The current period caused the rapid development of technologies, which allows us to use the films (film adaptations of literary books), drama or music (soundtrack) for teaching easily. In my thesis I will deal with film adaptations of literary works and the specifics of film adaptations which are created for child viewer. I also focus on their didactic usage. I will determine with the help of questionnaries whether children consider themselves as readers, viewers or both in the practical part of my work, whether pupils are aware of the difference between the book and its adaptation and if there is a possibility to find some connection between their opinions and the relation to reading and spectatorship.

Já está completamente consolidada nas cadeias de produção cinematográfica uma esperada \"transição para o digital\". Porém a exibição propriamente dita de filmes na forma digital nas salas de cinema só foi padronizada em 2005, e a mudança ganhou força somente na década de 2010. Essa digitalização da exibição cinematográfica foi incorporada de forma transparente para a maioria dos espectadores de cinema, apesar de suas intricadas especificações técnicas e arranjos econômicos de viabilização das trocas dos equipamentos. Ao mesmo tempo, as tecnologias digitais também proporcionam cada vez mais facilidade para que filmes possam ser assistidos fora das salas de cinema, colocando-as de fato em cheque quando olha-se para o futuro. Este trabalho discute o processo de digitalização da exibição e distribuição cinematográficas, traçando algumas perspectivas sobre por que, mesmo com a digitalização, permanecerão existindo as salas de cinema. É particularmente interessante que, em meio a essa desmaterialização do suporte da cópia, sobressaia exatamente a materialidade que sobrou, a do próprio espaço e disposição da exibição, o espectador na sala de cinema. Essa permanência é apoiada em dois eixos principais. Inicialmente, o fundamental papel econômico das salas nas receitas que movimentam todas as diferentes camadas da produção de filmes. O segundo eixo é do caráter bastante único da imersão presente na sala de cinema. Esta imersão especial, por sua vez, está fundamentada nas características físicas e técnicas dos equipamentos nas salas, que evoluíram para aproveitar diferentes aspectos da percepção humana em seu âmbito individual e coletivo. Combino características tecnológicas dos padrões adotados, elementos da economia do cinema, estudos da percepção e intenções do espectador e resultados recentes da psicologia experimental que corroboram o caráter bastante particular da experiência de assistir a um filme na sala de cinema e indicam sua continuidade. / The long foretold \"transition to digital cinema\" is already running full steam as far as the acquisition and post-production chains are concerned. However, for digital film exhibition, there has only recently, in 2005, been an agreed upon standard, decided by the major distributors, and the actual upgrades only gained momentum in the early 2010s The digitization and change of materiality of cinema exhibition and distribution, although of great interest to professionals, academics and critics, has been incorporated in a more or less transparent way for the majority of moviegoers, despite their intricate technical specifications and economic arrangements between the various economic parties that enabled equipment to be purchased. It is particularly interesting that, in the midst of this dematerialization of the film\'s physical form, what stands out is precisely the remaining tangibles, the very space and disposition for the exhibition, and the spectator in the theater. This work examines the digitalization of cinema exhibition and distribution technologies, tracing some future perspectives on what remains in a digital cinema. I combine technical specifications of the standards imposed by distributors, some elements of the economy of cinema, without which any speculation becomes exclusively theoretical; and some data from audience and spectator studies focusing on their perception, wishes and intentions, the puzzlingly often-forgotten part of the film studies, for there is no cinema without a spectator. In order to do so I present some recent results of experimental psychology that endorse the rather unique aspects of watching a movie in the movie theater, and its importance beyond the historical.

Esta dissertação é um estudo sobre o cinema de Eugène Green. A sua estrutura se dividirá de acordo com o que se supõe ser - do ponto de vista da recepção do espectador - o aspecto central de seus filmes: de um lado, Green conduzirá o seu espectador a se relacionar com o filme pela via da \"leitura\"; de outro, pela via do \"empirismo\". Essa importante distinção dará início a uma série de desdobramentos que serão tratados ao longo da análise de dez cenas selecionadas dos seus dois primeiros longas metragens: Toutes les nuits (2001) no primeiro capítulo e Le Monde vivant (2003) no segundo. Na conclusão da dissertação, trataremos ainda de uma questão suscitada a partir da colocação, lado a lado, dos dois filmes acima citados. / This dissertation is a study of Eugène Green\'s films. Its structure will be divided according to what we suppose to be - in terms of the spectator\'s reception - the central aspect of his films: on one hand, Green will lead the spectator to establish with the film a connection based on the \"reading\"; on the other hand, a connection based on the \"experience\". This important distinction will be developed throughout the analysis of ten selected scenes from Green\'s first two feature films: Toutes les nuits (2001) in the first chapter, and Le Monde vivant (2003) in the second. At the end of the dissertation, a final question will be brought to light by putting together both films.

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This thesis is a study of Joseph Addison's literary criticism as found in The Spectator.

No description available.

This thesis comprises two stages that empirically investigate and evaluate the perceptions and importance of service elements expectations of professional baseball spectator in Taiwan. Study I is designed to collect the perception of spectators service elements expectations focus groups meetings, which also help the research to develop an appropriate research instrument for the evaluation of the importance of service elements expectations to Taiwan professional baseball spectators. Study II collected 1020 questionnaire survey samples and used cluster analysis approach to segment TPB spectators into six meaningful groups by service elements expectations. The thesis concludes that, firstly, the successful use of expectation to segment spectators proves the potential of expectation as a typology with which to categorise customers. Secondly, TPB spectators with different levels of team identification failed to have great differences in their service expectations, even though two service factors ( subsidiary services and social and educational services ) were evaluated as less important by respondents, they were still evaluated that six service expectation factors are all important to them. Finally, this study provided a different angle for sports organisers to consider, and an outline for assisting managers design service packages that are highly responsive to the target market.

This study will outline the two great literary genres of character-writing and satire, upon the tradition and practice of which Joseph Addison and Richard Steele based their characters of women in the Spectator. The three-fold purpose of this study is to determine how the Spectator was influenced by, and what it in turn contributed to, the two literary genres, the "Character" of women and satire on women; and to present the social status of the female audience as it existed and as the Spectator sought to improve it.

This paper discusses the publications of the Tatler and the Spectator and their influences and criticisms of local theater, actors and audiences.

Theatre performance for children of preschool age Thesis 2012 The central themes of the thesis are theater performances for children. Specifically focuses on young preschool children. Theoretical part outlines the basic terms of theater. It takes into account the personality of preschool age child, its development and influence of theater on children's psyche. The practical part contains the research, based on the testimony of teachers in kindergartens, compared with the responses of parents of children in this age group. The aim is to explore views on the importance of theater as a part of children's lives. Essential parts of the thesis are videos of performances focusing on the child spectator as performance consumer in the presence of family members, or kindergarten. More specifically the aim is to highlight the use of theatrical performances, attended by children of preschool age, not only as part of educational activities in kindergarten, but also nurture in the family. Keywords: theater, theater performance, preschool spectator, fairy tale