Master of Science / Department of Journalism and Mass Communications / Nancy Muturi / Cigarette smoking is one of the leading causes of preventable deaths in the U.S. and a global public health concern. The health effects have been severe among the youth. Smoking among the youth has been attributed to media. Movie in particular, is perhaps the most successful advertising on cigarette. Research shows that greater exposure to smoking in movies predicts increased likelihood of trying smoking. The purpose of this experimental study was to explore the relationships of smoking exposure in movies and young adults’ attitude, intention, and risk perception toward smoking. The theory of reasoned action (TRA) and the Attitude Accessibility Concept served were used in the study. The experiment was conducted at 70 Kansas State University students and examined the extent to which young adults’ memory/experience on smoking are triggered by watching smoking scenes; and whether young adults had different reactions based on the level of dosages of onscreen smoking. The results showed that the relationship of onscreen smoking and young adults’ memory/experience on smoking is not significant, as well as the relationship of media exposure and young adults’ attitude to smoke. However, the study found that nonsmokers contain considerable anti-smoking attitude and significant risk perception to smoke. The anti-smoking attitude is highly associated with the risk perception. The study presented theoretical implications, which includes the proposal to incorporate risk perception in the model of TRA, made recommendations to future anti-smoking campaigns targeted on young adults, and suggested areas of further research.

Diploma thesis "Kancelář Blaník: Politická satira jako zrcadlo skutečné politiky" aims to discover what image of politics the satirical series "Kancelář Blaník" presents to the audience and how it achieves it. After the necessary theoretical anchoring of the researched issue follows a practical analysis of the series, which focuses on the characteristics of main and secondary characters, objects of satire and dramaturgical structure of episodes and the whole series. The final part of this thesis also describes the movie "Prezident Blaník", which follows the series and shows the differences in the processing of one theme in different formats.

[pt] A obra de Rui de Oliveira é uma das mais importantes coleções de ilustração da América Latina. Esta pesquisa propõe-se a observar o trabalho do ilustrador Rui de Oliveira, especificamente sua obra em preto e branco. Com uma atenção especial voltada aos elementos das obras que remontam às influências do cinema expressionista, que por sua vez, carrega heranças do teatro e suas técnicas narrativas. A pesquisa observa atentamente a construção da dramaticidade expressionista por seus mais importantes representantes no cinema. O trabalho estabelecerá por fim, relações estreitas entre obras específicas do ilustrador com obras representativas do cinema expressionista, através da análise visual de elementos formais. / [en] Rui de Oliveiras work is one of the most important collection of illustrations in the Latin America. This research proposes an observation on Rui de Oliveiras work, specifically his black and white illustrations. With a special attention to the works elements that reminisce to the expressionist movies influences, which, in turn, inherit aspects from the theatre and its narrative techniques. The research carefully observes the construction of the expressionist drama by its main representatives in the movies. In the end, this work will establish the narrow relationship between specific works by Oliveira and important selected pieces from expressionist films, through a careful visual analysis of their formal elements.

[pt] O objetivo desta pesquisa é uma análise das representações cinematográficos do gênero feminino na filmografia do diretor espanhol Pedro Almodóvar. A mulher, já tão massificada e representada, parece adquirir um frescor diferenciado em sua representação pelas mãos do diretor manchego, justamente por não ser a mais comum (normatizada), ou remotamente hollywoodiana. Seus personagens parecem construídos e definidos por suas identidades de gêneros – ou pela ausência dos mesmos, sejam eles os masculinos ou femininos. Para atingir este entendimento, foi utilizado a Análise de Conteúdo como método de avaliação dos dezessete longas-metragens disponíveis no mercado até o momento. Este estudo baseia-se em dois arcos teóricos principais: a Teoria das Representações, a partir do trabalho seminal de Serge Moscovici até sua apropriação pelos Estudos Culturais e as matizes teóricas das questões de gênero, que perpassam pelos Estudos Feministas e suscitam debates até hoje. O foco principal analítico, porém, é a maneira como essa representação do gênero feminino é articulado dentro do universo fílmico de Almodóvar e suas estratégias como cineasta e artista. / [en] The present study analyzes the cinematographic representations of female gender in Spanish director Pedro Almodóvar’s filmography. Woman – massified and overrepresented – appears to acquire a refreshed representation in the hands of the Manchego director, precisely by declining the ordinary (normative) or Hollywoodian representation. His characters seem to be built and defined by their gender identities – or by the absence of them, whether male or female. To achieve this understanding, the selected method of evaluation was a Content Analysis of the seventeen Almodóvar motion pictures presently available on the market. This study is based on two main theoretical arcs: the Social Representations Theory, from the seminal work of Serge Moscovici to its appropriation by Cultural Studies, and the theoretical hues of gender issues, which pervade Feminist Studies and generate discussion to the present date. The main analytical focus, however, is the manner in which female gender representation is articulated in Almodóvar’s filmic universe and his strategies as filmmaker and artist.

Dogville é um filme que suscitou reações opostas e viscerais. Essa dissertação aborda dois aspectos desse fenômeno. Em primeiro lugar, uma leitura do filme especialmente no que diz respeito a seu princípio contraditório. Não se trata apenas de abrigar aspectos realistas da chamada linguagem clássica do cinema conjuntamente com aspectos antiilusionistas de inspiração assumidamente brechtiana. Trata-se de compreender como essa contradição é o coração do filme e produz seu sentido. Em seguida, uma leitura da crítica publicada nos veículos de comunicação de grande circulação procura identificar como esses textos encaram ou ignoram essa contradição, bem como as pré-concepções que permitem que eles assim o façam e que determinam as análises que produzem. / Dogville is a movie to which most people reacted passionately, whether in favor or against it. This dissertation approaches two aspects of this phenomenon. First, it provides a reading of the film that focuses on its contradictory principle. It is not only about the fact that some of it resorts to classic realism whereas some other aspects question this illusionism by deriving from a Brechtian inspiration. It is about understanding how this very contradiction is the heart and soul of the movie and how it is this that produces its content. Then, a reading of reviews published in wide circulation papers attempts to identify how these texts either address or ignore this contradiction, as well as the pre-conceptions that allow them to do so and that determine the analyses they produce.

O principal objetivo desta pesquisa é fazer um estudo e uma discussão comparativa sobre o modo como dois importantes personagens sociais são retratados pela cinematografia brasileira em um conjunto delimitado de filmes: o Metalúrgico e o Motoboy. Por meio de uma análise estética e narrativa, investiga-se como cineastas lançaram o olhar sobre a realidade contemporânea e construíram um imaginário audiovisual dessas categorias profissionais. Com base em autores como Bernardet (2003), Tomizaki (2007), Eisenstein (1990), Pudovkin (1961), Silva (2011), Nichols (1991) entre outros que discutem o tema, analisam-se seis documentários brasileiros que retratam a vida e saga dos protagonistas deste estudo. Recorre-se também, para cotejar a produção nacional em relação ao que cineastas estrangeiros têm produzido sobre o tema, a filmes correlatos, como A Classe operária vai ao paraíso (1971), Sem destino (1969) e outros. A análise inclui a discussão de aspectos técnicos que vão do posicionamento de câmeras, tomadas de cena até a montagem e trilha sonora. Entre as conclusões, pode-se observar que, enquanto os metalúrgicos construíram uma identidade ante a sociedade, os motoboys continuam a ser uma incógnita perturbadora, personagens que vêm sabe-se lá de onde, vivendo um eterno e cruel presente, sem perspectivas de futuro, trabalhando numa profissão perigosa e de certa forma desprestigiados pela população. O processo de pesquisa da tese são o fundamento e a orientação para um novo documentário a ser finalizado e que vem sendo pensado como uma reflexão cinematográfica sobre os avanços e reveses, expectativas e desilusões do projeto de modernização industrial e urbana da sociedade brasileira. / The main objective of this research is to make a study and a comparative discussion on how two important social characters are portrayed by the Brazilian cinema in a set, delimited, of movies: the Metallurgical and the Motoboy. Through an aesthetic and narrative analysis, investigating as filmmakers cast their eyes on contemporary reality and built a visual imagery of these professional categories. Based on authors like Bernardet (2003), Tomizaki (2007), Eisenstein (1990), Pudovkin (1961), Silva (2011), Nichols (1991) among others discussing the issue, we analyze six Brazilian documentaries depicting the life and saga of the protagonists of this study. It also refers to collate domestic production in relation to foreign filmmakers that have produced on the subject, about related films such as The Working class goes to paradise (1971), Easy rider (1969) and other examples. The analysis includes a discussion of technical issues ranging from cameras placement, taken to the assembly and soundtrack. Among findings, it can be observed that, while the metallurgical built an identity to society, couriers remain a disturbing unknown, characters who come who knows where, living in an eternal and cruel fate, without future prospects, working in a dangerous profession and somewhat discredited by the population. The research process of the thesis are the basis and the guidance for a new documentary to be finalized and intended as a cine reflection on the progress and setbacks on the expectations and disappointments of industrial and urban modernization project of Brazilian society.

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.

[pt] A pesquisa aborda um conjunto de filmes sobre história produzidos entre 1968 e 1980. Através da análise dos filmes, defende-se que o cinema é capaz de plasmar representações variadas da história, não só através da diegese, mas principalmente da sintaxe cinematográfica. Busca-se compreender os motivos e intencionalidades da criação dessas obras e suas conseqüências políticas. São analisados o ufanismo das abordagens oficiais, nas quais prevalece o heroísmo e a ausência de conflitos, e as visões cinematográficas revolucionárias de diretores egressos do Cinema Novo, com uma linguagem moderna na qual a história é construída por críticas e dúvidas.. A narrativa clássica hollywoodiana, para a qual a história é puro espetáculo, permite conceber o passado como um conjunto fechado de fatos filmados tal como aconteceram. O pretérito perfeito é o seu tempo. Já a narrativa moderna possui cenas de extrema violência no plano diegético e subversões temporais, câmeras investigativas e atuação brechtiana no plano narrativo. O futuro do pretérito é o tempo dessas obras. A história não foi, ela seria. / [en] This research is about seven movie pictures based on historical facts produced during the Brazilian military dictatorship, between 1968 and 1980. Within the analysis of these films, there is the founding idea that cinema is a way to shape different representations of history, not only through the diegesis but also through the way this story is told (the cinematographic narrative). The aim is to find the director s motives and intentionalities, and their politic consequences. Both classical historic films and modern ones are approached. At the first ones, the heroism and the absence of serious conflicts are shown like in the Hollywood pictures, in which history equals spectacle. The past is analysed like a cluster of facts supposedly shown like they really happened. The simple past is the corresponding tense here. Modern approach opens way to a critical and unconclusive view of history. Extremely violent scenes and mixed temporalities, a documentary-like camera and Brechtian acting are some of the elements of these pictures. The films tell the past from a contemporary point of view. They reject the simple past tense and adopt a kind of future of the past tense: history didn t happen, it would happen.

Le cinéma mettant en scène des anglais d'origines indienne ou pakistanaise, se déroulant sur le territoire britannique et traitant de relations avec les habitants qu'ils soient anglais dits de souche, anglais issus de l'immigration ou de familles métissées est appelé British-Asian cinema. Quelle image moderne de la britannicité les films British-Asians propagent-ils? L'identité anglaise n'est pas liée à la couleur de la peau ou aux origines ethniques mais au sentiment d'être anglais et de partager une culture commune. Beaucoup de personnes issues de l'immigration se disent aujourd'hui anglaises comme cela a pu être expliqué dans le très surprenant documentaire "100% English". Ces diverses représentations transparaissent dans les médias et de façon claire et accessible dans les films. Le cinéma agit comme un moyen de propager dans le monde entier une image de la britannicité. C'est dans ce contexte de redéfinition identitaire britannique que le gouvernement de Tony Blair a misé sur le cinéma britannique et son développement dans toute sa diversité. Nous pouvons nous interroger sur ce qu'est cette représentation britannique, mais aussi anglaise, vu sous cet angle particulier du mélange culturel au cinéma. L'intégration, réussie ou non, les mariages forcés, la religion, les stéréotypes culturels britanniques et Asians sont autant d'obstacles à franchir pour affirmer une identité britannique. Certains anglais ne savent plus qui ils sont réellement, on en vient à faire des tests ADN pour évaluer son niveau d'anglicité et toute légitimité à être anglais. Il est étonnant d'observer qu'à l'inverse, ces nouveaux britanniques issus de parents indiens ou pakistanais, affichent souvent une identité britannique et anglaise claire, peut être même exacerbée et mieux définie. / Cinema staging English people of Indian or Pakistani origins, taking place in Britain, is called "British-Asian cinema". What is the modern image of Britishness that British-Asian films convey? In this respect, English identity is not linked to the color of the skin or to ethnic origins but to a common culture. Various representations appear in media and in a clear ans approachable manner in films. The cinema acts as a means to spread an image of Britishness worldwide. It is in this context of British self-defining or redefing that the government of Tony Blair gave support to the British cinema and its development in all its diversity. Analysing British representation through the lens of cinema seems quite interesting. Whether it is represented as successful integration or forced mariages, religious fanaticism, the Asian cultural stereotypes are obstacles to overcome to assert a British identity. Moreover, some English people do not know who they are, indeed they ended up making DNA tests to assess their level of Englishness and any legitimacy to be English, as it is explained in the TV documentary "100% English". It is striking to notice that on the opposite, these new British people of Indian or Pakistani parents, often show a clear British and English identity, which can sometimes be exacerbated and very accurately defined.

The diploma thesis named The Artistic personality of Karel Zeman consists of theoretical and practical part. Theoretical part includes basic information about the artist Karel Zeman and his works. It deals with inspirational influences that had impact on his creations and puts them into the international context. It is also focused on finding the effects of Zeman's work at contemporary cultural environment. The practical part of this diploma thesis consists of three methodical papers which are made for selected films of the director Karel Zeman. These papers are in the concertina book's form, they offer some basic information about the selected film. They also comprise creative tasks and writing assignments to think about. Graphical design of methodical papers was created using vector graphics in Adobe Illustrator.