No description available.

With a view to conducting a study of the identity portrayal as presented in the film Paljas - and more specifically of the two youth characters, Willem and Emma - a few relevant theoretical concepts are included in this investigation, i.e. developmental psychology, film theory and narratology. By analysing and interpreting the film-related representation of the two youth characters it was possible to establish to which extent and in which way the identity portrayal of the two youth characters enhances the main theme of the film. It was, accordingly, also possible to elucidate facets of the placement of the fictional reality as represented in the film text and the reality as such in parallel correlation. According to the research method that was implemented certain aspects of different related sciences proved to be of integral importance. Such aspects included the psychological development of the child during mid-childhood years, the psychological development of the late adolescent, the application of film-related techniques pertaining to character portrayal and characterisation in narratology. During the course of this research the focus was on the identity portrayal of the two characters, Willem and Emma as youth characters in the film Paljas. An analysis of the identity portrayal of the youth characters implies that the investigation and application of narratology and film theory be incorporated in conjunction with theories pertaining to developmental psychology as specific point of focus. The research results were thus described by means of an integrated method. The children's experience of interpersonal communication at their home exercises an important influence on their identity development. The parents create the primary framework of reference for the children's attitude, value systems and convictions in connection with life in general as well as for their own sense of the self and their self-estimation. Key words: film, film text, film theory, identity portrayal, interpretation, youth characters, late adolescence, mid-childhood years, narratology, developmental psychology, Paljas, reception theory. / Thesis (M.A. (Languages))--North-West University, Potchefstroom Campus, 2004.

An evaporating meniscus formed by a wetting °uid in a heated capillary slot with capillary driven °flow is numerically and experimentally investigated at the microscale and pore scale. In the microscale analysis, the contact line region of an extended evaporating thin ¯lm meniscus is numerically investigated to study the influence of °uid properties on the heat transfer. The governing equations to describe the fluid °flow, heat and mass transfer phenomena in an evaporating extended meniscus are grouped uniquely as function of °uid dependent parameters, namely the interline heat flow number and heat pipe ¯figure of merit. A physical interpretation of these parameters is presented. Numerical experiments conducted with different working °fluids show that a °uid with a high interline heat °flow parameter and heat pipe ¯figure of merit also has a high cumulative heat transfer in the micro region encompassing the evaporating thin ¯lm. In the pore scale analysis, the evaporation from a pentane meniscus in a heated capillary slot is experimentally and numerically investigated to study how the wetting characteristics are influenced with heat input. In the experimental investigation, a test set up is fabricated with a heated glass capillary slot that is partially immersed in a constant temperature bath with constant °uid level. A novel aspect of this experiment is that both the wicking height and steady state evaporation mass flow rate are measured simultaneously. Based on a macroscopic force balance, the apparent contact angle of the evaporating meniscus is experimentally estimated from the wicking height and mass flow rate. This is compared with the results obtained using evaporating thin ¯lm theory. The experimentally estimated contact angle is higher than that obtained from the thin ¯lm model but both experiment and theory show similar trends. In the numerical study, a ¯finite volume numerical model of an evaporating meniscus in a heated capillary slot (simulating the above experimental condition) is developed for predicting the wicking height and mass flow rate. This model includes: (i) one-dimensional heat transfer and °uid °flow in the liquid and vapour regions of the capillary slot, (ii) one{dimensional evaporating thin ¯lm model for the meniscus region, and (iii) two-dimensional conduction heat transfer in the capillary wall. Correlations obtained from the evaporating thin{¯lm theory in terms of cumulative heat transfer and apparent contact angle are applied to the pore level problem. The problem is solved iteratively between the micro and pore scales till convergence is achieved. The wicking height is influenced by the change in apparent contact angle and the pressure drops to flow of liquid and vapor in the capillary slot that is a function of evaporation mass °ow rate. Heat input to the capillary slot increases both the contact angle in the evaporating meniscus and the frictional pressure drops in the liquid and vapor regions. In the present study, the influence of increased contact angle is more significant and the liquid and vapor pressure drops are negligible. The trends in the wicking height, mass flow rate and conductance are similar to the experimental data. The proposed numerical approach using correlations from thin ¯lm theory to link the micro and macro scales yields results that are consistent with experimental data. The results show that the change in contact angle can degrade the ability of the liquid to wet the pore and hence result in a lower heat transfer coefficident.

Made available in DSpace on 2015-05-14T12:39:30Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 969260 bytes, checksum: 00e0c2202dc73df6f0c938d0e8820493 (MD5) Previous issue date: 2011-05-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / In this thesis, we critically examine the theories of the poetic text as proposed by Roman Jakobson and Jean Cohen and Michael Riffaterre so as to recognize, from a conciliation of the three theories, a generic model of the poetic concept so as to apply such a model to the cinema. Based also on filmic theories (drawn mainly from Marcel Martin and Yuri Lotman), we investigate how the poetic dimension gets materialized in narrative fiction feature films. From the establishment of a generic model of the poetic mechanism, having verbal poetry as a parameter, we study some particular modes of the poetic configuration in the cinema, elaborating through a wide range of filmic sequences, a series of tropes that constitutes a theoretical-didactic model for the analysis of poetic resources in the cinema. / Nesta tese, examinamos criticamente as teorias do texto poético de Roman Jakobson e Jean Cohen e Michael Riffaterre com o intuito de reconhecer, numa conciliação das três teorias, um modelo geral do conceito poético e aplicá-lo ao cinema. Apoiando-nos também em teorias fílmicas (retomadas, principalmente, de Marcel Martin e Yuri Lotman), investigamos como o poético materializa-se em longa metragens narrativos de ficção. A partir do estabelecimento de um modelo geral do mecanismo poético, tomando como exemplo considerações sobre a poesia verbal, estudamos alguns modos particulares de configuração do poético no cinema, elaborando, através de exemplos de sequências fílmicas, uma série de figuras que se constitui como um modelo teórico-didático para a análise de recursos poéticos no cinema.

Stämningen en film förmedlar är en av de viktigaste aspekterna inom filmskapande och filmmediet. Det är denna stämning som har möjligheten att påverka åskådarens känslor både under filmens gång och efter att eftertexterna har rullat förbi. Detta kandidatarbete syftar till att påvisa stämningens betydelse inom filmmediet samt se hur filmskapare kan utföra filmproduktioner för att förstärka stämningen deras film förmedlar. För att uppnå detta utförde vi två filmproduktioner som resulterade i en kortfilm och en presentationsfilm. Båda produktionerna utfördes med deltagande filmskapande som sin grundpelare, som var med och påverkade alla val och beslut vi tog genom processerna. Deltagande filmskapande ledde oss även till att få fler och mer unika idéer in i våra projekt och filmer för att förstärka stämningarna som förmedlas av våra filmer. Vi valde att utgå från filmteorier angående en films tempo av Ross Hockrow och platsens betydelse av Mats Ödeen, för att sedan utföra filminspelningarna med hjälp av inspelningsmetoder som The Master Scene Method och The Split Sequence efter Blain Browns och Luis Fernando Morales Morantes beskrivningar. Vi höll till sist en förhandsvisning av våra filmer för att undersöka och sedan diskutera huruvida vi lyckats med att genom deltagande filmskapande, filmteorier och inspelningsmetoder förmedla stämningar med våra filmer. / The mood that a film conveys is one of the most important aspects in filmmaking and the film medium. It is this mood that has the opportunity to elicit emotions in the viewer, both during the movie but also after the credits has rolled. This Bachelor Thesis aim to show the importance of mood in the film medium as well as how a filmmaker can produce a film project in a way that amplifies the mood that the film conveys. To achieve this, we produced two film projects that resulted in one short movie and one infomercial. Both productions were produced with participatory filmmaking as a foundation, a method that influenced every choice and decision we made during the design process. Participatory filmmaking also led us to get several and more unique ideas for our projects and films in order to amplify the moods that our films conveys. We chose to proceed from film theories regarding the tempo of a film by Ross Hockrow and the importance of the location by Mats Ödeen, to then produce our film projects with shooting methods such as The Master Scene Sequence and The Split Sequence as described by Blain Brown and Luis Fernando Morales Morante. In the end of the design process we arranged a pre-screening of our films to check and discuss whether we succeeded to convey moods with our films with the help of participatory filmmaking, film theories and shooting methods.

Thesis is focused on media ethics and concentrate on moral values in film. The goal of thesis is to confirm or to disprove the need of applied ethics in film production. Thesis is divided into three parts. First part is focused on media ethics in film in general. Second part advise about several media theories and film in relation to ethics. Thirt part is dedicated to film semiothics and values. The core of theses is created of several aspect of film such as film editing, language and meaning through out film acting, sounds and costume. We do not emphasise good or bad impact on film on moral values but we bring out significance of value creation process. We underline film creation itself and tools of film production. The structure of thesis is interdisciplinary. I tis verz sensitive connection of ethics knowledge, media and semiothics. Interdisciplinar view brings toghether known facts and new approach. Key words: applied ethics, media ethics, film theory, film semiothics, moral values

El cine asiático, puede tomarse como un tipo de paradigma que se ha tratado de alejar del establecido por la casi monopólica industria del cine hollywoodense. Este cine se ha etiquetado eurocéntricamente como “cine periférico”, todo esto a causa de la simplificación a la que a veces se somete a estas cinematografías, desdibujando su rica diversidad. A veces un cine cargado de sensualidad cinematográfica pero no explícita necesariamente, sino más bien sutil. Desarrollan tramas no tan complejas, o en ocasiones si, pero que emplean un ritmo cinematográfico lánguido con elementos visuales y auditivos que atraen al público a comprometerse con el encuentro en la sala de cine. Expresando la figura de la mujer alejada de la idea falocentrista y del constructo estereotipado de: la buena (la virgen y la madre) y la mala (la prostituta y la femme fatal), la virtuosa (la acompañante fiel) y la viciosa (quien aparece como presa fácil de cualquier hombre). Todo lo que en occidente ha sido tratado desde la perspectiva del hombre, en su papel de guionista, director de cine, productor o crítico. / Asian cinema can be taken as a type of paradigm that has tried to move away from the one established by the almost monopolistic Hollywood film industry. This cinema has been labeled Eurocentrically as "peripheral cinema", because of the simplification that these cinematography’s are sometimes subjected to, deleting their rich diversity. Sometimes this type of cinema is loaded with cinematographic sensuality not necessarily explicit, but rather subtle. They develop plots that are not so complex, or sometimes they are, but totally inversed in a languid cinematographic rhythm that uses visuals and sounds elements that try to make the public committed with the experience of their movies. This cinema also, show us the figure of a woman far away from the phallocentric idea and the stereotypical construct of: the good woman (the virgin and the mother) and the bad woman (the prostitute and the femme fatal), the virtuous (the faithful partner) and the vicious (who appears as easy prey to any man). Everything that in the West has been telled from the perspective of man, in his role as screenwriter, film director, producer or critic. / Trabajo de investigación

Bilge Olgac, one of the first female directors of Turkey, who shot her first film in 1965, shaped her films according to the developments in Turkey. This thesis investigates how Olgac was affected by the events that took place in Turkey from the 1960s to the 1980s and how she reflected this impact on the representations of men and women in her films. The study seeks answers to the following questions;  *How has political, economic, and social changes in Turkey, influenced Bilge Olgac and her films from the end of the 1960s and beginning of the 1970s to the 1980s? *How are men and women and their relationship represented and how is the gaze indicated in the films? These research questions are tried to be answered by analyzing Olgac’s films Lawless Land (1967), Dark Day (1971), Gulusan (1985) and Ipekce (1987). While analyzing women and femininity and men and masculinity in these films, Laura Mulvey’s Male Gaze theory is used. Findings suggest that between 1965-1975, Olgac tried to keep up with the male-dominated cinema industry on the one hand and tried to impose herself in the industry on the other and directed melodramas in which women were represented as weak and passive and men were represented as strong and active. Olgac, who took a break from cinema in 1975, focused on female protagonists by presenting a different perspective to the audience in the 1980s. However, detailed analyses of the films also reveal that she could not get rid of the dominant ideology and the female characters in her films could not escape from traditional roles. In other words, Olgac’s films reflect patriarchy, similar to the Hollywood films Mulvey has examined.

This thesis offers a feminist perspective on the character development on Daenerys Targaryen in the TV-series Game of Thrones and Rhaenyra Targaryen in House of the Dragon. It mobilizes Laura Mulvey’s notion of the male gaze, which addresses the objectification of female character in classical Hollywood film, as well as Clarie Johnston’s critical take on the cinematic ideological construction of the image of woman. Another source of inspiration is the so-called Bechdel test, which was initially suggested by graphic novelist Alison Bechdel, but the widely adapted by feminist cinephiles as a useful tool to study the representation of woman in film. Examining the character development of Daenerys and Rhaenyra Targaryen in Game of Thrones and House of the Dragon on their journey towards claiming the Iron Throne, this thesis examines three episodes of Game of Thrones and two episodes of House of the Dragon.  The analysis shows that the male gaze is still present in the control, coercion and disciplining of the series’ female characters. Claire Johnston’s theorizations about the objectification of the female characters are echoed in the representation of two female characters’ struggle to lead a country as a woman. Moreover, not each of the series’ episodes would pass the Bechdel test.

The rapid development of generative AI technology challenges traditional ideas of authorship. This thesis investigates the concept of authorship in AI cinema, an emerging approach to filmmaking where advanced AI technology is used in the film production process. The study is focused on the AI film The Frost (Josh Rubin, 2023). It is a short film that stands apart as one of the first films to heavily utilize generative AI to create visuals for the film. Through the critical lens of Walter Benjamin’s theories of authorship, this study examines the effects of the usage of AI technology on the creative process in the film The Frost. The study analyzes how the usage of generative AI affects authorship in cinema. To address the presence of AI in the art creation process, Walter Benjamin’s theories on authorship from his works The Work of Art in the Age of Mechanical Reproduction and The Author as Producer are extended by introducing the concept of “orderer,” a person that prompts the AI system to generate content.