Denna undersökning syftar till att undersöka sanningshalten i medias artiklar om barns TV-tittande. För att göra det, jämfördes flera tidningsartiklar med vetenskapliga artiklar som handlar om barns tv-tittande. Endast de tidningsartiklar som hänvisar till vetenskapliga artiklar användes för denna undersökning. Resultaten visar att media ibland vinklar fakta, men överdriver riskerna med yngre barns tv-tittande i jämförelse med vad som skrivs i de vetenskapliga artiklarna. I flera fall har även de positiva effekterna tonats ned, såväl i tidningsartikeln som i den vetenskapliga artikeln. Tolv av de fjorton tidningsartiklarna i denna undersökning återberättar inte vad den vetenskapliga forskningen säger på ett sanningsenligt sätt.   För att undersöka om det finns något samband mellan medias bild av barnens TV-tittande och förskollärarnas medieanvändande delades en enkät ut till flera förskollärare. Enkätundersökningen visar att hälften av deltagarna inte svarade på om de var påverkade av medias bild eller inte. De som besvarade den frågan uppgav att de antingen inte påverkades alls eller mycket lite av medias bild, eller så svarade de, men inte på den aktuella frågan. Dessa resultat är dock osäkra på grund av det låga antalet svar på enkäten. / This study aims to investigate the truthfulness in media reports concerning children´s television viewing. Several press articles were compared with scientific articles which is about children´s television viewing. The press articles referring to scientific articles for this study were choosen. Our results show that media attend some times to angle facts but exaggerate the risks with young children´s television viewing in compared to what the scientific articles report. In several cases, the positive effects have been downsized both in the press articles and in the scientific articles. Twelve of the fourteen press articles in this study failed to retell what the scientific research says in at truthful way.   To explore if there is a relationship between media´s report in children´s television viewing and preschool teachers media usage a questionnaire were handed out to preschool teachers. The questionnaire survey shows that half of the participants did not answer whether they were influenced by the media`s image or not. Those who did answer reported that they either were not affected at all or very little of media´s image or they did answer, but not to the question at issue. These results, however, are uncertain, due to the low number of responses on the questionnaire.

In this study, a liquid crystal display (LCD) is proposed to have a capability of viewing-angle-switching in all directions. In the proposed LCD, a three-electrode structure is used to control the viewing angle of the LCD. By using a bi-direction slit type electrode, fringe fields with two different directions are generated. The fringe fields cause a light leakage of the dark state in all directions. Experimental results reveal that the proposed LCD has viewing angle within 40o in both vertical and horizontal directions when the area ratio of the vertical and horizontal slit is 1:1. Furthermore, contrast ratio (CR) of the proposed LCD increases as cell gap increases. When the angle between polarizer axis and LC is 0, the proposed LCD has the highest CR in the normal direction. The personal privacy is protected based on the proposed LCD due to the all-direction light leakage in the dark state.

In relation to the women¡¦s consumption gradually increasing, the female consumption market is becoming larger than before. In the current media, definitions of beauty image created by the media has become the standards of self-examination, it even has great influences on female consumption preference. Thus, this study aims to investigate what kind of female image the female beauty TV program represents¡H What is the relationship between the female images represented by female beauty TV program and the cognition of beauty of female audiences? And what affects the level of exposure in TV program and the life style of the female consumers influence has on the female audiences¡¦ cognition of beauty¡H This primary research expects to describe the relationship between the female images shaped by TV medias and the cognition of beauty of female audiences. Since the start of female beauty program Queen in TVBS-G on TV, there have been many fashion programs like Beautyplan, Beautyworld in CTITV, E-line secret garden in GTV, and Perfect beauty in FTV following in Taiwan. This research is going to discuss whether these fashion programs will lead to the myth of beauty for female consumers. And does the female image built by the TV media influence the purchasing preference of female cosmetic. All of these are issues this study will be discussing. This study applied the methodology of quantitative content analysis approach and internet questionnaire survey. First, it analyzes the content of the female beauty program during Jan,2005 to Jul,2007 and focuses on the female internet users whose ages are between 15 and 45. Then, these internet questionnaires are divided into four parts, including heavy viewers, light viewers, high involvement, and low involvement. According to the compared analysis of the group samples, it aims to acquire an understanding of the viewpoints of female image and the differences of consumption preference, after female consumers watched the fashion programs. In terms of the outcomes of the research, it shows the between the participants of heavy/light viewers, high/low involvement and different lifestyle, there are obviously differences in the cognition of beauty. Therefore, the exposure of the fashion program, involvement and lifestyle make a huge impact on the cognition of beauty. Besides this, the difference of high/low involvement and the lifestyle of the participants will influence the consumption preference of the audiences, but there are no apparent differences for the consumption preference between the different participants of heavy/light viewers.

This paper will use political discussion programs in Taiwan as an example and use the research method of experimentation to attempt to establish a way of research that is both quantitative and qualitative. By using a correlation analysis of audience evaluation and ratings, an investigation will be carried out as to whether Taiwan¡¦s political discussion programs are in fact public forums that are a paradigm of a deliberative democracy. In order to test the hypothesis that states there is a correlation between audience evaluation and ratings, this paper made audience evaluation (in other words the topics discussed on the programs, their hosts, guests, producers and their negative effects) an independent variable and made the AGB Nielsen television rating numbers a dependent variable. It was discovered that audience evaluation does in fact affect ratings and that there is a positive correlation between audience evaluation and ratings. For example, the higher an audience¡¦s evaluation of the topics discussed on a certain program and its hosts, guests and producers were, the higher that particular program¡¦s ratings were. If on the other hand, audiences believe that a certain political discussion program has negative effects such as encouraging opposition within society or defaming a certain person or group, the lower the ratings of that particular program were. From the results of the correlation analysis of audience evaluation and ratings, it can be seen that there is a huge difference between what viewers expect from political discussion programs and what our current political discussion programs are like. It was also discovered that whilst today¡¦s political discussion programs claim they are public forums; they are in reality primarily aimed at making commercial profit. This means that these programs are still a long way away from becoming a paradigm for a deliberative democracy and making Taiwan a more democratic society.

Nonsuicidal self-injury (NSSI) is a behavior recently added to the Diagnostic and Statistical Manual of Mental Disorders (DSM-5) as a condition for further study. In this dissertation, I present findings from three studies that inform the clinical description of NSSI as well as some of the cognitive and emotional aspects of NSSI. In Study 1, I examined data from a community sample of adult women who met proposed DSM-5 criteria for NSSI or subthreshold NSSI. The findings show that any experience with NSSI is associated with significant impairment. Further, they suggest that greater self-criticism may be a key variable capable of distinguishing between people who engage in more versus less frequent NSSI. In Study 2, I examined the extent to which cognitive deficits in inhibiting emotional information may characterize people who engage in NSSI. Although NSSI participants endorsed greater difficulty with negative thoughts relative to controls, the groups demonstrated no differences on a directed forgetting task. These findings are consistent with previous research on emotional reactivity and impulsivity in NSSI that shows a similar dissociation between self-report and behavioral-based results. In Study 3, I examined how people process NSSI images. Results suggest that people who engage in NSSI view NSSI stimuli as relatively non-aversive. This is in sharp contrast to healthy controls, who consider NSSI images as highly aversive. These finding are consistent with models of NSSI that regard self-injury as providing reinforcement (positive and negative). Overall, the findings from these studies add to the clinical description of NSSI and support its diagnostic validity. Our examination of the clinical characteristics of the NSSI as described in DSM-5 highlights the importance of assessing the presence of any NSSI behavior as well as highly self-critical thoughts. Importantly, we found no evidence of memory deficits in NSSI. Of great clinical concern, however, is the extent to which engaging in NSSI appears to erode the aversive nature of NSSI stimuli. Taken together, our findings support a model in which self-criticism may reduce the initial barriers to engaging in NSSI, with the mood benefits associated with NSSI subsequently serving to maintain it. / Psychology

The Remote Sensing Group (RSG) at the University of Arizona performs vicarious radiometric calibration of various airborne and space borne sensors. Test site characterization parameters are typically collected by RSG personnel present at the site. Previous work has described and implemented a method for an autonomous collection at the test site without RSG personnel present.This dissertation extends methodology and instrumentation used in an autonomous retrieval of test site characterization parameters for use with a high-view angle geostationary sensor to compute multiple calibration data points in a single day. Atmospheric sensitivity studies are performed determining the effect of large off-nadir view angles typical of the GOES-11 geometry. Instrumentation and collection methodology are modified for the standard and the ground viewing radiometer (GVR)-based reflectance collection of the test site. Multiple GOES-11 radiometric calibration data points in a single day are determined using the modified GVR and compared to typical manned collect with modified instrumentation and methodology.

The purpose of this study was to explore the association between parenting stress and child body mass index (BMI). Behaviours known to increase childhood obesity risk were also examined in relation to parent stress: poor eating habits, increased television viewing, decreased physical activity and poor sleep habits. Cross-sectional, baseline data were collected from 110 parent-child dyads participating in a family-based obesity prevention intervention. The majority of participants identified as Hispanic/Latino and belonged to low-income households. Parents scored an average of 28.4 +/- 10.7 on the PSI-3-SF, classifying 20% as high stress. Using the World Health Organization (WHO) growth charts, 48% of children were categorized as overweight or obese. Parenting stress was not found to be associated with child weight status in this study. Parenting stress was, however, significantly associated with unhealthful behaviours that are associated with increased obesity risk. In comparison to children with unstressed parents, the children of highly stressed parents were less likely to meet the recommendation of 60 minutes spent in active play per day on weekdays. Highly stressed parents also were less likely to limit the amount of television their child viewed. While it is important to target activity and television behaviours among young children, our results suggest that interventions may also need to address parental stress as a possible underlying factor associated with unhealthful behaviours among young children.

Recent research suggests that sedentary behaviours have detrimental effects on the health and well-being of children, including effects on obesity. Specifically, television viewing is consistently associated with childhood obesity. Two explanations have been proposed: 1) reduced energy expenditure, and 2) increased food intake. However, it has been suggested that the association between television viewing and childhood obesity may be better explained by an increase in energy intake than by a reduction in energy expenditure. To date, children of different weight status have not been compared in their dietary patterns in front of the television, and it is not known if total sedentary time is linked with food intake in children. The objectives of this thesis are: 1) to determine if obese children consume food more frequently while watching television than normal weight children, and 2) to examine which of television viewing or total sedentary time better predicts dietary patterns in children. Overall, our results re-affirm the notion that television viewing is associated with obesity, although physical activity plays a role in this association. Also, children who are obese consume fast food and fruits/vegetables more frequently during television watching than normal weight children. Furthermore, television viewing appears to be a better predictor of dietary patterns in children than overall sedentary time. Globally, these results provide evidence for the deleterious effects of television viewing on children’s dietary patterns and justification for future intervention studies designed to reduce television viewing in children with obesity.

Esta tese propõe um estudo das relações entre as instâncias autorais no cinema a partir de um fenômeno cultural que circunda a produção fílmica cinematográfica: o making of documentário. Partindo de uma relação entre a teoria do autor no cinema, as noções de trajetória social e de campo bourdieusianas e a dialética do olhar proposta por Didi-Huberman (2010), a tese tem como objetivo geral compreender como se constrói uma dupla noção de autoria a partir da relação entre duas instâncias autorais instauradas pelo making of documentário: a do diretor do making of e a do diretor do filme. As relações analisadas dizem respeito aos seguintes diretores de making ofs e diretores dos filmes aos quais eles se referem, nos respectivos making ofs documentários selecionados: Les Blank e Werner Herzog, em Burden of Dreams (1982); a dupla Keith Fulton/Louis Peppe e Terry Gillian, em The Hamster Factor and other tales of Twelve Monkeys (1996); Laurent Bouzereau e Steven Spielberg, em The Making of Close Encounters of the Third Kind (2001); Charles de Lauzirika e Ridley Scott, em Dangerous Days: making Blade Runner (2007). A tese está estruturada em quatro partes: 1) Os extrafílmicos: do making of aos caminhos da autoria no cinema; 2) O campo do making of; 3) A trajetória social dos diretores; 4) Encontros possíveis: os autores construídos e os autores desvelados. Na primeira parte situo a configuração dos extrafílmicos enquanto paratextos, donde desponta a esfera da produção e circulação do making of. Evidencio a relevância deste contexto no que se configura enquanto questão-horizonte da tese: a dupla noção de autoria operada pelos making ofs documentários a partir de condições do campo e da dialética do olhar (DIDI-HUBERMAN, 2010) que se insere no espaço dos possíveis (BOURDIEU, 1996a, 1996b). Com base na contribuição teórica de Pierre Bourdieu, na segunda parte proponho a caracterização do campo do making of, demonstrando o espaço que se constitui a partir de disputas em que determinadas instâncias (realizadores, produtores, organizações, festivais e premiações, crítica especializada) pleiteiam reconhecimento no escopo da indústria cinematográfica. Trata-se de delimitar os mecanismos e contextos produtivos próprios, as escolhas e tomadas de posição que reverberam em estilos e formatos diferenciados de making ofs e os agentes e estruturas capazes de legitimar a autonomia do campo. A terceira parte elucida a trajetória social dos diretores implicados na relação making of – filme ficcional. Nesse sentido, demonstro a construção social da autoria referente a Steven Spielberg, Ridley Scott, Terry Gilliam e Werner Herzog, compreendendo o contexto das relações a que suas trajetórias estão submetidas, para, logo após, analisar a trajetória dos diretores dos making ofs Lauren Bouzereau, Charles de Lauzirika, Les Blank e a dupla Keith Fulton e Louis Peppe, estabelecendo as tomadas de posição e as particularidades do percurso de cada um que conduzem às (possíveis) posições autorais. Na quarta parte empreendo a análise da dupla noção de autoria através dos encontros e relações entre as instâncias diretivas nos making of documentários selecionados, operando as seguintes categorias analíticas: (1) agentes e processos produtivos, (2) memória do filme e (3) espaço da autoria. A incursão da análise se desdobra ainda, na percepção sobre as articulações que mobilizam a relação dialética do olhante e do olhado, a fim de compreender as manifestações do autor voyeur – auteur exibicionista e autor flâneur – auteur dândi. É entendimento desta pesquisa que o making of documentário se constitui enquanto uma forma de expressão audiovisual que dá a ver relações de alteridades – dos sujeitos envolvidos na realização cinematográfica a partir da dialética do olhar. De acordo com as maneiras como engendra esse olhar sobre um filme, o making of nos dá a ver diferentes modos de ocupação do espaço autoral. / This thesis proposes the study of the relations between authorials instances in cinema from a cultural phenomenon surrounding the cinematographic production: the making of documentary. Starting from a relationship between the author's theory in film, the notions of social trajectory and field by Pierre Bourdieu (1996a;1996b) and the dialectic of viewing proposed by Didi-Huberman (2010), the thesis has as a general objective to understand how a dual notion of authorship is constructed from the relationship between two authorial instances established by the making of documentary: the making of director and the film director. Relations analyzed concern the following making ofs directors and directors of the films to which they refer, in the respective making of documentaries selected: Les Blank and Werner Herzog, in Burden of Dreams (1982); the team Keith Fulton/Louis Peppe and Terry Gillian, in The Hamster Factor and other tales of Twelve Monkeys (1996); Laurent Bouzereau and Steven Spielberg, in The Making of Close Encounters of the Third Kind (2001); Charles de Lauzirika and Ridley Scott, in Dangerous Days: making Blade Runner (2007). The thesis is structured in four sections: 1) The extrafilmics: from making of to the paths of authorship in film; 2) The field of the making of; 3) The social trajectory of directors; 4) Possible encounters: the constructed authors and the authors unveiled. In the first section I place the configuration of the extrafilmic while paratexts, where dawns the sphere of production and circulation of the making of. I highlight the importance of this context which is configured as a matter-horizon of the thesis: the dual notion of authorship operated by making ofs documentaries from the field conditions and the dialectical view (DIDI-HUBERMAN, 2010) which fall within the space of possibles (BOURDIEU, 1996a, 1996b). Based in the theoretical contribution of Pierre Bourdieu, the second section proposes a carachterization of the making of field, demonstrating the space which constitutes trhoughout disputes in which certain instances (filmmakers, producers, organizations, festivals and awards, critics) claim acknowledgment in the scope of the cinematographic industry. It’s about defining the mechanisms and own production contexts, choices and position-takings reverberating in different styles and making of formats and agents and structures able to legitimize the autonomy of the field. In the third section, I demonstrate the social construction of authorship refering to Steven Spielberg, Ridley Scott, Terry Gilliam e Werner Herzog, understanding the context of the relationship that their trajectories are subject, for, soon after analyze the making of director’s Laurent Bouzereau, Charles de Lauzirika, Les Blank and the team Keith Fulton/Louis Peppe trajectory, establishing the position-takings and course particularities of each one leading to (possible) authorial positions. The fourth section undertakes the analysis of the dual notion of authorship through the encounters between directorial instances in making of documentaries selected, operating the following analytical categories: (1) agents and production process; (2) memory of the film and (3) space of authorship. The incursion of the analysis unfolds also in the perception over articulations that move the dialectical relationship of viewer and viewed, in order to comprehend the manifestations of the voyeur author – exhibitionist auteur and flâneur author – dandy auteur. It’s the understanding of this research that the making of documentary constitutes itself as an audiovisual expression form that displays otherness relations – from the subjects involved in the filmmaking process throughouth the dialectica of viewing. Accordingly to the ways that engender this look over a film, the making of gives us to see different occupation modes of authorship space.

Esta tese propõe um estudo das relações entre as instâncias autorais no cinema a partir de um fenômeno cultural que circunda a produção fílmica cinematográfica: o making of documentário. Partindo de uma relação entre a teoria do autor no cinema, as noções de trajetória social e de campo bourdieusianas e a dialética do olhar proposta por Didi-Huberman (2010), a tese tem como objetivo geral compreender como se constrói uma dupla noção de autoria a partir da relação entre duas instâncias autorais instauradas pelo making of documentário: a do diretor do making of e a do diretor do filme. As relações analisadas dizem respeito aos seguintes diretores de making ofs e diretores dos filmes aos quais eles se referem, nos respectivos making ofs documentários selecionados: Les Blank e Werner Herzog, em Burden of Dreams (1982); a dupla Keith Fulton/Louis Peppe e Terry Gillian, em The Hamster Factor and other tales of Twelve Monkeys (1996); Laurent Bouzereau e Steven Spielberg, em The Making of Close Encounters of the Third Kind (2001); Charles de Lauzirika e Ridley Scott, em Dangerous Days: making Blade Runner (2007). A tese está estruturada em quatro partes: 1) Os extrafílmicos: do making of aos caminhos da autoria no cinema; 2) O campo do making of; 3) A trajetória social dos diretores; 4) Encontros possíveis: os autores construídos e os autores desvelados. Na primeira parte situo a configuração dos extrafílmicos enquanto paratextos, donde desponta a esfera da produção e circulação do making of. Evidencio a relevância deste contexto no que se configura enquanto questão-horizonte da tese: a dupla noção de autoria operada pelos making ofs documentários a partir de condições do campo e da dialética do olhar (DIDI-HUBERMAN, 2010) que se insere no espaço dos possíveis (BOURDIEU, 1996a, 1996b). Com base na contribuição teórica de Pierre Bourdieu, na segunda parte proponho a caracterização do campo do making of, demonstrando o espaço que se constitui a partir de disputas em que determinadas instâncias (realizadores, produtores, organizações, festivais e premiações, crítica especializada) pleiteiam reconhecimento no escopo da indústria cinematográfica. Trata-se de delimitar os mecanismos e contextos produtivos próprios, as escolhas e tomadas de posição que reverberam em estilos e formatos diferenciados de making ofs e os agentes e estruturas capazes de legitimar a autonomia do campo. A terceira parte elucida a trajetória social dos diretores implicados na relação making of – filme ficcional. Nesse sentido, demonstro a construção social da autoria referente a Steven Spielberg, Ridley Scott, Terry Gilliam e Werner Herzog, compreendendo o contexto das relações a que suas trajetórias estão submetidas, para, logo após, analisar a trajetória dos diretores dos making ofs Lauren Bouzereau, Charles de Lauzirika, Les Blank e a dupla Keith Fulton e Louis Peppe, estabelecendo as tomadas de posição e as particularidades do percurso de cada um que conduzem às (possíveis) posições autorais. Na quarta parte empreendo a análise da dupla noção de autoria através dos encontros e relações entre as instâncias diretivas nos making of documentários selecionados, operando as seguintes categorias analíticas: (1) agentes e processos produtivos, (2) memória do filme e (3) espaço da autoria. A incursão da análise se desdobra ainda, na percepção sobre as articulações que mobilizam a relação dialética do olhante e do olhado, a fim de compreender as manifestações do autor voyeur – auteur exibicionista e autor flâneur – auteur dândi. É entendimento desta pesquisa que o making of documentário se constitui enquanto uma forma de expressão audiovisual que dá a ver relações de alteridades – dos sujeitos envolvidos na realização cinematográfica a partir da dialética do olhar. De acordo com as maneiras como engendra esse olhar sobre um filme, o making of nos dá a ver diferentes modos de ocupação do espaço autoral. / This thesis proposes the study of the relations between authorials instances in cinema from a cultural phenomenon surrounding the cinematographic production: the making of documentary. Starting from a relationship between the author's theory in film, the notions of social trajectory and field by Pierre Bourdieu (1996a;1996b) and the dialectic of viewing proposed by Didi-Huberman (2010), the thesis has as a general objective to understand how a dual notion of authorship is constructed from the relationship between two authorial instances established by the making of documentary: the making of director and the film director. Relations analyzed concern the following making ofs directors and directors of the films to which they refer, in the respective making of documentaries selected: Les Blank and Werner Herzog, in Burden of Dreams (1982); the team Keith Fulton/Louis Peppe and Terry Gillian, in The Hamster Factor and other tales of Twelve Monkeys (1996); Laurent Bouzereau and Steven Spielberg, in The Making of Close Encounters of the Third Kind (2001); Charles de Lauzirika and Ridley Scott, in Dangerous Days: making Blade Runner (2007). The thesis is structured in four sections: 1) The extrafilmics: from making of to the paths of authorship in film; 2) The field of the making of; 3) The social trajectory of directors; 4) Possible encounters: the constructed authors and the authors unveiled. In the first section I place the configuration of the extrafilmic while paratexts, where dawns the sphere of production and circulation of the making of. I highlight the importance of this context which is configured as a matter-horizon of the thesis: the dual notion of authorship operated by making ofs documentaries from the field conditions and the dialectical view (DIDI-HUBERMAN, 2010) which fall within the space of possibles (BOURDIEU, 1996a, 1996b). Based in the theoretical contribution of Pierre Bourdieu, the second section proposes a carachterization of the making of field, demonstrating the space which constitutes trhoughout disputes in which certain instances (filmmakers, producers, organizations, festivals and awards, critics) claim acknowledgment in the scope of the cinematographic industry. It’s about defining the mechanisms and own production contexts, choices and position-takings reverberating in different styles and making of formats and agents and structures able to legitimize the autonomy of the field. In the third section, I demonstrate the social construction of authorship refering to Steven Spielberg, Ridley Scott, Terry Gilliam e Werner Herzog, understanding the context of the relationship that their trajectories are subject, for, soon after analyze the making of director’s Laurent Bouzereau, Charles de Lauzirika, Les Blank and the team Keith Fulton/Louis Peppe trajectory, establishing the position-takings and course particularities of each one leading to (possible) authorial positions. The fourth section undertakes the analysis of the dual notion of authorship through the encounters between directorial instances in making of documentaries selected, operating the following analytical categories: (1) agents and production process; (2) memory of the film and (3) space of authorship. The incursion of the analysis unfolds also in the perception over articulations that move the dialectical relationship of viewer and viewed, in order to comprehend the manifestations of the voyeur author – exhibitionist auteur and flâneur author – dandy auteur. It’s the understanding of this research that the making of documentary constitutes itself as an audiovisual expression form that displays otherness relations – from the subjects involved in the filmmaking process throughouth the dialectica of viewing. Accordingly to the ways that engender this look over a film, the making of gives us to see different occupation modes of authorship space.