A violência escolar retratada pelas lentes do cinema

This work of completion is inserted at the interface between violence and school, and how you want to portray violence in school is represented in film productions. We consider important to first discuss in depth the concepts of violence to better understand the phenomenon of school violence, which is a subject much discussed in recent times. One of the types of violence very often nowadays, taking forms that we can call as new, in primary education schools, as well as in society in general, is known as bullying, for some authors the concept is very close to the definition of prejudice in with respect to social factors that reflect the target groups of this type of violence. Other authors also research on the expansion of the recent phenomenon known as School Shooting, which means school shootings, very common in American schools. Our study builds on ideas Debarbieux and Blaya (2002) that treat violence more broadly, taking into account the reports of the victims, including symbolic violence, the institutional and physical. For them, every concept must take into consideration how it was socially constructed, to thereafter be searched. Our goal is to analyze and understand how the issue of school violence is treated theoretically and also as is portrayed through the lens of cinema. Our study is theoretically based on authors like Debarbieux, Blaya, Bourdieu, Charlot, Arendt, Foucault, Sposito, among others, and use the qualitative approach, working with content analysis of films

Avaliação das características de superfície e formação de biofilmes em materiais odontológicos tratados em plasmas de HMDSO

Pós-graduação em Reabilitação Oral - FOAR

Manifestações de conteúdos televisivos nas culturas infantis e interpretações das professoras no contexto pré-escolar

Pós-graduação em Educação - FCT

Estudo comparativo do desempenho de diferentes membranas oclusivas de Látex Natural no reparo ósseo

Introduction: In dentistry, alveolar bone resorption is a limiting factor in the well being of individuals directly interfering in the stomatognathic system, causing problems in the context of overall health. Aiming to promote biological methods that can stimulate bone regeneration, several biomimetic strategies have been developed by the use of diverse materials possible to the bone matrix, culminating in the development of techniques that promote such repair. Objective: This work is a comparative study of the performance of films made with latex as occlusive membrane for Guided Bone Regeneration (GBR) procedure in three preparations: Latex preserved in ammonia, produced by Latex rubber clones IAN873 and PR255 polymerized immediately after collection and without use ammonia as a preservative. Methods: Sixty Wistar rats were randomly divided into 4 groups of 15 animals in which bone defects of critical size (8mm diameter) were made surgically in the skull. Group A was treated by GBR through the membrane latex preserved with ammonia, Group B received the membrane made of latex from IAN873, Group C, the membrane clone PR255 and group D was not treated by GBR. After a period of 7, 15 and 50 days, 5 animals from each group were euthanized, and specimens containing bone defect collected for microscopic examination (descriptive histology and histomorphometry). Results: The results showed that after 50 days there was bone formation in higher proportions in group D (p <0.05, ANOVA followed by Tukey), suggesting that further experiments should be conducted to conclude about the presence of ammonia and the influence of kind of rubber. Conclusion: GOR is a procedure proven effective in the treatment of bone defects. Therefore, further experiments should be conducted to reach a conclusion regarding the presence of ammonia in the latex composition for the manufacture of membranes, as well as the difference induced by the species of rubber.

A arte nas ondas do rádio: ações e procedimentos para esta prática

This paper proposes an extension of the personal experience of the listener through radio. The radio, because it is a medium of reaching, disseminating and having considerable accessibilities towards the production of its contents, and if exploited, could very well combine functionality with aesthetics in the production and broadcasting of programs, something that makes the radio not only a means for transmission of information. In the production of dramatic art, for example, the use of other elements, such as sound effects, may suggest form and consistency to the object described during the practice of radio utterance. The proper combination of function and aesthetic in music, sound effects and voiceover radio can change the mood of the listener and even promote their creativity.

Interfaces de notícias táteis em conteúdos gamificados contemporâneos

The construction methods of information lean on in variable models in the contemporary, especially by the diversity of languages and platforms offered. Among the innovations we find a growth of the gamification effect in the representation or reinforcement of the news, seizing the moment entertainment to increase user engagement. This research presents, from a case study published by The New York Times on the information complement referring to the World Cup Brazil 2014, studies of the importance of the interface in the broadcasting of informative contents, especially in a society where the tactile sensation is growing.

Investigação das propriedades ópticas de ZnO e ZnO:Al

Pós-graduação em Ciência e Tecnologia de Materiais - FC

Entram em cena as tecnologias de subjetivação: Corpos e Desejos na cinematografia brasileira pela ótica de diretoras de cinema no período de 2002 a 2012 e suas implicações para (des)construção dos gêneros

Pós-graduação em Psicologia - FCLAS

Solvent-Resistant Polymeric Sensors for Adulteration Detection in Liquid Fuels

Polymeric sensors with improved resistance to organic solvents were produced via the layer-by-layer thin film deposition followed by chemical cross-linking. According to UV-vis spectroscopy, the mass loss of polyaniline/poly(vinyl alcohol) and polyaniline/novolac-type resin based films deposited onto glass slides was less than 20% when they were submitted to successive immersions (up to 3,000 immersion cycles) into commercially available ethanol and gasoline fuel samples. Polyallylamine hydrochloride/nickel tetrasulfonated phthalocyanine films presented similar stability. The electrical responses assessed by impedance spectroscopy of films deposited onto Au-interdigitated microelectrodes were relatively unaffected after continuous or cyclic immersions into both fuels. After these studies, an array including these polymeric sensors was employed to detect adulteration in ethanol and gasoline samples. After principal component analysis, it was possible to conclude that the proposed sensor array is capable to discriminate with remarkable reproducibility ethanol samples containing different amounts of water or else gasoline samples containing different amounts of ethanol. In both examples, more than 90% of data variance was retained in the first principal component. For each type of sample, ethanol and gasoline, it was found a linear correlation between one of the principal components and the sample's composition. These findings allow one to conclude that these films present great potential for the development of reliable and low-cost sensors for fuel analysis in liquid phase.

Web orientada a dispositivos móviles que comunican con otro sistema a través de Web Services

[ES] El proyecto consiste en establecer la comunicación entre dos portales web a través de servicios web Restful implementados en PHP. Ambos portales están relacionados con el mundo del cine. El segundo de estos es, a grandes rasgos, una interfaz simplificada del anterior. El primer portal web está construido sobre Drupal 7, en este instalamos una serie de módulos que nos permiten gestionar el contenido que se quiere mostrar a los usuarios. Un usuario que no se identifica podrá navegar por todas las páginas del portal, identificarse y registrarse. Los privilegios que se le conceden a un usuario cuando se identifica son los de participar en el sistema de votación de las películas e interactuar con otros usuarios identificados a través de un sistema de comentarios. El usuario administrador, además, puede gestionar el contenido y a los usuarios identificados. El segundo portal está orientado al disfrute de la página a través de dispositivos móviles. Un usuario que no se ha identificado puede navegar por todas las áreas de éste del mismo modo que un usuario identificado. En este portal, a diferencia del anterior, no es posible registrarse para este tipo de actores. La diferencia entre el usuario no identificado y el identificado, en este caso, es que este último al visualizar el catálogo observará un descuento sobre cada película. Los servicios web, a través de peticiones GET y POST, proporcionarán a los usuarios una rica experiencia de navegación. Gracias a estos, en el segundo portal, podrán identificarse, obtener el catálogo de películas (además de ordenarlo y establecer filtros de búsqueda por género), y visualizar la ficha de las películas y directores. Todo esto sin necesidad de crear otra base de datos, tan solo intercambiando datos con el servidor.

Untersuchung der Filmbildung aus Polymerdispersionen mit Hilfe der forcierten Rayleighstreuung

Der Filmbildungsprozess wässriger Polymerdispersionen wurde mit forcierter Rayleighstreuung untersucht.Diffusionskoeffizienten D von Farbstoffsonden sind damit zwischen 10^-21 und 10^-9 m^2s^-1 zugänglich. Das Diffusionsverhalten der hydrophoben FarbstoffsondeAberchrome in feuchten und trockenen Filmen aus Poly(n-butylmethacrylat-co-acrylsäure)-Dispersionen sowie bei der Wiederbefeuchtung trockener Filme wurde untersucht.Die Dynamik von Aberchrome weicht in feuchten Filmen von Fickscher Diffusion ab. Dies äußert sich in Abweichungen vomcharakteristischen q^2-Verhalten der Relaxationsrate tau^-1 (tau^-1 = Dq^2; q:Streuvektor) und im Auftreten gestrecktexponentieller Intensitätsrelaxationskurven. Diese Anomalie wurde mit einem apparenten, längenskalenabhängigen Diffusionskoeffizienten Dapp(Lambda) (Lambda= 2Pi/q) beschrieben, der für Lambda -> 0 Werte annimmt, die einem homogen hydroplastifizierten Polymermaterial entsprechen, während Dapp(Lambda) für Lambda -> Unendlich stark anwächst. Diese Anomalien verschwinden bei Wassergehalten entsprechend der Polymerwasserlöslichkeit. Weiteres Trocknen führt zum Absinken des Fickschen-Diffusionskoeffizienten auf einen Grenzwert für trockene Filme. Die Ergebnisse konnten mit einem Zwei-Zustands-Modell beschrieben werden: Die Sonde diffundiert Ficksch in einer hydrophilen Grenzflächenphase und einer langsamen Polymerphase. Austausch zwischendiesen Phasen ist ohne Einschränkung möglich. Das Modell erlaubt die Quantifizierung des Einflusses des Trocknungsprozesses auf Polymer- und Grenzflächenphaseneigenschaften.Dies wurde durch systematische Veränderungen der Grenzflächeneigenschaften demonstriert. Dies geschah durch Acrylsäuregehaltvariationen in den Poly(n-butylmethacrylat-co-acrylsäure)-Dispersionen und Emulgatorbedeckungsgradvariationen. In beiden Fällen reflektieren sich Dispersionsveränderungen in einer Veränderung der Modellparameter in der Grenzflächenphase.

Studien zur Geschichte des deutschen Filmplakats von den Anfängen bis 1945

Plakate begleiten den Film auch in Deutschland schon seit seinen Anfängen 1895/96. Filmplakate sollen Filminhalte in einem grafischen Kürzel zusammenfassen. Aufraggeber ist zumeist der Filmverleih bzw. die Filmgesellschaft, seltener einzelne Kinos. Filmplakate sind im wesentlichen bildlich-figürlich bestimmt, viele illustrieren auf naive Art eine Szene des Films, verbunden mit der Darstellung der Schauspieler. Die Grafiker können sich oft lediglich anhand von Inhaltsangaben und Fotos einen Eindruck von der zu bewerbenden Sache verschaffen. Zunächst werben sie für Programme, weniger für einzelne Filme. Das ändert sich mit der zunehmenden Länge der Produktionen. Neben zahlreichen anonymen Zeichnern werden schon bald auch namhafte Plakatkünstler mit Filmplakaten beschäftigt, wie Klinger, Deutsch, Kainer, Hohlwein, Erdt, die jeweils verschiedene Plakatauffassungen vertreten. Plakate für Asta Nielsen oder Henny Porten dokumentieren frühe Stardarstellungen, diejenigen für frühe Detektivfilme stehen für ein Genre. Mit dem Namen Fenneker steht das expressionistische Filmplakat um 1920 in Verbindung. Grafiker wie Matejko; Leonard, oder Kupfer-Sachs arbeiten eher naturalistisch. Konstruktivistische Plakate entwirf Tschichold. 1927 für den Münchener „Phoebus-Palast“. Zwischen 1930 und 1945 ist der Plakatstil des Ufa-Werbedienstes maßgebend. Abweichend davon kann Pewas Fotomontageplakate gestalten.. Sehr früh beginnt die Zensur sich der Filmplakate anzunehmen. Zunächst in unterschiedlichen Rechtstiteln enthalten, wird die Plakatzensur 1920 im „Reichslichtspielgesetz“ verankert.

From polymer precursors to metal oxides

We report on a strategy to prepare metal oxides including binary oxide and mixed metal oxide (MMO) in form of nanometer-sized particles using polymer as precursor. Zinc oxide nanoparticles are prepared as an example. The obtained zinc polyacrylate precursor is amorphous as confirmed by X-ray diffraction (XRD) and transmission electron microscopy (TEM). The conversion from polymer precursor to ZnO nanocrystals by thermal pyrolysis was investigated by means of XRD, thermogravimetric analysis (TGA) and electron microscopy. The as-synthesized ZnO consists of many individual particles with a diameter around 40 nm as shown by scanning electron microscopy (SEM). The photoluminescence (PL) and electron paramagnetic (EPR) properties of the material are investigated, too. Employing this method, ZnO nanocrystalline films are fabricated via pyrolysis of a zinc polyacrylate precursor film on solid substrate like silicon and quartz glass. The results of XRD, absorption spectra as well as TEM prove that both the ZnO nanopowder and film undergo same evolution process. Comparing the PL properties of films fabricated in different gas atmosphere, it is assigned that the blue emission of the ZnO films is due to crystal defect of zinc vacancy and green emission from oxygen vacancy. Two kinds of ZnO-based mixed metal oxide (Zn1-xMgxO and Zn1-xCoxO) particles with very precise stoichiometry are prepared by controlled pyrolysis of the corresponding polymer precursor at 550 oC. The MMO crystal particles are typically 20-50 nm in diameter. Doping of Mg in ZnO lattice causes shrinkage of lattice parameter c, while it remains unchanged with Co incorporation. Effects of bandgap engineering are seen in the Mg:ZnO system. The photoluminescence in the visible is enhanced by incorporation of magnesium on zinc lattice sites, while the emission is suppressed in the Co:ZnO system. Magnetic property of cobalt doped-ZnO is checked too and ferromagnetic ordering was not found in our samples. An alternative way to prepare zinc oxide nanoparticles is presented upon calcination of zinc-loaded polymer precursors, which is synthesized via inverse miniemulsion polymerization of the mixture of the acrylic acid and zinc nitrate. The as-prepared ZnO product is compared with that obtained from polymer-salt complex method. The obtained ZnO nanoparticles undergo surface modification via a phosphate modifier applying ultrasonication. The morphology of the modified particles is checked by SEM. And stability of the ZnO nanoparticles in aqueous dispersion is enhanced as indicated by the zeta-potential results.

Tradurre il multilinguismo al cinema: Lingue, identità culturali e loro rappresentazione sullo schermo

La presente ricerca ha un duplice obiettivo. Primo, individuare i modi in cui lingue e identità culturali diverse sono state rappresentate al cinema. Secondo, identificare le diverse strade imboccate dai professionisti del doppiaggio italiano quando si trovano a confrontarsi con un film in cui si parlano più lingue. La ricerca propone un approccio multidisciplinare che combina i contributi teorici sviluppati nel campo degli studi di traduzione audiovisiva con le modalità di analisi più comunemente utilizzate dalla semiotica del cinema. L'analisi si basa su un campione di 224 film multilingue prodotti dall'inizio degli anni Trenta alla fine degli anni Duemila. Particolare attenzione viene indirizzata al quadro teorico all'interno del quale viene interpretato il ruolo che il multilinguismo assume al cinema. Vengono identificate tre funzioni principali: conflitto, confusione e resa realistica. Un altro elemento chiave nell'analisi è costituito dal genere cinematografico prevalente a cui è possibile ricondurre ciascuno dei film selezionati. Sono individuati tre generi principali: il film drammatico, la commedia e il thriller. Nel film drammatico il multilinguismo agisce come un veicolo che produce e accentua il conflitto, mentre nella commedia esso di solito diventa un dispositivo comico che crea confusione e umorismo. Nel cinema thriller, invece, il multilinguismo funziona essenzialmente come un veicolo di suspense. Per quanto riguarda le soluzioni traduttive adottate nel doppiaggio italiano del cinema multilingue, sono rilevate tre macro-strategie: la conservazione, la neutralizzazione e la riduzione dell'originale dimensione multilingue. Ciascuna di queste tre strategie è passata a vaglio critico. Se nel primo caso si tratta di un tentativo di riprodurre fedelmente le originali situazioni multilingue rappresentate nel film, negli altri due casi si tratta di soluzioni che risentono fortemente delle specificità del doppiaggio come modalità di traduzione degli audiovisivi (fattori ideologici ed economici, nonché il problema tecnico dell'armonizzazione delle voci per i personaggi bilingue).

Contemporary Hollywood And The Attention Economy

This thesis had two goals: to explore the transformation of Hollywood from the 1930s to present, and to investigate how Contemporary Hollywood functions in a growing attention economy. Evident in the types of films that it produces as well as its evolving industrial structure, Contemporary Hollywood significantly differs from the Classical Hollywood of the 1930s. New digital technologies like surround sound and computer-generated imagery (CGI) have allowed studios to create a different type of film like the blockbuster and to have more extensive control over their films. Additionally, growing exhibition and distribution platforms have also fundamentally altered the industrial landscape of Hollywood. In order to combat this more egalitarian distribution system, Contemporary Hollywood has turned to conglomeratization. But, what has caused such a radical shift in the form and function of Contemporary Hollywood and its films? This thesis argues that Hollywood is failing to thrive in this new media landscape¿not because of changing technologies¿but because of a changing consumer. Richard Lanham theorizes that we are living in a growing attention economy, where human attention is the most valuable commodity in such an information-saturated society. For the current consumer, there is near-constant media over-stimulation: he or she is exposed to any number of screens (mobile phones, laptops, tablets, televisions, etc.) at any given time. Because we can access anything from anywhere at anytime, we¿ve become somewhat schizophrenic and impatient in terms of the media that we consume in our lives.