Este trabalho propõe investigar o imaginário sobre as relações amorosas vivenciadas pelo sujeito na contemporaneidade, marcada pela forte presença da cibercultura, tais como retratadas no discurso artístico evidenciado em seis filmes. Os longas-metragens selecionados para compor a pesquisa, representando heterogeneidade de países e gêneros cinematográficos, são: Apaixonado Thomas (Thomas est Amoureux, 2000), de Pierre-Paul Renders; Im a Cyborg, But Thats OK (Saibogujiman Kwenchana, 2006), de Chan-Wook Park; A Garota Ideal (Lars and the Real Girl, 2007), de Craig Gillespie; Catfish (2010), de Henry Joost e Ariel Schulman; Medianeras (2011), de Gustavo Taretto e, finalmente, Ela (Her), de Spike Jonze. Para tanto, partiremos do referencial teórico da Análise do Discurso (AD) de matriz francesa, sobretudo o trabalho de Michel Pêcheux e os autores que compartilha(va)m a preocupação em observar o discurso como processo imbricado numa rede de múltiplas significações, ao invés de se limitar a perceber o sentido como um produto pronto e acabado a ser extraído pelos leitores. Definindo a linguagem como trabalho, a disciplina desloca a importância dada à função referencial da linguagem, a qual ocupa posição nuclear na Linguística clássica, que defende esse enfoque na comunicação, ou na informação; assim, o viés da AD entende a linguagem como ato sócio-histórico-ideológico, sem negar o conflito, a contradição, as relações de poder que ela traz em seu bojo. Para analisar recortes dos filmes a partir das condições de produção da cibercultura, mobilizamos conceitos da AD sobre a linguagem no processo discursivo não-verbal. Deste modo, ao analisar os recortes e segmentos dos filmes mencionados que instalam sentidos a partir das condições de produção da cibercultura, mobilizamos conceitos da AD sobre o processo discursivo não-verbal, como nas publicações de Neckel (2004, 2010), Souza (2001) e Orlandi (1993), entre outros. A cibercultura, notamos, não pode ser reduzida à Internet e deve ser entendida em sua influência em outros campos, como o corpo e o cinema, para que possamos efetivamente compreender como a cibercultura mudou o imaginário sobre o amor, o que o discurso artístico pode nos revelar tão bem. Em vista disso, trabalhamos ainda com os subsídios de autores da sociologia e da filosofia como Bauman (2001, 2004), Bell (2001, 2007) e Lemos (2010), entre outros, para compreender como o sujeito discursiviza(-se) na era do amor virtual a partir do conceito de imaginário discursivo e de condições de produção, tendo como norte o contexto da contemporaneidade marcado pela sociedade líquido-moderna. Tal como descreve Bell, a cibercultura tem muitas histórias nos interessando, sobretudo, a história política e a história simbólica, em especial esta por nos remeter às narrativas da/sobre a cibercultura na arte. O corpo, por sinal, é um dos conceitos em movência na era da cibercultura, sendo de nosso interesse investigar essas gestos tanto no âmbito da AD quanto com o suporte de outros teóricos. Nesse sentido, o manifesto do ciborgue de Donna Haraway (2013) sobre a ressignificação dos corpos e do amor a partir da pós-modernidade também nos auxilia a interpretar o discurso dos longasmetragens. A partir dessas inquietações, buscamos compreender os modos de subjetivação que se inscrevem da/na cibercultura, a partir das condições de produção que (re)configuram o jogo das formações discursivas na memória e no discurso artístico. / This work proposes to investigate the imaginary about romantic relationships experienced by the subject in contemporary society, marked by the strong presence of cyberculture, such as ortrayed in art discourse evidenced in six movies. The selected feature films for inclusion in this research, representing heterogeneity of countries and film genres, are: Thomas est Amoureux (2000), by Pierre-Paul Renders; I\'m a Cyborg, But That\'s OK (Saibogujiman Kwenchana, 2006), by Chan-Wook Park; Lars and the Real Girl (2007), by Craig Gillespie; Catfish (2010), by Henry Joost and Ariel Schulman; Medianeras (2011), by Gustavo Taretto and, finally, Her (2013), directed by Spike Jonze. To this goal, we mobilize the theoretical framework of Discourse Analysis (AD) of French line, especially the work of Michel Pêcheux and the authors who shares with him the concern in observing the discourse as an imbricated process in a network of multiple meanings, rather than limited to making sense as a ready and finished product to be extracted by readers. Setting the language as work, this discipline shifts the emphasis to the referential function of language, which occupies nuclear position in classical linguistics, which advocates this approach in the communication or information; thus the bias of AD understands the language as a social-historical-ideological act, without denying the conflict, contradiction, power relations that it brings with it. To analyze clippings of films from the cyberculture production conditions, we mobilize concepts of AD on language in nonverbal discursive process. Thus, when analyzing the cuts and segments of the aforementioned films wich installs directions from the cyberculture production conditions, qe mobilize concepts of AD on the nonverbal discursive process, as in publications by Neckel (2004, 2010), Souza (2001) and Orlandi (1993), among others. The cyberculture, we notice, can not be reduced to the Internet and must be understood in its influence in other fields, such as the body and the cinema itself, so we can effectively understand how cyberculture changed the imagery of love, what the artistic discourse can reveal as well. As a result, we take further work with authors of sociology and philosophy as Bauman (2001, 2004), Bell (2001, 2007) and Lemos (2010), among others, to understand how the subject discoursivizes in the age of virtual love from the concept of discursive event and production conditions, having the goal of the contemporary context marked by the liquid-modern society. As describes Bell, cyberculture has many stories above all, the political history and the symbolic story, especially in this by referring to the narratives of/on cyberculture in the art. The body, by the way, is one of the concepts in movement in the age of cyberculture, and our interest to investigate these actions both in AD scope and the support of other theorists. In this sense, the cyborg manifesto of Donna Haraway (2013) on the redefinition of the bodies and love from post-modernity also helps us interpret the discourse of the feature films. From these concerns, we seek to understand the ways of subjectivity that are part of/in cyberspace, from the conditions of production that (re)configure the set of discursive formations in memory and artistic discourse.

In this thesis we consider cinema’s representations of mental images. Our central concerns are the formal aspects of the presentation of memory and imagination, and the various functions which the different types of mental images perform. While along the way we engage with a number of expedient theories, on the whole the argument is free of any over-arching theoretical approach, instead focusing largely on the evidence of the wide range of films — from different eras, genres and national cinemas — with which we engage. We begin with a consideration of filmic representations of memory, tackling such questions as: What exactly is a flashback? What different functions do flashbacks perform? What is the relationship between flashback and the mental images of memory? Identifying an inadequacy in current terminology, we here introduce the concept of ‘act of memory’ in order to distinguish between representations of the past which constitute an analogue of the mental images of memory and more properly subjective representations of mental images. In Part II we develop a taxonomy of the major forms of imagination. Here our discussion of imagination draws on cognitive and phenomenological theories of imagination, and the chapter on dreams draws substantially on Freud. In our consideration of the functions of the various sorts of mental images we establish a series of character types who are prone to experiencing mental images. Throughout Part II we argue that representations of mental images are often closely related to themes of madness — that many representations of mental images can be understood as traces of madness.

Binge eating is a maladaptive eating practice associated with unhealthy weight control methods (vomiting, laxative abuse) and the development of weight gain and obesity. Isolating psychological and environmental variables that trigger binge eating can prevent or potentially moderate eating disturbance. Previous research implicates media exposure as an environmental contributor to psychological and eating disturbance. The current study sought to uncover whether fat stigmatization media exposure is an acute environmental trigger for psychological disturbance and binge initiation by dismantling fat media messages and experimentally manipulating messages. Undergraduate women (N=197) were assigned to one of four media message conditions: a fat negative interaction, fat comedy, control stigmatization, or control comedy condition. Psychological functioning and weight control variables were assessed at baseline, pre-test, and post-test. Results indicated that fat message exposure resulted in significantly greater post-test perceived pressure to lose weight, negative affect, guilt, and anger than control conditions. Participants exposed to fat messages were significantly more likely to restrict food intake. Two subjects engaged in an analogue binge. Weight control intentions were similar across conditions at post-test. BMI was found to moderate the relationship between fat message exposure and negative affect and hostility, with overweight and obese women more vulnerable to negative psychological consequences of fat media exposure. A history of weight related teasing moderated the relationship between fat message exposure and negative mood dependent variables (negative affect, guilt, sadness, fear), with those who had a history of teasing more vulnerable to negative mood induction. The primary significant mediator between fat message exposure and body dissatisfaction was appearance activation. Eating disorder theories were upheld, with suggested minor modifications specific to the context of fat media exposure. Findings are discussed in the context of weight loss and eating disorders treatment. Limitations of the study and directions for future research are discussed.

This qualitative thesis examines levels of pessimism as they relate to modern and postmodern horror cinema. Beyond assumed differences in levels of pessimism between the two genres, the study also examines implicit and explicit moralization of these categories. Specifically, the study questions if postmodern horror cinema's characteristic increase in pessimism is simply a change in the genre's convention, yet a change that is irrespective of either genre's capabilities to moralize. First, the study singularly examines the conventions of each genre as it relates to levels of pessimism. Second, the study discusses works that bridge the two genres. And third, the study speculates on the future of pessimism in postmodern horror cinema, specifically examining the genre's increased reliance on a combination of narrative and documentary techniques. In addition, this study uses content analysis as its methodological framework, whereby representative works of horror cinema (the data) are subjected to in-depth personal reading and textual analysis given the levels of pessimism between the two genres (the coding) via text immersion. Nonetheless, this study should be viewed more as a guided and informed exploration of certain characteristics regarding the genres and less of a defense since the data will not be quantified.

In recent years superhero movies have skyrocketed in popularity, bringing with them plots and characters that tend to exhibit high levels of aggression. As social learners, humans often learn from what they observe, and especially emulate characters they admire – including fictional superheroes and villains. Consequently, this study content analyzed non-physical aggressions (verbal aggression, relational aggression, and violent ideation) in the top 25 highest grossing superhero movies between 2005 and 2015. Results found an average of 171.8 acts of non-physical aggression per movie. Females in these movies were also significantly more likely to engage in verbal and relational aggressions, which contributes to gender stereotypes about aggression. Unfortunately, due to a failure in intercoder reliability testing, these results are unreliable.

No description available.

Esta investigación es el primer estudio de caso sobre el proceso de doblaje en Perú. Sobre la base de los modelos de proceso de doblaje de Chaume (2004) y Taylor (2015), y las pautas para elaborar un guion para el doblaje descritas por Cerezo et al. (2016) a partir de Toury (1995), se analizó el proceso de doblaje implementado por la empresa peruana Torre A en dos películas, mediante entrevistas a los agentes de ambos proyectos y el análisis de documentos de la empresa. Los resultados sugieren que, si bien la ejecución de los proyectos de Torre A coincide en gran medida con los modelos teóricos sobre la estructura procesual del doblaje, ambos procesos fueron determinados por el encargo de cada cliente, principalmente con respecto al carácter de negociación comercial, los aspectos técnicos y la traducción y adaptación. Los resultados muestran, además, la versatilidad de los agentes y una menor compartimentalización de sus funciones, ya que participaron en más de una fase del proceso. Finalmente, para evaluar la calidad de ambos procesos de doblaje, Torre A prestó atención a aspectos textuales, artísticos y técnicos según los criterios del cliente y los agentes. Así, la calidad del proceso se vio influenciada por el nivel de involucramiento de cada cliente y el tiempo del encargo, que condicionó la actividad de los agentes. La investigación aporta a la discusión sobre la calidad del doblaje en función al encargo y contribuye a cubrir el vacío teórico sobre los procesos de doblaje en América Latina. / This research is the first case study on the dubbing process in Peru. Based on the dubbing process models by Chaume (2004) and Taylor (2016), and the guidelines to prepare a dubbing script described by Cerezo et al. (2016) built on Toury (1995), the dubbing process for two films implemented by the Peruvian company Torre A was analyzed. This was carried out through interviews with the agents from both projects and the analysis of the company’s documents. The results suggest that project execution in Torre A is largely similar to the theoretical models concerning the dubbing process structure. However, both processes were determined by each client’s order, which mainly influenced the commercial negotiation nature, technical aspects, as well as the translation and dialogue writing phases. Furthermore, the results show agents’ multitasking and less role compartmentalization due to their participation in more than one phase during the process. Finally, in order to assess quality in both dubbing processes, Torre A considered textual, artistic and technical aspects according to the clients’ and agents’ criteria. That way, process quality was influenced by the level of involvement of each client and deadlines, which conditioned the agents’ activities. This research contributes to the discussion on dubbing quality in terms of client orders and helps filling the theoretical gap about dubbing processes in Latin America. / Trabajo de investigación

During the summer of 2008 many movies were released with superhero protagonists. Combining textual readings and theoretical accounts to provide a phenomenological analysis of the representation of the counter-hegemonic struggle against corporate control and the achievement of posthuman masculinity in these recent superhero films, this thesis compares and contrasts specific visual and thematic elements that consistently appear in four of these films: The Dark Knight, Wanted, Iron Man, and Speed Racer. Providing intertextual exploration of the cultural status of specific cinematic superheroes, this project explores possible relationships between culture, society, and cinema, treating popular superhero cinema as an industry, while also considering the relationship between cinema and its audiences and potential implications for social and cultural identity.

The film industry in Mainland China has grown rapidly in the 2010s, and in particular, local crime films have emerged over the past decade as a unique cinematic phenomenon that epitomizes China’s political and cultural system and social realities. As little is known about this phenomenon in the West, this thesis would provide a comprehensive review of the history of Chinese crime cinema, with a focus on the development and characteristics of the genre in the 2010s. The introduction defines the object and scope of the study, and briefly introduce the context of the Chinese film industry. The first chapter outlines the different forms of crime films in Mainland China before the 2010s, the strict content censorship in China, and the impact of Hong Kong and Korean films on Mainland Chinese cinema. The second and third chapter reviews selected Chinese crime films released from 2011 to 2020, and interpret in detail the influential ones. The conclusion summarizes the overall trends, commonalities and current status of Chinese crime cinema.

Using a quantitative coding method, the current study analyzed cinematic productions between the years 1989 and 2019 (N = 79) for presence of supercrip and victim stereotypes among portrayals of the physically disabled. A series of One-way ANOVA - Bonferonni and Bivariate Correlation tests were performed, and results indicated that while negative and supercrip stereotypes of the physically disabled have decreased over this 30-year period, simultaneously, very positive and victim stereotypes have risen. Results showed negative (F = 3.215, p = .046) portrayals decreased over time, but that simultaneously victim (F = 8.044, p = .001) and very positive (F = 3.43, p = .037) portrayals rose. For supercrip the results were not significant. Significance was found in neutral portrayals in the 90s (M = 0.48) and both the 00s (M = 0.77) and the 10s (M = 0.88). This indicated a notable increase in the number of neutral portrayals over time. Findings suggest that while there is some decrease in the number of negative and supercrip portrayals, portrayals seem to have shifted towards the other extreme with an increase in very positive and victim portrayals. Future research could examine what attitudes exist towards the physically disabled and how much media influenced the development of these attitudes. They could also look into how constructs of attitudes and subjective norms contribute to the perceptions of others towards the physically disabled, and how the "interactive process" impacts the development of these attitudes.