Defending models against Natural Language Processing adversarial attacks is a challenge because of the discrete nature of the text dataset. However, given the variety of Natural Language Processing applications, it is important to make text processing models more robust and secure. This paper aims to develop techniques that will help text processing models such as BERT to combat adversarial samples that contain misspellings. These developed models are more robust than off the shelf spelling checkers.

The main topic of this diploma thesis is the relationship of movie and human perception. Movie is a purely technical medium that moves images for the first time. The starting point of the work is the book written by French cultural theorist Paul Virilio and his reflections on film and technology. Virilio's position is negative in many ways due to cinematography. He blames technology for horrors inflicted during world wars. Cinematography is guilty of a revolution of perception that leads to the decomposition of the vision and the disintegration of the classical dimensions of space and time. In my work Virilio's views are confronted with the reflections of Virilio's contemporary, also the French theorist, Gilles Deleuze. Deleuze understands movie in many ways differently than Virilio. Also his opinion on the technique is quite different. The movie after World War II is a medium that no longer attempts to imitate natural perception. Such film can cause a shock to the audience. This shock opens up new possibilities of thinking and perception, and the viewer gains the opportunity to achieve a specific spiritual life through a movie.

This thesis deals with the villains' depiction in the Marvel Cinematic Universe movies. By examining the first 20 movies of the series, I try to find out how are the villains depicted in the MCU movies and what are their motivations. This is achieved through combination of studying relevant literature that deals with the topic, qualitative content analysis of the movies and narrative analysis, which is based on the monomyth structure of Joseph Campbell and its reinterpretation for movies and television by Christopher Vogler. In this thesis I first shortly describe the history of superhero movie as a whole and the specifics of the shared Marvel Cinematic Universe. In the theoretical part I describe Campbell's and Vogler's narrative structure. Then I describe the methodology, which I then use to describe the findings and their interpretations. In this part I examine the villains' motivations, which are divided into several categories, and examine their story arcs through the prism of the Hero's journey structure. Here it is shown that the villains in the MCU movies are depicted in an overwhelmingly Manichean way. In the discussion, I describe possible issues with my research and suggest potential directions of further research. In the conclusion, I then summarize the findings of both the theoretical...

Today, we are living in a data-driven world. Due to a surge in data generation, there is a need for efficient and accurate techniques to analyze data. One such kind of data which is needed to be analyzed are text reviews given for movies. Rather than classifying the reviews as positive or negative, we will classify the sentiment of the reviews on the scale of one to ten. In doing so, we will compare two recurrent neural network algorithms Long short term memory(LSTM) and Gated recurrent unit(GRU). The main objective of this study is to compare the accuracies of LSTM and GRU models. For training models, we collected data from two different sources. For filtering data, we used porter stemming and stop words. We coupled LSTM and GRU with the convolutional neural networks to increase the performance. After conducting experiments, we have observed that LSTM performed better in predicting border values. Whereas, GRU predicted every class equally. Overall GRU was able to predict multiclass text data of movie reviews slightly better than LSTM. GRU was computationally expansive when compared to LSTM.

The importance of knowledge transfer inside organizations is an undisputable fact, which got the attention of managers in recent decades. One of the most important reasons that make the knowledge transfer a compulsory task is the danger of its loss. Storytelling in any of its forms, including movie script writing, facilitates knowledge transfer by the use of its potency in representing different information’s component and interrelationships between them. But using movies and movie-scripts in organizations as a knowledge management tool is not as easy as it sounds. There are some issues that should be considered, otherwise the result will not be as good as expected or can even have negative effects on the audience. Based on a search that we have done, we noticed the lack of a comprehensive research which tackles these issues from both knowledge management and scriptwriting perspectives, and provides practical solutions for them. In this thesis we introduce a set of guidelines to inspire knowledge managers or screenwriters who are supposed to write a movie script for transferring knowledge inside organizations. These guidelines may facilitate this process by guiding them to foresee and prevent the issues and solve the problems which may occur. For achieving this goal, we first did a comprehensive literature review and developed a set of guidelines. Then we applied the resulted guidelines on a case. Finally, we evaluated them by utilizing method triangulation. We asked experts' opinions about the applicability and efficiency of the guidelines, tested the clarity and understandability of them, and tested the performance of a movie script which we wrote for the case. The result of the evaluations was pretty satisfying. The knowledge management and screenwriting experts gave us positive comments about efficiency of the guidelines. The managers, who we consulted, found this set of guidelines applicable in real situations. The clarity and understandability test returned an average of 75.58% positive results, which shows that the user of the set of guidelines can read and understand it easily. Finally the test of the movie-script, which we wrote for a real case according to the guidelines, resulted in an average of 85% correct answers. It shows that we were successful in transferring the knowledge, which was embedded in the movie-script, to the recipients. The experts’ opinion and test results indicate that these guidelines are clear, understandable, applicable, and may efficiently facilitate the process of screenwriting for transferring knowledge inside organizations. It can increase the benefits that organizations make from investing in film production by the purpose of transferring knowledge internally.

The importance of knowledge transfer inside organizations is an undisputable fact, which got the attention of managers in recent decades. One of the most important reasons that make the knowledge transfer a compulsory task is the danger of its loss. Storytelling in any of its forms, including movie script writing, facilitates knowledge transfer by the use of its potency in representing different information’s component and interrelationships between them. But using movies and movie-scripts in organizations as a knowledge management tool is not as easy as it sounds. There are some issues that should be considered, otherwise the result will not be as good as expected or can even have negative effects on the audience. Based on a search that we have done, we noticed the lack of a comprehensive research which tackles these issues from both knowledge management and scriptwriting perspectives, and provides practical solutions for them. In this thesis we introduce a set of guidelines to inspire knowledge managers or screenwriters who are supposed to write a movie script for transferring knowledge inside organizations. These guidelines may facilitate this process by guiding them to foresee and prevent the issues and solve the problems which may occur.For achieving this goal, we first did a comprehensive literature review and developed a set of guidelines. Then we applied the resulted guidelines on a case. Finally, we evaluated them by utilizing method triangulation. We asked experts' opinions about the applicability and efficiency of the guidelines, tested the clarity and understandability of them, and tested the performance of a movie script which we wrote for the case. The result of the evaluations was pretty satisfying. The knowledge management and screenwriting experts gave us positive comments about efficiency of the guidelines. The managers, who we consulted, found this set of guidelines applicable in real situations. The clarity and understandability test returned an average of 75.58% positive results, which shows that the user of the set of guidelines can read and understand it easily. Finally the test of the movie-script, which we wrote for a real case according to the guidelines, resulted in an average of 85% correct answers. It shows that we were successful in transferring the knowledge, which was embedded in the movie-script, to the recipients. The experts’ opinion and test results indicate that these guidelines are clear, understandable, applicable, and may efficiently facilitate the process of screenwriting for transferring knowledge inside organizations. It can increase the benefits that organizations make from investing in film production by the purpose of transferring knowledge internally.

This diploma theses titled Story building in serial format focusing on the Chernobyl miniseries analyses the serial Chernobyl coproduced by American HBO and British Sky aired in 2019. Chernobyl miniseries gained public recognition and still ranks as one of the highest-rated TV shows in history according to movie databases in the Czech Republic and abroad. It also received wide media coverage from different newspapers and movie servers. The miniseries has five episodes it describes primarily the human aspect of a horrifying disaster in the Chernobyl Nuclear Power Plant in 1986. The main aim of this theses is content and dramaturgy analysis, description, and development of individual characters and themes. This diploma thesis also focuses on the story building of a serial in terms of theoretical concepts and aspects typical for making serials and series. Moreover, the thesis mentions particular Czech and international reviews of Chernobyl.

[pt] Ao considerarmos a Geografia como uma ciência que contribui para a interpretação da realidade com a finalidade de construir contribuições sobre o entendimento do mundo, percebemos que o cinema torna-se uma importante representação nessa interpretação. A inserção da cidade na relação entre cinema e Geografia, leva-nos a perceber que os fatos narrados não têm a cidade apenas como palco de seu desenvolvimento. Esse desenrolar de situações é construído também pela vida cotidiana na metrópole e pelas relações sociais em ato, ou seja, as práticas sociais. Diante disso, o presente trabalho tem por objetivo analisar os conflitos sociais e as tensões que se dão no espaço urbano a partir das representações vistas no filme Crash – No Limite, uma vez que a própria imagem do cinema apresenta essencialmente analogias com a espacialidade. Pretendemos responder: como podemos pensar essas tensões, os conflitos sociais e, sobretudo, as representações do espaço urbano a partir da representação cinematográfica? / [en] By considering Geography a science that contributes to the interpretation of reality in order to build approaches towards the understanding of the world, we notice that cinema becomes an important representation in this interpretation. Inserting the city in the relation between cinema and Geography leads us to perceive that the narrated facts do not have the city just as stage for its development. Such development of situations is also build by the daily life in the metropolis and by the social relations on , that is, the social practices. Therefore, this work aims to analyze the social conflicts and tensions that occur in urban space from the representations watched in the movie Crash , since cinema s own image essentially presents some analogies with spatiality. We intend to answer: how can we think this tensions, the social conflicts and, most of all, the representations of urban space from the cinematographic representation.

[pt] Esta dissertação analisa, a partir da trilogia cinematográfica de Batman (2005-2012), o modo como os procedimentos expressivos elaborados nas imagens constroem (ou não) a possibilidade de emancipação do espaço urbano. Inseridos no contexto pós 11 de setembro, os três filmes dialogam com o lastro iconológico da Guerra ao Terror: figuras sem-rosto, duplos, múltiplos, anônimos, imagens especulares; e ao centro das disputas, a metrópole de Gotham. O custo necessário , entretanto, para a salvação de Gotham por Batman parece ser o monopólio tanto da cidade quanto da imagem da cidade: um monopólio que serve de blindagem contra os efeitos caleidoscópicos do terror. A paisagem urbana (amálgama entre a urbe e sua imagem) se torna portanto meio privilegiado de análise. E eis a centralidade do segundo filme da trilogia na discussão que se propõe: o ataque iconoclasta do Coringa, por meio do jogo e do riso, profana o monopólio (da verdade , do bem , da ordem e da imagem) instituído pelo homem morcego. Com a invasão de uma imagem outra por entre as visibilidades do filme, rompe-se o unívoco e com ele o monopólio sobre a cidade e suas representações. / [en] This research examines, from the Batman cinematographic trilogy (2005- 2012), the way in which expressive procedures elaborated in the images can build (or not) the possibility of the urban space s emancipation. Inserted in the post 9/11 context, the three movies dialogue with the iconological traces of the War on Terror: faceless figures, doubles, multiples, anonymous, specular images; and at the centre of the dispute, Gotham metropolis. The necessary cost, however, for the salvation of Gotham by Batman seems to be the monopoly of the city as well as of the city s image: a monopoly that serves as a shield against the kaleidoscopic effects of terror. The urban landscape (an amalgam between the city and its image) thus becomes a privileged medium of analysis. And hence the centrality of the Trilogy s second movie in the proposed discussion: the iconoclast attack of the Joker, through play and laughter, desecrates the monopoly (of truth , good , order , and image) instituted by Batman. With the invasion of a different image between the movie’s visibilities, the univocal disrupts itself, and with it the monopoly over Gotham and its representation.

[pt] A pesquisa se propõe a analisar como o cinema poderia transcrever a experiência vivenciada nos espaços e ajudar a desvelar a arquitetura em outras camadas que não apenas técnicas, formais e objetivas. Para isso, recorre ao curta-metragem Sizígia (2012), no qual a arquitetura não é apenas um tema abordado, mas parte fundamental de sua configuração. O curta-metragem do pesquisador Luis Urbano se insere no âmbito acadêmico de análise da arquitetura e foi filmado no projeto Piscina das Marés (1959-65) do arquiteto português Álvaro Siza. Em Sizígia, a imagem em movimento foi encarada não apenas como representação da arquitetura, mas como forma de investigação do espaço, explorando suas qualidades e seu potencial narrativo. O cinema, como uma forma de expressão, busca contar os enredos da vida vivida nos lugares por meio da imagem em movimento, conectando os dilemas da vida humana à arquitetura. Sua linguagem acaba por captar eventos, vinculando-os ao espaço e, como consequência, sua narrativa revela a arquitetura onde o enredo da vida se dá. Nesse sentido, a pesquisa busca no cinema um meio alternativo de investigação e representação da arquitetura. / [en] The research aims to analyze how cinema could transcribe the experience lived in spaces and help to unveil architecture in layers other than just technical, formal and objective. For this, it uses the short film Sizígia (2012), in which architecture is not only an approached topic, but a fundamental part of its configuration. The short film by researcher Luis Urbano falls within the academic scope of architecture analysis and was filmed in the project Piscina das Marés (1959-65) by Portuguese architect Álvaro Siza. In Sizígia, the moving image was seen not only as a representation of architecture, but as a way of investigating space, exploring its qualities and its narrative potential. Cinema, as a form of expression, seeks to tell the plots of life lived in places through the moving image, connecting the dilemmas of human life to architecture. His language ends up capturing events, linking them to space and, as a consequence, his narrative reveals the architecture where the plot of life takes place. In this sense, research seeks in cinema an alternative means of investigation and representation of architecture.