Bibliography / Thesis (MPhil (Journalism))--Stellenbosch University, 2010.

Submitted by Ronildo Prado (ronisp@ufscar.br) on 2017-08-17T19:31:04Z No. of bitstreams: 1 TeseSLS.pdf: 1861509 bytes, checksum: 67699187e9b93f72a91ff3376c3d9ed9 (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-08-17T19:31:12Z (GMT) No. of bitstreams: 1 TeseSLS.pdf: 1861509 bytes, checksum: 67699187e9b93f72a91ff3376c3d9ed9 (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-08-17T19:31:18Z (GMT) No. of bitstreams: 1 TeseSLS.pdf: 1861509 bytes, checksum: 67699187e9b93f72a91ff3376c3d9ed9 (MD5) / Made available in DSpace on 2017-08-17T19:31:25Z (GMT). No. of bitstreams: 1 TeseSLS.pdf: 1861509 bytes, checksum: 67699187e9b93f72a91ff3376c3d9ed9 (MD5) Previous issue date: 2017-02-17 / Não recebi financiamento / Questions about the possible influence of marketing on children's food choices have been topics of debate in recent years. The use of characters in advertisements and packaging is one strategy commonly used to develop positive attitudes toward brands or products. Research that used the stimulus equivalence paradigm has shown that such influence can occur through the transfer of functions. The purpose of this thesis was to verify under what conditions an abstract symbol can acquire symbolic functions of characters and influence children's food choices. Therefore, three studies were carried out. In Study 1 of this thesis, the children formed two classes of stimuli: one containing a liked character and the other a dislike character. The other members were geometric figures and abstract symbols. Three choice and preference tests were conducted where the children had to choose from two samples of the same snack, differing only by the label on the package: 1) symbol equivalent to the liked and disliked characters; 2) symbol equivalent to the disliked character and a new symbol; and 3) the symbol equivalent to the liked character and the logo a known brand. Most children chose first, and reported to like more, the snack labeled with the symbol equivalent to the liked character. They also chose, and reported to like more, the snack labeled with a new stimulus over the symbol equivalent to the disliked character. The Test 3 was inconclusive. Study 2 was similar, however, rather than the known brand, this was replaced by another new symbol in the Test 3. The equivalence tests and the food choice and preference tests were repeated after two weeks. The results of Test 1 were replicated, but the tests 2 and 3 were inconclusive. However, it was possible to verify both the maintenance of the equivalence relations and the transfer of function. In Study 3 the children formed three classes of equivalence, one of which contained a neutral figure. The preference tests were similar; however, the “neutral” symbols replaced the new symbols. The function transfer results were even more robust because all children chose and liked more the food with the symbol equivalent to the favorite character on the label. It has also been noted that children tend to choose a food with a symbol equivalent to the character, even if not attractive, when the other option is a label with a "neutral" symbol. The analysis of the profile and consumption habits of private school participants (Studies 1 and 2) and public (Study 3) pointed to some significant differences relative to food consumption, participation in purchases, hours of televisions, etc, which may have influenced in the obtained results. It is considered that the results achieved have empirically demonstrated how children can be persuaded by using attractive figures. They also brought contributions that strengthen the stimulus equivalence paradigm as a behavioral model the semantic relations and an useful methodology for the study of the attitudes and preferences. / Questões referentes à possível influência do marketing nas escolhas alimentares de crianças têm sido temas de debate nos últimos anos. A adoção de personagens em propagandas e embalagens faz parte das estratégias normalmente utilizadas para desenvolver atitudes positivas em relação a marcas ou produtos. Pesquisas que se baseiam no paradigma de equivalência de estímulos têm demonstrado que tal influência pode ocorrer também por meio da transferência de funções. O objetivo desta tese foi verificar em quais condições um símbolo abstrato pode adquirir funções simbólicas de personagens e influenciar escolhas alimentares de crianças. Para tanto, foram realizados três estudos. No Estudo 1 as crianças formaram duas classes de estímulos: uma contendo um personagem de que gostavam e a outra um personagem de que não gostavam. Os demais membros eram figuras geométricas e símbolos abstratos. Foram conduzidos três testes de escolha e preferência com dois alimentos idênticos oferecidos em embalagens transparentes tendo os seguintes rótulos: o símbolo equivalente ao personagem favorito e o outro ao personagem não atrativo; 2) o símbolo equivalente ao personagem não atrativo e um símbolo novo; e 3) o símbolo equivalente ao personagem favorito e o outro uma marca conhecida. Os resultados apontaram que a maioria das crianças escolheu e relatou gostar mais do alimento com um símbolo da mesma classe do personagem de que gostavam. Além disto, o alimento com o símbolo novo no rótulo também foi mais escolhido do que o que continha o símbolo da classe do personagem de que não gostavam. O terceiro teste foi inconclusivo. O Estudo 2 foi semelhante, no entanto, ao invés da marca conhecida no Teste 3, esta foi substituída por um outro símbolo novo. Os testes de equivalência e de escolha e preferência alimentar foram repetidos após duas semanas. Houve replicação dos resultados referentes ao Teste 1, no entanto, os Testes 2 e 3 foram inconclusivos. Foi possível constatar tanto a manutenção das relações de equivalência quanto da transferência de função. No Estudo 3 as crianças formaram três classes de equivalência, sendo que uma delas continha uma figura neutra. Os testes foram semelhantes aos anteriores, no entanto, os símbolos novos foram substituídos pelo símbolo “neutro”. Todas as crianças escolheram e demonstraram preferência pelo alimento com o símbolo equivalente ao personagem favorito no rótulo. Também se pôde constatar que as crianças tendem a escolher um alimento com um símbolo equivalente ao personagem, mesmo que não atrativo, quando a outra opção é um rótulo com um símbolo “neutro”. A análise do perfil e hábitos de consumo dos participantes da escola particular (Estudos 1 e 2) e pública (Estudo 3) apontaram algumas diferenças significativas com relação ao consumo de alimentos, participação em compras, horas de televisão, etc., que podem ter interferido nos resultados obtidos. Considera-se que os resultados alcançados demonstraram empiricamente como as crianças podem ser persuadidas com o uso de figuras atrativas. Também trouxeram contribuições que reforçam a equivalência de estímulos como um modelo de relações semânticas, além de se mostrar uma metodologia útil para o estudo das atitudes e preferências.

Le Salon caricatural est le compte rendu comique composé de charges d’œuvres d’art exposées au Salon. Les premiers Salons caricaturaux apparaissent au début des années 1840, et c’est sous le Second Empire que ce genre de revue parodique atteint son apogée, obtenant un succès dans la presse satirique illustrée. Sous prétexte de faire rire, cette critique en images met en œuvre un moyen efficace de juger l’art, qui fonctionne en contrepoint de la critique d’art écrite. Les enjeux critiques que propose cette imagerie comique s’inscrivent en fait comme découlant des discussions sur les rapports entre l’image et le texte, ainsi que le révèlent les trois modèles de 1846. Sensibles à l’actualité artistique, les dessinateurs du Salon caricatural jouent souvent un rôle multiple, tantôt celui du railleur inoffensif, tantôt celui du critique sérieux, tantôt encore celui de l’artiste exposant. Dans les revues parodiques se reflètent non seulement la réaction caractéristique du public bourgeois, mais parfois aussi le goût personnel et les jugements esthétiques des dessinateurs eux-mêmes vis-à-vis des œuvres d’art contemporaines. Face à un art en pleine transition durant le Second Empire, le Salon caricatural prend part d’une manière active à la réception de l’art par une formule sarcastique qui traduit à la fois le dégoût pour l’école classique en voie de déclin et le rejet des formes novatrices, notamment Courbet et son réalisme. Cette version drolatique et insolite de l’histoire de l’art fournit aussi une nouvelle perspective à l’histoire de la critique d’art. / The Salon caricatural was a comic review consisting of caricatures of art works exposed at the Salon. The first Salons caricaturaux appeared in the early 1840s, and it was under the Second Empire that this type of parodic review reached its height, obtaining success in the illustrated satirical press. Under the pretext of humor, this critique in images provided an efficient method of judging art, working in counterpoint to written art criticism. The critical issues proposed by this comical imagery were in fact the products of debates on the relationship between image and text, as the three 1846 models reveal. Conscious of contemporary artistic currents in art, Salon caricatural cartoonists often played multiple roles; at times inoffensive mocker, at times serious critic, and at times exposing artist. These parodic reviews reflected not only the characteristic reaction of the bourgeois public, but also on occasion the personal tastes and aesthetic judgments of the cartoonists themselves with respect to contemporary works of art. With art in a major period of transition during the Second Empire, the Salon caricatural actively participated in the reception of art through a sarcastic format that translated both the distaste for the declining classical school and the rejection of innovative forms, notably those of Courbet and his realism. This humorous and peculiar version of art history also provides a new perspective to the history of art criticism.

De 1954 à 1976, l'œuvre de Quino paraît essentiellement dans la presse argentine. Très vite, l'humoriste est reconnu de la profession et rejoint les pages de quelques-uns des plus grands périodiques d'humour et d'actualité de l'époque. S'adaptant à différentes lignes éditoriales, il explore plusieurs courants comiques, du burlesque à l'absurde, en passant par la satire d'une société en crise. Le rythme de publication soutenu et la variété des formes employées par l'humoriste – strip, planche et dessin unique – sont propices à l'élaboration d'une poétique de la brièveté. L'œuvre de Quino se construit dans une dynamique de répétition et de variation qui revisite la tradition du dessin humoristique de presse et thématise les conditions de sa création / From 1954 to 1976, Quino's work is essentially published in argentinian press. The humorist is very soon acknowledged by his profession and joins the pages of some of the most important journals and magazines of humor and information at this time. Adapting his creation to different editorial lines, he explores several forms of comic, from slapstick to absurdity, and even the satirizing of a society in crisis. His intense rhythm of publication and the diversity of forms used by the humorist – strip, page and cartoon – are favorable to elaborate a poetics of briefness. Quino's work is elaborated in a dynamics of repetition and variation which revisits graphic humor tradition and thematizes the conditions of his creation. / De 1954 a 1976, la obra de Quino se publica principalmente en la prensa argentina. Muy pronto, el humorista recibe el reconocimiento de los profesionales del humor y accede a las páginas de algunos de los periódicos y revistas de humor y de actualidad más importantes de la época. Al adaptarse a diversas líneas editoriales, explora varias formas de comicidad, del burlesco al absurdo, pasando por la sátira de una sociedad en crisis. El ritmo de publicación intenso y la diversidad de formas empleadas por el humorista – tira, página y dibujo único – son propicios para elaborar una poética de la brevedad. La obra de Quino se construye en una dinámica de repetición y variación que revisita la tradición del humor gráfico y tematiza las condiciones de su creación.

Parce qu’ils sont les premiers à avoir réalisé un long métrage en images de synthèse, Toy Story, dont le succès artistique et populaire – qui ne se dément pas - a été le déclencheur d’un nouveau cycle de films d’animation, les studios d’animation Pixar occupent une place importante dans le paysage culturel actuel, et représentent une bonne opportunité d’étudier la manière dont les objets des industries culturelles sont créés et consommés. Au travers d’une étude du dessin animé américain, abordé du point de vue historique et esthétique, il s’agit tout d’abord de déterminer l’évolution du système de production et des techniques, qui sont en lien avec les évolutions stylistiques, pour comprendre dans quel système émergent puis s’établissent les films d’animation Pixar. Alors que la manière dont les films sont faits et dont ils sont vus a changé à la fin du XXe siècle, la trilogie Toy Story sera l’objet privilégié d’une étude des mutations du cinéma, et des usages qui en sont faits. Par le statut culturel élevé spécifique à Pixar, par l’ambiguïté textuelle qui les caractérisent et qui sont l’occasion d’interprétation très variées, ou grâce aux nouveaux modèles de féminité et de masculinité qu’ils proposent, les films d’animation tendent à devenir des films "comme les autres", laissant aux spectateurs la possibilité de les appréhender comme ils le veulent. / As the first studio to have created a CGI animated feature film, Toy Story, whose success initiated a new era in animation production, Pixar Animation Studios occupy a significant position in the actual cultural landscape, and present a great opportunity to study the ways in which objects from cultural industries are produced and consumed. By examining the animated cartoon, from historic and aesthetic perspectives, I intend to determine the evolution of the production system and of the technics, which are related to stylistic changes as well. This study will help us understand the studio system in which Pixar’s movies have taken place. While the ways films are made and seen changed at the end of the last century, Toy Story’s films are the privileged object for an analysis of the transformations of cinema and its uses. By Pixar’s high cultural status, by the textual ambiguity that characterized them or the new representations of masculinity and femininity that they share, animated feature films tend to become "ordinary films", letting viewers grasp them as they want.

Vi har under tio veckor producerat en del av Peter Martinssons film Eve. Vi har stått bakom en stor del av den tekniska biten. Vi har inte deltagit något i idéarbetet och idén bakom filmen, däremot har vi påverkat det visuella resultatet genom att göra stora delar av bakgrundsmaterialet. På så sätt har våra idéer och vår konst fått en stor del i filmen. Genom detta arbete har vi velat utveckla våra kunskaper främst i programmet AliasWavefront Maya, men även rent estetiskt. Målet med arbetet var inte att bli klara med filmen, utan att lära oss av produktionsprocessen. Vi har varit tvungna att anpassa oss i vårt arbete till det speciella utseendet som filmen har. Detta har gett oss kunskaper i att anpassa oss efter andras krav och idéer, tekniskt och mentalt. Vi har också lärt oss en hel del nya modelleringstekniker och funktioner i programmet. Desto mer man jobbar med 3D-modellering ju snabbare, bättre och förutseende på eventuella problem blir man. Övning ger färdighet även här. / We have under a 10 week period been producing a part of Peter Martinsson’s short movie Eve. He had an aesthetic vision and we handled the technical part. This meant that we couldn’t change the core idea behind the movie but we could influence the visual outcome due to the fact that we built a large part of the backdrop. Through this work we’ve been trying to improve our knowledge of Alias Wavefront Maya but also to evolve as 3D artists. The goal of this project was not to complete the entire movie but to learn from the process of making this movie. We have had to adapt our working process to be able to produce the unique look of this movie. By doing so we have aquired new knowledge in the ways of meeting customers demands and ideas, both mental and technical. We have also aquired new skills in the craft of modeling and in the field of using Maya. The more you work with 3D, the faster you’ll be able to model and you ability to produce fine details without falling into the usual traps becomes greater than it was before. In this line of work practice makes perfect. / Detta är en reflektionsdel till en digital medieproduktion.

[pt] A pesquisa tem por escopo um estudo do imaginário presente nos desenhos animados que fizeram parte da campanha de saúde, higiene e vacinação promovida pelo Governo Federal, veiculada na mídia e nas escolas do país. Esta Campanha, realizada pela Assessoria de Relações Públicas do Governo, criou as personagens Sujismundo, Sujismundinho e Doutor Prevenildo e foi exibida em dois momentos distintos, na gestão dos Presidentes Médici (1969-1974) e Geisel (1974- 1979), durante a vigência do Regime Militar no Brasil. Embora estes filmes vinculem-se a um período específico da vida nacional, em alguns aspectos, suas características se assemelham a outras criações que fizeram parte da literatura brasileira. Mais especificamente, as imagens dos desenhos animados evocam um imaginário que permaneceu ao longo de décadas representando uma marca, uma impressão na memória da sociedade brasileira. Esta dissertação visa contribuir, portanto, para uma reflexão acerca do imaginário social brasileiro, considerando as contradições existentes na sociedade, principalmente no que se refere à política e ao poder do país, e a repercussão destes fatos na criação das animações no período do Regime Militar. / [en] This research is about an influence of Brazilian social imaginary which reflects on a cartoon created for health and hygiene children`s campaign promoted by the Brazilian Government Propaganda. In this animation there were three characters: Sujismundo, Sujismundinho and Doctor Prevenildo. These characters had been exhibited in several medias and in Brazilian schools in two different moments in Military Regime period. The films were made by a federal government propaganda agency in the seventies but, in some aspects, they were similar to others characters in Brazilian literature. These characters have been representing an imaginary icon in Brazilian society memory, at least, since the beginning of the Twentieth Century. Therefore, this dissertation proposes discuss some aspects of Brazilian social imaginary present in this cartoon created by the Brazilian Government in the Military Regime.

This Thesis are dealing with analysis of political satire change during election periods in 2006 and 2010 in printed media (Právo, Lidové noviny and MF DNES). 1796 items were evaluated. In these media three artist in both years were publishing: in MF DNES it is Miroslav Kemel, in Lidové noviny Vladimír Jiránek and in Právo Vladimír Renčín. For political satire research content analysis was used, combining quantitative and qualitative methods. Defined variables are used for grouping images. The research should accept/reject five hypothesis directed to topic frequencies (domestic, foreign, non-political), politicans shown as the target of satire and political tending of particular paper. The most popular target for political satire was Jiří Paroubek former leader of ČSSD due to his nature and physiognomy. This was true for MF Dnes and Lidové noviny. In Právo no concrete politican was drawn by V. Renčín in both years. In the first place topic Election was in 2006 in all papers, in 2010 only for MF Dnes it was Nr 1. In other paper most important topics were morality and demenaurs of politicans. This Thesis confirmed that left-winged paper Právo is not tending to the righ-wing ridiculing. On the contrary, the other newspapers, Lidové noviny and MF Dnes, both being right-wing newspapers, published the...

Utifrån en bakgrund i karikatyrens principer, utforskas idén om karaktärsdesign och hur ondska som en allegori kommuniceras i dess visuella attribut. I huvudsak studeras den animerade tv-serien Adventure Times antagonist - The Lich. Strukturalistiskt semiotik används för att se karaktären genom en sammanflätad kontext, innehållande av seriens narrativ, karaktärsdesign och ondska som en allegori för att se vilka tecken som används för att kommunicera allegorin. Det psykologiska konceptet Jungianska arketyper används som förklaringsmodell av ondskans allegorin och The Lich kontrasteras med andra karaktärsexempel från populärfiktion. En diskussion syntetiseras om hur allegori kommuniceras i The Lich likt metaforer. Genom att sammanföra liknelser som kan tolkas utifrån tecken kan kommunikationen överskrida till en allegorisk kommunikation, där enbart kopplingen emellan andra tecken per se kan överföra ett allegoriskt budskap. / From a background in the principles of caricatures, this paper studies about how the allegory of evil is communicated in a character design’s visual attributes. Primarily the animated cartoon series Adventure Time’s antagonist - The Lich – is studied. Structural semiotics is used to view the character from within an intertwined context, containing of the series’ narrative, character design and evil as an allegory to subsequently determine what signs are used to communicate evil. The psychological concept of Jungian archetypes are used to explain the allegory of evil and The Lich is contrasted with other character examples of popular fiction. A discussion is brought fourth how allegory is communicated like metaphors through The Lich’s character design. By putting metaphors that derived from signs together, the communication can transcend to an allegorical communication where only the connection between signs per se transmits an allegorical message.

Animationsserien sind ein fester Bestandteil der deutschen Fernsehlandschaft und sollen vor allem Kinder als Zielgruppe ansprechen. Vor diesem Hintergrund stellt sich zum einen die Frage, welche Wirkungen und Funktionen von Animationsserien auf und während der Sozialisation zu erwarten sind. Zum anderen möchte diese Arbeit aber auch die Seite der Produzierenden von Animationsserien näher beleuchten, die gerade in der Trias „Produktion, Distribution, Rezeption“ eine zentrale Rolle einnehmen und an wesentlichen Entscheidungsprozessen beteiligt sind. Mit Hilfe von qualitativen ExpertInneninterviews sollten verschiedene Fragen beantwortet werden: Welche subjektiven Wirkungs- und Funktionsannahmen besitzen ProduzentInnen von Animationsserien und welchen Einfluss haben diese auf die Gestaltung der Serie? Und wie werden individuelle künstlerisch-ästhetische Vorstellungen mit den Anforderungen des Marktes „Animationsfilm“ in Einklang gebracht?:Inhaltsverzeichnis Abbildungsverzeichnis 4 Tabellenverzeichnis 4 Abkürzungsverzeichnis 5 I Theoretische Grundlagen: Der Animationsfilm als Medium zwischen "Werk" und "Kunst" 1 Einleitung 7 2 Der Stellenwert der Medien in der heutigen Gesellschaft 11 2.1 Begriffliche Klärungen 11 2.2 Medien aus kulturpessimistischer Perspektive 13 3 Animationsfilme und -serien als Bestandteil von Kunst und Kultur 16 3.1 Begriffliche Klärungen 16 3.2 Ausprägungen und Arten des Animationsfilms 18 3.2.1 Der Zeichenanimationsfilm 18 3.2.2 Die Puppenanimation 19 3.2.3 Der Flachfigurenfilm 20 3.3 Animationsserien im deutschen Fernsehen – Ein historischer Abriss 22 3.4 Die gegenwärtigen Kindersender im Vergleich 24 3.5 Die aktuelle Stellung deutscher Animationsserien 26 3.6 Fallbeispiel: Tom und das Erdbeermarmeladebrot mit Honig 29 4 Kinder als Rezipienten 32 4.1 Kindheit heute 32 4.2 Sozialisation durch Medien? 34 4.2.1 Soziologische Sozialisationstheorien 35 4.2.2 Mediensozialisation 41 4.3 Der Einfluss von Animationsserien auf Kinder und ihren Alltag 42 5 Zusammenfassung der theoretischen Grundlagen 47 6 Theoriegeleitete Grundannahmen 49 II Empirische Befunde: Animationsserien im Blick der RezipientInnen und ProduzentInnen 7 Medien im Alltag der Kinder – Ergebnisse quantitativer Befragungen 52 7.1 Medienausstattung 53 7.2 Medienrelevanz und Medienbindung 54 7.3 Fernsehnutzung 54 7.4 Präferenzen in Fernsehsendern 57 7.5 Lieblingssendungen und Lieblingscharaktere 59 8 Die Seite der ProduzentInnen 62 8.1 Qualitative ExpertenInneninterviews 62 8.2 Überlegungen zum methodischen Vorgehen 64 8.2.1 Vorbereitung 64 8.2.2 Datenerhebung und -verarbeitung 65 8.2.3 Auswertung 66 8.3 Durchführung der Studie 68 8.4 Ergebnisse 70 8.4.1 Subjektive Modelle von Kindheit 70 8.4.2 Wirkung und Funktion von Animationsserien 73 8.4.3 Relevante Merkmale bei der Gestaltung von Animationsserien 81 8.4.4 Produktionsbedingungen aus der Sicht der Produzenten 88 8.4.5 Bewertung des aktuellen Kinderfernsehens 91 8.4.6 Ausblick – wie sieht die Zukunft der deutschen Animationsserien aus? 95 9 Zusammenfassung der empirischen Ergebnisse 99 10 Kritische Reflexion und Fazit 105 Literaturverzeichnis 107 Anhang A: Interviewleitfaden 117 Anhang B: Kategoriensystem 121 Selbstständigkeitserklärung 122