The purpose of this study was to develop a methodological approach using secondary data that researchers, faculty, and staff can utilize to assess student course performance and to identify the input and course environment factors that best predict student course success in an undergraduate lecture capture quantitative methods course. Using Astin and antonio (2012)’s Input Environment and Outcome (IEO) Model as a framework, this quantitative study examined both input variables that students bring to a course as well as the course environment factors that students experience in the course. Three secondary data sources were utilized and analyzed using descriptive and multivariate statistics. The findings revealed that students with higher levels of student course engagement and academic self-concept were more likely to achieve student course success in this lecture capture quantitative methods course. In addition, prior University GPA along with live-class attendance, discussion board posts, and course quiz and exam scores were the strongest predictors of student course success. The largest implication from this study was the methodological approach developed to identify factors that predicted student course success. This approach can be used to help faculty identify course-embedded measures for assessment as well as develop Keys for Success to help future students succeed in difficult courses. While this study added significantly to the limited research on lecture capture courses, future research should further explore qualitative aspects of the course, such as motivation and student video-viewing behaviors, as well as additional impacts on physical attendance in lecture capture courses. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2018. / FAU Electronic Theses and Dissertations Collection

The problem of this study was to determine the effectiveness of using filmed courses in physics and chemistry in addition to the traditional lecture-laboratory courses in high school.

Submitted by Maurício Neves Corrêa (mauricio_nc@hotmail.com) on 2018-11-23T01:24:16Z No. of bitstreams: 1 TESE - MAURÍCIO NEVES CORRÊA.pdf: 4749804 bytes, checksum: d535a655761db3c21f429afb666dc186 (MD5) / Rejected by Milena Maria Rodrigues null (milena@fclar.unesp.br), reason: Boa tarde Mauricio, Para aprovação no Repositório Institucional da UNESP, será necessário realizar algumas correções na sua Tese. Solicitamos que realize uma nova submissão seguindo as orientações abaixo: - De acordo com a nova Portaria n. 206, de 4 de setembro de 2018, da CAPES, nos Agradecimentos do trabalho, deverá aparecer a seguinte frase: "O presente trabalho foi realizado com apoio da Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - Brasil (CAPES) - Código de Financiamento 001". (http://pesquisa.in.gov.br/imprensa/jsp/visualiza/index.jsp?data=05/09/2018&jornal=515&pagina=22), que dispõe sobre a obrigatoriedade de citação da CAPES, nos Agradecimentos do trabalho. - O número da paginação já deverá aparecer a partir da primeira folha da introdução; Em caso de maiores dúvidas, entrar em contato com as bibliotecárias da Seção de Referência (Camila ou Elaine). Agradecemos a compreensão. on 2018-11-23T17:46:25Z (GMT) / Submitted by Maurício Neves Corrêa (mauricio_nc@hotmail.com) on 2018-11-23T20:22:23Z No. of bitstreams: 1 TESE - HETEROTOPIAS NO PAÍS DO MILAGRE- OS CORPOS INDÍGENAS E AS HISTÓRIAS FILMADAS. MAURÍCIO NEVES CORRÊA.pdf: 4739653 bytes, checksum: a3b041cd09ab10242c0d93905b0d1193 (MD5) / Approved for entry into archive by Milena Maria Rodrigues null (milena@fclar.unesp.br) on 2018-11-23T23:07:28Z (GMT) No. of bitstreams: 1 correa_mn_dr_fclar.pdf: 4739653 bytes, checksum: a3b041cd09ab10242c0d93905b0d1193 (MD5) / Made available in DSpace on 2018-11-23T23:07:28Z (GMT). No. of bitstreams: 1 correa_mn_dr_fclar.pdf: 4739653 bytes, checksum: a3b041cd09ab10242c0d93905b0d1193 (MD5) Previous issue date: 2018-05-25 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Les mots «ordre et progrès» imprimés sur le drapeau national rappellent des discours qui traversent les histoires du Brésil et constituent la nation comme «le pays du futur, le pays du miracle». Il y a cependant, dans notre société, des lieux qui flottent en fuite de ce «miracle» et de ce «progrès». Nous appelons ces espaces, aujourd'hui, des villages indigènes. Des lieux qui suscitent la fascination et la peur. Ils imprègnent l'imaginaire national d'où sortira le corps indien peint et avec un arc et une flèche, soit par admiration, soit par peur. Ces espaces sont présents en marge de notre société, ils sont à l'opposé de ce qui n'a pas de place, ce sont des hétérotopies.L'objectif de ce travail est de réaliser une recherche archéo-généalogique basée sur les études de Michel Foucault afin de problématiser les événements discursifs qui ont inventé et inventent les identités des peuples autochtones dans des histoires filmées au cours du XXe siècle jusqu'à la contemporanéité. Nous avons l'intention d'analyser des processus discursifs construits sur des matérialités filmiques qui favorisent une éthique et une esthétique de la corporalité, de la sexualité et du genre dont les effets de sens objectivent / subjectivent l'indigène brésilien. Cette analyse suppose de se concentrer sur les régimes de vérité qui constituent ces discours. Pourquoi certaines déclarations ont-elles pris de l'importance dans les médias et d'autres ont été interdites, exclues ? Quels rapports de savoir et de pouvoir ont agencé et agencent le mouvement de ces agitations historiques ? Quels sont les intérêts et les oppositions d'acteurs aussi distincts comme les Gouvernements Brésiliens, la TV Globo, les ONG, les anthropologues, les documentaristes et les indigènes eux-mêmes en tant que des producteurs de visibilités et de déclarations sur les sociétés autochtones? Pour Gregolin (2008), la fonction d'archéologue est «d'interpréter ou de faire l'histoire du présent». Cette procédure serait de montrer que «les transformations historiques ont été responsables de notre constitution actuelle en tant que sujets objectivables par les sciences, normalisables par les disciplines». De ce point de vue théorique, la proposition est de mettre en lutte les savoirs produits par les différentes productions audiovisuelles sur / des peuples autochtones du lieu historique d'où ils parlent. Dans la relation plus étroite entre discours et médias, les contributions à l'élaboration d'une Sémiologie Historique de J.J. Courtine et les propositions d'une analyse du discours de Michel Foucault par Rosário Gregolin et plusieurs chercheurs brésiliens, qui reprennent les formulations de l’AD française et amplifient les réflexions sur le fonctionnement des médias au Brésil guideront également les analyses développées dans cette recherche. / Os dizeres “ordem e progresso” estampados na bandeira nacional rememoram discursos que atravessam as histórias do Brasil e constituem a nação como “o país do futuro, o país do milagre”. Há, entretanto, em nossa sociedade, lugares que flutuam em fuga deste “milagre” e deste “progresso”. Chamamos esses espaços, hoje, de aldeias indígenas. Lugares que despertam fascínio e medo. Permeiam o imaginário nacional de onde vai emergir o corpo indígena pintado e com um arco e flecha, seja para admiração ou para o pavor. Esses espaços estão presentes nas margens de nossa sociedade, são o contrário do que não tem lugar, eles são heterotopias. O objetivo deste trabalho é realizar uma pesquisa arquegenealógica a partir dos estudos de Michel Foucault a fim de problematizar acontecimentos discursivos que inventaram e inventam identidades de povos indígenas em histórias filmadas no decorrer do século XX até a contemporaneidade. Pretendemos analisar processos discursivos construídos em materialidades fílmicas que agenciam uma ética e uma estética da corporalidade, da sexualidade e do gênero cujos efeitos de sentido objetivam/subjetivam o indígena brasileiro. Essa análise pressupõe focalizar os regimes de verdade que constituem esses discursos. Por que determinados enunciados ganharam destaque na mídia e outros foram interditados, excluídos? Que relações de saber e poder agenciaram e agenciam o movimento dessas agitações históricas? Quais os interesses e as oposições de atores tão distintos como os Governos Brasileiros, a TV Globo, as ONGs, os antropólogos, os documentaristas e os próprios índios como produtores de visibilidades e enunciabilidades sobre as sociedades indígenas? Para Gregolin (2008), a função do arqueogenealogista é “interpretar ou fazer a história do presente”. Este procedimento consistiria em mostrar que “as transformações históricas foram as responsáveis pela nossa atual constituição como sujeitos objetiváveis por ciências, normalizáveis por disciplinas”. A partir desta perspectiva teórica, a proposta é colocar em luta os saberes produzidos pelas diversas produções audiovisuais sobre/dos povos indígenas do lugar histórico de onde eles falam. Na relação mais estrita entre discurso e mídia, as contribuições na elaboração de uma Semiologia Histórica de J.J. Courtine e as propostas de uma análise do discurso com Michel Foucault empreendida por Rosário Gregolin e diversos pesquisadores brasileiros, que retomam as formulações da AD francesa e ampliam as reflexões sobre o funcionamento da mídia, no Brasil, também nortearão as análises desenvolvidas nesta pesquisa. / The words "order and progress" printed on the national flag recall speeches that cross the histories of Brazil and constitute the nation as "the country of the future, the land of the miracle." There are, however, in our society, places that float in flight from this "miracle" and from this "progress." We call these spaces, today, indigenous villages. Places that arouse fascination and fear. They permeate the national imaginary from where the painted native body will emerge with a bow and arrow, either for admiration or for fear. These spaces are present on the margins of our society, they are the opposite of what has no place, they are heterotopias. The objective of this work is to carry out an archeogenealogical research from the studies of Michel Foucault in order to problematize discursive events that invented and invent identities of indigenous peoples in stories filmed during the course of the 20th century to contemporaneity. We intend to analyze discursive processes built on filmic materialities that promote ethics and an aesthetic of corporality, sexuality and gender whose effects of meaning objectify / subjectivate the Brazilian native. This analysis presupposes focusing on the regimes of truth that constitute these discourses. Why have certain statements gained prominence in the media and others have been interdicted, excluded? What relations of knowledge and power have promoted and promote the movement of these historical agitations? What are the interests and oppositions of such distinguished actors as the Brazilian Governments, TV Globo, NGOs, anthropologists, documentarists and the Indians themselves as producers of visibilities and statements about indigenous societies? For Gregolin (2008), the function of archegenealogist is "to interpret or make the history of the present". This procedure would consist to show that "historical transformations were responsible for our present constitution as objectifiable subjects by science, normalizable by disciplines ". From this theoretical perspective, the proposal is to put in struggle the knowledge produced by the various audiovisual productions about / from the indigenous peoples of the historical place from where they speak. In the stricter relation between discourse and the media, the contributions in the elaboration of a Historical Semiology by J.J. Courtine and the proposals of an analysis of the discourse with Michel Foucault undertaken by Rosário Gregolin and several Brazilian researchers, who retake the formulations of the French AD and broaden the reflections about operation of the media in Brazil, will also guide the analyzes developed in this research.

When used in common vernacular, the terminology of the medium of theatre—"theatricality," "drama," "performance," "acting," "scene," etc."”form a vocabulary of "ideographs" as defined by Michael Calvin McGee. My analysis reveals that common usage of theatrical terms is more than merely metaphorical; the "theatre," rather, is a fundamental orienting concept for defining lived experience—it is ideology. By viewing the use of theatrical language as ideological, and analyzing how such terms define situations rhetorically, we begin to reveal the underlying ideology upon which the medium of theatre operates, and which it unconsciously conveys. I demonstrate this claim by analyzing the argument made by the stage image (an example, I argue, of a theatrical ideograph) in a cinematic context. I examine the filmed record of John Gielgud's 1964 Broadway production of Hamlet, released theatrically as Richard Burton's Hamlet, and Kenneth Branagh's 1996 cinematic adaptation of Hamlet. I conclude by discussing how theatrical ideology should inform a re-evaluation of spectacle generally, as well as discussions in mass media, politics, and the public sphere.

Cas à part dans le cinéma britannique contemporain, depuis 30 ans la société de production Working Title Films connaît un succès régulier sur la scène internationale. Son box-office cumulé se compte en milliards de dollars pour une centaine de longs métrages, qui lui ont valu des dizaines d'Oscars et de BAFTA, ainsi que quelques distinctions à Cannes, Berlin ou Venise. Ce succès attire pourtant les critiques de certains commentateurs, qui lui reprochent de se laisser submerger par les conventions du cinéma hollywoodien et de manquer d'ambitions culturelles, notamment à cause de son contrat avec la major Universal et de ses stratégies de distribution. Ils déplorent les représentations stéréotypées de la « britannicité » de certains de ses films, à l'instar des comédies de Richard Curtis ou de Rowan Atkinson. En effet, si Working Title a débuté avec un film audacieux, My Beautiful Laundrette (Stephen Frears, 1985), son premier grand succès commercial est Four Weddings and a Funeral (Mike Newell, 1994). Néanmoins, malgré leurs ambitions commerciales mondiales, Tim Bevan et Eric Fellner, les directeurs de Working Title, revendiquent leur britannicité et une « sensibilité européenne ». Celle-ci est concrétisée par un partenariat avec PolyGram Filmed Entertainment puis avec StudioCanal. Cette dimension transnationale – plutôt que transatlantique – n'est pas sans influence sur les films eux-mêmes, et concourt également à leur succès international. Plusieurs intrigues mettent même en scène des relations interculturelles. Les films affichent des stratégies de compromis entre spécificité culturelle et universalité, avec des équilibres changeants. En effet, on ne peut nier la diversité déconcertante de la filmographie, tant du point de vue des contenus culturels que du degré de créativité. Working Title collabore avec des réalisateurs britanniques d'horizons variés, comme Richard Curtis, Stephen Frears, Edgar Wright ou Joe Wright. De plus, elle franchit souvent les frontières nationales, essentiellement outre-Atlantique, en particulier grâce à son partenariat avec les frères Coen, mais aussi en Australie, en Afrique du Sud ou dans d'autres pays européens. Tout cela place donc Working Title au cœur des débats sur les enjeux du cinéma britannique actuel, concernant son identité (cinéma national / post-national), l'équilibre entre les aspects économiques et artistiques, les relations avec Hollywood, ou encore le rôle des politiques culturelles. Ainsi, cette thèse tâche de comprendre l'évolution et le succès de cette société phare du cinéma britannique, en s'attachant autant à l'étude de son fonctionnement (partenariats, développement, production, distribution) qu'à l'analyse textuelle de ses films. / A unique entity in today's British film industry, production company Working Title Films has been responsible for many international hits since its creation in 1984. Its films have earned billions of dollars, and they have won many film awards, including dozens of Academy Awards and BAFTA Awards, but also accolades in Cannes, Berlin or Venice. Yet, some commentators criticize Working Title for being excessively influenced by Hollywood, hence lacking cultural ambitions. They blame the company's partnership with Universal and underline that some of its films broadcast a stereotypical view of Britishness, especially successful comedies by Richard Curtis, or the ones starring Rowan Atkinson. Indeed, the company's first film was My Beautiful Laundrette (Stephen Frears, 1985), a creative, committed film, but its more recent films tend to be more mainstream and its first international hit was Four Weddings and A Funeral (Mike Newell, 1994). However, Working Title seems to draw some of its strength from its British identity. Tim Bevan and Eric Fellner, the two producers behind Working Title, also defend its “European sensibility”. The latter is reinforced by a partnership with PolyGram Filmed Entertainment in the nineties, and then with StudioCanal. So it is a transnational rather than a transatlantic company. Its films are transnational too, and some plots even include intercultural relationships. They use various strategies to broaden their audience, such as crossover and polysemy, and they try to balance cultural specificity with universality. However, most importantly, one cannot deny the incredible diversity of the films – regarding both their national identity and their level of creativity. Therefore, Working Title offers a fascinating case study to learn more about the issues of British cinema, about its identity (national / post-national cinema), the balance between art and industry, its relationship with Hollywood, and the role of cultural policies. In other words, this dissertation will study the evolution of Working Title Films, focusing on its methods, its strategies and also on the textual analysis of its diverse films, as a way to investigate contemporary British cinema and its issues.

In this study Learning study has been carried out as a model for skills development focusing teaching and learning processes for music teachers within the Community School of Arts. The model rests on variation theory to improve teaching and learning. The design of a Learning study consists of three video filmed lessons interwoven with continious monitoring and planning through collagiate dialogues. Work with Learning study starts from the choice of a certain aspect of knowledge, the learning object, and the identification of several critical aspects based on the pupil's current level of understanding. In the teaching situation, the teacher provides variation patterns to support the pupil’s learning.. The design of the model in this study is modified with a view to a better fit with the subject of music, and the context of teaching in the School of Arts. Starting from the cultural-psychological perspective on learning and a phenomenographic inspired method, this study aims to describe the participating teachers’ learning through their Learning study. The teachers have experienced a development of knowledge in themselves as well as in their pupils. They have assimilated a language for reflecting on the process of teaching. Reflected experience has made the didactic interaction in the teaching process visible. The collegiate dialogue has contributed to the development of more variation in the tools used for teaching. Learning study is therefore found be a useful tool in the development of music teaching in the context of Community School of Arts when enough time, continuity and a qualified coach are provided.

This thesis seeks to better understand the relationship of film genre to globalization through an examination of the use of the British romantic comedy and other related genres by the production company Working Title Films (WTF) from the 1900s through the 2000s. Because of the sudden and unexpected global success of British romantic comedies by Working Title Films such as Four Weddings and a Funeral and Notting Hill, the 1990s is a significant period for the study of the genre. In this examination the process of globalization is understood as one of complex connectivity postulated by John Tomlinson in Globalization and Culture as ‘the rapidly developing and ever-densening network of interconnections and interdependences that characterize modern social life’. This theory of globalization is used as a methodological framework to understand the complex network of global and local interconnections that has driven the development of Working Title Films over the past twenty five years to becoming one of the most important British production companies in the international film industry. Through a detailed analysis of the practices of development, production, distribution and exhibition by Working Title Films and the Hollywood dominated global film industry, this thesis seeks to understand the function of genre and genre films as cultural products, economic products and meaningful representations in the global market and to better understand Hollywood, mainstream film and cinema as social institution. The analysis in the following chapters serves as evidence to support the central argument of this thesis that the use of genre in the film industry’s production, distribution and exhibition processes of globalization was the critical area for Working Title Films to master in order to produce value as meaningful audience appeal and connectivity to global audiences for on-going economic success.