are: the activation of the viewer's consciousness through a reflection of the facts represented, as a first topic, which originates through the productions created by the director, as a second topic. The spectator and the scene are therefore the pillars of this research. The aim of this study is to identify some ideas about the aesthetic design emanating from this filmography, understood as a byproduct of the renewing contemporary aesthetic thought. As part of the body of this research, Haneke's films set in a present and contemporary moment were selected in order to conclude in a critique that speaks directly about our world, after having reviewed the formal aspects found. The movies chosen for this research were the following: The Seventh Continent (1989), Benny's Video (1992), 71 Fragments of a Chronology of Chance (1994), Funny Games (1997), Code Unknown (2000), The Piano Teacher (2001) and Caché (2005) / Mestrado / Multimeios / Mestra em Multimeios

O presente estudo teve como objetivo verificar o efeito de restrições no comprimento do passo sobre o desempenho da marcha em adultos e idosos, supondo que: (a) quando submetidos a condições de marcha semelhantes, adultos e idosos apresentam desempenhos similares em alguns parâmetros da marcha; (b) as restrições no comprimento do passo interferem sobre a velocidade de deslocamento e sobre a relação de fase entre braço e perna da mesma forma para adultos e idosos; (c) as restrições no comprimento de passo causam maior impacto sobre a variabilidade das relações de fase entre membro superior nos idosos. Para verificar estas hipóteses, nove adultos jovens e oito idosos foram filmados em três tarefas: marcha regular, aumento de passo e diminuição do passo. As comparações foram feitas em função das seguintes variáveis: velocidade de marcha, cadência, razão entre o comprimento do passo e o comprimento do membro, amplitude de variação angular do tornozelo, amplitude de variação angular do membro superior, relação de fase e variabilidade da relação de fase entre os membros superior e inferior direitos. Os resultados encontrados revelaram que o padrão de marcha dos idosos apresentou-se semelhante ao de adultos em muitos aspectos. As restrições no comprimento de passo levaram a modificações significativas da velocidade de deslocamento para adultos e idosos, sugerindo que parte das modificações relacionadas ao padrão de marcha do idoso estão relacionados à diminuição no comprimento do passo. A coordenação de movimentos, analisada através da relação de fase entre membros superior e inferior direito, mostrou ser influenciada pela tarefa, enquanto a estabilidade da coordenação entre braços e pernas não foi afetada pela restrição do passo. Estes achados comprovam a hipótese formulada inicialmente, de similaridade das características adaptativas entre os dois grupos etários. A interpretação destes resultados permite concluir que: (a) em marcha regular, adultos e idosos apresentaram desempenhos semelhantes; (b) a restrição de comprimento de passo exerceu efeito significativo sobre a velocidade de deslocamento, sobre a amplitude de movimentação do membro superior e sobre a relação de fase entre membro superior e inferior igualmente para adultos e idosos e (c) a amplitude de movimentação do tornozelo e a variabilidade da relação de fase não foram alterados em função da restrição na amplitude do passo. / The main purpose of this study was verifying the effect of step length restrictions on gait performance of young and old aged, assuming that: (a) when submitted to similar gait conditions, young and old aged presents analogous performance in some gait parameters; (b) the step length restrictions intervene on gait velocity an phase relation between arm and leg in the same way for young and old aged; (c) the step length restrictions cause a larger impact on phase relations variability between superior and inferior limbs for old aged. In order to verify these hypothesis, nine young adults and eight old-aged was filmed on three tasks: regular gait, increase on step length and decrease on step length. The comparisons was made to the following variables: gait velocity, cadency, step length and leg length rate, amplitude of ankle angular variation, amplitude of arm angular variation, phase relation and phase relation variability between right superior and right inferior limbs. The results revealed that the old-aged gait pattern was similar to the adult pattern in considerably aspects. Step length restrictions carried to significative changes on gait velocity for young and old aged, suggesting that part of modifications on old people gait pattern are related to decrease on step length. The movement coordination, analyzed by phase relation between right superior and right inferior limbs was influenced by task condition but not the stability of coordination between arm and legs. These findings corroborates the initial hypothesis, about the similarity of the adaptative characteristics between both groups. The interpretation of these results allows concluding that: (a) on regular gait, young and old aged had similar performance; (b) the step length alterations exerted significative effect over gait velocity, amplitude of arm angular variation and phase relations between superior and inferior limbs on the same way for young and old aged; (c) the task condition had no influence over the amplitude of ankle movement neither over variability of phase relations.

En el presente trabajo de investigación se analizará las películas 2001: Odisea del Espacio y La Naranja Mecánica del director Stanley Kubrick desde la perspectiva visual de la dirección fotográfica, y su impacto en la sociedad estadounidense de los años 70’s.  El objetivo de este estudio es identificar los mensajes ocultos que busca demostrar Stanley Kubrick por medio del uso de técnicas fotográficas en sus películas 2001: Odisea del espacio y La Naranja Mecánica. Por ello, se realizará un análisis de la composición fotográfica, el manejo del color e iluminación, con la finalidad de interpretar y comprender su simbolismo, así como impacto social en Estados Unidos de la década del setenta. / In the present investigation, we will be analyzed from the visual perspective of the images composition of the films 2001: Space Odyssey and The Clockwork Orange by Stanley Kubrick with the purpose of what was their impact on American society in the decade of 1970. The objective of this study is to identify the hidden messages that Stanley Kubrick seeks to demonstrate through symbolism in his films, 2001: Space Odyssey and The Clockwork Orange. Therefore, an analysis can be made in the photographic composition of elements, the most explicit scenes of this work, in order to interpret them and understand their impact on American society in the seventies. / Trabajo de investigación

This dissertation performs close readings of a body of well-known East Asian films. The Japanese films discussed include Kitano Takeshi's Hana-bi (1997) and Fukasaku Kinji's Battle Royale (2000). From Korea, the dissertation focuses on Peppermint Candy (1999, Lee Chang-dong), The Coast Guard (2002, Kim Ki-duk), The Chaser (2008, Na Hong-jin), and four films by Park Chan-wook: Joint Security Area (1999), Sympathy for Mr. Vengeance (2002), Oldboy (2003), and Lady Vengeance (2005). Through an analysis of these films, this dissertation argues that the narrative cinema of South Korea and Japan, produced between 1997 and 2008, uses the representation of violence to foreground and critique the ideology of capitalism. Both South Korea and Japan see substantial economic growth, collapse, and rebuilding in the twentieth century. From 1986 to 1991, Japan experienced an asset price bubble, but its collapse in 1991 led to the period known as Japan's “Lost Decade” which marked the end of the nation's post-war economic miracle. A comparable trajectory occurs in South Korea. Following significant development in the 80s and 90s, the Asian Financial Crisis brings South Korea to a halt in 1997. In what came to be locally known as the “IMF Crisis,” South Korea had to rely on a $21 billion bailout loan from the International Monetary Fund. Just as Japan's economic collapse almost immediately preceded Korea's, both countries attempt to work through the trauma of the Lost Decade and the IMF Crisis in their national cinemas. Mirroring what audiences in East Asia were experiencing, the characters in these films endure instances of violent displacement. In response to their disenfranchisement, the protagonists of films such as Hana-bi and Sympathy for Mr. Vengeance brutally lash out. But unlike in the majority of narrative cinema, the characters' violent actions do not lead to resolution. Instead, violence only creates a recursive loop where systemic inequity persists. As a result, the brutal cinema of Korea and Japan pushes the representation of violence to its limit point and reveals the tacit goal-oriented logic where it is repeatedly used as a justified means to legitimate ends. By illustrating and problematizing this idea, these films uncover how this ideology of violence is a central tenet to the larger structure that actually produced the source of alienation: neoliberal capitalism. This dissertation thus demonstrates two points. First is the way in which economic trauma in Japan resonates in Korea, a process that carries over into their respective cinemas. Second is how these films assert that the representation of violence does not merely concern issues of film and media, but rather shares a deeper connection with the dominant ideology within globalization. As the films demonstrate, capitalism ultimately benefits the capitalist, a dynamic that can only occur at the expense of the laborer. These films thus articulate the inherent violence in this worldview that disregards the wellbeing of the Other. At the same time, the films also contend that it is that single-minded impetus towards profit that fueled the economic collapse, an almost inevitable result of the region's furious adaptation of industrial capitalism in a process referred to as ‘compressed modernity.’ Less interested in the enormous prosperity resulting from modernization in the region, the films confront and lament the often neglected but equally exorbitant costs. The violent cinema of South Korea and Japan thus insists that the financial crises of the late twentieth century, the persistence of economic inequality, the cinematic representation of violence, as well as the growth of its own industries, constitute a knot that can only be understood in its totality.

This thesis deals with the villains' depiction in the Marvel Cinematic Universe movies. By examining the first 20 movies of the series, I try to find out how are the villains depicted in the MCU movies and what are their motivations. This is achieved through combination of studying relevant literature that deals with the topic, qualitative content analysis of the movies and narrative analysis, which is based on the monomyth structure of Joseph Campbell and its reinterpretation for movies and television by Christopher Vogler. In this thesis I first shortly describe the history of superhero movie as a whole and the specifics of the shared Marvel Cinematic Universe. In the theoretical part I describe Campbell's and Vogler's narrative structure. Then I describe the methodology, which I then use to describe the findings and their interpretations. In this part I examine the villains' motivations, which are divided into several categories, and examine their story arcs through the prism of the Hero's journey structure. Here it is shown that the villains in the MCU movies are depicted in an overwhelmingly Manichean way. In the discussion, I describe possible issues with my research and suggest potential directions of further research. In the conclusion, I then summarize the findings of both the theoretical...

This report covers the methodology, research, and design process of my Thesis Project I: The Mixed Reality Book. The project is a proof-of-concept system that adds contextual periphery effects to regular paper books, using Spatial Augmented Reality. The intention is to enhance reading experiences within public libraries – amongst children and students. In this brief study we investigate how Projected Periphery can create, improve, and augment reading by manipulating the physical book, and the area around it, using projections. Throughout the study, I conduct design engagements, rapid prototyping, and workshops with the intention of identifying meaningful interactions. Two primary contexts of use are identified and analysed with an emphasis on developing usable design conventions and laying the foundation for a Mixed Reality Book system. The result is a working prototype, analysis of the research and challenges, and an exploration of how this technology could be shaped further and deployed.

京都大学 / 0048 / 新制・課程博士 / 博士(人間・環境学) / 甲第18351号 / 人博第664号 / 新制||人||160(附属図書館) / 25||人博||664(吉田南総合図書館) / 31209 / 京都大学大学院人間・環境学研究科共生人間学専攻 / (主査)教授 加藤 幹郎, 教授 服部 文昭, 教授 松田 英男 / 学位規則第4条第1項該当 / Doctor of Human and Environmental Studies / Kyoto University / DGAM

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Thesis advisor: Celeste Wells / This paper analyzes the rights and privileges Black Widow and Captain Marvel are afforded in their respective films coupled with audience perception to understand how that might inform the future of the action heroine genre. There is a stark contrast between the reception of Black Widow and Captain Marvel that is best understood through the release timing of the films along with the character’s plotline within the Marvel Cinematic Universe. Regardless, the rights and privileges each character is afforded in both films demonstrate a dimension of the female experience that had not been fully realized in the MCU prior to their release. Captain Marvel and Black Widow indicate a progression of female representation within the action heroine genre– both in frequency and quality. / Thesis (BA) — Boston College, 2022. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Departmental Honors. / Discipline: Communication.