This monograph reports the results of a comprehensive study of teacher supply and demand conditions in Utah. This research was conducted under contract with the Utah State Office of Education. The objectives of this research were as follows: (a) analyze year 2000 staffing patterns of Utah schools and estimate the potential effects of future retirement on current teacher pools; (b) use enrollment projections and base-year pupil-teacher ratios to predict teacher need for each geographic area and content area; (c) assess the supply of educators from Utah colleges of education and identify reasons why newly prepared teachers do not teach in Utah; (d) assess rates of early attrition among new teachers and identify reasons why new teachers leave; (e) assess the extent of unqualified teaching in Utah schools; (f) compare results from this study with results of nationally representative research; (g) make recommendations for future data collection. Information for this study was obtained from the deans of Utah's colleges of education, the Utah State Office of Education teacher licensure database (CACTUS), Utah State Office of Education enrollment projections, Utah Governor's Office of Planning and Budget demographic projections, and two opinion surveys. Results indicate that between 2001 and 2005 teacher need from enrollment growth will be greatest in elementary teaching and special education assignments; that approximately 50% of new teachers educated in Utah between 1995 and 1998 did not teach in Utah within 3 years, and that most of these graduates either did not seek a teaching position or sought but did not obtain a teaching position in Utah; that 40% of new Utah teachers leave their positions during the first five years of employment, but that few leave because of dissatisfaction with teaching; that most former teachers and nonteaching graduate s would consider teaching in Utah in the future; and that nearly 5% of teachers statewide have not been formally qualified for their assignments. Comparisons with findings from nationally representative studies reveal that the reasons for attrition among Utah educators are very similar to those of educators in other parts of the nation. This report concludes with a set of recommendations for making ongoing assessments of Utah teacher supply and demand conditions.

Esta tese se mostra como um estudo sobre a natureza da relação entre o fora de campo e a mise-en-scène no contexto do Novíssimo Cinema Brasileiro. Tendo como base para um estudo de caso a experiência cinematográfica do diretor mineiro André Novais, nosso intuito foi o de compreender, nos termos de um plano de imanência, os movimentos que amparam as discussões sobre as encenações e seu fora de campo. Para aprofundarmos o pensamento sobre uma dada indissociabilidade entre as instâncias do fora de campo e da mise-en-scène nos filmes de Novais, aplicamos a ideia da dobra, que, atualizada por Deleuze, opera na coexistência entre o dentro e o fora ao problematizar um espaço que se configura indiscernível. A partir daí, investimos na tese dos desenquadramentos, trazida por Deleuze no livro A Imagem Movimento (2009), e suas reverberações em relação às dimensões relativa e absoluta do fora de campo. Torna-se, portanto, necessário aproximar tais aspectos a determinadas concepções formais atreladas aos filmes que estudamos. É então que apostamos em figuras de linguagem, como as metonímias e as dimensões intertextuais e paratextuais, para atestar a presença de um fora de campo relativo, que nos traz exemplos mais concretos e aplicações mais diretas em relação ao espaço fílmico, e refletimos sobre as desnaturalizações e as indecidibilidades para pensar a porção de uma dimensão absoluta do fora de campo, esta mais ligada a uma duração do todo do universo e a um discurso indireto livre. Cabe assinalar que o estudo de caso aplicado à filmografia de André Novais é inserido em um contexto cinematográfico específico: o Novíssimo Cinema Brasileiro. Torna-se, assim, fundamental estabelecermos uma discussão sobre as particularidades de suas concepções estéticas e de mise-en-scène. Na esteira desse movimento, chegamos à compreensão do aspecto documental que invade tal contexto cinematográfico e que é problematizado a partir do deslocamento de um real representado para a sua realização no âmbito simbólico. A partir das teorias lançadas por Bazin, Metz, Badiou e Zizek, chegamos a um real entendido como fantasma, e não como referente. Ao alcançarmos o cerne de uma linguagem aplicada a determinadas formas fílmicas, encontramos a expressão de uma encenação desdramatizada, ligada aos aspectos minimalistas e hiper-reais e à produção de personagens da recusa, enfatizados a partir da incapacidade de adequação às identidades e aos modelos. Tais variáveis nos ajudam a refletir não só sobre as particularidades de uma mise-en-scène, mas também sobre os movimentos disruptivos e desconstrutivos do cinema. / This doctoral thesis studies the nature of the relationship between the out-of-field and the mise-en-scène in the context of the Newest Brazilian Cinema (Novíssimo Cinema Brasileiro). Taking the mineiro director André Novais’ cinematographic experience as foundation for a case study, we aimed to understand, in terms of a plane of immanence, the movements supporting the discussion about staging and its respective out-of-field. In order to deepen our thoughts on a certain inseparability between the out-of-field and the mise-en-scène in Novais' movies, we adopt the concept of “fold”, which, updated by Deleuze, establishes itself in the coexistence between inside and outside, while problematizing an indiscernible space. Thereon, we address the thesis of the unframing, brought forward by Deleuze in his book The Movement-Image (2009), and its reverberations around the relative and the absolute aspects of the out-of-field. It was therefore imperative to approach such aspects in relation to certain formal conceptions attached to the movies we study. That is where we employ figures of speech such as the metonymy and the intertextual/paratextual dimmensions, so that we were able to attest to the presence of a relative out-of-field, which brings us many concrete examples and direct applications in relation to the filmic space. Furthermore, we also considered denaturalizations and undecidabilities to conceive an absolute dimmension of the out-of-field, associated with the free indirect discourse and with a duration which is immanent to the whole universe. We should point out that the case study about André Novais’ filmography inserts itself in a specific cinematographic context: the Newest Brazilian Cinema. It was thus fundamental that we stablished a debate about the peculiarities of its mise-en-scène and its aesthetic conceptions. Approaching this movement, we reach an understanding about the documentary aspect which overruns such cinematographic context and which is examined as through the displacement of a represented “Real” up to a realization in the symbolic realm. Aimed with theories laid by authors such as Bazin, Metz, Badiou and Zizek, we end up conceiving the Real as ghost, instead of referent. Achieving the kernel of a language applied to certain filmic forms, we discover the expression of a de-dramatized staging, characterized by minimalist and hiper-realist aspects and by the production of “refusal characters”, unable to conform themselves to predefined identities and models. Such variables help us reflect not only upon mise-en-scène peculiarities, but also upon disruptive and deconstructive cinema movements.

Esta dissertação busca compreender a imersão em realidade virtual (VR) enquanto problema de produção material, semiótica e cultural de espacialidades. Remete-se a imersão em VR à espacialidade panorâmica, caracterizada pela extensão homogênea e totalizante do plano visível em torno de um ponto de vista. Avalia-se, assim, a imersão sensorial como acontecimento irredutível a seu eventual assentamento tecnológico, o que encaminha mapeamentos de estratégias transmidiáticas (pintura, cinema, arquitetura etc.) para o fechamento espacial. Indagam-se os regimes de saber-poder aos quais se agenciam essas estratégias, concluindo-se que a imersão panorâmica responde a uma espisteme antropocêntrica e racionalista, com a subordinação da matéria a um espaço-receptáculo, por sua vez subordinado a um sujeito único e central. Tal sistematização do espaço, no que produz o quadro enquanto recorte parcial de um conjunto mais amplo, evidencia o invisível como virtualidade do campo visível, ao que a forma-panorama responde com uma colonização do extracampo. Assim, a função imediata do extracampo de sugerir conjuntos ausentes, em meios como a pintura e o cinema, se extravia nas operações de desenquadramento e reenquadramento em VR. Para estudar como a realidade virtual atualiza espacialidades imersivas e aberturas para conjuntos exteriores, foram realizadas observações com um Google Cardboard, tomando como corpus de análise três vídeos do aplicativo Within, disponível em Android e iOS. Entre os resultados, concluiu-se que a realidade virtual se agencia não apenas à cabeça e ao pescoço do usuário, mas ao seu corpo inteiro, e que a imersão ocorre mediante a invisibilização dos conjuntos que emolduram o espaço eletrônico. Identificaram-se atualizações de uma série de estratégias expressivas para a captura da “liberdade” de enquadramento, como a utilização de ruídos sonoros, linhas de visão e movimento, afectos de rostidade e montagem espacial privilegiando apenas uma zona do plano visível. Os mesmos recursos que “abriam” centrifugamente as telas pictórica e cinematográfica servem, em VR, para instaurar um jogo internalizante de linhas centrípetas. Com isso, se relacionou a imersão panorâmica em VR não mais ao mecanismo panóptico e enclausurante típico das sociedades disciplinares, mas a um modelo de fractalismo “aberto” que caracteriza o funcionamento do poder nas sociedades de controle. / This work seeks to comprehend immersion in virtual reality (VR) as a problem of material, semiotic and cultural production of spatialities. Immersion in VR is linked to a panoramic spatiality, characterized by the homogeneous and totalizing extension of the visible field around a point of view. Sensorial immersion is therefore reckoned as an event which is irreducible to its technological grounding, leading to the mapping of transmediatic strategies (in painting, cinema, architecture etc.) for the enclosure of space. The text inquires the regimes of truth and power to which these strategies are assembled and concludes that panoramic immersion serves an anthropocentric and rationalist episteme, subordinating matter to a vessel-space and a vessel-space to a single centralized subject. Such a systematization of space, while producing the frame as a partial selection of a wider set, also creates the invisible as virtuality of the visible field, to which the panorama will provide an answer by colonizing the out-of-field. The out-of-field’s immediate function of pointing to absent sets in mediums such as painting and cinema perishes, therefore, with VR’s operations of deframing and reframing To study how virtual reality actualizes immersive spatialities and openings to external sets, observations were conducted with the use of a Google Cardboard, having as object of analisys three videos from the app Within, available for Android and iOS. Among the results, it was found that virtual reality connects not only the user’s head and neck to the digital space, but his whole body, and that immersion occurs by invisibilizing the external sets which enframe the digital space. A series of expressive strategies were found to be actualized to capture the “freedom” of framing, such as sound noises, lines of vision and movement, face affects and spatial montage favoring a single limited portion of the visible field. The same expedients which centrifugally “opened” pictorial and film screens now act, in VR, to establish an internalizing game of centripetal lines. Panoramic immersion in VR was finally related not anymore to the panoptic and besieging mechanism typical of the disciplinary societies, but to a model of “open” fractalism which caracterizes the operation of power in the societies of control.

Σκοπός της παρούσας εργασίας είναι η μελέτη με την βοήθεια της τεχνικής Monte Carlo των φασμάτων εκτός πεδίου του γραμμικού επιταχυντή SL- 18 της ELEKTA. Η μελέτη έδειξε συσχέτιση μεταξύ δόσης και απόστασης από των άξονα της δέσμης. / The aim of this study was to investigate the energy spectrum outside the field limits of therapeutic high energy photon beams. Monte Carlo simulations were used in order to determine the dose and to confirm or to try to re-estimate the Energy correction factors used in off-field in-vivo dosimetry. The ELEKTA-SL18 medical accelerator was simulated for 6MV and 15MV, using the EGSnrc code. The simulation includes the regular jaws and the MLC. The output of each simulation was a square scoring plane at SSD 100cm. The energy spectrum, the mean energy, the energy fluence and other parameters were studied for annular areas centred on the Z axis, and for 1cm2 rectangular areas centred on both X and Y axis. These regions were selected every 1cm inside and outside the reference (10x10) cm2 field of the primary beam. The spectra and all the aforementioned parameters were found to be in relation to the position, and their comparison revealed differences, that exceeded the statistical error, between areas that had the same distance from the center but were located on different axes. These differences were more important for the lower energy (6MV), as the contribution from leakage radiation is relatively higher. Their comparison served to study the influence of the spectral differences on the measurements of this energy-dependent dosimetric system outside the treatment field. The ELEKTA SL-18 LINAC was simulated for photon beams of 6MV and 15MV with and without MLCs. The photon energies and the dose to the out-field areas close to treatment field are considerable and this should be taken into account when radiosensitive organs are close to the field limits. This could be more important to complicated IMRT treatments where the treatment time is altered.

Esta dissertação busca compreender a imersão em realidade virtual (VR) enquanto problema de produção material, semiótica e cultural de espacialidades. Remete-se a imersão em VR à espacialidade panorâmica, caracterizada pela extensão homogênea e totalizante do plano visível em torno de um ponto de vista. Avalia-se, assim, a imersão sensorial como acontecimento irredutível a seu eventual assentamento tecnológico, o que encaminha mapeamentos de estratégias transmidiáticas (pintura, cinema, arquitetura etc.) para o fechamento espacial. Indagam-se os regimes de saber-poder aos quais se agenciam essas estratégias, concluindo-se que a imersão panorâmica responde a uma espisteme antropocêntrica e racionalista, com a subordinação da matéria a um espaço-receptáculo, por sua vez subordinado a um sujeito único e central. Tal sistematização do espaço, no que produz o quadro enquanto recorte parcial de um conjunto mais amplo, evidencia o invisível como virtualidade do campo visível, ao que a forma-panorama responde com uma colonização do extracampo. Assim, a função imediata do extracampo de sugerir conjuntos ausentes, em meios como a pintura e o cinema, se extravia nas operações de desenquadramento e reenquadramento em VR. Para estudar como a realidade virtual atualiza espacialidades imersivas e aberturas para conjuntos exteriores, foram realizadas observações com um Google Cardboard, tomando como corpus de análise três vídeos do aplicativo Within, disponível em Android e iOS. Entre os resultados, concluiu-se que a realidade virtual se agencia não apenas à cabeça e ao pescoço do usuário, mas ao seu corpo inteiro, e que a imersão ocorre mediante a invisibilização dos conjuntos que emolduram o espaço eletrônico. Identificaram-se atualizações de uma série de estratégias expressivas para a captura da “liberdade” de enquadramento, como a utilização de ruídos sonoros, linhas de visão e movimento, afectos de rostidade e montagem espacial privilegiando apenas uma zona do plano visível. Os mesmos recursos que “abriam” centrifugamente as telas pictórica e cinematográfica servem, em VR, para instaurar um jogo internalizante de linhas centrípetas. Com isso, se relacionou a imersão panorâmica em VR não mais ao mecanismo panóptico e enclausurante típico das sociedades disciplinares, mas a um modelo de fractalismo “aberto” que caracteriza o funcionamento do poder nas sociedades de controle. / This work seeks to comprehend immersion in virtual reality (VR) as a problem of material, semiotic and cultural production of spatialities. Immersion in VR is linked to a panoramic spatiality, characterized by the homogeneous and totalizing extension of the visible field around a point of view. Sensorial immersion is therefore reckoned as an event which is irreducible to its technological grounding, leading to the mapping of transmediatic strategies (in painting, cinema, architecture etc.) for the enclosure of space. The text inquires the regimes of truth and power to which these strategies are assembled and concludes that panoramic immersion serves an anthropocentric and rationalist episteme, subordinating matter to a vessel-space and a vessel-space to a single centralized subject. Such a systematization of space, while producing the frame as a partial selection of a wider set, also creates the invisible as virtuality of the visible field, to which the panorama will provide an answer by colonizing the out-of-field. The out-of-field’s immediate function of pointing to absent sets in mediums such as painting and cinema perishes, therefore, with VR’s operations of deframing and reframing To study how virtual reality actualizes immersive spatialities and openings to external sets, observations were conducted with the use of a Google Cardboard, having as object of analisys three videos from the app Within, available for Android and iOS. Among the results, it was found that virtual reality connects not only the user’s head and neck to the digital space, but his whole body, and that immersion occurs by invisibilizing the external sets which enframe the digital space. A series of expressive strategies were found to be actualized to capture the “freedom” of framing, such as sound noises, lines of vision and movement, face affects and spatial montage favoring a single limited portion of the visible field. The same expedients which centrifugally “opened” pictorial and film screens now act, in VR, to establish an internalizing game of centripetal lines. Panoramic immersion in VR was finally related not anymore to the panoptic and besieging mechanism typical of the disciplinary societies, but to a model of “open” fractalism which caracterizes the operation of power in the societies of control.

Esta tese se mostra como um estudo sobre a natureza da relação entre o fora de campo e a mise-en-scène no contexto do Novíssimo Cinema Brasileiro. Tendo como base para um estudo de caso a experiência cinematográfica do diretor mineiro André Novais, nosso intuito foi o de compreender, nos termos de um plano de imanência, os movimentos que amparam as discussões sobre as encenações e seu fora de campo. Para aprofundarmos o pensamento sobre uma dada indissociabilidade entre as instâncias do fora de campo e da mise-en-scène nos filmes de Novais, aplicamos a ideia da dobra, que, atualizada por Deleuze, opera na coexistência entre o dentro e o fora ao problematizar um espaço que se configura indiscernível. A partir daí, investimos na tese dos desenquadramentos, trazida por Deleuze no livro A Imagem Movimento (2009), e suas reverberações em relação às dimensões relativa e absoluta do fora de campo. Torna-se, portanto, necessário aproximar tais aspectos a determinadas concepções formais atreladas aos filmes que estudamos. É então que apostamos em figuras de linguagem, como as metonímias e as dimensões intertextuais e paratextuais, para atestar a presença de um fora de campo relativo, que nos traz exemplos mais concretos e aplicações mais diretas em relação ao espaço fílmico, e refletimos sobre as desnaturalizações e as indecidibilidades para pensar a porção de uma dimensão absoluta do fora de campo, esta mais ligada a uma duração do todo do universo e a um discurso indireto livre. Cabe assinalar que o estudo de caso aplicado à filmografia de André Novais é inserido em um contexto cinematográfico específico: o Novíssimo Cinema Brasileiro. Torna-se, assim, fundamental estabelecermos uma discussão sobre as particularidades de suas concepções estéticas e de mise-en-scène. Na esteira desse movimento, chegamos à compreensão do aspecto documental que invade tal contexto cinematográfico e que é problematizado a partir do deslocamento de um real representado para a sua realização no âmbito simbólico. A partir das teorias lançadas por Bazin, Metz, Badiou e Zizek, chegamos a um real entendido como fantasma, e não como referente. Ao alcançarmos o cerne de uma linguagem aplicada a determinadas formas fílmicas, encontramos a expressão de uma encenação desdramatizada, ligada aos aspectos minimalistas e hiper-reais e à produção de personagens da recusa, enfatizados a partir da incapacidade de adequação às identidades e aos modelos. Tais variáveis nos ajudam a refletir não só sobre as particularidades de uma mise-en-scène, mas também sobre os movimentos disruptivos e desconstrutivos do cinema. / This doctoral thesis studies the nature of the relationship between the out-of-field and the mise-en-scène in the context of the Newest Brazilian Cinema (Novíssimo Cinema Brasileiro). Taking the mineiro director André Novais’ cinematographic experience as foundation for a case study, we aimed to understand, in terms of a plane of immanence, the movements supporting the discussion about staging and its respective out-of-field. In order to deepen our thoughts on a certain inseparability between the out-of-field and the mise-en-scène in Novais' movies, we adopt the concept of “fold”, which, updated by Deleuze, establishes itself in the coexistence between inside and outside, while problematizing an indiscernible space. Thereon, we address the thesis of the unframing, brought forward by Deleuze in his book The Movement-Image (2009), and its reverberations around the relative and the absolute aspects of the out-of-field. It was therefore imperative to approach such aspects in relation to certain formal conceptions attached to the movies we study. That is where we employ figures of speech such as the metonymy and the intertextual/paratextual dimmensions, so that we were able to attest to the presence of a relative out-of-field, which brings us many concrete examples and direct applications in relation to the filmic space. Furthermore, we also considered denaturalizations and undecidabilities to conceive an absolute dimmension of the out-of-field, associated with the free indirect discourse and with a duration which is immanent to the whole universe. We should point out that the case study about André Novais’ filmography inserts itself in a specific cinematographic context: the Newest Brazilian Cinema. It was thus fundamental that we stablished a debate about the peculiarities of its mise-en-scène and its aesthetic conceptions. Approaching this movement, we reach an understanding about the documentary aspect which overruns such cinematographic context and which is examined as through the displacement of a represented “Real” up to a realization in the symbolic realm. Aimed with theories laid by authors such as Bazin, Metz, Badiou and Zizek, we end up conceiving the Real as ghost, instead of referent. Achieving the kernel of a language applied to certain filmic forms, we discover the expression of a de-dramatized staging, characterized by minimalist and hiper-realist aspects and by the production of “refusal characters”, unable to conform themselves to predefined identities and models. Such variables help us reflect not only upon mise-en-scène peculiarities, but also upon disruptive and deconstructive cinema movements.

Esta dissertação busca compreender a imersão em realidade virtual (VR) enquanto problema de produção material, semiótica e cultural de espacialidades. Remete-se a imersão em VR à espacialidade panorâmica, caracterizada pela extensão homogênea e totalizante do plano visível em torno de um ponto de vista. Avalia-se, assim, a imersão sensorial como acontecimento irredutível a seu eventual assentamento tecnológico, o que encaminha mapeamentos de estratégias transmidiáticas (pintura, cinema, arquitetura etc.) para o fechamento espacial. Indagam-se os regimes de saber-poder aos quais se agenciam essas estratégias, concluindo-se que a imersão panorâmica responde a uma espisteme antropocêntrica e racionalista, com a subordinação da matéria a um espaço-receptáculo, por sua vez subordinado a um sujeito único e central. Tal sistematização do espaço, no que produz o quadro enquanto recorte parcial de um conjunto mais amplo, evidencia o invisível como virtualidade do campo visível, ao que a forma-panorama responde com uma colonização do extracampo. Assim, a função imediata do extracampo de sugerir conjuntos ausentes, em meios como a pintura e o cinema, se extravia nas operações de desenquadramento e reenquadramento em VR. Para estudar como a realidade virtual atualiza espacialidades imersivas e aberturas para conjuntos exteriores, foram realizadas observações com um Google Cardboard, tomando como corpus de análise três vídeos do aplicativo Within, disponível em Android e iOS. Entre os resultados, concluiu-se que a realidade virtual se agencia não apenas à cabeça e ao pescoço do usuário, mas ao seu corpo inteiro, e que a imersão ocorre mediante a invisibilização dos conjuntos que emolduram o espaço eletrônico. Identificaram-se atualizações de uma série de estratégias expressivas para a captura da “liberdade” de enquadramento, como a utilização de ruídos sonoros, linhas de visão e movimento, afectos de rostidade e montagem espacial privilegiando apenas uma zona do plano visível. Os mesmos recursos que “abriam” centrifugamente as telas pictórica e cinematográfica servem, em VR, para instaurar um jogo internalizante de linhas centrípetas. Com isso, se relacionou a imersão panorâmica em VR não mais ao mecanismo panóptico e enclausurante típico das sociedades disciplinares, mas a um modelo de fractalismo “aberto” que caracteriza o funcionamento do poder nas sociedades de controle. / This work seeks to comprehend immersion in virtual reality (VR) as a problem of material, semiotic and cultural production of spatialities. Immersion in VR is linked to a panoramic spatiality, characterized by the homogeneous and totalizing extension of the visible field around a point of view. Sensorial immersion is therefore reckoned as an event which is irreducible to its technological grounding, leading to the mapping of transmediatic strategies (in painting, cinema, architecture etc.) for the enclosure of space. The text inquires the regimes of truth and power to which these strategies are assembled and concludes that panoramic immersion serves an anthropocentric and rationalist episteme, subordinating matter to a vessel-space and a vessel-space to a single centralized subject. Such a systematization of space, while producing the frame as a partial selection of a wider set, also creates the invisible as virtuality of the visible field, to which the panorama will provide an answer by colonizing the out-of-field. The out-of-field’s immediate function of pointing to absent sets in mediums such as painting and cinema perishes, therefore, with VR’s operations of deframing and reframing To study how virtual reality actualizes immersive spatialities and openings to external sets, observations were conducted with the use of a Google Cardboard, having as object of analisys three videos from the app Within, available for Android and iOS. Among the results, it was found that virtual reality connects not only the user’s head and neck to the digital space, but his whole body, and that immersion occurs by invisibilizing the external sets which enframe the digital space. A series of expressive strategies were found to be actualized to capture the “freedom” of framing, such as sound noises, lines of vision and movement, face affects and spatial montage favoring a single limited portion of the visible field. The same expedients which centrifugally “opened” pictorial and film screens now act, in VR, to establish an internalizing game of centripetal lines. Panoramic immersion in VR was finally related not anymore to the panoptic and besieging mechanism typical of the disciplinary societies, but to a model of “open” fractalism which caracterizes the operation of power in the societies of control.

Esta tese se mostra como um estudo sobre a natureza da relação entre o fora de campo e a mise-en-scène no contexto do Novíssimo Cinema Brasileiro. Tendo como base para um estudo de caso a experiência cinematográfica do diretor mineiro André Novais, nosso intuito foi o de compreender, nos termos de um plano de imanência, os movimentos que amparam as discussões sobre as encenações e seu fora de campo. Para aprofundarmos o pensamento sobre uma dada indissociabilidade entre as instâncias do fora de campo e da mise-en-scène nos filmes de Novais, aplicamos a ideia da dobra, que, atualizada por Deleuze, opera na coexistência entre o dentro e o fora ao problematizar um espaço que se configura indiscernível. A partir daí, investimos na tese dos desenquadramentos, trazida por Deleuze no livro A Imagem Movimento (2009), e suas reverberações em relação às dimensões relativa e absoluta do fora de campo. Torna-se, portanto, necessário aproximar tais aspectos a determinadas concepções formais atreladas aos filmes que estudamos. É então que apostamos em figuras de linguagem, como as metonímias e as dimensões intertextuais e paratextuais, para atestar a presença de um fora de campo relativo, que nos traz exemplos mais concretos e aplicações mais diretas em relação ao espaço fílmico, e refletimos sobre as desnaturalizações e as indecidibilidades para pensar a porção de uma dimensão absoluta do fora de campo, esta mais ligada a uma duração do todo do universo e a um discurso indireto livre. Cabe assinalar que o estudo de caso aplicado à filmografia de André Novais é inserido em um contexto cinematográfico específico: o Novíssimo Cinema Brasileiro. Torna-se, assim, fundamental estabelecermos uma discussão sobre as particularidades de suas concepções estéticas e de mise-en-scène. Na esteira desse movimento, chegamos à compreensão do aspecto documental que invade tal contexto cinematográfico e que é problematizado a partir do deslocamento de um real representado para a sua realização no âmbito simbólico. A partir das teorias lançadas por Bazin, Metz, Badiou e Zizek, chegamos a um real entendido como fantasma, e não como referente. Ao alcançarmos o cerne de uma linguagem aplicada a determinadas formas fílmicas, encontramos a expressão de uma encenação desdramatizada, ligada aos aspectos minimalistas e hiper-reais e à produção de personagens da recusa, enfatizados a partir da incapacidade de adequação às identidades e aos modelos. Tais variáveis nos ajudam a refletir não só sobre as particularidades de uma mise-en-scène, mas também sobre os movimentos disruptivos e desconstrutivos do cinema. / This doctoral thesis studies the nature of the relationship between the out-of-field and the mise-en-scène in the context of the Newest Brazilian Cinema (Novíssimo Cinema Brasileiro). Taking the mineiro director André Novais’ cinematographic experience as foundation for a case study, we aimed to understand, in terms of a plane of immanence, the movements supporting the discussion about staging and its respective out-of-field. In order to deepen our thoughts on a certain inseparability between the out-of-field and the mise-en-scène in Novais' movies, we adopt the concept of “fold”, which, updated by Deleuze, establishes itself in the coexistence between inside and outside, while problematizing an indiscernible space. Thereon, we address the thesis of the unframing, brought forward by Deleuze in his book The Movement-Image (2009), and its reverberations around the relative and the absolute aspects of the out-of-field. It was therefore imperative to approach such aspects in relation to certain formal conceptions attached to the movies we study. That is where we employ figures of speech such as the metonymy and the intertextual/paratextual dimmensions, so that we were able to attest to the presence of a relative out-of-field, which brings us many concrete examples and direct applications in relation to the filmic space. Furthermore, we also considered denaturalizations and undecidabilities to conceive an absolute dimmension of the out-of-field, associated with the free indirect discourse and with a duration which is immanent to the whole universe. We should point out that the case study about André Novais’ filmography inserts itself in a specific cinematographic context: the Newest Brazilian Cinema. It was thus fundamental that we stablished a debate about the peculiarities of its mise-en-scène and its aesthetic conceptions. Approaching this movement, we reach an understanding about the documentary aspect which overruns such cinematographic context and which is examined as through the displacement of a represented “Real” up to a realization in the symbolic realm. Aimed with theories laid by authors such as Bazin, Metz, Badiou and Zizek, we end up conceiving the Real as ghost, instead of referent. Achieving the kernel of a language applied to certain filmic forms, we discover the expression of a de-dramatized staging, characterized by minimalist and hiper-realist aspects and by the production of “refusal characters”, unable to conform themselves to predefined identities and models. Such variables help us reflect not only upon mise-en-scène peculiarities, but also upon disruptive and deconstructive cinema movements.

Les améliorations dans les procédures cliniques de radiothérapie ont conduit à des taux de survie élevés. En conséquence, les effets secondaires possibles de la dose délivrée aux tissus sains sont devenus une préoccupation croissante pour les radiothérapeutes. L’estimation de la dose aux tissus sains, y compris à distance du volume-cible présente un intérêt clinique croissant pour évaluer le risque aux structures sensibles situées hors du champ d’irradiation. Nos travaux antérieurs se sont focalisés sur l’évaluation la dose à distance des faisceaux de photons. La dose à distance due aux faisceaux d’électrons n’a jamais été prise en compte, ce qui peut conduire à des sous-estimations des doses à distance lorsque le traitement est fait entièrement ou partiellement par les électrons. C’est la raison pour laquelle, une étude approfondie de la dose à distance des faisceaux d’électrons est devenue indispensable. Dans le présent travail de thèse, nous avons dans un premier temps réalisé une étude expérimentale décrivant la dose à distance des faisceaux d’électrons de haute énergie produits par différents accélérateurs linéaires, équipés de différents types d’applicateurs. Nous avons analysé l’influence de différents paramètres du faisceau sur la dose à distance dont l’énergie du faisceau, la taille et le type de l’applicateur, la distance à l’axe du faisceau ainsi que la profondeur dans l’eau. Nous avons séparé la dose à distance en deux composantes principales : la dose due aux photons de bremsstrahlung et la dose due aux électrons diffusés. Ensuite, nous avons développé un modèle pour le calcul de la composante de la dose due aux photons de bremsstrahlung en tout point dans le patient, et un modèle pour le calcul de la dose due aux électrons diffusés en dehors du champ d’irradiation. Enfin, nous avons évalué l’application de nos modèles de calcul de dose à distance dans une situation clinique réelles afin de démontrer l’intérêt clinique de notre modélisation, l’objectif étant de mettre un point à terme, un outil logiciel innovant répondant à la fois aux besoins de l’optimisation de la radiothérapie moderne et à ceux de l’épidémiologie de la dose comme facteur de risque d’effets iatrogènes. / The large improvements in the radiotherapy (RT) procedures have led to high survival rates. So the possible side late effects of the radiotherapy due to the doses deposited into the normal tissues have become a growing concern for the radio-oncologists. The assessment of the dose outside the radiation field presents an important clinical benefit for estimating the risk at sensible structures situated partially or entirely outside the radiation field, especially in pediatric, pregnant patients or the patients having cardiac implantable devices. More understanding of side effects of RT will require not only improved control of the high doses delivered to the target volumes, but also better knowledge of the unintended but unavoidable lower doses delivered out of the target. In this context, most studies on out-of-field dose estimation focus on photon beams. Nevertheless, electron beams are still an important component of RT, for treating superficial tumors (at depths < 5 cm). The out-of-field dose from electron beams has never been taken account, which causes an under estimation of this dose when the radiotherapy is done only or partly by the electrons. For this reason, a detailed investigation of the out-of-field dose from electron beams is essential for better estimation of the out-of-field dose regardless the radiotherapy type. In this thesis, we have experimentally evaluated the out-of-field doses in high-energy electron beams for three linear accelerators equipped with different electron applicator types used in daily practice. The dependence of this dose on different parameters, such as the applicator size, the electron beam energy, the depth, and the off-axis distance have been investigated. The scattered electrons component and the bremsstrahlung photons component have been separated by a semi-experimental method. We have developed a multi-source model based on existing multi-scattering models for calculating the bremsstrahlung dose distribution at any point in the patient inside and outside the radiation field. We have also analytically calculated the scattered electrons dose distribution outside the radiation field. These two models permit to calculate the total out-of-field dose from electron beams anywhere in the patient. Finally, we have evaluated the application of our models of dose calculation in a real clinical situation in order to validate our software, the aim being to set up an innovative software tool, meeting both the needs of radiotherapy and epidemiology of the dose as a risk factor for iatrogenic effects

La proportion de survivants à un cancer dans la population des pays développés augmente rapidement. Dans plus de la moitié des cas, la radiothérapie a été une composante de leur traitement. Les rayons ionisants alors administrés peuvent induire de graves conséquences à long terme, en particulier les cancers radio-induits et les maladies cardiovasculaires. Ces évènements sont dus non seulement aux fortes doses administrées au volume cible, mais également aux doses plus faibles, de quelques milligray à quelques gray, non souhaitées, mais inévitablement administrées dans le reste du corps du patient par la dose hors champ. L’évolution des techniques de planification du traitement et de l’informatique en médecine permettent aujourd’hui d’obtenir, systématiquement, l’évaluation précise des doses les plus fortes administrées au patient. Les doses faibles à intermédiaires administrées en dehors du faisceau de traitement, ne sont pour leur part, ni habituellement prises en compte, ni correctement évaluées par les systèmes actuels de planification du traitement. L’objectif de ce travail était de proposer des méthodes pour estimer le rayonnement hors champ des faisceaux de photons des accélérateurs de radiothérapie externe. L’utilisation d’une bibliothèque graphique nous a permis de réaliser une représentation géométrique 3D partielle des appareils de traitement et des sources photoniques responsables de la dose reçue par le patient. Nous avons déterminé l’intensité de ces sources en utilisant des mesures réalisées dans des champs simples. Le modèle ainsi calibré permettait de simuler la variation de l’intensité des sources en fonction de la taille du champ. Cette approche a permis de décrire avec succès la variation de la dose mesurée par TLD en fonction de la distance et de la taille du champ en dehors de champs carrés. Les écarts entres les doses calculées et celles mesurées étaient inférieurs à 10 %. Une application dans des conditions cliniques a été menée, l’écart était alors en moyenne de 25 %. / The number of cancer survivors in developed counties increases rapidly. Fifty percent of patients treated for cancer will receive radiation therapy as part of their treatment. Ionizing radiation may induce severe long term effects, including secondary cancers and cardio-vascular diseases. Long term effects are not only due to high doses delivered in target volumes, but also to lower doses, ranging from several milligrays to several grays, undesired, but inevitably delivered in the rest of the patient’s body outside the treatment beams. Improvements in treatment planning technics and the use of computers in medicine made it possible to systematically estimate, prior to treatment, the highest doses delivered to the patient’s body. However, lower doses delivered outside the treatment beams are neither taken into account nor evaluated by present treatment planning systems. The aim of our work was to establish methods to estimate radiation doses outside photon beams from accelerators used in external radiation therapy. A graphics library was used to render a partial 3D representation of the accelerator and the photon sources associated. The intensity of these sources was determined using measurements performed in simple geometry fields. The calibrated model was hence used to estimate the source intensity variation with respect to field size. Using this method, we were able to estimate the variations of the TLD measured doses with respect to distance and field size with a 10% average discrepancy between calculations and measurements for points outside the field. Also, when testing the model in a clinical setup, the average discrepancy increased to 25%.