Peu d'études ont été menées sur l'influence de la stéréoscopie sur la perception d'un mixage audio au cinéma. Les témoignages de mixeurs ou les articles scientifiques montrent pourtant une grande diversité d'opinions à ce sujet. Certains estiment que cette influence est négligeable, d'autres affirment qu'il faut totalement revoir notre conception de la bande-son, aussi bien au niveau du mixage que de la diffusion. Une première série d'expériences s'est intéressée à la perception des sons d'ambiance. 8 séquences, dans leurs versions stéréoscopiques (3D-s) et non-stéréoscopiques (2D), ont été diffusées dans un cinéma à des sujets avec plusieurs mixages différents. Pour chaque présentation, les sujets devaient évaluer à quel point le mixage proposé leur paraissait trop frontal ou au contraire trop « surround », le but étant de mettre en évidence une éventuelle influence de la stéréoscopie sur la perception de la balance frontal/surround d'un mixage audio. Les résultats obtenus ont rejoint ceux d'une expérience préliminaire menée dans un auditorium de mixage, où les sujets se trouvaient en situation de mixeur et devaient eux-mêmes régler la balance frontal/surround : l'influence de la stéréoscopie était faible et n'apparaissait que pour quelques séquences. Des études ont ensuite été menées sur la perception des objets sonores tels que dialogues et effets. Une quatrième expérience s'est intéressée à l'effet ventriloque en élévation : lorsque l'on présente à un sujet des stimuli audio et visuel temporellement coïncidents mais spatialement disparates, les sujets perçoivent parfois le stimulus sonore au même endroit que le stimulus visuel. On appelle ce phénomène l’effet ventriloque car il rappelle l'illusion créée par le ventriloque lorsque sa voix semble plutôt provenir de sa marionnette que de sa propre bouche. Ce phénomène a été très largement étudié dans le plan horizontal, et dans une moindre mesure en distance. Par contre, très peu d'études se sont intéressées à l'élévation. Dans cette expérience, nous avons présenté à des sujets des séquences audiovisuelles montrant un homme en train de parler. Sa voix pouvait être reproduite sur différents haut-parleurs, qui créaient des disparités plus ou moins grandes en azimut et en élévation entre le son et l'image. Pour chaque présentation, les sujets devaient indiquer si la voix semblait ou non provenir de la même direction que la bouche de l'acteur. Les résultats ont montré que l'effet ventriloque était très efficace en élévation, ce qui suggère qu'il n'est peut-être pas nécessaire de rechercher la cohérence audiovisuelle en élévation au cinéma. / Few psychoacoustic studies have been carried out about the influence of stereoscopy on the sound mixing of movies. Yet very different opinions can be found in the cinema industry and in scientific papers. Some argue that sound needs to be mixed differently for stereoscopic movies while others pretend that this influence is negligible.A first set of experiments was conducted, which focused on the perception of ambience. Eight sequences - in their stereoscopic (s-3D) and non-stereoscopic (2D) versions, with several different sound mixes - were presented to subjects. For each presentation, subjects had to judge to what extent the mix sounded frontal or “surround.” The goal was to verify whether stereoscopy had an influence on the perception of the front/surround balance of ambience. Results showed that this influence was weak, which was consistent with a preliminary experiment conducted in a mixing auditorium where subjects had to mix the front/surround balance of several sequences themselves.Studies were then conducted on the perception of sound objects such as dialogs or on-screen effects. A fourth experiment focused on ventriloquism in elevation: when presented with a spatially discordant auditory-visual stimulus, subjects sometimes perceive the sound and the visual stimuli as coming from the same location. Such a phenomenon is often referred to as ventriloquism, because it evokes the illusion created by a ventriloquist when his voice seems to emanate from his puppet rather than from his mouth. While this effect has been extensively examined in the horizontal plane and to a lesser extent in distance, few psychoacoustic studies have focused on elevation. In this experiment, sequences of a man talking were presented to subjects. His voice could be reproduced on different loudspeakers, which created disparities in both azimuth and elevation between the sound and the visual stimuli. For each presentation, subjects had to indicate whether or not the voice seemed to emanate from the mouth of the actor. Ventriloquism was found to be highly effective in elevation, which suggests that audiovisual coherence in elevation might be unnecessary in theaters.

Este trabalho busca construir dedutivamente o sistema temporal que preside ao procedimento de temporalização no cinema. Para isso, estuda, com base na semiótica francesa, a localização temporal, a programação temporal, a programação textual e a aspectualização do tempo. Partindo da idéia de que o cinema é a arte do presente, mostra que os fatos narrados num filme podem localizar-se no presente do presente, no presente do passado ou no presente do futuro. Em seguida, examina as possibilidades de presentificar anterioridades e posterioridades. A programação temporal é a representação da ordem dos acontecimentos, que podem ser contados concomitantemente, sucessivamente ou de maneira invertida. A programação textual representa a duração dos fatos narrados. A duração da narração pode ser igual, maior ou menor do que a do acontecimento relatado. A aspectualização pode ser quantitativa (andamento) ou qualitativa. Esta é sempre durativa e a duratividade articula-se em aspectos incoativo, cursivo (contínuo ou descontínuo) e terminativo. O andamento pode ser normal, lento, acelerado ou congelado. / This work aims at constructing deductively the temporal system that governrs over to the temporalization procedure in the movies. For this, it studies, on the basis of French Semiotics, temporal localization, temporal programming, textual programming and tense aspectualization. Starting from the idea that movies is the art of the present, it shows that the facts narrated in one movie can be situated in the present of the present, the present of the past or the present of the future. After that, it examines the possibilities of presentifying anteriorities and posteriorities. Temporal programming is the representation of the order of events that can be counted concomitantly, successively or in an inverted way. Textual programming represents the duration of the narrated facts. The duration of the narration can be equal, to bigger or smaller than that of the narrated event. The aspectualization can be quantitative (tempo) or qualitative. This is always durative and the durativeness is articulated in inchoative, cursive (continuous or discontinuous) and terminative aspects. The tempo can be normal, slow, accelerated or frozen.

Made available in DSpace on 2016-03-15T19:43:06Z (GMT). No. of bitstreams: 1 Eduardo Yoshikazu Nishitani.pdf: 1286754 bytes, checksum: fac0699ab17f91d1d4231c385295333c (MD5) Previous issue date: 2007-09-03 / In this work, it is discoursed on the urgency of a directed ethical formation for those who inherit a planet which is more and more globalized. The principle is if the globalization shows us an opportune time for seeing ourselves as a unique human family that lives in a small blue spot in the vastness of the Universe, it also presents the hazards conducted by the selfishness and the lack of conscience towards the environmental sustainability. These elements will bring serious consequences for the sociosphere, the technosphere and the biosphere, not only locally speaking but also in a world-wide scope. Besides this perspective, it is also discoursed on the serious reality evidenced in the microcosm of the classrooms in public high-schools: non motivated pupils, discouraged teachers and the lack of structure that devastates some high-schools; consequences of the society that faces, amongst many factors, deep economic and social uneven nesses. In these sceneries, the aim was to verify if the science fiction under the filmic form can be used as a didactic resource in the classrooms. The proposal is to accomplish the demand for an interdisciplinary and contextualized education, to favor quarrels on planetary ethics, as a way of rescuing the emotion and the imagination in the Science of the Nature lessons so that it can be playful and pleasant not only for the teachers but also for the pupils. After showing two cinematographic units of science fiction called Contact and Silent Running, for the pupils of a public high-school in São Bernardo do Campo, it was verified that, by means of reading the answers of the applied questionnaire, good films of the sort can be useful instruments in the hands of teachers who worry about the demands mentioned above. / Neste trabalho, discorre-se sobre a urgência de uma formação ética dirigida aos que herdam um planeta cada vez mais globalizado. Parte-se do princípio de que, se a globalização faz vislumbrar uma época oportuna de nos vermos como uma única família humana que habita um pequeno ponto azul na vastidão do Universo, ela também apresenta os perigos regidos pela mesquinhez e falta de consciência relacionada com a sustentabilidade ambiental. Daí surgirão graves conseqüências para a sociosfera, a tecnosfera e a biosfera, em nível local e em âmbito mundial. Além dessa perspectiva, discorre-se sobre a grave realidade constatada no microcosmo das salas de aula do Ensino Médio da escola pública: alunos desmotivados, professores desanimados e falta de estrutura que assola algumas escolas, reflexos da sociedade que enfrenta, dentre vários fatores, profundos desníveis econômicos e sociais. Nestes cenários, buscou-se verificar se a ficção científica sob a forma fílmica pode ser um recurso didático nas salas de aula. A proposta é atender a demanda de um ensino interdisciplinar e contextualizado, favorecer discussões sobre ética planetária, resgatar a emoção e a imaginação mesmo nas aulas de Ciências da Natureza e também ser lúdico, agradável e prazeroso tanto para professores quanto para os alunos. Com a exibição de dois filmes de ficção científica, Contato e Corrida Silenciosa, aos alunos de uma escola pública de Ensino Médio em São Bernardo do Campo, verificou-se que, por meio da leitura das respostas do questionário aplicado, bons filmes do gênero podem ser instrumentos úteis nas mãos de professores que se preocupam com as demandas acima mencionadas.

Made available in DSpace on 2016-04-28T20:38:47Z (GMT). No. of bitstreams: 1 Sueli Marino.pdf: 229318 bytes, checksum: 65253a7d0ace19c98a1e1d8fdbefb079 (MD5) Previous issue date: 2013-10-04 / This study aims to comprehend the changes on the discourses and practices of sexuality considering the transformations that occurred in the last decades. Under the principles of the Systemic thinking and Social Construccionism, we seek to understand how the discourse and discursive practices about eroticism and sexuality are presented comparatively in two distinct historical moments in the two versions of the film Lolita, in 1962 and 1997, and that refer to the manifestations of desire and pursuit of pleasure. A qualitative analyzes was done with emphasis on the social poetics highlighting the defining moments of each segmentation of the movie that were then forwarded to units of meaning. We emphasize throughout this process that the definition of eroticism cannot be considered isolated from the contexts and the linguistic communities that establish the meaning of this dialogue and how the social constructions are inserted in a particular time and culture that also change over time / Este estudo se propôs a compreender as mudanças nas práticas e nos discursos de sexualidade considerando as transformações ocorridas nas últimas décadas. Sob os preceitos do Pensamento Sistêmico e do Construcionismo Social, buscamos entender como o discurso e as práticas discursivas sobre erotismo e sexualidade se apresentam comparativamente em dois momentos históricos distintos nas duas versões do filme Lolita, em 1962 e 1997, e que se referem às manifestações do desejo e da busca do prazer. Foram realizadas análises qualitativas com ênfase na poética social destacando os momentos marcantes de cada segmentação fílmica que nos remeteram às unidades de sentido. Destacamos ao longo desse processo que a definição de erotismo não pode ser considerada isoladamente dos contextos e das comunidades linguísticas que estabelecem o significado desse diálogo e como construções sociais, estão inseridas numa determinada época e cultura que ao longo do tempo também se modifica

Made available in DSpace on 2016-04-26T18:17:08Z (GMT). No. of bitstreams: 1 Edison Delmiro Silva.pdf: 522135 bytes, checksum: 2036cad981a4944095a36073f06a986e (MD5) Previous issue date: 2008-05-12 / From the analysis of sixty-two Brazilian movies released since 1995, the thesis presents a categorization of the narrative role of popular songs in these productions. The films of this period called "Retomada (National Cinema Resume) show the use of this specific musical form for the construction of meanings in scenes and, ultimately, for the making of allegories that form a contemporary cultural identity and renew the concept of nationality represented in cinema. The study applies the analytical paradigms of the audiovisual soundtrack to the context of the song, categorizes its functions narratives with examples taken from Brazilian movies and observes the historical periods where the song was highlighted in Brazilian films, from the silent movies to the latest musical films / A partir da análise de sessenta e dois filmes brasileiros lançados a partir de 1995, a tese apresenta uma categorização do papel narrativo das canções populares nestas produções. A filmografia deste período denominado Retomada do Cinema Nacional apresenta o uso desta forma musical específica para a construção dos significados nas cenas e, em última instância, para a constituição de alegorias que formam uma identidade cultural contemporânea e renovam a noção de nacionalidade representada no cinema. O estudo aplica os paradigmas analíticos da trilha sonora audiovisual no contexto da canção, categoriza as suas funções narrativas com exemplos extraídos de filmes nacionais e observa os períodos históricos onde a canção teve maior destaque nos filmes brasileiros, do cinema mudo até as produções musicais mais recentes

O principal objetivo desta pesquisa é traçar um panorama sobre a trajetória da mulher no contexto da sociedade contemporânea a partir da Revolução pós- industrial utilizando-se para isso: o cinema, a propaganda e a internet . O ponto de partida é a revolução tecnológica a partir dos anos 70, seguindo com a revolução robótica, ciborgue e virtual. O intuito é mostrar como a representação da imagem da mulher vem se moldando às novas tecnologias, e como ela neste processo se adapta aos novos paradigmas sociais apresentados, onde as metáforas do robofem e do mulher-máquina que proliferaram na sociedade industrial estão hoje em decadência. Numa metamorfose balizada pela teleinformática e pelas biotecnologias, tais imagens estão sendo substituídas por outras: aquelas que começam a esboçar a mulher-informação, a mulher-comunicação, a mulher-ciborgue, a mulher virtual. Emerge, assim, uma nova imagem do feminino condenada a um upgrade constante, tanto do seu hardware (corpo/organismo) como de seu software (mente/código), e que visa a ultrapassagem dos limites espaciais e temporais que constringem a condição humana. Esta passagem do ser orgânico-inorgânico está em constante mutação. Basta que haja um esforço de adaptação às novas mudanças. E a mulher é peça fundamental neste novo contexto histórico. Por isso ser importante esta análise da representação de sua imagem em vários momentos sociais, que retomam alguns conceitos históricos através da sociologia, da antropologia e das teorias da comunicação. Para isso, basta estar aberto para estas novas incursões e aprender a conviver com o inusitado, pois a mulher, enquanto gênero, também está em constante upgrade pessoal, em uma eterna metamorfose, onde passa muitas vezes, de ditadora das regras a uma simples seguidora de modismos, que tem como consequência um downgrade de si mesma, pois apesar de estar intelectualmente, economicamente e socialmente mais sedimentada na sociedade, mesmo assim sente um vazio interior, provavelmente proveniente de um aceleramento sem consciência e sem muita direção de onde pretendia chegar e qual seria realmente a sua ascensão social. E é isso que se pretende analisar no decorrer da pesquisa: provar, através de vasta argumentação apoiada na bibliografia levantada, que esta mulher procura saídas plausíveis e substanciais para se firmar nesta constante e pouco segura sociedade que se metamorfoseia conforme as exigências do tempo e do espaço. / The main objective of this research is to draw a picture about the history of women in contemporary society from the industrial revolution after using it for two media: the cinema and advertising. The starting point is the technological revolution from 70 years following the revolution in robotics, and virtual cyborg. The aim is to show how the woman has developed in contemporary society and explore why this company is slowly dematerializing, where the metaphors of the robot and the human-machine that proliferated in industrial society are now in decline. A metamorphosis baptized by teleinformática and the biotechnology, such images are being replaced by others: those that begin to sketch the man-information society technology. In this way a subject bound to a constant upgrade both your hardware (body body) as its software (mind / code), aiming at exceeding the spatial and temporal boundaries that constrict the human condition. The image of the organic-inorganic is constantly changing. Just as we strive a little to adapt to many changes, that started with the post-industrial revolution in places and surprise us at every moment. The woman is a key part in this new historical context. Therefore it is important that analysis of the representation of your image in various social moments, returning with some historical concepts of sociology, anthropology and theories of communication. To do this just to be open to these new incursions and learn to live with the unexpected, as women, while gender is also in a constant upgrade of staff, in an eternal metamorphosis, which is often a dictator rules to a simple follower of fashion, which leads to a downgrade of itself, because despite being intellectually, economically and socially more established in society, still under a vacuum inside, probably from a speeding without conscience and without much direction he wanted to come and which would really be their social mobility. And that\'s what we intend to analyze during the research: to prove, through extensive argument supported by the bibliography reviewed, this woman looks plausible and substantial outputs in order to confirm this constant and uncertain society that transforms according to the demands of time and space.

<p>The four-electron reduction of dioxygen to water is the most exothermic non-photochemical reaction available to biology. A detailed molecular description of this reaction is needed to understand oxygen-based redox processes. Horseradish peroxidase (HRP) is a haem-containing redox enzyme capable of catalysing the reduction of dioxygen to water. We developed instrumentation and experimental methodology to capture and characterise by X-ray crystallography transient reaction intermediates in this reaction. </p><p>An instrument was designed (“the vapour stream system”) to facilitate reaction initiation, monitoring and intermediate trapping. In combination with single crystal microspectrophotometry, it was used to obtain conditions for capturing a reactive dioxygen complex in HRP. X-ray studies on oxidised intermediates can be difficult for various reasons. Electrons re-distributed in the sample through the photoelectric effect during X-ray exposure can react with high-valency intermediates. In order to control such side reactions during data collection, we developed a new method based on an angle-resolved spreading of the X-ray dose over many identical crystals. Composite data sets built up from small chunks of data represent crystal structures which received different X-ray doses. As the number of electrons liberated in the crystal is dose dependent, this method allows us to observe and drive redox reactions electron-by-electron in the crystal, using X-rays.</p><p>The methods developed here were used to obtain a three-dimensional movie on the X-ray-driven reduction of dioxygen to water in HRP. Separate experiments established high resolution crystal structures for all intermediates, showing such structures with confirmed redox states for the first time. </p><p>Activity of HRP is influenced by small molecule ligands, and we also determined the structures of HRP in complex with formate, acetate and carbon monoxide.</p><p>Other studies established conditions for successfully trapping the M-intermediate in crystals of mutant bacteriorhodopsin, but the poor diffraction quality of these crystals prevented high-resolution structural studies.</p>

This dissertation examines landscape as a concept for analysis and interpretation in film studies by considering the New Hollywood cinema in the late 1960s and early 1970s. Contextualized within the contested notion of nationhood at the time as well as the concern among filmmakers to probe the properties, practices and traditions of American cinema, this was also a period when landscape underwent widespread redefinition as a field of artistic and academic practice. From the outset an aesthetic and pictorial concept, landscape is understood as consisting of a number of interacting ideas and systems of representation which are addressed in terms of intermedial relations. Not something to be encountered or discovered and fixed on canvas or film, landscape involves an ongoing process of construction, appropriation and transformation. Departing from a discussion of the historical role landscape has played in cultural practices of self-representation and self-definition, this study is concerned with how it can be turned against itself and used as a point of departure for adversary and antagonistic views of national myths and media. The organization is roughly chronological, based around a series of reconsiderations of key films, mainly focusing on road movies and genre-revisionist work of the period. Rather than a repository of stable identities and values, each chapter shows how landscape can be advanced in a process of reflecting on attempts to impose meaning, order and linearity. Taken together, Out of Site argues that an engagement with the surfaces and depths of landscape enables new perspectives on the interrelations between the highbrow and the popular, aesthetics and ideology. Bringing attention to how story patterns and audience expectations are displaced, landscape is examined for the questions it raises regarding representational and narrative strategies, the formation of identity and memory, and our own habits of reading.

The four-electron reduction of dioxygen to water is the most exothermic non-photochemical reaction available to biology. A detailed molecular description of this reaction is needed to understand oxygen-based redox processes. Horseradish peroxidase (HRP) is a haem-containing redox enzyme capable of catalysing the reduction of dioxygen to water. We developed instrumentation and experimental methodology to capture and characterise by X-ray crystallography transient reaction intermediates in this reaction. An instrument was designed (“the vapour stream system”) to facilitate reaction initiation, monitoring and intermediate trapping. In combination with single crystal microspectrophotometry, it was used to obtain conditions for capturing a reactive dioxygen complex in HRP. X-ray studies on oxidised intermediates can be difficult for various reasons. Electrons re-distributed in the sample through the photoelectric effect during X-ray exposure can react with high-valency intermediates. In order to control such side reactions during data collection, we developed a new method based on an angle-resolved spreading of the X-ray dose over many identical crystals. Composite data sets built up from small chunks of data represent crystal structures which received different X-ray doses. As the number of electrons liberated in the crystal is dose dependent, this method allows us to observe and drive redox reactions electron-by-electron in the crystal, using X-rays. The methods developed here were used to obtain a three-dimensional movie on the X-ray-driven reduction of dioxygen to water in HRP. Separate experiments established high resolution crystal structures for all intermediates, showing such structures with confirmed redox states for the first time. Activity of HRP is influenced by small molecule ligands, and we also determined the structures of HRP in complex with formate, acetate and carbon monoxide. Other studies established conditions for successfully trapping the M-intermediate in crystals of mutant bacteriorhodopsin, but the poor diffraction quality of these crystals prevented high-resolution structural studies.

Throughout much of Christian history, the church had predominant control over religious ritual and belief. As early as the 1st Century, institutions representing "orthodoxy" were banning, forbidding or destroying the "heretical", separating it from what eventually would become canon and religious practice. The 21st Century provides new ways for spiritual knowledge to spread, bypassing traditional methods. Modern Martin Luthers can nail a manifesto to an internet door while the media's obsession with non-canonical texts provides no shortage of material for movies and television. A multi-media barrage challenges orthodox concepts and scriptural definition, often blurring the line between religion and entertainment. The initial clash between the churches and media has evolved over the last century to a point where the media may now produce beneficial results, educating many who may have either left the church or never joined it.