Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

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Digital cinema has provoked a strong response over the last decade, not only from the movie-going public, but also from film theorists. It has re-opened basic theoretical questions about cinematic representations of and reference to reality. / This thesis begins with a critical review of the vast theoretical literature dealing with the digitization of the cinema. Most theorists have come to the conclusion that the cinema is dead because digitization has severed the ties between what we see on the screen and real life. At root, this conclusion is derived from a structuralist, nominalist position prevalent in contemporary film theory. / I argue, instead, that film theory needs to re-address the complex issue of the relationship between image and reality, rather than simply accepting the traditional view. In so doing, I follow Stanley Cavell's call for a more thorough consideration of realist traditions in film theory, the premise of which is an unquestioned relationship between representation and reality. / The complexity and subtlety of that relationship has been addressed most systematically and fruitfully by Charles Saunders Peirce. Indeed, many structuralist theorists have made reference to Peirce in response to the shortcomings of a semiologically inflected film theory. In the second step of my argument, however, I show that structuralist theory has produced misleading conclusions, since a Peircian semiotics is incommensurable with the structuralist position. In fact, this implicit conflict has led theorists to doubt the real in the digital cinema, rather than investigating the logically necessary continuity of reality and representation, regardless of its technological kind.

曾凱恩. / 論文(哲學碩士) -- 香港中文大學硏究院傳播學部, 1996. / 參考文献 : leaves 178-181. / Zeng Kai'en [Tsang Doris H. Y.]. / Chapter 第一章： --- 總論 / Chapter 第一節： --- 前言 --- p.7 / Chapter 第二節： --- 研究問題之闡釋 --- p.8 / Chapter 第二章： --- 文化資源與訊息解讀的關係 / Chapter 第一節： --- 「文化」在閱聽人和解讀中的角色 --- p.14 / Chapter 第二節： --- 解讀的認知心理過程 --- p.17 / Chapter 第三節： --- 活動於文化資源中的「符號」 --- p.22 / Chapter 第三章： --- 文本與閱聽人的互動形態 / Chapter 第一節： --- 總論文本與閱聽人的關係 --- p.27 / Chapter 第二節： --- 積極活躍於解讀的閱聽人 --- p.28 / Chapter 第三節： --- 多元歧義的解讀結構 --- p.32 / Chapter 第四節： --- 符號的種類與意義的闡釋 --- p.37 / Chapter 第四章： --- 研究方法 / Chapter 第一節： --- 研究設計 --- p.45 / Chapter 第二節： --- 影片介紹 --- p.50 / Chapter (一） --- 阿甘正傳 --- p.51 / Chapter (二） --- 人間有情 --- p.52 / Chapter 第五章： --- 總論研究實證 --- p.53 / Chapter 第六章： --- 表述解讀過程的形式 --- p.59 / Chapter 第一節： --- 比較式的表述 --- p.59 / Chapter (一） --- 内部比較 --- p.60 / Chapter (二） --- 外部比較 --- p.61 / Chapter 第二節： --- 體驗式的表述 --- p.63 / Chapter 第三節： --- 誘導式的表述 --- p.65 / Chapter 第四節： --- 設身式的表述 --- p.66 / Chapter 第七章： --- 解讀：閱聽人文化資源的運用與文本的互動 / Chapter 第一節： --- 文化資源與解讀的關係 / Chapter (一） --- 文化資源決定了閱聽人的解讀取向 --- p.68 / Chapter 第二節： --- 小組討論的互動性表現 --- p.79 / Chapter (一） --- 表述方式的倣效 --- p.80 / Chapter (二） --- 問題的再建構潛力 --- p.81 / Chapter (三） --- 眾人的「壓力」 --- p.82 / Chapter 第八章： --- 故事線解讀 / Chapter 第一節： --- 故事線解讀的停留性 --- p.84 / Chapter 第二節： --- 故事線解讀的一致性 --- p.92 / Chapter 第三節： --- 解讀的提升性 --- p.93 / Chapter 第九章： --- 探索性解讀 / Chapter 第一節： --- 故事線中的思考空間 --- p.95 / Chapter 第二節： --- 延申性探索解讀 --- p.98 / Chapter 第三節： --- 獨立性探索解讀 --- p.104 / Chapter 第十章： --- 認知性解讀 / Chapter 第一節： --- 特定解讀 / Chapter (一） --- 特定解讀模式 --- p.110 / Chapter (二） --- 不同的發源，相同的理解 --- p.116 / Chapter (三） --- 異己文化的知識性解讀 --- p.117 / Chapter (四） --- 抽象訊息解讀的特定性 --- p.123 / Chapter 第二節： --- 任意解讀 / Chapter (一） --- 任意解讀模式 --- p.126 / Chapter (二） --- 相同的發源，不同的理解 --- p.131 / Chapter (三） --- 異己文化訊息的再解讀 --- p.132 / Chapter (四） --- 「沒定義」的文化符碼 --- p.135 / Chapter (五） --- 訊息是回憶的起點站 --- p.137 / Chapter 第十一章： --- 總結 --- p.140 / 附錄 / 附錄一 ：「阿甘正傳」討論點 --- p.145 / 附錄二 ：「阿甘正傳」討論點（英文） --- p.151 / 附錄三：「人間有情」討論點 --- p.157 / 附錄四：「人間有情」討論點（英文） --- p.164 / 附錄五：中國人組個人資料問卷 --- p.172 / 附錄六：美國人組個人資料問卷 --- p.173 / 附錄七：内容複述的書信戔 --- p.174 / 參考書目 --- p.178

In today's world of communication technology, film and television more than ever inform and persuade us about our world through a wealth of images. The purpose of this study is to explore "the various way that film narratives function to construct the social reality that constitutes the lived world of social actors" (Mumby, 1993:5). The thesis argues that film narratives and video productions are historical social/political artifacts incorporating important social and political issues through the use of ideology, rhetoric and genre in the "politics of representation." The study examines a number of theoretical positions proposed by adult educators in relation to five poststructural perspectives chosen for this research. The analysis begins with a Lacanian interpretation of subjectivity in the complexities of female bonding with the Other, then follows with Foucault's concepts of knowledge and power, Derrida's perspective on differance, Baudrillard's thesis on "simulacra" and closes with Lyotard's philosophy on the "postmodern condition." The study argues that objects of knowledge are locally and historically specific, and that they become available for human understanding only within certain "language games," "paradigms" and "discursive formations." Following the lead of these French thinkers, the study investigates the central role language plays in the process of socialization while questioning simultaneously, the ideological processes forming our subjectivities. Also the study challenges the foundational basis for historical knowledge and the existing state of cultural power, one that structures identities of Self and Other within societal forms of domination and exploitation. The research concludes with reasons why a postmodern position extends the imaginary spaces for cultural narratives and offers alternative models for adult education. These positions are "necessary illusions" grounded upon our understanding of cultural identities, and focus upon a new engagement of adult education through a "politics of difference." The thesis attempts to help adult learners comprehend their own cultural situation through an explicit understanding of how narrative discourses operate within the "politics of representation" on two levels: one, as a communication phenomenon that pedagogically and culturally constructs human identities through role-playing, and two, as a social phenomenon that both reinforces and challenges the social order.

Orientador: Marcius Cesar Soares Freire / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T18:32:25Z (GMT). No. of bitstreams: 1 Serra_JenniferJane_M.pdf: 8736280 bytes, checksum: c66b3c043b6914ea9a87103eb4ba4909 (MD5) Previous issue date: 2011 / Resumo: Esta pesquisa teve por finalidade analisar os mecanismos através dos quais filmes de animação podem ser vistos pelo espectador a partir de uma leitura documental e como a animação pode ser utilizada como estratégia discursiva em filmes documentários. Para tanto, delimitou-se como objeto de análise filmes classificados, tanto por seus realizadores como por instituições relacionadas ao campo do cinema, como "documentário animado" e utilizou-se a abordagem Semiopragmática do filme para analisar esse tipo de produção com base no conceito de "modo de leitura documentarizante" proposta pelo teórico Roger Odin. O corpus fílmico para esta análise foi composto pelos seguintes filmes: Silence (Sylvie Bringas e Orly Yadin, Inglaterra, 1998); A is for Autism (Tim Webb, Inglaterra, 1992); Animated Minds (Andy Glynne, Inglaterra, 2003 e 2008); Revolving Door (Alexandra e David Beesley, Austrália, 2006); Dossiê Rê Bordosa (Cesar Cabral, Brasil, 2008); O Divino, De Repente (Fábio Yamaji, Brasil, 2009). A análise desses filmes, em particular, e de outros documentários de animação permitiu visualizar que a leitura de um documentário articula operações e processos de produção de sentido e afetos concernentes tanto ao campo do cinema documentário quanto do cinema de animação. Em documentários animados, as operações do processo de leitura são suscitadas por estratégias narrativas próprias da animação, tais como metamorfose, simbolismo, performance, etc., e a leitura documentarizante pode ser conduzida por instruções que não recaem apenas sobre aspectos estilísticos do documental, mas também sobre elementos narrativos da animação. Além disso, a animação tem o poder de tornar visível o que não pode ser captado pelo olhar humano e pela câmera, tornando-se uma poderosa ferramenta para expor sentimentos, pensamentos e idéias e para explorar temas através de uma abordagem subjetiva. A união entre animação e narrativa documental no documentário animado, entretanto, é carregada de tensão, especialmente porque a animação é tradicionalmente associada ao universo do "faz de conta" e sua natureza subjetiva entra em conflito com a visão tradicional do documentário como sendo um relato objetivo sobre o real e relacionado aos discursos científicos. No processo de leitura de um documentário animado essa tensão está presente e é uma de suas particularidades. A natureza aparentemente contraditória da junção entre animação e documentário chama a atenção do espectador para novas possibilidades de representação do mundo histórico que não apenas os modos já estabelecidos de narrativa documental e suscita a reflexão sobre a abordagem das questões envolvidas nas asserções apresentadas pelo filme / Abstract: This research aims to examine how the viewer can read animated films through a documentary reading and how animation can be used as a discursive strategy by documentary films. For this purpose, films classified - by their makers or institutions related to the cinema field - as "animated documentary" were chosen and used under the Semio-Pragmatic approach. The objective is to analyze this kind of production based on the concept of "documentarizing mode of reading" proposed by theorist Roger Odin. The set of films for this analysis consists of: Silence (Orly Yadin and Sylvie Bringas, England, 1998), A is for Autism (Tim Webb, England, 1992); Animated Minds (Andy Glynne, England, 2003 and 2008); Revolving Door (Alexandra and David Beesley, Australia, 2006); The Rê Bordosa Dossier (Cesar Cabral, Brazil, 2008), O Divino, De Repente (Fábio Yamaji, Brazil, 2009). The analysis of these films and other animated documentaries shows that the reading of an animated documentary articulates operations and production of meaning and affects related to both the fields of documentary and animation. The operations of the reading process of an animated documentary are raised by animation's narrative strategies, such as metamorphosis, symbolism, performance, etc., and the documentarizing reading can be produced by elements concerned to stylistic aspects of the documentary, but also based on elements of animation. In addition, animation has the power to make visible what is invisible to the human eye and to the camera, making the animated documentary a powerful tool to reveal feelings, thoughts and ideas and to explore issues through a subjective approach. The relationship between animation and documentary narrative in the animated documentary, however, has a tension. Because animation is traditionally associated with the fairytale world and it has a subjective nature it conflicts with the vision of the documentary as an objective narrative about the real and related to scientific discourses. In the process of the animated documentary reading this tension is present and one of its peculiarities. The contradictory nature of the junction between animation and documentary draws to the viewer the attention for new possibilities of representations about the historical world beyond the established modes of documentary narrative and it raises the viewer's reflection about the approach of the issues involved in the assertions made by the film / Mestrado / Multimeios / Mestre em Multimeios

Doctorat en sciences psychologiques / info:eu-repo/semantics/nonPublished

In today's world of communication technology, film and television more than ever inform and persuade us about our world through a wealth of images. The purpose of this study is to explore "the various way that film narratives function to construct the social reality that constitutes the lived world of social actors" (Mumby, 1993:5). The thesis argues that film narratives and video productions are historical social/political artifacts incorporating important social and political issues through the use of ideology, rhetoric and genre in the "politics of representation." The study examines a number of theoretical positions proposed by adult educators in relation to five poststructural perspectives chosen for this research. The analysis begins with a Lacanian interpretation of subjectivity in the complexities of female bonding with the Other, then follows with Foucault's concepts of knowledge and power, Derrida's perspective on differance, Baudrillard's thesis on "simulacra" and closes with Lyotard's philosophy on the "postmodern condition." The study argues that objects of knowledge are locally and historically specific, and that they become available for human understanding only within certain "language games," "paradigms" and "discursive formations." Following the lead of these French thinkers, the study investigates the central role language plays in the process of socialization while questioning simultaneously, the ideological processes forming our subjectivities. Also the study challenges the foundational basis for historical knowledge and the existing state of cultural power, one that structures identities of Self and Other within societal forms of domination and exploitation. The research concludes with reasons why a postmodern position extends the imaginary spaces for cultural narratives and offers alternative models for adult education. These positions are "necessary illusions" grounded upon our understanding of cultural identities, and focus upon a new engagement of adult education through a "politics of difference." The thesis attempts to help adult learners comprehend their own cultural situation through an explicit understanding of how narrative discourses operate within the "politics of representation" on two levels: one, as a communication phenomenon that pedagogically and culturally constructs human identities through role-playing, and two, as a social phenomenon that both reinforces and challenges the social order. / Education, Faculty of / Graduate

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished