The common perception that sound design is a subset of postproduction sound, and that most film sound professionals are more technicians than artists, is an assumption that leads to erroneous conclusions about the nature of film sound as a component of filmmaking. Specific sound designers have been elevated to celebrity status while other film sound professionals remain unknown. Additionally, the computerization of postproduction sound contributes to the misconception that these professionals are workstation operators who merely construct film soundtracks from sound libraries and/or elements designed by the main sound designer. In the 1990s, the initial transition from analogue to digital postproduction sound practices began in motion pictures. The three major American film sound communities—Hollywood, the San Francisco Bay Area, and New York—had developed unique approaches to sound design largely due to cultural, labor, and economic differences between the three cities. The three communities worked from different historical contexts, within different union regulations, and were subject to different economic structures. These differences predisposed the three geographical sound communities to different workflows and attitudes toward sound design. By examining three case studies of award-winning soundtracks from the three regions—Barton Fink (1991), Bram Stoker’s Dracula (1992), and The English Patient (1996)—it becomes clear that the three communities, when confronted with the initial technological changes of the 1990s, experienced similar challenges with the inelegant transition from analogue to digital. However, their cultural and structural labor differences governed different results. Rather than define the 1990s as an era of technological determinism—which would be a superficial reading of the era—it is an era best understood as one in which sound professionals became more viable as artists, collaborated in sound design authorship, and influenced this digital transition to better accommodate their needs and desires in their work.

Disney is one of the largest media companies in the world. They have been critizied for portrayting men, women and love relationships with stereotypical behaviours and attributes. This may lead to negative effects on childrens and adolescents perception of reality. The purpose of this study was to investigate how Disney portrays the dynamic between the characters within the love relationship in their movies launched in the 21st century. This study has examined four movies released in the 21st century containing a love relationship between a man and a woman. Movies examined were; Atlantis - The Lost Empire, The Princess and the Frog, Tangled and Frozen. For this study, a quantitative content analysis with qualitative elements was applied to answer the purpose and issue of the study. The study measured the frequency of the characters activities and actions when they are with and without each other, what they are doing together and who is the initiator of classical love actions. The results for this study presented interesting patterns. Both female and male characters were often portrayed with stereotypical behaviuors in Disneys animated movies. However, these patterns differed when the characters were with and without each other. When the characters were together, the female characters tended to be portrayed with more male attributes, whilst the male characterstended to be portrayed with more female attributes. Additionally, Disney tend to portray love relationships in a stereotypical and unrealistic way.

This study firstly explored whether individuals can identify character strengths (Peterson & Seligman, 2004) depicted by characters in positive psychology movies. Furthermore, the study investigated whether their existing character strengths and well-being are augmented or developed through viewing these films. A mixed method design exploratory qualitative approach with a phenomenological design was followed where quantitative data were obtained with a two-group pre- and post-testing design with a retention test. Participants were assigned to an experimental (n=15, mean age= 28.67, SD age = 8.79) and control group (n=15, mean age = 25.67, SD age = 9.28). A self-developed strength questionnaire and five standardized scales, namely Mental Health Continuum – Short Form (MHC-SF) (Keyes, 2006); the General Psychological Well-being Scale (GPWS) (Khumalo, Temane, & Wissing, 2010); the Subjective Happiness Scale (Lyubomirsky, 2008); Coping Self-Efficacy Scale (CSE) (Chesney, Neilands, Chambers, Taylor, & Folkman, 2006) and the Patient Health Questionnaire (PHQ-9) (Kroenke & Spitzer, 2002), were administered to measure psychological well-being. Qualitative data were obtained through focus groups and questionnaires that were completed after the viewing of each film. Qualitative results suggest that participants were able to identify 22 of the 24 character strengths (Peterson & Seligman, 2004) as depicted by characters in the movies. Furthermore, participants were able to relate to the characters and report how they use the depicted strengths in their own lives. ANCOVA‘s revealed a medium increase (Cohen‘s d- value = 0.47 - 0.74) in the strengths: open-mindedness, zest, kindness, leadership and modesty immediately after the intervention and a large increase (Cohen‘s d-value = 0.9) in humour immediately and a month after the intervention. A medium to large (Cohen‘s d = 0.45 - 0.87) decrease was found on the strengths perspective and forgiveness immediately after the intervention, and in authenticity, love; appreciation of beauty and excellence, gratitude and hope a month after the intervention. Social intelligence showed a decrease (Cohen‘s d-value = 0.46; 0.51) immediately and a month after the intervention. A medium increase (Cohen‘s d-value = 0.53 - 0.56) in general well-being and emotional well-being was found a month after intervention, while general coping efficacy and coping via support from friends and family showed this increase (Cohen‘s d-value = 0.53; 0.56) immediately after the intervention in the experimental group. A contradictory finding was, that social well-being showed a medium (Cohen‘s d-value = 0.72) decrease immediately after the intervention. Suggestions for further research include establishing preferable movies before intervention, the use of a standardized strength scale and another experimental group, with the absence of focus groups, so as to determine a more accurate effect of films / Thesis (MA (Clinical Psychology))--North-West University, Potchefstroom Campus, 2013.

This study firstly explored whether individuals can identify character strengths (Peterson & Seligman, 2004) depicted by characters in positive psychology movies. Furthermore, the study investigated whether their existing character strengths and well-being are augmented or developed through viewing these films. A mixed method design exploratory qualitative approach with a phenomenological design was followed where quantitative data were obtained with a two-group pre- and post-testing design with a retention test. Participants were assigned to an experimental (n=15, mean age= 28.67, SD age = 8.79) and control group (n=15, mean age = 25.67, SD age = 9.28). A self-developed strength questionnaire and five standardized scales, namely Mental Health Continuum – Short Form (MHC-SF) (Keyes, 2006); the General Psychological Well-being Scale (GPWS) (Khumalo, Temane, & Wissing, 2010); the Subjective Happiness Scale (Lyubomirsky, 2008); Coping Self-Efficacy Scale (CSE) (Chesney, Neilands, Chambers, Taylor, & Folkman, 2006) and the Patient Health Questionnaire (PHQ-9) (Kroenke & Spitzer, 2002), were administered to measure psychological well-being. Qualitative data were obtained through focus groups and questionnaires that were completed after the viewing of each film. Qualitative results suggest that participants were able to identify 22 of the 24 character strengths (Peterson & Seligman, 2004) as depicted by characters in the movies. Furthermore, participants were able to relate to the characters and report how they use the depicted strengths in their own lives. ANCOVA‘s revealed a medium increase (Cohen‘s d- value = 0.47 - 0.74) in the strengths: open-mindedness, zest, kindness, leadership and modesty immediately after the intervention and a large increase (Cohen‘s d-value = 0.9) in humour immediately and a month after the intervention. A medium to large (Cohen‘s d = 0.45 - 0.87) decrease was found on the strengths perspective and forgiveness immediately after the intervention, and in authenticity, love; appreciation of beauty and excellence, gratitude and hope a month after the intervention. Social intelligence showed a decrease (Cohen‘s d-value = 0.46; 0.51) immediately and a month after the intervention. A medium increase (Cohen‘s d-value = 0.53 - 0.56) in general well-being and emotional well-being was found a month after intervention, while general coping efficacy and coping via support from friends and family showed this increase (Cohen‘s d-value = 0.53; 0.56) immediately after the intervention in the experimental group. A contradictory finding was, that social well-being showed a medium (Cohen‘s d-value = 0.72) decrease immediately after the intervention. Suggestions for further research include establishing preferable movies before intervention, the use of a standardized strength scale and another experimental group, with the absence of focus groups, so as to determine a more accurate effect of films / Thesis (MA (Clinical Psychology))--North-West University, Potchefstroom Campus, 2013.

Esta tese propõe, a partir da premissa de que existe um cinema pós-moderno, observar e identificar marcas estéticas e técnicas nos filmes contemporâneos que construam uma imageria audiovisual pós-moderna. Após, procura compreender que sentidos são criados por essa imageria e que figuras comuns do “espírito pós-moderno” estão engendradas nessa estética. Para tanto, conduzo um mapeamento de filmes realizados entre 1980 e 2010, a partir de onde busco compreender os clichês visuais, ou recorrências técnicas e estéticas, que marquem a produção audiovisual contemporânea, a fim de organizar um objeto de análise. Essas recorrências são analisadas dentro de quatro estéticas, categorias de pesquisa dentro das quais relaciono as marcas estéticas e técnicas como formas com as figuras históricas e culturais que caracterizam o período pós-moderno. Nesse percurso teórico-metodológico, lanço mão de uma abordagem de Omar Calabrese e de um constructo teórico que articula, por um lado, as teorias de Fredric Jameson e Zygmunt Bauman sobre a contemporaneidade e, por outro, uma abordagem da imagem e do audiovisual principalmente das perspectivas de Philippe Dubois, Arlindo Machado e Jacques Aumont, assim como da contribuição de Maria Beatriz Rahde e Flávio Cauduro no que tange o apontamento sobre formas pós-modernas nas artes visuais gráficas. / This thesis proposes, based on the premise that there is a postmodern cinema, observe and identify aesthetic and technical marks of the contemporary movies that build a postmodern audiovisual imagery. Following, to understand the meanings created by this imagery and common figures of the "post-modern spirit" engendered in these aesthetics. In order to do this, I mapped films made between 1980 and 2010, from where I try to comprehend the visual cliches or technical and aesthetic recurrences that mark the contemporary audiovisual production in order to organize an object of analysis. These recurrences are analyzed within four aesthetics, categories of research within which I relate the aesthetic and technical marks as forms and the historical and cultural figures that characterize the postmodern period. Along the theoretical and methodological course, I made use of an approach by Omar Calabrese and a theoretical construct that hinges on the one hand, the theories of Fredric Jameson and Zygmunt Bauman on contemporary and, secondly, an approach of image and audiovisual, mainly the prospects for Philippe Dubois, Arlindo Machado, Jacques Aumont, as well as the contribution of Maria Beatriz Rahde and Flavio Cauduro regarding the appointment of postmodern forms in visual graphic arts.

Esta tese propõe, a partir da premissa de que existe um cinema pós-moderno, observar e identificar marcas estéticas e técnicas nos filmes contemporâneos que construam uma imageria audiovisual pós-moderna. Após, procura compreender que sentidos são criados por essa imageria e que figuras comuns do “espírito pós-moderno” estão engendradas nessa estética. Para tanto, conduzo um mapeamento de filmes realizados entre 1980 e 2010, a partir de onde busco compreender os clichês visuais, ou recorrências técnicas e estéticas, que marquem a produção audiovisual contemporânea, a fim de organizar um objeto de análise. Essas recorrências são analisadas dentro de quatro estéticas, categorias de pesquisa dentro das quais relaciono as marcas estéticas e técnicas como formas com as figuras históricas e culturais que caracterizam o período pós-moderno. Nesse percurso teórico-metodológico, lanço mão de uma abordagem de Omar Calabrese e de um constructo teórico que articula, por um lado, as teorias de Fredric Jameson e Zygmunt Bauman sobre a contemporaneidade e, por outro, uma abordagem da imagem e do audiovisual principalmente das perspectivas de Philippe Dubois, Arlindo Machado e Jacques Aumont, assim como da contribuição de Maria Beatriz Rahde e Flávio Cauduro no que tange o apontamento sobre formas pós-modernas nas artes visuais gráficas. / This thesis proposes, based on the premise that there is a postmodern cinema, observe and identify aesthetic and technical marks of the contemporary movies that build a postmodern audiovisual imagery. Following, to understand the meanings created by this imagery and common figures of the "post-modern spirit" engendered in these aesthetics. In order to do this, I mapped films made between 1980 and 2010, from where I try to comprehend the visual cliches or technical and aesthetic recurrences that mark the contemporary audiovisual production in order to organize an object of analysis. These recurrences are analyzed within four aesthetics, categories of research within which I relate the aesthetic and technical marks as forms and the historical and cultural figures that characterize the postmodern period. Along the theoretical and methodological course, I made use of an approach by Omar Calabrese and a theoretical construct that hinges on the one hand, the theories of Fredric Jameson and Zygmunt Bauman on contemporary and, secondly, an approach of image and audiovisual, mainly the prospects for Philippe Dubois, Arlindo Machado, Jacques Aumont, as well as the contribution of Maria Beatriz Rahde and Flavio Cauduro regarding the appointment of postmodern forms in visual graphic arts.

Cette étude théorique et pratique aborde, dans une perspective transdisciplinaire, les recherches contemporaines sur la traversée et l'image-mouvement. Marcher/filmer est une pratique structurellement instable, discontinue et arythmique ancrée sur le principe de l'entre-deux. Gradiva,celle qui marche et celle dont on suit le pas et la silhouette, est le mythe fondateur d'une recherche qui convoque présences transitoires, seuils, frontières, danses en miroir, empreintes et débordements. Avec Gradiva, la marche se dédouble et l'intervalle des corps détermine un autre espace topologique, parcellaire et troué : des fragments d'images, de sons et d'espaces. Marcher/filmer s'incarne alors entre les corps, entre les images, entre les rythmes, dans le montage d'une verticalité suspendue. C'est un récit du quotidien, de l'ordinaire et de l'acception particulière du temps que sont l'occasion, l'accident et l'imprévu : un discours de l'altération, de l'incertitude et du mouvement. La marche, "c'est un savoir qui se tait" écrit Michel de Certeau dans l'Invention du quotidien. Basée sur l'attente et la répétition des traversées, marcher/filmer est une pratique de l'accumulation, de la liste et de l'et caetera. Par sa cartographie lacunaire et trouée et son rythme spatio-temporel hors-norme, montage de temporalités hétérogènes et simultanées, Rome a été le territoire privilégié de cette recherche et de la réalisation du court-métrage Attraversare Roma (à travers Rome) qui l'accompagne. / This theoretical and practical study addresses the contemporary investigations about the crossing and the image-movement via a cross-disciplinary approach. Walking/filming is a practice structurally unstable, discontinuous, arrhythmic and strongly tied to the principle of the spaces inbetween. Gradiva, the one who walks and whom we follow the steps and silhouette, is the founder myth of a research that summons transitory presences, thresholds, boundaries, mirror dances, footsteps and excesses. With Gradiva, walking splits and the interval of bodies determines another topological space, fragmented and with holes: fragments of images, sounds and spaces. Walking/filming thus appears between the bodies, between the images, between the rhythms, in the assembly of a suspended vertical height. lt is a tale of everyday life, of the ordinary, and of the specific acceptance of times such as the opportunity, the accident and the unexpected : a tale of change, uncertainty and movement. As written by Michel de Certeau in L'Invention du quotidien, walking " is a knowledge that remains quiet". Based on the expectation and the repetition of crossings, walking/filming is a practice of accumulation, listing and the et caetera. With its patchy and pierced cartography and its nonstandard spatiotemporal rhythm made of simultaneous and heterogeneous temporalities, Rome was the priviledged territory of the present work and thema king of the associated short film Attraversare Roma (à travers Rome).

Orientador: Nuno Cesar Pereira de Abreu / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-10T11:47:22Z (GMT). No. of bitstreams: 1 Rodrigues_AnaKarla_M.pdf: 3831811 bytes, checksum: 51c5d8e16f0788a0f5dce84fd1501db0 (MD5) Previous issue date: 2007 / Resumo: A presente dissertação é um panorama dos filmes de estrada produzidos nos anos 60, 70, 90 e 2000 em nosso país e as questões tratadas por eles, como as buscas pessoais e a busca pela identidade brasileira contidas em uma viagem. Para tal reflexão, analisamos os principais filmes de cada uma dessas fases, a saber: nos anos 60, Deus e o Diabo na Terra do Sol (Glauber Rocha, Brasil, 1964); nos anos 70, Iracema, uma transa amazônica (Jorge Bodansky e Orlando Senna, Brasil, 1974) e Bye-bye, Brasil (Carlos Diegues, Brasil, 1979); dos anos 90, duas obras do diretor Walter Salles, Terra Estrangeira (Brasil, 1995) e Central do Brasil (Brasil, 1998); da década corrente foram estudados No Caminho das Nuvens (Vicente Amorim, Brasil, 2003) e Cinema, Aspirinas e Urubus (Marcelo Gomes, Brasil, 2005) / Abstract: The present dissertation is an overview about brazilian road movies made on 60's, 70's, 90's and 2000 and the questions that it brings up, like the personal and brazilian identity quests inside a journey across the country. For this reflexion it was annalyzed the mainly road movies of each decade: in 60's, Deus e o Diabo na Terra do Sol (Glauber Rocha, Brazil, 1964); in 70's, Iracema, uma transa amazônica (Jorge Bodansky and Orlando Senna, Brazil, 1974) and Bye-bye, Brasil (Carlos Diegues, Brazil, 1979); of came two Walter Salles's films, Terra Estrangeira (Brazil, 1995) and Central do Brasil (Brazil, 1998); from this current decade it was annalysed No caminho das Nuvens (Vicente Amorim, Brazil, 2003) e Cinema, Aspirinas e Urubus (Marcelo Gomes, Brazil, 2005) / Mestrado / Mestre em Multimeios

Esta tese propõe, a partir da premissa de que existe um cinema pós-moderno, observar e identificar marcas estéticas e técnicas nos filmes contemporâneos que construam uma imageria audiovisual pós-moderna. Após, procura compreender que sentidos são criados por essa imageria e que figuras comuns do “espírito pós-moderno” estão engendradas nessa estética. Para tanto, conduzo um mapeamento de filmes realizados entre 1980 e 2010, a partir de onde busco compreender os clichês visuais, ou recorrências técnicas e estéticas, que marquem a produção audiovisual contemporânea, a fim de organizar um objeto de análise. Essas recorrências são analisadas dentro de quatro estéticas, categorias de pesquisa dentro das quais relaciono as marcas estéticas e técnicas como formas com as figuras históricas e culturais que caracterizam o período pós-moderno. Nesse percurso teórico-metodológico, lanço mão de uma abordagem de Omar Calabrese e de um constructo teórico que articula, por um lado, as teorias de Fredric Jameson e Zygmunt Bauman sobre a contemporaneidade e, por outro, uma abordagem da imagem e do audiovisual principalmente das perspectivas de Philippe Dubois, Arlindo Machado e Jacques Aumont, assim como da contribuição de Maria Beatriz Rahde e Flávio Cauduro no que tange o apontamento sobre formas pós-modernas nas artes visuais gráficas. / This thesis proposes, based on the premise that there is a postmodern cinema, observe and identify aesthetic and technical marks of the contemporary movies that build a postmodern audiovisual imagery. Following, to understand the meanings created by this imagery and common figures of the "post-modern spirit" engendered in these aesthetics. In order to do this, I mapped films made between 1980 and 2010, from where I try to comprehend the visual cliches or technical and aesthetic recurrences that mark the contemporary audiovisual production in order to organize an object of analysis. These recurrences are analyzed within four aesthetics, categories of research within which I relate the aesthetic and technical marks as forms and the historical and cultural figures that characterize the postmodern period. Along the theoretical and methodological course, I made use of an approach by Omar Calabrese and a theoretical construct that hinges on the one hand, the theories of Fredric Jameson and Zygmunt Bauman on contemporary and, secondly, an approach of image and audiovisual, mainly the prospects for Philippe Dubois, Arlindo Machado, Jacques Aumont, as well as the contribution of Maria Beatriz Rahde and Flavio Cauduro regarding the appointment of postmodern forms in visual graphic arts.

Orientador: Cristina Bruzzo / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-17T07:48:11Z (GMT). No. of bitstreams: 1 ReisJunior_Antonio_D.pdf: 10733904 bytes, checksum: 3ffb6b078c30f4a1782492f83d82927d (MD5) Previous issue date: 2010 / Resumo: A partir da investigação das causa que colocaram o cinema brasileiro em situação marginal em seu próprio mercado e, tomando como parâmetro o desenvolvimento de ações de um projeto no terceiro setor que procurou democratizar o acesso a produção nacional à professores de escolas públicas, essa pesquisa discorre sobre questões que envolvem a relação entre cinema e educação, destacando o potencial do cinema brasileiro na representação de questões nacionais e também na perspectiva da expressão audiovisual de comunidades escolares. / Abstract: From the investigation of the causes of the marginalization of Brazilian cinema in its own market, taking as parameter the development of actions of a the third sector project that sought to democratize the access of national movies to the public school teachers, this research discusses on issues involving the relationship between cinema and education, highlighting the potential of Brazilian cinema in the representation of national issues and also in a perspective of audiovisual expression of school communities. / Doutorado / Educação, Conhecimento, Linguagem e Arte / Doutor em Educação