O Teste Guestáltico Visomotor de Bender é um teste psicológico utilizado em psicodiagnósticos infantis nas áreas clínica e neuropsicológica, embora existam adaptações para adolescentes e adultos. Em crianças seu uso se destina a avaliações da maturidade percepto-motora ou organização visomotora, diagnósticos de lesões cerebrais e perturbações emocionais, podendo também ser utilizado como uma técnica projetiva. Para os adultos é empregado tanto como uma técnica projetiva quanto para a identificação de alguns indicadores psicopatológicos e neuropsicológicos. Desde a sua elaboração em 1938 por Lauretta Bender, diversos sistemas de aplicação e avaliação foram desenvolvidos, sendo um dos mais conhecidos o de Elizabeth Koppitz. A tarefa a ser realizada pelo examinando consiste na reprodução de alguns desenhos, que podem ser somente copiados ou copiados e posteriormente reproduzidos de memória, dependendo do sistema utilizado. A avaliação consiste na análise da forma e precisão com que os desenhos são realizados. Um dos mais novos sistemas de avaliação é o Teste Bender Koppitz-2 proposto por Reynolds, que não é somente uma revisão, mas também uma extensão e um redesenvolvimento do sistema Koppitz original e que foi desenvolvido com o objetivo de avaliar a capacidade de integração visomotora. A principal diferença em relação ao teste original é que são acrescentados novos modelos mais fáceis, para as crianças mais novas, e mais difíceis, para as mais velhas, além dos nove propostos por Bender. Também foi ampliada a faixa etária de utilização, que passou a ser de 5 a 85 anos. Além disso, enquanto na avaliação do teste original são pontuados os erros na reprodução dos desenhos, na versão atual são pontuados os acertos, ou seja, o quanto eles foram bem realizados. O objetivo deste trabalho foi realizar estudos de validade, fidedignidade e normatização do Sistema Koppitiz-2 em crianças de escolas públicas da cidade de São Paulo. A amostra foi composta por 623 crianças, sendo 51,7% do sexo feminino e 48,3% do masculino. As idades variaram entre 6 e 12 anos (média= 9,05 anos e DP=1,86) e a escolaridade entre um e nove anos de estudo. A validade foi investigada em relação ao desenvolvimento e pela relação com outros testes, o Teste de Inteligência Não Verbal - R-2 e as Figuras Complexas de Rey e pela correlação com a versão original do teste. A fidedignidade foi estudada pelos métodos do teste e reteste, precisão entre avaliadores e consistência interna. Os testes foram aplicados individualmente e as crianças que participaram dos diferentes estudos foram incluídas na amostra total. As análises foram conduzidas separadamente para as crianças de 6 e 7 anos e para as de 8 a 12 anos, uma vez que os sistemas de pontuação baseados na qualidade da execução dos desenhos são diferentes em função da idade. Os resultados mostraram correlações entre 0,616 e 0,648 para os mais novos e entre 0,647 e 0,778 para os mais velhos com as Figuras Complexas de Rey. Em relação ao R-2 as correlações variaram entre 0,542 e 0,638 e 0,439 e 0,667 (respectivamente para os mais novos e mais velhos). As correlações com o sistema Koppitz foram de -0,646 para os mais novos e -0,566 para os mais velhos. Quanto à Fidedignidade, as correlações entre o teste e o reteste variaram entre 0,794 e 0,837 para os mais jovens e 0,745 e 0,964 para os mais velhos. Os valores do Alfa de Cronbach variaram entre 0,716 e 0,879 e para a precisão entre avaliadores as correlações foram de 0,966 para os mais novos e 0,972 para os mais velhos. Foram realizadas análises de variância em função da idade, sexo e tipo de escola, cujos resultados indicaram a necessidade de normas em percentil separadas em relação a essas três variáveis, já que as médias dos grupos se diferenciaram estatisticamente em relação a elas, com destaque para as diferenças entre as médias dos mais velhos que tenderam a ser maiores do que as dos mais novos, ainda que não em todos os casos. Os resultados indicaram adequados índices de validade e fidedignidade para o Koppitz-2 que confirmam suas propriedades psicométricas, caracterizando-o como um instrumento que pode ser utilizado nas avaliações da capacidade de integração visomotora de crianças de 6 a 12 anos nos psicodiagnósticos para os mais diversos fins. No entanto ainda serão necessárias algumas revisões nos critérios de avaliação, que em alguns casos, se mostraram pouco definidos / The Bender Gestalt Test is a psychological test used in children diagnosis in clinical and neuropsychological areas, although there are adaptations for adolescents and adults. It is used to the assessments of perceptual-motor maturity or visual-motor organization, diagnosis of brain injuries and emotional disorders of children, and may also be used as a projective technique. For adults it is used both as a projective technique as well as for the identification of some psychopathological and neuropsychological indicators. Since it was published in 1938 by Lauretta Bender, many systems of administration and scoring have been developed, being one of the most known the system of Elizabeth Koppitz. The task to be performed by the examinee is to reproduce some drawings, which can only be copied or be copied and then reproduced by memory, depending on the system used. The evaluation consists in the analysis of the shape and the accuracy in which the drawings are done. One of the newest assessment systems is the Bender Koppitz-2 Test, proposed by Reynolds, which is not only a review, but also an extension and redevelopment of the original Koppitz system that was developed with the purpose of evaluate the visualmotor integration ability. The main difference is that new easier models for youngest children are added in the new test, and more difficult for the older ones, besides the nine, proposed by Bender. It has also been expanded the age range of use, from 5 to 85 years old. Furthermore, while in the evaluation of the original test errors are scored, in the current version the correct reproduction of the drawings are scored instead, meaning how well they were made. The goal of this work was to establish validity, reliability and the standardization of the Koppitiz-2 system to children from public schools in the city of São Paulo. The sample consisted of 623 children, being 51.7% female and 48.3% male. The ages ranged from 6 to 12 years of age (average = 9.05 years, SD = 1.86) and education between one and nine years of study. The validity was investigated in relation to the development and by the relationship with other tests: The Nonverbal Intelligence Test R-2, the Rey Complex Figures and the original version of the test. The reliability was studied by the methods of test and retest, interscorers reliability and internal consistency. The tests were applied individually and children who participated in the different studies were included in the total sample. The analyses were made separately for children of 6 and 7 years old and from 8 to 12 years old since the scoring systems based on the quality of the drawings are different depending on the age. The results showed correlations between 0.616 and 0.648 for the youngest ones and between 0.647 and 0.778 for oldest ones with the Rey Complex Figure. Regarding the R-2, correlations ranged between 0.542 and 0.638 and 0.439 and 0.667 (respectively for the youngest and oldest children). The correlations with the original Koppitz system were -0.646 for the youngest ones and -0.566 for the oldest ones. Reliability coefficients between test and retest varied between 0.794 and 0.837 for youngest and 0.745 and 0.964 for the oldest. The Cronbach\'s alpha ranged between 0.716 and 0.879 and the interscorers reliability correlations were 0.966 for the youngest ones and 0.972 for the oldest ones. Analysis of variance were performed according to age, sex and type of school, since their results indicated the need for standards in separate percentile to these three variables, and the average of the groups differed statistically in relation to them, especially the differences between the means of the oldest, who tended to be higher than of the youngest, but not in all cases. The results indicated adequate validity and reliability indices for the Koppitz-2, that confirm its psychometric properties, characterizing it as a tool that can be used in assessment of visual motor integration ability of children between 6-12 years of age in psychodiagnosis for various purposes. However some revisions will be required in the assessment criteria which, in some cases, proved to be poorly defined

Pour respecter les droits d'auteur, la version électronique de cette thèse a été dépouillée de certains documents visuels. La version intégrale de la thèse a été déposée à la Division de la gestion des documents et des archives. / Au cours de son histoire, la salle de cinéma s’est érigée à partir d’une politique d’épuration sensorielle, elle-même héritée d’une longue tradition, faisant de l’expérience spectatorielle cinématographique une expérience de contemplation purement audiovisuelle. Cependant, lorsqu’elle traverse une période de crise, tant économique qu’intermédiale, la salle de cinéma renoue avec un modèle attractionnel, polysensoriel et plus particulièrement tactile, lié au cinéma des origines et à ses premiers lieux de diffusion, mais réprimé lors de l’institutionnalisation du média et de sa stabilisation dans la salle consacrée. Aux États-Unis, c’est notamment le cas autour de 1930, au moment de l’arrivée du cinéma parlant et de la Grande Dépression, de même qu’au cours des années 1950, alors qu’une importante compétition intermédiale liée à l’arrivée de la télévision et couplée à des changements démographiques majeurs affecte les exploitants de salles. C’est de nouveau le cas depuis les années 2000, la déferlante numérique et les possibilités de visionnement à domicile arrachant de plus en plus de spectateurs aux salles. Cette thèse propose l’examen approfondi d’une période et d’un cas exemplaires. Elle analyse précisément le moment où les salles américaines connaissent une baisse de fréquentation majeure au cours des années 1950. Pendant cette période apparaissent plusieurs technologies audiovisuelles, mais également de nombreux gimmicks polysensoriels. Or, ces derniers ne sont qu’une version radicale et matérialisée d’idéaux attractionnels portés par les producteurs et l’industrie cinématographique de l’époque aux États-Unis, ce que démontre l’étude du gimmick tactile Percepto, développé en 1959 par le cinéaste William Castle pour accompagner son film The Tingler. Bien au-delà du simple gadget promotionnel, le dispositif Percepto fait vibrer les sièges et hurler les spectateurs, les sollicitant par une sensation physique directe censée prolonger l’univers du film à même la salle de cinéma. Cette expérience cinématographique singulière valorise en outre le caractère à la fois collectif et participatif du visionnement en salle. À la jonction de plusieurs champs théoriques, soit l’histoire culturelle des sens, l’archéologie des médias et les études de diffusion, cette thèse cherche à mettre au jour le rôle majeur des sens pourtant dits « mineurs », notamment celui du toucher, dans l’histoire de la salle de cinéma américaine, et à resituer la tactilité dans les origines attractionnelles du cinéma, en démontrant de quelle manière le corps du spectateur est, par le biais de stratégies polysensorielles, de nouveau inclus dans l’expérience du cinéma, alors qu’il en est traditionnellement exclu. Par ailleurs, elle vise à réinscrire les gimmicks au sein de l’historiographie du cinéma en général et de celle des salles en particulier, tout en faisant découvrir un dispositif cinématographique tactile jusqu’ici généralement méconnu et oublié par la recherche savante : Percepto. Pour ce faire, la thèse s’appuie sur plusieurs sources de première main et propose l’analyse des éléments suivants : le film The Tingler, le fonctionnement du gimmick, les publicités produites autour du dispositif, son apparition en salles, ainsi que sa réception critique et populaire. / Throughout its history, the movie theater has emerged from politics of sensory purification inherited from a long tradition, making the cinematographic spectatorial experience one of a purely audiovisual contemplation. When going through a period of crisis, be it economic or intermedial, the movie theater reconnects with an attractional, multi-sensory and mainly tactile model linked to the origins of cinema and to its first exhibition spaces, but repressed at the time of the institutionalization of the media and its stabilization in the dedicated theater. In the United States, this is notably the case around 1930 with the arrival of talking pictures and the Great Depression, as well as during the 1950s when significant intermedial competition resulting from the advent of television, coupled with major demographic shifts, affects theater exhibition. This has also been the case since the early 2000s, when the digital surge and the possibilities of home viewing have torn more and more spectators away from theaters. This thesis offers an in-depth examination of an exemplary period and case. It analyzes precisely when American theaters experienced a major drop in attendance during the 1950s. During this period, several audiovisual technologies appeared, along with many multi-sensory gimmicks. However, the latter are only a radical and materialized version of ideals of attractions carried by the producers and the film industry of the time in the United States, as demonstrated by the study of the Percepto tactile gimmick, developed in 1959 by filmmaker William Castle to complement his film The Tingler. Far beyond a simple promotional gadget, the Percepto device makes the seats vibrate and the audience scream, addressing the spectators with a direct physical sensation supposed to extend the fictional world of the film right into the theater. This unique cinematographic experience also underlines both the collective and participatory qualities of theatrical viewing. At the junction of several theoretical fields, namely the cultural history of the senses, media archeology and exhibition studies, this thesis seeks to bring to light the major role of the so-called “minor” senses, in particular that of the touch, in the history of the American cinema, and to restore tactility in relation to the attractional origins of cinema, by demonstrating how the spectator's body is, through multisensory strategies, included again in the experience of cinema although it is traditionally excluded. In addition, it aims to re-establish gimmicks within the historiography of cinema as a whole and that of movie theaters in particular while revealing a tactile cinematographic device largely unknown and forgotten by scholarly research to this day: Percepto. To achieve this, the thesis offers the analysis of the following aspects, based on several primary sources: the film The Tingler, the functioning of the gimmick, the advertisements produced around the device, its theatrical release and exploitation as well as its critical and popular reception.