A discussão sobre adaptações de obras literárias em realizações cinematográficas já passou do campo moralista da fidelidade ou traição para uma discussão menos valorativa. Isso significou uma focalização no estudo da intertextualidade entre a adaptação cinematográfica e o romance original, tendo como pontos de observação o tipo de seleção feita no processo da realização fílmica, a concretização visual do texto literário, a atualização de determinados temas abordados na obra e o foco narrativo, por exemplo. O que se pretende com este trabalho é a análise da estrutura narrativa do romance O tambor (Die Blechtrommel) de Günter Grass e do filme homônimo dirigido por Volker Schlöndorff, observando a forma como o romancista articula a construção complexa de seu foco narrativo e como o cineasta trabalha essa estrutura em seu filme, o que resulta em diferentes formas de perceber e interpretar tanto o narrador-personagem quanto o universo no qual está inserido. / Debates on the adaptation of literary works to the cinema have already surpassed moral judgments related to fidelity and treason, finding a more objective approach. It implies, for example, the comparison between the movie adaptation and the original work focusing on intertextuality and using, as points for analysis, the selection of literary material made during the filmic realization process, the visual achievement of the literary text, the update of some of the themes brought out by the writer and the narrative focus, among others. This work aims at analyzing the narrative structure of Günter Grass novel The Tin Drum (Die Blechtrommel) and Volker Schlöndorffs homonymous movie by observing the complex articulation of Grass narrative focus and the directors rendering of that structure, which results in different ways of perceiving and interpreting both the narrating character and the universe he is placed in.

We investigate some problems commonly found when dealing with stereo images. Working within the context of visual effects for films, we explore software solutions to issues arising with stereo images captured on-set. These images originate from a wide variety of hardware which may or may not provide additional data support for post-production needs. Generic software solutions are thus greatly to be preferred. This dissertation documents contributions in the following three areas. Each project was undertaken at Double Negative and investigated with the aim of improving the post-production pipeline for 3D films. Colour matching is the process whereby the colours of one view from a stereo pair are matched with those of the other view. This process is necessary due to the fact that slight differences in hardware and viewing angle can result in some surprisingly large colour discrepancies. Chapter 3 presents a novel approach to colour matching between stereo pairs of images, with a new tool for visual effects artists given in section 6.2.Vertical alignment of stereo images is key to providing a comfortable experience for the viewer, yet we are rarely presented with perfectly aligned footage from the outset. In chapter 4 we discuss the importance of correcting misalignments for both the final audience and the artists working on these images. We provide a tool for correcting misalignments in section 6.3.Disparity maps are used in many areas of post-production, and so in chapter 5 we investigate ways in which disparity map generation can be improved for the benefit of many existing tools at Double Negative. In addition, we povide an extensive exploration of the requirements of 3D films in order to make them presentable in the cinema. Through these projects, we have provided improvements to the stereo workflow and shown that academic research is a necessary component of developing tools for the visual effects pipeline. We have provided new algorithms to improve the 3D experience for moviegoers, as well as artists, and conclude by discussing the future work that will provide further gains in the field.

Made available in DSpace on 2016-03-15T19:43:41Z (GMT). No. of bitstreams: 1 Regina Santos de Oliveira Mello.pdf: 491735 bytes, checksum: 1801c5359315b674e9bf0bd662908e7c (MD5) Previous issue date: 2007-01-23 / Fundo Mackenzie de Pesquisa / The purpose of this work is firstly to analyze the catalog called Videoteca Pedagógica developed by FDE (Fundação para o Desenvolvimento da Educação) during the period of time comprising years 1990 to 1994. The Catalog is destined to the public state grid teachers, in which it is inserted the Série Apontamentos as a suggestion to some films usually destined to the movie theaters and are currently available in VHS. Secondly, this work aims at presenting a new proposal for the catalog, taking into account the specific issues of the history teaching and challenges of the work inside a classroom. / O objetivo deste trabalho é, em primeiro lugar, analisar o catálogo intitulado Videoteca Pedagógica desenvolvido pela FDE (Fundação para o Desenvolvimento da Educação) no período de 1990 a 1994. O Catálogo é destinado aos professores da rede pública estadual no qual está inserida a Série Apontamentos que traz sugestões de filmes que se destinavam às salas de cinema e que foram disponibilizados em VHS. Em segundo lugar, apresentar uma nova proposta de catálogo, levando em consideração as especificidades do ensino de história e desafios do trabalho em sala de aula.

Made available in DSpace on 2016-04-28T18:22:42Z (GMT). No. of bitstreams: 1 Marcia Veirano Pinto.pdf: 5387766 bytes, checksum: 9f381764386ef7108e63b97937f3f77e (MD5) Previous issue date: 2013-08-05 / This study will investigate variation in the language of American movies over an 80- year time period. The corpus is a collection of 640 movie subtitles that includes comedies, dramas, action-adventure, and horror-suspense movies from 1930 to 2010 totaling, approximately, 7,750,000 tokens and 325,000 types. The sampling frame for the corpus comprised the film guide 1001 Movies you Must See before you Die , in which sixty-seven renowned film critics elected the best movies of each decade, the website www.filmsite.org, as well as nominations for the Oscar, BAFTA, and the Academy of Science Fiction, Fantasy and Horror Films awards. The corpus was tagged for part of speech with the Biber tagger, and post-processed with the TagCount programs, which provides further syntactic and semantic analyses. This study will provide two different MD analyses, namely one that uses the existing 1988 dimensions to characterize the movies, and another that extracts new dimensions of variation based solely on movies. For the first one, scores were computed for each movie on each of the first five 1988 dimensions, for the corpus as a whole as well as for each individual movie genre. And for the second analysis, a new factor analysis was run to determine the factors that best represent the data, which were then interpreted in terms of underlying dimensions of variation. For both analyses, the effects of a set of independent variables were considered, including year of first screening, award nomination/win, length, genre, director, ratings, original/adapted script and production studio. Cluster analyses were also carried out to determine the optimal groups of movies within each dimension, such that they cut across the existing genre labels and provided characterizations that were grounded on linguistic characteristics rather than marketdriven concerns. The chapter will present each analysis together with text samples that illustrate the salient features of movies on each dimension. It will also present the results for cluster analysis that dissects time periods as well as statistical tests on these clusters that determine whether there are significant differences across movie genres over time. / O objetivo desta pesquisa é investigar dimensões de variação na linguagem dos filmes americanos ao longo de 80 anos de cinema falado. Para tanto, buscou-se suporte teórico na visão de linguagem da Linguística de Corpus e na abordagem metodológica da Análise Multidimensional. Mais especificamente, nas duas modalidades propostas por essa metodologia: a que mapeia o registro filme nas 5 dimensões de variação do inglês apontadas por Biber (1988), e a que propõe novas dimensões de variação baseadas apenas nos textos retratados dos filmes. Ambas as modalidades de análise levaram em conta as variáveis extralinguísticas: ano em que os filmes foram apresentados ao público, indicações/ premiações, duração, gênero, diretores, roteiro original versus adaptado, estúdio em que foram produzidos e avaliação da crítica. O corpus utilizado na pesquisa é composto por 640 legendas de filmes de gêneros diversos organizados sob quatro grandes categorias: comédia, drama, ação-aventura e horror-suspense-mistério. Os filmes foram selecionados com base no guia de filmes 1001 filmes par a ver antes de morrer , elaborado por sessenta e sete críticos de cinema renomados, que elegeram os melhores filmes de cada década, do sítio www.filmesite.org, e das nomeações e premiações recebidas pelas seguintes Academias: Oscar, BAFTA e Filmes de Horror, Fantasia e Ficção Científica (The Academy of Science Fiction, Fantasy and Horror Films). Para que se pudesse concluir o trabalho com a proposição de uma nova categorização para os filmes, baseada nas dimensões de variação encontradas recorreuse à análise estatística de Clusters, que permitiu o agrupamento ideal dos filmes de acordo com suas características morfossintáticas e semânticas

Made available in DSpace on 2016-04-27T14:30:44Z (GMT). No. of bitstreams: 1 Kety Viana.pdf: 1464542 bytes, checksum: baa0515e56bd658c339d8b0ad3af6f39 (MD5) Previous issue date: 2011-06-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This paper aims at investigating, through a critical perspective and through an educational approach from Freire s liberating views, the possibilities of building a critical syllabus, specifically a syllabus proposal for the Education of Youth and Adults, fundamented on the epistemological, ethic and politic theories stated by Freire through music and movies such as codifiers and decodifiers of generating themes in the curriculum of the EJA. Therefore, the study is performed at CIEJA Santana-Tucuruvi, with a Literacy class in the Human Science area. The theoretical referential about education and syllabus relies on the study of critical tradition authors such as Apple, Goodson, Arroyo, Sacristán, Saul and Silva. The action research and the methodology adopted are fundamented on Thiollent and on the epistemological and methodological categories by Freire in order to check the critical rationality necessary on the proposal. The results focus on the concrete possibilities of a critical syllabus guided by the dialogical, participating, ethic and political principles. The limitations and problems faced on building a critical syllabus still exist such as the rigid organization of school time and space, lack of group work among the educators making it difficult to perform interdisciplinary work and the lack of investment in the critical education of teachers / O trabalho pretende investigar, a partir de uma perspectiva crítica e mediante uma abordagem da educação libertadora freireana, as possibilidades de construção de um currículo crítico, em específico, uma proposta curricular para a Educação de Jovens e Adultos, fundamentada nos pressupostos epistemológicos, éticos e políticos propostos por Freire por meio de músicas e filmes como codificadores e descodificadores de temas geradores no currículo da EJA. Para tanto, o estudo é realizado no CIEJA Santana-Tucuruvi, com uma turma de Alfabetização, na área de Ciências Humanas. O referencial teórico sobre educação e currículo apóia-se em estudo de autores da tradição crítica, como Apple, Goodson, Arroyo, Sacristán, Saul e Silva. A pesquisa-ação, metodologia adotada, fundamenta-se em Thiollent e nas categorias epistemológicas e metodológicas de Freire, a fim de conferir a racionalidade crítica necessária à proposta. Os resultados apontam para possibilidades concretas da construção de um currículo crítico, orientado pelos princípios dialógicos, participativos, éticos e políticos. Os limites e entraves para a construção de um currículo crítico ainda se fazem presentes, como a organização rígida dos tempos e espaços escolares; ausência do trabalho coletivo entre os educadores, dificultando um trabalho interdisciplinar e a falta de investimento na formação crítica de professores

A braquiterapia é a modalidade de tratamento radioterápico que utiliza fontes radioativas seladas a uma distância curta do tumor, diminuindo o risco de aplicação de uma dose indesejável em tecidos sadios adjacentes. Para que a braquiterapia seja confiável, é necessário estabelecer um programa de práticas dosimétricas visando a determinação da dose ideal de radiação para esta prática radioterápica. Neste trabalho apresenta a aplicação de duas metodologias destinadas à dosimetria utilizando filmes radiocrômicos. Medidas experimentais foram realizadas com filmes EBT3 em objetos simuladores composto de material homogêneo e heterogêneo (pulmão, osso e tecidos moles) construídos especialmente para medidas de dose em braquiterapia. Os processamentos e analises das imagens resultantes do procedimento experimental foram realizados com o software IMAGEJ e MATLAB. Os resultados foram avaliados a partir de comparações medidas experimentais de dose e obtidas por simulações pelo Método de Monte Carlo. / Brachytherapy is a radiotherapy treatment modality using radioactive sealed sources within walking distance of the tumor, reducing the risk of applying an unwanted dose to adjacent healthy tissues. For brachytherapy is reliable, it is necessary to establish a dosimetric practices program aimed at determining the optimal dose of radiation for this radiotherapy practice. This paper presents the application of two methodologies for the dosimetry using radiochromic movies. Experimental measurements were performed with EBT3 movies phantoms consisting of homogeneous and heterogeneous material (lung, bone and soft tissue) built especially for dose measurements in brachytherapy. The processing and analysis of the resulting images of the experimental procedure were performed with ImageJ software and MATLAB. The results were evaluated from comparisons dose of experimental measurements and simulations obtained by the Monte Carlo method.

Este trabalho tem por objetivo analisar os filmes Pueblerina, Flor Silvestre e Enamorada do diretor Emílio Fernández, consagrado cineasta mexicano. Estes são considerados os mais importantes filmes desse diretor, todos realizados na década de 1940, ele um dos mais expressivos realizadores da história do cinema mexicano. As questões político-sociais, a violência são exploradas indiretamente nesses trabalhos e evidenciar este fato nosso principal ponto de conflito com a critica de cinema tradicional que sempre caracterizou estes filmes como isentos deste tipo de conteúdo nossa intenção é recolocar os filmes no lugar de obras feitas de maneira coletiva e com fim coletivo/ social, portanto, é pertinente que a sua maneira o diretor e sua equipe tenham explorado tais problemas. / This work intends to study three movies by a Mexican director Emilio Fernández who was very famous in the forties in Mexico and Latin America with his melodramas. He is considerate one of the most expressive director in Mexico cinema history for the critics. Eanamorada, Flor Silvestre and Puebelrina are his most important movies; it is why we choose them to study. Through these movies, we will analyze politic and social problems in Mexico that the director and his staff deal with the movies. This is the most important difference between our analysis and the critics analyses.

Esta dissertação tem como objeto de estudo a minha produção de pintura entre os anos de 2006 e 2008 e as relações que esta estabelece com as séries produzidas anteriormente durante minha permanência na Alemanha. O vínculo entre estes trabalhos dá-se principalmente através do uso da fotografia - da sua manipulação e posterior releitura através da pintura - que tem como tema as relações com o cotidiano tanto através da Internet como do contato direto com pessoas e coisas. A montagem destas pinturas no espaço é outro elemento importante dentro do processo de trabalho que enfatiza as relações com o espectador e com a lógica interna da própria pintura. / This paper has as a study purpose my painting production between the years of 2006 and 2008 and the relations that it established with the series previously produced, during my time in Germany. The link between these works occurs mainly through the use of photograph of its manipulation and the subsequent reinterpretation through painting -, which has as subject the relations with the everyday life, whether through the Internet or through the direct contact with people and things. The montage of these paintings in space is another important element within the work process, which emphasizes the relations with the audience and the internal logic of painting itself.

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<p>The purpose of this study is to generate a greater understanding of the different ways in which music can be used to build an identity and create image within movies, and also to explain the different impacts this can have on the parties involved. Through the history of movies music has been used as a tool for enhancement and for expression of emotions. Through music the audience relates to personal memories or emotional states and the experience is given a deeper impact, helping to create memorable movie scenes. Certain directors have created a unique identity through the use of music in their movies, and also artists have been brought forward by starring in a soundtrack. What we find interesting, and what is also the discussion in this study, is in what ways this collaboration/artistic expression can be done and what impact it has on the parties involved. This study is made from a qualitative approach based on nine interviews with respondents working in the business of movies and film music, carefully chosen to answer and fulfill our purpose from various perspectives. All the interviews are presented in full length in the appendix, and serves as the base of our analysis. Since our study is made with a qualitative approach, is it not of our intention to generalize the results. Although, we do in the analysis recognize patterns which guide us to our conclusions about film music: the characters, functions and impacts of music in film, and how it generates identity and image. These conclusions are later brought together in our figure, presented in chapter six, through which we intend to clarify and further explain our conclusion.</p>