To Integrate Or Not: A Comparison of the English Skills of Finnish Students in Mainstream Education and Content and Language Integrated Learning

The objective of the thesis was to study the possible linguistic differences of English of Finnish mainstream students and Finnish students following content and language integrated learning (CLIL), in terms of the given language test. The difference of test results between the test groups was further analyzed in more detail. The research was carried out by comparing the 9th grade students of the Finnish comprehensive school (the mainstream group) and CLIL students of the 9th grade of the Finnish comprehensive school (the CLIL group). The comparison was based on the national language test for the 9th grade students of the Finnish comprehensive school 2006 (A-English), produced by Sukol-Palvelu, owned by the Federation of Foreign Language Teachers in Finland SUKOL. The mainstream group of the present study consisted of 30 students, whereas the CLIL group included 27 students. Testing was carried out in spring 2007. The test results of the mainstream group (average of 64.1% out of the maximum score) were consistent with the results of the national average (63.9%). The average score of the CLIL students for the present study was 83.3% out of the maximum score. The results of the two groups in question were rather similar in the tasks measuring the skill of listening comprehension, in addition to one of the reading comprehension tasks. Moreover, a particular task with requirements of cultural and reactional skills produced results rather similar between the test groups. The differences between the results of the mainstream group and the CLIL group were most evident in three particular tasks. In general, the CLIL group performed clearly better than the mainstream group in the task measuring the knowledge of the polite conversational manners of the English-speaking world and in the tasks with requirements of lexical and structural knowledge of English. However, the writing task resulted in the most evident difference of results between the groups. In other words, the CLIL students of the present study were clearly more capable of producing English language with more varied vocabulary and more complex structures than the mainstream students. Thus, it might be argued whether the CLIL programme is to enhance the students´ performance in the productive skill of writing in particular. As a result, it might be useful to consider the possibilities of the CLIL programme in developing certain linguistic skills of the mainstream students of English as well.

Marketing de cinema : a supply chain do sector cinematografico português

Mestrado em Marketing

Novos sentidos da leitura: a contribuição do cinema para a leitura do texto narrativo

Mestrado em Literatura Comparada, Faculdade de Ciências Humanas e Sociais, Departamento de Letras Clássicas e Modernas, Univ. do Algarve, 2004

O Neo-Peplum: Hollywood e a herança do cinema popular europeu no séc. XXI

Através de uma análise histórico-formal este artigo propõe-se analisar a influência do peplum, um conjunto de filmes de aventuras produzidos na Europa mediterrânea entre 1958 e 1964, no cinema de Hollywood contemporâneo, em particular num ciclo de filmes que denominámos de neo-peplums pois, tal como o peplum europeu, estes caraterizam-se pela recriação fantasiosa do Mundo Antigo e pela hipertrofia do trabalho formal, utilizando os novos recursos tecnológicos na criação de uma mise-en-scène altamente estilizada.

O cinema de Ray Harryhausen: efeitos especiais e maneirismo no cinema de Hollywood

Através de uma análise histórico-formal, este trabalho propõe uma leitura maneirista da obra de Ray Harryhausen (1920-2013), um dos maiores criadores de efeitos especiais do cinema de Hollywood, verdadeiro autor de uma série de filmes que se distinguem pelo uso virtuoso da técnica, colocada ao serviço de narrativas fantásticas, construídas numa clara referencia a grandes clássicos do cinema de Hollywood.

Formaçao de público para o cinema

Dissertação de mest. em Gestão Cultural, Faculdade de Ciências Humanas e Sociais, Univ. do Algarve, 1999

Perspectivas Luso-Brasileiras em artes e comunicação. Cinema e outras artes

O CIAC tem acolhido, ao longo dos anos, diversos projetos editoriais no âmbito da investigação desenvolvida no centro. Privilegiamos as parcerias, pois acreditamos que é uma maneira de intercambiar o conhecimento e de difundir a produção que é feita por nós, ao mesmo tempo que somos informados do que se faz noutras partes e que diz respeito, diretamente, ao trabalho que desenvolvemos aqui. Nesse sentido este livro vem tornar realidade algumas das nossas muitas demandas: produção e difusão do conhecimento na área do Cinema e das outras Artes; aprofundamento dos estudos dessa produção artística em Portugal e no Brasil, no intuito de perceber as nossas semelhanças e dissensões e de promover um diálogo profícuo, e permanente, entre investigadores do Brasil e de Portugal, enriquecedor para todos que participam do processo e para os que terão acesso à publicação. A dupla coordenação do livro, feita pelo investigador do CIAC Jorge Carrega e pela Professora Ingrid Fechine, da Universidade Estadual da Paraíba, demonstra o nosso interesse em desenvolver, cada vez mais, parcerias produtivas e que tenham como resultado o que aqui apresentamos, um conjunto de reflexões sobre os fazeres artísticos no cinema, nas artes plásticas, no teatro ou mesmo na fusão do cinema com as outras artes. A distância oceânica que separa os dois países desfaz-se quando são lançadas pontes que promovem o (re) conhecimento dos saberes outros e de muitos que partilhamos, além da língua que temos em comum.

O cinema como recurso pedagógico na aula de história

Este estudo pretendeu pesquisar acerca da influência do cinema histórico de ficção na construção do conhecimento histórico de alunos de História A do Ensino Secundário. Foi realizado com uma turma do 10º ano de escolaridade de 20 alunos e foi antecedido de um estudo prévio. O trabalho baseou-se no visionamento do filme "O Gladiador" e na realização de fichas de trabalho: a "Ficha de Enquadramento Histórico do Filme", para contextualizar a época histórica em que decorria o filme; a "Ficha de Análise do Filme”, para recolha de dados e finalmente a "Ficha de Trabalho de Comparação entre Fontes Históricas e o Filme". As respostas fornecidas pelos alunos foram organizadas em categorias. Para as perguntas que pediam uma resposta mais directa e simples foram criadas três categorias: básica primária, básica secundária e definição elaborada. Para as perguntas que exigiam uma resposta mais complexa criaram-se cinco categorias: incoerente, básica primária, básica secundária, definição emergente e definição elaborada. As principais conclusões foram: a) o cinema de ficção desempenha um importante contributo na construção do conhecimento histórico dos alunos do ensino secundário; b) o visionamento de filmes de ficção na aula de História deve ser acompanhado com o confronto de fontes históricas para os alunos distinguirem ficção de conhecimento histórico; c) o cinema desempenha um papel muito importante no desenvolvimento das competências específicas de História do Ensino Secundário e do espírito crítico dos alunos; entre outras. / ABSTRACT: This study aimed to understand the influence of historical fiction movies in historical knowledge of students in History of Secondary Education. The study was conducted with a group of 20 students of the 1O th grade and was preceded by a preliminary study. The work was based on viewing the film Gladiator and on worksheets: A "Historical Background" to contextualize the historical era of the movie, the "The analysis of the Movie" to collect data and finally the “Comparison of Historical Sources and movie” worksheet to analyze distinguish fiction from historical knowledge. The responses given by students were categorized: for questions that asked for a more direct and simple answer were created three categories: Basic; Primary; Definition elaborated. For questions requiring a more complex answer were created five categories Incoherent; Basic; Primary; Emergent and Elaborated. The main conclusions were: a) the film fiction has an important contribution to historical knowledge of secondary school students, b) using films in history lessons should be accompanied with a comparison of historical sources for students to distinguish fiction from historical knowledge, c) the film plays an important role in the development of specific skills for the History of Secondary Education and the students' critical thinking, among others.

Mulheres negras e (in)visibilidade : imaginários sobre a intersecção de raça e gênero no cinema brasileiro (1999-2009)

Tese (doutorado)—Universidade de Brasília, Faculdade de Comunicação, Programa de Pós-Graduação em Comunicação, 2016.

Identity, ideology, and cinema: Making sense of Japan's foreign and security policies in the 1950s and 2000s

Japan is an important ally of the United States–the world’s third biggest economy, and one of the regional great powers in Asia. Making sense of Japan’s foreign and security policies is crucial for the future of peace and stability in Northeast Asia, where the possible sources of conflict such as territorial disputes or the disputes over Japan’s war legacy issues are observed.^ This dissertation explored Japan’s foreign and security policies based on Japan’s identities and unconscious ideologies. It employed an analysis of selected Japanese films from the late 1940s to the late 1950s, as well as from the late 1990s to the mid-2000s. The analysis demonstrated that Japan’s foreign and security policies could be understood in terms of a broader social narrative that was visible in Japanese popular cultural products, including films and literatures. Narratives of Japanese families from the patriarch’s point of view, for example, had constantly shaped Japan’s foreign and security policies. As a result, the world was ordered hierarchically in the eyes of the Japan Self. In the 1950s, Japan tenaciously constructed close but asymmetrical security relations with the U.S. in which Japan willingly subjugated itself to the U.S. In the 2000s, Japan again constructed close relations with the U.S. by doing its best to support American responses to the 9/11 terrorist attacks by mobilizing Japan’s SDFs in the way Japan had never done in the past.^ The concepts of identity and unconscious ideology are helpful in understanding how Japan’s own understanding of self, of others, and of the world have shaped its own behaviors. These concepts also enable Japan to reevaluate its own behaviors reflexively, which departs from existing alternative approaches. This study provided a critical analytical explanation of the dynamics at work in Japan’s sense of identity, particularly with regard to its foreign and security policies.^

Meios de divulgação promocionais de cinema: estudo sobre o impacto nos consumidores

This article presents part of the results obtained under a project that sought out to know and understand the determining factors in the ways of attendance at movie theaters, with the main goal to analyze each of the cinematic means of disclosure and their respective communicative role. The study was carried out through a theoretical and conceptual analysis using a quantitative approach. The main tool for data collection was a questionnaire that included the participation of 380 subjects. The findings show that the main determinant means of disclosure in choosing films as key influencers of visits to Portuguese cinemas were the Internet and the word-of-mouth phenomenon.

A literatura no cinema Oliveiriano

São nítidas na cinematografia do emblemático realizador português Manoel de Oliveira as influências de outras artes, nomeadamente da literatura. Com efeito, a adaptação literária é objeto de interesse do cineasta em diversas produções fílmicas dando origem a obras centradas sobre variadas temáticas, onde sobressai a figura feminina e os textos de Agustina Bessa-Luís. O envolvimento do realizador neste contexto de diálogo intertextual remonta às suas primeiras produções ficcionais (Aniki-Bobó, 1942) e permanece ao longo da sua vasta carreira cinematográfica. Estudar o registo filmográfico ficcional Oliveiriano é repensar questões relativas à adaptação literária e às suas particularidades. É, similarmente, refletir sobre o lugar da adaptação no cinema português e, ao mesmo tempo, equiparar o cineasta luso à constelação de realizadores paradigmáticos da história do cinema mundial que estabeleceram uma relação dialógica com fontes escritas. Com o propósito de sustentar a argumentação, a reflexão encontra-se ancorada em estudos de literatura e cinema e na teoria da adaptação. Partindo do vínculo dialogal entre literatura e cinema na obra de Manoel de Oliveira, o presente texto procura estabelecer uma reflexão acerca da adaptação literária e paralelamente relembrar as singularidades da transmutação fílmica dando destaque às diversas adaptações literárias de índole Oliveiriana que o cinema português tem testemunhado. A literatura no cinema de Oliveira contribui para testemunhar o elo positivo que historicamente tem ligado estas duas formas de expressão e oferece um exercício de releitura original destacando liberdade criativa e a independência que caracterizam Manoel de Oliveira.

Interpreting independence in Latin American cinema today: the digital option

Globalisation has transformed “independence” into, at best, “inter-dependence”. In Latin American film, this process has been experienced as a decline in the national productions, now usually co-productions, and a tendency towards the self-exoticising as films cater for a festival-circuit global audience; similarly, theatrical exhibition takes place in one of a handful of the global multiplex complexes. Moreover, narrative film itself has long been regarded as inherently “dependent”, on the conservative sectors that have provided its finance, with the word “independent” referring to authorial features only. However, the very same processes that have allowed for such an unprecedented corporate control of these film industries have also spawned a parallel network of local, regional and national filmmaking, distribution and exhibition through digital media. From the “Mi Cine” project in Mexico to the “Cine Piquetero” in Argentina, digital filmmaking is empowering viewers and restoring agency to local filmmakers. In this paper I argue for this understanding of “independence” in the contemporary cinematic spheres of Latin America: the re-appropriation, amidst the transnationalism of the day, of the democratising potential of cinema that Walter Benjamin once thought was inherent to the medium.

Chicano identity and discourses of supplementarity on Mexican cinema: from ‘The Man Without a Fatherland’ (Contreras Torres: 1922) to ‘Under the Same Moon’ (Riggen: 2008)

A radical change took place in Mexican narratives of belonging during the 1990s, when NAFTA was first negotiated. Narratives of migration drastically changed the status of Mexican migrants to the US, formerly derided as ‘pochos’, presenting them as model citizens instead. Following Derrida, I argue the role of the migrant became that of a supplement, which is, discursively, at the same time external to and part of a given unit, standing for and allowing deeper transformations to take place in the whole discourse of bilateral relations and national identity more generally. I use Derrida’s concept of the supplement to discuss changing representations of Chicanos in Mexican cinema, and to assess the extent that they have succeeded in reframing the discourse on national identity, with a focus on gender.