The aim of this study is to explore the correlation between contemporary political agenda and film themes, how and if the antagonists’ behavior is depicted in relation to whom the political opponent was at the time of the making of the film. The literature is concurrent: movies are used to spread norms and political messages. There are several examples; during the Cold War people and antagonist behavior could clearly be linked to the Soviet Union. During the Gulf War the antagonists was often depicted as Arabic terrorists, but after the war the villain character became unclear and was often represented by natural disasters, organized crime, corruption etc. Following the September 11, 2001 terrorist attacks on the United States, Arabic terrorists once again became the new antagonists. The film selection is made out of the five most profitable movies (adjusted for inflation) that take place in our world that was produced during the Cold War, and five films that fill the same criteria that was produced after the Cold War. My goal was to see if I could see a correlation between the political agenda at the time of the making of the movie, how the antagonists are portrayed and what political themes were addressed. Unexpectedly, I found no such correlation in my film selection. However, I could see similarities in certain genres, such as action, thrillers and adventure movies, that support the theories in the literature. / Jag studerar huruvida man kan dra en parallell mellan den rådande politiska agendan och filmens politiska teman samt hur skurkgestaltningen ter sig i relation till vem den politiska motståndaren var då filmen gjordes. Litteraturen är tydlig kring att film används för att sprida normer och politiska budskap. Det finns flera exempel kring hur man under kalla kriget främst hade Sovjet eller personer och beteenden som tydligt kunde kopplas till Sovjet som skurkar. Efter kalla kriget, i samband med Gulfkriget, blev det under en tid araber för att därefter vara en mer oklar skurkroll (ofta naturkatastrofer, organiserad brottslighet, korruption, etc.). Efter terrorangreppen mot USA den 11:e september 2001 fick man återigen en tydlig motståndare och den arabiske terroristen blev den nya antagonisten. I min studie utgår jag från de fem filmer som drog in mest pengar (justerat för inflation), som utspelar sig i vår värld och som kom under kalla kriget, samt de fem filmer inom samma kategorier som kom därefter. Detta för att se om jag kan se en tydlig parallell mellan den rådande politiska agendan och hur skurkarna gestaltas samt vilka politiska teman som tas upp. Oväntat nog finner jag att ingen sådan tydlig koppling finns i de exemplen. Jag finner liknande paralleller inom vissa genres, såsom actionfilm, thrillers och äventyrsfilm, men ingen direkt koppling till filmen generellt kan göras.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Dwell in the relationship between History and Cinema in order to understand the construction of historical narrative about Brazilian cinema. Study, understand and discuss the relationships and possible dialogue between the films O Cangaceiro of Lima Barreto, Deus e o Diabo na Terra do Sol and O Dragão da Maldade contra o Santo Guerreiro both of Glauber Rocha. The development of our analysis is the convergence of gender and aesthetics adopted by the directors, even though the first makes clear the choice of the western states and the second to build a Brazilian aesthetic, the aesthetic of hunger. So, we do the opposite movement of the authors who point to the ranking of Brazilian cinema, electing the Cinema Novo as the benchmark for quality and innovation aesthetic-ideological. / Debruçar na relação História e Cinema a fim de entender a construção da narrativa histórica acerca do cinema brasileiro. Estudar, compreender e problematizar as relações e possíveis diálogos entre os filmes O Cangaceiro de Lima Barreto, Deus e o diabo na terra do Sol e O dragão da maldade contra do santo guerreiro de Glauber Rocha. O desenvolvimento de nossa análise parte das convergências de gênero e da estética adotada pelos diretores, ainda que o primeiro deixe claro a escolha do western e o segundo afirme a construção de uma estética brasileira, a estética da fome. Assim, fazemos o movimento contrário dos autores que corroboram com a hierarquização do cinema brasileiro, elegendo o Cinema Novo como o referencial de qualidade e inovação estético-ideológica. / Mestre em História

Observamos o comportamento espectral do efeito Kerr transversal, para filmes amorfos de terra rara - cobalto na região do espectro visível e ultravioleta próximo (comprimento de onda, , entre 325 nm e 670 nm), onde o sinal magnetoóptico apresentou um máximo na região azul do espectro. Concluímos que, para esta região espectral, a variação relativa de refletividade é proporcional à magnetização do cobalto e a constante de proporcionalidade depende da composição da liga e do comprimento de onda da luz. Desenvolvemos uma técnica de modulação de fase, própria para medir o efeito Kerr transversal e a comparamos com a técnica de modulação de amplitude. Montamos um magnetômetro a efeito Kerr que opera com a modulação de fase e utiliza um laser de He-Cd ( = 325 nm e 442 nm) ou um diodo laser vermelho ( = 670 nm). Fazendo uma analogia com a figura de mérito para os efeitos Kerr longitudinal e polar (Fe), nós propusemos uma figura de mérito para o efeito Kerr transversal (FJ. Mostramos que sua dependência do ângulo de incidência é semelhante à da variação relativa de refletividade e, comparando medidas da figura de mérito do efeito Kerr longitudinal com a figura de mérito para o efeito transversal, comprovamos que a grandeza proposta é um bom parâmetro para medida de qualidade magnetoóptica de materiais. Observamos os efeitos do sperimagnetismo de ligas com anisotropia local fraca (Gd-Co) e forte (Ho-Co), através do comportamento térmico dos ciclos de histerese magnética e magnetoóptica. Dentre os fenômenos observados estão os efeitos da compensação, o crescimento hiperbólico do campo coercivo e os efeitos da reorientação de spin. Para a liga de Gd20C080a, transição observada foi uma inversão de spin, cujo o campo magnético aplicado, no qual ocorre a transição, cresce exponencialmente com o aumento da temperatura da amostra. / We have observed the spectral behavior of the transverse magnetooptical Kerr effect (TMOKE) in thin films of rare earth - cobalt amorphous alloys for the visible and the near-ultraviolet ranges of spectrurn (wavelength fiom 325 nm up to 670 nm). The relative change of reflectivity has shown a maximum at the blue wavelength. We have concluded that this magneto-optical signal is proportional to the cobalt magnetization and the proportionality constant depends on the alloy composition and on the wavelength. Besides developing an apparatus and a new phase modulation technique for the TMOKE, we have compared it to the more usual amplitude modulation TMOKE technique. This apparatus operates using either a He-Cd laser ( = 325 nm and 442 nm) for a red diode laser ( = 670nm). We have proposed the figure of merit for the transverse Kerr effect (F,) by analogy with the figure of merit for the longitudinal and polar Kerr effect (Fe). We have measured F, as a function of the angle of incidence and we have shown that F, has the same behavior of the magneto-optical signal. A comparison between F, and Fe has shown that F, is as good parameter as well as Fe for the characterization of the materials magneto-optical quality. We have studied the sperimagnetism of thin films of amorphous alloys with weak (Gd-Co) and strong (Ho-Co) random local anisotropy by the thermal behavior of the magnetic and magneto-optical hysteresis loops. The phenomena of compensation, coercivity and spin-reorientation phase transitions were observed. The comparison between magnetic and magneto-optical hysteresis loops for Gd20C~8h0as shown that the transition occurs from a colinear phase to an opposite collinear phase. In this case, the transition magnetic field grows exponentially when the temperature increases.

Made available in DSpace on 2016-03-15T19:40:52Z (GMT). No. of bitstreams: 1 Jael Breitschwerdt.pdf: 952030 bytes, checksum: 787f5cd0ef86094489b72b510635ffc9 (MD5) Previous issue date: 2010-06-08 / Fundo Mackenzie de Pesquisa / The aim of this study was to evaluate early signs of Autism Spectrum Disorders, using retrospective video analysis. The participants were eight children later diagnosed with ASD and eight children with typical development. Home videos of the participants were collected from families, at the ages 12, 24 and 36 months. Videos were edited and then analysed by two ASD specialists. The behaviors: Eye Contact; Facial Expression; Play behavior/ Imitation; Communication; Joint Attention and Repetitive Behaviors, were analysed. The results suggest that early signs such as, deficits in Communication, Play behavior, Imitation and Repetitive behaviors, can be detected in infants at 24 months. Most importantly, findings indicate that deficit in Joint Attention was the most discriminating sign of children with ASD, as early as 12 months. / O objetivo desta pesquisa foi avaliar sinais precoces dos Transtornos do Espectro Autista, por meio da observação de vídeos. Os participantes foram oito crianças diagnosticadas com TEA e oito crianças com desenvolvimento típico, nas idades 12, 24 e 36 meses. Os comportamentos: Contato Visual; Expressão Facial/Sorriso Social; Brincadeiras/Imitação; Comunicação; Atenção Compartilhada; Comportamentos Estereotipados, foram analisados e classificados por dois especialistas. Os resultados sugerem que sinais como disfunções na Brincadeira/Imitação, Comunicação e Comportamentos Estereotipados podem ser detectados a partir de 24 meses de idade. Déficits na Atenção Compartilhada foi o sinal que mais discriminou as crianças com TEA das crianças com desenvolvimento típico, já aos 12 meses de idade.

In this study we investigate how the attitude and behaviour concerning illegal file shar-ing have changed among the young population in Sweden. The study will analyze the impact of the IPRED law that was introduced in April 2008 and new digital media ser-vices that have emerged in the last couple of years. It is also evaluated which of these have had the most impact on the attitude and behaviour of the selected population. The main part of our research consists of a quantitative survey handed out to a sample population among high school students (ages 16-20) in Jönköping, Sweden. This pri-mary data is later compared to secondary data from a similar study that was done on the same demographics two years prior to this research in order to measure the change in behaviour and attitude. The previous study was conducted prior to the IPRED law im-plementation by one of the authors. We also used prior research within this subject and related fields to further understand and interpret our data. What we have discovered through our research is that there has been a decrease in ille-gal file sharing, especially when considering music, however this decrease is much more an effect of the adopting of new media services then it can be attributed to the IPRED law. Furthermore, the attitudes towards file sharing have remained unchanged and a large number of young adults do not feel that file sharing should be illegal. It is also concluded that good legal alternatives to file sharing have a large market po-tential if these services can fulfil consumers demand on availability and price. Addition-ally we have found that good legal alternatives are important if the public is to refrain from returning to their old file sharing habits once the initial scare from new legislation has worn off.

This​ ​essay​ ​examines​ ​the​ ​appearance​ ​of​ ​non-normative​ ​bodies​ ​in​ ​three​ ​films​ ​from​ ​the Marvel​ ​Cinematic​ ​Universe;​ ​​The​ ​Avengers​​ ​(2012),​ ​​Thor:​ ​The​ ​Dark​ ​World​​ ​(2013) ​and Avengers:​ ​Age​ ​of​ ​Ultron​​ ​(2015),​ ​in​ ​an​ ​attempt​ ​to​ ​find​ ​qualities​ ​that​ ​might​ ​suggest​ ​queer, non-binary​ ​or​ ​gender​ ​disruptive​ ​attributes,​ ​in​ ​addition​ ​to​ ​looking​ ​at​ ​how​ ​the​ ​movies handle​ ​them.​ ​Using​ ​a​ ​combination​ ​of​ ​feminist​ ​film​ ​theory,​ ​queer​ ​theory​ ​and​ ​discourse analysis,​ ​the​ ​Otherness​ ​of​ ​these​ ​bodies​ ​are​ ​put​ ​into​ ​contrast​ ​with​ ​the​ ​normative​ ​and hegemonic​ ​gender​ ​expressions​ ​employed​ ​by​ ​the​ ​protagonists,​ ​the​ ​heroes​ ​of​ ​the​ ​films. While​ ​the​ ​study​ ​finds​ ​several​ ​indications​ ​of​ ​transgressive​ ​bodies​ ​and​ ​'gender​ ​ambiguity' among​ ​the​ ​creatures​ ​and​ ​beings​ ​who​ ​play​ ​the​ ​part​ ​of​ ​inhuman​ ​threat,​ ​as​ ​well​ ​as​ ​the presence​ ​of​ ​discourses​ ​that​ ​paint​ ​them​ ​as​ ​threatening​ ​partly​ ​​because​​ ​of​ ​these​ ​qualities, they​ ​remain​ ​blurred​ ​and​ ​ill-defined,​ ​their​ ​queerness​ ​inferred​ ​rather​ ​than​ ​overt.​ ​The preferred​ ​reading,​ ​the​ ​analysis​ ​suggests,​ ​offers​ ​little​ ​in​ ​the​ ​way​ ​of​ ​identification,​ ​but​ ​all the​ ​more​ ​with​ ​regard​ ​to​ ​oppression.​ ​The​ ​way​ ​these​ ​bodies​ ​are​ ​treated​ ​in​ ​all​ ​three​ ​films implies​ ​that​ ​the​ ​tolerance​ ​for​ ​bodily​ ​deviance​ ​is​ ​virtually​ ​non-existent,​ ​and​ ​that​ ​a defining​ ​quality​ ​of​ ​masculine​ ​leadership​ ​is​ ​the​ ​ability​ ​to​ ​banish​ ​them​ ​from​ ​existence.

Amatörfilmandet har med digital teknik fått en explosionsartad utvecklig och ett offentligt rum genom internet. Om amatörfilmer i hem, home movies, främst skapades av familjefadern, så har ny teknik gett upphov till nya grupper av filmskapare då många är unga kvinnor eller barn. Ny teknik har också bidragit till uppluckrade gränser mellan det offentliga och privata samt fört amatörfilmaren närmare den professionella filmskaparen. På YouTube har ett nytt filmyrke vuxit fram, en YouTuber eller vloggare som producerar digitala filmer, även kallade videor eller vloggar. Denna uppsats undersöker ett antal populära vloggar i Sverige på YouTube och sätter dessa i ett filmhistoriskt sammanhang samt visar hur dessa uttryck kan utmana ett mer traditionellt filmskapande.

En este estudio se examinan los recursos de la cinematografía de Emmanuel Lubezki en relación a las nuevas corrientes que se han generado debido al tratamiento que este le ha dado a sus películas de la última década, por medio de la investigación de papers anteriores que tratan el tema del cine de Lubezki y porque lo hace reconocido y único en su estilo, también, la visualización de variedad de entrevistas en las que Lubezki explica el sentido que el toma y lo que aprendió durante su crecimiento como cineasta en el cine de actual. La información recogida nos muestra los aspectos básicos en los que se fija un cinematógrafo, como la iluminación, la composición, las cámaras, objetivos, etc. Se realiza un estudio de todos estos elementos basados en el respectivo uso que hacia Lubezki de estos como estrategia para reconocer el estilo del cineasta. / This study examines the resources of Emmanuel Lubezki's cinematography in relation to the new currents that have been generated due to the treatment that he has given to his films of the last decade, through the investigation of previous papers that deal with the Lubezki's film theme and because it makes him recognized and unique in his style, also, the visualization of a variety of interviews in which Lubezki explains the meaning he takes and what he learned during his growth as a filmmaker in current cinema. The information collected shows us the basic aspects in which a cinematograph is fixed, such as lighting, composition, cameras, lenses, etc. A study is made of all these elements based on Lubezki's respective use of these as a strategy to recognize the filmmaker's style. / Trabajo de investigación

Bien que la science n’ait pas encore percé les secrets de la conscience humaine, les avancées dans le domaine de l’intelligence artificielle ont provoqué une résurgence du mythe de la créature artificielle dans le domaine de l’imaginaire. Ce mémoire vise à comprendre l’actualisation de ce mythe antique par la promesse scientifique contemporaine et son incarnation dans l’imaginaire cinématographique de science-fiction. Après un retour historique sur l’évolution du domaine de l’IA, j’insisterai sur le rôle joué par le cinéma de science-fiction dans sa capacité à construire un imaginaire scientifique crédible. Je me concentre sur le mythe antique de la créature artificielle pour ensuite mettre en évidence le point où il rencontre la science par l’usage du medium cinématographique, capable de transmettre cet « ailleurs » contenu dans la promesse scientifique et matérialisé par la science-fiction. Afin de rendre compte de cette actualisation, je forme un corpus de films en prenant soin de retracer la généalogie conjointe de l’évolution scientifique de l’IA et de sa projection dans l’imaginaire par la mise en parallèle dans l’analyse de l’actualité de la recherche technoscientifique au moment de la parution de chaque film du corpus. Par cette méthode j’arrive à liste suivante : Frankenstein (1931) ; 2001, A Space Odyssey (1968) ; Blade Runner (1982) ; Terminator 2 (1991) ; A.I : Artificial Intelligence (2001) ; Her (2013) ; Ex Machina (2015) ; Blade Runner 2049 (2017). Cette disposition me permet de constater l’évolution de la promesse de l’IA forte en prise avec la discussion que le réel entretient avec l’imaginaire du mythe de la créature artificielle. Par l’analyse des technologies qui sous-tendent la création de chacune de ces créatures, j’analyse la manière par laquelle la science-fiction matérialise la promesse scientifique d’une IA forte, et cela avant même l’érection de son domaine consacré (i.e. Frankenstein). Deux films ont cependant résisté à mon cadre d’analyse, Blade Runner et Blade Runner 2049, en offrant une histoire alternative de l’IA à partir d’une créature artificielle non pas entièrement technique mais cyborg, à l’interstice de notre monde biologique et celui de la machine. / Although science has yet to unlock the secrets of human consciousness, recent advances in Artificial Intelligence research have caused the myth of the artificial creature to resurface in the realm of the imaginary. This dissertation aims to understand the actualization of this ancient myth through the contemporary scientific promise of AI and its incarnation in the cinematic science fiction imagination. After a historical review of the evolution of the field of research in AI, I insist on the role played by science fiction cinema in its ability to build a credible scientific imagination. I then come back to the imaginary of the myth of the artificial creature to highlight the point where it meets science through the use of the medium of cinema, capable of transmitting this "elsewhere" contained in the scientific promise and materialize it through science fiction. I form a corpus of seven films retracing the joint genealogy of the scientific evolution of AI and its projection into the imagination by comparing it in the analysis of current events of technoscientific research at the time of the release of each film in the corpus. By this method I arrive at the following list: Frankenstein (1931); 2001, A Space Odyssey (1968); Blade Runner (1982); Terminator 2 (1991); A.I: Artificial Intelligence (2001); Her (2013); Ex Machina (2015); Blade Runner 2049 (2017). This allows me to describe the evolution of the promise of strong AI in the discussion that the real entertains with the imaginary of the myth of the artificial creature. By focusing on the technologies which underlie the creation of each of these creatures, I am able to analyze how science fiction materializes the scientific promise of a strong AI, and this even before the erection of its consecrated domain (i.e. Frankenstein). However, two films withstood our analytical framework, Blade Runner and Blade Runner 2049, by offering an alternate story of AI from an artificial creature not entirely technical but cyborg, at the interstice of our biological world and that of the machine.

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