Dissertations / Theses on the topic 'Cinematic narrative'

This thesis proposes the Poetics of Mosaic Narrative as a tool for theorising the creation and telling of cinematic stories in a digital environment. As such the Poetics of Mosaic Narrative is designed to assist creators of new media narrative to design dramatically compelling screen based stories by drawing from established theories of cinema and emerging theories of new media. In doing so it validates the crucial element of cinematic storytelling in the digital medium, which due to its fragmentary, variable and re-combinatory nature, affords the opportunity for audience interaction. The Poetics of Mosaic Narrative re-asserts the dramatic and cinematic nature of narrative in new media by drawing upon the dramatic theory of Aristotle’s Poetics, the cinematic theories of the 1920s Russian Film Theorists and contemporary Neo-Formalists, the narrative theories of the 1960s French Structuralists, and the scriptwriting theories of contemporary cinema. In particular it focuses on the theory and practice of the prominent new media theorist, Lev Manovich, as a means of investigating and creating a practical poetics. The key element of the Poetics of Mosaic Narrative is the expansion of the previously forgotten and undeveloped Russian Formalist concept of cinematurgy which is vital to the successful development of new media storytelling theory and practice. This concept, as originally proposed but not elaborated by Kazansky, encompasses the notion of the creation of cinematic new media narrative as a mosaic – integrally driven by the narrative systems of plot, as well as the cinematic systems of visual style created by the techniques of cinema- montage, cinematography and mise-en-scene.

Thesis (Ph.D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 1999.
Includes bibliographical references (leaves 207-218).
Media entertainment technology is evolving rapidly. From radio to broadcast television to cable television, from motion picture film to the promise of digital video disks, as the media evolves, so do the stories told over these media. We already share many more stories and more types of stories from many more sources than we did a decade ago. This is due in part to the development of computer technology, the globalization of computer networks, and the emerging new medium which is an amalgam of television and the internet. The storyteller will need to invent new creative processes and work with new tools which support this new medium, this new narrative form. This thesis proposes the name Metalinear Narrative for the new narrative form. The metalinear narrative is a collection of small related story pieces designed to be arranged in many different ways, to tell many different linear stories from different points of view, with the aid of a story engine. Agent Stories is the software tool developed as part of this research for designing and presenting metalinear cinematic narratives. Agent Stories is comprised of a set of environments for authoring pieces of stories, authoring the relationships between the many story pieces, and for designing an abstract narrative structure for sequencing those pieces. Agent Stories also provides a set of software agents called story agents, which act as the drivers of the story engine. My thesis is that a writing tool which offers the author knowledgeable feedback about narrative construction and context during the creative process is essential to the task of creating metalinear narratives of significant dimension.
by Kevin Michael Brooks.
Ph.D.

My graduate film at Virginia Commonwealth University, "Nunna Mia e la Barca," explores the traditions behind narrative and documentary film construction. With this project, my goal was to blend narrative story telling techniques - for example continuity editing - with that of documentary approaches in order to communicate the story of my Italian grandmother, Nunna, and her journey on the Andrea Doria in 1956. These documentary approaches focus more on the specific details of Nunna's American home as I have experienced them growing up. Everything in the motion picture frame has been lit, composed, rehearsed, and edited as in any fictional film, but the actors are my family and do play themselves and others throughout the piece. Although the work is scripted, the actuality of Nunna being herself and acting out her daily tasks creates a soft merging of fiction and nonfiction that makes the film nearly docudramatic. The docudramatic elements(elements dramatized from a true story) stem from both the biographical information as well as the perception of the abstracted objects in Nunna's house. As in most of my films, my interest lies in the relationship between past and present events and the effect they have on the individual experiencing them. In order for me to tackle the combination of narrative and documentary, I had to define the terms as I understood them to be.

The Tailor's Apprentice is a feature-length, micro-budget, narrative digital motion picture, written, produced and directed by Jeffrey Lehman in partial fulfillment of the requirements of earning a Master of Fine Arts in Film from the University of Central Florida. The film is a result of applying specific monetary, logistical and creative limitations to the production process in order to contribute in defining the micro-budget aesthetic, resulting in a final shared cinematic audience experience. This thesis is a record of all stages from conception to completion of the executed, feature length film with-in the micro-budget production paradigm.
M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Film; Entrepreneurial Digital Cinema

The practice based research project presented in this thesis draws upon theoretical research in affect studies and film-­philosophy. The aim of the thesis is to reconsider the pre-­production and production process of narrative cinema and involve the rich and varied research into the area of affect and the body in the field of film studies that is currently being used to analyse the reception and meaning making process used as the foundation for producing a series of narrative films that privilege affect over traditional storytelling structures. Four films were made as part of an investigation into affective film practice. These films accompany the written exegesis and serve as a testing ground for concepts developed in the written component of the thesis. Each piece of practice is formally and conceptually more complex than the last. The fourth and final film serves as an example for the cinema of affective tonality and as such constitutes the central, visual argument. The theoretical research and experimental moving-­image practice result in the outlining of five conditions for the production of a cinema of affective tonality, which are combined with a taxonomy of affect developed by the author of the thesis. The taxonomy and guidelines offer filmmakers and researchers -­ engaged in moving-­image practice and visual methods -­ a proposition to construct cinema through affect rather than linguistics and ideology of film grammar.

Desde la implementación del sondo en las películas durante la segunda década del siglo XX, la banda sonora ha ido ganando un lugar importante en el proceso de creación de una historia cinematográfica. De esta manera, se cambió la visión del cine como se conocía.  Con el nacimiento de géneros cinematográficos y creadores audiovisuales, el cine paso por una etapa de redescubrimiento donde la implementación de nuevas técnicas fue un factor importante de dicho cambio. Ante esta adaptación, la industria ha desarrollado el uso de la banda sonora para otorgarle una función más avanzada que el sólo hecho de evitar el silencio injustificado en una película. Esta investigación busca demostrar la capacidad narrativa de la banda sonora para la historia de una película. Para ello se tomará la película de 1972: El Padrino Parte I. La elección de el objeto de estudio se sustenta en la elaborada banda sonora que acompaña la película.
Since the implementation of sound in movies during the second decade of the 20th century, the soundtrack has gained an important place in the process of creating a film story. In this way, the vision of cinema as it was known was changed. With the birth of film genres and audiovisual creators, cinema went through a stage of rediscovery where the implementation of new techniques was an important factor in this change. Faced with this adaptation, the industry has developed the use of the soundtrack to give it a more advanced function than just avoiding unjustified silence in a movie. This research seeks to demonstrate the narrative capacity of the soundtrack for the story of a film. For this, the 1972 film: The Godfather Part I will be taken. The choice of the object of study is based on the elaborate soundtrack that accompanies the film.
Trabajo de investigación

Autotélico traz uma reflexão acerca das estruturas que constituem a linguagem poética com a qual trabalho. No decorrer dos anos percebi que as obras vêm se organizando através de regras próprias, relações estabelecidas no processo poético entre os conceitos de objeto, mitologia, construções narrativas cinemáticas e um espaço polissêmico manipulado pelo observador. Elementos heteróclitos que tendem a se interconectar e constituir um todo auto-organizado, através da regulação de um sistema unificador e coordenador dos elementos. Através da análise e reflexão sobre as principais obras em minha trajetória, permeada por questões teóricas e contrapontos com outras áreas, desenvolvo um pensamento sobre a obra como forma de instauração de realidades e apresento a idéia de uma estrutura poética como um processo contínuo de reconstrução, um sistema aberto em mutação, que tende a criar o ambiente material e teórico para novas reconfigurações ampliadas. Essa dissertação age, então, como uma ferramenta de mapeamento dos métodos de criação de sistemas para a instauração da obra artística, onde cada obra se apresenta una e múltipla, sinédoque de suas possibilidades, criando universos poéticos que se bifurcam e se transformam.
Autotélico (Autotelic) presents a reflection about the structures of the poetic language in the author‟s work. Over the years the artworks have been organizing themselves through relationships established during poetic process between object concepts, mythology, cinematic narrative constructions and a polysemic space manipulated by the observer. Eccentric elements tend to interconnect to create an organized whole through an adjuster system in itself. The most important works in the author‟s portfolio were analyzed with the related theory and other areas‟ counterpoints. The ideas of artworks as a reality establisher and a poetic structure as a continuous process of rebuild and mutation are developed. This dissertation brings a kind of mapping tool of the conception methods where each work is unique and multiple creating poetic universes that are in touch and in transformation.

Esta investigación analiza la narrativa audiovisual en el formato videoblog de La Habitación de Henry Spencer (2007-2020). Asimismo, es una aproximación sobre la propuesta del videoblog, desde la narrativa audiovisual, la cual constituye una tendencia unitaria en la denominada “primera ola” de videoblogs en el contexto histórico de los nuevos medios digitales en la era de la web 2.0. La metodología empleada es la presente investigación es cualitativa. Se han seleccionado tres formatos representativos del videoblog (entrevista, crónica y perfil), junto con cinco videos publicados en su canal de YouTube, con el objetivo de revisar y analizar la técnica audiovisual, el guión literario, con el objetivo de establecer las tendencias en la producción audiovisual de este fenómeno comunicacional.
This research analyzes the audiovisual narrative in the videoblog format of La Habitación de Henry Spencer (2007-2020). Likewise, an approach will be provided on the proposal of the videoblog, from the audiovisual narrative, which constitutes a unitary trend in the so-called "first wave" of videoblogs in the historical context of the web 2.0 era. The methodology used in the investigation is qualitative. Three representative formats of the videoblog have been selected (Interviews, profiles y chronicles), along with five videos published on their YouTube channel, with the aim of reviewing and analyzing the audiovisual technique, the literary script and the journalistic guideline, with the objective of establishing trends in audiovisual production of this communication phenomenon.
Trabajo de investigación

Cette thèse porte sur les propriétés du discours de la caméra virtuelle autour de trois axes: le temps, l'histoire, et la présentation visuelle. Nous nous répondrons principalement à la question sur la façon d'analyser, d'exploiter des données, et de générer automatiquement des arrangements temporels de l'histoire et des contenus visuels. Nos techniques proposées peuvent être appliquées aux problèmes de planification automatique de la caméra dans des environnements 3D, et ouvrent des perspectives pour l'analyse cognitive du cinéma et de la narration visuelle
This thesis concerns the discourse properties of cinematographic storytelling around three axes: time, story, and visual presentation. We address the question of how to analyse and gain knowledge from data, and automatically generate temporal arrangements of story and their visual content. We work with actual film data to understand the good practices of visual storytelling. The techniques in this thesis target applications to automatic camera planning problems in 3D environments, and also open perspectives for cognitive analysis of film and visual storytelling

El objetivo principal del presente trabajo de investigación es la lectura y análisis de Jo March, el personaje principal de la película “Mujercitas” (2019) dirigido por Gretta Gerwing, desde los elementos de la narrativa fílmica como la construcción de personajes y la dirección de arte. Este análisis vendrá motivado con la finalidad de comprobar como es que este personaje representa a la mujer posmoderna, según el concepto del autor Gilles Lipovetsky, aunque desarrollado en un contexto social perteneciente al siglo XIX.
The main objective of this research work is the reading and analysis of Jo March, the main character of the film “Little Women” (2019), directed by Gretta Gerwing, from the elements of the filmic narrative such as the construction of characters and the direction of art. This analysis will be motivated in order to verify how this character represents the postmodern woman, according to the concept of the author Gilles Lipovetsky, although developed in a social context belonging to the 19th century.
Trabajo de investigación

The Influence of Photographic Narrative in Healthcare Dialogue is a research project which developed within an interdisciplinary practice-led environment between arts and healthcare. The overall project aimed at employing photographic narrative to explore concepts that support a holistic approach to clinical interactions, for example empathy and reflective practice. The key proposition in this thesis is that communication between a doctor and his patient is enhanced when the medical practitioner recognises the shared narrative that develops as the process of diagnosis and treatment unfolds. From the medical practitioner's perspective, these narratives contribute to empathetic doctoring and this thesis reports on the author's interest in promoting an active sense of the visual narrative expression during the training of medical students. This project was developed in a series of experiments undertaken during a medical photography elective at Newcastle University Medical School (entitled The Camera Never Lies?) and the student's photographic stories uncover a range of attitudes to learning about 'good doctoring' during a conventional training in clinical practices, a process that demand that the students value professional detachment (Coulehan, 2008:56). My research was developed in response to the experience of teaching photographic practices to medical students within this module. In supporting the students' production of photographic artworks I was able to better understand the potential of non-verbal narrative in clinical environments (the types of professional medical contexts in which the students will apply their knowledge after they have graduated) and in medical training (the context into which I had been invited to transfer my knowledge of photographic portraiture in order to enhance the students' sensitivity to visual communication). In this sense, my thesis reports on the progress I have made as both a translator of visual arts ideas and as an artist exploring the narratological nature of taking portrait photographs (based on a range of influences from Jo Spence to Cindy Sherman). Moreover, my research provides an alternative approach to portraiture by producing photographic portraits with a method of renarration. My activities with the medical students were developed as a practice-led research project in which I used my personal experiences of creating sequences of photographic self-portraits to stimulate reflective practices amongst my students. Once they had learnt to make their own reflective portraits I was able to respond to their images with more of my own that interpreted and reflected their narratives back to them. The students clearly gained from this experience and over the past three years I have evolved the process into a teaching method specifically aimed at improving clinical skills. This photo-narratological interaction, and the benefits that the students experienced, became the basis of my research question and my methodology. My interest in finding solutions to the process of applying 're-narration', a concept I adapted from psychoanalysis (Josselson & Lieblich, 1996), to both my arts practice and my medical teaching became the central quest of my project. As with all practice-led research, I saw this exploratory journey as an opportunity for action research and my thesis considers this approach using Winch and Gingell's five stages: situation, concern, intervention, documentation and dissemination (Gingell & Winch, 1999). As a result, I am able to systematically shape my thesis around my entire journey: from the initial, open-ended phase embedded in the arts and health research project at Northumbria University to its later, more focussed period in which I am able to prepare my findings for conferences in the Medical Humanities sector. At this stage, the student projects have become case studies that are conceptualized and investigated within the framework of life narrative research, an interdisciplinary method that is used in sociology, psychoanalysis and anthropology (Czarniawska,2004). The central section of my thesis describes this part of my project in both practical and theoretical terms. All along, my aim has been to use photography as a vehicle for opening new lines of communication between arts and healthcare, two distinct fields of research that stand to gain from being brought into closer relations with one another (see the Wellcome Trust website in support of this claim, available at http://www.wellcome.ac.uk). My conclusion is that the engagement of medical students with photography can facilitate reflective learning and encourage the development of visual skills that many commentators believe is absent in the structure of medical training yet necessary for the practice of good doctoring (Coulehan, 2008:56). The reflective use of photography through re-narration has resulted in the development of photographic narratives by the students which express their understanding of the different facets of the human condition and health in a range of subjects from self-portraiture to patients' health narratives. The photographic works illustrate an ongoing dialogue of trainee doctors within healthcare situations, the professional engagement with their subject of study and also their individual personal development. The medical students who attended the medical photography elective: The Camera Never Lies? developed an in-depth understanding of the concepts of self-reflection, empathy and also engaged with the important role of these concepts in their professional practice. Some medical students used photography to express their preoccupations with health related subjects by engaging with patients on the basis of photographic projects, whereas others engaged directly with their own personal experiences with eating and mental disorders. As a result the students deconstructed medical stereotypes, challenged their own preconceptions of illness and embraced empathy as the essential skill for the performing of good doctoring. The changing attitudes became evident in both the students' photographic work and their final assessment presentations. Additionally, the public exhibitions of the students' work revealed attitudes of a wider healthcare system. Where healthcare staff responded to the students' work in a controversial way, the hospital patients engaged very positively with the students' approach in the photographs. This contribution of photographic re-narration uncovered healthcare attitudes that respond to Coulehan's definition of gooddoctoring. Reflection through re-narration suggests that an empathetic engagement between medical practitioners and patients could result to a more valuable medical practice compared to the traditional professional detachment. In this sense, the doctor-patient empathetic engagement develops in a two-directional way both from the doctor's and patient's perspectives. As a result, the doctors have learnt to use their reflective skills to communicate better with their patients and in turn the patients have become more empathetic towards their doctors. The Influence of Photographic Narrative in Healthcare Dialogue was supported by an AHRC New Collaborations award hosted by Northumbria Healthcare NHS Foundation Trust and Northumbria University.

This thesis offers a close reading of Quentin Crisp’s auto/biographical representations, most particularly The Naked Civil Servant. Published in 1968, Crisp’s autobiography was dramatized for Thames Television in 1975, a film that would prove seminal in the history of British broadcasting and something of a ‘quantum leap’ in the medium’s representation of gay lives. As an interpretative study, it offers a scope of visual and narrative analyses that assess Crisp’s cultural figure – his being both an ‘icon’ in gay history and someone against which gay men’s normative sense of masculinity could be measured. According to particular thematic concerns that allow for the correspondent reading of the visual and the literary auto/biographical text, this thesis considers the reception of that image and the binary meanings of fashioning it embodies. It explores not the detailed materiality of Crisp’s figure but its effects – the life that his fashioning determined and the fashioning of that life in textual discourse and media rhetoric. Observing Crisp as a performer of the auto/biographical, the following themes are addressed: the biopic, its tropes and ‘the body too much’; desire, otherness and the ‘great dark man’; the circumscribed life of the art school model; the ‘exile’ of a Chelsea bedsit; and the drag of a queer dotage.

A dissertação Vidas secas, do livro ao filme se propõe a fazer um estudo da estrutura e da questão narrativa das obras Vidas secas, livro de Graciliano Ramos e do filme homônimo de Nelson Pereira dos Santos, levando-se em consideração as diferenças entre os dois meios, os fenômenos decorrentes da adaptação, as circunstâncias de produção e a distância temporal entre as duas obras. A adaptação é mais uma questão de diálogo e admiração do que de diferenças fundamentais entre os autores. Mais do que ser apenas a adaptação de uma obra-prima da literatura nacional, a leitura cinematográfica que Nelson Pereira dos Santos fez de Vidas secas de Graciliano Ramos quis também ser uma intervenção na conjuntura política contemporânea, nesse caso como parte do debate então vigente sobre a reforma agrária e a estrutura social brasileira na década de 1960. O que pretendemos com esta dissertação é, valendo-se de diversos embasamentos teóricos ligados aos Estudos Comparados e à Literatura Comparada, chegar a uma leitura analítica focada na compreensão da construção das duas formas narrativas de Vidas secas: romance (livro / narrativa original / linguagem literária) e filme (produto final de uma releitura audiovisual / linguagem cinematográfica
The dissertation Barren Lives, from book to film aims to comparatively study the structure and the issue of narration in Graciliano Ramoss book Vidas secas and in Nelson Pereira dos Santos film Vidas secas, taking into consideration the differences between literature and film, the patterns created by the process of adaptation, the circumstances within which the two works were produced and the temporal lap between the two pieces. Adapting a book into film is, in our opinion, much more a matter of admiration and dialogue than of establishing differences between one piece of work and the other. More than an adaptation of one of the Brazilian contemporary literatures masterpieces into film, the cinematic reading of Vidas secas made by Nelson Pereira dos Santos also aimed to intervene in its contemporary Brazilian political life, especially in the debate concerning the land ownership and the Brazilian social structure in the 1960s. In this dissertation, our aim is to build up an analytical reading of these two works, based on some concepts from Comparative Studies and Comparative Literature, trying to better understand the two pieces different structures, the books original literary narrative and the films cinematic narrative, considering the latter a result of an audiovisual comprehension and re-creation of the first.

This thesis engages with the relationship between national identity, security-based narratives, and foreign policy. It focuses on the 1982 Lebanon War as the most controversial in Israel's history because it violated the Israeli societal norm of only fighting wars of self-defence (when there is no alternative to war). Through an examination of Israeli films about the 1982 war – Ricochets, Time for Cherries, Cup Final, Waltz with Bashir and Lebanon – this thesis studies the identity crisis experienced by Israelis after the invasion of Lebanon and the coping mechanisms that helped Israeli society reconcile the war with the security-based narratives that inform collective identity in Israel.
Cette thèse a pour objet la relation entre l’identité nationale, les récits sécuritaires et la politique étrangère. Elle se base sur la Guerre du Liban de 1982 en tant que guerre la plus controversée des guerres israéliennes en raison de sa contradiction avec la norme israélienne de seulement mener des guerres de légitime défense (à savoir lorsqu'il n'y a aucun autre recours que la guerre). À travers un examen des films israéliens qui traitent de la guerre de 1982 – Ricochets, Time for Cherries, Cup Final, Waltz with Bashir et Lebanon – cette thèse discute de la crise identitaire vécue par les Israéliens à la suite de l'invasion du Liban et s’intéresse aux stratégies d'adaptation qui ont aidé la société israélienne à réconcilier la guerre avec les récits sécuritaires qui font partie de la construction de l'identité collective israélienne.

Esta tesis se centra en las reconstrucciones históricas en el cine europeo y su principal objetivo es delimitar la genealogía de un modelo de figuración y transmisión de la historia, enraizado en la modernidad y que emerge tras la Segunda Guerra Mundial, persistiendo en el cine y televisión contemporáneos. Dicho modelo tiene por eje central imágenes cuya puesta en escena arrastra al espectador al tiempo representado, que se figura en la pantalla como una experiencia sensorial y dialéctica gracias a la cual la audiencia puede efectuar una relectura de la historia. La aproximación háptica y dialéctica al pasado permite construir imágenes que operan como espacios de experiencia para el espectador, generándose una temporalidad que evoca la vivencia del tiempo histórico pero también genera una nueva visión del presente. A través de esta mirada a la historia y sus reconstrucciones cinematográficas exploramos las temporalidades que se generan tanto en la escritura histórica a través de la imagen como en su encuentro con la audiencia.
This thesis focuses on historical reconstructions in European cinema and its main objective is to define the genealogy of a model of figuration and transmission of history, rooted in modernity and emerging after World War II, persisting in contemporary film and television. This model has main axis images whose mise-en-scene drags the viewer to the time represented, thanks to figuring it as a sensory and dialectical experience that allows the audience to reread the past. The haptic and dialectical approach to the past allows to build images that operate as spaces of experience for the viewer, generating a temporality that evokes the experience of historical time, but also generates a new vision of the present. Through this look at history and its cinematic reconstructions we explore the temporalities that are generated, both in historical writing through images and in its encounter with the audience.

Cette thèse se propose de revenir sur l’œuvre cinématographique de Guy Gilles, cinéaste à la trajectoire singulière, voguant entre les espaces et les temps. Une œuvre qui repose sur un aller-retour constant, de manière directe ou indirecte, entre l’Algérie, sa terre natale, et la France, plus particulièrement Paris, ville idéalisée, mythifiée, qu’il filma constamment comme pour retrouver un temps et une lumière perdue. Né en 1938, arrivé à Paris en 1960, Guy Gilles ne sera pas reconnu par la Nouvelle Vague, ni première, ni deuxième génération, et restera en marge de la marge (cinéma underground, cinéma homosexuel, cinéma d’essai) jusqu’à sa mort en 1996. Son œuvre, discrète et secrète, tombée dans l’oubli, doit être redécouverte aujourd'hui. D’une part pour sa recherche formelle, ses récits impressionnistes, sa poésie de la ville, et d’autre part pour la quête intime, proustienne, passant par toutes les formes filmiques qu’il a abordées (courts et longs métrages, films pour la télévision) mais aussi ses peintures et son œuvre photographique
This thesis revisits the cinematographic work of Guy Gilles, a filmmaker with a singular trajectory, navigating between time and space. His work is based on a constant back and forth, directly or indirectly, between Algeria, his native land, and France, more particularly Paris, an idealised, mythified city, which he constantly filmed as if to find again a certain time and light that had been lost. Born in 1938, Guy Gilles arrived in Paris in 1960. He received no recognition from the Nouvelle Vague, neither from the first nor the second generation, and remained on the fringe of the fringe (underground cinema, gay cinema, art films) until his death in 1996. His work - discreet and secret - has fallen into oblivion and should be rediscovered today. First, for Gilles’ formal research, his impressionist narratives, his poetry of the city; and second, for his intimate, Proustian quest, passing through all the filmic forms he used (short and feature films, films for television), but also his painting and photographic work

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A Audiodescrição, ou AD é um recurso que visa tornar acessível ao público deficiente visual conteúdos imagéticos produzidos no âmbito educacional e cultural. No Brasil, as ADs são realizadas ainda experimentalmente, a partir da experiência do convívio com deficientes visuais ou de um modelo fundamentado nas normas britânica (ITC, 2000), espanhola (UNE, 2005) e americana (ADC, 2008). Ao seguir tais modelos, as ADs apontam para um padrão internacional, o qual prioriza a objetividade, a clareza e a fidelidade à obra transcrita. Este estudo tem como objetivo analisar o alcance de duas versões de AD realizadas para o filme português Atrás das Nuvens (2007) de Jorge Queiroga, fixando o olhar na poética produzida pela Linguagem Cinematográfica – LC nesta obra. Também se dispõe a discutir a questão da objetividade, expressividade e poética passadas nas versões abordadas. Para fundamentar a tese, é feito um estudo de caso com base na pesquisa qualitativa, alicerçada na análise de um trecho desse filme e aportada por entrevista semiestruturada com um grupo de pessoas deficientes visuais. Teoricamente, a discussão foi mediada, principalmente, nos trabalhos de Diniz (2007); Franco (2010); Neves (2011); Gomes (2004); Deleuze (2005) e Minayo (2001). Identificou-se que a AD não pode ser realizada apenas como um serviço de tradução de forma mecânica, identificando imagens, no intuito de favorecer ao espectador deficiente visual a captação apenas de forma instantânea. Os resultados demonstraram ser possível realizar a AD a partir da força embutida na poética da LC e transmiti-la de forma expressiva, criativa e poética.
Salvador

Lo scopo di questo elaborato è proporre un’analisi esauriente e aggiornata (per quanto possibile) delle pratiche produttive che dominano il panorama cinematografico attuale, con riferimento ai principali metodi attraverso cui un testo filmico si mette in relazione con un altro testo filmico già esistente.

碩士
朝陽科技大學
應用英語系
104
This thesis is a critical reading of Paul Haggis’s film Crash because it provides a concept of simultaneity. Several characters' stories in this film interweave during two days in Los Angeles, and every incident interweaves with each other, meaning that there is a life course full of incidents. This paper will apply several theorists’ critical analyses of time and space to the reading of Crash. The author argues that the feature of Crash exemplifies the concept of simultaneity existing in reality circumstance. That is to say, the events that happen in the film could exist in our reality, which makes the concept of simultaneity not just a theory, but also virtual visual. Thus, the sense of simultaneity is composed of an audience who experience the presence of both time and space. The sense of imagination can build the sense of simultaneity through him/her to the “re-imagination” of the society with simultaneity. The main argument of this thesis is how the film (such as its montage) leads the audience to understand the sense of simultaneity through the film. For example, a first shot might show a woman sitting. The second shot might reveal a coffee cup. The audience is led to believe that the woman is at the coffee shop. The technique in filmmaking is crucial to embody the narratives of film which are composed of a string of events and structured based on cause and effect. According to the technique of filmmaking, Crash adopts parallel montages to narrate the story. Namely, the sequence of Crash is non-linear; the director uses three dimensions to present Crash. The author believes that the film provides a different and critical approach to watching films like Crash.

This thesis stems from the increasing ubiquity of cell phones in the cinema. It attempts to register the changes that have occurred in cinema in the wake of cellular telephone technology by considering the narrative, stylistic and symbolic significance of the technology in different cinematic environments. This project focuses on the stalker film, the contemporary Japanese horror film, and the network narrative film through the examples of Wes Craven's Scream Trilogy (19%, 1997, 2000), Takashi Miike's Chakushin ari (2003), and Mike Figgis' Timecode (2000) respectively. Drawing on Avital Ronell's theory of telephonic subjectivity and Tom Gunning's work on the fixed telephone's affinity to film, it is argued that the cell phone's dimensions of mobility, mutability, ubiquity and constant touch have given rise to a new stage in telephonic logic. The case studies in this thesis reveal through close readings, how film exploits this new logic, seizing on the emergent modalities of networked subjectivity and hyperconnected spatial relations to make film more dynamic and socially relevant. Finally it is argued that an examination of this exploitation makes legible the cell phone's social and psychological implications in quotidian life.

ENGLISH VERSION This thesis analyses the works of Christopher Isherwood in search for narrative strategies influenced by film aesthetics. Since Isherwood’s oeuvre is very often autobiographical, his life is considered as one of key perspectives used to interpret his texts. A traveler, British expatriate living in Hollywood, a homosexual, and a follower of Vedanta, Christopher Isherwood can be often referred to as “the Other”. Complicated relations with the surrounding environment, and therefore a sense of alienation is a perfect reason to present Isherwood’s observations in a distanced, passive way, which is typical for a camera registering reality. Chapter one provides background for the analysis of Isherwood’s texts from a cinematic perspective, namely the technological milestones in the history of cinema and their reception by the audience. The changes in film techniques influenced the perception of reality and the sense of aesthetics both among regular cinemagoers and film critics. The chapter provides definitions of the described techniques in order to facilitate easier association of those with narrative techniques used by Isherwood. Another important aspect discussed in this chapter is the screenplay as an intermediary form between literature and film. The history of the genre is presented, which is followed by an overview of the situation of writers working for Hollywood at its heyday. Furthermore, the chapter outlines theories describing the impact of film on literature as well as the most prominent British and American writers inspired in their writing by the film form. Chapter two is an overview of Isherwood’s works and his biography. Particular focus is put on the writer's relationship with cinema i.e. his work for Hollywood. This is done by analyzing entries from his diaries and lectures as well as his film experiences described in the novelette Prater Violet, which is by far the most complete description of Isherwood’s relation with the world of film. The analysis of the aforementioned texts allows to present Isherwood’s attitude towards the film industry and film as a form of art. For the purpose of the analysis, references are made to the theories presented in chapter one related to writers working in Hollywood, the development of film script and the so-called Hollywood novel, which can be defined as a writers’ account of working for the film industry in Hollywood. Chapter three looks at Isherwood’s semi-autobiographical texts describing his travel experiences. The first person narrator in Isherwood’s texts, often carrying the author’s name, is a an atypical observer of reality, which is directly mentioned in in of the novels analyzed in the chapter i.e. Goodbye to Berlin where the narrator is compared to a camera passively registering the surrounding reality. The chapter analyzes camera traces in the following texts: Mr Norris Changes Trains, Down There on a Visit, Goodbye to Berlin, Christopher and His Kind. The aforementioned comparison to the camera is analyzed with the use of theories defining film aesthetics in a similar way to the famous “I am a camera” quotation, that is Impressionism (in painting and literature) and theories coined by Sergei Eisenstein and other Soviet directors on the art of montage. These theoretical references mention a direct and instant registration of reality. Such registered material might prove to be imperfect and require “editing”. Since a number of Isherwood’s texts describes the writer’s experiences in Berlin, a big European city undergoing turbulent changes in the times of the Nazi rise to power, one of the interpretation filters used in the chapter is a comparison to 19th century concept of flâneur, a persona whose perception of an urban space is twofold - deeply submerged in the city simultaneously being distanced towards the surroundings, which leads to the concept of distance and alienation thoroughly discussed in the following chapter. Chapter four focuses on the alienation of Isherwood’s characters, which can be considered as a frequent reason for Isherwood to use film language in his texts. The chapter looks at Isherwood’s characters, who mirror his own life experiences, so characters considered as “Others” - expatriates far from their homeland, homosexuals - not fitting to approved social norm at the times described by the writer, or characters on a spiritual journey in search for their identity in Vedanta. Chapter five focuses on the analysis of film adaptations of Isherwood’s texts in order to verify whether the film narration techniques described in previous chapters of this thesis have been used by directors of the said film adaptations. The scope of this chapter focuses on two adaptations of Goodbye to Berlin, as well as Chritsopher and His Kind and A Single Man. WERSJA POLSKA Praca analizuje twórczość Christophera Isherwooda w poszukiwaniu narracji obficie czerpiącej ze stylistyki filmowej. Ze względu na autobiograficzny charakter większości dzieł pisarza, jego życiorys stanowi jeden z kluczy, przy pomocy którego owe powieści są interpretowane. Isherwood jako podróżnik, brytyjski emigrant pracujący w Hollywood, gej oraz zwolennik hinduizmu jest postacią, o której zawsze można mówić jako o „obcym”. Skomplikowane więzi z otaczającym go środowiskiem (bądź ich brak) a zatem często i poczucie alienacji stanowi znakomity powód do ujęcia swoich obserwacji na temat rzeczywistości w zdystansowany sposób, typowy właśnie dla kamery rejestrującej rzeczywistość. Rozdział pierwszy przedstawia tło do analizy powieści Isherwooda. Przedstawione są kluczowe momenty w rozwoju technologicznym kina oraz ich odbiór przez publiczność, co wiąże się również ze zmianą wrażliwości, estetyki oraz postrzegania rzeczywistości zarówno u przeciętnego widza jak i pisarza oraz krytyka. W rozdziale zawarte są również definicje owych technik, w celu ułatwienia późniejszej ich identyfikacji ze strategiami narracyjnymi zaobserwowanymi w powieściach Isherwooda. Kolejnym ważnym aspektem omawianym w rozdziale jest kwestia scenariusza filmowego, będącego formą pośrednią pomiędzy literaturą a filmem. Autor przedstawia rys historyczny gatunku oraz opisuje sytuację pisarzy (między innymi Isherwooda) zwerbowanych do Hollywood w celu pisania scenariuszy. W rozdziale pojawia się również przegląd teorii opisujących wpływ filmu na literaturę oraz najważniejszych pisarzy uznanych jako zainspirowanych twórczością filmową. Rozdział drugi stanowi przegląd twórczości Isherwooda wsparty jego rysem biograficznym. Autor skupia się szczególnie na związkach pisarza z filmem, a więc jego pracy w Hollywood, analizując pamiętniki oraz wykłady Isherwooda, jak również jego doświadczenia filmowe opisane w powieści Prater Violet, która jest bodajże najbardziej treściwym zapisem spotkań pisarza ze światem filmu. Analiza wyżej wymienionych tekstów pozwala ustalić jaki był stosunek Isherwooda do przemysłu filmowego jak i filmu jako sztuki. Pod uwagę wzięte są również informacje z rozdziału pierwszego dotyczące pisarzy pracujących dla Hollywood, rozwoju scenariusza filmowego oraz tak zwanej powieści hollywoodzkiej, czyli takiej, która jest zapisem doświadczeń pisarza zaangażowanego w tworzenie filmu. Rozdział trzeci spogląda na twórczość Isherwooda z perspektywy jego powieści na poły biograficznych, które opisują doświadczenia pisarza z jego podróży. Pierwszoosobowy narrator Isherwooda o tym samym imieniu jest dość nietypowym obserwatorem rzeczywistości, co zresztą powiedziane jest wprost w jednej z analizowanych w tym rozdziale powieści Goodbye to Berlin gdzie narrator porównany jest do kamery pasywnie rejestrującej rzeczywistość. W rozdziale staram się prześledzić obecność kamery w powieściach Mr Norris Changes Trains, Down there on a Visit, Goodbye to Berlin oraz częściowo w Christopher and His Kind. Owo kluczowe porównanie do kamery zostaje zanalizowane w świetle teorii definiujących estetykę filmową w podobny sposób do sławnego cytatu z powieści Isherwooda a zatem chociażby Impresjonizmu (zarówno malarskiego jak i literackiego) jak i teorii montażu wypracowanych przez Siergieja Eisentsteina oraz współczesnych mu radzieckich twórców. Teorie te wspominają o natychmiastowej, bezpośredniej rejestracji rzeczywistości, która może się wydawać niedoskonała i wymagać „edycji”. Jako że znaczna część dzieł pisarza opisuje jego doświadczenia w nazistowskim Berlinie, a więc wielkim mieście ulegającym gwałtownym przemianom, jednym z filtrów interpretacyjnych jest próba porównania narratora Isherwoodowskiego do postaci dziewiętnastowiecznego flaneura a co za tym idzie jego postrzegania przestrzeni miejskiej oraz stanu zawieszenia w swoistej próżni, będąc jednocześnie częścią otaczającego środowiska oraz osobą spoza tegoż środowiska, co prowadzi do rozważań opisanych szerzej w rozdziale trzecim. Rozdział czwarty skupia się na zjawisku alienacji bohaterów Isherwooda, która według autora rozprawy jest bardzo często powodem, dla którego pisarz korzysta w swoich powieściach z technik filmowych. Wyliczone i przeanalizowane są przypadki, w których Isherwood pokazuje wyobcowanie swoich bohaterów przy pomocy języka filmu. Patrzymy na bohaterów Isherwooda odzwierciedlających jego własne życie, a więc na bohaterów „obcych” na emigracji, bohaterów homoseksualnych, a więc tych odstających od normy w czasach opisywanych przez pisarza oraz bohaterów uciekających od kultury zachodu poszukujących własnej tożsamości w kręgu kulturowym hinduizmu tak bliskiego w pewnym momencie pisarzom pracującym w Hollywood. Rozdział piąty skupia się na analizie filmowych adaptacji powieści Isherwooda celem sprawdzenia, czy opisane w poprzednich rozdziałach narracyjne techniki naśladujące język filmu znalazły odzwierciedlenie w artystycznych i technicznych rozwiązaniach zastosowanych przez reżyserów owych adaptacji. Analizie zostają poddane dwie adaptacje powieści Goodbye to Berlin jak również takich tytułów jak Christopher and His Kind czy A Single Man.

碩士
國立中央大學
英美語文學系
102
The first gay film in the world, Different from the Others (Richard Oswald, 1919) and the first film adopting lesbianism as the main theme, Girls in Uniform (Leontine Sagan, 1931), were both born in the Weimar Republic of Germany from 1919 to 1933. Thus, Weimar Cinema invented the subgenres of “gay film” and "lesbian film," enriching the main genre of “queer cinema.” This paper introduces the four paradigms, various cinematic techniques and narrative strategies of Weimar Queer Cinema. Through the aspects: “from silent films to talkies,” “from the censorship-free status to the dominance of film censorship,” and “from films with inter-titles to films without inter-titles” and so on, this paper analyzes Weimar gay, lesbian and horror films as well as the films directed by F. W. Murnau. Furthermore, this paper illustrates how the paradigms, techniques and strategies of Weimar Queer Cinema were transformed to outwit Weimar censorship, to inherit the mission of the Weimar queer social movement, to fight against German conservative power’s political, juridical, and religious oppressions over the homosexuals, and to create a new artistic peak of Weimar Cinema.

Thesis (M.A.)--University of Wisconsin--Madison, 1997.
Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 68-71).

碩士
國立臺灣大學
音樂學研究所
101
How American director David Lynch uses music in his film has been popular in film music research area. Some scholars mentioned that his music challenged the traditional path, diegetic and non-diegetic music, which defined the relationship between music and the world in story, and they showed that music emphasized the blurring space between these two zones. However, these investigations didn’t show us clearly how music works in this blurring space because these discussions need more structural analysis to present the process which musical elements develop. In this thesis, I combined the analytic methods in harmonic and timbre, and the methods developed by Claudia Gorbman and Michel Chion to explore the structural achievement Lynch made in his film. Lynch''s Inland Empire was selected to as a research subject due to the special background in soundtrack production. In this film, many scenes arose from the music which the director composes, and this music creates a special cinematic space to let the characters get lost in the labyrinth of dream and reality. I investigated through the following two topics : (1) Musical space and narrative space： To explored how the sonic space imagined by spectators based on the feeling of musical elements, and explore how this imagined sonic space participates in the construction of cinematic space. (2) Musical curse and cursed music： By taking different approaches in analysis to explore how the curse, the core motive in the film, shows its power through musical space created by Lynch. I discovered how music connected with various places in film, causing the instability in time and space, blurring the boundary between diegetic and non-diegetic music, and making the impact on the narrative structure in the theme of illusion-reality.

博士
輔仁大學
比較文學研究所
97
This dissertation, while focusing on the discursive formation of Taiwan’s Healthy Realistic Cinema movement in the 1960s from discursive dimensions of cultural policy, film production and aesthetic representation, also aims at dismantle and (re)articulate various critical moments in the genealogical spectrum of Chinese-language cinema. It argues that, under the backdrop of recurring, the film cultural policy practiced by KMT ruling power in China of the 1930s, widespread policing and censoring actions in the film industries in Taiwan around the 1960s, and the filmmakers’ subtle struggle of artistic creation against ideological restraints, and with the supporting film criticism and film historians for fostering more relevant film productions and consolidating KMT monolithic governance, Healthy realistic cinema movement finally projects a landmark and powerful influence on popular memory and social integration in Taiwan. Drawing on concepts of Cultural Studies as well as the theories of historiophoty, media political economy, and film analysis, this dissertation explores the way in which healthy realism operates in relation to political ruling power, now and then, localized identity from diasporic sentimentality, and film censorship and white-terror repression within film industries. The dissertation offers a critical perspective for approaching the question of historiography of Taiwanese cinema by problematizing Chinese-language cinemas, and explaining how Healthy Realistic Cinema serves as an imaginary screen for mandarin movie-goers suturing their identities and speaking positions, and as an experimental mechanism for filmmakers striving among political slogan, hidden working codes, industrial competition, and cinematic creation.

Orientação: José Bragança de Miranda
A Casa Encantada é um filme que nasce da procura, da espontaneidade, do contraste, da colaboração, e desenvolve-se a partir de uma reflexão pessoal sobre a montagem e a minha visão sobre o cinema, as influências das diferentes formas de ver cinema e a minha forma de fazer cinema. Este documento está dividido em dois blocos temáticos. O primeiro expõe de modo panorâmico e sintético as influências das diferentes correntes cinematográficas na minha forma de fazer cinema, para passar depois a contextualizar os meus projetos dentro do panorama cinematográfico do Séc. XXI. O segundo descreve os elementos-chave do projeto A Casa Encantada, centrando-me numa nova metodologia de trabalho que denominei metodologia Loop. O procedimento de trabalho usado na elaboração deste documento foi o seguinte: em primeiro lugar, escrevi os conceitos e os temas que englobam este filme – Cinema, democratização das ferramentas, cinema de autor, realismo social, cinema de massas, Hollywood, formalismo, festivais, digitalização, mass media, felicidade, infância, realidade, recordações, objetos, resistência – e que, de forma direta ou indireta, também marcaram os meus anteriores trabalhos. Estes temas foram discutidos com o professor José Bragança de Miranda, que escolheu uma variada bibliografia sobre estes conceitos e temas que abordámos nos nossos encontros. Esses encontros e o intercâmbio de opiniões e visões serviram também para estabelecer e delimitar os objetivos deste trabalho que em breve exporemos. Durante o período de leitura, investigação e reconstrução dos meus conhecimentos sobre estes conceitos, fui consciente, por um lado, das influências das diferentes correntes cinematográficas e, por outro, da relevância da minha nova forma de montagem, a que chamei sistema loop e que assenta, não só numa determinada forma de editar o material captado, como também em materiais periféricos como a fotografia, a interação com quem faz parte do Júlio Alves. A Casa Encantada. Universidade Lusófona de Humanidades e Tecnologias, Departamento de Estudos Cinematográficos. 7 projeto e ainda com o meu caderno de notas. Daí os dois blocos temáticos mencionados no parágrafo anterior. A Casa Encantada é um projeto que nasceu no contexto desta tese mas que ainda não terminou. Continua em processo enquanto escrevo este documento. Mas a reflexão e a análise que aqui se expõem servem para refletir os seguintes objetivos: – Sintetizar as diferentes formas de fazer cinema ao longo da história do cinema – Estabelecer relações entre as diferentes correntes cinematográficas e A Casa Encantada – Analisar o contexto do Cinema na era audiovisual – Reflectir sobre o papel do realizador no panorama cinematográfico atual – Estabelecer os elementos-chave de A Casa Encantada – Definir a relevância dos elementos-chave em A Casa Encantada – Descrever o processo da metodologia Loop. Assim, descritos a origem e a forma de escrever o projecto, passaremos às duas partes temáticas desta tese.

Except Indian theories, contemporary theories of cinematic narration seldom sufficiently verify the extent and ends to which cultural specificity informs principles of narration. That predicament is exacerbated by that significant theoretical accounts fail to effectively address the cross-cultural validity of narration theories. This dissertation undertakes to deconstruct these theories, seeking to establish ways in which the structures of cinematic narration and its theorization in specific cultural contexts are continuous with corresponding cultural patterns of thoughts. African, Indian, Latin American and Euro-American theories were therefore selected and analysed for such continuity. The analysis revealed some evidence which suggests the continuity of cinematic narration, and its theorization, with culturally specific patterns of thoughts. Another set of evidence, however, particularly the scarcity of comparative ethnographic studies of cinematic narration and the prevalence of a universalising approach in Euro-American theories, makes this continuity problematic. This dichotomy of evidence highlights issues of cross-cultural validity of narration theories, especially the transposability of theories to different cultural contexts. To be meaningfully addressed, these issues would require consistent ethnographic studies of narration. Such studies would be particularly useful (1) to post-theorist scholars who seek solutions to contextually-motivated theoretical problems, (2) in cross-cultural pluralist film analysis and (3) in studies of national cinema.

碩士
國立臺南藝術大學
動畫藝術與影像美學研究所
105
Since AVATAR got huge success in 2009, the stereoscopic movie industry started to be progressed in the world. Nowadays, the American movie industry can produce total 60 works in one year average, also they already turned the study point from technic knowledge to stereoscopic film language and art style. In addition to Hollywood, there are more than 50 movies made in China and Hong Kong during these 7 years. Nevertheless, in Taiwan we only have two stereoscopic drama movies named Black & White:The Dawn of Justice and The Arti: the Adventure Begins, and few of documentaries of concert or landscape. There are three reason people usually worried about stereoscopic movie making in Taiwan. 1. people are always afraid of the huge budget and equipments requirement. 2. most of people doubt stereoscopic effect can not replace storytelling as a key of movie making. 3. people thought it seems that the stereoscopic technology hasn’t have any real progressing for more than 100 years. To result those doubts, I started three different way to finish this research. First of all, I sorted out the Hollywood and Chinese pattern to generalize the success way of movie making industry. It proves that budget and equipments are not the key of stereoscopic movie making, we can both save money and make good works if establish right concept and method. Secondly, I give my suggestion to those film creates and researchers by analyzing the stereoscopic movie cases which can represent art and success in America, China, and Hong Kong. I hope people can realize that the core of stereoscopic movie art is not story but the right method of storytelling by using its future, just like other art creation. Finally, I put my forward opinion for stereoscopic movie equipments and technic history. In 20 century, people saw the stereoscopic movie as a tool can gather more audience and earn money so most of they are concentrated on projectors or viewing systems progressing. And even there are few directors tried to create a real stereoscopic movie sometime, it was difficult to fulfill their idea by photographic film. Nowadays, because of digital technic supporting, movie makers can really control the depth of virtual stereoscopic space, make audience enjoy the movie more comfortable. Therefore, they start to pay more attention on study of stereoscopic movie language, way of storytelling, and aesthetics. According to the aforementioned, I think since we see stereoscopic movie as a special kind of movie media, it also depends on technology, industry, and aesthetics of storytelling. As a director, researcher critic and movie maker, we can not really make or study stereoscopic movie only if we have right attitude, knowledge, and skill of stereoscopic movie making. I wish we will have more good stereoscopic movies in Taiwan, and I know we can.

Helma Sanders-Brahms’ film Deutschland, bleiche Mutter is an important contribution to (West) German cinema and to the discourse of Vergangenheitsbewältigung or “the struggle to come to terms with the Nazi past” and arguably the first film of New German Cinema to take as its central plot a German woman’s gendered experiences of the Second World War and its aftermath. In her film, Deutschland, bleiche Mutter, Helma Sanders-Brahms uses a variety of narrative and cinematic techniques to give voice to the frequently neglected history of non-Jewish German women’s war and post-war experiences.

Tell a Tail 360 is a Virtual Reality (VR) documentary, part of a larger transmedia project about animal welfare in Madeira island, created to educate, raise awareness and spread the love for the animals, targeting teenage audiences. The literature review and the context research surveys suggest that younger audiences are more likely to change their behaviours than adults. Moreover, the majority of people are interested in the topic of animal welfare (AW) although not always aware of its complexity (e.g., lack of responsibility of ownership or lack of education on proper animal treatment). Over several months, 360º footage was recorded showing different perspectives of the problem through contact with different stakeholders. Later, the footage was used in the design of an interactive VR documentary highlighting kennels’ conditions, Non-governmental organizations fieldwork, and the importance of providing primary care to pets. The user explores the story through different media sources inside the virtual world, such as social media posts, photography and audio. These interactive features provide users with the opportunity to unfold the story through their choices, promoting exploration and contemplation of the subject and were designed to increase audience engagement and agency in the experience. Through A/B user testing conducted with two groups of adolescents (in which one tested a non-VR version of the documentary and the other group the VR version), findings suggest that the immersive version generated greater interest and involvement in the problem addressed. This thesis project can provide new insights on how interactive and immersive content can engage the teenage audience to a more significant awareness of good animal welfare behaviours and other social problems.
Tell a Tail 360 é um documentário em realidade virtual (RV), parte de um projeto transmedia cujo tema é o bem-estar dos animais na ilha da Madeira. Tem como objetivos educar, consciencializar e espalhar o amor pelos animais em público adolescente. Com base na revisão da literatura e nas pesquisas feitas, concluiu-se que o público mais jovem tem maior probabilidade para mudar os seus comportamentos do que os adultos e de que apesar da maioria das pessoas mostrar interesse pelo assunto abordado, nem sempre tem perceção da sua complexidade (ex.: a falta de responsabilidade dos donos ou a falta de educação sobre o tratamento adequado a dar aos animais). Durante vários meses, foram recolhidos vídeos em 360º através da cooperação com entidades que trabalham em prol da causa animal, mostrando diferentes perspetivas deste problema social. Posteriormente, esses vídeos foram usados para criar um documentário interativo que destaca as condições dos canis, o trabalho de campo das organizações não governamentais e a importância de prover os cuidados básicos aos animais de estimação. A experiência do utilizador foi projetada para que este pudesse explorar a história através de diferentes medias dentro do mundo virtual, tais como publicações retiradas de redes sociais, fotografias e som. Estas características interativas provêm ao utilizador a oportunidade de descobrir a história através das suas escolhas, promovendo a exploração e contemplação do assunto, aumentando o envolvimento e a ação do público na experiência. Através de testes de utilizador A/B conduzidos com dois grupos de adolescentes, em que um grupo testou uma versão não RV do documentário e o outro grupo a versão RV, concluiu-se que a versão imersiva originou um maior interesse e envolvimento no problema abordado. O projeto desta tese contribuiu com novas ideias sobre como usar conteúdo interativo e imersivo pode envolver o público adolescente e consciencializar para o bem-estar animal bem como outros problemas sociais.

O uso de técnicas cinematográficas é uma prática cada vez mais corrente na construção de videojogos e estão na base da criação de mundos virtuais convincentes. Este trabalho tem como objetivo estudar e analisar a presença das técnicas cinematográficas nos jogos digitais e o seu impacto na experiência do jogador. A análise feita teve como objeto de estudo quatro jogos da série Final Fantasy, e com ela pretendeu-se demonstrar a importância das técnicas cinematográficas na sua construção, desde os ângulos de câmara, aos efeitos sonoros usados. A metodologia adotada para a realização deste trabalho passou, primeiramente, por pesquisas bibliográficas e na internet, pelo visionamento de documentários, e, finalmente, pela análise dos jogos em estudo. Conclui-se que os elementos cinematográficos nos videojogos são fundamentais na construção da narrativa, que se quer imersiva.
The use of cinematographic techniques is an increasingly common practice in the construction of video games and is the basis for the creation of convincing virtual worlds. This work aims to study and analyze the presence of cinematographic techniques in digital games and their impact on the player's experience. The analysis made had as an object of study four games of the Final Fantasy series, and with it, was intended to demonstrate the importance of cinematographic techniques in its construction, from the camera angles to the sound effects used. The methodology adopted to carry out this work was, first, bibliographical research and on the internet, the viewing of documentaries, and, finally, the analysis of the games under study. It is concluded that the cinematographic elements in video games are fundamental in the construction of the narrative, which wants to be immersive.

The main goal of the present dissertation is to understand how virtual reality impacts the motion picture industry regarding the constructs of brand coolness, empathy, sympathy, and word-ofmouth in comparison with the traditional 2D screens, while also considering the importance of the movie content. Thus, the study consists of a quantitative research which is based on a factorial research design, considering the interactions between the two technological formats (2D and VR) and the two movies (“Crow: The Legend” and “Is Anna Ok?”). The chosen methodology allows us to determine that a movie experienced in VR has more positive scores regarding brand coolness, emotional responses (empathy and sympathy), and WOM, than when the same movie is presented in 2D screens. However, the Two-Way ANOVA analysis also determines that the movie content itself affects brand coolness perceptions and sympathy responses more than the technological format. Meaning that the story content has a higher influential power on how the movie is perceived by the audience when considering these constructs than the technological format. On the other hand, regarding empathy responses and WOM, the technological format proved to have a higher impact than the story content. Additionally, further analysis allowed us to understand how brand coolness is perceived regarding movies and how emotional responses to movies influence the audience’s attitudes and coolness perceptions. The theoretical and managerial implications of these findings are also explained.
O principal objetivo da presente dissertação é compreender como a realidade virtual tem impacto na indústria cinematográfica no que diz respeito à construção de brand coolness, empatia, simpatia e word-of-mouth em comparação com os tradicionais ecrãs 2D, considerando também a importância do conteúdo do filme. Assim, o estudo consiste numa pesquisa quantitativa que se baseia numa pesquisa factorial, considerando as interações entre os dois formatos tecnológicos (2D e VR) e os dois filmes ("Crow: The Legend" e "Is Anna Ok?"). A metodologia escolhida permite-nos determinar que um filme experienciado em RV tem pontuações mais positivas em relação a brand coolness, respostas emocionais (empatia e simpatia), e WOM, do que quando o mesmo filme é apresentado em 2D. Contudo, a análise ANOVA bidirecional determina também que o próprio conteúdo do filme afeta mais as perceções de brand coolness e as respostas de simpatia do que o formato tecnológico. O que significa que o conteúdo da história tem um poder de influência maior na forma como o filme é percecionado pelo público relativamente a estes conceitos do que o formato tecnológico. Contrariamente, considerando as respostas de empatia e WOM, o formato tecnológico provou ter um maior impacto do que o conteúdo da história. Adicionalmente, uma análise mais aprofundada permitiu-nos compreender como brand coolness é percecionado em relação aos filmes e como as respostas emocionais aos mesmos influenciam as atitudes e perceções de brand coolness do público. As implicações teóricas e de gestão destas descobertas são também explicadas.