Eileen Chang (1920-1995), a legendary female writer in Chinese literature history, lived in the most turbulent time of contemporary China. Her works are all about love. Her characters are all insignificant people, unrealistically invested with illusory dreams of life, but meanwhile, absorbed by worldly pursuits and pleasures. And her tone is desolate. People worship her, both as a great writer and as a mysterious woman. From 1980s, the fascination with her and her literature overtly announces itself in Chinese language cinema. Several critically acclaimed directors have intended to adapt her aura and charisma through adapting her literature. But, the result of their efforts is not optimistic; the disparity between the films and the novels still has been widely sensed. My thesis focuses on the film adaptations of her novels. I intend to explore this woman?s world through cinema; precisely, through the unexpected gap between her novels and their film versions, in order to explore the reality and moods in her mind that are hard to visualize. The same events, moments and situations presented in both the novels and the films also offer great opportunities for the comparison of two different ways of story-telling.

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This thesis challenges common assumptions of trans moving images by applying theories of identification to an autoethnographic close reading of three specific texts – Hedwig and The Angry Inch (John Cameron Mitchell, 2001), Dallas Buyers Club (Jean- Marc Vallée, 2013) and Transparent (Jill Soloway, 2014) - considered by both mainstream and queer audiences to feature transgender characters and experiences. This thesis, while limited to the author’s experience as a trans woman, attempts to advance the argument that identification with trans moving images may change with one’s transition and require a reassessing of “what is trans” along with resituating the trans spectator from “object of the gaze” to “bearer of the look” (Mulvey, 1975).

This thesis outlines the changing landscape of moving image archives in light of the emergence of new media. Whereas, in the twentieth century, these archives were once responsible for the preservation of endangered films and television programs, I argue that, in the twenty-first century, moving image archives will redefine their value to society not through preservation but through the decisions they make, which will affect not simply the intellectual community but the culture at large. The ways in which moving image archives situate new media materials and extend cooperation between institutions will determine, in large part, the discourse surrounding moving images throughout the upcoming century. / text

Submitted by Valdinei Souza (neisouza@hotmail.com) on 2017-01-17T19:19:27Z No. of bitstreams: 1 João Victor Amorim - Dissertação_Preservação_Imagens_Movimento_Completo_Modificado.pdf: 2543075 bytes, checksum: b523ca6922a4b2813e8a34f42ece15f3 (MD5) / Approved for entry into archive by Urania Araujo (urania@ufba.br) on 2017-03-23T17:33:55Z (GMT) No. of bitstreams: 1 João Victor Amorim - Dissertação_Preservação_Imagens_Movimento_Completo_Modificado.pdf: 2543075 bytes, checksum: b523ca6922a4b2813e8a34f42ece15f3 (MD5) / Made available in DSpace on 2017-03-23T17:33:55Z (GMT). No. of bitstreams: 1 João Victor Amorim - Dissertação_Preservação_Imagens_Movimento_Completo_Modificado.pdf: 2543075 bytes, checksum: b523ca6922a4b2813e8a34f42ece15f3 (MD5) / Fundação de Amparo ao Pesquisador do Estado da Bahia - Fapesb / A pesquisa investiga o processo de preservação de imagens em movimento, trabalho feito comumente em arquivos e centros de documentação audiovisuais. Partindo de conceituações de preservação em sentido amplo passa para aspectos considerados importantes ao complemento do estudo da preservação audiovisual, como suportes de imagens em movimento, visando à reflexão sobre a linguagem audiovisual. Para a pesquisa empírica foram analisadas 35 instituições das esferas federal, estadual e municipal da cidade de Salvador na Bahia, que num primeiro momento, entre 2005-2007, na Fase 1 da pesquisa em execução no Grupo CRIDI, haviam respondido formulários impressos, e que, posteriormente, na Fase 2, 20132016, tornaram a responder um novo questionário, desta vez online, cujos dadosderam origem às análises desta dissertação. Procurou-se adotar procedimentos metodológicos comparativos, de modo a observar as possíveis mudanças ocorridas.Foram investigados aspectos relativos ao tipo de acervo, digitalização, recursos disponíveis, suportes usados, métodos e sistemas de disponibilização do acervo ao público, políticas do arquivo, dentre outros, buscando observar na prática as questões abordadas de forma teórica com base na bibliografia. O método de abordagem indutiva e técnicas de amostragem não aleatória por julgamento foram utilizados na pesquisa. A observação direta intensiva foi outra técnica de grande valor para a pesquisa, balanceando com a observação direta extensiva. A pesquisa constatou uma carência, ainda, de estudos e programas de preservação audiovisual assim como o despreparo de muitos profissionais que atuam nos acervos. / ABSTRACT The research investigates the moving images preservation process, work commonly done in archives and audiovisual documentation centers. Starting from preservation concepts in a broad sense, it goes through important aspects to the complement of the audiovisual preservation studies, such as moving images media and carriers, in order to think about audiovisual language. As empirical research, 35 institutions (from Federal, State, and Municipal levels) in the city of Salvador in Bahia were analyzed.Those institutions had answered printed forms in a very first moment, between 2005,2007,in Phase 1 of a research in development in Grupo CRIDI. Later, in the research’s Phase 2, 2013-2016, we returned to the same institutions, in order to collect new data, this time using an online form. This Master thesis aimed to analyze these second data set, which are, in fact, the origin of this research. We tried to adopt comparative methodological procedures in order to observe eventual changes. Aspects related to the type of the collection; digitization; available resources; media and carriers; available public systems and methods to give access to the collection;archival policies, among others, aiming to observe, in the real world, the issues addressed theoretically, based on the literature. The inductive method of approach,and non-random sampling techniques were adopted in this research. The intensive direct observation was another technique of great value adopted in this research,balancing with of extensive direct observation. Among its conclusions, the research points out a lack of studies and programs oriented to audiovisual preservation, aswell as of professional formation, skills and abilities of many technicians who work with the collections.

Movies are an occurring feature in EFL classrooms in Sweden, as well as exercises seeking to practice listening comprehension, although, there are few studies which combine the two together. The aim for this literature review was to analyse the use of film for listening comprehension development in EFL classrooms. The results show that movies can help students reach higher levels of listening because students felt more motivated and they became more active. The results also show further that teachers can help students reach higher levels of listening comprehension by using various features such as pauses, activities before, during and after the movie etc. The results also show that listening comprehension is a somewhat “take n for granted skill” which needs to be researched more about, specifically the importance of listening comprehension in the context of the other skills.

On a qualifié de « migration des images » le déplacement des images en mouvement depuis les salles de projection jusque dans les salles des musées. Cette « migration » a d’abord constitué le socle initial de ce travail, en fixant les pourtours de son contexte : les images en mouvement, le musée et ses collections, leur dialogue depuis le milieu des années 1990. Délaissant ce sens premier de l’expression, cette étude met au travail son sens figuré : l’idée de migration convie une économie, un système d’échanges, de circulation, un type d’activité propre aux images en mouvement qui élargit ce contexte de départ. La force de ces images se loge dans un geste de décentrement. Leur mobilité les empêche d’accéder à un statut ou à une position dominante. Une résistance à la saisie globale accompagne ces images qui préfèrent les interstices, l’entre-deux, les failles, voire une certaine forme de clandestinité : elles échappent aux normes. Le décentrement qualifiera ici une méthode d’analyse, le choix d’un corpus qui va des années 1970 à nos jours, et la construction générale de cette recherche. Il permet de mesurer des distances, de saisir les sinuosités, les accidents, qui ponctuent l’histoire des images en mouvement. Point de départ : ce travail s’arrime au décentrement historique constitué par la rupture d’avec le discours moderniste dans les années 1970. Les œuvres contemporaines réunies héritent de cette éviction et la discutent. Les trois chapitres, thématiques, commentent ce décentrement qui bouscule les principes muséaux incarnés par l’institution du white cube. L’archive, le document et le jeu : trois façons de contourner les réflexes de l’essentialisme. Fondé sur des études d’œuvres, qui sont autant d’études de cas, accueillant sur un plan qui se veut tabulaire les images, les textes et les films, ce travail rend compte du savoir, étoilé et ramifié, que dispensent, de façon si singulière, les images en mouvement. / The dislocation of images in motion from screening rooms to museum rooms has been addressed in terms of a « migration of images ». This « migration » was the initial foundation of the present work, determining its perimeter: images in motion, the museum and its collections, the dialogue between them from the mid-1990s onwards. Leaving behind the literal meaning of the expression, this study explores its fi gurative senses: the notion of « migration » calls for an economy, a system of exchange and circulation, an activity specific to images in motion that broadens its initial context. The power of images in motion relies upon a gesture of decentering. Th eir mobility prevents them from reaching a dominant position or attaining an important status. Th ese images resist to global analysis, preferring the interstices, the in-between, the faults, and what resembles to a form of underground activity instead. In other words, they resist the standards. Th e notion of « decentering » describes here three different dimensions: an analytical method, the constitution of a corpus ranging from the 1970s to the present-day, and the general conception of this research. Th e concept allows for the measuring of distances, the grasping of certain infl exions, or accidents, which rhythm the history of images in motion. Our starting point is the historical « decentering » illustrated by the break with modernist discourse in the 1970s. Th e contemporary works that we discuss inherit this eviction and comment on it. Our three thematic chapters comment this shift that challenges the museological principles embodied by the whitecube. Th e archive, the document and staging : three ways of circumventing the refl exes of essentialism. Based upon the close study of works, conceived as case-studies, accommodating for images, texts and films within a tabular plan, this work accounts for the singular knowledge provided by images in motion.

This editorial introduces the special issue on “Digital Humanities & Film Studies: Analyzing the Modalities of Moving Images,” which contains a total of eight exciting contributions. Moreover, this editorial aims to highlight the complementary disciplinary perspectives on the computer-aided analysis of moving images, which are important prerequisites to better understand and situate a common DH perspective.

Syftet Syftet med den här uppsatsen är att undersöka bilden av svarta barn i UNICEF:s och SOS Barnbyar: s reklamkampanjfilmer och hur barnen framställs i filmerna. Jag vill också undersöka hur UNICEF:s och SOS Barnbyar: s reklamkampanjfilmer uppfattas och påverkar människor med olika etnisk bakgrund.   Metod En semiotisk analys av rörliga bilder i denna uppsats gjorts för att undersöka hur UNICEF:s och SOS Barnbyar: s framställer svarta barn i sina reklamkampanjfilmer. En strukturerad gruppintervju har gjorts för att studera människors attityd. Materialet som används är, två reklamkampanjfilmer med rörliga bilder, och en intervju med en fokus grupp som består av sju personer från olika etniska bakgrunder.   Resultat Resultaten visar att de bilder som används i reklamkampanjfilmerna framställer svarta barn som djur, som barbarer och som aggressiva. Resultaten från fokusgruppen visar att icke-vita människorna i gruppen är arga för att reklamen framställer svarta barn i filmerna på ett sätt som visar barnen som icke mänskliga. De vita människorna i gruppen är arga, inte bara för att organisationerna använder barnen till sin fördel, men de menar också att på grund av de här organisationerna, kommer de ständigt att bli påminda om och ses som rasister. / Purpose The purpose of this study is to examine the image of black children in UNICEF’s and SOS Children’s Villages campaign films. And as well to find out how UNICEF’s and SOS Children’s Villages campaign films received by differnt people in Sweden and, in which way these advertising films could influence these people.   Method A semiotics analysis of moving images have been done in this paper, in a way to examine how black children have been portrayed in those advertising films. And also a structured interview have been done in this paper to investigate the attitude that people in Sweden have towards those moving images that show on those advertising films. The Materials that used for this investigation are, two advertising films with moving images and an interview with a focus group composed of seven people from different ethnics background.   Results The results have shown that those moving images using on those advertising films portrayed black children as animals, as barbarians, as aggressive. And the results of the focus group interview have shown that non-white people living in Sweden are angry because those campaigns films using black children in a way that show them as non-human. While white people living in Sweden in the group are angry because not only that these organizations using these children to their own benefits, but they also think that because of these organizations, they will be constantly reminded and seen as racists.

Syftet med den här studien är att undersöka hur rörlig bild kan öka konsumentens förtroende för en produkt vid e-handel, och för att se om det eventuella ökandet av förtroende för produkter kan få fler kunder att vilja handla online. Målet med studien är att se hur påverkad användaren blir av rörlig bild när den handlar kläder på en webbplats. Den utvalda metoden för studien var en observation med sju kvinnor i form av ett användartest där respondenterna fick visualisera ett köp av en specifik produkt på två olika webbplatser, med en efterföljande intervju med tio öppna frågor. Resultatet av studien visade att majoriteten av de tillfrågade föredrog att handla på en webbplats som använde rörlig bild vid presentation av produkten, eftersom det gav en mer realistisk bild av klänningen. Slutsatsen resulterade i att rörlig bild visualiserade produkten mer verklighetstroget till skillnad från en e-handelsplats som endast använde produktbilder. Den rörliga bilden var det närmaste konsumenten kunde komma till verkligenheten och det ökade i sin tur förtroendet för produkten och har resulterat i att fler konsumenter ville handla produkten. Den rörliga bilden fungerade därmed som ett substitut för den fysiska kontakten konsumenten annars skulle haft med produkten i realiteten. Slutsatsen kan därför dras om att rörlig bild ökar förtroendet för en specifik produkt vid e-handel. / The purpose of the study is to research how moving images can increase the confidence for the customer in a specific product in e-commerce. Furthermore, the study aimed to see if moving images could increase the number of people wanting to shop online. The reason behind the study is to see how customers who are interested in buying clothes respond to moving images. The chosen method for the study was to observe seven women participating in a usability test to envision purchasing a chosen product on two separate websites. Following the usability test, each woman was interviewed with ten open questions.The results of the study showed that the majority of the respondents preferred to shop on awebsite that used moving images to present a product, as it presented the product in a morerealistic image. Because the respondents could not see the dress in reality, a catwalk video was the most effective way to present the dress to the customer. The catwalk video thus increased the confidence of the customer in the product, in which subsequently lead to an increased number of consumers wanting to purchase the product. The moving images served as a substitute for the physical contact the consumer would otherwise have with the product in reality. It is therefore appropriate to conclude that moving images can increase the confidence in a customer for a certain product in e-commerce.