Dissertations / Theses on the topic 'Film consciousness'

The thesis argues that the notion of film consciousness deepens a wide-range of philosophical issues in ways which are only accessible through film experience. These issues, directly related to the continental tradition, deal with consciousness, experience, intentionally and meaning. We look to the implications of the initial acts of film reproduction as it creates 'images' of the world which reconceptualise vision in terms of space, time and dimension. We move from ontology to experience and examine an aesthetic form with radical implications for spectator consciousness. These issues are explored from two philosophical positions. Firstly, phenomenology, especially Edmund Husserl and Maurice Merleau-Ponty. Secondly, the work of Gilles Deleuze who presents the most penetrating insights to date into film consciousness and its repercussions for thought and affectivity. The focus of this study is to draw together these two philosophical positions, showing their fundamental differences but also similarities where they exist. This approach is rarely attempted but the belief running through this thesis is that film is one arena which is invaluable for making such comparisons. It is argued philosophically that film writes large key phenomenological concepts on intentionality, time-consciousness and the relation of the lifeworld to the predicative. In terms of Deleuze, film is shown as a unique artform which in allowing us to link otherwise casts light on Deleuze's own complex system of thought. Chapters 1-3 are concerned with phenomenology and detail the role of film in terms of the lifeworld, intentionally, reduction and the transcendental in a way which has not been attempted elsewhere. The linking chapter on time (4) is used to introduce the work of Henri Bergson and its influence both on phenomenology's inner time-consciousness and Deleuze's fundamental categories of film movement and time imagery. The final two chapters look at the way film is reconfigured through montage and the implications of this for film's unique expression of movement and time.

This thesis presents an interdisciplinary study of the significance of contemporary film in our understandings of gender, race, and sexuality in Georgian England. I argue that while films set in this period may lack the subtleties and depth of the realities that make up the Georgian era, they are still valuable in informing current discussions concerning race, gender, and sexuality. By examining such films, we learn not only more about the Georgian period and how it is presented and understood by contemporary audiences, but these films tell us much about our own biases, attitudes, and society.

Bibliography: pages 112-114.
In the following dissertation, I have undertaken to explore the very wide-ranging yet largely unexplored territory of Irish cinema. I have confined my study to the 1990s (other than a brief overview of the Irish film industry in my Introduction) in an attempt to express the revolutionary global success that all aspects of Irish culture have experienced in this decade. The central point, which I reiterate throughout the dissertation, is that, while Irish filmmakers are increasingly concerned with defining "Irishness" for themselves and the world, they inevitably encounter much confusion and ambivalence, and are often criticised for it. For this reason, I have uncovered many ambiguities in the films I have watched, which defy strict categorisation, other than in terms of their settings, which I describe in terms of "war-torn Belfast", modern Dublin and "the rural idyll". Nonetheless, I have divided the essay into three main sections, other than the Introduction and Conclusion, which themselves contain subsections, and which encompass the major themes which recur in Irish films. Section Two is a broad study of those films which deal with the political violence, known as the Troubles, that defines Northern Ireland. This includes a stereotyped American portrayals as well as a more recent IRA bias, beginning with Neil Jordan's attempt to put a new version of history on film in Michael Collins. The conclusion I come to is that filmmakers are ultimately trying to provide a balanced view of the situation and one that condemns violence. Section Three deals with the intertwined themes of women, family, sexuality and the Catholic Church. The traditional conservatism in Ireland is outlined before I show how recent films reflect the changes in moral attitudes and the new freedoms of sexuality that the younger generation is experiencing. Lastly I look at the special situation of women in the North, where they and their families are the long-suffering victims of the violence. Section Four continues the theme of the changes which are sweeping over "Modern Ireland", largely due to its opening-up to outside influences, particularly those of America. The dichotomies of this newly-modernised society are still evident, as I discuss in the section on the historical importance of land, which is expressed not only in the "rural idyll" films, but in those which deal with the move to the urban lure and squalor of Dublin. Finally I look at how the traditional and mythical still exist in modern Ireland, and how the combination of these aspects of the past and present is shown to suggest a positive way into the future.

A particular youth identity in the South African Indian diaspora is being forged in a nexus o flocal and global forces . The globalisation of Bollywood and its popularity as a global media and the international commodification of the Indian exotic have occurred at the same time as the valorisation of 'difference' in the local political landscape. Indian youth, as young members of the South African Indian diaspora, are inheritors both of a conservative - yet adaptable - home culture and the marginalised identities of apartheid. However, the tensions between their desire to be recognised as both 'modern' South Africans and as ' traditional ' Indians create a space in which they are able to (re)create for themselves an identity that can encompass both their home cultures and the desires of a Westernised modernity through the tropes of Bollywood. Bollywood speaks to its diasporic audiences through representations of an idealised 'traditional yet modern' India. Although India is not a place of return for this young generation, Bollywood representations of successful diasporic Indian culture and participation in the globalised Bollywood industry through concerts and international award ceremonies has provided an opportunity for young Indians in South Africa to re-examine their local Indian identities and feel invited to re-identify with the global diasporas of India.

This study analyzes the relationship between the access to capital and the individual's construction of gender as presented in six Latin American cinematic depictions from Argentina, Brazil and Mexico that focus the point of view on young women in the urban space. David Harvey's theory on the urbanization of consciousness is used to analyze the females' relationship to family, class, community and state in terms of how each of these elements will impact the access to capital. The interaction with these factors determine that capital will also impact the construction of gender in the city-space. The films analyzed are as follows: Perfume de Violetas (2000) directed by Maryse Sistach, Àngel de fuego (1991) directed by Dana Rotberg Un día de suerte (2002) directed by Sandra Gugliotta, Hoy y mañana (2006) by Alejandro Chomsky, Uma Vida em Segredo (2001) by Suzana Amaral and Antônia (2006), by Tata Amaral. Film theory, feminist film theory, and gender studies are applied in the analysis of films.

In dieser Arbeit wird die Wirkungs- und Entstehungsgeschichte des Schauspiels „Der Andere“ (1893) von Paul Lindau (1819-1839) untersucht. Der Fokus richtet sich auf die vielfältigen intertextuellen und intermedialen Verknüpfungen des Stückes, die sich über einen Zeitraum von 40 Jahren erstrecken. „Der Andere“ inszeniert einen Fall von Bewusstseinsspaltung, in welchem der Protagonist, ein angesehener Berliner Staatsanwalt, unwissentlich ein nächtliches Doppelleben führt und infolgedessen einen Einbruch in sein eigenes Haus begeht. Hier wird insbesondere den Wechselbeziehungen von medizinischen und medialen Diskursen nachgegangen, da „Der Andere“ nicht nur von nervenmedizinischer Seite als psychiatrischer Fall aufgegriffen, sondern 1913 unter Beteiligung Lindaus als erster deutscher 'Autorenfilm' und 1930 als erster Tonfilm Robert Wienes produziert worden ist. Während filmhistorische Untersuchungen den Befund der errungenen 'Feuilletonfähigkeit' des Stummfilmes festhielten, blieb das Interesse an dem Theaterstück von Seiten der Literaturwissenschaft bislang gering. Ihm war der Status als Vorlage beschieden, die aufgrund ihrer gespaltenen Hauptfigur Verbindungen zu Robert Louis Stevensons „Strange Case of Dr Jekyll and Mr Hyde“ und Hippolyte Taines „De l'Intelligence“ herzustellen scheint, welche bis heute undifferenziert als zentrale Prätexte tradiert worden sind. Verfolgt man hingegen die Spur von weniger prominenten Prätexten, ergibt sich ein vollständigeres Bild. Es stellt sich heraus, dass Lindau eine wesentliche Anregung aus einer unter Pseudonym verfassten französischen Novelle bezog, die er selbst ins Deutsche übersetzte, und dass das Spaltungskonzept von „Der Andere“ diesem Prätext samt seiner Anlehnung an Hippolyte Taine folgt. Auch verweist die Novelle Jeanne Weills auf einen prominenten Fall des Mediziners Adrien Proust, dem Vater Marcel Prousts, der einen straffällig gewordenen Juristen hypnotisch behandelte. Die Diagnose alternierender Bewusstseinszustände führte in diesem Fall zur Annullierung des Schuldspruchs. Durch den Wechsel in das Medium Film konnten wiederum Verbindungen etabliert werden, die den Bezug auf diese Prätexte verlagerten, überschrieben und/oder aktualisierten. So zieht der Stummfilm als wissenschaftliche Rückversicherung allein die schon damals überholte Studie Taines heran, während die spätere Tonverfilmung das psychoanalytische Konzept Freuds als Erklärungsmuster anbietet. Die Untersuchung zeigt am Beispiel von „Der Andere“, dass mediale, literarische und psychologische Diskurse fest miteinander verwoben sind. Ideen und Konzepte zirkulieren zwischen ihnen, weshalb sich die Grenzen zwischen authentischen und fiktiven Fallgeschichten als durchlässig erweisen. Im Falle von „Der Andere“ setzten diese Austauschprozesse eine besonders hohe Produktivität frei.

Thesis (Ed.D.) -- Teachers College, Columbia University, 1990.
Typescript; issued also on microfilm. Sponsor: Carla Seal-Wanner. Dissertation Committee: Robert McClintock. Includes bibliographical references: (leaves 176-178).

Social paradigms establish narratives that dictate society. Film, as a form of public pedagogy, mirrors social narratives on screen and instructs society how to view others and think about the world. Diverse individuals and groups view the world differently based on their environment and development. When individuals view film content, their unique perceptions support their understandings of the film content. Without dialogue and reflection, particularly with people with different worldviews and backgrounds, inaccurate, incomplete, and harmful information that is exhibited on screen may continue to influence one’s view of society. One way for dialogue to occur is through social media, which can expose individuals from diverse backgrounds to each other. This transdisciplinary inquiry theorized, “How might conversations on social media impact the social consciousness among viewers of dystopian films?” The literature review underscored why film and dystopian literature are significant and how social media’s prevalence as channels for communication can spark intellectual debate, which links to public pedagogy, with the aim of developing social consciousness. The research was composed as a dystopian fiction novel, using fiction-based research, because fiction, like film, disseminates social narratives. Dystopian literature and film’s plots typically center on social critiques, and are socially conscious in nature. Critics often debate these types of works because of opposing ideologies. Other topics of debate include identity politics surrounding the subtext of fiction and film, casting in film, and governing social dynamics that influence the film industry, such as White supremacy. Unlike with film that has visual representations on screen, readers often have to use mental imagery to interpret and understand fiction writing. When in dialogue with others, individuals can reflect on their projections and interpretations. The fiction incorporated the concepts of the literature review and Urie Bronfenbrenner’s (1978/2005) bioecological systems theory of human development. This theoretical framework as the foundation of the fiction-oriented research demonstrated how environments, such as social media, influence one’s view of the world.

Syftet med denna undersökning är att undersöka vilka problem och möjligheter man kan möta med användandet av historisk spelfilm i historieundervisningen. Spelfilmens roll som historieförmedlare har ökat under de senaste åren. Idag fungerar spelfilm med historiska motiv som historieförmedlare för många människor, inte minst ungdomar. I många fall används spelfilmen i underhållningssyfte. En stor anledning till att jag gör denna undersökning är för att se närmare på hur läraren kan arbeta med spelfilmen i historieundervisningen utöver ett rent underhållningssyfte. Dessutom anser jag det viktigt att läraren har kunskap om spelfilm eftersom det är en referensram för många unga. Undersökningen bygger på litteraturstudier av tidigare forskares resultat av relationen mellan historia och film. I undersökningen diskuteras och analyseras spelfilmen utifrån följande perspektiv: pedagogiska teorier, kommunikationsteori, reception, autenticitet, dramaturgin, identitet och identifikation, Samtida avtryck i den historiska spelfilmen, historiebruk, historiemedvetande, kritiskt förhållningsätt samt källkritik. Utifrån dessa perspektiv är tanken att i slutdiskussionen presentera en matris för vad läraren bör tänka på när hon/han visar en spelfilm i historieundervisningen. Resultatet av undersökningen har visat att användning av spelfilm i historieundervisningen är långt mer komplicerad än att bara trycka på ”play”. Men planerar pedagogen bara filmanvändningen noga, utifrån olika aspekter, är det relativt enkelt att identifiera problemen och se fördelarna.
The purpose of this study is to examine problems and possibilities you may encounter when using historical motion-picture when teaching history. Motion-picture as an intermediary of history has increased in recent years. Today, motion-picture with historical motives works as an intermediary to many people, especially youths. Motion-picture is in many cases used for entertainment purposes. One of the big reasons to why I do this study is to look at how teachers can work with motion-picture in history teaching apart from the entertainment purposes. Furthermore, I believe it is important that the teacher has knowledge of motion-picture since it is a frame of reference for many youths.The study is based on literature studies of previous researchers' results of the relationship between history and picture. In the study, motion-picture is discussed and analyzed from the following perspectives: pedagogical theories, communication theory, reception, authenticity, dramaturgy, identity and identification, contemporary impressions in the historical motion-picture, uses of history, historical consciousness, a critical approach and source criticism. The idea is that from these perspectives a matrix/compilation of what the teacher should think about when she/he uses a motion-picture in history teaching will be presented.The results of the study have shown that the use of motion-picture in history teaching is far more complicated than just pressing "play". But if the teacher only plans the use of picture carefully, from various aspects, is it relatively easy to identify the problems and see the benefits.

This thesis explores the historical, theoretical and philosophical development of cinematic media as a collective form of technological perception and consciousness. Central to my inquiry is the philosophical notion that with the invention of cinema emerges a cyborg vision, a new modern mechanics of thinking that extends the phenomenological and epistemological experience of human perception and knowledge into hitherto unknown realms of thinking, sensation and being. Drawing on some of the key cultural thinkers and philosophers of the twentieth century, including Walter Benjamin and Gilles Deleuze, as well as contemporary philosophers of media such as Jonathan Beller, Sean Cubitt, D.N. Rodowick and Mark B. Hansen, my research into the philosophy of cinema and digital media articulates a branch of media theory that reads the political economy of the moving image through an amalgam of continental philosophy, marxist theory and film studies. Coterminous with the investigation into the philosophical object of cinematic or media consciousness, the thesis also endeavors to map the historical genealogy of the moving image as it evolves from the industrial mechanics of cinematic technologies to the virtual informatics of digital culture. Central to this inquiry is the idea that the history of cinematic and visual media is inextricably connected with the rise, towards the end of the twentieth century, of postmodern consumer culture and the global information society. The transition from a modern industrial economy to a postmodern information economy that reorganises the logic of production according to the 'variables' of scientific knowledge, communication and informational technologies, parallels a metamorphosis in our media consciousness as the representational ontology of cinematic moving image is transformed by the virtual ontology of the digital image. The first part of my thesis looks at the period of industrial cinema, focusing on Soviet constructivism and the films of Dziga Vertov and Sergei Eisenstein. In this section I trace the origins of cinema as a mode of communication for the commodity, examining how the modern cinematic imaginary opens up new economies of vision and sensation for capital. Following this investigation into what Jonathan Beller calls the cinematic mode of production, the second part of my thesis proceeds to investigate how cinematic consciousness is transformed from the industrial to the post-industrial era. Taking Deleuze's historiographical demarcation of cinema into the two regimes of the 'movement-image' and the 'time-image' as a philosophical frame, the second section of my thesis investigates how in the post-war films of the Italian neorealists and Michelengelo Antonioni our cinematic consciousness develops a new way of thinking the ontology of time and space. This analysis leads into my discussion of how in the age of digital special effects and the Hollywood blockbuster, cinematic consciousness is further expanded with the time-consciousness of the 'virtual' as our bodies attempt to accommodate the heightened flows of information that bombard our senses in the interfaces of digital culture.

The freak played a significant role in late-nineteenth- and early-twentieth-century entertainment, but its significance extended beyond such venues as sideshows and minstrel shows. This dissertation examines the freak as an avatar emblematic of several issues, such as class and race, traditionally focused on in studies of Turn-of-the Century American literature and culture. Disability and freakishness are explored as central to late-nineteenth- and early twentieth- century Americans’ identity. Freakishness is applied to a series of ways in which Americans in this period constructed their identity, including race, gender, and socioeconomic class, showing the dual role that the freak played for many white, able-bodied, upper-class American men. Freaks threatened such men’s sense of their own disability, triggering such complexes as Wounded Southernness or white masculinity. But contrasting themselves with freaks also solidified their visions of themselves as models of American normalcy. Besides freak shows, they encountered freakishness in a variety of arenas, including lynchings, slums, and early horror films. The late nineteenth and early twentieth century’s fascination with freakishness is situated as an outgrowth of that period’s eugenics movement, showing how the entwined concepts of eugenics and normalcy traversed ground that went much further than studies of physical aberration and chronic illness. This extended notion of the freak is discussed by analyzing various literary texts, especially the novels of William Dean Howells and Jack London. The autobiographies of Booker T. Washington and Helen Keller exemplify how double consciousness can serve as a means of enfreakment. Further, all these texts are situated culturally by medicalizing a series of historical events, including specific lynchings, as well as laws that reconfigured urban landscapes. The final chapter focuses on early horror film, arguing that film became the new American sideshow and in the process changed the definition of freak to something far more monstrous. In short, this dissertation demonstrates how the freak show pervaded America at the turn of the twentieth century and turned the country into one large dime museum.

Drugs, Danger, Delusions (and Deleuzians?) opens up a philosophical investigation into a series of ‘extreme’ mind and body films drawn from different historical contexts. Through two sections and four distinct chapters, cinema is explored as an agent of becoming that allows viewers to think and feel in an affected manner. Investigating a broad spectrum of extreme narratives focusing on drugs, hooligan violence, insomnia and madness, the project provides a focused historical understanding of the films’ affective regimes and aesthetic agendas. The different lines of flight and escape explored on-screen all somehow appear to spiral around the same issues, concepts, ideas and philosophies. Utilising the cinematic theories of Gilles Deleuze along with his philosophical work co-authored with Félix Guattari, the thesis aims to investigate a range of related films, that in the extreme, reveal underlying models of an integrated or parallel mind and body and immanently embedded identity; wherein the concept of a stable and fixed being is replaced by that of a fluid becoming. All chapters investigate how immanently embedded characters embark upon extreme or dangerous lines of escape, where the reinvention of living and thinking is explored and made visible. The first section investigates a range of ‘head-films’ that take the mind as their theme, but are found to plicate and expand consciousness into the parallel body. The second section investigates extreme body films that push the sensory-motor schema to its limits so that thought, perception and consciousness become affected. The two interrelated sections investigate how the films and filmmakers employ different regimes of mind and body cinema to aesthetically convey and relay these concepts to the spectator. The project thus strives to develop Deleuzian paradigms beyond their original scope to explore parallel-image regimes and sequences that allow spectators to think and feel the films’ underlying philosophical concepts and positions.

There is a current wave of interest in pornography as a vehicle for queer, feminist and lesbian activism. Examples include Dirty Diaries: Twelve Shorts of Feminist Porn (Engberg, Sweden, 2009), the Pornfilmfestival Berlin (2006-) and the members-only Club LASH in Stockholm (1995-). Based on ethnographic fieldwork designed around these cases, the purpose of the thesis is to account for, historicize and understand this transnational film culture and its politics and ethics. The fieldwork consists of interviews, questionnaires and participant observation, including participation as one of the filmmakers in Dirty Diaries. The thesis studies queer, feminist and lesbian pornography as an interpretive community. Meanings produced in this interpretive community are discussed as involving embodied spectatorial processes, different practices of participation in the film culture and their location in specific situations and contexts of production, distribution and reception. The thesis highlights a collective political fantasy about a safe space for sexual empowerment as the defining feature of this interpretive community. The figure of safe space is central in the fieldwork material, as well as throughout the film culture’s political and aesthetic legacies, which include second wave feminist insistence on sexual consciousness-raising, as well as the heated debates referred to as the Sex Wars. The political and aesthetic heterogeneity of the film culture is discussed in terms of a tension between affirmation and critique (de Lauretis, 1985). It is argued that the film culture functions both as an intimate public (Berlant, 2008) and as a counter public (Warner, 2002). Analyzing research subjects’ accounts in terms of embodied spectatorship (Sobchack, 2004, Williams, 2008), the thesis examines how queer, feminist and lesbian pornography shapes the embodied subjectivities of participants in this interpretive community and potentially forms part of processes of sexual empowerment.

This work explores soundscape and histories of sound technologies as they relate to the formation of subjectivity. It proposes voice as a cultural practice and a means for theorizing one’s own subjectivity. What is modernity in sonic terms? What does it mean to listen deeply in an industrialized society? What does it mean to be a socialized listener, a revolutionized listener? How might voice be taken as an avatar of the self? How does the auditory realm allow for embodied theorizing that responds to systems of power and oppressed subjectivities?

Syftet med detta arbete är att diskutera förhållandet mellan historisk spelfilm och historieundervisningen i den svenska skolan idag.Spelfilm har blivit en del av elevers vardag och historiker diskuterar i allt högre grad hur historia används i spelfilmer och hur detta påverkar vårt historiemedvetande. Möjligtvis är det så att detta bruk av historia leder till ett nytt historiemedvetande.Film kan ses som ett pedagogiskt redskap, en upplevelse som leder fram till intresse och kunskap. Vad detta arbete strävar mot är att undersöka om man kan lära sig något om det förflutna genom historisk spelfilm samt om historisk spelfilm kan utveckla elevers historiemedvetande.Arbetet tar sin utgångspunkt i ett projekt om historisk spelfilm genomfört med högstadie- och gymnasieelever på två skånska skolor. Med avstamp i visandet av två filmer om medeltiden; Robin Hood- Prince of Thieves och En riddares historia, diskuteras faktakunskap, förståelse och historiemedvetande.
The purpose of this work is to discuss historic Hollywood movies in relation to the teaching of history in Swedish Schools today.Hollywood movies are in today’s society a part of the student’s everyday life and historians have increasingly come to discuss how history is used in these movies and how this affects our historic consciousness.Movies can be seen as pedagogical tools, an experience that will lead to an interest and a search for knowledge. What this paper strives to examine is if you can learn anything about the past by watching historic Hollywood movies and in extent if it can serve to develop student’s historic consciousness.Taking its beginning in a project about two movies dealing with the Middle Ages, Robin Hood- Prince of Thieves and A Knight’s tale, this paper discusses basic knowledge, comprehension and historic consciousness.

This research aims to chart four modes of engagement in post-verite documentary films, devoted to an exclusive examination of theatrical formats, that being those documentaries which are originally intended for a cinema audience. As these theatrical documentaries provide a means for spectators to see through the cinema screen and into the real world, it is important to understand how this 'seeing through' is constructed by the documentary production itself. This thesis acknowledges that the 'learning' of documentary stories and subjects has broadened for the global audience of today. After exploring various separate critiques of documentary voice theory, the definition of documentary and film semiotics, I have devised eight paradigms for creating this 'learning' or 'documentary consciousness' in these theatrical or cinema documentaries. I have explored how these eight paradigms can be observed to function in four different modes. These modes contribute to an evolving understanding of viewer comprehension; that thing called documentary consciousness. This is demonstrated through the audio-visual appendix of clips taken from the proto-typical theatrical documentaries I have chosen to analyse, which are: 'Bowling For Columbine' by Michael Moore (2003), which is illustrative of what I have dubbed the 'Outcome Mode'; 'Etre et Avoir' ('To Be And To Have') by Nicholas Philibert (2004), which exemplifies what I call the 'Participant Mode'; 'My Architect' by Nathaniel Kahn (2005), an example of the 'Journey Mode'; 'Baraka' by Magidson Films (1996), a model of the 'Mandala Mode'.

This thesis is an enquiry into avant-garde filmmaker Kenneth Anger’s stated impetus for aesthetic practice, in that his approach is characterised by a desire to elicit a ‘transformative’ response from the spectator: “I chose cinema as the mode of personal expression for its potential and capacity for disruption: it is the surest means to incite change.” This central animating principle of Anger’s practice has been fundamentally neglected in what little critical writing that already exists on his work. Whilst this intent is framed within an esoteric religious paradigm – the occult – my contention is that it must also be understood as part of a much wider socio-­historical political process. I argue that as a personal friend of many within the Beat and psychedelic movements, Anger’s practice should be understood as part of the US countercultural drive to ‘revolutionise consciousness’. This aspiration was prompted by the widespread belief within the Sixties US counterculture that ‘normality’ was a state of implicit alienation, and that the undermining of standardised forms of subjectivity was necessary in order that a more authentic mode of existence be found; either as a prerequisite for wider structural change, or, as in the romantic psychedelic movement in which Anger was associated, as a qualifier for change in itself. This particular ‘politics of consciousness’ of the Sixties as propagated by a spiritually inflected, romantic anarchist strain in post-­war US society was based upon the utopian belief that the transformation of individual consciousness was a method of facilitating widespread revolution. I see this aspiration as a utopian expression of the refrain ‘the personal is political’ that came to popular fruition in the Sixties, in which the consideration of one’s own life was a political concern in itself. In this politics of consciousness, the Sixties countercultural paradigm saw the idealised forms of subjectivity produced by post-war US capitalism as serial, standardised, and crucially, ‘inauthentic’; as something to be overcome, with aesthetic production playing a fundamental role in this process. I argue that Anger’s Sixties work must be read in much wider relation to the socio-­political discourses of its time than has been previously afforded in what little critical writing on Anger’s work that exists to date.

Space is a visual communicator. The act of perceiving space is a neurological soiree that projects and negotiates meaning in our constructed world. The poetry that we observe within space is tied directly to our emotions and to previous experience. Within ourselves, we each have particular feelings, unconscious or not, relating to height, length, and depth, as well as light and shadow. For example, a long, narrow hallway may elicit anxiety, while an open, sunlit nave in a cathedral may bring about feelings of serenity and joy. Our observations and interactions within the perceptual confines of space reveal clues to construction, movement, and play. Additionally, this participation unveils our awareness of space, and thus, reveals that our relationship with space exists in our acknowledgement of it—in our permitting of perception through conscious participation. To explore these ideas further, I will utilize typography to create immersive, sensory experiences that challenge interpretation through the application of human thought, or sensations, to non-living things and material states. This method will assist the observers to rationalize and create meaning within their own world through simplifying an experience in relation to self. Here, spatial language—like light, shadow, dimension, and proximity—will be exposed as a universal and innate part of our perception.

RODRIGUES, Isadora Meneses. A tradução do fluxo de consciência literário na trilha musical do filme The Hours. 2015. 129f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Comunicação Social, Fortaleza (CE), 2015.
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This dissertation aims to analyze the The Hours (2002), a film adapted from the homonymous novel written by Michael Cunningham (1998). In the book, the stream of consciousness is utilized to represent the inner perception of the characters. To translate the technique, the main challenge in the adaptation process, according to the screenwriter David Hare (2002), flashback and voice-over were avoided. Instead of describing thoughts, the movie transforms subjectivity in external actions, through dialogues and the characterization of the actors. Our hypothesis is that the score, composed by the American musician Philip Glass, is the filmic element that suggests the expression of the stream of consciousness in the movie. Not only the post-minimalism aesthetic is close to concepts of the stream of consciousness fiction, but also the way the music intertwines itself with images. This way, we try to articulate ideas by authors of literary theory (Wood, 2012; Humphrey, 1979), musical studies (Gorbman, 1987; Ross, 2009) and visual culture (Mitchell, 1986; Rancière, 2009) to deal with the relationship between text, moving image and sound. We consider these elements are in constant convergence in contemporaneity, since literature, cinema and music are inserted into a world where there is a constant displacement between the instances of the speakable and of the visible, in which forms and materialities are constantly mixing up.
Este trabalho tem por objetivo analisar o filme The Hours (2002), adaptação cinematográfica do romance homônimo de Michael Cunningham (1998). No livro, o fluxo de consciência é utilizado para representar a percepção interior dos personagens. Para a tradução da técnica, principal desafio do processo de adaptação segundo o roteirista David Hare (2002), evitou-se o flashback e voice-over. No lugar da descrição do pensamento, o filme transforma a subjetividade dos personagens em ação exterior, por meio dos diálogos e da caracterização dos atores. O nosso pressuposto é de que a trilha musical, composta pelo músico norte-americano Philip Glass, é o elemento fílmico que sugere a expressão de um fluxo de consciência na película. Não só pelo estilo da composição, pós-minimalista, se aproximar de conceitos estéticos da ficção de fluxo de consciência, mas também pelo modo como essa música se entrelaça às imagens. Nesse sentido, procuramos articular autores da teoria literária (Wood, 2012; Humphrey, 1979), dos estudos musicais (Gorbman, 1987; Ross,2009) e da cultura visual (Mitchell, 1986; Rancière, 2009) para tratar da relação entre texto, imagem em movimento e som. Consideramos que esses elementos estão em constante convergência na contemporaneidade, já que a literatura, o cinema e a música estão inseridos em um mundo onde há um deslocamento contínuo entre as instâncias do dizível e do visível.

FundaÃÃo de Amparo à Pesquisa do Estado do CearÃ
Este trabalho tem por objetivo analisar o filme The Hours (2002), adaptaÃÃo cinematogrÃfica do romance homÃnimo de Michael Cunningham (1998). No livro, o fluxo de consciÃncia à utilizado para representar a percepÃÃo interior dos personagens. Para a traduÃÃo da tÃcnica, principal desafio do processo de adaptaÃÃo segundo o roteirista David Hare (2002), evitou-se o flashback e voice-over. No lugar da descriÃÃo do pensamento, o filme transforma a subjetividade dos personagens em aÃÃo exterior, por meio dos diÃlogos e da caracterizaÃÃo dos atores. O nosso pressuposto à de que a trilha musical, composta pelo mÃsico norte-americano Philip Glass, à o elemento fÃlmico que sugere a expressÃo de um fluxo de consciÃncia na pelÃcula. NÃo sà pelo estilo da composiÃÃo, pÃs-minimalista, se aproximar de conceitos estÃticos da ficÃÃo de fluxo de consciÃncia, mas tambÃm pelo modo como essa mÃsica se entrelaÃa Ãs imagens. Nesse sentido, procuramos articular autores da teoria literÃria (Wood, 2012; Humphrey, 1979), dos estudos musicais (Gorbman, 1987; Ross,2009) e da cultura visual (Mitchell, 1986; RanciÃre, 2009) para tratar da relaÃÃo entre texto, imagem em movimento e som. Consideramos que esses elementos estÃo em constante convergÃncia na contemporaneidade, jà que a literatura, o cinema e a mÃsica estÃo inseridos em um mundo onde hà um deslocamento contÃnuo entre as instÃncias do dizÃvel e do visÃvel.
This dissertation aims to analyze the The Hours (2002), a film adapted from the homonymous novel written by Michael Cunningham (1998). In the book, the stream of consciousness is utilized to represent the inner perception of the characters. To translate the technique, the main challenge in the adaptation process, according to the screenwriter David Hare (2002), flashback and voice-over were avoided. Instead of describing thoughts, the movie transforms subjectivity in external actions, through dialogues and the characterization of the actors. Our hypothesis is that the score, composed by the American musician Philip Glass, is the filmic element that suggests the expression of the stream of consciousness in the movie. Not only the post-minimalism aesthetic is close to concepts of the stream of consciousness fiction, but also the way the music intertwines itself with images. This way, we try to articulate ideas by authors of literary theory (Wood, 2012; Humphrey, 1979), musical studies (Gorbman, 1987; Ross, 2009) and visual culture (Mitchell, 1986; RanciÃre, 2009) to deal with the relationship between text, moving image and sound. We consider these elements are in constant convergence in contemporaneity, since literature, cinema and music are inserted into a world where there is a constant displacement between the instances of the speakable and of the visible, in which forms and materialities are constantly mixing up.

Orientador: Antonio Manoel dos Santos Silva
Banca: Álvaro Luiz Hattnher
Banca: Romildo Antonio Sant'Anna
Resumo: O objetivo deste trabalho é a análise comparativa entre Primeiras Estórias, publicado por Guimarães Rosa em 1961, e o filme A terceira margem do rio, produzido em 1993 por Nelson Pereira dos Santos, com base em cinco contos do livro de Rosa. Pretende-se demonstrar alguns dos aspectos estético-semióticos que envolvem o processo de adaptação do texto literário para o texto fílmico, o que implica a definição do grau de aderência, de afastamento e de interferência resultantes desse processo. Em primeiro lugar, identificamos em Primeiras Estórias uma estrutura especular a partir de relações significativas entre os tecidos narrativos dos contos "O espelho", "As margens da alegria" e "Os cimos", em função de um jogo com a posição dos respectivos contos no livro. Em segundo lugar, feitas as interpretações sobre essa estrutura em relação aos demais contos, levantamos a hipótese de que o filme se compõe segundo uma transmutação da estrutura especular do livro de Rosa. Articulada à unidade narrativa que Nelson Pereira dos Santos deu às cinco narrativas em que se baseou, transformando seus núcleos de ação independentes numa única história no filme, essa transmutação confere ao filme sua autonomia criativa. Finalmente, aplicando os conceitos da sociologia estruturalista genética de Lucien Goldmann (1978, 1990), trabalhamos com a hipótese de que a diferença entre as formas das obras é decorrente de distintas consciências possíveis de grupos sociais.
Abstract: This work aims at comparing the short-stories book Primeiras Estórias [First Stories], published by Guimarães Rosa in 1961, to the film A terceira margem do rio [The third bank of the river], which was filmed by Nelson Pereira dos Santos in 1993, based on five shortstories from Rosa's book. We intend to demonstrate some of the aesthetic-semiotical aspects that involve a transcodification process from a literary text into a filmic text. The analysis implies the definition of the degrees of adherence, deviation and interference resulting from that process. Firstly, it was identified in Primeiras Estórias a structure of mirror through the significant relations among the narrative tissues of the short-stories "O espelho", "As margens da alegria" and "Os cimos", because of a play on the position of the respective short-stories in the book. Secondly, as we proposed the interpretations about that structure in relation to the other short-stories, we suggested the hypothesis that the movie was organized by a transmutation of the mirror structure from Rosa's book. This transmutation is articulated to the unity that Nelson Pereira dos Santos gave to the five narratives on which the movie was based, putting together the five independent action nuclei from the short-stories into a single story in the movie. As a result of this composition, the movie reveals its creative autonomy. Finally, we applied the concepts of Lucien Goldmann's genetic structuralist sociology (1978, 1990) to state the hypothesis that the difference between the forms of the works, the shortstories and the film, is due to distinct possible consciousness of social groups.
Mestre

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
O objetivo deste trabalho é a análise comparativa entre Primeiras Estórias, publicado por Guimarães Rosa em 1961, e o filme A terceira margem do rio, produzido em 1993 por Nelson Pereira dos Santos, com base em cinco contos do livro de Rosa. Pretende-se demonstrar alguns dos aspectos estético-semióticos que envolvem o processo de adaptação do texto literário para o texto fílmico, o que implica a definição do grau de aderência, de afastamento e de interferência resultantes desse processo. Em primeiro lugar, identificamos em Primeiras Estórias uma estrutura especular a partir de relações significativas entre os tecidos narrativos dos contos O espelho, As margens da alegria e Os cimos, em função de um jogo com a posição dos respectivos contos no livro. Em segundo lugar, feitas as interpretações sobre essa estrutura em relação aos demais contos, levantamos a hipótese de que o filme se compõe segundo uma transmutação da estrutura especular do livro de Rosa. Articulada à unidade narrativa que Nelson Pereira dos Santos deu às cinco narrativas em que se baseou, transformando seus núcleos de ação independentes numa única história no filme, essa transmutação confere ao filme sua autonomia criativa. Finalmente, aplicando os conceitos da sociologia estruturalista genética de Lucien Goldmann (1978, 1990), trabalhamos com a hipótese de que a diferença entre as formas das obras é decorrente de distintas consciências possíveis de grupos sociais.
This work aims at comparing the short-stories book Primeiras Estórias [First Stories], published by Guimarães Rosa in 1961, to the film A terceira margem do rio [The third bank of the river], which was filmed by Nelson Pereira dos Santos in 1993, based on five shortstories from Rosa's book. We intend to demonstrate some of the aesthetic-semiotical aspects that involve a transcodification process from a literary text into a filmic text. The analysis implies the definition of the degrees of adherence, deviation and interference resulting from that process. Firstly, it was identified in Primeiras Estórias a structure of mirror through the significant relations among the narrative tissues of the short-stories O espelho, As margens da alegria and Os cimos, because of a play on the position of the respective short-stories in the book. Secondly, as we proposed the interpretations about that structure in relation to the other short-stories, we suggested the hypothesis that the movie was organized by a transmutation of the mirror structure from Rosa's book. This transmutation is articulated to the unity that Nelson Pereira dos Santos gave to the five narratives on which the movie was based, putting together the five independent action nuclei from the short-stories into a single story in the movie. As a result of this composition, the movie reveals its creative autonomy. Finally, we applied the concepts of Lucien Goldmann's genetic structuralist sociology (1978, 1990) to state the hypothesis that the difference between the forms of the works, the shortstories and the film, is due to distinct possible consciousness of social groups.

碩士
國立東華大學
藝術創意產業學系
107
Drawing upon the implied meanings of “cure” and “the care of souls” associated with the word “curating”, this study considers “film curating” are an act of guarding the film art. Focusing on the film festivals in Taiwan, this study explores how curating consciousness is formed and aims to conceptualized of film curating specifically in the context of Taiwan. The historical research method is used in the research design, compiling a vast collection of interviews and reviews of film festival programmers or directors of the past forty years of film festival in Taiwan, in order to explore how curating consciousness is built. If then focuses on two film festival case studies: Taiwan International Documentary Festival and Taipei Film Festival. Through in-depth- interviews with the program directors, and the researcher participant observation this theses, observes and analyzes the “curating practice” of film festivals. The curatorial concept entered film festivals and brought a change in program planning. Porgram deirectors break the traditional principle of program, extract new concepts or meanings by changing the logic of programming, guide the gaze of audience, thereby shaping the film culture, writing film history, and even further playing the role of social responsibility. The study found that the film festivals in Taiwan gradually developed curating consciousness in the early 2000s. However, the effect of curating arise until the internal organization of the film festival is resolved and the domestic film industry environment changes in 2010s. Based on the curating practice of film festivals, this study proposes the following conclusions: (1) Film festivals should break away from marketing approuch and turn towards a “curating” mindset. (2) A film festival curator is a public fiture that highly relies on experiences. Their passions for films, and familiarity with the film festival’s historical context and the audience are the keys to leading a successful film festival. (3) By comparing two film festivals’ programs, it can be concluded that there is no standard formula or process to curate a film festival and the core of film curating is to create possibilities for more audiences to engage with the films. (4) Film festivals in Taiwan include Chinese language and Asian films as part of their curatorial strategies, for film festivals can serve as a hub to connect and support regional areas, manifest the value of democratic freedom in Taiwan, and the meaning of contemporary film curating. (5) Institutional stability is fundamental to accumulating and cultivating curatorial professionalism. Since the 2010s, large-scale film festivals in Taiwan have gradually become more institutionalized which has brought on a positive impact on encourages film festival organizations to nurture professional talents and cultivating a long-term film culture.

Cette étude s’inspire de questionnements soulevés, dans le cadre de leur recherche, par deux spécialistes du cinéma. Une première piste de recherche concerne l’histoire du cinéma des premiers temps et les sources documentaires, que l’historien Jan Olsson a défini comme un « domaine discursif » (“discursive domaine”) à part entière. Une deuxième piste de recherche s’inspire d’une remarque du philosophe et théoricien Murray Smith à propos de la manière dont les spectateurs se représentent mentalement les films qu’ils ont vus comme un domaine de la recherche cinématographique inexploré (“unchartered territory”). Cette thèse se concentre sur la « conscience cinématographique », c’est-à-dire sur la capacité du spectateur à se représenter mentalement un objet filmique ou à penser cinématographiquement. Cette formulation désigne des phénomènes particuliers. Historiquement, cette « conscience » est une forme de « sensibilisation au cinéma » (« movement of consciousness »), phénomène dont on peut observer les effets dans les textes consacrés au cinéma dans les années 1907-1912. Cette « sensibilisation » se manifeste par un intérêt grandissant pour les films, par l’invention de termes et de notions permettant de parler de cinéma, par des études spécialisées, portant sur le spectatorat ou la critique, montrant que les contemporains avaient conscience de cette « sensibilisation » (« self consciousness »). Ce questionnement de fond sur les sources documentaires, en tant qu’elles sont le révélateur d’une « conscience cinématographique », a une implication historiographique et méthodologique importante. L’apparente naïveté des sources d’époque a conduit certains historiens à décrire les spectateurs de l’époque comme étant, eux aussi, naïfs. Or, en réalité, la perception des phénomènes filmiques par les contemporains était plus complexe et nuancée que ce que les sources ne laissent le dire. Cette approche, qui porte sur les mentalités de l’époque et l’impact du cinéma sur les spectateurs, conduit à chercher les traces de cette « sensibilisation » dans les textes d’époque, à prendre compte des champs lexicaux et de leur évolution dans le temps. Elle permet également, pour l’historien, de tenir compte de la subjectivité des textes d’époque plutôt que de ne s’attacher qu’à des sources objectives ou des témoignages. Dans le cadre de cette thèse, la formulation « conscience cinématographique », dont l’occurrence n’est pas rare dans la littérature consacrée à l’histoire du cinéma, désigne cette partie de la conscience qui est façonnée par le cinéma. Cette conscience a plusieurs fonctions qui correspondent, chacune, à diverses catégories de conscience cinématographique. Il s’agit de la « sensibilité à l’esthétique du film », la « sensibilité à la technicité du film », la « sensibilité à la culture cinématographique », la « sensibilité au cinéma en tant qu’objet de pensée » ainsi que d’autres éléments permettant à la conscience de s’exercer (le lieu de la mémoire où reposent les souvenirs de films, les moments de cinéma associés à une identité personnelle, la faculté d’être conscient de sa propre conscience filmique et la conscience filmique subjective, forme de conscience et de sensibilité liée à une grande connaissance du cinéma. Ces diverses catégories de « sensibilité » à la chose cinématographique forment un vaste champ d’étude permettant de prendre la mesure de la transformation des mentalités et de cartographier le territoire inexploré évoqué par Murray Smith. Chacune de ces catégories représente un domaine de recherche spécifique, avec ses questionnements et ses enjeux propres, mais prend place dans un champ plus vaste, celui de « conscience cinématographique ». Quand cette approche s’applique aux sources documentaires portant spécifiquement sur le cinéma et son évolution, il est possible de voir à quel point le cinéma transforme les mentalités.
This thesis attempts to follow through on two “calls for further research” from recognized film scholars. One line of research centers on early cinema and especially on early American film publications (from 1906 to 1913), which Jan Olsson has defined as a “discursive domain calling for analysis as a phenomenon in its own right,” as opposed to only being “source material” film historians use for writing about early cinema. Another line of research concerns the “relationship between consciousness and film” that Murray Smith argues is an “unchartered territory” in film studies. In this thesis, this relationship between “consciousness and film” is defined from the perspective of ‘film consciousness’, which is a formulation with several functions. In some contexts, it refers to a “movement of consciousness” that appears in early film publications over the course of several years (between 1907 and 1912) manifested in a growing recognition of the constructed, aesthetic nature of film, changes in terminologies for naming and defining the object of cinema, in particular activities showing an appreciation of the contextual meaning of films, and in self-consciousness, such as in the study of audiences and meta-criticism. These parallel lines of research have an important scientific and methodological implication, in that early film publications are sometimes implicitly seen as displaying a “naïve consciousness” that is transposable onto early spectators broadly. A “film consciousness” approach recognizes a more complex consciousness that is revealed in subtle changes in language-use and behaviour over a period of time. It also allows for the study of the subjectivity of the writers as well, which is often revealed indirectly to the film historian, as opposed to explicit descriptions of subjective film experience. The formulation ‘film consciousness’ – which is occasionally used in film discourse, though usually without an institutional definition – is also regarded in this thesis as presenting its own ontological nature in the way it brings two semantic fields (“consciousness” and “film”) into relation. From this formulation, several “categories of film consciousness” are constructed. These include “film aesthetic awareness,” “film production awareness,” “film culture awareness,” “ways of existing towards film,” and several “entities of consciousness” (an imagined place in consciousness assumed to contain past film experiences, conscious phenomena derived from film experiences that are seen as bound to personal identity, a faculty that determines the way reality is engaged with, and a particular kind of conscious experience, defined as “subjective film consciousness.”) These categories of film consciousness collectively constitute an imagined “field of film consciousness” that serves to conceptualize the “unchartered territory” Murray Smith defines. Each category represents an individual area of research with concomitant questions and criteria that nevertheless exist on a continuum that the key term ‘film consciousness’ brings into constant rhetorical relation. When this field is applied to a set of film-related data, such as early film discourse, a set of connections between different regions of film consciousness emerges, thus allowing for the description of film consciousness at various levels.

碩士
南台科技大學
數位內容與動畫設計研究所
100
Filled with imaginary and symbolic signs, the art performance forms of animation with respect to human’s various emotions and events in lives express through motion pictures in order to achieve certain kind of emotional realization or experience. This essay studies the consciousness and techniques of surrealism and analyzes the French psychoanalyst Lacan’s Mirror Stage to demonstrate its basic concept that the Ego is the Other via animation techniques. Integrated the ideas of contrast and juxtaposition of surrealism into the animation script, this essay aims to express the symbols of the characters’ emotions by means of the realities within Surrealism and seeks to discover the real self-consciousness within human beings’ subconsciousness.

碩士
國立臺南藝術大學
動畫藝術與影像美學研究所
100
Overwhelmed by the truth that his hometown has been tremendously changed by modernization, the Chinese director Jia Zhangke chooses “home” to be the theme of his cinematic works ‘Hometown Trilogy’ - “Xiao Wu” (1997), “Platform” (2000) and “Unknown Pleasures” (2002). The theme “home” is conveyed by the images such as the slowly-developed subsidiary counties in “Hometown Trilogy”, the dormitories encircled by exotic surroundings in “The World” (2004), and those residences that are about to be submerged under reservoir flooding in “Still Life” (2006). These areas and the people cannot catch up with the fast pace of the modernization. Therefore, through the documentary view, Jia has observed the living state of the civilians, which is much the same from the period of Chinese economic reform to the present. Regarding to Jia Zhangke as one of the “Six Generation” directors and an independent filmmaker, this essay first retrospects the Chinese directors of New Generation in 1990s, discusses if “generation” would be a proper way to categorize Chinese directors and brings up another research method. In this essay, I intend to rebuild a pedigree of the “independent filmmaking strategy” among Chinese cinema and further provide the tactics by which the independent filmmakers express their ideas with images. By the distortion of classical narrative techniques, they rival with the classification system of Chinese “institutional cinema” and break the interference of national ideology against cinematic creation. Jia Zhangke conveys his “independent” consciousness of creation by the tactics of long takes. He accepts all shown in front of the camera. Even though what to be seen are just artificial ruins of modernized construction, Jia makes good use of these materials as the text of criticism. In addition, the depiction of the homeland image is not based on conventional nostalgic affection but reflective nostalgia through the image of ruins. Moreover, Jia employs long takes so that the landscape shows its real existence in the form of a quasi-documentary. In order to keep the nearly on-the-spot viewing experiences for audiences., Jia deliberates the ways to elaborate the images of the real world into the narrative fiction. This essay, at last, continues to apply the “independent strategy” of creation to examine Jia’s later oeuvre, which is censored by the Chinese classification system. Though Jia shoots in a documentary form with scripts rather than the unanticipated impromptu shooting, he still discloses the history of the common people through the unofficial “counter-memory” accounts collected from the oral history.

碩士
國立臺灣大學
地理環境資源學研究所
102
Exploring contemporary Taiwan cinema, we find a number of LGBT films that echo the rise of LGBT movement in recent years. The main purpose of this thesis is to inquire how narrative films as mainstream mass media could challenge the heteronormative paradigm and promote LGBT movement. The study takes Zero Chow, a Taiwanese lesbian director, as an example, to analyze closely three works of her “rainbow series”: Splendid Float (2004), Spider Lilies (2007), and Drifting Flowers (2008). By using David Bordwell’s poetics of cinema as the theoretical framework and film narrative theory as analytical method, the research examines how Chow employs strategies of cinematic representation to question and/or negotiate with dominant gender ideologies and in so doing changes the ways audiences understand sexual minorities. The research results show the complicated relationships between the director’s intentions to contribute to Taiwan’s LGBT movement, box office concerns, and the politics of representation when making these well-meaning films.

As one of the most prominent female film directors, Sylvia Chang has always had women as the main subject of her attention. Previous researchers focused on the analysis of female characters, and explored the awakening of female consciousness in her films, but they often ignored the analysis of male characters. Other scholars thought the female consciousness was very limited in her films. In this thesis, from the perspective of female consciousness, I would like to explore how women resolve dilemmas in Chang’s three films, 20 30 40 (2004), Murmur of the Hearts (Niannian念念, 2015) and Love Education (Xiang ai xiang qin 相爱相亲, 2017). I argue Sylvia Chang’s works demonstrate a new perspective of female consciousness: Women’s dilemmas are from the traditional gender roles in love, family and society. They can resolve these dilemmas by searching for self-identity, psychologically transforming, and reconciling. After their rebirth, women, as liberated individuals, can choose what role to fulfill, regardless of whether that choice is traditional or not. During this process, men are not always seen as barriers for women’s growth.

碩士
淡江大學
管理科學學系
87
The purpose of this research is to investigate the effect of career management consciousness to R&D employee’s self-efficiency in High-Tech firm---The moderate variable of the personality characteristic. The population of this study selected from the R&D employees in 1000 High-Tech companies of CommonWealth Magazine of June 1998. The subjects were selected by the method of 「simple random sampling」. According to the post sampling, there are 186 samples used in the research. The statistical methods used in this study were frequency analysis、chi-square test analysis、1-way ANOVA、factor analysis、regression analysis. The results of this study are as follows： 1.Among kinds of career management programs in High-Tech firm, 「Appraising Performance」、「Recruiting、Selection and path of development」、「Training」are usually used most. 2.The more of employees in the firm of High-Tech firm, the more used of career management. 3.Among kinds of career management programs in High-Tech firm, 「Recruiting、Selection and path of development」、「Appraising Performance」、「Training」are the most effective for the R&D employees’s self-efficiency. 4.The extent of career management in High-Tech firm should effect employee’s self-efficiency. 5.Personality characteristic has the moderative effect on career management consciousness to R&D employees’s self-efficiency in High-Tech firm.

This qualitative study uses narrative inquiry (Connelly & Clandinin, 1988, 1990, 2001) and self-study to investigate ways to further understand and facilitate the integration of holistic philosophies of education with media literacy pedagogies. As founder and director of the Youth Media Literacy Project and a self-titled Imagitator (one who agitates imagination), I have spent over 10 years teaching media literacy in various high schools, universities, and community centres across North America. This study will focus on my own personal practical knowledge (Connelly & Clandinin, 1982) as a culture jammer, educator and cancer survivor to illustrate my original vision of a ‘holistic media literacy pedagogy’. This research reflects on the emergence and impact of holistic media literacy in my personal and professional life and also draws from relevant interdisciplinary literature to challenge and synthesize current insights and theories of media literacy, holistic education and culture jamming.