Animated movies have had a big impact in the film business all over the world. A lot of these films are mainly produced for a younger audience, which leads to a greater responsibility to show a legitimate worldview. Children do not have the same ability of critical thinking as an adult, and that is why it is vital in such movies. In this study, we have examined the movies Kung Fu Panda and Mulan to see how the Chinese culture is represented, having in mind that the relation between East and West have been, and in some ways still are strained. We have examined whether there have been any postcolonial elements such as cultural myths, orientalism, ethnocentrism and stereotypes, originated from the field of cultural studies. Based on a three dimensional analysis, we have looked at the films’ structure, the context and the socio-historical context. The study concluded that the Chinese culture is often represented in a somewhat stereotypical way and with symbols associated with Asia and its culture but the movies also includes certain Western elements.

Film is a medium which is mainly used for entertainment. It is a medium that is constantly expanding, and beside from it being a relaxing activity it can also be used for educational purposes. This is an aspect of film that should be valued, since it has the possibility to engage, educate and move its viewers. This is a study which aim is to analyze how employees within the care of disabled in Umeå have perceived educational movies. The movies that the staff has watched are a part of a basic training program, which all employees are required to fulfill. It is a total of three movies that have been watched by the workers. To examine their opinions six qualitative interviews were held with members of the staff. This study has therefor analyzed the employees’ views of the movies, rather than the movies themselves. The interviews were later analyzed in relation to the study’s theories, which include reception analyses, encoding/decoding and learning within an organization.The study has shown that the educational movies had both positive and negative aspects. When it comes to the movies' content, the informants had mostly positive things to say. They liked the information, the way the movies were made and have in some aspects incorporated what they learnt from the movies in their everyday life. When it comes to the experience of watching the movies, the informants have a more negative view. This mostly comes from the fact that they were disturbed while watching the movies, but also tired since they watched the movies late in the afternoon. These factors made it hard for the employees to concentrate while watching the movies.The study have shown that both the movies' content and the experience of watching the movies play two key roles in how the employees have perceived them. It is important that both parts satisfy the staff, in order for the organization to get their message across.

"Mémoire présenté à la Faculté des études supérieures en vue de l'obtention du grade de maîtrise en droit des technologies de l'information" / Le présent mémoire se penche sur trois questions liées à la distribution d'oeuvres cinématographiques par Internet au Canada. Ces questions sont le reflet des principales préoccupations d'une industrie en pleine expansion et sont abordées sous un aspect pratique. La première question concerne l'applicabilité de la loi canadienne sur le droit d'auteur. L'aspect mondial du réseau Internet soulève en effet d'importantes questions de droit international privé. Il s'agit donc de connaître, à travers l'analyse de différentes hypothèses, les circonstances d'application et la portée de la loi canadienne. La deuxième question s'intéresse à la portée de la protection offerte. Les différents droits dévolus aux auteurs en vertu de la loi sont effectivement issus d'un environnement technique différent de celui proposé par Internet. Il s'agit donc d'analyser l'application de ces différents droits à la distribution d'oeuvres par Internet. Enfin, la troisième question se penche sur l'identité du titulaire des droits d'auteur sur une oeuvre cinématographique. La loi n'apporte en effet aucune réponse définitive à cette question et le processus de création particulier à la production d'une oeuvre cinématographique rend d'autant plus complexe la détermination du titulaire. Encore une fois, le présent mémoire tente de répondre à la question de la titularité par l'analyse successive de différentes hypothèses. / This work addresses three questions related to the distribution of cinematographic works by Internet in Canada. Those questions reflects the fundamental concerns of a budding industry and are examined under a practical angle. The first question deals with the applicability of the Canadian law regarding copyright. Indeed, the global aspect of Internet raises important issues related to international private law. We examine different scenarios in order to determine the scope and the circumstances under which the Canadian law applies. The second question examines the scope of the protection provided for under the Canadian law. The different rights provided to authors under the Canadian law were adopted before the Internet era and it is important to verify the applicability of those rights to the specifie technical environment of Internet. Finally, the third question addresses the issue of the ownership of a copyright related to a cinematographic work. The Canadian law doe not provide for an express answer to that question. Moreover, it is complicated by the specifie creation process leading to the production of a cinematographic work. This work undertakes to answer the question by examining different scenarios.

This diploma thesis named "Journalists and source protection in motion pictures" focuses on investigative journalists pictured in movies that have originated in Anglo-American language and cultural area. Analyzed are such movies that either have been filmed or have had their opening night in last three decades of the twentieth century or the first decade of twenty first century. From 1970s decade there is one movie analyzed while from all the other decades there are always two movies were being taken into analysis. Theoretical part of this thesis consists first of all of all necessary terms followed by several chapters about history of investigative journalism in English speaking countries. Several important personas and events from the area of investigative journalism from the twentieth century are also mentioned. Political movies from 1960s and 1970s are also briefly mentioned at this point. Briefly discussed are also principles of qualitative analysis method and necessary assumptions. Within the practical part of this thesis every movie is described and analyzed. Specific qualitative analysis method is the same in case of all the analyzed movies and results are discussed in specific subchapters by the same structure so all movies can be easily compared and cross-analyzed. Detailed descriptions...

The film representation of the Sámi people has evolved during the last century from the ethnographic portrayals that reproduce a romantic stereotype of the good savages, to feature and documentary films that discuss the Sámi identity and its colonial history. In recent years a new generation of Sámi and Swedish documentary directors have focused their work on analysing the impact that multiple structures of power actually have in the production of the Sámi identity and culture. In this research I explore the intersections of such structures in the documentary road movies Sámi Daughter Yoik (2007) by the Sámi-Swedish director Liselotte Wajstedt, and The Only Image of My Father (2004) by the Swedish director Kine Boman. The main purpose of the research is to examine the discussions of identity that these films propose and to analyse the strategies with which the directors question the simplistic representation of the Sámi people. Based on the postcolonial and intersectional perspectives, the text offers a critique of the discourses of authenticity that confine the Sámi identity into the frame of ethnicity. The study gives special attention to the different layers that the directors' identities involve and their role in the construction of alternative representations of the Sámi people. A relevant finding is that the directors have succeeded in representing the Sámi people as complex and heterogeneous, helped by their choices on genre, authorship and their own approach to identity as a performative, multidimensional and dynamic process.

Essa pesquisa, a partir de construtos da Psicologia Analítica e Psicologia Arquetípica, apresenta uma reflexão teórica sobre vivências de perdas, concretas ou metafóricas, que ocorrem no cotidiano, as mortes simbólicas, seguidas de luto, um trabalho psíquico de desconstrução da presença e da reconstrução da ausência, um processo de transformação, experiências denominadas no senso comum como depressões. Tal termo é empregado, referindo-se aos afetos relativos a essas perdas, seguidas de suas elaborações, e não aos transtornos mentais classificados no Manual Diagnóstico e Estatístico (DSM) utilizado pela Psiquiatria. A observação dos assim chamados fenômenos da depressão e a reflexão sobre este tema na clínica particular da autora, motivaram a leitura sobre morte e luto na academia e na literatura, além da execução de uma amplificação mítico-simbólica dos conteúdos em filmes contemporâneos (Um Conto Chinês, Cisne Negro, Enrolados, O Show deve continuar e A partida). Compreender a depressão, para além da patologia psiquiátrica, como a noite escura da alma, uma descida ao mundo dos Ínferos, uma possibilidade de introspecção e um acesso ao mundo interno, uma oportunidade de autoconhecimento e uma vivência necessária às transformações de si mesmo nas diferentes etapas da vida, torna indispensável a ancoragem dessas experiências nos processos inconscientes arquetípicos constituintes de nossas psiques. Em cada filme, foi escolhido um personagem, que foi pareado com temas dos divinos gregos respectivamente, Crono, Deméter, Perséfone, Dioniso e Hades. O personagem do filme analisado ilustra um padrão dominante de comportamento referente à vivência de perda, diferenciando essas experiências vitais de transformação como expressões arquetípicas de diversos modelos de morte e luto simbólicos / This research, from Analytical Psychology and Archetypal Psychology constructs, presents a theoretical analysis about loss experiences, concrete or metaphorical, that occurs daily, the symbolical deaths, followed by mourning, a psychic work of presence deconstruction and absence reconstruction, a process of transformation; experiences known as depressions in the common sense. The term depression here refers to the affects related to those losses, followed by its elaborations, rather than to the disorders classified on the Diagnostic and Statistical Manual of Mental Disorders (DSM) used by Psychiatry. The observation of the so called phenomena of depression and this theme analysis on authors private clinic have motivated the reading of the themes death and mourning in the academy and in literature, and the execution of a mythic-symbolical amplification of the contents in contemporary movies (Chinese Take-Out, Black Swan, Tangled, All That Jazz and Departures). To understand the depression, beyond psychiatric pathology, as a souls dark night, a journey into the Underworld, an introspection and internal world access possibility, a self-knowledge opportunity and a necessary experience for self-transformation over lifes different times, it is necessary to link these experiences to the archetypal unconscious processes constituents of our psychics. In each movie, a character was chosen and he/she was respectively paired to one of the following greek divine themes: Cronus, Demeter, Persephone, Dionysus and Hades. A character illustrates a dominant behavior pattern referring to loss experience, differentiating those vital transformation experiences as archetypical expressions of several symbolical death and mourning models

A dissertação objetiva aprofundar os estudos sobre o filme Sagarana, o Duelo, do cineasta mineiro Paulo Thiago, por meio de aproximações e rupturas com a matriz literária, o conto Duelo, do livro Sagarana, contribuindo para a reflexão da obra de Guimarães Rosa em outras linguagens. Preterindo a concepção de fidelidade da adaptação, a pesquisa mostra que o filme é obra autônoma, constituído com liberdade narrativa, ao incorporar personagens e ações dramáticas de outras obras de Guimarães, na tentativa de abarcar temáticas recorrentes do escritor mineiro, tais como a jagunçagem, a violência, a força do acaso, as questões metafísicas, o arcaico e o moderno, etc. As análises e interpretações da dissertação apontam que as propostas estéticas, temáticas e formais de Sagarana, o Duelo são resultados do diálogo do jogo de intenções pessoais do diretor e do contexto histórico, cultural e social da época de sua realização, o começo da década de 1970. A pesquisa se fundamenta na ideia de que o filme é constituído de misturas, em que o cômico e o trágico, o místico e o mundo terreno e o imbricamento de gêneros se fundem na narrativa. Pretende-se mostrar como Sagarana, o Duelo incorpora aspectos do faroeste, do gesto cômico e da temática regionalista, por meio de configurações estruturais da narrativa, tais como a tessitura dramática, a dimensão espacial, a caracterização e interpretação de personagens, aspectos da fotografia e a trilha sonora. / The dissertation aims to deepen the studies of the movie Sagarana, the Duel, by the filmmaker Paulo Thiago, through approaches and ruptures with the literary reference of the tale Duel, from the book Sagarana, contributing to the reflection Guimarães Rosas work in other forms of expression. Passing over the conception of fidelity of the adaptation, research shows that the film work is autonomous, constituted with a freedom of narrative, incorporating the characters and dramatic actions of other works by Guimarães, in an attempt to cover recurring themes of the writer, such as jagunçagem, violence, the force of chance, metaphysical questions, the archaic and modern, etc. The analyzes and interpretations of the thesis show that the aesthetic proposals, thematic and formal of Sagarana, the Duel are the result of the directors dialogue in the game of personal intentions and the historical, cultural and social context of the period of its completion, the beginning of the 1970s. The research is based on the idea that the film consists of mixtures, in which the comic and tragic, the mystical and the earthly world and the interweaving of the genres merge in the narrative. It is intended to show how Sagarana, the Duel incorporates aspects of the western, the comic gesture and regionalist themes through the narratives structural configurations, such as the dramatic texture, the spatial dimension, the characterization and interpretation of characters, aspects of photography and the soundtrack.

Objetivo: Criar modelo de cenas, composto por personagens de filmes brasileiros, com diagnósticos estatisticamente validados, com potencial didático e de realismo, para o ensino dos transtornos da personalidade (TP). Método: Pesquisa de natureza mista, que consistiu na análise de 87 personagens, pertencentes à amostra de 55 filmes brasileiros. Os instrumentos utilizados possibilitaram avaliar os diagnósticos e os potenciais para ensino. Os procedimentos foram efetuados às cegas por três avaliadoras, em quatro etapas distintas: identificação, seleção, elegibilidade e inclusão. Resultados: Dentre os personagens avaliados, 78% (68) apresentaram traços/diagnóstico de TP. Destes, 10% foram categorizados em algum TP do grupo A, 80% do grupo B e 10% do grupo C. A personalidade antissocial foi a mais frequente (46%). A concordância entre avaliadoras, para diagnóstico, foi calculada pelo coeficiente de kappa free-marginal e equivaleu a 0,81, com IC de 95%. O modelo final de cenas foi composto por 16 personagens, que apresentaram maiores níveis de concordância diagnóstica, e maiores potenciais de didática e realismo. Os TP presentes no modelo foram: paranoide, esquizoide, antissocial, borderline, histriônica, narcisista e obsessivo-compulsiva. As categorias esquizotípica, esquiva e dependente não obtiveram pontuação suficiente para serem incluídas. Estimula-se investimento em novas pesquisas que utilizem o cinema brasileiro como objeto. Espera-se que o modelo final seja implementado, em breve, para investigação de sua efetividade prática no processo ensino-aprendizagem / Objective: To create a scene model, composed of Brazilian movies characters with statistically validated diagnoses, with didactic and realism potential, for the teaching of personality disorders (PD). Method: Mixed methods research, which consisted of the analysis of 87 characters, belonging to the sample of 55 Brazilian movies. The instruments made it possible to evaluate the diagnoses and potential for teaching. The procedures were performed blindly by three evaluators, in four distinct steps: identification, selection, eligibility and inclusion. Results: Among the characters evaluated, 78% (68) presented traits/diagnosis of PD. Of these, 10% were categorized into cluster A, 80% cluster B and 10% cluster C. The antisocial personality was the most frequent (46%). Agreement between evaluators for diagnosis was calculated by the free-marginal kappa coefficient and was equivalent to 0.81, with a 95% CI. The final model of scenes was composed by 16 characters, who presented higher levels of diagnostic agreement, and greater didactic and realism potentials. The PDs present in the model were: paranoid, schizoid, antisocial, borderline, histrionic, narcissistic and obsessive-compulsive. The schizotypal, avoidant, and dependent categories did not score enough to be included. It stimulates investment in new research that investigate Brazilian cinema. It is hoped that the final model will be implemented soon to investigate its practical effectiveness in the teaching-learning process

O trabalho trata da relação entre arquitetura moderna e cinema brasileiro, tendo como objetos os filmes Flores raras (2013), Eu sei que vou te amar (1986) e Insolação (2009), nos quais obras da arquitetura moderna foram utilizadas como cenário. Este usual procedimento do cinema, também denominado produção de locação, consiste na apropriação de lugares existentes para filmagens, valendo-se de seus espaços e atmosferas. Flores raras teve como cenário a Residência Edmundo Cavanelas (1954); Eu sei que vou te amar, a Casa da Lagoa (1942), ambas projetadas por Oscar Niemeyer; e Insolação foi filmado em diversos edifícios inseridos na paisagem de Brasília, tais como a concha acústica e a curia metropolitana. Identifica-se, de forma geral, o aspecto cenográfico destas obras de arquitetura, a fim de compreender os fatores que contribuiram para sua escolha como locação; para tal, toma-se como referencial teórico o estudo de Eric Rohmer sobre a organização do espaço no cinema; textos de Juhani Pallasmaa sobre a arquitetura do filme; Bernard Tschumi e a dimensão sensual da arquitetura; e Peter Zumthor, sobre a questão da atmosfera na arquitetura. Utiliza-se o conceito semiótico de visualidade e visibilidade, de Lucrécia Ferrara, assim como o procedimento metodológico de leitura de textos não verbais proposto pela autora; realizam-se, então, leituras de sequências dos filmes, considerando seu roteiro e outros materiais como contextualização. A partir dos filmes, identificam-se três aspectos distintos da arquitetura moderna localizados na historiografia da arquitetura. A dimensão cenográfica da arquitetura nos três filmes é apresentada tanto nas leituras quanto nas sequências ilustradas compostas por fotogramas dos mesmos. / The present thesis consists of the relation between modern architecture and the Brazilian movies Flores raras (2013), Eu sei que vou te amar (1986) and Insolação (2009), on which modern architecture is taken as set. At cinema, this is an usual procedure called production of locations: real places and buildings are used as sets, counting with their spaces and ambience. Flores raras was shot at Edmundo Cavanelas\'s house (1954); Eu sei que vou te amar, at Lagoa\'s house (1942), both designed by Oscar Niemeyer; Insolação was shot on several buildings and landscapes in Brasilia, such as the concert hall and the metropolitan curia. The scenographic dimension is identified on these buildings, in order to comprehend the factors which were taken in consideration to be chosen as location; for this reason, some theoretical references are taken: Eric Rohmer\'s study about the organization of space on cinema; Juhani Pallasmaa\'s texts about the architecture of films; Bernard Tschumi and the sensual dimension of architecture; and Peter Zumthor, about athmosphere issues on architecture. It is also considered the semiotic concept of visuality and visibility, conceived by Lucrecia Ferrara, as well as her non verbal method of analysis. Then, movie sequences analysis are carried out, considering the screenplay and other contextualization materials. Based on these movies, three distinct aspects of modern architecture are spotted on the historiography of architecture. The scenographic dimension of architecture on the films mentioned above is presented on analysis and on ilustrated sequences composed by their own frames as well.

Esta dissertação tem como tema quatro filmes do gênero ficção científica, produzidos nos Estados Unidos da América no período do segundo pós-guerra, O Dia em que a Terra Parou (1951), Vampiros de Almas (1956), A Bolha (1958) e Limite de Segurança (1964). Nas sociedades contemporâneas, este gênero se torna relevante como objeto de interpretação do real, representando, interpretando e discutindo o seu contexto histórico e as relações humanas com o desconhecido, propondo formas de organização social e reflexões sobre a natureza da Ciência e Tecnologia. Por meio da leitura crítica dos filmes pode-se compreender o imaginário americano sobre questões referentes às relações internacionais da Guerra Fria e às ameaças internas à sociedade, sem deixar para trás a visão de que estes filmes atingiram diversas sociedades em diversas regiões do mundo e também tratam de questões universais. / This dissertation presents four science fiction movies, produced in the United States of America in the second post war period, The Day the Earth Stood Still (1951), Invasion of the Body Snatchers (1956), The Blob (1958), Fail-Safe (1964). In contemporary societies, this genre becomes relevant as an interpretation of the real, representing, interpreting, and discussing its historical context and the human relationships with the unknown, proposing ways of social organization and reflections about the nature of Science and Technology. By means of critical reading of the movies, the American imaginary regarding the international relations of the Cold War and the internal threats to society can be comprehended, without leaving behind the notion that these movies reach societies in different regions of the world and deal with universal questions.