This report aims to present the work process behind a degree project at Mälardalen University, in cooperation with Volvo CE, Eskilstuna. The report aims to examine how a machine maintenance device can be presented. The purpose of the report is to anchor the understanding between action and results. Based on literature studies,analyzes and tests done with the target group, two prototypes have been developed to show how different subjects can be presented. The prototypes are created in a visual comic-like manner that emphasize the person behind the work. At the same time a comparison between two different ways of working and its results is clarified. / Denna rapport ämnar presentera den arbetsprocess som står bakom ett examensarbete på Mälardalens Högskola, i samarbete med Volvo CE, Eskilstuna.Rapporten ämnar behandla hur ett material om förunderhåll av maskiner kan presenteras. Rapportens syfte är att förankra förståelsen mellan handling och resultat. Utifrån litteraturstudier, analyser och tester med målgruppen har två prototyper framtagits för att påvisa hur olika ämnen inom förunderhåll kan presenteras. Prototyperna är skapade i ett serie-manér som framhäver människan bakom arbetet. Detta samtidigt som en jämförelse mellan två olika arbetssätt och dess resultat tydliggörs.

À travers une séries d'études de cas éclairées par l'apport de l'éthologie, l'histoire de l'art, la psychologie cognitive et les neurosciences, cette thèse tente de répondre au paradoxe apparent du cinéma d'animation qui rend les personnages stylisés et caricaturaux sont plus à même de faire oublier leurs artificialité que les personnages visant au plus grand réalisme. / Through a series of case studies, supported by reasearch in art history, ethology, cognitive psychology and neuroscience, this dissertation aims at explaining the strange animated film paradox that makes stylised and caricatural characters more efficient than characters tending towards strong realism at overcoming their artificialit / Doctorat en Information et communication / info:eu-repo/semantics/nonPublished

This study is about underlying discourses of two tv-series for children from opposite parts of the globe. Focus lays on which morals and values adults choose to teach children through popular culture, even on an unaware basis and how does differ, or not, between different societies. The theoretical framework chosen for this study are semiotics in combination with the concept of the gaze by Laura Mulvey. Semiotics is the study of signs and their underlying meanings constructed by society. By studying popular culture with the tools provided by semiotic analysis it is possible to discouver underlying myths, social constructions of society, that are reproduced over and over again to remain alive. Mulveys theory of the gaze is helpfull in the process of decoding those constructions to discover the dominant partys and norms represented. In this particular study underlying structures such as patriarcal power relations, unequality between the representation of different ethnicities and the consistent presents of the male gaze where discovered. The conclusions made are that some social constructions are more global then others and that popular culture in a high degree mirrors societies norms, preferences and values.

Director Anno Hideaki's series Neon Genesis Evangelion caused a sensation when it first aired on TV Tokyo in 1995 and has become one of the most influential anime ever made. Since its premiere, fans across the globe have debated the possible interpretations of the complex plot, but little has been said about how composer Sagisu Shiro's score might contribute to understanding the series. Anno's rehabilitation in a Jungian clinic and subsequent personal study of human psychology plays heavily into understanding the main character Ikari Shinji, and music has much to contribute to appreciating Shinji's view of the world. Shinji is an impressionable fourteen-year old boy, so his musical interpretations of the people and things around him do not always match reality. Sagisu's music gives the viewers welcome insight into Shinji's thoughts and feelings as he matures throughout the series.

This practice-led Ph.D. is comprised of a body of work (hybrid films) and its contextual analysis. Together they constitute a method that aims to understand and re-interpret the dialogical relationship between live action and animation filmmaking. The research argues that from its beginning the art of moving images has presented a struggle between opposed tendencies such as imprint and construction , machine eye and artist s hand , dissection of time and condensation of time that are found between the unstable duality of live action and animation. While mainstream cinema has focused most of its efforts on taming the collisions that occur within the integration of live action and animation, it has also relied on the interface s instability to animate its being. As the interface becomes more invisible in the digital age, this research reconsiders the interaction between live action and animation in moving-image production and the construction of meaning in filmmaking as it incorporates the digital into its languages. In contextualising the double and fluctuating nature of co-presence in live action and animation, my question is How could the integration of the opposing attributes of live action and animation interrupt perceptual realism and produce a sense of estrangement in a meaningful way? Firstly this involves identifying the constantly mobile tension between live action and animation. Secondly integration is informed by ideas of estrangement and derealisation , and methods of interrupting perceptual coherence within the screened world to reveal insights into the world of social relations. Two underlying themes are addressed: (1) the uncanniness of co-presence, and (2) the expression of subjectivity through this co-presence. Interrogating the constructedness of the hybridised figure as it appears on screen by exposing its inherent conflicts, and exploring the aesthetics of estrangement and the expression of subjectivity in hybrid films led to an inquiry about cinematic time and movement. This revealed another dimension to the difference and interrelationship between live action and animation. Being both the source and outcome of these themes as expressed in the written thesis, the practical component of this project consists of three hybrid films: Nothing to Do with Weather (3 50 ), Animating Animator the Animated (2 47 ), and Flying Tunes (8 27 ). Theoretical findings are identified through the analysis of works by other artists and discussion of their concepts, and my own practice contributes to knowledge by inspiring, assessing and demonstrating my ideas on hybridity. My three practices are, to some extent, an allegory about the alienation a Far-East Asian filmmaker may feel in a world seemingly dominated by Western paradigms. The films chart my Far-Eastern Asian independent filmmaker s research as a journey towards an adaptation of the aesthetics and methods of contemporary filmmaking originating in Western culture and philosophy. As a piece of research, the transformation of the researcher through practice may be considered of significance in the formation of theory.

Esta dissertação analisa a série iconográfica de cartuns e charges sob o título geral de Os Zeróis, do artista gráfico Ziraldo Alves Pinto, entre os anos de 1967 e 1972. Paródia aos super-heróis das histórias em quadrinhos norte-americanas Super-Homem, Batman, Capitão América etc. , Os Zeróis oferecem uma perspectiva crítica aos ideais e aos valores transmitidos por essas personagens. Nesse sentido, situam-se essas personagens, num primeiro momento, por princípio e por método no contexto político-histórico em que foram concebidas Guerra Fria, no contexto internacional, e Ditadura civil-militar, em nível nacional. Com isso, pretende-se perceber as estratégias que Ziraldo utilizou para, num cenário adverso, dada a censura do regime militar, manter-se atuante. Em um momento seguinte, parte-se à análise da trajetória profissional de Ziraldo, sobretudo àquela relacionada com a produção de histórias em quadrinhos nacionais, que teve na revista Pererê (1960-1964) seu ponto alto. / This dissertation analyses the iconographic series of cartoons and caricatures under the general title of Os Zéróis by the graphic artist Ziraldo Alves Pinto, between the years 1967 and 1972. As a parody of superheroes from North American comics such as Superman, Batman, Captain America , Os Zérois provides a critical perspective to the ideals and values transmitted by these characters. In this sense, they are located at first, by principle and method, in the historical and political context in which they were designed: the Cold War, as international context, and the civil-military dictatorship, at the national level. With this approach, one intends to understand the strategies used by Ziraldo to remain active even in an adverse scenario considering the censorship of the Military Regime. In the following moment, the analyzis of Ziraldo\'s professional trajectory is started, especially in regard to the production of national comics whose climax was Pererê magazine (1960-1964), reaching the Os Zéróis in 1967 until 1972.

Neste trabalho, propõe-se um estudo do processo de urbanização observado na cidade de São Paulo nos anos 1900-1914, por meio da análise de charges presentes nos jornais e revistas em circulação no período. As transformações aceleradas ocorridas no espaço urbano, e vividas intensamente por seus habitantes, foram resultado direto do grande projeto encampado para a cidade na virada dos séculos XIX-XX: o \"progresso\" de São Paulo. Palavra recorrente nos argumentos para a transformação do espaço urbano, tornou-se verdadeira bandeira e marca de identidade desejável para a cidade, sua população, seu passado e mesmo seu futuro. Porém, esse discurso modernizador, embora fortíssimo, possuía sérias falhas e fissuras, observadas e apontadas argutamente por desenhistas e cronistas por meio da poderosa e impertinente linguagem do humor visual. Componentes importantes do regime visual da época, as imagens de humor revelam facetas pouco exploradas da apreensão que os cidadãos faziam do espaço urbano e das transformações em andamento na cidade, bem como ângulos imprevistos para antigos problemas sociais paulistanos. / This work is a study about the process of urbanization in São Paulo city in the years 1900-1914, through the analysis of cartoons reproduced in the journals and magazines of the mentioned period. The accelerated transformations occurred in the urban space, intensily experienced by their inhabitants, was a direct result of a project designed to the city at the turn of XIX-XX centuries: the \"progress\" of São Paulo. A persistent word related to the arguments about the transformations of the urban space, \"progress\" become the truly sign of a desirable identity to be produced for the city, its population, its past and even its future. However, this discourse of modernization, even though very strong, has many and serious imperfections, noticed and revealed ingeniously by the cartoon artists and chroniclers through the powerful and \"petulant\" humour\"s language. Important pieces of the \"visual regime\" of the period, the humour drawnings reveal unexpected angles of the citizen\"s sight of the urban space, it\"s progressive transfiguration and old (and well-knowed) commom problems to the people of São Paulo.

Made available in DSpace on 2016-04-28T19:33:28Z (GMT). No. of bitstreams: 1 Marisa da Costa.pdf: 1551008 bytes, checksum: decce2ee4e0f90ba52d4f187abd8e201 (MD5) Previous issue date: 2011-05-02 / This essay is related to the Research Field Text and Discourse in spoken and written modalities of Portuguese Language Post-graduate Studies Program. It has the target to examine the linguistic-discoursive resources which appear on Maitena‟s cartoons, aiming the production of the meaning of the text and, therefore, the comicality present in it. As a presupposed there is the interactional language conception, which recognizes the reader as an active subject, who participates in building the text sense. Cartoons are a discoursive genre constituted by verbal and non-verbal text, which main characteristic is atemporality and universal set of themes, and have the communicative proprosal of promoting a social reflection with a certain grade of humour. To achieve our target, we present a broad view of other genres that use the iconic-verbal language aiming to better situate cartoon as our object of study. The theories presented by Possenti (2008), Travaglia (1990), and Rosas (2002) stresses the importance of humouristic text as a source of language research. Our essay contributes, thus, as a reinforcement to these author‟s ideas in the way it explores linguistic and discoursively the genre in question / Esta dissertação situa-se na Linha de Pesquisa Texto e Discurso nas modalidades oral e escrita do Programa de Estudos Pós-Graduados em Língua Portuguesa. Tem, por propósito, investigar os recursos linguístico-discursivos presentes nos cartuns de Maitena com vistas à produção do sentido do texto e, por conseguinte, da comicidade nele presente. Como pressuposto, tem-se a concepção interacional da linguagem, que reconhece o leitor como sujeito ativo e participante na construção do sentido do texto. Os cartuns são um gênero discursivo constituído de texto verbal e não verbal, cuja característica principal é a atemporalidade e a universalidade temática e cujo propósito comunicativo consiste em provocar uma reflexão social com certo grau de humor. Para atingir nosso objetivo, apresentamos um panorama de outros gêneros que se utilizam da linguagem icônico-verbal, com o fito de melhor situar o cartum como nosso objeto de estudo. As teorias apresentadas por Possenti (2008), Travaglia (1990) e Rosas (2002) acentuam a importância dos textos humorísticos como fontes de pesquisa da linguagem. Nosso trabalho contribui, assim, como um reforço à ideia desses autores na forma com que explora linguística e discursivamente o gênero em questão

O presente trabalho objetiva observar os valores subjacentes na elaboração da comicidade e os recursos expressionais utilizados na construção do sentido do desenho animado dos Simpsons. Tendo como pressuposto que, no discurso persuasivo, são mobilizados mecanismos retóricos para produção de efeito de sentido, observaremos como tais mecanismos são utilizados na produção do efeito cômico, com base nas teorias da enunciação e do risível / This work aims to evaluate the underlying values in the working up of the comicality and the expressional resources employed in the Simpsons cartoon meaning creation. Assuming that in the persuasive discourse the rhetoric mechanisms are gathered for the meaning effect creation, we evaluated how such mechanisms are employed and how the comical effect is created based on the theories of the laughabla and of the enunciation.

Made available in DSpace on 2017-07-10T16:17:09Z (GMT). No. of bitstreams: 1 Silvana _Vailloes.pdf: 8365848 bytes, checksum: f872581aa6a38840820ca1956bc769a8 (MD5) Previous issue date: 2014-06-16 / This paper intends to verify the contribution of the work by the cartoonist and journalist Henfil for informal education. The Fradim magazines (issues 1-3) were used to show his contribuition as cartoonist.The literature survey included authors who analyzed Henfil s works, as Silva (2002 , 2004 , 2007) , Moraes (1997 ) , as well as in informal education: Gohn ( 2006, 2008 , 2010) , Bittencourt ( 1999); Fantin (2006 ) and Pacheco (2009 ). The use of comics as media for the contribution to the informal education included authors as Vergueiro (2009 ). It also aims to discuss the techniques used by the author, under the production of comics, their nuances and the scope that media has in contributing to the education and political awareness, especially emphasizing the period of repression and censorship where Henfil s work is inserted. Gubern & Gasca (2011 ) and Eisner (1989, 2005) contributed as authors for this analysis. The objective was to prioritize the upbringing of this artist s work; in order to do that , testimonies of people considered opinion leaders were collected , such as teachers , journalists , cartoonists and politicians who had contact with the work and felt influenced by his creation.Thus, we can say that the Henfil s work had also a social resonance on the them. By considering the Fradim magazines for analysis we seek to understand the author's work in a broad sense, since it appeared only in fragmented forms in other newspapers and magazines.The depictions of Henfil meant a way of opposition to the military regime , as well as his contributions to a broad new way of education and training : the one that comes through various media and from books; of what oneself is exposed to in everyday life.These contacts contribute to the educational training of people, however that does not happen in the formal educational spaces and are important for the perception of reality. Even that Henfil had used various languages and media to highlight his work, such as magazines, newspapers, television, theater and even film, the contribution offered by the comics may be considered unique, since it contributes to the formation of new readers, as well as the perception of a world that is inferred by the design, the graphic forms and language, which are not distanced from the critical conception of the subjects covered. / Este trabalho tem como intenção verificar a contribuição da obra do cartunista e jornalista Henfil para a educação informal. Considerando seu trabalho como cartunista, foram utilizadas as revistas Fradim (número 1 ao 30), atentando-se para a sua contribuição no âmbito das charges e cartuns. A pesquisa bibliográfica compreendeu autores que voltaram seu olhar para a análise do trabalho do Henfil, como Silva (2002; 2004; 2007), Moraes (1997), bem como sobre a educação informal como Gohn (2006; 2008; 2010), Bitencourt (1999); Fantin (2006) e Pacheco (2009); o uso dos quadrinhos como mídias para a contribuição para a educação informal compreendeu autores como Vergueiro (2009). Também se objetivou discutir as técnicas utilizadas pelo autor no âmbito da produção dos quadrinhos, de suas nuances e do alcance que essa mídia tem na contribuição para a educação e para a conscientização política, principalmente, ressaltando-se o período de repressão e censura em que está inserida a obra do Henfil. Para essa análise da linguagem chargística, contribuíram autores como Gasca e Gubern (2011) e Eisner (1989; 2005). O objetivo foi priorizar o caráter formador da obra desse artista; para tanto, foram utilizados depoimentos recolhidos de pessoas consideradas formadoras de opinião, como professores, jornalistas, cartunistas e políticos, que tiveram contato com a obra e sentiram-se influenciadas por sua criação. Sendo assim, é possível afirmar que a obra do Henfil teve ressonância social, também pelos formadores de opinião. Considerar as revistas do Fradim para a análise constituiu-se numa busca de examinar a obra do autor de uma forma ampla, já que em outros jornais e revistas da época ela aparecia apenas de forma fragmentada. As representações de Henfil significaram uma expressão de oposição ao Regime Militar, assim como suas contribuições para uma nova e diversa maneira de produzir discursos e práticas educativas: a que surge por meio das mídias diversas, dos livros, daquilo com que se tem contato no cotidiano. Tais relações contribuem para a formação educativa das pessoas, por mais que não aconteçam nos espaços formais de educação, são importantes para a percepção da realidade. Mesmo que Henfil tenha se utilizado de diversas linguagens e mídias para evidenciar sua obra, tais como revistas, jornais, televisão, teatro e até cinema, a contribuição oferecida pelos quadrinhos pode ser considerada ímpar, já que contribuiu na formação de novos leitores, assim como para a percepção de um mundo que está inferido pelo desenho, pelas formas gráficas e pela linguagem, que não se distanciavam da concepção crítica sobre os assuntos abordados