Thesis (M.S.)--University of Wisconsin--Madison, 1964. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [200]-205).

Thesis--Syracuse University. / Vita. Includes bibliographical references (leaves 612-628).

Thesis (M.F.A.)--University of North Texas, May, 2007. / Title from title page display. Includes bibliographical references.

Orientador: Marcos Américo / Banca: Denis Porto Reno / Banca: Vicente Gosciola / Resumo: A Associação Ferroviária de Esportes de Araraquara (AFE) é uma agremiação fundada por ferroviários e tem 65 anos de história no futebol do estado de São Paulo e do Brasil.O trabalho buscou propor um método de produção de um documentário transmídia sobre a AFE, entre os anos de 1996 e 2016 (período durante o qual a equipe buscou e conquistou acesso à principal divisão de futebol de São Paulo), por meio da plataforma Eko-Interlude.Esta plataforma foi escolhida por ser um ambiente que, por sua característica transmidiática, pode dialogar com as novas gerações de forma amigável, gerando mais produtividade ao objetivo do documentário, já que foram utilizados conceitos de Edutretenimento e Infotretenimento. Para facilitar a compreensão do trabalho, optou-se por utilizar um organizador prévio (OP), o diagrama V de Gowin, que auxiliou na integração do domínio conceitual (pensar) e do domínio metodológico (fazer), criando mecanismos de feedback sobre a metodologia utilizada. Como resultado,foi possível conhecer mais sobre o tema do trabalho (AFE), explorar o processo de construção ea navegabilidade do documento histórico por meioda plataforma, e se esta estimula ou não o surgimento de uma nova geração de fãs para a equipe. / Abstract: The Araraquara Sports Railway Association (AFE) is a federation founded by railroaders and had 65 years of history in football in the state of São Paulo and Brazil. The work sought to propose a method of producing a transmissible documentary about the AFE between 1996 and 2016 (during which period the team sought and gained access to the main football division of São Paulo through the interlude platform. This platform was chosen because it is an environment that, because of its transmidious characterisitic, can dialog with the new generations in a friendly way, generating more productivity to the documentary objective, since concepts of Edutretenimento and Infotretenimento were used. To facilitate the understanding of the work, we chosen to use a previous organizer (OP), Gowin's V diagram, which assited in the integration of the conceptual domain (thinking) and the methodological domain (doing), creating feedback mechanisms on the methodology Used. As a result, it was possible to know more about the work theme (AFE), explore the construction process and the navigability of the historical document throught the platform, and whether or not this stimulates the emergence of a new generation of fans fof the team / Mestre

Orientador: Denis Porto Renó / Banca: Marcos Américo / Banca: Pollyana Ferrari Teixeira / Resumo: Desde o seu surgimento, o documentário sempre esteve vinculado à formação de conhecimento cidadão. Esta pesquisa teve como objetivo analisar o potencial do documentário na internet para a construção do conhecimento em rede. Para isso, foi utilizada a abordagem do conhecimento conectivista, teoria de aprendizagem contemporânea que considera formação de redes como fundamental para o processo de formação do conhecimento. Para efetuar a análise, foi realizado um estudo de caso múltiplo, de caráter analítico, de três documentários publicados no portal do The New York Times e respectivas redes geradas na plataforma Twitter, selecionados pela diversidade temática e pela quantidade de posts coletados. O estudo de caso adotou uma abordagem mista, por meio de uma análise fílmica e de redes sociais de cada um dos documentários, com o objetivo de estabelecer possíveis relações entre os temas abordados e as redes de conhecimento que foram coletadas. Ao fim da pesquisa, são oferecidas contribuições para a discussão sobre a relação entre o documentário e as redes de conhecimento do Twitter, por meio de um diálogo entre os resultados do estudo de caso e questões atuais no campo do jornalismo. / Abstract: Documentary is linked to knowledge formation of citizens since its emergence. This research aimed to analyze the potential of online documentary for the networked knowledge formation. In order to that, it was applied the connectivist knowledge approach, a contemporary learning theory that considers network formation fundamental for the knowledge formation process. A multiple and analytical case study was held of three documentaries published in the The New York Times website and their networks on Twitter, selected by the diversity of the subjects and amount of collected posts. The study methods present a mixed approached, with a filmic analysis and a social network analysis of each of the three documentaries, in order to establish possible relationships between its subjects and collected networks. At the end of the research, we offer contributions for the discussion on the relationship between documentary and Twitter knowledge networks, relating the case study results with contemporary topics in the journalism field. / Mestre

This dissertation examines the cleared spaces after disaster and the way the rhetoric of utopian projects is taken up by corporate and privatizing ventures to mask projects that seek to shut down participation in the public sphere. Chapter one argues that there are mechanisms within societies that can push against these forces by promoting a cosmopolitan sensibility that protects the commons and respects the alterity of the Other. Such mechanisms have theoretical roots in the thinking of Robert Nozick and Fredric Jameson but have been rethought more recently by Bruce Robbins, Jean-Luc Nancy, and Seyla Benhabib. I read literature alongside documentaries and memorials to discover the way cultural texts model these methods of pushing back against neoliberal projects in the wake of 9/11 and Katrina by bringing ethics, as Emmanuel Levinas does, into "real world" situations. Projects that co-opt the commons after disaster convey a imitative cosmopolitanism that can be counteracted through giving agency to those who do not have it, constructing communities of access for the future, supporting a form of public mourning that promotes critique, and protecting post-disaster spaces from becoming only tourist destinations. Chapter two looks to the way the 9/11 fiction of Moshin Hamid, Claire Messud, Alissa Torres, Paul Auster, and Jonathan Safran Foer models a cosmopolitanism that repairs the self's relationship to the Other by allowing the Other an agency previously unavailable before 9/11. Chapter three examines how When the Levees Broke, Trouble the Water, Kamp Katrina, Katrina Ballads, A.D.: New Orleans after the Deluge, and Zeitoun foreground the vulnerability of Gulf Coast residents by linking their vulnerability to the nation's now damaged ecological relationship to the coast. Chapter four explores the cultural memory at a range of 9/11 and Katrina memorials in New York, Washington D. C., and along the Gulf Coast in order to find memorials that reinvigorate the commons by melding public mourning with critique. The epilogue examines the larger implications of my dissertation for the field of American studies in examining the culture of disaster that has arisen in the past decade.

This dissertation explores how life narratives created by trans*-identified people (transsexual, transgender, genderqueer, and other non-binary identities included in the term’s asterisk) imagine new categories by re-working familiar stories; trans* life narratives are thus indispensable for comprehending how gender, identity, and self shape each other across social contexts in relation to dominant cultural narratives and embedded epistemologies. Prevailing U.S. ideologies (created and maintained through medical and media discourses) conceive of trans* identity through a binary formation, reinforce trans* people as objects who exist for nontrans* consumers, and rationalize trans* people as trapped within improper bodies or liberated within surgically constructed new ones. In opposition, twenty-first century narratives by filmmakers Jules Rosskam and Gwen Tara Haworth, autobiographers Jennifer Finley Boylan and Alex Drummond and YouTube digital storytellers Ky Ford and Skylar Kergil imagine trans* identity as productive – the goal is not to explain or justify gender diversity but to embrace it and to continue to widen its collective scope. The twenty-first century narratives I analyze reconceptualize trans* identity as viable with or without medical intervention and articulate a whole, continuous subject rather than a subject split between pre- and post-transition. Evoking a new historical moment, these life writers and media producers celebrate their identity in spite of or even because of the transphobia they experience. In so doing, radical trans* life narratives exemplify how medical models and popular media fail those who they purport to protect and represent. Gender is an identity as well as a social and historical process, which is constantly open to investigation. If laying claim to an identity makes subjects, as Michel Foucault argues, the process also occurs bi-directionally: identities come into existence through the act of naming and narrating them. As more individuals articulate what it means to be trans*, personal and collective knowledges will expand to include a range of diverse subjectivities, some of which have yet to be narrated into existence.

This thesis is an inquiry into the creative processes of poetry and poetic expression in documentary. The practice-based element is a 60 minute video about a poet living in Exeter, UK, called James Turner. The documentary is entitled, The Knotweed Factor. This written element of the thesis contextualises the investigation as a discourse on blindness and visual impairment. There are few representations of blindness and/or visual impairment (VI) in The Knotweed Factor. Rather, the documentary is concerned with how visual information (e.g., filming a poet) is translated non-visually (e.g., the sound of the poem being recited). It also addresses the issue of how the non-visual is translated into the visual. I argue in this text that blindness/VI is marginalised in visual studies/culture. This is unfortunate because blindness/VI studies provides valuable context for understanding the dynamics of sound and vision in creative media, which is a central concern of The Knotweed Factor. The rationale for taking this approach is as follows: During the editing, it was noticed that Turner (who is sighted) provides a kind of unprompted audio description (AD) of events in his environment to the audience, as if he is participating in a radio documentary. This raised questions, not only about the ekphrastic possibilities of his technique, but also about the potential to contextualise such scenes as a disquisition on blindness/VI. Blindness/VI is an important and under-theorised element of visual studies/culture (VS/C). Many films, plays, animations, documentaries, and television programmes are audio described. AD enables the blind/visually impaired (also VI) to comprehend and enjoy visual action. It is suggested here that AD theory is an insufficient model for critically reflecting on the creative processes in The Knotweed Factor. This is because the field is presently more concerned with practicability than with aesthetics. It seemed more helpful to address the broader question of how blindness/VI is positioned in VS/C. Doing so has highlighted instances of exclusion and marginalisation in VS/C. In the course of the video production, it was discovered that the interaction of dreams, memories, and ideas (the mindscape) informs the temporal creative process. Most analytical models within VS/C (e.g., Deleuze) offer a dialectical approach to understanding creativity. Henri Bergson, however, proposes a theory of multiplicity, which considers the interplay of phenomenological creativity of the mindscape as a homogenous, multifaceted process, in place of a dialectical one. Martha Blassnigg interrogates Bergson’s responses to audiovisual media and argues that Bergson’s multiplicity formula is more useful for understanding these processes, both for artist and audience. Blassnigg interprets Bergson’s theory as a universality of idea communication. This thesis considers what the universality of audiovisual experience implies for blindness/VI studies. It does so by contextualising the written research as a discourse on VS/C. In The Knotweed Factor, the emotions, sounds, and visual ideas, memories, and dreams which inform James Turner’s creativity are conveyed to the audience in two ways: 1) By sound (Turner’s recitations, interviews, and conversations), and 2) by the documentary’s abstracted audiovisualisations of Turner’s poetry and mindscape. For Turner, the ‘image’ is a personalised, innate phenomenon. It is ephemeral, intangible imagination. Turner’s experience (audiovisualised in The Knotweed Factor) is compared in this written part of the thesis to pre-Socratic ideations of image-making. It is argued that for many cultures, the image was (and for some remains) an emanation of spirit or idea. In other words, the image was considered a transcendent force, and the ‘soul’ of the image eternal and universal. This transcendence is considered in this written element of the thesis as a bridge between the present academic gap in the fields of blindness/VI studies and visual studies/culture. In this text, The Knotweed Factor serves as a case-study to test how non- and minimal-visual elements of audiovisual art and media are positioned in VS/C. Constructed here is a history of the interpretation of blindness and the image, from pre-Socratic aesthetics to the Enlightenment, where ideas concerning the phenomenology of blindness and visual impairment were transformed into epistemological inquiries. This approach enables the researcher to reflect critically on the aesthetics of The Knotweed Factor, using the framework of the non-visual (in this case recited poetry) to test and interrogate the visual (i.e., ‘poetically’ visualised poetry).

Este trabalho aborda dois temas das ciências sociais: cinema e morador de rua. O cinema, lugar de onde nascem grandes inquietações, espaço rico para reflexões e, em algumas oportunidades se torna um caminho de expressão. Morador de rua é um sujeito que, individual ou coletivamente, contamina a grande magia de sobreviver. Buscamos fazer uma fusão desses dois temas ao analisar o cinema que aborda as estratégias de sobrevivência a partir das transformações miméticas e das peculiaridades dos moradores de rua. Esse trabalho contou com a realização de um audiovisual com moradores de rua sobre estratégias de resistência e modos de sobrevivência, produção que também inclui cenas de outros filmes que abordam a mesma temática. / This work concerns two themes of social sciences: movies and the homeless. The movies is the place for the birth of restlessness, a rich ground for reflection, and sometimes a path for expression. The homeless is an individual who, alone or collectively, contaminates the magic of surviving. Intending to make a fusion of both themes, the movies that deal with survival strategies from the homeless' mimetic transformations and peculiarities were analized. A documentary feature was made with the participation of homeless people on the topic of resistance strategies and surviving styles. The production also comprises scenes of other films about the issue.

This dissertation examines the origins, applications, and functions of visual effects in the historical documentary film. This research study investigates how aesthetic and editorial practices and tools are used for different image forms and as part of the visual presentation. A research design that implements qualitative interviews, visual analysis, and focus groups was incorporated to examine visual effects and images at three specific sites. The pan-and-zoom effect and its variants as well as select titles from the filmography of Ken Burns were used as case studies for this dissertation. The findings from the analyses suggest that visual effects for still image forms and the repetition of these applications and strategies are significant to the content depicted in images, the scope of the visual presentation, and the capacity for audiences to connect to historical information in the film.