Thesis (Ph. D.)--Ohio State University, 1985. / Includes bibliographical references (leaves 228-237). Available online via OhioLINK's ETD Center.

Thesis (M.S.)--Kutztown University of Pennsylvania, 1996. / Source: Masters Abstracts International, Volume: 45-06, page: 2721. Typescript. Includes bibliographical references (leaves 33-35).

Η ψηφιακή υδατοσήμανση προτείνεται για την προστασία των πνευματικών δικαιωμάτων και του copyright των αρχείων ψηφιακού βίντεο. Το πρόβλημα συνήθως αντιμετωπίζεται με αλγορίθμους υδατοσήμανσης ψηφιακής εικόνας, οι οποίοι εφαρμόζονται σε κάθε πλαίσιο (frame) ενός αρχείου ψηφιακού βίντεο. Τα αόρατα υδατογραφήματα κυρίως στοχεύουν στην ανίχνευση και απόδειξη της παραβίασης του copyright για τα αρχεία ψηφιακού βίντεο που διακινούνται μέσω των δικτύων και του Διαδικτύου. Κατά την ανίχνευση της ύπαρξης του υδατογραφήματος, σε οποιοδήποτε πλαίσιο του αρχείου ψηφιακού βίντεο, αποδεικνύεται και η ταυτότητα του κατόχου του αρχείου και οι νομικοί περιορισμοί χρήσης του. / Digital watermarking is proposed for the protection of intellectual rights and copyright the files of digital video. The problem is usually faced with watermarked algorithms of digital picture, which are applied in each frame of a digital video file . Invisible watermarks mainly aim in the detection and proof of copyright violation for the files of digital video that are trafficked in via the networks and the Internet. At the detection of existence of watermarking, in any frame of digital video file, is proved also the identity of holder of file and its legal restrictions of use.

This practice-led research investigates the problematic representations of women from ethnic minorities in the context of Turkey. It questions the ways in which Turkish cinema conceals the ‘other’ ethnic and cultural differences and represents female identity. It seeks to address this problem through newly created artworks: a series of animation and video works aiming to evoke traces of ‘other’ female ethnicities in Turkish society. The case study, Istiklal Avenue,is an important location that was formerly inhabited by ethnic minorities and was the birthplace of Turkish cinema (Yeşilçam) in 1914. This location forms a platform for the research to find new forms of representation through spatial mappings in the specially created artworks. The thesis is situated in relation to the existing literature on historical representations, from the late nineteenth-century Ottoman Istanbul to the period that marks the Istanbul Pogrom (1955), and to contemporary representations of women, especially Asuman Suner and Gönül Dönmez-Colin’s analyses of non-Muslim women in New Turkish Cinema. The methodological approach of the thesis is shaped by the investigation of Turkish cinema and site-specific research at Istiklal Avenue. Svetlana Boym’s (2001) idea that cultural references are usually hidden within the details of ‘reflective nostalgia’films is an important concept which is referred to throughout the thesis. The term ‘shock effect’, which Suner (2010) employs for Turkish reflective nostalgia films, is used in the thesis to describe moments of rupture in the collective memory and consciousness of Turkish society regarding the histories of the ethnic and religious minorities of Turkey. Visual and aural dissonances are created in the artworks to evoke traces of these histories. The first artwork uses the voice-over of the female protagonist Madame Lena in the film Whistle If You Come Back (1993)to create an audio-visual and spatial map for these repressed identities, but the female voice in the final artwork generates a more intensified evocative experience, described by adopting Catherine Clément’s term ‘rapture’ (1994). The research also looks at the difference between ethnic identities through the spoken Turkish of ethnic minorities of an older generation, to explore the viewing of the artworks in different cultural contexts. As well as theoretical and historical research into the female voice,architectural and other visual details are used as research material to make artworks. On-site investigations reveal how various film techniques and montages inform cognitive and psychogeographic mapping, which is put into practice to achieve a spatial understanding of Istiklal Avenue. This investigation leads to the discovery of Botter House, a culturally and historically significant building,which enables the thesis to examine female presence in public space by investigating the flâneuse of the nineteenth-century Istiklal Avenue. Through the artworks, this study proposes that spatial representations, reconstructed from visual and vocal details,can contribute to the representation of repressed ethnic identities, and can question the politics of the representation of ethnic minority women in Turkey.

This thesis looks at independent film and video cultures in Britain from the mid 1970s to late 1980s. It examines a period of time in which diverse radical film- and video-makers in Britain contributed towards struggles against capitalism, patriarchy, racism, colonialism and homophobia. New social models of film and video production and exhibition were developed, such as the film collective, and new alliances were built to campaign for changes to social policy and legislature. The study examines this moment in order to clarify the capacity for radical discourse to bring groups together and impact on dominant cultural forms such as television. The thesis explores the interrelation between public debate, institutions and individuals. It uses public sphere theories to examine alternative reading publics, and media such as film, video and television. It argues that independent film and video in Britain at this time, including activist documentary, currents of counter-cinema and avant-garde film, was largely concerned with creating and circulating counterpublic discourses. These counterpublic discourses consolidated and expanded oppositional groups, and set out to change aspects of society as a whole. The thesis gives an account of the diversity of the influences on independent film and video, from socialist and liberation movements, to popular radical histories and psychoanalytic and Marxist film theory. Attention is given to the Independent Filmmakers’ Association as an agent of change between filmmakers and state, notably in terms of national film and broadcasting policy. There is a case study of Marc Karlin’s television film For Memory (1986), which looks at the fate of socialist memory under televisual regimes; and a case study of Stuart Marshall’s Bright Eyes (1984), which looks at issues of sexuality, identity and counter-history during the AIDS crisis. The thesis argues that during this period, independent film- and videomakers helped to transform television into a vital site of counterpublic discourse.

Este artículo indaga acerca de la forma en que las redes sociales y la televisión interactúan para crear elfenómeno comunicacional denominado “celebridad instantánea”. Se pretende establecer el papel que juegan estos medios de comunicación en el conocimiento, la difusión, la reputación y consagración de una persona acerca de la que, antes de un determinado hecho, la sociedad poseía un escaso conocimiento. Se indagará también sobre la correlación entre rating televisivo y convertirse en términos de su aspecto movilizador al convertirse en un “viral” o “trendictopic” en YouTube o Twitter, independiente de su valor para la vida de la población peruana.

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159f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-04-01T17:54:25Z No. of bitstreams: 1 Vitor%20Cayres.pdf: 2856366 bytes, checksum: ec75678b591de7e098c906a015c82808 (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães(ednaide@ufba.br) on 2013-04-10T13:49:53Z (GMT) No. of bitstreams: 1 Vitor%20Cayres.pdf: 2856366 bytes, checksum: ec75678b591de7e098c906a015c82808 (MD5) / Made available in DSpace on 2013-04-10T13:49:53Z (GMT). No. of bitstreams: 1 Vitor%20Cayres.pdf: 2856366 bytes, checksum: ec75678b591de7e098c906a015c82808 (MD5) Previous issue date: 2010 / A pesquisa investiga as relações entre drama e jogo nos video games desenvolvidos para consoles domésticos, analisando a maneira que o desenvolvimento tecnológico impacta no uso de procedimentos dramatúrgicos em tais jogos. O pesquisador adotou uma metodologia calcada em pesquisa bibliográfica de caráter interdisciplinar e no estudo analítico de jogos, considerando a implicação de aspectos subjetivos e a experiência do autor como gamer e levando em conta as especificidades do mercado e da indústria brasileira. A primeira etapa da pesquisa bibliográfica concentrou-se em referenciais acerca do drama, recorrendo a autores da filosofia, teoria da literatura e, sobretudo, das artes cênicas para delimitar o uso de tal termo na presente dissertação além de levantar ferramentas de análise da teoria do drama para aplicá-las ao estudo de video games. Em seguida, realizou-se um estudo acerca da ideia de jogo, a fim de delimitar também esta noção e reconhecer seus aspectos formais, visto que, o presente trabalho compreende os video games, em primeiro lugar, como jogos e leva em consideração suas idiossincrasias enquanto tal. Posteriormente, consultou-se bibliografia acerca dos video games, na qual estão inseridas obras teóricas, historiográficas, revistas e reportagens destinadas ao público gamer e referências mais abrangentes sobre o meio digital. O cruzamento dos dados levantados na pesquisa bibliográfica com as informações subjetivas relacionadas à trajetória do pesquisador enquanto jogador estabeleceu os critérios para a seleção dos jogos analisados. O pesquisador jogou todos os games mencionados na dissertação e/ou assistiu a ação de outros jogadores através de vídeos disponibilizados na internet e, a partir de tal experiência, elencou uma série de procedimentos dramatúrgicos utilizados pelos desenvolvedores de video games ao longo das sete gerações de consoles, estas definidas pela crítica especializada, observando o impacto do desenvolvimento tecnológico na relação entre o drama e o jogo. Por fim, os dados coletados na análise dos jogos são cruzados com os resultados de uma discussão teórica acerca da delimitação da noção de drama e sobre os aspectos formais da Dramática. Com viés sincrônico-diacrônico, a presente dissertação contribui com a produção historiográfica e reflexiva sobre a dramaturgia para video games, esta ainda escassa no meio acadêmico. Oferece, assim, um repertório de estratégias a serem utilizadas, recicladas e/ou reelaboradas por dramaturgos ou game designers. E apresenta ainda como resultado a perspectiva de compreensão dos video games enquanto interfaces entre drama e jogo, sem desconsiderar as idiossincrasias do meio digital. / Salvador

CREATING DIGITAL GAMES AS INTERACTIVE LEARNING ENVIRONMENTS: FACTORS THAT AFFECT PALESTINIAN TEACHERS' SUCCESS IN MODIFYING VIDEO GAMES FOR INSTRUCTION The purpose of this study was to investigate the factors that might predict Palestinian teachers' success in modding games for instruction. An instructional game design model named Game Modding for Non-Professionals (GMNP) was created specifically for the training of Palestinian teachers during this study. This study addressed the question: To what extent do the variables gender, age, teaching experience, experience in playing video games, and adherence to the GMNP model predict teachers' success in modding video games for instruction when using the GMNP model? Gaining an understanding of teachers' performance in modding video games for instructional use may identify potential interventions that can be utilized to increase the use of this technology in the classroom. This investigation is useful in pointing out the need for teacher training to administrators and policy makers. The data for this study was collected from teachers at two Palestine Technical Colleges. All the teachers at the two Colleges were invited to participate, and 79 teachers agreed. Three teachers withdrew from the study before finishing it; hence, only 76 completed the study, and their data was used in the regression analysis. A workshop was conducted to train the teachers in using the GMNP model as a guide to game modding to modify video games for instructional use. During the workshop, the participants were asked to complete a worksheet. The participants were directed to use this worksheet to modify Neverwinter Nights 2 to teach a given instructional objective. At the end of the workshop, the completed GMNP model worksheet and the game mod created were collected from each participant as research data. The GMNP Model Rubric and the Educational Games Rubric were used to assess respectively the worksheets (for adherence to the GMNP model) and the game mods (for success in modifying a video game for instruction). Multiple linear regression was conducted to answer the research question. Tests to verify that the data met the various conditions required for multiple regression analysis were conducted and no violations of these conditions were detected. Findings indicated that gender was not a significant predictor of teachers' success in modding video games for instruction when the variance attributed to the other predictor variables was controlled, and the variables age, experience in playing video games, and adherence to the GMNP model were significant predictors of teachers' success in modding video games for instruction. The study suggested some implications and recommendations for policy makers and for future researchers who are interested in conducting similar studies about video game integration.

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