京都大学 / 新制・課程博士 / 博士(情報学) / 甲第23315号 / 情博第751号 / 新制||情||128(附属図書館) / 京都大学大学院情報学研究科社会情報学専攻 / (主査)教授 緒方 広明, 教授 黒田 知宏, 教授 楠見 孝 / 学位規則第4条第1項該当 / Doctor of Informatics / Kyoto University / DFAM

In accordance with an experimental setup this thesis investigates to what extent the participants' attitudes and aesthetic preferences are influenced by the lateral direction of light in moving image sequences. It is also investigated whether the participants' handedness correlates with their advertising evaluation. The purpose of the study is to generate new knowledge of potential biases in moving images that could be applied by image producers to create more compelling commercials. Our work is based on a transdisciplinary theoretical approach and the results are analyzed based on biopsychological, sociocultural and perceptual explanatory models. Three self-designed commercials with a left oriented illumination position were used as stimulus, the stimulus were also inverted horizontally. The participants were asked to assess their attitudes toward the commercials with either left or right oriented lighting. Two surveys were conducted: one with a within-subjects design and one with a between-subjects design, a total of 172 people participated. No significant difference between left and right oriented illumination position occurred in any of the groups for neither feelings toward ad, Aad , Ab , or PI. The results suggests that a bias does not occur in dynamic images, unlike the left oriented bias that has been reliably shown in previous studies that relate to still images. Nor could any correlation be established between reported attitudes and handedness.

Dans le cadre de cette recherche, nous nous proposons de réfléchir sur les matériels à mettre en place en vue d’un enseignement/apprentissage centré sur l’autonomie dans un contexte FOS. Les concepts en vigueur nous semblent peu adaptés à la situation des étudiants de première année universitaire (inscrits en science et technologie).L’objectif majeur de notre réflexion est d’apporter une contribution aux grands principes de l’auto-apprentissage. Nous avons voulu dépasser le stade de la théorie et nous avons réfléchi sur la faisabilité et la pratique de certaines notions qui ont permis le lien entre l’autonomie de l’apprentissage et le FOS : la centration sur l’apprentissage, l’apport des neurosciences et le cognitivisme.Nos conclusions de recherches nous ont permis de :- revoir/reconsidérer certains concepts clés de l’autonomie et de l’auto-apprentissage à la suite de l’expérimentation menée avec nos étudiants- des propositions concrètes pour une application des principes sur lesquels nous nous sommes penché. / For the sake of this research, we intend to reflect upon the materials that we can establish in order to enhance autonomy in language teaching /learning within the context of FOS (Français sur objectifs spécifiques : French specific pruposes). The existing concepts do not seem to coordinate with the first year technology and sciences students’ needs.The main objective of our research is to bring a contribution to the principle of self-directed learning. We aimed to go beyond theory and to reflect upon the feasibility and the practice of the concepts that create the bound between learners autonomy and FOS ; focus on learning, contribution of neurosciences and cognitivism.The research findings have enabled us to:- review/ reconsider some key concepts of autonomy and self-directed learning through the experiment conducted with our students.- present some practical applications of the principles that we have examined.

Thesis submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfillment of the requirement for the degree of Doctor of Philosophy. Johannesburg, 2017 / This thesis explores the contribution and significance of Multichoice Nigeria and its Africa Magic channels in the development of the Nigerian film industry. The main objective of the study is an interrogation of the terms of Multichoice contracts with Nollywood content producers as well as a review of the effect of the programmes of Multichoice on content producers. The second key objective is to examine the development impacts of these initiatives on the Nigerian film industry. Semi-structured in-depth interviews were conducted with industry practitioners, representatives of the Multichoice and officials of government agencies in Nigeria in addition to analysis of policy documents. The thesis is influenced by critical political economy and the critical media industry studies approach developed by Haves, Lotz and Tinic (2009) whose study of creative and entertainment industries focuses on content producers and cultures of production in media corporations. The study examines Multichoice’s production initiatives as perceived by Nollywood content producers, and provides situated accounts of Nollywood filmmakers’ experiences, encounters, pressures and tensions which undermine Multichoice’s apparent social objectives. It modifies the production culture to the culture of business in the media industry and exposes the need for industry practitioners to engage intellectual property lawyers in their business dealings with Multichoice and other corporate agencies in order to forestall exploitation. While highlighting the complexities, contradictions and ambiguities in the Multichoice-Nollywood relationship, as well as the challenges confronting Nollywood, I argue that contrary to the reservations of the content producers, the industry has benefited from Multichoice in direct and indirect ways. These include improved quality of film production, the increased online presence of Nollywood films, enhancing the local tourism and hospitality industry and promoting professionalism. The study therefore recommends government intervention to address the existing mistrust between Multichoice and Nollywood. The study inspires the “early bird theory” to interpret the Multichoice-Nollywood relationship and experience; studying similar relationships between media corporations and the local film industries in Third World nations. This thesis makes original contribution to knowledge by providing resource material to the scarce literature in critical media industry studies with particular regard to the African film industry. / XL2018

Thesis advisor: Stuart Hecht / The work done on this project has combined the knowledge I have accumulated from nearly all of the classes and learning opportunities I have experienced over the course of college. The first semester's work consisted of a long literary analysis of Three Days in comparison to three other plays contemporary with it. This resulted in “Looking Behind Us As We Leap Ahead.” In the paper, I compared the use of time in Three Days of Rain, Sideman by Warren Leight, Angels in America, Part One: Millennium Approaches by Tony Kushner, and Sight Unseen, by Donald Margulies. All of these plays were written by American playwrights in the last decade of the twentieth century. The initial connection between the four plays was the fluidity of time, an element of dramatic structure that creates abstractions and skewed perception within the play. However, after studying the plays in conjunction with each other, I was struck by just how much the concept of time can affect a play not only in its form, but also in its content. Issues related to history, preservation, and planning for the future ran through all four of the plays, as it became obvious that time was of the utmost importance in the theater of the 1990s. The same proved to be true in the production of theater in 2004. The rest of the thesis was devoted to the production of Three Days of Rain, directed by me and produced by the Contemporary Theater in the Bonn Studio in March 2004. I kept journal entries throughout the process of creating this thesis, which aided in the final written part of the thesis, “One Year of Rain: Memoirs of a Director.” This section, while more personal in nature than the first academic writing, also deals with issues of time, as it documents the trials and successes of this production, as well as the personal growth of the author and director over the course of the project. The additional information supplied is evidence of dramaturgical research related to the production. Outside sources filled in the information about the world of the play that the text was missing. The combination of the support of this research and the production of the play allowed the ultimate goal of the director to be realized: To bring the play to life, and to bring real life to the play. / Thesis (BA) — Boston College, 2004. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Theater. / Discipline: College Honors Program.

Esta pesquisa abordará o processo criativo no cinema de ficção e as transformações operadas ao longo de toda sua produção; do embrião da idéia à primeira forma do roteiro; do roteiro ao material filmado, montagens de imagem e som, até o filme pronto. O foco desta pesquisa será o trabalho do diretor ao longo de todas as etapas e o caminho percorrido por suas tomadas de decisões, como o fio que conduz todo o processo até a cristalização na forma final do filme. Nesta pesquisa analisaremos o trabalho de outros chefes de equipe e técnicos do cinema, tratados aqui do ponto de vista cooperativo com suas interferências e colaborações, interpretadas dentro do processo de tomada de decisão pertinente ao trabalho do diretor/ realizador. Pretende-se, para tanto, utilizar neste projeto de pesquisa os filmes A Via Láctea (2007) de Lina Chamie e Hotel Atlântico (2009) de Suzana Amaral, como objetos principais de estudo. Serão considerados como fonte de pesquisa: anotações e arquivos referentes à confecção do filme, entrevistas com as diretoras e os making ofs dos mesmos. Neste projeto serão utilizados os conceitos apresentado por Paul Valéry e René Passeron no que diz respeito à Poética e o processo que envolve a criação artística. Também norteará este projeto A Teoria dos Cineastas de Jacques Aumont no que toca reflexões desenvolvidas pelos próprios cineastas sobre o ofício da realização. / This study is about the filmmaking creative process of fictional movies and transformations occurred all long a film production; from its embryonic idea to its first screenplay, from the screenplay to its shootings, from the images and sounds to its first edition until the film is done. We will focus on the craft of the film director, through the entire realization of a feature film. We\'ll track his process of taking decisions that leads the consolidation of a film project into its final format. In this research we\'ll investigate the craft of other heads of department and crewmembers under the perspective of their contributions and interferences on the director\'s work and creative process. For that purpose, we\'ll to analyze the features films The Milky Way (2007) by Lina Chamie and Hotel Atlântico (2009) by Suzana Amaral. There will be considered manuscripts, rough drafts referring to these films productions, as well as, interview with the directors and making of material. The concepts presented by Paul Valéry and René Passeron about Poetics and the process that embraces the art creation\'s process will guide our research. Also, we\'ll consider Jacques Aumont\' Theories of Filmmakers and David Bordwell\' On the History of Film Style concerning the reflections elaborated about they own craft.

Esta pesquisa analisa o caráter fundamental dos recursos plásticos de figurino e cenário para o processo de construção do personagem no cinema. Verifica a importância de uma direção de arte mais livre ao fazer suas composições, ao optar por formas e cores que sejam mais coerentes com ideias e sensações do que com reproduções realistas. O estudo se faz a partir da obra cinematográfica de Federico Fellini, diretor despreocupado com concepções realistas e criador de um processo criativo muito próprio. Serão considerados especificamente os filmes La Strada (1954), Julieta dos Espíritos (1965) e Toby Dammit1 (1967), por serem emblemáticos desta construção plástica fortemente elaborada. / This research verifies the fundamental character of visual resources like costumes and scenery for the process of construction of the characters on cinema. Verifies the importance of more freedom for art direction making its compositions, opting for forms and colors more coherent with ideas and sensations than realistic reproductions. The study is made from cinematographic works of Federico Fellini, director which is unworried with realistic conceptions and which is creator of a creative process very particular. In this work will be considered specifically three films, La Strada (1954), Julieta dos Espíritos (1965) e Toby Dammit2 (1967), because of their emblematic visual construction strongly worked.

A presente pesquisa descreve os processos de construção espacial teatral realizados pelo Grupo XIX de Teatro a fim de apresentar os procedimentos utilizados para a efetivação de uma poética característica no trabalho da direção de arte, aqui abordado como sendo a concepção visual de um ambiente, englobando espaço, iluminação, indumentária e adereços. Ao reconstruir cada experiência, analiso as etapas do fazer teatral em consonância com a ocupação de espaços específicos. O caráter investigativo das propostas abrangem elementos relacionais, como o entorno, as características arquitetônicas, a comunidade e a própria cidade como participantes da visualidade e funcionamento da cena. Os três espetáculos criados pelo grupo constituem, deste modo, situações distintas que mantém, contudo, uma continuidade evolutiva. Percorrê-los em sua feitura e resultado permite compreender a diversidade e liberdade destas ações, assim como perceber como as operações realizadas pela direção de arte transformam-se à medida que as propostas e condições solicitam. / The present study describes the processes of theatrical space construction made by the Grupo XIX de Teatro, in order to present the procedures for the realization of a poetry featuring the unique work of art direction, defined as the visual conception of a environment, including space, light, costumes and props. To reconstruct each experiment, I analyze the steps of the theatrical development in line with the occupation of specific spaces. The investigative character of the proposals include relational factors such as the surroundings, the architectural features, the community and the city itself as active participants to the scenes and visual context. The three spectacles created by the Grupo XIX de Teatro are distinct cases, however, they maintain a continuing evolution. Their making process and final results allow us to understand the diversity and freedom of those actions, as well as perceiving how art direction can transform the operations due to the proposals and conditions applying.

How does one approach the human body when designing and use it as a tool for investigating to develop shape-expression in dress? For this research, the movement of the human body has been chosen as the base element to generate shapes from movement, to enable a form of visible objects. This has been accomplished by carefully studying the original movement of a human body through film. Looking att balance, direction and general shape. The new human body, which has been generated from this research, provides the viewer or creator a different perspective of the body in relation to the static body, which is regularly used in fashion design from the beginning of the design process. This research has been conducted to propose the importance of the human body as an active element in the beginning of the design process and to be viewed as a new platform of innovative design and artistic development in dress. In addition, to develop a contemporary understanding of the body’s role when designing and developing fashion design. By using the human body in motion for shape and form, in contrast to the regular static dummy/body or flat sketching, the collection challenges the standard methods of designing and applying techniques. / Program: Modedesignutbildningen

This dissertation is a genealogical study of the intersections between popular cinema, popular religion and politics in South India. It proceeds with a particular focus on the discursive field of Telugu cinema as well as religion and politics in the state of Andhra Pradesh from roughly the 1950s to the 2000s. By discursive field of cinema, I refer to not only filmic texts, but also disciplines of film making, practices of publicity, modes of film criticism as well as practices of viewership all of which are an inalienable part of the institution of cinema. Telugu cinema continued to produce mythological and devotional films based mostly on Hindu myths and legends many decades after they ceased to be major genres in Hindi and many other Indian languages. This was initially seen simply as an example of the insufficiently modernized and secularized nature of the South Indian public, and of the enduring nature of Indian religiosity. However, these films acquired an even greater notoriety later. In 1982, N.T. Rama Rao, a film star who starred in the roles of Hindu gods like Rama and Krishna in many mythologicals set up a political party, contested and won elections, and became the Chief Minister of the state, all in the space of a year. For many political and social commentators this whirlwind success could only be explained by the power of his cinematic image as god and hero! The films thus came to be seen as major contributing factors in the unusual and undesirable alliance between cinema, religion and politics. This dissertation does not seek to refute the links between these different fields; on the contrary it argues that the cinema is a highly influential and popular cultural institution in India and as such plays a very significant role in mediating both popular religion and politics. Hence, we need a fuller critical exploration of the intersections and overlaps between these realms that we normally think ought to exist in independent spheres. This dissertation contributes to such an exploration. A central argument this dissertation makes is about the production of the figure of the citizen-devotee through cinema and other media discourses. Through the use of this hyphenated word, citizen-devotee, this study points to the mutual and fundamental imbrication of the two ideas and concepts. In our times, the citizen and devotee do not and cannot exist as independent figures but necessarily contaminate each other. On the one hand, the citizen-devotee formulation indicates that the citizen ideal is always traversed by, and shot through with other formations of subjectivity that inflect it in significant ways. On the other hand, it points to the incontrovertible fact that in modern liberal democracies, it is impossible to simply be a devotee (bhakta) where one's allegiance is only to a particular faith or mode of being. On the contrary, willingly or unwillingly one is enmeshed in the discourse of rights and duties, subjected to the governance of the state, the politics of identity and the logics of majority and minority and so on. Religion as we know it today is itself the product of an encounter with modern rationalities of power and the modern media. Hence, we cannot simply talk about the citizen or the devotee, but only of the modern hybrid formation, the citizen-devotee. The first full length study of the Telugu mythological and devotional films, this dissertation combines a historical account of Telugu cinema with an anthropology of film making and viewership practices. It draws on film and media theory to foreground the specificity of these technologies and the new kind of publics they create. Anthropological theories of religion, secularism and the formation of embodied and affective subjects are combined with political theories of citizenship and governmentality to complicate our understanding of the overlapping formations of film spectators, citizens and devotees.