Thesis (M.F.A.)--Rochester Institute of Technology, 1992. / Typescript.

Typescript.

Thesis (M.S. in Community Research and Action)--Vanderbilt University, Dec. 2007. / Title from title screen. Includes bibliographical references.

Thesis (Ph. D.)--Georgia State University, 2006. / Title from file title page. Ted Friedman, committee chair; Kathy Fuller-Seeley, Angelo Restivo, Jung-Bong Choi, Alisa Perren, committee members. Electronic text (249 p.) : digital, PDF file. Description based on contents viewed Oct. 29, 2007. Includes bibliographical references (p. 236-249).

Thesis (Honors)--College of William and Mary, 2009. / Includes bibliographical references (leaves 84-87). Also available via the World Wide Web.

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / A partir da anÃlise dos trÃs primeiros filmes de longa metragem do cineasta cearense Rosemberg Cariry, buscou-se aqui perceber qual imagem de sertanejo e sertÃo à posta na tela de cinema. Considerando a historiografia sobre o assunto, compreendemos que os filmes estudados trazem uma idÃia de sertÃo dinÃmica e de sertanejo como agente transformador do seu espaÃo. Divergindo da interpretaÃÃo que o considera atÃvico e inerte, guiado pelas determinaÃÃes do meio, a obra deste diretor tenta mostrar que, fazendo uso de tradiÃÃes que se renovam, os sertanejos de sua trama fÃlmica tornam os sÃmbolos que os emolduram como bÃrbaros em gritos de rebeldia por uma sobrevivÃncia digna, colocando-se num conflito com o social, e nÃo com o natural, como se convencionou acreditar. Assim, localizado em seu tempo, o cinema de Rosemberg Cariry atua, sobretudo, veiculando a arte neste processo de transformaÃÃo. / From the analysis of the three first films of the director pertaining to the state of Cearà Rosemberg Cariry, it was researched here the perception of which image of âsertanejoâ* and hinterland is shown in the screen. Condidering the historiography on the subject, we have understood that the studied film bring a dynamic idea of hinterland and âsertanejoâ as transforming agent of his space. Despite the intrepretation which considers him atavic and inert, guided for the determination of the environment, the work of this director tries to show that, through the traditions which renew themselves, the âsertanejosâ of his plot turn the symbols which label them as Barbarians into shouts of revolt for a worthy survival, placing themselves in social conflit, and not a natural one, according to what was estipulated to be true. Thus, located in their time, the movies of Rosemberg Cariry act out the reality, over all, propagating the art in the process of transformation. * The man who lives in the hinterland.

The diploma thesis is focused at mythology of the current myths and basic semiotic features that appear in these films. It analyses and uncovers mythological structures that create a platform for the mores, and derives conclusions about the present society. It chose 30 most successful movies as a muster to analyze. It is divided in two main parts; the first one is focused at mythological aspects. Firstly, it describes the most frequent myths that appear in the majority of the analyzed movies. In the next chapters, it analyzes briefly some specific movies and points out their most distinct features. The second part is focused at semiotic features that are used by the film makers and tries to explain their meaning. The last part of the diploma thesis compares the Euro-American film production with that of Asia (especially China).

Le contrôle automatique de caméra est un composant essentiel en cinématographie virtuelle à la fois pour la sélection des points de vue appropriés dans une scène 3D ou pour passer en revue efficacement le contenu d'un environnement 3D. Les applications de cinématographie virtuelle reposent sur des critères réalisme afin de provoquer un impact positif chez le spectateur. Dans cette thèse, nous présentons deux contributions. Tout d'abord, nous proposons une métrique permettant d'évaluer et de corriger l'équilibre visuel dans les images basée sur un large éventail de caractéristiques visuelles, dont la taille, la silhouette, la position et la saillance d'objets cibles, associés à des métriques liées aux positions et orientations des objets. Le procédé consiste à annoter des images bien équilibrées, pour estimer automatiquement la façon dont chaque caractéristique influence l'équilibre visuel dans chaque image. Nous proposons de créer une base de données d'images annotées de façon à (i) évaluer l'équilibre dans une nouvelle image en comparant ses caractéristiques visuelles à celles de la base de donnée, et (ii) d'optimiser automatiquement les points de vue dans une scène 3D de façon à recréer un équilibre visuel. Deuxièmement, nous présentons les Camera Motion Graph, une technique pour générer facilement et efficacement des séquences cinématographiques en temps réel dans des environnements 3D dynamiques. Un Camera Motion Graph est composé de (i) morceaux de trajectoires de caméra réelles exprimées dans le repère local d'une ou plusieurs cibles, (ii) de transitions continues entre les trajectoires des caméras et (iii) de transitions représentant des sauts directs d'une trajectoire à une autre. Les échantillons de trajectoires sont construits en extrayant des mouvements de caméra à partir de véritables films en utilisant des techniques de vision par ordinateur, ou par capture de mouvement en utilisant un système de caméra virtuelle. Une transformation est proposée afin d'exprimer les trajectoires des caméras dans une représentation normalisée. Le Camera Motion Graph est alors construit par échantillonnage de toutes les paires de trajectoires de caméras et le calcul des possibilités de transitions continues ou directes. Les résultats que nous présentons illustrent la simplicité de la technique, son adaptabilité à différents environnements 3D ainsi que son efficacité. / Automated camera control techniques are key components of virtual cinematography systems by providing means to select appropriate viewpoints in a 3D scene and to efficiently review the content of a 3D environment. In this work we present two contributions. First, we propose an example-driven on-screen balance metric which estimates how well balanced is the composition of a shot. Our metric accounts for a large set of visual features including size, silhouette, position and saliency of target objects, together with metrics related to character’s positions, orientations and gaze. The process consists in annotating well balanced images, to estimate automatically how each visual feature influences balance in each image. We then rely on this database of annotated images to (i) estimate how well new images are balanced by comparing their visual features, and (ii) automatically optimize viewpoints in a 3D scene to enforce balance. Second, we present Camera Motion Graphs, a technique to easily and efficiently generate cinematographic sequences in real-time dynamic 3D environments. A camera motion graph consists of (i) pieces of original camera trajectories attached to one or multiple targets, (ii) generated continuous transitions between camera trajectories and (iii) transitions representing cuts between camera trajectories. Pieces of original camera trajectories are built by extracting camera motions from real movies using vision-based techniques, or relying on motion capture techniques using a virtual camera system. A transformation is proposed to recompute all the camera trajectories in a normalized representation, making camera paths easily adaptable to new 3D environments through a specific retargeting technique. The camera motion graph is then constructed by sampling all pairs of camera trajectories and evaluating the possibility and quality of continuous or cut transitions. Results illustrate the simplicity of the technique, its adaptability to different 3D environments and its efficiency.

The aim of this Master's thesis is to conduct a strategic analysis of the multiplex CineStar Mladá Boleslav from a perspective of its management. This analysis provides information and suggestions for improvement, which this management can use during an effort to influence strategic goals of the multiplex, when these goals are primarily defined by management of the CineStar Company. The thesis is divided into three parts - theoretical, methodical and practical. The theoretical part consists of a definition of related notions and putting a strategic analysis into context. The methodical part identifies and describes applied methods and tools of a strategic analysis. The practical part consists of the strategic analysis of the multiplex CineStar Mladá Boleslav, which is divided into analysis of superordinate strategy, external analysis, analysis of stakeholders and analysis of internal sources and abilities. Outputs of these partial analyses are subsequently consolidated in a SWOT analysis and lead to formulation of strategic recommendations.

This diploma thesis discusses the process of Czechoslovak cinema in the fifties and sixties of the 20th century in the communist régime and under the Soviet influence. Labour analysis one of the most exciting period of Czechoslovak history in which alternated years of heavy dictation with years of social and cultural release. The first part focuses on the issue of nationalization of the film in the early fifties. The second part deals with the circumstances of the beginning of the brightest period of Czechoslovak cinema, new wave. The third part describes consequences that August 1968 and subsequent standardization had for local filmmakers. Throughout the work are surveyed facts commented by former protagonists of the time, Antonin Jaroslav Liehmem and Jiri Menzel, who gave interviews for the purposes of this study, the full text of these interviews are also included at the end. The goal is to find answers to questions about how much the Czechoslovak cinema was influenced by the Soviet Union, than if nationalization of cinematography had only negative or even some positive consequences, whether the emergence of a new wave was just an accidental phenomenon or if it was the inevitable answer to the former policy and whether it could be possible to the new wave arise in today's conditions.