Sonic Movie Memories: Sound, Childhood, and American Cinema

Though the trend rarely receives attention, since the 1970s many American filmmakers have been taking sound and music tropes from children’s films, television shows, and other forms of media and incorporating those sounds into films intended for adult audiences. Initially, these references might seem like regressive attempts at targeting some nostalgic desire to relive childhood. However, this dissertation asserts that these children’s sounds are instead designed to reconnect audience members with the multi-faceted fantasies and coping mechanisms that once, through children’s media, helped these audience members manage life’s anxieties. Because sound is the sense that Western audiences most associate with emotion and memory, it offers audiences immediate connection with these barely conscious longings. The first chapter turns to children’s media itself and analyzes Disney’s 1950s forays into television. The chapter argues that by selectively repurposing the gentlest sonic devices from the studio’s films, television shows like Disneyland created the studio’s signature sentimental “Disney sound.” As a result, a generation of baby boomers like Steven Spielberg comes of age and longs to recreate that comforting sound world. The second chapter thus focuses on Spielberg, who incorporates Disney music in films like Close Encounters of the Third Kind (1977). Rather than recreate Disney’s sound world, Spielberg uses this music as a springboard into a new realm I refer to as “sublime refuge” - an acoustic haven that combines overpowering sublimity and soothing comfort into one fantastical experience. The second half of the dissertation pivots into more experimental children’s cartoons like Gerald McBoing-Boing (1951) - cartoons that embrace audio-visual dissonance in ways that soothe even as they create tension through a phenomenon I call “comfortable discord.” In the final chapter, director Wes Anderson reveals that these sonic tensions have just as much appeal to adults. In films like The Royal Tenenbaums (2001), Anderson demonstrates that comfortable discord can simultaneously provide a balm for anxiety and create an open-ended space that makes empathetic connections between characters possible. The dissertation closes with a call to rethink nostalgia, not as a romanticization of the past, but rather as a reconnection with forgotten affective channels.

„Przemoc pokazywania” w twórczości filmowej Davida Finchera

Wydział Filologii Polskiej i Klasycznej

Desenvolvimento de bioblendas poliméricas a partir de gelatina bovina e de tilápia com amido de milho

The natural raw materials acquired special importance beside the mineral raw materials with the need for using alternative sources to oil, because they can be used to produce biopolymers. Gelatin, produced from the denaturation of collagen, and starch, an abundant polysaccharide in various plants, are examples of biopolymers which have several technological applications, especially in films. The objective of this work is to produce polymeric bioblends with gelatin and corn starch using two types of gelatin: commercial bovine gelatin and gelatin produced from mechanically separated flesh of tilapia (Oreochromis niloticus). For the extraction of tilapia gelatin 3 distinct pretreatments, followed by extraction in distilled water under heating were performed. The properties of gelatin extracted were similar to bovine gelatin, and the differences can be explained by the difference in extraction processes and sources. Blends of commercial gelatin and starch were produced in an internal mixer from a Haake torque rheometer, to study the behavior of the gelatin mixture with starch, thus, the same compositions were processed by twin screw extrusion, to define the mixing parameters. Subsequently, the extrusion of blends of tilapia gelatin and corn starch was carried out in the same twin screw extruder. The physico-chemical, rheological and morphological properties of the blends with thermoplastic starch and gelatin were studied. It was found that various properties vary linearly with increasing concentration of the components. The blends produced are immiscible, and among the two gelatins, tilapia gelatin showed a better interfacial adhesion with the corn starch. Regarding the morphology, gelatins formed the dispersed phase in all compositions studied, even in compositions rich in starch. Can be concluded that the procedure for tilapia gelatin extraction is feasible and advantageous, and the increasing in its scale to a reactor of 30 liters is possible, with a satisfactory yield. The bioblends of bovine gelatin/corn starch and tilapia gelatin/corn starch were successfully produced, and the processing conditions were appropriate

As operações militares e os media : O Teatro de Operações do Afeganistão

O presente Trabalho de Investigação Aplicada, intitulado de “As Operações Militares e os Media – O Teatro de Operações do Afeganistão”, tem como objetivo geral identificar e descrever as implicações relacionadas com a presença dos jornalistas portugueses no Teatro de Operações do Afeganistão na perspetiva dos militares de infantaria portugueses e dos próprios jornalistas. Fruto de compromissos de Estado ao nível internacional, o Exército Português tem empenhado forças militares no cumprimento de missões em vários Teatros de Operações. Para que os cidadãos e cidadãs tomem conhecimento da missão das Forças Armadas em Portugal e no mundo, os media assumem um papel crucial. É através das instâncias mediáticas que a população adquire noções sobre o trabalho que as suas Forças Armadas desenvolvem nos diversos pontos do globo. Neste sentido, é importante saber como se processa a interação entre militares e jornalistas num Teatro de Operações, sendo esta a problemática em que assenta a presente investigação. A metodologia implementada adotou uma perspetiva descritiva, procedendo-se a um estudo de caso, focado na participação portuguesa no Afeganistão entre 2002 e 2014, com o intuito de analisar a interação que resultou entre os militares e os jornalistas, com particular ênfase para as implicações. No que tange aos métodos e técnicas de recolha de dados, utilizámos a análise documental e consultámos fontes documentais para sustentar e enriquecer a investigação. As entrevistas constituem porém a técnica de recolha de informação fundamental, sendo a partir da sua análise que se discutirão as hipóteses levantadas. Visto que se pretendeu abranger a perspetiva de militares e de jornalistas realizaram-se entrevistas a quatro militares que foram comandantes de forças militares no Afeganistão e a cinco jornalistas que estiveram presentes nesse cenário de guerra durante o período em análise.Os resultados apurados permitem verificar que a incorporação de jornalistas no seio das forças militares e o consequente acompanhamento das operações, resultou na adaptação e aplicação de algumas medidas, algo fundamentável pela presença de elementos que não pertenciam à força e que não eram militares. Conclui-se que a interação entre os militares e os jornalistas no Afeganistão resultou em implicações para ambos. Nomeadamente na segurança, como foi o caso do fornecimento de equipamento de proteção aos jornalistas quando estes não dispunham, a segurança física que os militares garantiram aos jornalistas e a explicação das operações por parte dos militares (briefings). Relativamente ao acesso à informação por parte dos jornalistas, existiu um acordo verbal atinente às condições de acesso e divulgação da informação e existiram também restrições em matérias de importância militar e de natureza sensível, as quais mereceram consenso entre os entrevistados. Na componente logística, existiram implicações como foram o caso da alimentação, o alojamento, os equipamentos de proteção fornecidos e os cuidados médicos prestados aos jornalistas, contudo foi algo que não comprometeu o cumprimento das diversas missões e tarefas militares. Nos aspetos relacionais, assinalaram-se casos pontuais de alguma tensão, justificada pelos próprios como resultantes das circunstâncias e da especificidade das missões e objetivos de uns e outros. Porém, é de realçar que a convivência de jornalistas e militares no TO é reveladora de respeito e compreensão pelo trabalho mútuo. Deste modo, pode-se concluir que no plano relacional as implicações da presença de jornalistas contribuem para uma maior conhecimento e sensibilização a respeito do trabalho e das condicionantes a que estão sujeitos militares e jornalistas.

Synthesis and Characterization of Photochromic Copolymers Containing 3-Indolylfulgides/Indolylfulgimides

Fulgides and fulgimides are important organic photochromic compounds and can switch between the open forms and the closed forms with light. The 3-indolylfulgides and 3-indolylfulgimides exhibit promising photochromic properties and have great potential in optical memory devices, optical switches and biosensors. Copolymers containing 3-indolylfulgides/indolylfulgimides synthesized via free radical polymerizations increase conformation changes and allow the photochromic compounds to be uniformly distributed in the polymer matrix. A trifluoromethyl 3-indolylfulgide and two trifluoromethyl 3-indolylfulgimides with one or two polymerizable N-stryryl group(s) were prepared. Copolymerization with methyl methacrylate provided two linear copolymers or a cross-linked copolymer. The properties of the monomeric fulgide/fulgimides and copolymers in toluene or as thin films were characterized. In general, the photochromic monomers and copolymers revealed similar photochromic properties and exhibited good thermal and photochemical stability. All compounds absorb visible light in both open forms and closed forms. The closed form copolymers were more stable than the open form copolymers and showed little or no degradation after 400 h. The photochemical degradation rate was less than 0.03% per cycle. In films, conformational restrictions were observed for the open forms suggesting that the preparation of films from the closed forms is advantageous. Two novel methyl 3-indolylfulgimides with one or two polymerizable N-stryryl group(s) were prepared. Copolymerization of acrylamide with the methyl indolylfulgimides or the trifluoromethyl indolylfulgimides yielded two aqueous soluble linear copolymers and two photochromic hydrogels. The closed form copolymers containing trifluoromethyl indolylfulgimides were hydrolyzed in aqueous solution by replacing the trifluoromethyl group with a carboxylic acid group. The resulting carboxylic copolymers were also photochromic. The copolymers containing methyl fulgimides were stable in aqueous solutions and did not hydrolyze. Both methyl and carboxylic copolymers exhibited good stability in aqueous solutions. In general, the open form copolymers were more stable than the closed form copolymers, and the copolymers revealed better stability in acidic solution than neutral solution. The linear copolymers displayed better photochemical stability in neutral solution and degraded up to 22% after 105 cycles. In contrast, the hydrogels showed enhanced fatigue resistance in acidic condition and underwent up to 60 cycles before degrading 24%.

'We just make the pictures...?' How work is portrayed in children's feature length films

This article explores how adult paid work is portrayed in 'family' feature length films. The study extends previous critical media literature which has overwhelmingly focused on depictions of gender and violence, exploring the visual content of films that is relevant to adult employment. Forty-two G/PG films were analyzed for relevant themes. Consistent with the exploratory nature of the research, themes emerged inductively from the films' content. Results reveal six major themes: males are more visible in adult work roles than women; the division of labour remains gendered; work and home are not mutually exclusive domains; organizational authority and power is wielded in punitive ways; there are avenues to better employment prospects; and status/money is paramount. The findings of the study reflect a range of subject matters related to occupational characteristics and work-related communication and interactions which are typically viewed by children in contemporary society.

Aural auteur : sound in the films of Rolf de Heer

An interpretative methodology for understanding meaning in cinema since the 1950s, auteur analysis is an approach to film studies in which an individual, usually the director, is studied as the author of her or his films. The principal argument of this thesis is that proponents of auteurism have privileged examination of the visual components in a film-maker’s body of work, neglecting the potentially significant role played by sound. The thesis seeks to address this problematic imbalance by interrogating the creative use of sound in the films written and directed by Rolf de Heer, asking the question, “Does his use of sound make Rolf de Heer an aural auteur?” In so far as the term ‘aural’ encompasses everything in the film that is heard by the audience, the analysis seeks to discover if de Heer has, as Peter Wollen suggests of the auteur and her or his directing of the visual components (1968, 1972 and 1998), unconsciously left a detectable aural signature on his films. The thesis delivers an innovative outcome by demonstrating that auteur analysis that goes beyond the mise-en-scène (i.e. visuals) is productive and worthwhile as an interpretive response to film. De Heer’s use of the aural point of view and binaural sound recording, his interest in providing a ‘voice’ for marginalised people, his self-penned song lyrics, his close and early collaboration with composer Graham Tardif and sound designer Jim Currie, his ‘hands-on’ approach to sound recording and sound editing and his predilection for making films about sound are all shown to be examples of de Heer’s aural auteurism. As well as the three published (or accepted for publication) interviews with de Heer, Tardif and Currie, the dissertation consists of seven papers refereed and published (or accepted for publication) in journals and international conference proceedings, a literature review and a unifying essay. The papers presented are close textual analyses of de Heer’s films which, when considered as a whole, support the thesis’ overall argument and serve as a comprehensive auteur analysis, the first such sustained study of his work, and the first with an emphasis on the aural.

Sound in the Aboriginal Australian Films of Rolf de Heer

Anna Hickey-Mody and Melissa Iocca invented a new name for the cinema-goer at "Bad Boy Bubby" (1993) when they wrote: "In de Heer's film, the viewer is primarily a listener, or aurator, and secondly a spectator" and I have argued the label 'aurator' can also be used for the person experiencing "Ten Canoes" (2006). This Aboriginal Australian Dreamtime fable features dialogue recorded entirely in the Ganalbingu language of the Indigenous people it stars, and is a prime example of what I would suggest can be labeled 'The Aboriginal Australian Films of Rolf de Heer'. "The Tracker" (2002) and "Dr. Plonk" (2007) have also included depictions of Aboriginal Australians and each of the trio utilizes Cat Hope's "innovative sound ideas" to present what I argue is an aural auteur's signature revealing a post-colonial Australian world-view that privileges the justice system and eco-spirituality of Aboriginal Australians.