Kirjaimia kuvassa : alkutekstijaksojen dramaturgisista funktioista

Opinnäytetyöni on monimuototyö, joka koostuu kirjallisesta osasta ja teososasta. Kirjallisessa osassa tutkin fiktioelokuvien alkutekstijaksojen dramaturgisia funktioita ja sen käytön muuttumista tuotannollisten tietojen esittämisestä ensisijaisesti elokuvan emotionaalisen ja kerronnallisen pohjan luomisen välineeksi. Tutkimukseni liikkeellepaneva voima oli tunne, että alkutekstijaksot ovat AV-ilmaisussa tärkeitä, vakiintuneita elementtejä, joita ei ole kuitenkaan tutkittu kovin paljon, ainakaan dramaturgiselta kannalta. Alkutekstijaksoista ja elokuvagrafiikasta on kirjoitettu useita kirjoja, mutta ne ovat usein sisällöltään joko teknisiä oppaita tai grafiikoiden visuaaliseen näyttävyyteen keskittyviä kuvakirjoja. Tutkimuksessani pyrin selvittämään alkutekstijaksojen sisäistä logiikkaa käymällä lyhyesti läpi typografian historiaa ja tyylejä sekä elokuvagrafiikan teknistä kehitystä. Tämän jälkeen tutkin kuva-analyysin keinoin pitkien fiktioelokuvien alkutekstijaksoja ja pyrin hahmottamaan mahdollisia vakiintuneita kerronnallisia keinoja tai toistuvia dramaturgisia rakenteita keskittymällä erityisesti alkutekstijaksojen asemaan elokuvan eksposition välineenä. Teososani on 15-minuuttisen Seuraajat-fiktioelokuvan alku- ja lopputekstigrafiikka. Kirjallisessa osassa käyn läpi grafiikan suunnittelu- ja toteutusprosessia, joka alkoi ennen elokuvan kuvauksia ja päättyi leikkausvaiheen jälkeen. Suunnitelmat muuttuivat käytännön syistä huomattavasti prosessin aikana, ja lopputulos on aivan erilainen, kuin mitä alunperin suunniteltiin. Lopuksi pohdin lopputuloksen onnistuneisuutta ja omaa toimintaani työprosessin aikana.

Tango, twist ja Tšaikovski : musiikki Aki Kaurismäen elokuvassa Tulitikkutehtaan tyttö

Musiikkiraita ; "Tunnusmusiikki" ; Tulkinnallisia kysymyksiä ; "Draamantynkä" ja avoimet tekstit.

Olemisen soinnit : heideggerilainen tulkinta musiikin ja äänen merkityksistä Terrence Malickin elokuvassa The New World

Elokuva filosofiana ja soivana taiteena ; Kaksi maailmaa, kaksi olemisenymmärrystä ; Puutteenalainen aika ja runoilijan tehtävä ; Runollinen kieli ja fenomenologisuus ; Ääniherkkyys, musiikki ja olemisen kuuntelu ; Wagnerin Reininkulta : olla vai omistaa? ; Mozartin pianokonserton nro 23 hidas osa : miltä olemisenymmärtäminen kuulostaa?.

Slackers, slashers and sticklers : Hollywood films and audience reception /

This thesis examines the processes through which identity is acquired and the processes that Hollywood :films employ to facilitate audience identification in order to determine the extent to which individuality is possible within postmodem society. Opposing views of identity formation are considered: on the one hand, that of the Frankfurt School which envisions the mass audience controlled by the culture industry and on the other, that of John Fiske which places control in the hands of the individual. The thesis takes a mediating approach, conceding that while the mass media do provide and influence identity formation, individuals can and do decode a variety of meanings from the material made available to them in accordance with the text's use-value in relation to the individual's circumstances. The analysis conducted in this thesis operates on the assumption that audiences acquire identity components in exchange for paying to see a particular film. Reality Bites (Ben Stiller 1994) and Scream (Wes Craven 1996) are analyzed as examples of mainstream 1990s films whose material circumstances encourage audience identification and whose popularity suggest that audiences did indeed identify with them. The Royal Tenenbaums (Wes Anderson 2001) is considered for its art film sensibilities and is examined in order to determine to what extent this film can be considered a counter example. The analysis consists of a combination of textual analysis and reception study in an attempt to avoid the problems associated with each approach when employed alone. My interpretation of the filmmakers' and marketers' messages will be compared with online reviews posted by film viewers to determine how audiences received and made use of the material available to them. Viewer-posted reviews, both unsolicited and unrestricted, as found online, will be consulted and will represent a segment of the popular audience for the three films to be analyzed.

The Midnight express phenomenon : a historical materialist approach to the reception of the film Midnight express /

This thesis examines the Midnight Express phenomenon focusing on the film's reception by audiences in Europe, North America, and Turkey between 1978-2003. Using and enhancing the "historical materialist approach" to film reception developed by Janet Staiger, the thesis considers the historical determinants of the film's nationally and culturally differential readings in different periods and of the transformations in those readings. The thesis argues that while Midnight Express was most likely read in the late 1970s as an attempt to reaffirm American social identity by projecting Turks as an instance of the negative Other, there has been an important shift in the reception of the film in the West during the 1990s due to the changes in the discursive contexts in which the film has been circulating. One does not observe any specific reference to Turkish prisons as a part of the issue of human rights violations in Turkey in the initial reception of the film by European and American critics, whereas these issues appear to be important constituents of a particular reception of the film in the West in the present. The thesis explains this shift by pointing to the constitution of a particular discourse on human rights violations in Turkey after 1980, and especially throughout the 1990s, which has become a part of the discursive repertoires of the Western audience. Therefore, the thesis argues that today, Midnight Express functions as a more legitimate political statement about Turkey in the eyes of some Western audiences than it had been in the 1970s. On the other hand, parallel to the increasing desire of Turkey to connect itself to the West, particularly to become a member of the European Union, one observes an immense increase in the belief in and defense against the negative effects of Midnight Express on Turkey's international representation since the 1990s. The historical and current discourses that audiences, both in Turkey and abroad, bring into play suggest that these audiences engage with Midnight Express by assuming or denying not only the subject positions constructed by the film text but also certain history-specific extra-filmic subject positions produced by other social and discursive formations.

American Desi : representation and reproduction in diaspora /

This study explores ~ow South Asian diasporic film represents and reproduces South Asian identity in the diaspora. It commences with a review of the literature in cultural studies and post-colonial theory on identity in the diaspora. A textual analysis of three films: American Desi, Bollywood/Hollywood, and East Is East, helps frame the characteristics of South Asian diasporic film. Theoretical concepts of diaspora and identity are extended to this reading of the films. In-depth, open-ended, semi structured interviews were conducted with eight participants to test the validity of theoretical concepts through participants' own reading of American Desi. Findings indicate that while theoretical concepts of identity can be usefully applied at the level of the text, these perspectives do not always easily explain participants' interpretation of the film in relation to their everyday experiences.

The new blockbuster film sequel : changing cultural and economic conditions within the film industry

Film sequels are a pervasive part of film consumption practices and have become an important part of the decision making process for Hollywood studios and producers. This thesis indicates that sequels are not homogenous groups of films, as they are often considered, but offer a variety of story construction and utilize a variety of production methods. Three types of blockbuster sequel sets are identified and discussed in this thesis. The Traditional Blockbuster Sequel Set, as exemplified by Back to the Future (1985, 1989, 1990) films, is the most conventional type of sequel set and capitalizes on the winning formula of the first film in the franchise. The MultiMedia Sequel Set, such as The Matrix (1999,2003) trilogy, allows the user/viewer to experience and consume the story as well as the world of the film through many different media. The Lord a/ the Rings (2001, 2002, 2003) set of films is an illustration of The Saga Sequel Set where plot lines are continuous over the entire franchise thus allowing the viewer to see the entire set as a unified work. The thesis also demonstrates how the blockbuster sequel sets, such as the Pirates a/ the Caribbean (2003, 2006, 2007) franchise, restructure the production process of the Hollywood film industry.

De Pandora a Mr. Arkadin: les representacions fílmiques d’una Costa Brava simbòlica

Repàs de com ha estat representada la Costa Brava, com a escenari d’exteriors, al món del cinema amb diverses localitzacions tant des d’una perspectiva metodològica documental com des d’una perspectiva metodològica simbòlica

María Antonieta, la última reina: sinopsis fílmica y reseña literaria [Ressenya del llibre María Antonieta: la última reina, d'Antonia Fraser; Ressenya de la pel·lícula María Antonieta, de Sofia Coppola]

Sinopsi fílmica i ressenya literària d’aquestes dues obres sobre la figura de la última reina de França, amb 8 suggeriments didàctics que tenen com a fil conductor ambdues obres

Això és ritme! [Ressenya de la pel·lícula Rhythm is it!]

Breu ressenya de la pel·lícula "Rhythm is it!"

Impactos dos valores pessoais no trabalho em equipe em organizações do terceiro setor

This study had the main purpose to answer to the following issue: How far the social projects experts's values contribute to a specific manner of working as a team? Searchin g for this answer, bibliography and field researches, with deep interviews and the picture construction technique were accomplieshed. The data analysis was carried out under a phenomenological view. This research report is structured in two pivots: The understanding of the individual, and of his relationship within the group. Firstly, I dealed with the formation of the Individual and his values; secondly, I focused the relations of the Individual with the group and more specifically, the team concept and the main characteristics and conditions that guarantee an efficient teamwork. Both chapters were developed through interpaticipating analysis this is by showing transcriptions of the most relevant parts of the interviews and of the works produced by the groups to as well as data from the bibliographic research. I concluded that, in the case of the researched sample, personal values really act on the way the Third Sector experts work in team, and that these experts are cooperative and committed to their respec tive projects.

Entre grãos e pixels, os dilemas éticos na restauração de filmes: o caso de Terra em Transe

A restauração de filmes no Brasil se tornou uma atividade mais sistemática a partir dos anos 1990, com a introdução das ferramentas digitais. Ao mesmo tempo em que trouxeram uma possibilidade quase ilimitada de intervenção nos filmes, as ferramentas digitais introduziram também um debate acerca da natureza ética envolvendo a restauração de filmes. Nesse contexto, se destacam os projetos de restauração dedicados aos filmes do Cinema Novo. Este trabalho pretende verificar em que medida a restauração digital vem a afetar os elementos de linguagem de Terra em Transe, de Glauber Rocha, filme marcado por uma grande inventividade formal. A análise da restauração do filme foi pautada por alguns dos conceitos de Cesare Brandi, autor que procurou trabalhar com a questão da ética no campo das artes plásticas. Algumas questões relacionadas à ética e à conceituação de restauração, bem como à trajetória histórica da restauração de filmes no Brasil, também são debatidas no texto.

Financiamento público à indústria de exibição cinematográfica: um estudo de caso no Brasil

O objetivo deste trabalho é avaliar o impacto da criação de linhas de financiamento ao parque exibidor cinematográfico brasileiro, uma das formas existentes de incentivo governamental ao setor. Os desembolsos avaliados, realizados pelo BNDES com recursos do Procult e do FSA de 2007 a 2012, consistem em crédito de longo prazo para a criação de salas de cinema, com juros abaixo do mercado e estrutura de garantias flexível. A metodologia econométrica utilizada é o controle sintético, tal como formalizada por Abadie et al. (2010). Sob esse método, não foi possível identificar contribuição positiva da política de crédito quando se confronta o desempenho individual dos exibidores beneficiados versus seus respectivos controles sintéticos, medido pela evolução das variáveis número de salas e público. Ademais, testou-se um possível efeito agregado, considerando a evolução do número de ingressos per capita no Brasil, também não sendo possível identificar contribuição positiva da política sobre tal indicador.

Resin-based composite reinforced sealant

Purpose: To describe and picture a technique for using a resin-bonded sealant reinforced by inclusion of resin-based composite, before polymerization. Method: Using an extracted mandibular molar, embedded in plaster and isolated with a rubber dam, a step-by-step depiction of the technique is shown. Results: A picture of a six-year-old sealant in a first permanent molar, still in perfect condition, is shown. Conclusion: This technique offers a reliable method for treating pits and fissures.