Thesis (M.S.)--University of Wisconsin--Stevens Point, 1987. / Includes bibliographical references (leaves 88-92).

Submitted by Fabricia Fialho Reginato (fabriciar) on 2015-07-06T23:21:44Z No. of bitstreams: 1 CarlosFranco.pdf: 2349826 bytes, checksum: 04c86e29097d13a9ffab0780b0f37a32 (MD5) / Made available in DSpace on 2015-07-06T23:21:44Z (GMT). No. of bitstreams: 1 CarlosFranco.pdf: 2349826 bytes, checksum: 04c86e29097d13a9ffab0780b0f37a32 (MD5) Previous issue date: 2010-06-16 / UFT - Universidade Federal do Tocantins / A presente tese buscou entender a tensão perceptória no audiovisual quando num plano não há cortes, cortes esses através dos quais tradicionalmente se confere ritmo a um fluxo. Partiuse de Bergson em Matéria e memória e Deleuze em Diferença e repetição, que versam sobre o tempo e o espaço, bem como de pensadores do audiovisual como Eisenstein, Martin e Aumont. A desconstrução das três dimensões do tempo (diegético, enunciatório e perceptório), clássicas no cinema, se deu em paralelo à análise de planos-sequência de materiais expressivos diversos. Utilizou-se o método intuitivo de Bergson, que permitiu cogitar a existência de uma quarta dimensão, a do tempo dos objetos no quadro, que comporta seu dinamismo bem como sua duração. Chegou-se assim a definir, como alternativa ao conceito de ritmo, a modulação do tempo como uma articulação entre o tempo perceptual e o tempo dos objetos, que abarca tanto o intervalo (enquanto espaços ou instantes perceptíveis no quadro) quanto a duração (e outras virtualidades, no fluxo). / This research tried to understand framed temporality phenomena inside audiovisual expression. This has begun from Bergson and Deleuze, with these theories that studies time and space, as well as motion pictured expressions authors as Eisenstein, Martin and Aumont. The unconstructing the three classical time dimensions (story time, opera time and perceptual time) has happened simultaneously with the non-cut scene analyses of several expressive materials. This has used the intuitive method by Bergson, which permitted speculate the existence of the forth time dimension beyond the three classical, the object time on a frame, composed by its spiritual time and dynamic time. This has defined, as alternative from rithm concept, the time modulation as an articulation between perceptual and object time, that contains the dynamic interval and spiritual time (durée).

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Background: The objective of this study is to determine the difference in customer attitudes towards CGI advertisements pictured in real-life scenes and traditional digital advertising. Furthermore, this study aims to discover how customer attitudes towards CGI advertisements pictured in real-life scenes influence brand experience. Method: The study developed 6 hypotheses examining customer attitudes towards advertisements. These hypotheses focused on 5 factors: credibility, irritation, entertainment, creativity, and informativeness. How customers perceive these factors and their attitudes towards CGI advertisements pictured in real-life scenes compared to traditional digital advertisements were examined. One of the hypotheses further addressed the question of whether attitudes towards CGI advertisements pictured in real-life scenes influence customers' brand experience. A questionnaire was used to test the hypotheses and answered by 139 respondents. Findings: The result of the study showed that customers perceive the factors of credibility andinformativeness more positively in traditional digital advertisements. In contrast, factors such as creativity, entertainment, and lack of irritation were evaluated more favorably for CGI advertisements pictured in real-life scenes. The study also discovered that positive attitudes toward CGI advertisements pictured in real-life scenes lead to more positive brand experiences. Conclusion: Age groups between 18 and 55 prefer advertising that is entertaining, creative, and innovative. CGI advertising in real scenes should not stand on its own but rather serve to capture the attention of the customer. This can help companies to become more visible and engage the target audience, which can then lead to a positive brand experience. This is due to its attractiveness and perception as an engaging, attention-grabbing, and more brand-recalling advertisement compared to traditional digital advertising. However, it is important to note that CGI advertising should not serve as themainsource of information about a product or service, but rather as a tool to grab attention.

This was an applied ethnographic study of natural and cultural resources of contemporary significance for American Ojibway' tribes and Canadian Ojibway First Nations that are or were once present within or in the immediate vicinity of four National Park Service (NPS) units in the Midwest Region: Sleeping Bear Dunes National Lakeshore (SLBE), Michigan; Pictured Rocks National Lakeshore (PIRO), Michigan; Apostle Islands National Lakeshore (APIS), Wisconsin; and Voyageurs National Park (VOYA), Minnesota. The main objective of this study, according to the Scope of Work (SOW) of 1996, was to develop a documented basis of knowledge regarding historic and current use of resources by culturally affiliated Native American tribes that should help park managers anticipate Native American resource use issues that may confront them in the future and thus be better prepared to deal with them in an informed and culturally sensitive manner. The study also was to provide recommendations regarding preservation, monitoring, mitigation, interpretation, and use access issues. The research was designed to provide a historical and ethnographic overview and assessment of Native American, Southwestern Ojibway in particular, land and resource use as it pertains to the region where the parks are located, and to each park unit. This study also provided an inventory of ethnographic resources known to have been significant for culturally affiliated Southwestern Ojibway tribes at different points in time.