A presente pesquisa analisa três filmes do diretor norte-americano Gus Van Sant: Elefante (2003), Últimos dias (2005) e Paranoid Park (2007). Esses três filmes, muitas vezes pensados como uma trilogia, não se igualam apenas no campo estético, mas também em sua proposta política, já que os três apresentam fatos sociais e acontecimentos (mais próximos à esfera do jornalismo). Assim, a pesquisa desenvolve sua argumentação tendo como ponto de partida a realidade concreta e os modos de construção de suas possíveis representações. Não se trata, nesse caso, precisamente de um tipo de realismo enquanto gênero, mas, sobretudo, um modo realista imbricado na forma ficcional dos filmes em função das questões políticas e de sociabilidade que eles suscitam. A pesquisa aborda, dessa forma, três pontos a partir dos quais pensar o cinema contemporâneo, apontando algumas de suas escolhas no campo da visibilidade e em sua política. No trabalho, são três as dimensões do olhar que se colocam a partir do discurso cinematográfico: 1. o olhar do autor, que intenciona uma enunciação; 2. o olhar da cena e a performatividade das imagens, que tensionam o lugar de intenção da autoria; 3. o olhar da cena social, que encontra o lugar político das imagens e do espectador em relação à circulação delas. A esse processo foi dado o nome de dialética do olhar, pois ele constrói a todo instante os espaços de alteridade, ou do Mesmo e do Outro, na imagem. / This research analysis three films directed by Gus Van Sant, from United States, were selected: Elephant (2003), Last Days (2005) and Paranoid Park (2007) These three movies, often studied as a trilogy, are not only connected by a common aesthetical field, but also in its propositional politics, since the three movies present social facts and events (more like how events are brought up in the field of journalism). Therefore, the research considers as its starting point the factual reality and the construction of its possible representations. We are not specifically talking about Realism, as it\'s approached as a gender, but, most of all, according to the political questions and sociability evoked by our object. This research aims to point three parameters in order to discuss the contemporary cinema and its option into the political and visibility\'s fields. We\'re focused in three dimensions of the gaze posed considering the cinematographic discourse: 1) the author\'s gaze, that aims to create a tendency in an enunciation, 2. the scene\'s gaze and the images\' performativity, that stress the position of the authorship\'s intentionality; 3. the gaze of the social scene, that meets the images\' political position, from the spectator to its circulation. This process was named as gaze dialectic, since it is capable of constructing at every moment spaces of alterity, or, Itself and the Other in the image.

Eye fixations of the face are normally directed towards either the eyes or the mouth, however the proportions of gaze to either of these regions are dependent on context. Previous studies of gaze behavior demonstrate a tendency to stare into a target’s eyes, however no studies investigate the differences between when participants believe they are engaging in a live interaction compared to knowingly watching a pre-recorded video, a distinction that may contribute to studies of memory encoding. This study examined differences in fixation behavior for when participants falsely believed they were engaging in a real-time interaction over the internet (“Real-time stimulus”) compared to when they knew they were watching a pre-recorded video (“Pre-recorded stimulus”). Results indicated that participants fixated significantly longer towards the eyes for the pre-recorded stimulus than for the real-time stimulus, suggesting that previous studies which utilize pre-recorded videos may lack ecological validity. / Includes bibliography. / Thesis (M.S.)--Florida Atlantic University, 2016. / FAU Electronic Theses and Dissertations Collection

La présente thèse s’organise comme une étude du cinéma brésilien contemporain visant à mettre en évidence la constitution des regards féminins. Cette étude s’appuie sur l’analyse filmique pour circonscrire un modèle esthétique en opposition au regard dominant qui structure la majorité de la production cinématographique. Il propose une perspective distincte de la théorie féministe classique, moins focalisée sur des paires d'opposés historiquement consacrées (masculin versus féminin), et qui se concentre davantage sur ce que les films offrent comme indices d’une organisation symbolique. L’ambition est de déceler la constitution d’un regard féminin cinématographique, et de décrire les traits structurels de ceux-ci. / The present thesis is a study of contemporary Brazilian cinema focused on the constitution of female gazes. This study is based on film analysis and aims to describe an aesthetic model in opposition to the dominant (male) gaze that structures the majority of film production. It develops a perspective that distinguishes itself from classical feminist theory, by means of a shift in focus from the historically consecrated pair of opposites (masculine versus feminine) to an emphasis on what films offer as indications pointing to new symbolic structures. Its goal is to shed light on the constitution of a cinematic female gaze, and to describe the structural lines that define it.

Severe motor disabilities can render a person almost completely incapable of communication. Nevertheless, in many cases, the sensory systems are intact and the eye movements are still under good control. In these cases, one can use a device such as the Brain Response Interface (BRI) to command a remote control (e.g. room temperature, bed position), a word-processor, a speech synthesizer, and so on.

Denna uppsats ser på vem det egentligen är som tittar på de nakna eller halvnakna verken som ställs ut på den Nationalmuseum i Stockholm efter deras nyöppning hösten 2018. Metoden som har använts för att söka svar på detta är genom fysiska observationer på plats, medan en avgränsning till större skulpturer och målningar som visar bröstvårtor eller kön har gjorts, även en kvantitativ inventering har gjorts av verken. För att analysera resultatet används en feministisk postkolonial diskursanalys, med utgångspunkt från den tidigare forskningen om ”blicken” eller ”the Gaze”, från Sartre, Mulvey, och Gamman & Marshmen. Resultatet visar att majoriteten av de nakna verken har placerats i avdelningarna för den tidiga konsten från 1500-1700- talet, medan det är få nakna verk i den senare tidens avdelningar från 1800-1900-talet. Denna uppdelning följer även en uppdelning av var män och kvinnor uppehåller sig längst, då männen är på 1500-1700-tals avdelningen längst medan kvinnorna uppehåller sig längst på 1800-1900-tals avdelningen.Det visar sig även att män är mer intresserad av att titta på nakna män än vad kvinnor är, dock så är män och kvinnor lika intresserade av att titta på nakna kvinnor. En intressant vändning är att kvinnorna och männens beteenden ändras i varandras sällskap, då kvinnorna tar samma plats som männen medan männen tar mindre plats som kvinnorna.

<p>Because of the mass tourism industry that exploits sensitive locations all over our planet a new kind of tourism came into focus in the 1980’s. This new form of tourism was named ecotourism, and as the name reveals ecotourism deals with low-impact travel. Today, all sorts of places can be gazed upon in a flick of a switch; all you need is a television set. It is well known that destination marketing successfully uses visual media as a tool to sell trips to potential tourists. Therefore, this essay examines how ecotourism benefits from the great power of the television. The analyzed material contains of six different TV shows, sorted into two groups – travel shows and discussion programs. With the theory of the tourist gaze, semiotics, destination marketing and the experience economy the study resulted in the conclusion that all TV shows are built upon collective cultural representations found in the exotic and the authentic. With the help of the visual language, travel shows can give new meaning to a specific destination expressed in a system of mutual understanding and shared culture.</p>

<p>This thesis explored the development of infants’ ability to preserve spatio-temporal continuity of moving objects in situations where they disappeared completely (Study I & II) or partially (Study III) behind other objects (occluders). We recorded infants gaze direction with the help of two different techniques: 1) infants’ gaze shifts in Study I were measured with electro-oculogram (EOG) in combination with a motion analyzing system (Qualisys) that recorded the reflected infrared light from markers placed on the infant’s head and the moving object; 2) in Studies II and III a cornea reflection eye tracker was used (Tobii 1750) . </p><p>The results presented in this thesis demonstrate that 4-month-old infants are able to represent the temporal aspects of object motion during different periods of complete occlusion (Study I). At 6 months of age infants are able not only to predict the time when a moving object will reappear after complete occlusion but they are also capable to extrapolate pre-occlusion trajectory of the moving object and, thus, to accurately predict its reappearance (Study II). Moreover, in the situation where a linear pre-occlusion trajectory of the moving object is violated (the object turns by 90 degrees behind the occluder), infants at this age are capable of rapidly learning this new experience and base their future gaze shifts over occluder on the newly acquired knowledge. They are also able to preserve this new experience over a 24-hour period. </p><p>In the situations where occlusion is not complete and some visual information is still available (Study III), 9-month-old infants and to a lesser extent 5-month-old infants are able to reconstruct the moving pattern and to follow its direction of motion with the smooth eye movements. Moreover, 9-month-olds are capable to produce such smooth pursuit at an adult-like level.</p>

Because of the mass tourism industry that exploits sensitive locations all over our planet a new kind of tourism came into focus in the 1980’s. This new form of tourism was named ecotourism, and as the name reveals ecotourism deals with low-impact travel. Today, all sorts of places can be gazed upon in a flick of a switch; all you need is a television set. It is well known that destination marketing successfully uses visual media as a tool to sell trips to potential tourists. Therefore, this essay examines how ecotourism benefits from the great power of the television. The analyzed material contains of six different TV shows, sorted into two groups – travel shows and discussion programs. With the theory of the tourist gaze, semiotics, destination marketing and the experience economy the study resulted in the conclusion that all TV shows are built upon collective cultural representations found in the exotic and the authentic. With the help of the visual language, travel shows can give new meaning to a specific destination expressed in a system of mutual understanding and shared culture.

This thesis explored the development of infants’ ability to preserve spatio-temporal continuity of moving objects in situations where they disappeared completely (Study I &amp; II) or partially (Study III) behind other objects (occluders). We recorded infants gaze direction with the help of two different techniques: 1) infants’ gaze shifts in Study I were measured with electro-oculogram (EOG) in combination with a motion analyzing system (Qualisys) that recorded the reflected infrared light from markers placed on the infant’s head and the moving object; 2) in Studies II and III a cornea reflection eye tracker was used (Tobii 1750) . The results presented in this thesis demonstrate that 4-month-old infants are able to represent the temporal aspects of object motion during different periods of complete occlusion (Study I). At 6 months of age infants are able not only to predict the time when a moving object will reappear after complete occlusion but they are also capable to extrapolate pre-occlusion trajectory of the moving object and, thus, to accurately predict its reappearance (Study II). Moreover, in the situation where a linear pre-occlusion trajectory of the moving object is violated (the object turns by 90 degrees behind the occluder), infants at this age are capable of rapidly learning this new experience and base their future gaze shifts over occluder on the newly acquired knowledge. They are also able to preserve this new experience over a 24-hour period. In the situations where occlusion is not complete and some visual information is still available (Study III), 9-month-old infants and to a lesser extent 5-month-old infants are able to reconstruct the moving pattern and to follow its direction of motion with the smooth eye movements. Moreover, 9-month-olds are capable to produce such smooth pursuit at an adult-like level.

The preferential looking paradigm was used to investigate how toddlers integrate recently learned grammatical cues with well-established social cues in a novel word-learning scenario. To test this we examined children’s ability to decipher the referent of a novel noun using the grammatical information from a plural cue and social information from an eye-gaze cue. Experiment 1 is the first study showing that children as young as 24 months of age can rely on plural markings alone to infer the referent of a novel noun. Preliminary results of Experiment 2 suggest that when the plural cue is presented alongside contradicting information from a gaze direction cue, children still map the novel word to the grammatically cued object. Taken together, these results suggest that by the time children reach their second birthday, even newly learned grammatical information, such as plural markings, might already outweigh established social cues.