A broadband coupling approach applied to a single mode, sol-gel, planar integrated optical waveguide (IOW) was used to create a multichannel attenuated total reflection (ATR) spectrometer. Initial attempts to create an achromatic coupling element for sol-gel waveguides, based upon previous work applied to vacuum deposited glass devices, did not lead to an easily achievable design. Instead a simplified, non-achromatic approach based upon impinging an incident light beam with a large numerical aperture onto an incoupling prism was used. This simplified broadband coupling approach was used to create a sol-gel IOW-ATR spectrometer that transmitted light down to at least 400 nm, and produced a measurable bandwidth of ~ 250 nm; both phenomena are marked improvements upon the capabilities of previously reported devices. An experimental demonstration of this device proved it capable of measuring the visible spectrum of a thin film of horse heart cytochrome c adsorbed to the sol-gel surface at a submonolayer coverage. The broadband spectral capabilities of this sol-gel device were also used to experimentally validate a new method for determining the angular orientation of molecules bound to an arbitrary waveguide surface. In addition to the sol-gel IOW work, the simplified broadband coupling approach was applied to a previously reported multilayered electroactive waveguide device, which was used to collect electrically modulated, broadband spectra for thin films of cytochrome c, as well as a dicarboxyferrocene moiety. Both of these IOW-ATR spectrometers represent improved tools for probing the near-surface chemical environments of molecular assemblies.

The aim of this study is to examine the image of Judas Iscariot in popular culture with the help of two movies, The Last Temptation of Christ and Son of God. This study is based on a film analysis where a characterization is in focus. The method has also chosen to include intertextuality. This is because it is relevant to show how writers and filmmakers used the previous materials to create their own versions. Survey theory was based on a mediatisation-theory. This theory holds that the media's influence increases, so that now they can influence what religious beliefs people should have by viewing the version they want on TV. The surveys were done by transcribing parts of the movies, and describe what the character used for body language, how he looked and how he spoke. The study shows that both films chose to portray Judas in completely different ways. One chose to give a more biblical version of Judas, while the other created an alternative image. It was clear to see influences from past stories about Judas and especially the Bible, but also the Gospel of Judas. The results also show that both films chose to portray their version of Judas. This may be in relation to mediatisation creating different images of Judas with the viewers, and then also create new perceptions of him.

Esta dissertação tem como objetivo discutir a questão da subversão das fronteiras entre documentário e ficção a partir do estudo de um filme pioneiro a esse respeito: Eu, um negro (1958), do cineasta e etnógrafo francês Jean Rouch. Essa dualidade é incorporada à própria estrutura do trabalho e as reflexões em torno do filme são divididas em duas partes, uma mais próxima do campo de estudos do documentário, a outra mais afinada com os estudos acerca do cinema de ficção. No primeiro caso, foca-se nas estratégias de abordagem empregadas por Rouch na transposição do mundo histórico para o cinema, destacando-se a heterogeneidade de registros de imagem e som empregados neste processo. No segundo, é feita uma análise imanente do filme, com destaque para a questão das vozes e do foco narrativo. E a partir dessas leituras é feita uma reflexão sobre os aspectos clássicos e modernos de Eu, um negro, seja como uma ficção, seja como um documentário. / The aim of this dissertation is to discuss the subversion of the boundaries between documentary and fiction film by studying a pioneer film: Me, a black (1958), by the French filmmaker and ethnographer Jean Rouch. This duality is incorporated into the structure of this research, and the reflections on the film are divided into two parts, one closer to the documentary studies, the other more in line with the fiction film studies. In the first case, the focus is on the strategies employed by Rouch in the transposition of the historical world to cinema, highlighting the heterogeneity of image and sound records used in this process. In the second, an immanent analysis of the film is proposed, especially on the issue of voices and narrative focus. Finally, there is a discussion on the classical and the modern aspects of Me, a black, either as a fiction or as a documentary.

Submitted by Irene Nascimento (irene.kessia@ufpe.br) on 2016-12-15T14:37:08Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) dissertação catalogação 2.pdf: 5341781 bytes, checksum: f9713e9d6e453efce7ed74f5bd1492f1 (MD5) / Made available in DSpace on 2016-12-15T14:37:08Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) dissertação catalogação 2.pdf: 5341781 bytes, checksum: f9713e9d6e453efce7ed74f5bd1492f1 (MD5) Previous issue date: 2016-06-30 / Este trabalho realiza um estudo estilístico da obra do cineasta franco-polonês Roman Polanski a partir de recorrências encontradas na encenação – e entendendo-se a encenação como a relação estabelecida entre corpos e espaços nas imagens de um filme. Partindo-se de uma análise que identifica a penetração do real na cena ficcional polanskiana, o estudo atravessa as questões presentes no posicionamento dos corpos no espaço até alcançar a encenação do próprio corpo enquanto matéria expressiva. / This paper makes a stylistic study of the oeuvre of the French-Polish filmmaker Roman Polanski from recurrences founded in staging – and understanding the staging as the relation between bodies and spaces in the images of a film. Starting with an analysis that identifies the penetration of reality in the Polanski’s scene, the study permeates the questions presents in the placement of the bodies in the space to reach the staging of the own body as an expressive subject.

Esta dissertação é resultado de pesquisa acerca da representação da violência em alguns filmes das décadas de 80 e 90. Discuto, inicialmente, a especificidade da experiência cinematográfica, algumas abordagens antropológicas de filmes ficcionais, relações entre cinema e sociedade e mecanismos de produção, circulação e consumo de mercadorias visuais. Em seguida, introduzo a problemática da construção midiática da violência, situando os filmes neste contexto imagético e narrativo mais amplo. A abordagem interpretativa dos filmes selecionados identifica nesta produção recente a presença da violência não apenas como tema, mas na própria forma das imagens: imagens-violência. Através da análise fílmica e da montagem de fragmentos das obras, apresento seus discursos — ora irônicos, ora metalingüísticos — sobre o homem contemporâneo e sua relação com a comunicação visual reprodutível e a violência. / This dissertation is the result of a research about the violence representation in some 80’s and 90's movies. I discuss inicially the specificity of the cinematographic experience, some anthropological approaches on fictional films, relations between movie and society, and production, circulation and market mechanisms of visual merchandise. Next, I introduce the problem of mediatic construction of violence. The interpretative approach of the selected movies identifies, in this recent production, the presence of violence not only as a theme, but on the very form of images: image-violence. Through film analysis and montage of film fragments, I present its discourses – sometimes ironic, sometimes metalinguistic – about the contemporary man and his relation with the reproductible visual comunication and the violence.

Paradigmes et enjeux de l’enseignement obligatoire et de spécialité "cinéma et audiovisuel" en série L. Les enseignements artistiques "cinéma et audiovisuel" apparus dans les années 80 dans les lycées français en série L sont le fruit d’une volonté politique. À travers des analyses de discours officiels, le repérage des paradigmes récurrents, leur explicitation théorique et historique constituent l’enjeu d’une première partie, destinée à mettre en place, comme une base de travail, les différentes manières dont le "cinéma" et "l’audiovisuel" sont définis et considérés "d’en haut". Mais mon travail de recherche ne pouvait se satisfaire de ce surplomb. J’ai donc adopté les outils de la sociologie pour étudier, dans une deuxième partie, la manière dont les professeurs et les élèves s’approprient ces paradigmes, les transmettent, les déjouent, sur le "terrain". Dans un troisième temps, la thèse s’intéresse aux programmes des enseignements et à l’analyse filmique. En m’appuyant sur les Bulletins officiels, sur des copies d’élèves, sur des analyses de professeurs et sur des documents pédagogiques publiés par l’Institution, j’ai voulu décrypter les paradigmes théoriques dans lesquels se définit l’œuvre d’art et ceux qui prévalent pour son analyse. Enfin, il restait à m’interroger sur la "pratique" encouragée dans ces enseignements : les réalisations audiovisuelles des élèves, la manière dont elles sont mises en œuvre, ce qu’elles recouvrent aussi d’implicites pédagogiques, politiques – voire économiques. Ma conclusion tente de faire des propositions concrètes, car je souhaite avant tout que cette thèse soit un outil de réflexion épistémologique, socio-politique, théorique, institutionnel et pédagogique, bref, un outil essentiellement pluridisciplinaire. / Classes in the artistic field of "film and media studies", which emerged in the 1980’s in French high schools for students specializing in humanities, is the result of a political decision. In the first part of my thesis, I elaborate on this question through the analysis of political discourse. Recurring paradigms and their historical and theoretical expression, used as a starting point for my research, comprise the main issue of this section, which aims at organizing the different ways in which "film" and "media studies" are defined and considered from on high. However, this research cannot be considered complete without a bottom up perspective. Therefore I adopt, in the second section, sociological strategies in order to study the ways in which teachers and students appropriate, impart and transform these paradigms in the classroom. The third part of my thesis deals precisely with the formal programs and film analysis. Using examples taken from analyses, student’s papers, and pedagogical documents published by the French national education institution, I endeavor to elucidate the theoretical paradigms at work for the exercise of analyzing films. Lastly, I examine the "practices" advocated by the teaching of these subjects, the students audiovisual productions, the ways in which they are carried out and the implicit pedagogical, political, or even economical issues they cover. In my conclusion I endeavor to make concrete suggestions for the problems raised throughout my research, since, above all other things, I would like my thesis to be used as a tool for epistemological, socio-political, theoretical, institutional and pedagogical reflection; in short, a tool essentially pluridisciplinary.

Uppsatsens syfte är att göra en filmanalys av kampanjfilmer om bröstcancer som var skapade av kosmetiska företag i Indien och U.S.A. I uppsatsen undersöks hur semiotiska resurser var påverkade av kulturen och hur kampanjerna har använt kulturell adaption i marknadsföringssyfte. Jag beskriver en denotation av två filmer från varje land följd utav en konnotation som stödjs av artiklar och böcker om respektive kultur. Avslutningsvis tar jag upp och diskuterar de olika teorierna om hur kulturell adaption kan påverka en människa ur ett marknadsföringsperspektiv. Slutsatsen är att nationalism och appropriation är några av de viktiga elementen i kulturell adaption som förstärker marknadsföring. Dessa element skapar självidentitet och förtrogenhet hos individen som tittar på filmen. Några semiotiska resurser som hade förändrats i kulturell adaption och som hälpte till att skapa de elementen var etnicitet, gester, kläder, miljö, och symboler.

The purpose of this thesis is to examine what facts the documentary 13th presents and how they are portrayed filmically. By conducting, both, a discourse analysis and a neoformalist film analysis those two factors can be fully examined. And by later adding the three theoretical perspectives of discourse analysis, hegemony, and neoformalist film theory, the results of the analyses can be discussed in a way that covers both the narrative part of the film and the aesthetic and stylistic ones.The result is that the discourse of the documentary concerns the American prison system and the resistance to it is the acknowledgement of the blatant racism within it. And this racism is what the leadership of the hegemonic dominance of that discourse is built upon.13th consists of interviews and voiceovers which present the facts. These are accompanied by video clips, graphics, and animations, and music, which are all in black and white, in order to strengthen the message of those facts. These elements of the film work together to convey a collective theme and emotion to the viewer.

This thesis engages with the relationship between national identity, security-based narratives, and foreign policy. It focuses on the 1982 Lebanon War as the most controversial in Israel's history because it violated the Israeli societal norm of only fighting wars of self-defence (when there is no alternative to war). Through an examination of Israeli films about the 1982 war – Ricochets, Time for Cherries, Cup Final, Waltz with Bashir and Lebanon – this thesis studies the identity crisis experienced by Israelis after the invasion of Lebanon and the coping mechanisms that helped Israeli society reconcile the war with the security-based narratives that inform collective identity in Israel. / Cette thèse a pour objet la relation entre l’identité nationale, les récits sécuritaires et la politique étrangère. Elle se base sur la Guerre du Liban de 1982 en tant que guerre la plus controversée des guerres israéliennes en raison de sa contradiction avec la norme israélienne de seulement mener des guerres de légitime défense (à savoir lorsqu'il n'y a aucun autre recours que la guerre). À travers un examen des films israéliens qui traitent de la guerre de 1982 – Ricochets, Time for Cherries, Cup Final, Waltz with Bashir et Lebanon – cette thèse discute de la crise identitaire vécue par les Israéliens à la suite de l'invasion du Liban et s’intéresse aux stratégies d'adaptation qui ont aidé la société israélienne à réconcilier la guerre avec les récits sécuritaires qui font partie de la construction de l'identité collective israélienne.

In this Thesis, influenced by Geert’s and van der Tuin’s (2016) diffractive reading of Beauvoir and Irigaray, I propose the methodology of  diffractive watching and watching diffractively as another tool for film analysis while engaging in an exploration of the potentials and limitations presented in the process. I find the concept of diffraction to be of significant merit within feminist new materialist research and to that end, I am interested in assessing the concept’s versatility and in verifying its methodological value.  Therefore, in my analysis,  I aspire to explore  diffractive watching  as a set intention and methodology and watching diffractively as an active process and the different implications that will result  if diffractive watching is  applied as a lens and/or employed as a tool. Moreover, I consider the mapping of the films’ cartographical account to be a constituent part of diffractive watching which in this case functioned as the starting point for the analysis.  To illustrate the becoming of this methodology, I take two films, i.e., Bladerunner (1982) and Bladerunner 2049 (2017) as my case study.