A tese visa a comparar e analisar o material bruto de Santo forte com o filme lançado comercialmente para - por meio do estudo do processo de realização do documentário, das seleções e articulações de imagens e depoimentos - identificar o traço autoral de Eduardo Coutinho, sua metodologia (baseada na entrevista) e sua ética (voltada tanto para o \"ator social\", no sentido de preservar a imagem da pessoa e do personagem criado, quanto para o espectador, no sentido de explicitar no próprio filme sua forma de construção). Coutinho, ao escolher os participantes de seus filmes, leva em consideração a capacidade que a pessoa tem de contar bem suas histórias - capacidade essa que lhe permitirá criar personagens interessantes para seus filmes. Se por um lado, os participantes devem \"atuar com propriedade\" para a câmera, por outro, cabe a Coutinho estimular essa atuação. Para isso, o cineasta se vale de algumas estratégias para a realização das entrevistas: começa a entrevista naturalmente, tratando de temas gerais ou partindo de assuntos que possa ter em comum com o participante; fisicamente, fica próximo de seu interlocutor; não se prende a um roteiro de perguntas e, com isso, deixa o participante falar à vontade; procura os momentos apropriados para retomar os assuntos que julga ser mais interessantes; conta com pessoas na equipe que já tiveram contato com o participante; não deixa de responder um questionamento feito pelo personagem e nem entra em confronto com ele. / The aim of this thesis is to compare and analyze the unedited material with the commercial movie Santo forte to identify - by means of studying the documentary completion process, the selections and articulations of images and testimonials - the authorial trace of Eduardo Coutinho, his methodology (interview based) and his ethics (both directed to the \"social actor\", in order to preserve a person\'s image and the image of the character created, and to the \"spectator\", in order to explain in the movie itself the way it has been constructed). When selecting the participants for his movies, Coutinho takes into account the ability one has to fairly tell their stories - ability that will allow him to create interesting characters. On the one hand, if participants should \"act fittingly\" for the camera, on the other, it is Coutinho´s responsibility to stimulate this performance. To accomplish this, the movie maker uses some strategies for the interviews: starts the interview naturally, dealing with general themes or talking about subjects that he may have in common with the participant; he stays physically close to the interlocutor, he does not follow a script of questions, thus allowing the participant to speak freely; he looks for the appropriate time to resume the issues that he thinks are most interesting; he has the support of people on the staff who have had previous contact with the participant; he does not skip a question asked by the interviewed person and does not enter into confrontation with him.

A tese visa a comparar e analisar o material bruto de Santo forte com o filme lançado comercialmente para - por meio do estudo do processo de realização do documentário, das seleções e articulações de imagens e depoimentos - identificar o traço autoral de Eduardo Coutinho, sua metodologia (baseada na entrevista) e sua ética (voltada tanto para o \"ator social\", no sentido de preservar a imagem da pessoa e do personagem criado, quanto para o espectador, no sentido de explicitar no próprio filme sua forma de construção). Coutinho, ao escolher os participantes de seus filmes, leva em consideração a capacidade que a pessoa tem de contar bem suas histórias - capacidade essa que lhe permitirá criar personagens interessantes para seus filmes. Se por um lado, os participantes devem \"atuar com propriedade\" para a câmera, por outro, cabe a Coutinho estimular essa atuação. Para isso, o cineasta se vale de algumas estratégias para a realização das entrevistas: começa a entrevista naturalmente, tratando de temas gerais ou partindo de assuntos que possa ter em comum com o participante; fisicamente, fica próximo de seu interlocutor; não se prende a um roteiro de perguntas e, com isso, deixa o participante falar à vontade; procura os momentos apropriados para retomar os assuntos que julga ser mais interessantes; conta com pessoas na equipe que já tiveram contato com o participante; não deixa de responder um questionamento feito pelo personagem e nem entra em confronto com ele. / The aim of this thesis is to compare and analyze the unedited material with the commercial movie Santo forte to identify - by means of studying the documentary completion process, the selections and articulations of images and testimonials - the authorial trace of Eduardo Coutinho, his methodology (interview based) and his ethics (both directed to the \"social actor\", in order to preserve a person\'s image and the image of the character created, and to the \"spectator\", in order to explain in the movie itself the way it has been constructed). When selecting the participants for his movies, Coutinho takes into account the ability one has to fairly tell their stories - ability that will allow him to create interesting characters. On the one hand, if participants should \"act fittingly\" for the camera, on the other, it is Coutinho´s responsibility to stimulate this performance. To accomplish this, the movie maker uses some strategies for the interviews: starts the interview naturally, dealing with general themes or talking about subjects that he may have in common with the participant; he stays physically close to the interlocutor, he does not follow a script of questions, thus allowing the participant to speak freely; he looks for the appropriate time to resume the issues that he thinks are most interesting; he has the support of people on the staff who have had previous contact with the participant; he does not skip a question asked by the interviewed person and does not enter into confrontation with him.

Depuis les années 1990, de nombreuses recherches ont porté sur le dévoilement de l’agression sexuelle chez l’enfant et sur les caractéristiques y étant associées. Outre les facteurs liés à l’enfant et au contexte, le type de questions utilisé par l’intervieweur (notamment les invitations et les questions ouvertes) est une variable déterminante pour le dévoilement de l’enfant et la quantité de détails qui sera fournie entourant l’agression sexuelle. Bien que plusieurs enquêteurs reçoivent une formation sur l’utilisation des questions ouvertes dans les entrevues avec les enfants, peu d’entre eux utilisent un style de question approprié une fois sur le terrain. L’objectif de cette recherche vise à déterminer si certaines caractéristiques personnelles des enquêteurs sont associées à leur adhésion à un protocole d’entrevue structuré pour lequel ils ont été formés, à l’utilisation de questions ouvertes dans des entrevues d’enquête auprès d’enfants soupçonnés d’avoir vécu une agression sexuelle et à la quantité de détails dévoilés par l’enfant lors de ces entrevues. Deux études ont été menées pour répondre à cette question. La première étude a été effectuée à l'École nationale de police du Québec auprès de 24 enquêteurs de police ayant suivi une formation d'une semaine visant l’apprentissage du protocole d’entrevue structuré du National Institute of Child Health and Human Development (NICHD). Le genre féminin, les habiletés cognitives et le trait de personnalité Ouverture à l’expérience sont trois caractéristiques personnelles qui ont été reliées positivement à la performance des enquêteurs lors d’une entrevue simulée avec un comédien jouant le rôle d’un enfant victime d’agression sexuelle, tandis que le nombre d’années d’expérience et la capacité de gestion du stress de ces enquêteurs ont montré une relation négative avec cette performance. Dans la seconde étude effectuée sur le terrain auprès de 13 enquêteurs du Service de police de la Ville de Montréal, 114 entrevues conduites auprès d’enfants ayant dévoilé une agression sexuelle ont été recueillies et cotées pour mesurer l’adhésion au protocole d’entrevue du NICHD, le ratio de questions ouvertes et la quantité de détails dévoilés par l’enfant par question posée par l’enquêteur. L’intelligence émotionnelle et les traits de personnalité Extraversion, Esprit consciencieux et Agréabilité ont été trouvés comme des caractéristiques personnelles positivement associées à l’adhésion au protocole d’entrevue et à l’utilisation de questions ouvertes, tandis que le nombre d’années d’expérience et le trait de personnalité Névrosisme ont été négativement associés à ces deux critères de performance. Le niveau d’habiletés cognitives des enquêteurs a quant à lui montré une association positive avec la quantité de détails dévoilés par l’enfant. La signification et l’interprétation de ces résultats, de même que les implications potentielles pour la sélection et la formation des enquêteurs sont finalement discutées. / Since the 1990’s, disclosure of child sexual abuse (CSA) has been studied extensively. In addition to characteristics related to the child and the context of the CSA, the types of questions used by investigative interviewers (ex. invitations and open-ended questions) are another critical component for the child’s disclosure and the amount of details provided by the child related to the incident. Despite their participation in training programs, few investigative interviewers use open-ended questions once in the field. This research project aims to determine whether certain personal characteristics are related to investigators’ adherence to a structured interview protocol, their use of open-ended questions in an investigative interview with a child victim of sexual abuse and the amount of details obtained from the child during this interview. Two studies were conducted to attempt to answer this question. The first study was conducted at the École nationale de police du Québec with 24 French Canadian police investigators after following a one-week training program aimed at using the National Institute of Child Health and Human Development (NICHD) interview protocol. These investigators performed a mock interview at the end of their training to test their practical competence. Interview performance was positively related to cognitive abilities, female gender, and the personality trait Openness to Experience and negatively to stress management and investigator’s experience. The second study was conducted with 13 police investigators from the Service de police de la Ville de Montréal. A total of 114 real investigative interviews conducted with child victims of sexual abuse were collected and scored. Results showed that emotional intelligence, and the personality traits of Extraversion, Agreeableness and Conscientiousness were positively related to adherence to the NICHD interview protocol and the ratio of open-ended questions. The number of years of experience and personality trait Neuroticism were negatively related with these two performance criteria. Cognitive abilities were related to the amount of details obtained from the child per question. The interpretations of these results and their implications for the selection and training of investigative interviewers are discussed.

L’avènement du numérique a déplacé et découplé l’acte d’écriture de sa forme graphique et ainsi ouvert des possibilités de recherche au sujet des performances graphomotrices. Ces dernières peuvent, en particulier, prendre une autre dimension dans le contexte de création d’une écriture. Les langues des signes (LS) n’ont pas trouvé à ce jour de système d’écriture à même de rendre compte de leur spatialité et multidimensionnalité. Elles offrent ainsi des circonstances propices à cette recherche. Notre étude cherche à savoir jusqu’à quel point une part de l’activité du langage oral (gestuelle, corporelle) peut être maintenue dans l’activité du langage écrit et vise à comprendre le lien, en première personne, entre gestes et sens. L’objectif est de préserver une signification profonde pour le locuteur/scripteur. Pour répondre à cette question, nous proposons de réinvestir une gestuelle porteuse de sens dans le cadre de la conception d’un environnement technique favorisant la création scripturale. Dans un premier temps, cette étude pluridisciplinaire explore ce qui peut être transférable d’une sphère gestuelle à l’autre. En d’autres termes, quels éléments de l’oral peuvent être rapportés à l’écriture. Dans un second temps, elle envisage l’instrument permettant ce transfert. Pour cela, nous employons une démarche phénoménologique entendue comme méthodologie descriptive du point de vue en première personne. Cette méthode s’appuie sur des techniques de verbalisation de l’expérience vécue lors d’entretiens. La construction de la méthode adaptée à la LS française permet d’accéder à des descriptions fines des locuteurs sourds sur leur gestuelle. Le corpus de données est ensuite mis en dialogue avec une analyse en troisième personne établie à l’aide d’études linguistiques et kinésiologiques. Les résultats sur les dimensions du geste sémiotique nous amènent à penser les conditions d’une expérience habilitée, dans une perspective d’appropriation et de création scripturale des LS. Nous suivons pour cela la démarche de conception du design d’expérience utilisateur, du design d’énaction et de l’approche instrumentale pour l’immersion et l’interaction. La conception d’un tel dispositif vient non seulement changer le regard des personnes sourdes sur leur langue, mais également de manière plus générale, changer la relation que tout utilisateur a avec sa production gestuelle. / The digital revolution has evolved the act of writing; its forms have changed. From this phenomenon, new Graphomotor oriented research opportunities have emerged. The knowledge gathered by this research introduces a new angle for setting up a new writing system. Until today, no writing system has been able to transcribe the multidimensional nature of sign languages (SL). For that reason, sign languages offer the perfect opportunity for this kind of research. In this study we try to understand the link between gestures and meaning for the speaker and discover what features and how much of signing (gestures, body language) can be kept in the act of writing. Our objective is to maintain the integral meaning of gestures for the signer/writer. To do so, we offer the creation of a technologically advanced scriptural environment in which meaningful gestures can be put into perspective. First, this multidisciplinary research focuses on what can be transferred from the former gestural act (signing) to the latter (writing). Then, we consider the tool that will enable this transfer. To do so, we follow a phenomenological approach, or in other terms, a descriptive methodology from the firstperson point of view. This methodology is built upon signers’ feedback gathered of the experience lived during interviews. Shaping this method to fit the French SL offers precise gestural descriptions from signers themselves. This database is then compared with alinguistic and kinesiological analysis from the third-person point of view. These gestural meaning results enable us to reflect on how to create a guided experience tool enabling the assimilation of SL’s gestural matter and the creation of scriptural forms. To do that, we follow a UX design, an enaction design, and a tool based approach in order to offer immersion and interaction. This kind of device offers a new perspective to signers on their own language and more generally, offers the possibility for any user to form a new relationship with her or his own gestures.