This study examines the potential challenges and opportunities a digital media producer faces when designing a short video for social media with the purpose of eliciting a desire in the user to transfer over to the media platform of which the forementioned short video is marketing and take part of longer video content. Using a qualitative research method, six professional digital media individuals were interviewed, each with varying degrees of experience in social media conversion. The findings reveal several challenges that digital media producers may encounter in their pursuit of conversion, as well as insights on possible ways to overcome these challenges. Notable discoveries include that short videos may not always be the best option for conversion on social media, and the importance of the first seconds of a short video. Overall, this research contributes to a deeper understanding of the challenges and opportunities digital media producers face in the constantly evolving world of social media.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Ce que nous proposons de faire dans ce mémoire est de s’attarder au phénomène spécifique de la lecture des scénarios dans le contexte institutionnel québécois. Nous analyserons un corpus de cent soixante douze rapports de lecture de scénarios de longs métrages de fiction rédigés entre 1972 et 2004. Il n’existe, à notre connaissance, aucune étude portant spécifiquement sur un corpus de rapports de lecture. Dans un premier temps, nous situerons le rôle et la place du scénario dans l’histoire de la production de films de fiction québécoise, entre acceptation et refus. Ensuite, nous nous intéresserons à la manière dont concrètement les scénarios sont lus : par qui, comment, dans quelles conditions, avec quels objectifs. Enfin, en utilisant une analyse par théorisation ancrée (grounded theory), nous identifierons, à partir des commentaires émis dans les rapports, cinq entités sur lesquelles le lecteur se fonde pour formuler son jugement. Il s’agit du scénariste, du scénario proposé, du lecteur lui-même, du film à faire et du spectateur présumé que nous nommerons fictif. Nous en conclurons que le lecteur de scénario occupe une fonction de médiateur entre un texte et son auteur d’une part et un futur film et son spectateur réel d’autre part. Cette médiation est le lieu de convergence de différentes attentes, celles des lecteurs, des auteurs, des producteurs et des institutions. / Our purpose in this study is to focus on the specific phenomenon of screenplay reading in Quebec institutional context. We’ll analyze a corpus of one hundred seventy two screenplay reading reports for feature fiction films, written between 1972 and 2004. There is, to our knowledge, no specific study on reading reports texts. At first, we’ll situate function and place of the scenario in Quebec fiction film production history, between acceptance and rejection. Then, we will look at how scenarios are read: by whom, how, under what conditions and with what objectives. Finally, using a grounded theory analysis, we will determine, based on the commentaries founded in the reading reports texts, five entities from which the reader settled his judgment: the screenwriter, the screenplay, the reader himself, the film forthcoming and the expected viewer we’ll call fictitious viewer. We’ll conclude that the screenplay reader is a mediator between a text and its author on one hand, and a forthcoming movie with his fictitious viewer on the other hand. This mediation is the convergence center of different expectations, those of the readers, authors, producers and institutions.

The thesis deals with the life and work of Caspar David Friedrich (1774 - 1840) who is considered one of the most important painters and drawers of the German romanticism. His main contribution for painting was the creation of pictures with subjective, later also politically motivated symbolism. The themes of his works in particular included the nature where persons often stand and watch the landscape in distance. The first chapter provides information on the personality and work of the painter who created a new style of landscaping. In nature he discovered the spiritual element that he connected with the picture. The work then describes the influences of the romantic literary movement and religion on his work. The second chapter presents a female figure turned with her back to the viewer in a painting called Woman by the Window from 1822. Various interpretations of art historians connected especially with romanticising visions of individuality and infinity are presented. The origin and development of the female figure turned with her back to the viewer in painting from prehistoric times up to the 20th century is also outlined. The phenomenon of a window in art is explained in the third chapter. A window in interior and a view from a window is also demonstrated as a mean of expression of an artist....

This thesis presents the work of a contemporary German playwright Roland Schimmelpfennig in a wider context. In the main chapter, the author focuses on the analysis of five Schimmelpfennig's plays that have been performed also on Czech theatre stages. The analysis emphasizes the elements of a dramatic structure that Schimmelpfennig uses in an innovative way: epization of texts, unrealistic treatment of dramatic time, elements of magic realism etc. The author also pays attention to a general characteristic of a contemporary German-speaking theatre with respect to the topics that it deals with. A significant part of the work is devoted to classifying Roland Schimmelpfennig's work in the historical and theoretical context of a contemporary German-speaking theatre. A book called Die Rückkehr der Helden by a German author Nikolaus Frei, which questions some opinion on the recent development of theatre presented in a book Postdramatisches Theater by Hans Thiese Lehmann, has become a crucial source for this thesis. Nikolaus Frei copes with the question of animateness/inanimateness of theatre and by using extracts from particular dramatic texts by contemporary authors proves a possible continuity of mimesis, realistic acting and conflicts on the stage until the 21st century. In conclusion, it is possible...

Pesquisa em Comunicação na área de Meios de Processos Audiovisuais que estuda as estratégias de grade de programação de domingo na TV aberta brasileira. Ênfase no domingo em virtude de ser o dia com maior número de telespectadores ligados e por ser um dos dias com maior visibilidade dos produtos veiculados. As principais linhas teóricas utilizadas na interpretação da pesquisa tratam da formação do hábito de ver televisão, do contrato afetivo entre o fluxo da grade de programação e o telespectador e do Princípio da Razão Durante através da teoria do Metáporo. Texto multidisciplinar que reúne teóricos de Comunicação, Estudo de TV, Estudos Culturais, Sociologia, Filosofia para construir um corpo teórico que trata de entender estratégias utilizadas pelas emissoras para montar a grade de programação e de como a grade se torna um específico da TV, um produto audiovisual único e fluído e uma forma discursiva estratégica das empresas de comunicação. / Research in Communication within the Audiovisual Media Process area focused on the broadcast Sunday Brazilian TV programming strategies. It emphasizes the Sunday programming due to be the day with the largest number of viewers watching TV and due to one of the days that gets more visibility to the media products and production. The main theoretical lines used in the research are about the habit of watching TV, the emotional contract established between the programming flow and the TV viewer and also the Princípio da Razão Durante (Ongoing Principle) through the Metaporo´s theory. Multidisciplinary text gathering theories from Communication, TV Studies, Cultural Studies, Sociology and Philosophy to build a theoretic body of work to understand the strategies used by the TV stations and networks to form the programming grid and how the grid becomes TV´s specific language, one fluid and exclusive audiovisual product and also an strategic discursive form belonging to the communication enterprises.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

This paper deals with testing the method Reflectance Transformation Imaging (RTI) on the copy of the Piraeus-lion in Historic Museum in Stockholm. The purpose is to find out if it is possible to gather more information about the runic inscriptions. RTI is a method that records the surface normal of individual pixels in a digital photograph by analyzing the impact of light coming from different angles of entrance. RTI produces sort of a 3D-image of the object. There will be an overview of earlier interpretations of the runic scripts written on the lion as well as an overview of Varangians in the southeast. After examination of the lion with RTI, has a conclusion been made that the method should be performed again on similar items, and on the copy of the Piraeus-lion to evaluate its full potential.

The present master's thesis named Subtitling and Dubbing on the Czech Television Screen deals with the attitudes and preferences of the Czech television audience from the point of view of audiovisual translation (dubbing and subtitling) and aims to identify the reasons for these preferences. The thesis also focuses on the impact of sociodemographic features (age, level of education, foreign language skills) on these preferences. The objective is to cover relevant matters of both audiovisual translation theory as well as practice abroad and in the Czech Republic. The theoretical part provides a systematic summary of studies and other relevant literature in the field of audiovisual translation. Firstly, the two main methods of audiovisual translation are introduced, including a comparison of their advantages and disadvantages for the viewer. This is followed by a description of the historical development of audiovisual translation in a global context and the current changes in the given field. Also other relevant audience studies are presented. The next part of the thesis discusses the specific context of the Czech Republic as a "dubbing" country not only from the historical point of view, but also from the present perspective. The author focuses mainly on the only Czech public television - Czech...

Made available in DSpace on 2014-12-17T14:19:50Z (GMT). No. of bitstreams: 1 AlexandreHS.pdf: 499108 bytes, checksum: 136cf3be3a5da435135df46f81187d7f (MD5) Previous issue date: 2009-08-06 / This study aims to examine the contemporary viewer and also propose a review of the literature surrounding the spanish researcher J?sus Mart?n-Barbero. The proposed review, based on Mart?n-Barbero observations and the Latin American Cultural Studies analysis, observes the individual as part of the processes of communication and research on the concept of cultural mediation, the viewer as component/agent/object of the production of meaning. The study will perceive it as an element of inaccuracy/inadequacy and understand it as a subject of these reactive processes that contain complex and involve communication and culture, in contrast the impressions that resulted from a discussion between a television professional and a communication researcher and of these findings on the same viewer. The work also aims to point the viewer as a component of the possible mapping desired by Mart?n-Barbero to massive contemporary interpretation of the processes and its concept of night map / O presente estudo pretende analisar o espectador contempor?neo propondo para tanto uma revis?o bibliogr?fica em torno da literatura do pesquisador espanhol J?sus Mart?n- Barbero. A revis?o proposta, calcada nas reflex?es de Mart?n-Barbero e dos Estudos Culturais Latino-Americanos, sobre o sujeito diante dos processos de comunica??o e no conceito do pesquisador sobre media??o cultural, entende o espectador como componente/agente/objeto dos processos de produ??o de sentido. O estudo procurar? perceb?-lo como elemento de imprecis?o/imperfei??o e compreend?-lo como sujeito reativo destes mesmos processos complexos que o encerram e envolvem comunica??o e cultura, em contraponto as impress?es que resultaram de uma discuss?o entre um profissional de TV e um pesquisador e das conclus?es destes sobre este mesmo espectador. O trabalho pretende ainda apontar o espectador enquanto componente poss?vel da cartografia pretendida por Mart?n-Barbero ? interpreta??o dos processos massivos contempor?neos e do seu conceito de Mapa Noturno