O estudo dos gêneros do cinema aponta para várias direções sem, no entanto, especificar a importância que deve ser dada às estratégias discursivas que engendram a significação de determinado filme. Por muito tempo, a teoria semiótica de linha francesa serviu apenas para salientar um perfil da significação fílmica, originada do percurso gerativo de sentido, na medida em que trata especificamente do esquema narrativo. De certo modo, os estudos da semiótica francesa concernentes ao cinema são exíguos. Diante da diversidade cinematográfica, um recorte pode ser feito de uma totalidade específica. A partir daí, os gêneros remetem a certa identidade do fazer cinematográfico. Os gêneros, pensados como enunciados que comportam um conteúdo temático, um estilo e uma construção composicional, fundam a identidade fílmica. Porém essa norma bakhtiniana de arquitetura, inerente a diversos enunciados fílmicos, parece ser pouco mencionada. Dessa forma, ignorar esse princípio básico é afastar um entendimento do processo de significação que, quando percebido e analisado, traz à tona o modo como o enunciador de um filme se utiliza de alguns recursos que revelam um modo próprio de manipular o espectador, o enunciatário ideal. O presente trabalho visa expor como um gênero fílmico particular, o suspense, surgido em um período histórico da sétima arte, conhecido como cinema clássico, pode ser desvendado, tomando como base a regra bakhtiniana referida. Com esse princípio em mente, a pesquisa adentra na teoria da significação e faz emergir várias possibilidades de exame ao texto fílmico. Sob tal orientação, este trabalho apresenta algumas ferramentas semióticas de análise do cinema, tais como a segmentação dos filmes e o levantamento das estruturas elementares e tensivas do gênero suspense. Seguindo esse horizonte, nossas investigações tendem a revelar uma gradação de intensidade constituinte da formação desse gênero. Além disso, como um dos recursos de uma identidade audiovisual, o exame das relações semissimbólicas aponta para um fator determinante na constituição das imagens fílmicas, entendido como as categorias paramétricas da imagem e seus contrastes. Relativamente a isso, será ressaltado o conteúdo temático e o modo como a configuração discursiva atua no desenvolvimento desse quesito. Com relação ao estilo, duas direções foram apontadas como constituintes do gênero suspense, o estilo do gênero e o estilo do autor. Tomando esses princípios como diretrizes, o corpus deste trabalho constitui-se de três filmes, representantes do cinema clássico, envoltos pela programação do suspense, o que dá a eles certo estatuto de referência: Cidadão Kane, de Orson Welles; Anatomia de um crime, de Otto Preminger; e Psicose, de Alfred Hitchcock. / Studies about movie genres point out to several directions, without specifying, however, the importance that should be given to discursive strategies that engender the significance of a particular movie. For a long time, French semiotic theory was suitable only to highlight a profile of filmic significance, which originated from the generative process in meaning, once it deals specifically with narrative scheme. However, French semiotic studies about movies are scarce. Due to the cinematographic diversity, a cut can be made of the specific totality. From that, genres refer to a certain identity of filmmaking. Genres, considered as enunciates that hold a thematic content, style and compositional construction, found the filmic identity. Nevertheless, this Bakhtinian architectural norm, inherent in many filmic enunciates seems to be little mentioned. Therefore, ignoring this basic principle means to establish a distance from a comprehension of the signification process that once noticed and analyzed brings light to the way the movie enunciator uses some resources that reveal a particular way of manipulating the spectators, the ideal enunciatee. The present work aims to expose how a particular movie genre, the suspense, originated in a historical period of the seventh art, known as classic movie era, can be unveiled, taking as basis the refered Bakhtinian norm. With this principle in mind this research penetrates the significance theory and brings to life many possibilities of examining filmic text. Following such orientation, this paper presents some analytical semiotic movie tools such as: movie segmentation and gathering of elementary and tensive structures in the suspense genre. Following this horizon, our investigations tend to reveal a gradation of intensity inherent in the formation of this genre. Furthermore, as one of the resources of an audiovisual identity, analysis of semi-simbolics relations points out to a determinant factor in the constitution of filmic images, known as parametrics categories of image and its contrasts. Regarding this, thematic content and the role that discoursive configuration plays in this issue, will be highlighted in this paper. Concerning style, two directions have been identified as constituents of the suspense genre, the style of the genre and the style of the author. Thus, having these principles as guidelines, the corpus of this paper consists of three movies, representatives of the classic movie era, that are involved by the programming of suspense, which gives them a certain status of reference: Citizen Kane by Orson Welles, Anatomy of a murder by Otto Preminger and Psycho by Alfred Hitchcock.

O estudo dos gêneros do cinema aponta para várias direções sem, no entanto, especificar a importância que deve ser dada às estratégias discursivas que engendram a significação de determinado filme. Por muito tempo, a teoria semiótica de linha francesa serviu apenas para salientar um perfil da significação fílmica, originada do percurso gerativo de sentido, na medida em que trata especificamente do esquema narrativo. De certo modo, os estudos da semiótica francesa concernentes ao cinema são exíguos. Diante da diversidade cinematográfica, um recorte pode ser feito de uma totalidade específica. A partir daí, os gêneros remetem a certa identidade do fazer cinematográfico. Os gêneros, pensados como enunciados que comportam um conteúdo temático, um estilo e uma construção composicional, fundam a identidade fílmica. Porém essa norma bakhtiniana de arquitetura, inerente a diversos enunciados fílmicos, parece ser pouco mencionada. Dessa forma, ignorar esse princípio básico é afastar um entendimento do processo de significação que, quando percebido e analisado, traz à tona o modo como o enunciador de um filme se utiliza de alguns recursos que revelam um modo próprio de manipular o espectador, o enunciatário ideal. O presente trabalho visa expor como um gênero fílmico particular, o suspense, surgido em um período histórico da sétima arte, conhecido como cinema clássico, pode ser desvendado, tomando como base a regra bakhtiniana referida. Com esse princípio em mente, a pesquisa adentra na teoria da significação e faz emergir várias possibilidades de exame ao texto fílmico. Sob tal orientação, este trabalho apresenta algumas ferramentas semióticas de análise do cinema, tais como a segmentação dos filmes e o levantamento das estruturas elementares e tensivas do gênero suspense. Seguindo esse horizonte, nossas investigações tendem a revelar uma gradação de intensidade constituinte da formação desse gênero. Além disso, como um dos recursos de uma identidade audiovisual, o exame das relações semissimbólicas aponta para um fator determinante na constituição das imagens fílmicas, entendido como as categorias paramétricas da imagem e seus contrastes. Relativamente a isso, será ressaltado o conteúdo temático e o modo como a configuração discursiva atua no desenvolvimento desse quesito. Com relação ao estilo, duas direções foram apontadas como constituintes do gênero suspense, o estilo do gênero e o estilo do autor. Tomando esses princípios como diretrizes, o corpus deste trabalho constitui-se de três filmes, representantes do cinema clássico, envoltos pela programação do suspense, o que dá a eles certo estatuto de referência: Cidadão Kane, de Orson Welles; Anatomia de um crime, de Otto Preminger; e Psicose, de Alfred Hitchcock. / Studies about movie genres point out to several directions, without specifying, however, the importance that should be given to discursive strategies that engender the significance of a particular movie. For a long time, French semiotic theory was suitable only to highlight a profile of filmic significance, which originated from the generative process in meaning, once it deals specifically with narrative scheme. However, French semiotic studies about movies are scarce. Due to the cinematographic diversity, a cut can be made of the specific totality. From that, genres refer to a certain identity of filmmaking. Genres, considered as enunciates that hold a thematic content, style and compositional construction, found the filmic identity. Nevertheless, this Bakhtinian architectural norm, inherent in many filmic enunciates seems to be little mentioned. Therefore, ignoring this basic principle means to establish a distance from a comprehension of the signification process that once noticed and analyzed brings light to the way the movie enunciator uses some resources that reveal a particular way of manipulating the spectators, the ideal enunciatee. The present work aims to expose how a particular movie genre, the suspense, originated in a historical period of the seventh art, known as classic movie era, can be unveiled, taking as basis the refered Bakhtinian norm. With this principle in mind this research penetrates the significance theory and brings to life many possibilities of examining filmic text. Following such orientation, this paper presents some analytical semiotic movie tools such as: movie segmentation and gathering of elementary and tensive structures in the suspense genre. Following this horizon, our investigations tend to reveal a gradation of intensity inherent in the formation of this genre. Furthermore, as one of the resources of an audiovisual identity, analysis of semi-simbolics relations points out to a determinant factor in the constitution of filmic images, known as parametrics categories of image and its contrasts. Regarding this, thematic content and the role that discoursive configuration plays in this issue, will be highlighted in this paper. Concerning style, two directions have been identified as constituents of the suspense genre, the style of the genre and the style of the author. Thus, having these principles as guidelines, the corpus of this paper consists of three movies, representatives of the classic movie era, that are involved by the programming of suspense, which gives them a certain status of reference: Citizen Kane by Orson Welles, Anatomy of a murder by Otto Preminger and Psycho by Alfred Hitchcock.

A mathematical model of two-phase systems, such as clay suspensions, consists of a set of partial differential equations which reflect both the general laws of mechanics and the relations connecting the involved characteristics of the particular system under consideration. The latter equations are known as constitutive relations. The aim of this study was to find the constitutive relations for kaolin suspensions that are necessary when solving forward problems of fine sludge thickening processes. The task was to design and carry out experimental research of the given suspension and to find a convenient method of utilizing the results for the sake of getting the sought relationships. It follows from the applied mathematical theory of two-phase systems that the sought relationships are hydraulic conductivity of the suspension as a function of the solid-phase concentration and the dependence of the solid-phase concentration on the solid-phase stress. The first part of this study describes the experimental research. Since both the characteristics are difficult to measure, it was necessary to analyze the suspension's characteristics and their measurability. Subsequently, the process of the suspension preparation and the method of laboratory measurements were determined. The following sections present...

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Thesis (Ph. D.)--Princeton University, 1930. / "Bibliographical index": p. [133]-135.

Thesis (Ph. D.)--Princeton University, 1930. / "Bibliographical index": p. [133]-135.

Thesis (M. A.) --University of Limpopo, 2019. / This study explores a literary comparative examination of crime between Africa and Scandinavia, with special attention to Botswana and Norway. Smith’s and Nesbo’s selected novels are used as primary texts for analysis. The novels are, therefore, set in two different areas. These writers depict crime from the African and European perspectives. Chapter One deals with a brief introduction, and the aim and objectives of the study. It also expands on the theoretical background and provides definitions of terms that are used in this paper. Chapter Two presents views from various scholars on crime. This study is based on an Afro-Western approach of literary analysis. In other words, there are thoughts by both African and Western writers which assist in determining possible and noticeable similarities and differences, on the issue of crime. Chapter Three analyses crime from an African perspective while Chapter Four discusses crime from a Western point of view. Each of these chapters reflects on crime through character portrayal and depiction within its context. Chapter Five is a comparative analysis of both novels. The chapter identifies possible similarities and differences, mainly of the depiction of crime in different settings – Africa and Scandinavia, committed by blacks and whites. However, the structural and linguistic approaches of both the novels are also reviewed, assisting in discovering the life, in comparison, of the authors. The last chapter (Chapter Six), is a conclusion of the study and future suggestions. Basically, the study argues that blacks only should not be portrayed as perpetrators, but that whites too can be culprits. Again, there should be an equal of measurement on the weight and honour of the two races. Lastly, the moral is that without considering skin colour, financial and social backgrounds, justice must be served equally. Hence, whoever is caught in any form of wrongdoing, they must be given the appropriate punishment – regardless of race, colour, religious creed, gender, financial and social background. Key Words: Crime, Afro-Western, Marxism, suspense, detective, identity, puzzle, fix, accumulation, class, characterisation and setting.

Ever since the introduction of sound in film, sound effects have played a big part in the experience of the film audience. Acousmatic sound effects are diegetic sounds that lack a visual source on screen, and they are frequently used in horror films. This research explores the relationship between familiarity with sound effects and the emotional response in the audience. An experiment was conducted where two test groups watched an excerpt from a horror film where acousmatic sounds were a big part of the soundtrack. One of the test groups watched a version where there were reoccurring familiar acousmatic sounds, and the other group watched a version with random un-familiar acousmatic sounds. Data was collected through self-report and physiological measurements. The results suggest that there is a dissonance between the conscious and unconscious emotional experience of suspense and fear. The physiological measurements indicate a higher emotional arousal in the group that watched the unfamiliar version of the stimuli, while the self-report propose a stronger conscious build-up of suspense leading to a stronger experience of fear in the group watching the familiar version. Further research directions based on the result of this research are presented.

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Ce mémoire cherche à dégager les mécanismes et outils narratifs utilisés par les suspenses afin de configurer la tension narrative au cinéma. Le premier chapitre analyse la fonction de la synecdoque et de la métonymie dans la configuration d’un espace-temps tensif. Ainsi, l’exposition d’un danger enclenche une situation narrative incertaine dans laquelle le spectateur s’identifie au personnage menacé et vit avec lui son angoisse. À partir de définitions générales et de nombreux films tels que Jaws et The Matrix, le deuxième chapitre s’aventure à la recherche de récurrences thématiques et esthétiques dans le but de légitimer un genre ambigu. Le troisième chapitre introduit la démarche créative et la recherche en création. Le scénario Les saisons parfaites, un suspense psychologique, évoque L’enfer de Claude Chabrol et Black Swan de Darren Aronofsky. Donc, ce mémoire se demande comment s’articule la tension narrative et comment définir l’identité générique du suspense? Ce dernier existe-t-il seulement? Si oui, à quoi sert-il de l’étudier? / This thesis focuses on the mecanisms and narrative tools used in suspense and thriller films. The first chapter analyzes the function of the synecdoche and metonymy and their role in filmic time-space. The presence of danger triggers incertainties for the viewers that are bound to the endangered character. Then, following larger definitions and numerous films such as Jaws and The Matrix, the second chapter tries to find recurring thematic and aesthetic elements. The purpose of this approach is to legitimate a genre that might not be one. Finally, the third and last chapter, introduces the creative part of this work. A screenplay, The Perfect Seasons (Les saisons parfaites), a psychological suspense, is inspired by Darren Aronofsky’s Black Swan and Claude Chabrol’s L’enfer. This thesis asks how does work narrative tension in films and how is it possible to define suspense as a genre? Does this genre exists? If so, why is it important to study it?