<p>This essay deals with the use of linguistic stereotypes in Hollywood movies. It investigates whether attitudes towards English dialects found in studies on perceptual dialectology are reflected in the selected movies and discusses the notion of linguistic identity and how standard and nonstandard speech, respectively, are used symbolically to emphasize features of characters in eleven movies from three different movie series, namely <em>The Lord of the Rings</em>, <em>Star Wars</em> and <em>Transformers</em>, with a main focus on syntactic and phonological dimensions. The essay finds a correlation between standard speech and features of competence and wisdom, and nonstandard speech and features of solidarity, sociability and traits of stupidity and humor. Moreover, very specific perceptions of certain varieties of English are probably utilized as amplifiers of equally specific characteristics of some characters. The use of dialects and accents in these movies is probably intentional and not coincidental.</p>

I denna uppsats har filmljudet i krigsfilmerna Apocalypse Now och Saving Private Ryan undersökts. Detta har gjorts för att försöka bidra med ökad förståelse för filmljudets användningsområde och funktioner, främst för filmerna i fråga, men även för krigsfilm rent generellt. Filmljud i denna kontext omfattar allt det ljud som finns i film, men utesluter dock all ickediegetisk musik. Båda filmerna har undersökts genom en audio-visuell analys. En sådan analys görs genom att detaljgranska båda filmernas ljud- och bildinnehåll var för sig, för att slutligen undersöka samma filmsekvens som helhet då ljudet och bilden satts ihop igen. Den audio-visuella analysmetod som nyttjats i uppsatsen är Michel Chions metod, Masking. De 30 minuter film som analyserades placerades sedan i olika filmljudzoner, där respektive filmljudzons ljudinnehåll bland annat visade vilka främsta huvudfunktioner somfilmljudet hade i dessa filmer. Dessa funktioner är till för att bibehålla åskådarens fokus och intresse, att skapa närhet till rollkaraktärerna, samt att tillföra en hög känsla av realism och närvaro. Intentionerna med filmljudet verkade vara att flytta åskådaren in i filmens verklighet, att låta åskådaren bli ett med filmen. Att återspegla denna känsla av realism, närvaro, fokus samt intresse, visade sig också vara de intentioner som funnits redan i de båda filmernas förproduktionsstadier. Detta bevisar att de lyckats åstadkomma det de eftersträvat. Men om filmljudet använts på samma sätt eller innehar samma funktioner i krigsfilm rent genrellt går inte att säga.I have for this bachelor’s thesis examined the movie sound of the classic warfare movies Apocalypse Now and Saving Private Ryan. This is an attempt to contribute to a more profound comprehension of the appliance and importance of movie sound. In this context movie sound implies all kinds of sounds within the movies, accept from non-diegetic music. These two movies have been examined by an audio-visual analysis. It's done by auditing the sound and picture content separately, and then combined to audit the same sequence as a whole. Michel Chion, which is the founder of this analysis, calls this method Masking. The sound in this 30 minute sequence was then divided into different zones, where every zone represented a certain main function. These functions are provided to create a stronger connection to the characters, sustain the viewers interest and bring a sense of realism and presence. It seems though the intention with the movies sound is to bring the viewers to the scene in hand, and let it become their reality. To mirror this sense of realism, presence, focus and interest, proves to be the intention from an early stage of the production. This bachelor’s thesis demonstrates a success in their endeavours. Although it can’t confirm whether the movie sound have been utilized in the same manner or if they posess the same functions to warefare movies in general.

The aim of the current study was to investigate the impact of psychotherapists&rsquo / Emotional Intelligence (EI) on adolescent patients&rsquo / perceptions about psychotherapists&rsquo / success and on adolescent patients&rsquo / preference about psychotherapists to consult. In order to examine EI level of psychotherapists who are represented in selected movies, the Scale for Evaluating Psychotherapist&rsquo / s Emotional Intelligence was created for specific to this study. 50 high school students aged between 16 and 18 were participated in the study. The participants watched two movies of which one is representing high EI psychotherapist and the other representing low EI psychotherapist. Then they completed the Scale for Evaluating Psychotherapist&rsquo / s Emotional Intelligence for each movie. Since the experimental group sample size was small, non-parametric tests were conducted in data analysis. According to results, adolescents evaluated high EI psychotherapist as more successful than the one who has low EI. Accordingly, adolescents preferred to consult high EI psychotherapist when needed rather than the one who has low EI.

La saga Saw est une franchise qui a marqué le cinéma d’horreur des années 2000. Le présent mémoire tâchera d’en faire une étude détaillée et rigoureuse en utilisant la notion de jeu. En élaborant tout d’abord un survol du cinéma d’horreur contemporain et en observant la réception critique de la saga à travers l’étude de différents articles, ce travail tentera en majeure partie d’analyser la franchise Saw en rapport avec l’approche ludique du cinéma en général et celle adoptée par Bernard Perron. Cette étude, qui s’élaborera tant au niveau diégétique que spectatoriel, aura pour but de montrer l’importance de la place qu’occupe la notion de jeu dans cette série de films. / The Saw saga is a franchise that marked the horror film industry in the 2000’s. This report will try and give a thorough and detailled study while using the idea of a game. At the same time taking a cursory glance at contemporary horror films and observing how the critics were received by studying different articles. This assignment will in majority analyse the Saw saga using a recreational approach of movies in general as well as the one adopted by Bernard Perron. This study will be elaborated on a "diegetique" and "spectatoriel" level – the goal being to show the importance that games occupy in this film series.

Through the use of masculinity as a visual language this research aims to unravel the divide between the role of the act and the acted. French actor Julien Boisselier operates as the male manifestation of the actor in question and functions on multiple levels of performance, both as male and as an actor. Boisseliers depictions of major, medium and minor acted characters offer another level to the performance variable. The aim to highlight the visible triggers of a ‘pure performance’ (a performance where the actor may slip or falter out of acted character and into default human performance) as shown through the choreography of his physiognomy is the experience underpinning this thesis.

The film consists of images from home movies of Nana, her daughter (Francesca's mother), and Francesca, and their extended family at gatherings, visits, and vacations, and of Nana in her last years. Nana emigrated from Italy, as did other relatives. The home movies are in black and white or color. Images from photographs in black and white or color, and images of birth, marriage, and death certificates are included. Francesca and her mother speculate on Nana's life based on the contradictory information they have from these documents and from family members. The film ends with the words "In memoriam October 14, 1925 – March 20, 2007" and it is Francesca's wish that Nana found happiness in her life. The film begins with the quote: "There are three sides to every story. Your side, my side, and the truth. And no one is lying. Memories shared serve each differently." Robert Evans.

The focus of this thesis is to analyze the monthly magazine Tidskrift för svensk skolfilm och bildningsfilm (magazine for Swedish Educational Movies and Learning Movies) in the startup years of the magazine from 1924-1926. I use three theoretical concepts from sociology professor Tomas Gieryn called epistemic authority, credibility contest and the larger sum of the two - boundary work - to examine how the magazine argues for educational movies. My line of questioning is firstly: How does the magazine argue for and describe educational movies, and secondly: How does the magazine argue to be a part of the advancement of society? In my historically interpretation of the source material I find six themes. The first is movies seen as the foremost form of visually pedagogy (åskådningspedagogik), which was a highly rated educational phenomenon in the early 20th century. In short, the magazine argues that no other educational material such as books or oral learning affected the students as much as movies. Therefore, the school should use educational (nonfiction) movies on a broader scale. The second theme is that movies make the school subjects more interested, and therefore the students will be more motivated to learn. The third theme of arguing I have found in the magazine is that movies can be used as a historical time capsule for later generations. These three themes are especially aiming to answer my first question in the thesis. The other three highlights my second question. As the fourth theme I see Gustaf Berg, the publisher and headman of the magazine, and the magazine itself as pioneers for the mission of greater use of educational movies. In addition, the magazine also argues that the biggest Swedish movie company Svensk Filmindustri (SF), should be seen as an ally to the cause of spreading the educational movies. The fifth theme I have found is that a group Bildningsfilmens vänner (The Friends of Educational Movies) appear frequently in the magazine. They act both as writers and audience and are described in the magazine with utmost positive metaphors. I see the group as a created and imagined society that help the cause gaining credibility. The last theme is that the magazine describes itself and its writers as international versed, which is used to further improve the image and credibility of the magazine and the boundary work it does. My conclusion is that all six themes show that the magazine use itself and its headman Berg as a rhetorical platform to argue from, to gain higher credibility for educational movies.

Submitted by Roberta Lemos de Souza (roberta-lemos@bol.com.br) on 2016-12-14T23:25:22Z No. of bitstreams: 1 Dissertação completa revisada.pdf: 5139997 bytes, checksum: 846ae87198e99dbba1d6150257ee99fc (MD5) / Approved for entry into archive by Rafael Aguiar (rafael.aguiar@fgv.br) on 2016-12-16T18:24:23Z (GMT) No. of bitstreams: 1 Dissertação completa revisada.pdf: 5139997 bytes, checksum: 846ae87198e99dbba1d6150257ee99fc (MD5) / Made available in DSpace on 2016-12-22T12:18:56Z (GMT). No. of bitstreams: 1 Dissertação completa revisada.pdf: 5139997 bytes, checksum: 846ae87198e99dbba1d6150257ee99fc (MD5) Previous issue date: 2016-09-27 / The purpose of this study is to analyze two films – We’ve Never Been So Happy (Murilo Salles, 1984) and The Year My Parents Went on Vacation (Cao Hamburger, 2006) – that reveal a youthful perspective on the military dictatorship in Brazil (1964-1985). The major objective of this study is to investigate in which ways both films help build memories, by analyzing their narratives as well as the historical context in which they were produced / O presente trabalho tem como objetivo promover uma análise dos filmes Nunca fomos tão felizes (Murilo Salles, 1984) e O ano em que meus pais saíram de férias (Cao Hamburguer, 2006), que apresentam um ponto de vista juvenil acerca do contexto da ditadura civil-militar no Brasil (1964-1985). Pretendemos compreender de que forma os dois filmes constroem suas memórias a respeito do período ditatorial, levando em consideração o momento em que cada obra foi realizada e a construção narrativa de ambas.

À travers l'analyse d'un corpus de plus de quatre cents films français réalisés au début de la Ve République (1958-1968), cette thèse étudie les représentations de la musique avec pour ambition de rendre compte du fait musical dans sa globalité, de l'auditeur au musicien en passant par les nombreux médiateurs matériels ou humains. Le parti pris de ce travail est de privilégier l'observation d'une des modalités de la musique au cinéma, la musique dite « diégétique », c'est-à-dire celle audible et/ou produite par les personnages. Ces représentions cinématographiques de la musique sont appréhendées dans leurs multiples dimensions : visuelle – l'image de la musique –, sonore – la musique elle-même –, et linguistique – le discours sur la musique. À la diversité des films concernés (du cinéma « populaire » au cinéma « d'auteur ») répond la diversité des musiques convoquées par le cinéma de cette décennie, où jazz, musique populaire et musique classique se croisent / Through the analysis of more than a four hundred movies collection, directed in the early years of the Fifth Republic (1958-1968), this thesis studies the representations of music aiming to report the wholeness of the musical fact, from the listener to the musician, including both human and material intermediaries. This study is devoted to the observation of one of the modality of music witch is the diegetic one, meaning the music that characters are either listening and/or making inside the story. These représentations are considered in their numerous aspects : visual – the image of music –, sound – the music itself –, linguistic – the speech about music. To the variousness of the chosen movies (from popular cinema to arthouse cinema) answers the variety of music carried by movies in this decade, where jazz, popular music and classical music are crossing paths

Made available in DSpace on 2016-06-02T20:23:15Z (GMT). No. of bitstreams: 1 6088.pdf: 4784332 bytes, checksum: de1ab224481cdf1235abbba0a4ce7efb (MD5) Previous issue date: 2014-07-02 / This study aims to analyze the genre of zombie movies establishing a dialogue between their narrative spaces, the historical contexts in which they are situated, and their connections to other works in different media, in an intermedial perspective. Therefore, this research sought to study three narrative spaces that were widely used in the films of the genre: the Caribbean space, used in 1930-1940 American films of the Haitian zombie; internal and external areas of the United States, seen in flesh eaters zombie films created by George Romero in the second half of the 20th century; and major world capitals destroyed, present in many contemporary zombie films from various countries. In this context, this study main objective is to perform a spatial analysis of zombie films, that explores the possible connections and interrelations between the colonial metropolis/colony, inside/outside, and national/global spatial dichotomies, with the historical and social contexts in which these works are contained. / Este estudo pretende analisar o gênero dos filmes de zumbis estabelecendo um diálogo entre os espaços narrativos destas obras, os contextos históricos nos quais elas estão situadas, e as suas conexões com outras obras em diferentes mídias, em uma perspectiva intermidiática. Neste sentido, esta pesquisa procurou estudar três espaços narrativos que foram bastante utilizados nos filmes do gênero: o espaço caribenho, utilizado em filmes norte-americanos do zumbi haitiano das décadas de 1930-1940; os espaços internos e externos dos Estados Unidos, ambientes dos filmes de zumbis canibalistas criados por George Romero na segunda metade do século 20; e grandes capitais mundiais destruídas, presentes em muitos filmes de zumbis contemporâneos de diversos países Neste contexto, este estudo tem como principal objetivo propor uma análise espacial dos filmes de zumbis, visando explorar as possíveis correspondências e inter-relações entre as dicotomias espaciais metrópole/colônia, interior/exterior e nacional/global, com os contextos históricos e sociais nos quais estas obras estão contidas.