In the age of multi-literacies, contemporary theories and devices are required to decipher increasingly complicated challenges which are presented by the digital technological revolution. Some of the existing approaches and frameworks of could inspire us but are not well equipped to address the complexities and multi-perspectives of the eccentric challenges that scholars face on diverse issues. Therefore, I present the critical semiotic order theory (CSOT) as a new eclectic theory to analyze discourse and moving and still images critically, semiotically and using systematic orders simultaneously.The theory has four hypotheses: 1) the positive and negative order hypothesis; 2) the zero value order hypothesis; 3) the chaos order hypothesis; 4) the semiotic indices order hypothesis. The theory was applied to three movies, and was successful in unearthing numerous perceptions and some were microscopic semiotic communicative indices and related them to polycentric Occidental ideologies.Hollywood has made over a thousand movies negatively stereotyping (NS) Arab/Muslim identities and voices (AMIVs) and the images in the vast majority are demeaning (Shaheen, 2009: 2). This research sets to find out whether the misconstruction of Arab/Muslim identities and voices (AMIVs) in three Hollywood movies are ordered, patterned, systematic, and related to ideologies and agendas of polycentric Western individuals, agencies, institutions and governments.The three movies showcase dozens of discursive microscopic critical semiotic orders and patterns of NS of AMIVs in discourse and still and moving image such as being: angry, dangerous, dirty, primitive, uncivilized, dishonest, cowards, fanatics, slaves, extremists, savages, liars, sorceress, killers, terrorists, mad dogs, child terrorists, suicide bombers, etc. The racism touches Arab/Muslims' (A/Ms) characteristics, personalities, races, cultures, traditions, histories, stories, folklores, costumes, images, etc.The analysis showed that there was a systematic pattern and order of NS of AMIVs within and across the three movies, and the NS is related to ideologies and agendas of polycentric Western individuals, agencies, institutions and governments for socio-cultural, socio-economic and socio-political investments in a vast complex web that some of it can go to hundreds of years in making. Nowadays, NS of AMIVs is done by many Westerners for various ideological agendas and investments, and they have appointed themselves as judge, jury and prosecutor.

In dieser Arbeit soll es um die Ehre gehen, insbesondere um die kritische Auseinandersetzung mit den komplexen Regeln des Ehrenkodex in zwei Filmen des italienischen Regisseurs Pietro Germi, Divorzio all\'italiana (F/I 1961, Scheidung auf italienisch) und Sedotta e abbandonata ( F/I 1963, Verführung auf italienisch, DDR-Titel: \"Verführung auf sizilianisch\"). Die beiden Filme gehören zusammen mit Signore & Signori (F/I 1965, Aber, aber meine Herren...) zu einer Trilogie, mit der Germi die Verlogenheit und die Mängel der italienischen Gesellschaft angreift und karikiert. Alle drei Filme wurden in den 1960er Jahren gedreht. Im Gegensatz zu Divorzio all\'italiana und Sedotta e abbandonata, deren Handlungsort Sizilien ist, spielt Signore & Signori in Norditalien. Wenn auch in allen drei Filmen gegen die Scheinheiligkeit bestimmter Gepflogenheiten der italienischen Gesellschaft polemisiert wird, so sind die beiden in Sizilien angesiedelten Filme vor allem auf den Ehrenkodex fokussiert, der bekanntlich im Süden des Landes eine existentielle und umfassende Bedeutung hat. Gesellschaftlicher Hintergrund sind die Jahre des Wirtschaftswunders, des sogenannten miracolo economico, einer Zeit des wirtschaftlichen, gesellschaftlichen und sozialen Umbruchs, dessen Auswirkungen vielschichtiger Natur sind und teilweise jahrhundertealte Regeln und Verhaltensmuster in Frage stellen. Nicht zuletzt das Verhältnis zwischen Mann und Frau ist von den gravierenden Umwälzungen betroffen. Wie sich die Veränderungen in der filmischen Darstellung niederschlagen, soll an den verschiedenen Rollenbildern von Männlichkeit und Weiblichkeit in Divorzio all\'italiana und Sedotta e abbandonata vertieft werden. Der Film war damals ein wichtiges Medium und in der Lage, Impulse für Veränderungen zu geben. Seine Gesellschaftskritik brachte Germi - dem Charakter der kritisierten Normen und Gebräuche entsprechend - in Form einer parodierenden, satirisch-tragischen und teilweise bis ins Groteske gehenden Darstellung zum Ausdruck. Ausgewählten und in der Literatur immer wieder auftauchenden Verweisen auf mögliche Bezüge und Parallelen zum Werk anderer Schriftsteller und Künstler, wie Bachtin und dessen Definition des Grotesken, die grotesken Gestalten de Goyas oder Pirandellos Begriff des Humors soll kurz nachgegangen werden. Hauptthema ist jedoch die Ausarbeitung der Darstellungen von Männlichkeit und Weiblichkeit in Germis Filmen Divorzio all\'italiana und Sedotta e abbandonata. Traditionelle und neue Rollenmuster sollen identifiziert und beschrieben, eventuelle Widersprüche aufgedeckt und thematisiert werden. Männlichkeit und Weiblichkeit im Wandel können auf ganz unterschiedliche Art und Weise ausgedrückt werden. Sowohl nonverbal, durch reine Äußerlichkeiten, wie etwa Kleidung, Frisur, Figur, Gesicht und durch Handlungen bzw. das Unterlassen von Handlungen kann eine bestimmte Position bezogen werden. Daneben postuliert sich Männlichkeit bzw. Weiblichkeit auch durch das Tätigen von Aussagen. Es soll versucht werden, unter Berücksichtigung dieser Aspekte Germis satirische Darstellung und Recodierung von Männlichkeit und Weiblichkeit zu erfassen.

Le présent mémoire se penche sur trois questions liées à la distribution d'oeuvres cinématographiques par Internet au Canada. Ces questions sont le reflet des principales préoccupations d'une industrie en pleine expansion et sont abordées sous un aspect pratique. La première question concerne l'applicabilité de la loi canadienne sur le droit d'auteur. L'aspect mondial du réseau Internet soulève en effet d'importantes questions de droit international privé. Il s'agit donc de connaître, à travers l'analyse de différentes hypothèses, les circonstances d'application et la portée de la loi canadienne. La deuxième question s'intéresse à la portée de la protection offerte. Les différents droits dévolus aux auteurs en vertu de la loi sont effectivement issus d'un environnement technique différent de celui proposé par Internet. Il s'agit donc d'analyser l'application de ces différents droits à la distribution d'oeuvres par Internet. Enfin, la troisième question se penche sur l'identité du titulaire des droits d'auteur sur une oeuvre cinématographique. La loi n'apporte en effet aucune réponse définitive à cette question et le processus de création particulier à la production d'une oeuvre cinématographique rend d'autant plus complexe la détermination du titulaire. Encore une fois, le présent mémoire tente de répondre à la question de la titularité par l'analyse successive de différentes hypothèses. / This work addresses three questions related to the distribution of cinematographic works by Internet in Canada. Those questions reflects the fundamental concerns of a budding industry and are examined under a practical angle. The first question deals with the applicability of the Canadian law regarding copyright. Indeed, the global aspect of Internet raises important issues related to international private law. We examine different scenarios in order to determine the scope and the circumstances under which the Canadian law applies. The second question examines the scope of the protection provided for under the Canadian law. The different rights provided to authors under the Canadian law were adopted before the Internet era and it is important to verify the applicability of those rights to the specifie technical environment of Internet. Finally, the third question addresses the issue of the ownership of a copyright related to a cinematographic work. The Canadian law doe not provide for an express answer to that question. Moreover, it is complicated by the specifie creation process leading to the production of a cinematographic work. This work undertakes to answer the question by examining different scenarios. / "Mémoire présenté à la Faculté des études supérieures en vue de l'obtention du grade de maîtrise en droit des technologies de l'information"

Disney’s princesses and heroines have long captured the minds and hearts of young girls with their magical dress. This thesis researches the fashion symbols in a chosen set of animated movies and relate this to children’s reception, sexuality and gender issues and narrative identities. A semiotic analysis of the movies and relating them to read literature will shine a new light on this subject.

This is a reflection paper on the process of creating a multi-media art installation that dismantles traditional, patriarchal notions of female coming-of-age stories in film and presents alternative, feminist narratives to these stories through the voices of the women present within the author's own life.

Regarding death in youth movies, analysis of Hunger Games and I Miss You   Today, death is not as present in our everyday life as it was before when everyone knew how death both looked and smelled. This means that media today has a different role and that media can help their viewers to mourn and become aware of death in a completely different way. In this study, death is analyzed as an representation; how it affects and is experienced in two selected youth films, The Hunger Games, (Gary Ross, 2012) and Jag saknar dig/I Miss You (Anders Grönros, 2011). Previous studies mostly analysis death as a figure, and in accordance with these studies have concentrated on different physical descriptions of death; often about diseases or how death is portrayed in the news. In my opinion, these studies lack the perspective of how death is presented, but also how young people respond to these deceptions of death. This essay highlight different perspectives and show more of how death occurs, how the cinematic look is described and how young people react to what is happening on the screen. In this thesis I have described the sound and the colors, but also results from other studies in which children and young people have responded to questions of how they have viewed death in different contexts, which then have been applied to the two films based on the different ages limits and restrictions set by the Swedish Media Council.

Depuis son invention, le cinéma a bouleversé la culture, au point que, de manière récurrente, des études s'interrogent sur l'influence qu'il a eue dans la pensée d'éminents intellectuels, par exemple Michel Foucault ou Erwin Panofsky. Mais qu'en est-il de l'influence du cinéma dans le travail des artistes ? Mimmo Rotella (1918-2006), peintre d'origine calalabraise installé après-guerre à Rome, spectateur assidu et passionné de cinéma, évoque un grand nombre de films dans un corpus d'œuvres réalisées autour de 1960 : des tableaux à base d'affiches de cinéma, de genres essentiellement populaires, décollées dans les rues. Ainsi, dans le contexte de l'apogée des studios de Cincecittà et d'un pic de fréquentation des salles obscures jamais égalé en Europe, l'articulation de la peinture et du cinéma prend à ce moment précis de sa pratique une tournure singulière qui exprime l'élargissement de l'art à des références inattendues. Mais, ce faisant, ses œuvres ne risqueraient-elles pas de n'être que le symptôme d'une pratique culturelle naissante, jonglant avec des références tantôt cultivées tantôt populaires, que plus tard Hal Foster nomme l'indistinction ou Richard Peterson l'omnivorité, ou incarnent-t-elles une réelle démocratisation de l'art ?Articulées autour du moment fort que constitue l'exposition monographique intitulée Cinecittà en 1962, les différentes parties de la thèse éclairent les aspects du travail de l'artiste qui introduisent le cinéma dans le champ de l'art. Deux bornes chronologiques, un voyage aux États-Unis qui le détourne de la peinture en 1952-53 et un séjour en prison en 1964 qui lui fait fuir l'Italie, l'éloigne du milieu romain et le coupe de la suite du déroulement de l'art italien, sont déterminantes pour la nature et le contenu du corpus d'œuvres étudiées.C'est tout d'abord l'arrière plan social et culturel comme contexte d'émergence du geste artistique Rotella qui est brossé. Ensuite, est opérée une caractérisation précise des films choisis à travers les affiches afin de développer la réflexion sur l'intrusion du cinéma populaire dans l'art. Puis, dans la partie centrale, l'exposition Cinecittà est étudiée depuis sa conception jusqu'à sa réception. La suite de la thèse analyse les conséquences de cette exposition dans l'œuvre de l'artiste qui se tourne vers des films plus reconnus qu'aux débuts, notamment en s'attachant de plus en plus aux figures de stars : un autre aspect de la culture populaire émanant du cinéma s'invite alors dans le milieu de l'art, le phénomène sociologique du fan. Mais étrangement, peu de référence sont faites au cinéma italien qui vit son âge d'or au même moment, ce dernier constat ouvrant une réflexion sur la cinéphilie confrontée à la conception de « l'homme ordinaire du cinéma » selon l'expression de Jean-Louis Schefer.Ponctué par des images qui apparaissent en tête de partie et de chapitre, le texte du volume 1 évoque les œuvres et les décrit, avec des renvois à un ensemble de planches en annexe dans le volume 2. Ces incursions iconographiques rappellent combien les oeuvres sont à la source de l'ensemble de la thèse.Ainsi, le corpus étudié est le point de départ d'une réflexion sur la manière dont le cinéma et la culture médiatique se sont introduit dans l'art italien des années 1950-1960, tout en débordant ce cadre : il permet de penser comment, depuis cette époque jusqu'à aujourd'hui, certaines références médiatiques constituent le socle d'une culture commune entre le public et les artistes. / Since its invention, cinema has transformed culture, to the point that studies have recurrently questioned the influence it has had on the thinking of prominent intellectuals, for example on Michel Foucault or Erwin Panofsky. But what of the influence of cinema in the work of artists? Mimmo Rotella (1918-2006), a painter from Calalabria who settled in post-war Rome, and an avid filmgoer with a passion for cinema, evokes a large number of films in a corpus of works produced around 1960: canvases based on movie posters, mostly of popular genres, torn off the city walls. Thus, at this precise time, in the context of the glory years of the Cincecittà studios and a peak of cinema attendance unequalled in Europe, the relationship between painting and cinema took a particular turn, reflecting a broadening of the art to unexpected references. But in embracing cinema, were Rotella's works not in danger of merely being a symptom of an emerging cultural practice, juggling sometimes cultivated and sometimes popular references, something which Hal Foster would later dub nobrow or Richard Peterson omnivorousness, or do they represent a genuine democratisation of art?Articulated around the high point of the 1962 monographic exhibition entitled Cinecittà, the various sections of the thesis illuminate aspects of the work of the artist who introduced cinema into the field of art. Two moments in time – a trip to the United States that diverted Rotella from painting in 1952-53 and a prison stay in 1964 that caused him to flee Italy, distancing him from the Roman scene and subsequently cutting him off from what was happening in Italian art – are critical to the nature and the content of the corpus of works studied.We begin by considering the social and cultural context in which Rotella's artistic act emerged. We then undertake a precise characterisation of the films he chose through the posters to analyse popular cinema's intrusion into art. Then, in the central part, the Cinecittà exhibition is studied from its conception to its reception. The thesis subsequently examines the consequences of this exhibition in the work of the artist, who begins to turn to more recognized films, for example by focusing increasingly on stars. Another aspect of popular culture stemming from cinema then enters the art world, the sociological phenomenon of the fan, although, strangely, no reference is made to Italian cinema, which in that very period was enjoying its golden age. This leads to a reflection on the love of cinema confronted with the conception of “the common man of cinema” as Jean-Louis Schefer puts it.Interspersed with images that appear at the head of the parts and chapters of the thesis, the text of volume 1 discusses the works and describes them with reference to a set of plates in the appendix in volume 2. These incursions into the iconography recall that the works are the source of the entire thesis.Thus the corpus studied is the starting point for a reflection on the way film and media culture were introduced into the Italian art of the 1950s-1960s, while extending beyond this context: it points to how, from that time to the present day, certain media references have constituted the foundation of a common culture shared by the public and artists.

This project explores the question of originality and appropriation in the creative world by using mashup video as a medium. How can old repetitive stories be deconstructed and transformed into something new? I have created alphabetically ordered montages of shots/scenes containing words/letters from superhero films. By doing so, I do not provide a concrete answer to what is really original in today’s world, but rather encourage the audience to actively participate in the viewing experience of the carefully structured ontology and see the infinite possibility of the modern-day mashup culture.

Os críticos de cinema são vistos como figuras próximas da elite cultural, gostando de filmes que a maior parte das pessoas não gosta e tendo um gosto que por vezes não se assemelha aos de seus consumidores. Os cinéfilos ou apaixonados por cinema são consumidores vorazes de filmes que buscam estar sempre assistindo uma produção, conversando sobre filmes, buscando informações. Nesse caso discute-se a possibilidade que esses mediadores entre produção e consumo e esses consumidores mais entusiasmados pelo cinema tenham práticas de consumo semelhantes e tenham visão semelhante sobre como apreciar esse produto. Com base em estudos de hierarquização cultural, consumo de cultura popular e de massa, crítica e cinefilia esse estudo busca compreender se os hábitos de consumo de críticos de cinema – considerados pelo Marketing como auxiliares na hora de um consumidor escolher um produto – e dos cinéfilos – consumidores em quantidade e variedade de filmes – compartilham das mesmas visões e se o que caracteriza um grupo caracteriza o outro ou não. Para responder isso fizemos 19 entrevistas em profundidade com críticos e 16 com cinéfilos na região de Porto Alegre. Há bastantes semelhanças na forma como tratam o cinema, em especial com relação à maneira como assistem ao filme e o quanto buscam de informações antes de ver um filme. Os críticos acreditam no seu papel como aumentando a conversa e reflexão sobre um filme, mas entendem que muitas vezes são utilizados como uma fonte de informação sobre o filme. Cinéfilos buscam menos entender de detalhes técnicos e possuem uma visão mais negativa com relação aos grandes lançamentos. Ambos os críticos de cinema e cinéfilos consomem de todos os tipos de filmes, reforçando o consumo onívoro por parte dos mesmos, mas os críticos sabem explicar mais porque veem todos os tipos de filmes. Em linhas gerais, os críticos de cinema precisam saber mais de filmes diversos porque precisam expor esse conhecimento ao passo que cinéfilos podem se aprofundar em um tipo de filme. Ambos os grupos acreditam que possuem uma experiência mais completa e que assistem filmes mais desafiadores do que a maioria das pessoas. Os cinéfilos são mais negativos em falar do tipo de filme que tem grande bilheteria e é apreciado por uma grande parte de espectadores. Por vezes esses cinéfilos consumiam os tipos de filmes mais autorais como forma de mostrar maior capital cultural frente a outras pessoas, mas por muitas vezes não eram capazes de usar esses conhecimentos em suas redes de relacionamentos. / Film critics are many times seen as people close to cultural elite, enjoying movies that most people do not like and cultivating a taste that sometimes does not resemble those of their readers. Film buffs or passionate about film are voracious consumers of films always seeking to watch a motion picture, talking about movies, searching for information. In this paper we discuss the possibility that these mediators between production and consumption and those most enthusiastic consumers have similar cinema consumption practices and have similar views on how to enjoy this product. Drawing upon studies of cultural hierarchy, popular culture, criticism and cinephilia this study has the aim of understanding whether the habits of film critics - considered by Marketing as assistants for a consumer to choose a product - and film buffs or cinephiles - consumers in number and variety of films - share the same visions. To answer these questions we made 20 long interviews with critics and 16 long interviews with inhabitants of Porto Alegre area. There are many similarities in the way they treat the cinema, especially with respect to the way they watch the film and how much information they search before seeing a movie. Critics believe in its role as increasing the conversation and reflection on a movie, but they understand they are often used as an information source about the movie. Cinephiles search less understand technical details and have a more negative view in relation to major releases. Both film critics and cinephiles consume all kinds of movies, reinforcing the omnivorous consumption, but critics can explain more because they see all kinds of movies. In general, film critics need to know more about many films because they need to expose this knowledge while movie buffs can delve into a type of film. Both groups believe they have a richer experience and they watch most challenging films than others moviegoers. Film buffs are more negative in talking about the kind of movie that has big box office and is appreciated by a large number of spectators. Sometimes these cinephiles consumed these auteur movies as a way to show more cultural capital, but often they were not able to use this knowledge in their social networks.

Made available in DSpace on 2016-08-03T12:30:57Z (GMT). No. of bitstreams: 1 Pre textual.pdf: 26723 bytes, checksum: 920b48f5b26be9e7031afd6d03ee589e (MD5) Previous issue date: 2009-02-19 / This research focuses on the retail of food products which are in wide commercial growth with the use of images of childish movie characters in the advertisement in order to strengthen market brands. The objective is to know and appraisal in a scientific way, how the use of images of childish movie characters in publicity may result in consumption desire by a small consumer. The experimental methodology with 4-6 old children has served as base so that the research were answered through a simulation of a sale direct place (SDP). Cookie-stuffed packages with childish movie character images as well as publicity characters were available to small consumers. In the end of the experiment it is observed that the question was answered in the research, by emphasizing that childish food product publicity with application of publicity characters keeps more favourable sales conditions than those ones with application of childish movie characters, that is, a speech contrary to common sense.(AU) / Esta pesquisa tem como foco o varejo de produtos alimentícios que estão em amplo crescimento comercial com o uso de imagens de personagens de cinema infantil na propaganda para potencializar as marcas no mercado. O objetivo é conhecer e interpretar de forma científica, como o uso de imagens de personagens de cinema infantil na publicidade pode resultar no desejo de consumo pelo pequeno consumidor. A metodologia por experimento com crianças de 4 a 6 anos de idade serviu como base para que a questão da pesquisa fosse respondida a partir da aplicação de uma simulação de um ponto direto de venda (PDV). Biscoitos recheados com aplicação nas embalagens de personagens de cinema infantil assim como personagens de publicidade ficaram à disposição de compra do pequeno consumidor. Na conclusão do experimento, observa-se que a questão da pesquisa foi respondida, ressaltando que a publicidade de produtos alimentícios infantis com aplicação de personagens publicitários mantém condições de venda mais favoráveis do que publicidade de produtos alimentícios infantis com aplicação de personagens de cinema infantil, o que cria uma aversão ao discurso do senso comum.(AU)