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The master's thesis consists of an introduction, two chapters, conclusions, a list of references (82 sources) and an annex including the blank forms of the applied methods. The volume of the master`s thesis is 169 pages. The introduction reveals the relevance of the chosen research problem, the level of development of the problematics; the objective and the tasks of the study are set, the subject matter and the scope of the research are determined, the basic and additional hypotheses. The first chapter includes a review of foreign and domestic literature on the research topic. Discusses the influence of the cartoon, as the product of the mass media on children, special attention is paid to the influence of gender images and aggressive scenes of violence in cartoons on children of preschool and younger school age. Conclusions on the first chapter are the results of the study of theoretical material. The second chapter is devoted to the empirical part of the study. It includes a description of the organization and methods of the study, as well as the results obtained due to the applied methods. Тhe chapter presents the results of a study of preference of cartoons carried out on a sample of 250 children aged 7 to 10 years. For empirical research were used to develop a questionnaire and a modified drawing methods "My favorite hero of the cartoon". The assumption that children at younger school age prefer the cartoons which aren't corresponding to their age is confirmed. The assumption about the preferences of the cartoons in the Junior school age is concretized. The findings of Chapter 2 are the main results of the empirical study. In the conclusion, brief results of the theoretical and empirical parts of the work are presented, as well as conclusions on the hypotheses. The practical significance of the study is substantiated and possible prospects for further development of the problematics are described. / Магистерская диссертация состоит из введения, двух глав, заключения, списка литературы (82 источника) и приложения, включающего в себя бланки применявшихся методик. Объем магистерской диссертации 169 страниц. Во введении раскрывается актуальность проблемы исследования, разработанность проблематики, ставятся цель и задачи исследования, определяются объект и предмет исследования, формулируются основная и дополнительные гипотезы, Первая глава включает в себя обзор иностранной и отечественной литературы по теме исследования. Рассматриваются проблемы влияния мультфильма, как продукта масс-медиа на детей, особое внимание уделяется влиянию гендерных образов и агрессивных сцен насилия в мультфильмах на детей дошкольного и младшего школьного возраста. Выводы по первой главе представляют собой итоги по изучению теоретического материала. Вторая глава посвящена эмпирической части исследования. В ней представлено описание организации и методов проведенного исследования и результатов, полученных по всем использованным методикам. Представлены результаты исследования предпочтений мультфильмов проведенного на выборке 250 детей в возрасте от 7 до 10 лет. Для проведения эмпирического исследования применялись разработанная анкета и модифицированная рисуночная методика «Мой любимый герой мультфильма». Подтверждено предположение о том, что дети в младшем школьном возрасте предпочитают мультфильмы не соответствующие их возрасту. Конкретизировано предположение о выборе любимых героев мультфильмов, обусловленном половой принадлежностью. Результаты используемых методов в данной работе обработаны с помощью математической статистики. Выводы по главе 2 включают в себя основные результаты эмпирического исследования. В заключении в обобщенном виде изложены результаты теоретической и эмпирической частей работы, а также выводы по выдвинутым гипотезам, обоснована практическая значимость исследования и описаны возможные перспективы дальнейшей разработки данной проблематики.

Concept cartoons are a didactic tool, which are alike cartoons and address concepts and phenomena within the science subjects. The available Concept cartoons on the Swedish National Agency for Education's website are mainly aimed for pupils from 10 to 15 years old, however there are only a few for pupils from 7 to 9 years old. This study aims to describe and develop various aspects in a Concept cartoon to make primary school pupils' prior knowledge visible of a specific biological content. The method of the study is design research and has been used to develop a Concept cartoon for pupils in ages six to nine, based on data from audio recording and observation. Based on a Concept cartoon conversations were held and recorded together with groups up to three pupils. Through three design cycles, we have analyzed and developed a Concept Cartoon that will highlight the pupils' prior knowledge of bird survival. In the data, some visual and textual aspects can be distinguished that are significant for the students to be able to express their biological prior knowledge. The results from the study show that students in year two discuss and relate to the visual aspects before the textual aspects in a Concept cartoon. With the removal of details that do not refer to the biological content and the introduction of false statements, students direct a greater focus on the concept of the Concept cartoon and social learning occurs. / Concept cartoons är ett didaktiskt verktyg som efterliknar serieteckningar, samt tar upp begrepp och fenomen inom de naturvetenskapliga ämnena. Tillgängliga Concept cartoons på Skolverkets webbplats riktar sig främst till årskurs 4–9, och det finns bara ett få till årskurs 1–3. Den här studien syftar till att kartlägga och utveckla olika aspekter i en Concept cartoon för att synliggöra just lågstadieelevers förkunskaper om ett specifikt biologiskt innehåll. Studien har utgått från designforskning för att utveckla en Concept cartoon för åk 1–3 baserad på data från ljudinspelning och observation. Under studien spelades samtal in i grupper om 2–3 elever i årskurs två där samtal har förts tillsammans med eleverna utifrån en Concept cartoon. Genom tre designcykler har vi analyserat och utvecklat en Concept cartoon som ska framhäva elevernas förkunskaper om fåglars överlevnad. I data kan några visuella och textuella aspekter urskiljas som är betydelsefulla för att eleverna ska kunna uttrycka sina biologiska förkunskaper. Resultatet från studien visar att elever i årskurs två diskuterar och relaterar till de visuella aspekterna före de textuella aspekterna i en Concept cartoon. Med borttagning av detaljer som inte syftar till det biologiska innehållet och införandet av falska påståenden, riktar eleverna ett större fokus på konceptet för Concept cartoons och ett socialt lärande uppstår.

<p dir="ltr">This thesis explores the dynamic evolution of cartoons as a medium of public pedagogy, focusing on the portrayal of morality, the changing landscape of moral narratives across networks or studios through time, and its intricate influence on relationships. Cartoons, spanning from the American classic era of Looney Tunes and Scooby-Doo, Where Are You! to the contemporary phenomena of The Dragon Prince and Miraculous: The Tales of Ladybug & Cat Noir, act as potent agents of social education. Understanding cartoons as an accessible form of public pedagogy, this research examines the moral dichotomy of good and evil archetypes depicted in these animations. By analyzing the diverse approaches of networks and studios across time, this thesis uncovers the nuances of moral storytelling, revealing the intricate interplay of social values and creative choices. Furthermore, the thesis investigates the portrayal of relationships within these moral contexts, emphasizing the impact of animated narratives on societal perceptions of interpersonal connections.</p>

Made available in DSpace on 2016-04-26T18:17:18Z (GMT). No. of bitstreams: 1 Luis Fernando Lopes.pdf: 7486308 bytes, checksum: 40531444490cbe31fc26bdc943fee830 (MD5) Previous issue date: 2008-06-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A political cartoon both as text and discursive genre inserted into the printed media can mobilize in its textualization more than one language at the same time: verbal language (the written word) and other nonverbal languages (drawings, colors, shapes and the diagrammatical combinatory arrangement of all these elements). In that sense, this research aims at analysing the articulation of syncretic verbal language and visual language of political cartoons published by a reputable mass communication vehicle, to examine the textualization process implied in the political cartoons as one more opinion text present in printed newspaper, thus contributing to understanding its sense effects. For that proposition, the newspaper Folha de S.Paulo was used as a corpus (especially its political cartoons printed on page A2 entitled Opinion which had as their core theme the public security crisis that burst in May, 2006 with the attacks carried out by the Primeiro Comando da Capital PCC (the Capital s First Command) showing the discursive relationships interacting in the construction of sense as to the cartoon texts published in that printed media vehicle. This work also has the intention to form a important historical register with all political cartoons that were published and related to the public security crisis that burst in May, 2006 with the attacks carried out by the PCC / A charge como texto e gênero discursivo inserido no jornal impresso pode mobilizar, simultaneamente, em sua textualização, mais de uma linguagem: a verbal (da palavra escrita) e outras não-verbais (do desenho, do traço, das formas, das cores e dos arranjos diagramático e combinatório de todos esses elementos). Nesse sentido, este trabalho de pesquisa tem por finalidade analisar a articulação da linguagem sincrética verbal e visual das charges publicadas num importante veículo de comunicação de massa, no intuito de se verificar o processo de textualização da charge como mais um texto de opinião presente no jornal impresso, contribuindo, dessa forma, para a compreensão dos seus efeitos de sentido. Para tal empreendimento, tomar-se-á, portanto, como corpus de análise o jornal Folha de S.Paulo (em específico suas charges veiculadas na página A2 intitulada Opinião que tiveram como tema central a crise de segurança pública deflagrada em maio/2006 pelos ataques do PCC), evidenciando as relações discursivas que interagiram para a construção do sentido quanto aos textos chargísticos publicados nessa mídia impressa. Além da evidenciação das mencionadas relações, este trabalho também tem por objetivo compor um importante registro histórico de todas as charges publicadas com a temática da crise de segurança pública deflagrada pelo PCC, especificamente quanto às três fortes ondas de ataque que ocorreram a partir de maio/2006

Les premiers comptes rendus de l’histoire du cinéma ont souvent considéré les premiers dessins animés, ou vues de dessins animés, comme des productions différentes des films en prise de vue réelle. Les dessins animés tirent en effet leurs sources d’inspiration d’une gamme relativement différente d’influences, dont les plus importantes sont la lanterne magique, les jouets optiques, la féérie, les récits en images et les comics. Le dessin animé n’en demeure pas moins fondamentalement cinématographique. Les vues de dessins animés de la décennie 1900 ne se distinguent ainsi guère des scènes à trucs sur le plan de la technique et du style. D’abord le fait de pionniers issus de l’illustration comique et du croquis vivant comme Émile Cohl, James Stuart Blackton et Winsor McCay, le dessin animé s’industrialise au cours de la décennie 1910 sous l’impulsion de créateurs venant du monde des comics, dont John Randolph Bray, Earl Hurd, Paul Terry et Max Fleisher. Le processus d’institutionnalisation par lequel le dessin animé en viendra à être considéré comme une catégorie de film à part entière dépend en grande partie de cette industrialisation. Les studios de dessins animés développent des techniques et pratiques managériales spécifiquement dédiées à la production à grande échelle de films d’animation. Le dessin animé se crée ainsi sa propre niche au sein d’une industrie cinématographique dont il dépend toutefois toujours entièrement. Ce phénomène d’individuation repose sur des formules narratives et des personnages récurrents conçus à partir de modèles issus des comics des années 1910. / This dissertation focuses on the institutionalization and industrialization of drawn animation. Animated cartoons are usually seen as being quite different from live action films. They were modelled on traditions found in the realm of magic lantern, opitcal toys, phantasmagoria and comics. Yet, cartoons were fundamentally filmic by nature. Technically and aesthetically, animated films were considered as a category of trick films. In the 1910s, after the pioneering work of Emile Cohl, James Stuart Blackton and Winsor McCay, who were also famous for their work as cartoonists and lightning sketch artists, the nascent industry of animated cartoons recruited talent from the comic strip and the illustration industries, including John Randolph Bray, Earl Hurd, Paul Terry and, later, Max Fleischer. The institutionalization of animated cartoons — that is, the process through which cartoons gained enough visibility so they could be legitimately considered a new category of films — is the result of their industrialization. Animated cartoons studios developed techniques and work management practices that were specific to their needs. While largely dependent on the moving picture industry, animated cartoons created their own niche. This phenomenon of individuation relied heavily on narrative formulas and recurring characters modelled after famous comics of the 1910s.

Made available in DSpace on 2016-04-26T18:16:09Z (GMT). No. of bitstreams: 1 Daniel Grizante.pdf: 2918521 bytes, checksum: 71ad07526df988433b11ffbd68ff288d (MD5) Previous issue date: 2007-05-15 / The objective of this thesis is the research and mapping of the changes undergone by animation with the increased use of computer technology in the creative and productive processes and the advent of new digital communication media. Due to the range of the term animation, an historical-evolutive line known as authorial animation was priorized. For this, contemporary works of animation with innovative use of computer technology were analyzed, including works from artists such as Mark Napier, Marius Watz, Zachary Lieberman, Ckoe, Hans Hoogerbrugge and Motomichi Nakamura, as well as animation series for the Internet such as Stainboy, Ninjai and Cinema Bulbo, and movies such as Waking Life, Ryan, Ghost in the Shell Innocence, among others. The analysis is based on Deleuze s theory of moving images (from which animation is not distinguished), as production of thought that result in a subtle relationship between language, media, technology, poetic intentions, esthetics and ethics, revealing true forms of reflection. From this analysis, three major themes, all extremely important for the comprehension of this kind of computer animation, emerged: the movement created through code, the synthetic moving image and the new media in animation and its influence on the creative process. It was established that Animation a language historically connected with technological media - occupies today an im-portant place in current audiovisual production since its approach of movement is fully compati-ble with contemporary concepts of constructing moving images / A presente dissertação tem como objetivo a pesquisa e mapeamento das mudanças sofri-das pela animação em seus processos criativos e produtivos com o crescente uso da computação e com o surgimento de novos meios de comunicação digitais. Devido à abrangência do termo a-nimação , decidiu-se priorizar uma linha histórico-evolutiva do que conhecemos como cinema de animação. Para tanto, foram analisadas obras contemporâneas de animação que utilizam a tecno-logia computacional de forma inovadora para a linguagem, a exemplo de trabalhos de artistas como Mark Napier, Marius Watz, Zachary Lieberman, Ckoe, Hans Hoogerbrugge e Motomichi, além das séries de animaçãos para internet Stainboy, Ninjai e Cinema Bulbo e dos filmes Waking life, Ryan, Ghost in the shell, entre outros. As análises deram-se a partir da constatação deleuzia-na de que a imagem em movimento, da qual a animação não se distingue, é produção de pensa-mento e, portanto, resulta de uma sutil relação entre linguagem, meios, tecnologia, intenções poé-ticas, estéticas e formações éticas, revelando verdadeiras formas de reflexão. A partir destas aná-lises, surgiram três grandes temas de suma importância para a compreensão desta animação pro-duzida mediante a utilização da computação: o movimento criado a partir de códigos de progra-mação, a imagem em movimento sintética e os novos meios de recepção da animação e sua influ-ência no processo criativo. Constatou-se que a animação, linguagem historicamente ligada aos meios tecnológicos, ocupa hoje lugar de destaque na atual produção audiovisual, já que suas a-bordagens do movimento são plenamente compatíveis com os conceitos contemporâneos de construção da imagem em movimento

Cette thèse porte sur l’impact du dessin de presse dans le combat des Noirs pour l’obtention de leurs droits, aux États-Unis et en France à des moments-clés entre 1861 et 1965, et ce dans une perspective d’histoire croisée. Suite à leur reddition lors de la guerre de Sécession aux Etats-Unis, les Sudistes dotèrent leur idéologie raciste d’une nouvelle arme de diffusion : le dessin de presse – atout majeur dans la victoire de l’Union. Au XX siècle, les Africains-Américains réagirent à la propagande sudiste : ème la guerre des images éclata. A la même époque, certains artistes noirs s’exilèrent en France pour mieux riposter. En effet Paris, moins hostile, facilitait leur expression artistique. Leur succès à l’étranger démontrait alors la responsabilité et la complicité des institutions américaines dans la discrimination raciale. Pourtant, l’attitude française n’était pas plus enviable vis-à-vis de ses colonies, notamment en Afrique noire. Si le racisme et la discrimination étaient clairement affichés aux Etats-Unis, il s’insinuait de manière plus pernicieuse dans la société française, dont les journaux contribuèrent très largement à cette émulation picturale. L'analyse croisée entre ces deux pays révèle des analogies singulières dans la représentation des Noirs dans les journaux de l’époque, tant dans le système ségrégationniste américain que dans l'empire colonial français. Les stéréotypes développés par la presse raciste archétypes dans l’inconscient collectif. Les partisans de s’imprégnèrent en l'émancipation y opposèrent leur image à différentes phases de leur combat – entre la guerre de Sécession et le mouvement des droits civiques d’un côté, de la France coloniale aux guerres de décolonisation de l'autre. Cette analyse de l’histoire de la presse et des illustrations se propose d’éclairer la convergence progressive des lois américaine et française aspirant à tendre vers une société sans préjugé racial. Elle souligne également l'idée que l'image est porteuse de sens, constitue un langage à part entière et a pleinement contribué, à l’époque, à construire et déconstruire les inégalités raciales. / Within the framework of Histoire croisée, this thesis focuses on the impact of press drawings, in France and in the USA, on the black population’s fight to obtain rights at key moments between 1861 and 1965. Following their surrender at the end of the US Civil War, the Confederates bolstered their racist ideology with a new ideological weapon, the political cartoon, a major asset in the Union’s victory. In the XX century, th the African Americans reacted to the confederate propaganda and a war of images ensued. Simultaneously, some black artists went into exile in France in order to fight back more adequately. France provided an ideal environment for artistic expression due to hostility against them in Paris being lower than in the USA. Their success abroad thus demonstrated the responsibility and the complicity on the part of American institutions in terms of racial discrimination. That said, the French attitude was far from admirable when it came to its colonies, particularly those of black Africa. Though racism and discrimination were clearly visible within the USA, these mindsets were insinuated more perniciously within French society, the country’s newspapers contributing substantially to this pictorial emulation. A focus on the inter-crossings between these two countries reveals unique analogies in the representation of black people in the newspapers of the time, both within the segregationist system of the USA as well as within France’s colonial empire. The stereotypes developed by the racist press pervaded the collective subconscious as archetypes. The partisans of emancipation protested against this propagation through the use of their own image in different phases of their fight – between the Civil War and the Civil Rights Movement in the United States; and from colonial France to the African independence movements. This analysis of the history of the press and of its illustrations seeks to shed light on the progressive convergence of American and French laws aiming at a society free from racial prejudice. It also underlines the idea that the image bears meaning, constituting a language in its own right, and that it plays a significant role in the construction and the deconstruction of racial inequality.

兒童的電視暴力行為模仿是存在的，常人由個人經驗和媒體的顯著個案報導對此現象建立表象的印證；而學者透過研究也證實電視暴力具有不良示範作用，和閱聽人─尤其是兒童─日常生活的攻擊行為脫離不了關係。但學界卻忽視了兒童的認知節目能力與電視暴力訊息的互動關係：兒童看過有暴力訊息的節目後，電視暴力訊息在兒童腦海裡會留下什麼印象；並進一步告訴常人如何扼止這些印象可能引起的不當後果。 　　本研究企圖應用故事基模理論於電視暴力訊息的研究，探討電視暴力訊息如何透過故事基模的運作，在兒童腦海中留下何種的印象。研究方法為場地實驗法配合問卷調查及深度訪談等多重方法設計。 　　研究發現，兒童的電視故事基模具有層級效果，愈上層回憶愈抽象。電視暴力訊息的高低和呈現方式，對兒童組織故事的方式沒有顯著的影響；但視覺呈現的高暴力訊息會使兒童對故事產生較多的推論；如果故事一開始就出現大量的高暴力畫面，則能強化兒童對故事開始情節的記憶。年齡和先備知識是有力的解釋變項。年長的、先備知識豐富的兒童電視故事基模較強，回憶數多、理解高、偏差少、推論多，顯見故事基模的形成一方面是自然的成熟因素，同時也受環境經驗因素的作用。 　　然而年幼兒童對於最易產生暴力訊息的反應和企圖事件的回憶數及詳細層次，與年長兒童無顯著差異，但對行為後果（施暴下場）記憶較簡略，可能因此產生施暴並無不可的解禁心理。此外，父母教育程度高、社會成績好、電視知識豐富的兒童故事基模亦較佳，尤其是男生可能因興趣使然，對本研究的故事記憶更好，且詳細記得反應和企圖事件。 　　根據研究發現，本研究建議未來電視暴力研究觀察互動情形、加強實驗設計、進行特定對象研究、進行長期研究；並對電視節目製作者提出加強故事張力減少暴力情節、不得不保留的暴力情節應淡化處理、發展電視識讀材料等實質建議。 / This study applied story schema theory to understand how children decoded the violent messages in television cartoon by a multi-method design. in-depth interviews were conducts with 60 subjects immediated after watching a TV cartoon with different violent level and media presented in a experiment. The same interviews were conducts again after one week. 　　The study demonstrate the 'effect level'in childern's TV story schema and find the top recall level is more abstract. No significant relationship between story schema and violence decoding were found, but visual-presented high violence may increase inferene and enhance memory on the beginning episode. These results correlated closely with age and story-relevant previous knowledge. Finally, the author make some suggestions to TV program producedr.

The purpose of this study is to investigate how homosexuality and homosexual adoptions are manifested in children's comic "Bamse" and study the result in the light of a brief background about the western society and gay history. The study has a historical gender perspective and focus homosexuality primarily in modern times. Drawing on critical theory and semiotic analysis, the study shows how ideas and ideology surrounding same-sex relations and parenting are negotiated in the ”Bamse” comic. 2010 was the year when the Bamse cartoon took a step into the gender debate and introduced two gay rabbits who adopted an infant. The study shows that despite the obvious intent to anchor homosexuality as normal and integrated in the society there are hidden ideologies that reveals homosexuality as abnormal and excluded. Homosexuality in "Bamse" includes a male homosexuality and no female representatives are visible. Also is homosexuality normalized by including both traditional male and female attributes and domains. The gay man emerges as emotional, scared, unused to children, colored, not belonging in a middle or upper class, surrounded by darkness, but, while fully capable of providing care to a child, just as heterosexual parents. The study reveals how ”Bamse” contains and negotiates between conflicting ideoligies about same sex parenting. This duality of the prominent ideologies may well reflect the social concepts that exist at the time of this study in the media debate. / Syftet med denna studie är att undersöka hur homosexualitet och homoadoption manifesteras i barnserietidningen ”Bamse – världens starkasta björn” och studera resultatet mot en kort bakgrund kring samhälle, ”Bamse-” och homohistoria samt genus. Studien tar sin utgångspunkt i ett historiskt genusperspektiv som belyser homosexualitet främst under modern samtid. Vid närmandet av empirin tillämpas kritisk teori och semiotisk analys för att utkristallisera föreställningar och ideologier som omfattar studieobjekt. 2010 var det år då tidningen om Bamse tog steget in i genusdebatten och introducerade två homosexuella kaniner som genom en homoadoption bildade familj. Studien påvisar att trots att ett uppenbart uppsåt finns att förankra homosexualitet som normalt och inkluderat i samhället återfinns dolda ideologier som befäster homosexualitet som avvikande och exkluderande. Homosexualitet i ”Bamse” innefattar en manlig homosexualitet då inga kvinnliga representanter syns. Likaså understryks en homosexualitet som normaliserats genom att innefatta både traditionellt kvinnliga och manliga attribut och domäner. Den homosexuella mannen framträder bland annat som känslosam, rädd, ovan vid barn, färgad, icketillhörande av medel- eller överklass, med ett avsides boende, omgiven av mörker, men samtidigt som fullt kapabel att ge omsorg till ett barn, på samma sätt som heteroföräldrar. Denna kluvenhet eller dubbelhet i de framträdande ideologierna kan också väl avspegla de samhälleliga föreställningar som återfinns vid tiden för studien i till exempel mediadebatten.