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Galima teigti, jog ilgą laiką filosofija kino atžvilgiu buvo nusiteikusi priešiškai. Filosofai bei menininkai abejojo kino priklausomybe meno sričiai, nes kinas, anot jų, neturi savitos ir unikalios kalbos, o režisieriai piktinosi, jog filosofai, interpretuodami tam tikrus filmus, jiems primeta savas teorijas, taip atimdami iš kinematografinio meno jo unikalumą. Šio darbo tikslas – pažvelgti į kinematografinį meną iš filosofinės perspektyvos, o, tiksliau, kokias prielaidas interpretuojant kiną gali pasiūlyti filosofija. Aptariant tokius konceptus kaip – laikas, trukmė, kinematografinis mechanizmas, vaizdas, vaizdinys-judėjimas, vaizdinys-laikas, momentinės nuotraukos, montažas ir kt. – nuo filosofinės disciplinos pereinama prie kinematografinio meno, bei bandoma įrodyti, jog kinas, bent jau kartais, turi nemažai bendro su filosfinėmis teorijomis. Kino kuriami vaizdiniai gali tapti iliustracijomis filosofijos kuriamų konceptų. / We can say, that for a very long time, philosophy was bad-minded in regard to cinema. Philosophers and artists had doubts about cinema‘s subordination to art, because, in their opinion, cinema doesn‘t have his own, unique language, and film directors were in anger, because philosophers, in their interpretations of certain films, tried to enforce their own theories to cinema, by taking away its unique being. The aim of this work - to look into cinematic art from philosophical perspective, more precise, what assumptions of cinema interpretation can offer philosophy. Discussing concepts like – time, duration, cinematic mechanism, image, image-movement, image-time, snapshot, montage – we move from philosophical discipline to cinematic art, by trying to prove, that cinema has something common with philosophical theories. Images composed by cinema, can become illustrations of philosophical concepts.

xii, 315 p. / Independent filmmaking in China, with the directors' reiteration of literary and cinematic realism carried on from May Fourth, reflects the nation's social uneasiness triggered by the enlarging division between the enlightenment indenture and the unidirectional modernization project. Resisting the national allegories and Hollywood-style big budget fantasies made by the Fifth Generation, independent filmmakers bring back to the screen the unadorned life of city inhabitants. The meaning of "independent" and "alternative" does not exclusively lie in the production and distribution venues but is galvanized by film directors' perception and cinematic depiction of what constitutes the social realities of contemporary China. The locality of hometown and the corporeality of the filmed subjects help to sustain a legitimate image-space for the socially underrepresented, at a time when the Party co-opts the discourse of nation-state to renew their regime. Directors employ the politics of sexuality, where body is the only thing remaining in their control, to usher in a redefinition of the Party and reassure the agency of Chinese intellectuals who were betrayed during the June Fourth massacre. The exegesis of the independent generation extends to the digital video (DV) filmmakers, whose cinematic language features the increased sense of interrogation between the camera and the characters. For the directors' claims of neither representing the people nor wrestling against the Party, nonetheless, DV films retreat to a safe but enclosed space, in which the aggrandized size of the body on screen displays a fractioned and diminished self cutting off from the outside world and falling short of its full potential. Independent filmmaking in China derives its policy-shaping capacity from its increasing participants (domestic audiences, amateur filmmakers, critics, and scholars) and multiplying operative channels (film funds, online forums, and non-official archives), collectively converting filmmaking from a privilege exclusive to the state apparatus and its elite delegates to a right of self-expression belonging to each individual. / Committee in charge: Alison M. Groppe, Chairperson; Tze-Lan Sang, Member; Alisa D. Freedman, Member; David Li, Outside Member

In this thesis, I explore the ways the sensory experience of war is staged as a corporeal apprehension of space in the Hollywood war film. Placing an emphasis on films that foreground tactile, and sonic experience in combat as a key dimension of symbolic meaning in the depiction of war, I move beyond the emphasis on optics and weaponised vision that has largely dominated contemporary writing on war and cinema in order to highlight the wider sensory field that is powerfully evoked in this genre. In my conception of war cinema as representing a somatic experience of space, I am applying a term recently developed by Derek Gregory within the theoretical framework of Critical Geography. What he calls “corpography” implies a constant re-mapping of landscape through the soldier's body. Gregory's assumptions can be used as a connection between already established theories of cartographic film narration and ideas of (neo)phenomenological film experience, as they also imply the involvement of the spectator's body in sensuously grasping what is staged as a mediated experience of war. While cinematic codes of war have long been oriented almost exclusively to the visual, the notion of corpography can help to reframe the concept of film genre in terms of expressive movement patterns and genre memory, avoiding reverting to the usual taxonomies of generic texts. The thesis focuses on selected films exemplary of the aesthetic continuities and changes in American cinema's audio-visual representation of war (with each chapter centring on a specific military conflict and historical constellation): All Quiet on the Western Front (1930), Paths of Glory (1957), Objective, Burma! (1945), Fury (2014), Men in War (1957), The Boys in Company C (1978), Rescue Dawn (2006), and Zero Dark Thirty (2012).

Submitted by (lucia.rodrigues@ufrpe.br) on 2016-11-22T14:24:42Z No. of bitstreams: 1 Mauricio Gualberto Pelloso.pdf: 3442648 bytes, checksum: 223632b585f34690e465b9e9f43ecbe0 (MD5) / Made available in DSpace on 2016-11-22T14:24:42Z (GMT). No. of bitstreams: 1 Mauricio Gualberto Pelloso.pdf: 3442648 bytes, checksum: 223632b585f34690e465b9e9f43ecbe0 (MD5) Previous issue date: 2007-02-27 / In this work, we investigated the elements considered by high school to analyze continuous and discreet cinematic graphs and how they relate this information with the movement which is represented by them. Another factor that we considered is the fragmentation, proposed by George Kelly, that was identified in students’ answers, through incoherent justifications given to different items of a same problem. Our sample was formed by nine students, of a stare public school located in Caruaru town. These students answered a written activity that contained five continuous cinematic graphs and two discreet cinematic graphs, and then, five of them interviewed using the technique of the Círculo Hermenêutico-Dialético (CHD). After that, we realized four workshops lasting two hours each, in order to review basic concepts on cinematic graphs. We applied, after the workshops, the same written activity and interviewed three of those students, using the same technique. The results pointed out that students present more difficulties when they work with continuous cinematic graphs than when they use discreet cinematic graphs. Among those difficulties, there is an emphasis on graph’s drawing. This work highlights the need to investigate how teachers approach Mathematics and Physics graph’s. This is due to the verification that students do not seem to have developed that basic competence and, the role of fragmentation in the learning process. The research objectives were reached, and our hypothesis was confirmed. We concluded that discreet cinematic graphs can be explored in Physics classes before continuous cinematic graphs, since they cause less understanding difficulties. / Neste trabalho, investigamos os elementos que são considerados por alunos da 1ª série do Ensino Médio para analisarem gráficos cinemáticos contínuos e discretos e como relacionam essas informações com o movimento que é representado por eles. Outro fator que consideramos é a fragmentação, proposta por George Kelly, que foi identificada nas respostas dos alunos, através das justificativas incoerentes entre si, dadas para itens diferentes de um mesmo problema. Nossa amostra contou com nove alunos de uma escola da rede pública estadual na cidade de Caruaru, aos quais aplicamos uma atividade escrita que continha cinco gráficos cinemáticos contínuos e dois gráficos cinemáticos discretos. Após a aplicação dessa atividade, realizamos uma entrevista com cinco alunos, utilizando a técnica do Círculo Hermenêutico Dialético (CHD). Em seguida, realizamos quatro encontros, em forma de oficina, com duas horas de duração cada uma, com a finalidade de revisar conceitos básicos sobre gráficos cinemáticos. Aplicamos, após as oficinas, a mesma atividade e realizamos a entrevista com três desses alunos, utilizando a mesma técnica. Os resultados encontrados apontam que os alunos apresentam mais dificuldades em trabalhar com gráficos cinemáticos contínuos do que com gráficos cinemáticos discretos. Entre essas dificuldades, destaca-se o desenho do gráfico. Este trabalho aponta a necessidade de se investigar como os professores têm abordado gráficos, tanto os de Matemática, quanto os de Física, pois constatamos que os alunos não parecem ter desenvolvido essa competência básica e, ainda, o papel da fragmentação no processo de aprendizagem. Os objetivos traçados para esta pesquisa foram alcançados, bem como confirmamos nossa hipótese. Concluímos que os gráficos cinemáticos discretos podem ser explorados nas aulas de Física antes dos gráficos cinemáticos contínuos, uma vez que aqueles apresentam menor dificuldade de compreensão.

Le corps utopique au cinéma dont il est ici question ne désigne pas un objet de pensée emprunté à Michel Foucault et appliqué à quelques corps dématérialisés ou extraordinaires à l'écran, mais un outil heuristique pour envisager les modalités historiques et esthétiques à travers lesquelles le corps des images informe les images du corps et leur confère une dimension critique – se retournant alors tout autant vers la technologie qui les incarne, pour en révéler les puissances et les fictions, que vers le corps objectivé des sciences dont elles éprouvent les limites. C'est l'empreinte lumineuse des coureurs de la station physiologique de Marey qui déjoue l'invisible du mouvement à travers ses strates superposées, et les projections fantasmagoriques qui convoquent la présence des morts au sein des vivants. Ce sont aussi les horizons cinématiques ouverts par la théorie de la relativité et mis en œuvre par le cinéma – jusque dans sa manière de filmer le corps sportif pour saisir les temporalités intimes de l'effort et de l'extase. Ce sont enfin les zoomorphismes d'un cinéma contemporain, occupé à déjouer l'anthropocentrisme des images. Chacune de ces utopies – transparence, réversibilité, hybridité – déploie simultanément une virtualité du corps et de l'image en redistribuant les modalités de leur analogie : dans les images spectrales des sciences et de la fantasmagorie, le corps est à la fois visible et invisible ; dans la variation expérimentale des vitesses de l'image et du montage, il échappe au flux temporel ; dans la tentative de déjouer le regard anthropocentré du cinéma, il absout ses frontières pour se métamorphoser en entité hybride. Notre réflexion se situe ainsi à l'interface d'une anthropologie des images du corps, d'une esthétique du film et d'une archéologie de ses techniques. / The utopian body in film, under discussion in this thesis, does not refer to an object of thought borrowed from Michel Foucault and applied to some dematerialised or extraordinary bodies on the screen, but to a heuristic tool for considering the historical and aesthetic modalities through which the cinematic body put a critical focus on both the fictional powers of cinema techniques and the presumed objectivity of scientific imagery. Such bodily utopia is manifest in Étienne-Jules Marey’s chronophotographic prints, which foil the invisibility of movement through their superimposed strata, and in magic lanterns and fantascopes, which invest the living with spectral presence. It is also apparent in the cinematic horizons opened by the theory of relativity and implemented by the cinema – the manner, for example, of filming the athlete’s body in order to capture the intimate temporalities of effort and ecstasy. Finally it is present in the zoomorphism of contemporary cinema, occupying and frustrating the anthropocentrism of images. Each of these utopias – transparency, reversibility, hybridity – simultaneously deploy the virtuality of bodies and of images, redistributing the logics of their analogy: in the spectral images of the sciences and the phantasmagoria, the body is at once visible and invisible; in the experimental variation of the speed of image and montage, the body escapes temporal flux; in the attempt to circumvent the anthropocentric gaze of the cinema, the body absolves its own frontiers in order to metamorphose into a hybrid entity. This reflection is therefore situated at the interface of an anthropology of images of the body, an aesthetics of the cinema and an archaeology of its techniques.

This thesis presents young British readers? engagement with manga regarding literary, aesthetic, social, and cultural dimensions. The study explores young readers? points of views of their reading preference ? manga. I investigated how children interpreted manga, with respect to the artistic techniques, the embedded ideologies, and the cultural elements therein. I also looked into children?s participation in manga fandom and its social meanings. This allowed me to explore what attracted British readers to this exotic text. This study involved 16 participants from two schools, aged between 10 and 15, with genders represented equally. The participants were grouped by gender in each school. Each group of students received three group interviews based on three manga that they were required to read in advance. Individual interviews with each student followed the group interviews, and all the students were asked to keep reading reflections. The findings show that the attraction of participants to manga includes at least five dimensions. First, manga is a visually rich text, which not only had great power in rendering vicarious experiences to the students, but also allowed the struggling students to grasp the meanings of the text better. Second, both the verbal and the visual storytelling were characterised as fragmentary, which inspired the students? imagination to join the creation of the story. Third, manga provided a temporary shelter where the participants could forget a stressful and frustrating reality. In addition, they felt that they gained renewed hope, refreshed energy, and insights to face potential challenges and difficulties in their lives. Fourth, the elements of Japaneseness and otherness made manga reading a rich experience of an exotic culture. Fifth, manga afforded collective pleasures in fan communities where the students could express their passion and gained a sense of identity.

Esta pesquisa tem por objetivo a comparação entre três sequências de uma obra cinematográfica adaptada de um romance e o texto original em língua espanhola, como estratégia para o ensino de língua estrangeira. Visando a esse objetivo foi selecionado como objeto de estudo comparativo o romance mexicano Como água para chocolate, de autoria de Laura Esquivel (1989), e sua adaptação para o cinema, de autoria de Alfonso Arau (1993). A proposta é a de apresentar um estudo comparativo entre os gêneros literário e cinematográfico e suas respectivas linguagens. Finalmente, em face da obra original e da adaptação do romance para o cinema, procedemos a um cotejamento do romance e dos diálogos do filme, em que foram observadas as aproximações e afastamentos entre a obra original e sua adaptação para o cinema. Para cumprir esta proposta, toma-se como referencial teórico a teoria dialógica da linguagem de Bakhtin e do Círculo. Primeiramente, nas reflexões de Bakhtin e do Círculo, além de nas de leitores críticos dessa teoria para tratar dos conceitos de enunciado, de gêneros discursivos, de axiologia, de signos ideológicos, de exotopia e de cronotopia, observando-se as relações dialógicas que se estabelecem entre o filme e a obra escrita. Em segundo, para tratar da linguagem verbo-audiovisual, recorre-se à leitura de Dondis (2000); para tratar da linguagem das cores, recorre-se à leitura de Guimarães (1998), entre outros. Este trabalho se justifica pela contribuição que pode dar a professores de línguas e a estudantes universitários e também pelo interesse e pela familiaridade dos jovens com a linguagem verbo-audiovisual na atualidade. Assim, o filme adaptado da obra possibilitaria despertar a leitura do original mexicano, aproximando os alunos da cultura e da língua espanhola, promovendo uma análise mais crítica acerca dos textos literários e suas adaptações para os textos cinematográficos e sobre a linguagem verbo-audiovisual. A metodologia empregada foi a da pesquisa bibliográfica e foi feita a análise da linguagem verbo-audiovisual. / This research aims the comparison among three sequences of cinematographic adapted novel and the original text in Spanish language, as a strategy to teach a foreign language. Aiming at this objective it was selected as the object of comparative study the Mexican novel called Como água para chocolate, by Laura Esquível (1989) and its adaptation to the cinema, written by Alfonso Arau (1993). The proposal is to present a comparative study between literary and cinematographic genres and their respective languages. Likewise, in face of the original work and the adaptation to the cinema, we have a mutual comparison of novel and the dialogues of the film in that the approximation and the distance were observed between the original work and film adaptation.To carry out this proposal, take reflections of language Bakthin and the Circle, in addition to the critical readers of this theory to treat the concepts of utterance discursive genres, axiology of the ideological signs, exotopy and chrnotherapy, observing the dialogical relationships which are established between film and written work. Second, to treat audiovisual-verb language refers to reading Dondis (2000): to treat the language of colors, turn to the reading of Guimarães (1998), among others. This work is justified by the contribution that it can give to language teachers and college students and also for the interest and the familiarity of young people with language audiovisual-verb these days. Thus, the film adapted work would awake the reading of the original Mexican, approaching the students of Spanish language and culture, put the analysis back in circulation, more critical about literary texts and their adaptations to the film texts.

This is a fascinating time of digital media and new technologies. They offer immersion and interaction and they challenge us, as creators, to work in alternative ways, create more space for the audience and develop our ideas across media while staying true to our artistic principles. During my research, I developed a body of work that includes films, VR, AR, film and stand up comedy as a way to investigate cross-fertilisation in the creative field between different formats, practices and individuals. / <p>This is the written part of the research and is supplementing the exposition in Research Catalogue.</p>

The increasing availability of modern head-mounted displays have spurred interest in social virtual reality (VR) applications, but their immersion-inducing features limit the use of important nonverbal social cues in multiuser contexts. Embodied avatars have proven useful in increasing the social affordances of real-time rendered VR applications but remain underexplored in cinematic virtual reality (CVR). In the present study, three different conditions were evaluated in co-located CVR where participants watched 360° videos together in pairs; one condition had no visual representation of the co-watcher, one condition had a translucent cone representing the co-watcher’s viewing direction, and one condition had both the cone and a set of hands representing the co-watcher. Social presence was measured through the Networked Minds Social Presence Inventory and a semantic differential scale, presence was measured through the iGroup Presence Questionnaire, and participants’ use of implicit and explicit spatial references (i.e., “there” versus “next to the blue house”) was analyzed. The results indicate that simple embodied avatars can increase presence and social presence in CVR, and lead to more face-to-face-like verbal behavior. / Intresset för sociala VR-applikationer har stigit i takt med spridningen av moderna VR-glasögon, men applikationer för två eller fler användare är svåra att realisera i och med att glasögonen blockerar viktiga ickeverbala sociala signaler. I realtidsrenderad VR har de sociala interaktionsmöjligheterna kunnat förbättras genom så kallade embodied avatars men deras effekt har hittills inte undersökts i cinematisk VR (CVR). I den här studien utforskades tre betingelser av embodied avatars i ett CVR-experiment där deltagarpar tittade på 360° filmer tillsammans i ett rum. En betingelse saknade avatar, i en betingelse representerades ens partners blickfång av en halvgenomskinlig kona, och i en betingelse representerades ens partner av både konan samt ett par virtuella händer. Social presence mättes genom the Networked Minds Social Presence Inventory och en semantic differential scale, presence mättes genom the iGroup Presence Questionnaire, och deltagarnas användning av implicita (”där”) och explicita (”bredvid det blå huset”) spatiala uttalanden analyserades. Resultaten visar att enkla embodied avatars kan öka både presence och social presence i CVR, samt leda till verbal kommunikation som liknar den vi använder i när vi interagerar ansikte mot ansikte.