The purpose of this study is to examine how different cultures within clothing and fashion are featured in the magazine Vogues fashion reportages. The aim is to enlighten editors with infashion media of these cultural differences in order to increase diversity. To pursue the purpose of the study a qualitative approach was chosen where photographs were used as the data that later on was studied through an image analysis. The study looks at six different editions of the fashion magazine Vogue, which indicates a chosen research design as multiple case studies. The six Vogue editions are: US, Japan, Paris, Arabia, India and Brazil, in which clothes, color and context have been analyzed in each editions reportages. The editions Vogue US, Vogue Japan, Vogue Paris, Vogue Arabia, Vogue India and Vogue Brazil reportages wa sanalyzed and compared, and distinct cultural differences was seen in terms of color, cultural clothing and fashion contexts. While Vogue US, Vogue Japan and Vogue Brazil had a widerange in diversity regarding models with different appearance, which were light-skinned anddark-skinned, Vogue Arabia, Vogue India and Vogue Paris had not. Vogue Arabia, Vogue India, Vogue US and Vogue Japan were however diverse in the cultural clothing, where clothes that was shown in the reportages was a mix of different cultural clothes. The researchers therefore found Vogue US and Vogue Japan the most diverse.

Made available in DSpace on 2016-08-10T10:36:43Z (GMT). No. of bitstreams: 1 MARCIO ALVES DA ROCHA.pdf: 3084818 bytes, checksum: c90a83ab6083d52610046527d60dd8c1 (MD5) Previous issue date: 2006-06-30 / The proposal of our work is to deffend the use of internet as a essential midiatic channel to the spreading of scientific research, acting specifically on archeology and pre-history sites. We intend, with it, to question the positioning of the designer towards the new technologies, in the creation processes and in the search of the meaning construction. Discussing the importance of the use of websites in the Cultural Property Management in a wider context, related to a more complex and vast system of perceptions ahead the potentialities and tools brought by internet. Using elements of peircian semiotics to the analysis of websites that consider the duty of scientific information and of their dimensions as products, we want, from this point, to raise ways that might lead our project: the construction of a scientific website, about the archeologic practic in Serranópolis GO. / Nossa proposta dissertativa se constitui em defender o uso da internet, como canal multimidiático imprescindível para a divulgação de pesquisas de caráter científico, atuando especificamente sobre sites de arqueologia e pré-história. Pretendemos com isso, questionar o posicionamento do designer frente às novas tecnologias, nos processos de criação e na busca da construção dos sentidos. Discutindo a importância do uso de websites na Gestão do Patrimonio Cultural dentro de um contexto mais amplo, e relacionado a um sistema maior e mais complexo de percepções, diante das potencialidades e ferramentas disponibilizadas pela internet. Utilizando-se de elementos da semiótica pierciana para análise de websites que se propõem a tarefa de divulgação científica e de suas dimensões como produtos, queremos a partir disso, levantar caminhos que possam nortear nosso projeto: a construção de um site científico, sobre a prática arqueológica na região de Serranópolis - GO.

Cette étude a pour principal objectif d’examiner l’usage de la caméra à l’épaule dans les films de fiction Faces de John Cassavetes et La Vie nouvelle de Philippe Grandrieux. Loin d’associer la caméra portée à la vision subjective d’un personnage, ces cinéastes semblent plutôt inscrire la caméra et son tremblé comme un tiers autonome qui entre néanmoins dans la zone fictionnelle. Par la position similaire qu’ils attribuent à la caméra et par l’importance qu’ils accordent à l’improvisation au tournage, ces deux cinéastes créent une proximité entre le personnage et la caméra, qui a un impact sur l’esthétique visuelle de leurs films. De par cette esthétique affectée, l’expérience vécue par le spectateur devant le film est intensifiée. En interrogeant le processus de création, l’esthétique de la caméra à l’épaule ainsi que la réception spectatorielle, nous verrons comment un tel transfert d’affect est rendu possible par cette tripartition. Pour faire l’analyse de ce transfert affectif, phénomène causé par ce que nous pourrons appeler la caméra catalytique, nous nous appuierons sur quelques philosophies choisies. / This study has as its main goal the examination of the use of the handheld camera in the films Faces by John Cassavetes and La vie nouvelle by Philippe Grandrieux. Far from associating the handheld camera to a character’s point of view these filmmakers seem to inscribe the camera and its shake as an autonomous third person which is part of the fictional space. By the similar position these filmmakers give to the camera and by the importance they attribute to improvisation during the shoot they create a proximity between the character and the camera which has an impact on the visual aesthetic of their films; this affected aesthetic intensifies the experience felt by the audience. By examining the process of making the film, the handheld aesthetic as well as the audience response, we will see how this transfer of affect is made possible. To analyse this affective transfer, caused by what one would call the catalytic camera, we will rely on a selection of chosen philosophies.