Thesis (Ph. D.)--University of Texas at Austin, 2006. / Vita. Includes bibliographical references.

Thesis (Ed.D.)--Boston University

Made available in DSpace on 2014-06-11T19:22:29Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-03-13Bitstream added on 2014-06-13T19:27:52Z : No. of bitstreams: 1 brauer_ff_me_ia.pdf: 759700 bytes, checksum: a24205985fe56799d9bd4d32774f99dc (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A partir da vídeo-documentação do Projeto Tecer, uma experiência de convivência com crianças denominadas autistas, o presente trabalho faz uma pesquisa na história do cinema e da arte buscando aproximações possíveis entre documentário e obra artística. A documentação teve dois focos, por um lado auxiliar no desenvolvimento do Projeto Tecer, por outro criar uma obra áudio-visual capaz de modificar a imagem das crianças autistas perante a sociedade. A pesquisa, que envolve um estudo sobre os filmes O homem com uma Câmera, de Dziga Vertov, Nanook of the North, de Robert J. Flaherty, e Crônica de um Verão de Jean Rouch e Edgard Morin, procura identificar aspectos artísticos do fazer cinematográfico documentário. Trata-se de filmes que trazem uma elaboração poética da linguagem cinematográfica, e, mesmo sendo considerados documentários, absorveram métodos e técnicas típicas do cinema ficcional. Tradicionalmente, o filme documentário explora uma relação com a realidade. O desenvolvimento da linguagem documentária possibilitou que essa relação ficasse cada vez mais clara na obra, ao ponto de o próprio cineasta aparecer na tela, como ocorre em Crônica de um Verão, evidenciando que o cineasta se modifica e modifica o objeto que retrata na medida em que realiza a obra. Tendo consciência da história e dos métodos de produção áudio-visual o presente trabalho apresenta o filme Entre nós, que é o resultado da documentação de cinco anos do Projeto Tecer. Um vídeo-documentário que procura reconstruir a experiência de conviver com crianças autistas de acordo com o olhar do documentalista. / Starting from the video-documentation of the Tecer Project, a living along experience with autistic called children, the present work makes a research about the history of the cinema and the art, searching for possible approaches between documentary films and artworks. The documentation had two focuses, to assist the development of the Tecer Project, and to create a film capable of modifying the image of the autistic children in the society. The research, that involves a study on the films The Man with the Movie Camera, from Dziga Vertov, Nanook of the North, from Robert J. Flaherty, and Chronicle of a Summer from Jean Rouch and Edgard Morin, tries to identify artistic aspects of the making of cinematographic documentaries. These are films witch bring a poetical elaboration of the cinematographic language, and, even being considered documentaries, they absorbed methods and typical techniques of the fictional cinema. Traditionally, the documentary film explores a relation with the reality. The development of the documentary language made possible that this relation could be clearer in the artwork, to the point of proper film maker to appear in the screen, as occurs in Chronicle of a Summer, evidencing that the film maker modifies himself, and modifies the object that he shoots, while filming it. Having conscience of the history and methods of audio-visual production, the present work presents the film Entre Nós, witch is the result of a five year documentation of the Tecer Project. A video-documentary that reconstructs the experience of living along with autistic children, according to the vision of the documentary film maker.

Orientador: Suzy Lagazzi / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-15T22:16:18Z (GMT). No. of bitstreams: 1 Neckel_Nadia_D.pdf: 5536607 bytes, checksum: 5dc7771ee69f47ba65798c0fb3d59b06 (MD5) Previous issue date: 2010 / Resumo: A produção audiovisual contemporânea inscreve-se em condições de produção fronteiriças. A materialidade singular (uma materialidade que desfaz a dicotomia verbal-não-verbal) da qual é constituído o audiovisual não se deixa aprisionar por análises rígidas e apriorísticas, não há territórios demarcados, nem tão pouco, fronteiras definidas. Categorizar determinadas produções não especializa o gesto de interpretação, por isso, dificilmente, as teorias estabilizadas dão conta de compreender o funcionamento e os deslizamentos de sentido. O dispositivo teórico-analítico da AD especializa a compreensão desse materiais por meio das noções de Tecedura e Tessitura de uma produção audiovisual e rompe epistemologicamente com a rigidez metodológica e a redução estilística. Tessitura e Tecedura, nesta pesquisa, são formulações tomadas como funcionamento da ordem da estrutura e do acontecimento do/no corpus de análise, permitindo um deslocamento teórico-analítico das noções de Poiésis e Estesia inscritas no artístico e, das noções de Inter e Intradiscurso inscritas na AD. Desta forma, a perspectiva discursiva na leitura/interpretação de imagens e/ou produção artística é capaz de dar conta produtivamente da compreensão das condições de produção e deslocamentos de sentidos presentes em materialidades contemporâneas. Nosso corpus de pesquisa e análise refere-se a materiais audiovisuais inscritos ou circunscritos pelo Discurso Artístico em seu jogo de polissemia/policromia / Abstract: The make audiovisual contemporary inscribe in conditions of production frontier. The materiality single (a materiality that unmake the ambiguousness verbal-not-verbal) that is compose the video contemporary is not prison to hard analysis and aprioristic. There aren't land delimit, end too not frontier conclusive. Categorize determined productions don't specialize the manner interpretation, to this, is hard the theories stabilized understand. The work and sliding of feeling. The dispositive analytic-theoretical of AD specialized in the understand of weave and tessitura production audio-visual and break epstemologicament with the hardly methodologist and the reduction stylistic. Tessitura and Weaving in this search, are formulations get that work of order structure and occurrence of/in corpus of analysis, permitted a displacement analytic-theoretical of conception Poesies and Etesian inscribed in the artistic and, conception of inter andintradiscourse inscribed in AD. This form, the perspective discursive at read/interpretation of drawing and/or production artistic and capacity give count productivity of understanding conditions production and displace feeling of materials contemporary that the video. My corpus search and analysis referring the material audio-visual inscribed or circumscribed by discourse artistic in your game of polysemy/plolychrome / Doutorado / Linguistica / Doutor em Linguística

M.Ed. (Didactic Education) / All over the world History as a school subject is on the defensive. This phenomenon is usually attributed to a variety of causes. In general however, the reason for this crisis is seldom seen in the traditional approach and teaching of the subject. At university, the secondary and even the primary school the understanding of the past is the cornerstone for the study of History. Accordingly History has only by accident any real value for the child living in the present day society. potentially however, History is, due to man's historicity, one of the most fundamental ways of broadening his perspective. Unfortunately this basic fact is often neglected in the approach to and teaching of the subject. Educational principles are neglected and the content seems to be relatively meaningless to the pupils. There has been a general neglect of play or simulation games as a subject for research or study. Scientists, biologists, anthropologists and psychologists have studied play, but in most cases it has been concerned with animals. It is believed that in future the power of simulation as a learning tool will attain the consideration and support it should have. Only if History is restructured at all levels in accordance with sound educational principles and in an existentially relevant way, the subject will, at least in principle, regain the ground that has been lost.

M.Ed. / Please refer to full text to view abstract

M.A. / 1. Introduction There is a need for more effective ways in which marital preparation programmes can be presented, as the demand for psychological services exceeds the supply. Psychological education and the application of psychotechnological aids, consisting of printed and video material, computer technology and interactive video-systems may be a major source through which a solution for the above-mentioned problem may be found. 2. Aim of the present study The object of this study was to compare two ways of presenting marital preparation. The effectiveness of the traditional way in which marital preparation is presented, consisting of the help of a program presenter, was compared with the effectiveness of marital preparation presented by psychotechnological aids. 3. Method of research 3.1 The research design The research design selected for the purpose of this investigation was the N = 1 sample design. This design enables one to study a single subject or a couple intensively. The effect of certain interventions can thus be evaluated. Experimental evaluation in research where the N = 1 sample design is used, is found through graphical representation, visual inspection as well as a description of the graphics and visual interpretation. 3.2 The subjects Two engaged couples participated in the research project. Neither had any former experience of a marriage preparation programme. 3.3 The measuring instruments The measuring instruments used in this investigation were: (1) The Dyadic Adjustment Scale; (2) The Empathy Scale; (3) The Communication Skills Test; (4) The' Questionnaire on Positive Reinforcement; (5) The Scoring Procedures for Problem Solving Skills; (6) The Intimacy Questionnaire; (7) Qualitative evaluation. 3.4 The experimental procedure The subjects were exposed to the marriage preparation programme in separate ways. Both couples received a workbook for engaged couples. Supplementary to the workbooks the researcher served as the presenter to the control couple. The experimental couple received interactive video modules, to be completed after each session in the workbook. In spite of the different ways of presentation the subjects had to complete the above-mentioned measuring instruments after specific sessions. It was of utmost importance that the measuring procedure was precisely the same for both couples. On the completion of the program, an-interview situation was used to obtain the qualitative evaluation from each independent couple, in regard to content and presentation of the marital preparation programme. 5. Results of the investigation In regard to the results obtained in the investigation, it appeared that both forms of presentation was duly effective. Both the control and the experimental couples showed a definite improvement with regard to relationship adjustment, from being exposed to the marital preparation programme. It was irrespective of the form of presentation. The conclusion gained was that both forms of presentation should be used supplementary to each other to achieve optimal efficiency. It was shown that both forms of presentation had valuable learning processes.

The purposes of this study are to develop criteria for examining a theory of communication and perception with particular reference to the principles of good filmstrip design, to produce a logical rationale for the step-by-step development of a filmstrip for use in the college introductory art class, to produce a sample of "Design-An Introduction", and to analyze the filmstrip on the basis of the criteria which result from the development of a theory of visually-oriented teaching which utilizes verbal means for additional amplification.

Through a comparison of the literature produced by general archival theorists with that published by photographic archivists, it becomes clear that archival principles are not routinely applied to records in photographic form. Since reflecting knowledge about records creators and circumstances of creation is a basic archival responsibility, this thesis will begin with a discussion of a variety of past and present purposes of photographers in general. The ways in which both purposes and methods can influence photographic information will also be studied. The obligation of photographic archivists to examine records and creators in terms of administrative (including legal), scholarly and other user values will then be examined. The thesis will conclude with a survey of the literature produced by North American photographic archivists to determine whether their responsibilities are fully recognized. / Arts, Faculty of / History, Department of / Graduate

"The development of school libraries is an indication of the increasing awareness among our schools of the value of instructional materials in a good school program. With a better understanding of the teaching-learning process has come the realization that library materials should include audio-visual as well as printed materials. Many of the teachers, principals and supervisors did not have the opportunities to learn about audio-visual materials because it is comparatively new. Many of these people have used these kinds of materials once or twice with little or no success and given up hopes of further use. Just get the teachers to use these materials correctly and the quality of the educational program will be greatly improved. This paper is prepared in an attempt to show the simplicity or ease with which these materials may be used and the benefits derived from using them by making teaching more effective. It is also a justification for the use of audio-visual materials in the school program. This has been justified, for reading matter on audio-visual materials is volumnous"--Introduction. / "August, 1949." / Typescript. / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts under Plan II." / Advisor: H. Dean, Major Professor. / Includes bibliographical references (leaves 27-28).