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Showing 1 to 5 of 5 (0.041 seconds)Spelling suggestions: "subject:"cliffhanger"" "subject:"cliffhangers""
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Da veiculação em fluxo contínuo para a disponibilização: o gancho na produção de sentido da telenovela Avenida Brasil / From fruition of content on continuous flow to video on demand: the cliffhanger in the production of meaning of the soap opera Avenida BrasilCazani Júnior, Luis Enrique [UNESP] 25 August 2016 (has links)
Submitted by Luís Enrique Cazani Júnior null (cazani.unesp@hotmail.com) on 2016-09-03T20:05:38Z
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Previous issue date: 2016-08-25 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Esta dissertação centra-se na análise do fenômeno do gancho na primeira fase da telenovela Avenida Brasil (2012), considerando as fruições de conteúdos em fluxo e sob demanda. Ao propor um exercício analítico, que compreende a integralidade do capítulo veiculado na televisão e a sua fragmentação na plataforma oficial de acesso on-line, questiona-se a supressão de cenas e marcas tradicionais da interrupção, e discute-se a susceptibilidade do enunciado a uma possível reconfiguração. No trabalho de investigação, procura-se levantar a utilização do gancho em matrizes de linguagem e seus efeitos de sentido, associando-o aos seguintes aspectos: a peripécia, ao reconhecimento e a catástrofe da tragédia grega, aos golpes teatrais do melodrama, ao corte sistemático do romance-folhetim, ao clímax, a pinça, aos tempos fortes e a instauração de pontos de virada. Como protocolo metodológico, seguem-se as concepções de gêneros do discurso e dialogismo de Bakhtin (1992), analisam-se as cenas seguindo as pontuações de Mckee (2006) e vislumbra-se a organização da história de acordo com o padrão clássico narrativo proposto por Propp (2010), constituído pelas funções das personagens. / This dissertation focuses on the analysis of the phenomenon of the cliffhanger in the first phase of the soap opera Avenida Brasil (2012), considering the fruitions of content transmitted on continuous flow and video on demand. By proposing an analytical exercise, comprising the whole of the chapter aired on television and its fragmentation in online access official platform, we question the deletion of scenes and traditional mark of interruption and discusses the susceptibility of the utterance to a possible reconfiguration. In research work, we seek to raise the use of cliffhanger in arrays of language and its meaning effects, associating it with the following aspects: the peripety and recognition and the catastrophe of the Greek tragedy, technical features of theatrical melodrama, the systematic cutting of serial novel, the climax, the pincer, the strong weather, and the plot point. As a methodological protocol, the following are the concepts of discourse genres and dialogism of Bakhtin (1992), analyzes the scenes following the considerations of Mckee (2008) and conjecture about the organizations of the history, according to the classic narrative pattern comprised by functions proposed by Propp (1984). / FAPESP: 2014/10135-3
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Cliffhangers : Ett narrativt verktyg för förundran och kreativitet i klassrummet / Cliffhangers : A narrative tool for wonder and creativity in the classroomWidlund, Johanna January 2022 (has links)
This study is about applying narrative theory into the media classrooms. Can a teacher create wonder and curiosity in his or her classroom by using classic storytelling techniques? The use of compelling storytelling has been used throughout history. With today’s media climate and the endless amount of streaming entertainment that surrounds us, makes us feel, fantasize, become inspired, and forget about time and space, how can we as teachers not imagine applying that sense of wonder into the classroom? This study´s main focus is on cliffhangers as an educational tool in the classroom and examines the teachers’ point of view on the subject of cliffhangers and the use of narrative techniques. How can a teacher apply classical narrative techniques to keep or even inspire to wonder, curiosity, and the will to learn more in the media classroom? Does a cliffhanger motivate the student to learn more? Do professional teachers see possibilities or restrains by using narrative techniques, such as cliffhangers in their classroom? Lastly, how can a cliffhanger contribute to a more creative classroom climate? This paper tries to find the answers to these questions. This paper examines the concept of cliffhanger, how to construct one, how it is used in normal context within film and television, and how it can be used as a creative tool in the classroom. I create two cliffhangers for two teachers and observe their performance in the classroom. Supported by previous research concerning the importance of film pedagogy in school and media education, the concept of affordance, narrative theory, achieving a sense of wonder, and the importance of a creative teaching practice. The reason for this study is to inspire and awake new ideas in other teachers to how one can practice a creative classroom and to hopefully stimulate the students to their own creativity and wonder. The result points to the importance of keeping the cliffhanger relevant to the assignment and subject, the teacher’s performance, and a general positive outlook on narrative techniques in the classroom. With the major theme cliffhanger and narrative theory in education, this study is summarized and presented with a 3D structure of the literally word cliffhanger in a cliffhanger situation. Will the creative teacher save the day? To be continued…
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A study of D B Z Ntuli's radio trilogy : Isivumelwano, Isivumelwano Esisha and Ngenxa YesivumelwanoMaphumulo, A. M. 06 1900 (has links)
This is a study ofD.RZ. Ntuli's radio trilogy: Isivumelwano, IsivumelwanoEsisha
and Ngenxa Yesivumelwano. Since the term trilogy is not a familiar concept in Zulu
literary studies, this is an attempt to fill that void. This thesis provides some new
insight into this concept, while also devising a practical method for the analysis of
the radio trilogy.
Chapter one outlines the aim of the study, scope of the study and the definition of
some terms. This is followed by explaining the method of research and theories on
radio serial dramas. There is also a discussion of the historical background in the
development of Zulu radio serial drama and Ntuli's position and contribution to it.
Finally, there is a review of previous research studies in Aincan Languages on radio
drama.
In chapter two plot structure of a radio trilogy is discussed. Theories of drama
trilogy by trilogists like Hitchcock, Bakhtin, Asimov and Norris are discussed in
detail. This is followed by an in-depth analysis of the plot structures of
Isivumelwano, Jsivumelwano Esisha and Ngenxa Yesivumelwano.
Chapter three deals with the characterization of radio trilogy. It distinguishes
between the actors and characters. Different methods of character portrayal are
investigated.
Chapter four deals with perspectives on the theme of the radio trilogy. Types of
themes are dealt with.
Chapter five discusses the dialogue in radio trilogy. It deals with the differences
between a dialogue, duologue and monologue, and explains the functions fulfilled
by dramatic utterances and dialogue. Lastly a nature of dialogue as a characteristic
of the dramatic action is discussed.
Chapter six concentrates on the style of radio trilogy. Elements and different types
of styles are discussed. Kinds of images, figurative language, proverbs, idioms,
biblical allusions and various influences are discussed in detail.
Chapter seven concludes by summarizing the main finding ofthis study, and giving
observations about the quality ofNtuli's contribution to radio drama trilogy. lt also
explores some possibilities regarding future studies on Ntuli's radio trilogy. / African Languages / D. Lit. et Phil. (African Languages)
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A study of D B Z Ntuli's radio trilogy : Isivumelwano, Isivumelwano Esisha and Ngenxa YesivumelwanoMaphumulo, A. M. 06 1900 (has links)
This is a study ofD.RZ. Ntuli's radio trilogy: Isivumelwano, IsivumelwanoEsisha
and Ngenxa Yesivumelwano. Since the term trilogy is not a familiar concept in Zulu
literary studies, this is an attempt to fill that void. This thesis provides some new
insight into this concept, while also devising a practical method for the analysis of
the radio trilogy.
Chapter one outlines the aim of the study, scope of the study and the definition of
some terms. This is followed by explaining the method of research and theories on
radio serial dramas. There is also a discussion of the historical background in the
development of Zulu radio serial drama and Ntuli's position and contribution to it.
Finally, there is a review of previous research studies in Aincan Languages on radio
drama.
In chapter two plot structure of a radio trilogy is discussed. Theories of drama
trilogy by trilogists like Hitchcock, Bakhtin, Asimov and Norris are discussed in
detail. This is followed by an in-depth analysis of the plot structures of
Isivumelwano, Jsivumelwano Esisha and Ngenxa Yesivumelwano.
Chapter three deals with the characterization of radio trilogy. It distinguishes
between the actors and characters. Different methods of character portrayal are
investigated.
Chapter four deals with perspectives on the theme of the radio trilogy. Types of
themes are dealt with.
Chapter five discusses the dialogue in radio trilogy. It deals with the differences
between a dialogue, duologue and monologue, and explains the functions fulfilled
by dramatic utterances and dialogue. Lastly a nature of dialogue as a characteristic
of the dramatic action is discussed.
Chapter six concentrates on the style of radio trilogy. Elements and different types
of styles are discussed. Kinds of images, figurative language, proverbs, idioms,
biblical allusions and various influences are discussed in detail.
Chapter seven concludes by summarizing the main finding ofthis study, and giving
observations about the quality ofNtuli's contribution to radio drama trilogy. lt also
explores some possibilities regarding future studies on Ntuli's radio trilogy. / African Languages / D. Lit. et Phil. (African Languages)
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FauxtopiaKampf, Raymond William 01 January 2004 (has links)
To all who come to this fictitious place:Welcome.Fauxtopia is your land. Here, age relives distorted memories of the past, and here, youth may savor the challenge of trying to understand the present. Fauxtopia is made up of the ideals, the dreams and the fuzzy facts which have re-created reality... with the hope that it will be a source of edutainment for all the world.Ray KampfFauxtopia DedicationApril 1st, 2004
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