Submitted by admin tede (tede@pucgoias.edu.br) on 2018-02-23T12:57:09Z No. of bitstreams: 1 VIVIANE ANDRADE OLIVEIRA.pdf: 1587489 bytes, checksum: d1b7d3b7fbe6ac02f15e3922f4fb4255 (MD5) / Made available in DSpace on 2018-02-23T12:57:09Z (GMT). No. of bitstreams: 1 VIVIANE ANDRADE OLIVEIRA.pdf: 1587489 bytes, checksum: d1b7d3b7fbe6ac02f15e3922f4fb4255 (MD5) Previous issue date: 2017-12-22 / Each new invention that humanity develops brings in itself new possibilities of artistic creation, in a way that the different procedures that the writer exercises, end up expanding the art’s concept in general. In this study, it was intended to analyze fixed ending, in games and interactive short narratives, with the sample Bariani Ortencio’s Morte sob encomenda (1974), Edward Packard’s The mystery of Chimney Rock (1985) and Marcelo Spalding’s Um estudo em vermelho (2013). It was highlighted the processes that characterize them, advancing and approximating text, writer, and reader, in the sense of providing larger interactivity between composing and reading actions, as much of the perspective of the narrative organization, as of the thematic coloration. It was considered conceptions of scholars like Roland Barthes (1974), Tzvetan Todorov (2013), Gérard Genette (1979), Julio Cortázar (2008), Wolfgang Iser (1979), Afrânio Coutinho (1986), Sérgio Capparelli (2010), Katherine Hayles (2009), Nick Monfort (2010), Lucia Santaella (2004), among others. It was verified how the authors on analyses approach and distance themselves considering the constructive process of the gender, the plot, the character, the temporality, the spatiality, and the theme, once that two are published in printed resources and the third takes place in electronic instrument and, as such, is dynamic. Although the analyzed samples showed some distance on the elements that constitute them, a relevant proximity was noted among them and it may be concluded that the essence of the narrative discourse development remains, regardless of the innovations proposed. / Cada nova invenção que o homem desenvolve traz em si novas possibilidades de criação artística, de tal sorte que os diferentes procedimentos que o escritor exercita, acabam por ampliar a própria concepção de arte. Neste estudo, propôs-se analisar narrativas literárias curtas de final fixo, em jogos e de construção interativa, tendo como amostras Morte sob encomenda, de Bariani Ortencio (1974), A casa mal-assombrada, de Edward Packard (1985) e Um estudo em vermelho, de Marcelo Spalding (2013). Foram destacados os procedimentos que as caracterizam avançando e aproximando escritura, escritor e leitor, no sentido de proporcionar maior interatividade entre o ato de compor e o de ler, tanto do ponto de vista da organização da narrativa, quanto da coloração temática. Foram consideradas as concepções de teóricos como Roland Barthes (1974), Tzvetan Todorov (2013), Gérard Genette (1979), Julio Cortázar (2008), Wolfgang Iser (1979), Afrânio Coutinho (1986), Sérgio Capparelli (2010), Katherine Hayles (2009), Nick Monfort (2010), Lucia Santaella (2004), dentre outros. Verificou-se como os autores dos objetos em análise se aproximam e se distanciam quanto ao processo construtivo do gênero, do enredo, da personagem, da temporalidade, da espacialidade e no que se refere à temática, uma vez que duas são publicadas em recursos impressos e a terceira realiza-se em instrumento eletrônico e, como tal, dinâmico. Embora as obras analisadas tenham demonstrado algum distanciamento nos elementos que as constituem, uma relevante aproximação entre elas foi notada, podendo-se concluir que a essência da elaboração do discurso narrativo permanece, independente das inovações propostas.

In this dissertation, I present Dramatis, a computational human behavior model of suspense based on Gerrig and Bernardo's de nition of suspense. In this model, readers traverse a search space on behalf of the protagonist, searching for an escape from some oncoming negative outcome. As the quality or quantity of escapes available to the protagonist decreases, the level of suspense felt by the audience increases. The major components of Dramatis are a model of reader salience, used to determine what elements of the story are foregrounded in the reader's mind, and an algorithm for determining the escape plan that a reader would perceive to be the most likely to succeed for the protagonist. I evaluate my model by comparing its ratings of suspense to the self-reported suspense ratings of human readers. Additionally, I demonstrate that the components of the suspense model are sufficient to produce these human-comparable ratings.

The subject matter of my study is representations of Russia in Anglo-American and Russian spy novels, mysteries, and action thrillers of the 1990s. Especially suitable for representing the world split between good and evil, these genres played a prominent role in constructing the image of the other during the Cold War. Crime fiction then is an important source for grasping the changes in representing Russia after the Cold War. My hypothesis is that despite the changes in the political roles of Russia and the United States, the end of the Cold War and the demise of the Soviet Union continued to have a significant impact on popular fiction about Russia in the 1990s. A comparative perspective on depictions of Russia in the 1990s is particularly suitable in regard to American and Russian popular cultures because during the Cold War, Soviet and American identities were formed in view of the other. A comparative approach to the study of Russian popular fiction is additionally justified by the role that the idea of the West had played in Russian cultural history starting from the early eighteenth century. Reflection on depictions of Russia in crime fiction by writers coming from the two formerly antagonistic cultures poses the problem of representation in its relationship to time, history, politics, popular culture, and genre. The methods used in this dissertation derive from the field of cultural studies, history, and structuralist poetics. A combination of structuralist readings and social theory allows me to uncover the ways in which popular detective genres changed in response to the sentiments of nostalgia and anxiety about repressed or lost identities, the sentiments that were typical of the 1990s. My study of Anglo-American and Russian spy novels, mysteries, and action thrillers contributes to our understanding of the ways American and Russian cultures invent and reinvent themselves after a significant historical rupture, how they mobilize the past for making sense of the present. Drawing on readings of literature and culture by such scholars as Mikhail Bakhtin, Tzvetan Todorov, Siegfried Kracauer, Andreas Huyssen, Fredric Jameson, and Svetlana Boym, I show that differences in Anglo-American and Russian representations of Russia are a result of cultural asymmetries and cultural chronotopes in the United States and in Russia. I argue that Russian and American crime fiction of the 1990s re-writes Russia in the light of cultural memory, nostalgia, and historical sensibilities after the end of the Cold War and the fall of the Soviet Union. Memories of the Cold War and coming to terms with the end of the Cold War played a defining role in depicting Russia by Anglo-American detective authors of the 1990s; this role is clear from the genre changes in Anglo-American thrillers about Russia. Similarly, reconsideration of Russian history became an essential characteristic in the development of the new Russian detektiv.

The subject matter of my study is representations of Russia in Anglo-American and Russian spy novels, mysteries, and action thrillers of the 1990s. Especially suitable for representing the world split between good and evil, these genres played a prominent role in constructing the image of the other during the Cold War. Crime fiction then is an important source for grasping the changes in representing Russia after the Cold War. My hypothesis is that despite the changes in the political roles of Russia and the United States, the end of the Cold War and the demise of the Soviet Union continued to have a significant impact on popular fiction about Russia in the 1990s. A comparative perspective on depictions of Russia in the 1990s is particularly suitable in regard to American and Russian popular cultures because during the Cold War, Soviet and American identities were formed in view of the other. A comparative approach to the study of Russian popular fiction is additionally justified by the role that the idea of the West had played in Russian cultural history starting from the early eighteenth century. Reflection on depictions of Russia in crime fiction by writers coming from the two formerly antagonistic cultures poses the problem of representation in its relationship to time, history, politics, popular culture, and genre. The methods used in this dissertation derive from the field of cultural studies, history, and structuralist poetics. A combination of structuralist readings and social theory allows me to uncover the ways in which popular detective genres changed in response to the sentiments of nostalgia and anxiety about repressed or lost identities, the sentiments that were typical of the 1990s. My study of Anglo-American and Russian spy novels, mysteries, and action thrillers contributes to our understanding of the ways American and Russian cultures invent and reinvent themselves after a significant historical rupture, how they mobilize the past for making sense of the present. Drawing on readings of literature and culture by such scholars as Mikhail Bakhtin, Tzvetan Todorov, Siegfried Kracauer, Andreas Huyssen, Fredric Jameson, and Svetlana Boym, I show that differences in Anglo-American and Russian representations of Russia are a result of cultural asymmetries and cultural chronotopes in the United States and in Russia. I argue that Russian and American crime fiction of the 1990s re-writes Russia in the light of cultural memory, nostalgia, and historical sensibilities after the end of the Cold War and the fall of the Soviet Union. Memories of the Cold War and coming to terms with the end of the Cold War played a defining role in depicting Russia by Anglo-American detective authors of the 1990s; this role is clear from the genre changes in Anglo-American thrillers about Russia. Similarly, reconsideration of Russian history became an essential characteristic in the development of the new Russian detektiv. / Arts, Faculty of / English, Department of / Graduate

This thesis explores my practice as it has progressed into video and video installation. I detail my use of cinematic tropes and mechanisms as they function within a spatial installation. I discuss the relationship of my work to other artists such as Pierre Huyghe, Janet Cardiff and George Bures Miller, and Kevin Cooley who also deal with themes of landscape, spatial displacement, and video viewing. My work has evolved to video installation from a need to experience the traditionally flat viewing plane of photography in a more experiential way. The Locus installation is multi sensory, in that it addresses smell, sound, and vision. In my work, I employ methods such as obfuscated video and localized yet unconnected sound landscapes to consider notions such as the viewer’s self-awareness, fear of solitude, and the ‘other.’ I explore the other as a concept stemming from paranoia and anxiety of the unknown. This includes feeling an unfamiliar presence nearby or a known location that suddenly feels strange and unusual.

In this paper, I will share in detail the entire process of creating my thesis film, The Woodshed. I will cover each step from writing and pre-visualization to producing, directing, production design, cinematography, editing, and sound. I will mainly focus on the style of directing I employed and the key decisions I made as an editor to best tell my story. I will then evaluate my decisions to determine the success of the project.

This thesis theorises an approach to cinematic suspense derived from a set of films that challenge the teleological and redemptive principles of traditional narrative. It is argued that such a challenge is drawn from the need to account for conditions of violence and suffering without recourse to the traditional grounds of redemption. They set out to question the symbols that underpin a faith in its possibilities. Such films counter these grounds with a form of perpetuated suspense that continually withholds resolution, stressing and destabilising both the terms of redemption and the affect of its aesthetic representations. Significantly, this thesis examines films from the years following 1989 that confront this central theme within conditions of historical hiatus and the disintegration of ideological certainties occurring in the wake of European communism. These films, by Kira Muratova, Béla Tarr, Artur Aristakisyan, Alexander Sokurov, Bruno Dumont, Roy Andersson, Ulrich Seidl and Gus Van Sant, present a world in which human beings are always already turned against themselves, placing them in the context of contemporary philosophical aporias that identify the human condition as enigmatic and resisting of itself. They suspend the symbolic structures associated with redemption in order to reconfigure contemporary film as a „realist‟ cinema at the threshold of the interpretative and reconciliatory economies implicit in the soteriological mythology of Western thought. Tracing Paul Ricoeur‟s schematic account of the symbols and myths of a „fallen‟ world, the thesis turns on Jean-Luc Nancy‟s subsequent critique of the insufficiency of myths to properly account for existence. In place of an hermeneutic recovery of the real and its meaning, Nancy‟s „realist‟ philosophy of „sense‟ and its application to the cinema offer an account that speaks less of conflicting narratives of redemption than a radical stripping away of its terms, suggesting that it is redemption from the normative terms of redemption that ultimately constitutes the proper question at the heart of these films.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-11-17T11:28:01Z No. of bitstreams: 1 Rogério Vicente Stropa.pdf: 1168962 bytes, checksum: 8c18646f38b9295211ef7e6241515ed9 (MD5) / Made available in DSpace on 2016-11-17T11:28:01Z (GMT). No. of bitstreams: 1 Rogério Vicente Stropa.pdf: 1168962 bytes, checksum: 8c18646f38b9295211ef7e6241515ed9 (MD5) Previous issue date: 2016-09-20 / This work aims to find the restricted terror literature field in Brazil; for this, we analyzed the horror effects present in three tales of the author Amândio Sobral: O homem que matou um morto, A estranha cavalgada de Ivan Palinskyand A podridão viva, these stories present in the work Contos Exóticos, published in 1934. For the realization such intent, the dissertation is divided into four chapters. In the first, Tale: a genre that says a lot in a few words, we analyze the theories of the story in order to point out the main characteristics of this genre. We rely here on considerations made by theorists such as Julio Cortazar, Ricardo Piglia and Edgar Allan Poe. In the second chapter, horror aesthetic variations, we analyze the fantastic genre and its relationship with the unusual, gothic, horror, the grotesque and the sublime. For this we use the theories of Marcelo Briseno Marques de Melo, Maurício Cesar Menon, Wolfgang Kayser, Tzvetan Todorov and Lainister de Oliveira Esteves. The third chapter, Amândio Sobral: a seemingly text out of context, in turn, has the purposeof presenting the author and his context and point out some of its predecessors literary influences regarding the use of the horror and the fantastic in literature Brazil, using this aspect, the reflections of Antonio Candido, Alfredo Bosi, Randal Johnsonand Luis Bueno. At last, Suspense, fear and horror: the tales of Amândio Sobral, we present the analysis of the works and the strategies employed by the author to generate the horror effect and fear in his short stories, using, for this, the H.P. Lovecraft considerations, Alcides Ribeiro, Gaston Bachelard and Benedito Nunes / Este trabalho tem a finalidade de pesquisar o restrito campo da literatura do terror no Brasil; para isso, analisamos os efeitos de terror presentes em três contos do autor Amândio Sobral: O homem que matou um morto, A estranha cavalgada de Ivan Palinskye A podridão viva, contos esses presentes na obra Contos Exóticos, publicada em 1934. Para a realização de tal intento, a dissertação está dividida em quatro capítulos. No primeiro deles, Conto: um gênero que diz muito em poucas palavras, analisamos as teorias sobre o conto, a fim de apontarmos as principais características desse gênero. Baseamo-nos, aqui, nas considerações feitas por teóricos como Julio Cortázar, Ricardo Piglia e Edgar Allan Poe. No segundo capítulo, Variações da estética do horror, analisamos o gênero fantástico e sua relação com o insólito, o gótico, o terror, o grotesco e o sublime. Para isso, fizemos uso das teorias de Marcelo Briseno Marques de Melo, Maurício Cesar Menon, Wolfgang Kayser, Tzvetan Todorov e Lainister de Oliveira Esteves. O terceiro capítulo, Amândio Sobral: um texto aparentemente fora do contexto, por seu turno, tem a finalidade de apresentar o autor e seu contexto, bem como apontar algumas de suas predecessoras influências literárias no que concerne ao uso do horror e do fantástico na literatura brasileira, recorrendo, neste aspecto, às reflexões de Antônio Candido, Alfredo Bosi, Randal Johnson e Luís Bueno. No último, Suspense, medo e horror: os contos de Amândio Sobral, apresentamos a análise das obras e as estratégias empregadas pelo autor para gerar o efeito de horrore medo em seus contos, utilizando, para isso, das considerações de H.P. Lovecraft, Alcídes Ribeiro, Gaston Bachelard e Benedito Nunes

This mystery is set in the early 1980s and based on actual events. A high-school student unearths dark and deadly secrets of his Appalachian community. The explosive consequences forever mark his own life, his family's, and his town's. / https://dc.etsu.edu/etsu_books/1009/thumbnail.jpg

ABSTRACT This paper will detail the process of creating and making the film Everything that Shines is not Gold. This paper divides into four parts: writing process, pre-production, production, and postproduction. The first part will touch on how the story came about and the writing process. The second part will cover the pre-production aspects and how I dealt with a strict deadline. Next, I will talk about directing. In the fourth part, I will discuss the long and tiring postproduction workflow. Last, I will reflect on making and what I learned.