This thesis expands the discussion of the mass appeal and sustained success of reality TV by initiating an examination of the direct connections between reality TV and cinematic and written fiction. As reality TV has firmly established itself as a successful genre of entertainment over the last two decades, scholarship has been slow to follow. The majority of existing scholarship focuses on reality TV as a descendant of the documentary and emphasizes the role of the non-professional, the average person, as the star. Reality TV's appropriation of structural elements from general fiction is acknowledged only briefly and the use of specific techniques borrowed from fiction is largely unexplored. Although reality TV is a variation of the documentary, this thesis explores reality TV's creation of its voyeuristic appeal through the appropriation of key elements that come directly from fiction. Specific techniques used to create a voyeuristic appeal in reality programs, such as the morally ambiguous character and the confession, can be traced, respectively, to the surprising sources of Alfred Hitchcock and Edgar Allan Poe. Reality TV, in appropriating these techniques from Hitchcock and Poe, has a similar formula for entertainment: the thrill of voyeurism as a sublime experience. The consistent appeal of reality TV cannot be fully understood without an awareness of its connections to these two great artists.

This study seeks to determine through survey research what characteristics film production crews possess that makes them so successful as an organization. The factors of age, gender, years of professional experience and education level were tested for their significance on how the respondents view their culture. Hofstede's six dimensions of organizational culture survey questions were rewritten to be applicable to the freelance film crew sample. The presentation of findings focuses on the resultant organizational profile of a film production crew, the workplace values of this group and the influence that the education level of the participants had on responses. The data presented here are valuable for organizational culture scholars, management scholars and those interested in applying the successful techniques of the film production crew to other business organizations.

This study aims to research the different methods used by four Swedish translators to deal with foreign words in translation, focusing on their choices in terms of foreignization [staying close to the original text] and domestication [adapting the translation to make it accessible for readers] and their effect on a Swedish readership. This study’s focus will be on foreign words in the ST. This focus was chosen because it allows for the study to research the conscious decisions of the translators. In the study, four translators’ translations of three of Edgar Allan Poe’s short stories will be analysed and compared. The research questions are as follows:  ● How do the translators deal with foreign (non-English) words in the source text?  ● Are the translators more prone to domesticate or foreignize the source text when translating foreign words and to what extent?  ● What are the potential effects of the translators’ choices on a Swedish reader?

Note:

No description available.

Denna uppsats analyserar visuell komedi i Edgar Wrights actionkomedi Hot Fuzz (2007) och hur de tekniska komponenterna: filmfotografi och klippning används för att gestalta detta tillsammans med manuset. För att analysera detta görs ett urval på tre scener per analysdel som utgår från en av de komponenter som uppsatsen använder sig av genom en multimodal metod. Syftet är att förstå hur manusförfattare kan gå till väga när de skriver komedi på film och även ha det visuella och rytmiska i åtanke. Genom de tre analyserna visar resultatet på en film som använt sig av visuella metoder för att gestalta komedi tillsammans med manuset och med det göra parodi av tidigare etablerade konventioner i liknande genrer. Hot Fuzz kan användas som exempel för filmskapare när de skriver och producerar komedifilmer i hur den använder sig av kamera, klipp och manus.

This study examines the ways early leaders can influence the process of institutionalization in public organizations. Using Schein's (1983, 1991) model of cultural creation and embedding as a heuristic device, secondary historical sources detailing the creation and development of the Central Intelligence Agency (CIA) and the Federal Bureau of Investigation (FBI) and the careers of three significant leaders are used to understand the institutionalizing effects of those leaders, how they created those effects, and what happened to those effects over time. The case studies of William Donovan and Allen Dulles at CIA and J. Edgar Hoover at the FBI, provide evidence that these early leaders explicitly and implicitly used several of the cultural creation and embedding mechanisms identified by Schein to entrench their beliefs and predispositions into their organizations. These ensconced attitudes and tendencies seemingly played significant roles in the institutionalization of beliefs, rules, and roles that have developed, persisted, and affected the historical evolution of both CIA and the FBI. / Ph. D.

Yes / This article discusses the international consequences of the trial of British businessman and spy Edgar Sanders in Budapest at a critical juncture of the early Cold War. Convicted of espionage on the basis of a ‘confession’ in court, the defendant was sentenced to thirteen years in prison. The failed attempts to free the English prisoner led to a breakdown in bilateral relations and a British trade embargo. The related trial of American executive Robert Vogeler has received extensive coverage in Hungarian- and English-language sources. By comparison, the Sanders case has attracted little scholarly attention. This article is the first comprehensive treatment of the case.

La Petite danseuse de quatorze ans (1881) de l’artiste français Edgar Degas (1834-1917) représente et déforme plusieurs catégories sociales et artistiques de son époque. L’œuvre peut ainsi être lue comme une mise en abyme à la fois des changements sociaux et des peurs qu’ils suscitent quant aux redéfinitions du rôle et de la place de la sculpture dans l’art et de l’art, des classes sociales, de la science et de la femme dans la société qui s’opèrent dans la seconde moitié du 19e siècle. D’une mise en contexte de l’œuvre à une analyse de la figure de la ballerine, en passant par une lecture du monde de la poupée et de la criminalité, nous chercherons à montrer comment l’œuvre offre une lecture subversive des valeurs qui sous-tendent ces catégories structurelles du Paris industriel. Ce jeu des catégories fait de la Petite danseuse une œuvre instable et ambiguë à l’image, peut-être exacerbée, de la société. La sculpture de Degas joue avec et surtout entre ces divers pôles de la société parisienne, décloisonnant ceux-ci et proposant une autre façon de comprendre la société contemporaine. Prenant ancrage dans un discours critique postmoderne, féministe et postcolonialist, le présent travail se propose ainsi de réactualiser la fonction critique de l’œuvre. / The Little Dancer Aged Fourteen (1881) of French artist Edgar Degas (1834-1917) represents and deconstructs all at once, many social and artistic categories of its own time. The work represents social changes and the fear that they generate as it relates to the place of sculpture in art and of art, social classes, science and women’s role in society. Degas’ sculpture plays with and between these structures, deconstructing them and offering new ways of understanding contemporary society. After putting the work in context, we look at the link it has with dolls, how it addresses criminality, and how it questions the ballerina image. The Little Dancer then becomes an ambiguous, unstable and indefinable work reflecting in an acute way its society. Rooted in postmodernism, feminism and postcolonialism, we will explain how the sculpture offers a subversive reading of the values subtending industrial 19th Century Parisian constructs.

Made available in DSpace on 2016-08-10T11:07:16Z (GMT). No. of bitstreams: 1 ROGERIO CAVALCANTE DE MORAIS.pdf: 2888343 bytes, checksum: 703c15350891bd366f004d12d08a2c12 (MD5) Previous issue date: 2016-02-19 / This thesis aims to establish relationships between different artistic systems involving intertextualities and relations between text and image. We analyze homological procedures between them. Selected texts from different periods, styles and language system. These texts are listed in order to provide readings that can mobilize fruitful way of the senses. The corpus is made up of the stories; "The telltale heart," Edgar Allan Poe, "Love", by Clarice Lispector, and screens; "Luncheon on the Grass" by Édouard Manet, and "Lovers" by René Magritte. We analyze the existing dialogue in the look between the two languages, verbal and plastic-visual. The work is theoretical basis authors dealing with intertextuality as well as analog and homological procedures addressing different systems. We demonstrate how the game looks permeates and immobilizes the form of artistic training. / Esta dissertação se propõe a estabelecer relações entre sistemas artísticos distintos envolvendo intertextualidades e relações entre texto e imagem. Analisaremos procedimentos homológicos entre eles. Para isso, selecionamos textos de diferentes épocas, estilos e sistema de linguagem. Esses textos serão relacionados de modo a propiciar leituras que possam mobilizar de maneira profícua os sentidos. O corpus é constituído pelos contos; O coração denunciador , de Edgar Allan Poe, Amor , de Clarice Lispector, e as telas; Almoço na Relva , de Édouard Manet, e Os amantes , de René Magritte. Analisaremos o diálogo existente no olhar entre as duas linguagens, verbal e plástico-visual. O trabalho tem como embasamento teórico, autores que tratam da intertextualidade bem como dos procedimentos analógicos e homológicos abordando sistemas diferentes. Demonstraremos como o jogo de olhares permeia e imobiliza a forma de capacitação artística.