Submitted by Swane Vicente (swane_vicente@hotmail.com) on 2016-07-08T15:03:34Z No. of bitstreams: 1 Dissertação Salete da Silva Lima.pdf: 9609779 bytes, checksum: ecaf5da9395c9e3198a4256d526609d7 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2016-07-11T14:25:17Z (GMT) No. of bitstreams: 1 Dissertação Salete da Silva Lima.pdf: 9609779 bytes, checksum: ecaf5da9395c9e3198a4256d526609d7 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2016-07-11T14:33:02Z (GMT) No. of bitstreams: 1 Dissertação Salete da Silva Lima.pdf: 9609779 bytes, checksum: ecaf5da9395c9e3198a4256d526609d7 (MD5) / Made available in DSpace on 2016-07-11T14:33:02Z (GMT). No. of bitstreams: 1 Dissertação Salete da Silva Lima.pdf: 9609779 bytes, checksum: ecaf5da9395c9e3198a4256d526609d7 (MD5) Previous issue date: 2015-12-21 / FAPEAM - Fundação de Amparo à Pesquisa do Estado do Amazonas / This research aims to map the subjectivity production process in the narratives of stories for environmental education created by students/specialization course teachers in Environmental Education with emphasis on Sustainable Educators Spaces, from the Agricultural Sciences School (Faculdade de Ciências Agrárias - FCA), executed at the Continuing Education Center, Technology Development and Services for the Public Education Network (Centro de Formação Continuada, Desenvolvimento de Tecnologia e Prestação de Serviços para a Rede Pública de Ensino - CEFORT), Education School of the Federal University of Amazonas. The research is centered on a triple movement: the first one on a theoretical character, focused on the concept of subjectivity production process; the second in the appliance of the Pedagogical Atelier using the theoretical assumption of the “Mythological Hero Trajectory” for the analysis and creation of the narratives for environmental education; and third the production of a verification list for pedagogical use of cartoons on the environmental education for the first year of elementary school. The methodology used was mapping, focused on Guattarian conception that at the same time describes, intervenes and creates subjectives efects. The result achieved was positive, with the creation of stories riches in singularities, testifying that the methodology of the Atelier appliance favored the build of structures of thought and action faced to the creativity of new pedagogical mediators. / Esta pesquisa cartografa o processo de produção de subjetividade nas narrativas das histórias para educação ambiental criada pelos alunos/professores do curso de Especialização em Educação Ambiental com ênfase em Espaços Educadores Sustentáveis, da Faculdade de Ciências Agrárias-FCA, realizado no Centro de Formação Continuada, Desenvolvimento de Tecnologia e Prestação de Serviços para a Rede Pública de Ensino - CEFORT, da Faculdade de Educação da Universidade Federal do Amazonas. A pesquisa está centrada em triplo movimento: o primeiro de caráter teórico, focado no conceito de processo de produção de subjetividade; o segundo na aplicação do Ateliê Pedagógico utilizando-se do pressuposto teórico da “Trajetória do Herói Mitológico” para análise e criação de narrativas para educação ambiental; e terceiro a produção de uma lista de verificação para uso pedagógico de desenhos animados na educação ambiental para o primeiro ano do ensino fundamental. A metodologia foi a da cartografia, centrada na concepção guattariana de a um só tempo descrever, intervir e criar efeitos-subjetividade. O resultado alcançado foi positivo, com a construção de histórias ricas de singularizações, comprovando que a metodologia da aplicação do Ateliê favoreceu a construção de estruturas de pensamento e ação voltadas para a criatividade de novos mediadores pedagógicos.

[pt] Compreender identidades e valores construídos pelas crianças, em suas brincadeiras e jogos, a partir das interfaces com os desenhos animados contemporâneos é o principal objetivo deste trabalho. Tomando como eixos de análise a representação da criança como protagonista e herói e a configuração de novas fronteiras entre os mundos infantil e adulto nesses textos midiáticos, pretende-se discutir os modos como crianças e adultos definem e negociam papéis e lugares sociais na cultura contemporânea. A busca por competências, saberes e informações para a inserção em uma cultura lúdica, que se configura em rede e é atravessada por narrativas de diversos suportes midiáticos, apresenta-se como um outro aspecto relevante nas experiências cotidianas da infância contemporânea e, por isso, consiste, também, em um dos focos de análise. Os conceitos de dialogismo e alteridade, de Mikhail Bakhtin, são centrais por permitirem, de um lado, compreender as relações entre a experiência subjetiva e os discursos midiáticos e, de outro, construir uma perspectiva metodológica voltada à construção de conhecimentos e experiências por parte de crianças e adultos no próprio processo de pesquisa. / [en] To comprehend how children construct values and identities in their play and games, through interfaces with contemporary cartoons, is the main objective of this work. Assuming the representation of child as protagonist and hero and the configuration of new boundaries between childhood and adulthood on these media texts as analysis axis, this research intends to discuss the ways children and adults have been defining and negotiating social roles and places in contemporary culture. The search for competencies, knowledge and information for the entrance in a play culture, which is designed as a network and crossed by narratives from different media, constitutes another relevant aspect in children daily experiences, that is why it is also considered as one of the analysis focus. Dialogism and alterity concepts, defined by Mikhail Bakhtin, are central because they allow, on the one hand, to comprehend the relationship between subjective experience and the media discourses and, on the other hand, to construct a methodological view aimed at the construction of knowledge and experiences by children and adults during the research process.

This study presents a design framework for helping Chinese companies and designers to create effective animated cartoon characters for promoting brands. Previous research has demonstrated that animated characters which companies use to promote their brands appear to have a good chance of gaining and holding consumers’ attention. However, most relevant research in this area was conducted decades ago and focused on TV advertisements. There is little relevant research into new media advertisements featuring animated characters in an international context even though online advertising is growing. Furthermore, several academic researchers in China have begun to explore this topic without the benefit of practical research. As a result, the Animated Cartoon Promotional Characters (ACPC) are rarely developed and used although the animation industry has boomed in the Chinese market. ACPC for client companies which are created by commercial designers or design studios are not always in accordance with the preferences of their target customers. A design framework is therefore needed to provide a detailed design procedure for potential customer involvement. In order to achieve this, the Sanyuan Foods Company has been involved as a case study in this research. A series of surveys and focus groups with potential customers and interviews with Sanyuan and professional animators have been employed to improve the design process, to explore and identify more effective design procedures and to develop a design framework for the production of ACPCs. Secondary research has also been conducted in order to trace the historical issues and growth of promotional characters which have been employed successfully by selected companies; to determine the design process and fundamental features, functions and narrative for these animated promotional characters; and to discuss the relationship between different age groups and promotional characters, customers' favour and loyalty. The final framework has been evaluated by the development and testing of a “family“ of 2D and 3D hybrid computer characters for Sanyuan Foods and a series of short promotional animations and web site. Results show positive agreement with theoretical predictions and significant improvement over previous efforts. The research presented here has significant implications for future studies on branding strategy.

This dissertation examines Adult Swim, Cartoon Network's late-night programming block, which has developed into one of the most popular entertainment brands for adults. Expressing and shaping adult sensibilities of the time Adult Swim has been able to become the most popular cable network for (male) adults 18 to 34 years old. Launched in 2001, Adult Swim emerged at a moment in the U.S. when technological developments were changing the television landscape and the meaning of adulthood was fervently being discussed in the media as assumptions and realities of adult life continued to be in conflict. The goal of this dissertation is to understand the contemporary society and media culture as well as the defining characteristics and tensions of contemporary adulthood, adult taste, and adult culture by investigating Adult Swim's rise to a popular entertainment brand among young adults. Through a contextualized critical analysis of selected Adult Swim television texts, representation of Adult Swim in the mainstream press, and Adult Swim fans' online discussions in Adult Swim's official message boards this dissertation interrogates what branding/programming strategies it uses to appeal to its "adult" viewers, how it constructs and understands its "adult" viewers, and how it establishes its brand identity. With its low-budget, Do-It-Yourself (DIY) style of cartoon and live comedy series that are full of ironic, pop culture references and absurd, surreal humor, Adult Swim has established a unique sensibility that resonates with many young adults and built itself as a "different" and "creative" network brand. However, this dissertation demonstrates that Adult Swim's "unconventional," "edgy" brand identity relies on its male-centric programming strategies that either render women invisible or make use of blatantly sexist jokes for its "adult" appeal. In addition, this dissertation explains that despite featuring many queer characters Adult Swim appropriates queer identity and politics to advance itself as a "subversive," "non-mainstream" and "different" network (a brand identity that greatly appeals to young adults) rather than to subvert heteronormativity and promote LGBT rights. Furthermore, this dissertation interrogates how Adult Swim uses interactive media to invite its viewers to participate in shaping and maintaining its brand identity as a network that "listens to" its viewers and to form sensibility and feelings of conand to construct o form an affective relationship with the Adult Swim brand and to establish itself as a brand that "listens to" and understands the sensibility, affect, and feelings of contemporary young adults who comprise the Adult Swim audience.

Based on the cartoon show The Simpsons, the present investigation finds out that  there are differences in the communicative competence between male and female speakers, especially the selected characters from the cartoon show, in terms of their use of minimal responses. The focus will be on the frequency, type and function of male and female usage of minimal responses.

När en förväntning kring en spelkaraktärs utseende och rörelsemönster bryts kan det få oväntade effekter i hur denna tolkas. Det kan kopplas till normer och Uncanny Valley-teorin. Denna studie tagit upp information kring Uncanny Valley och normer, jämfört hur en Zombie & en Cartoony-karaktär uppfattas när de får byta rörelsesätt och utvärderat detta genom att koppla dem till Uncanny Valley-teorin och förväntningar. Data har samlats in via semistrukturerade intervjuer och slutsatsen är att karaktärer som bryter mot förväntningar kan skapa obehag. I denna studie tas information om normer bland zombier och cartoons upp, samt en detaljerad bakgrund kring uncanny valley. Hur reagerar deltagarna när de stöter på något som inte är som man tänkt är problemformulering. Resultatet visas som ett stapeldiagram tillsammans med en skriven sammanfattning och en diskussion som beskriver element som kan ha påverkat resultatet. För att utföra intervjuer bör man känna till de etiska och samhälleliga aspekterna, samt lagarna kring. Som sista del beskrivs det hur denna information kan hjälpa till i framtida studier.

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Orientador: Prof. Dr. João Paulo Gois / Dissertação (mestrado) - Universidade Federal do ABC, Programa de Pós-Graduação em Ciência da Computação, 2017. / Uma tarefa difícil para animadores é redesenhar modelos 2D para cada nova visão ou pose. Como consequência, várias aplicações têm sido propostas para tornar este processo mais fácil. Uma abordagem bem sucedida é a técnica de Modelagem Cartoon 2.5D. O objetivo desta ténica é automatizar o cálculo de novas visões ¿ pela simulação da rotação global 3D ¿ a partir de entradas 2D fornecidas pelo usuário. No entanto, os trabalhos anteriores de modelos 2.5D não apresentam esquemas para criar novas poses de maneira eficiente, i.e., o usuário redesenha as visões de entrada novamente na nova pose. Para esta finalidade, nós apresentamos uma nova abordagem que permite ao usuário criar novas visões e novas poses para os modelos 2.5D. Criamos uma estrutura hierárquica de ossos que explora a metodologia de modelos 2.5D, garantindo a coerência entre a estrutura de ossos e o modelo. A usabilidade da técnica apresentada é intuitiva, especialmente para usuários já familiarizados com outras ferramentas 2.5D. / A laborious task for animators is to redesign of 2D models for each new required view or pose. As a consequence, several applications have been proposed to make this task easier. A successful approach is the Cartoon 2.5D Models. Its goal is to automaticaly produce new views (by the simulation of 3D global rotation) from userprovided 2D models. However, previous works of 2.5D Models does not have support to calculate poses efficiently, i.e., the user redraws the input views again in the new pose. We present a novel approach that allows the user to produce both new views and poses easily for the 2.5D Models, thus puppeteering the 2.5D Models. It makes use of a hierarchical bone structure that explores the methodology of the 2.5D Models, ensuring coherence between the bone structures and the model. The usability of our approach is intuitive, especially for the users acquainted with previous 2.5D Modeling tools.

Made available in DSpace on 2014-12-17T14:36:12Z (GMT). No. of bitstreams: 1 IvamCS.pdf: 1480535 bytes, checksum: a124e1c758c0bc4730c99231a73e11ed (MD5) Previous issue date: 2008-12-11 / This research investigates the graphic humor, in particular the political cartoon and the cartoon, texts characterized by mixing visual-oral language, and its contribution in the formation of the reader. Recovers the main theories about the comicality in general and verifies the presence of these concepts into the texts of graphic humor and how they articulate themselves within the process of seducing the reader. Grounded in the studies of Umberto Eco about the cultural industry products and its relations with the literary theories and the aesthetics reception. After analysing texts of graphic humor, the study concludes that the triad, image-word-humor reveal a sophisticated arrangement which allows the reader to practice effectively the political cartoons and cartoons of production, of sense, cooperating in such a singular manner to the formation of a reflexive reader / A pesquisa investiga o humor gr?fico, em particular a charge e o cartum textos caracterizados pela hibridez da linguagem visual-verbal, e sua contribui??o na forma??o do leitor. Resgata as principais teorias sobre a comicidade em geral e verifica a presen?a desses conceitos nos textos de humor gr?fico e como se articulam no processo de sedu??o do leitor. Fundamenta-se nos estudos de Umberto Eco sobre os produtos da ind?stria cultural e sua rela??o com a teoria liter?ria e a est?tica da recep??o. Ap?s analisar textos de humor gr?fico, o estudo conclui que a tr?ade imagem-palavra-humor revela um sofisticado arranjo que permite ao leitor das charges e cartuns um exerc?cio eficaz de produ??o de sentido, cooperando de modo singular para a forma??o do leitor reflexivo.