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Grünefeld, Verena. "Dokumentarfilm populär Michael Moore und seine Darstellung der amerikanischen Gesellschaft." Frankfurt, M New York, NY Campus-Verl, 2009. http://d-nb.info/999216058/04.
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Maria, Cristiane Toledo. "Tradições e rupturas no cinema político de Michael Moore." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-09032016-153747/.
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Esta pesquisa tem como objetivo analisar a produção fílmica do cineasta norte-americano Michael Moore, tendo como questão central a relação que se estabelece entre arte e política num momento histórico que, de um lado, aponta para a crise do capitalismo e, de outro, para a fragmentação política da classe trabalhadora. A partir da análise formal de dois de seus filmes, estabelecemos uma relação com os momentos históricos que lhes deram condições de produção, a fim de compreender o método desenvolvido pelo cineasta para lidar com a crise de representação e comunicação vivida pela arte política nas últimas décadas. Os dois filmes escolhidos para tal análise são Roger e Eu (Roger & Me, 1989) e Capitalismo: uma história de amor (Capitalism: a love story, 2009). Ambos os filmes possuem diagnósticos de momentos distintos da crise do capitalismo, juntamente com a constatação de que existe um desmonte da classe trabalhadora, fruto de uma série de mudanças econômicas, políticas e culturais, especialmente ao longo da segunda metade do século XX e início do XXI. Este trabalho faz um estudo comparativo dos dois filmes, traçando as continuidades e mudanças estéticas e políticas ocorridas na obra de Michael Moore num intervalo de duas décadas, bem como sua relação com as condições de representação da luta de classes dentro da cultura norte-americana. Esta pesquisa reflete sobre o surgimento do fenômeno Michael Moore como parte de um processo de construção e desconstrução de uma tradição da classe trabalhadora norte-americana.This research aims to analyze the film production of the American filmmaker Michael Moore, proposing as a central question the relationship established between art and politics in a historical moment which, on one side, points to the crisis of capitalism and, on the other side, to the political fragmentation of the working class. Starting from the formal analysis of two of his films, we have established a relationship with the historical moments which gave conditions of production to them, in order to understand the method developed by the filmmaker to deal with the crisis of representation and communication experienced by political art in the last decades. The two films chosen for this analysis are Roger & Me (1989) and Capitalism: a love story (2009). Both films have different diagnoses of the distinct moments of the capitalist crisis, along with the realization of the fact there is a dismantling of the working class, result of a series of economic, political and cultural chances, especially during the second half of the 20th century and early 21st century. This research makes a comparison between the two films, tracing the aesthetic and political continuities and changes in the work of Michael Moore which happened throughout two decades, as well as its relation to the conditions of representation of class struggle in American culture. This work reflects on the rise of the Michael Moore phenomenon as part of a process of construction and deconstruction of a tradition of the American working class.
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Lipson, David. "Le contrat documentaire chez Michael Moore : de l'info-argument vers l'info-tainment." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA097/document.
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Michael Moore est une icône culturelle aux États-Unis. Son nom évoque la polémique, la contestation politique mais aussi le film documentaire à succès (Bowling For Columbine, primé aux Oscars, Fahrenheit 9/11, Palme d’Or à Cannes). Les six films du corpus, —Roger & Me (1989), The Big One (1998), Bowling For Columbine (2002), Fahrenheit 9/11 (2004), Sicko (2007) et Captain Mike Across America (Slacker Uprising) (2008) —, posent une triple problématique : la tension entre documentaire classique et documentaire hybride, la présence/absence du documentariste dans son film, et la réception du spectateur organisée par le divertissement et/ou la politique. Trois axes majeurs émergent, autour desquels l’articulation de la thèse peut s’effectuer : le divertissement, la politique et l’autosuffisance. La méthodologie pour rendre compte de cette triple problématique résulte d’un montage quali-quanti. Il s’agit de faire appel à l’analyse de discours mais aussi à l’analyse de contenu (pour mesurer la présence de manière quantitative). L’histoire américaine et l’histoire du documentaire sont également nécessaires pour situer Moore à la fois dans la lignée de certains de ses ainés, mais aussi pour mesurer sa propre influence sur le genre avec ses propres héritiers. Au bout du processus, il est possible de constater que Moore a insufflé un nouvel élan dans le genre du film documentaire en rejetant le modèle classique de type info-argument, rendant ses productions aussi populaires que des blockbusters hollywoodiens. Cette transformation vient de la combinaison inédite des finalités de divertissement et de politique pour créer un documentaire à la Michael Moore du type info-tainment. Avec l’ajout d’une troisième finalité d’autosuffisance, le documentaire moorien se signale aussi par une augmentation considérable de la présence du documentariste à l’écran et une densification de ses interventions au montage. En modifiant le documentaire classique, Moore a mis en place plusieurs stratégies de regard et de récit/storytelling afin de favoriser une assimilation efficace de ces trois finalités dans l’esprit du spectateurMichael Moore is a cultural icon in the United States. The mere mention of his name evokes polemics, political protest but also blockbuster documentary films (The Academy award winning Bowling For Columbine and Fahrenheit 9/11 which won the Palme d’Or at Cannes). The six films of this corpus—Roger & Me (1989), The Big One (1998), Bowling For Columbine (2002), Fahrenheit 9/11 (2004), Sicko (2007) and Captain Mike Across America (Slacker Uprising) (2008)—, are problematic in three ways: the discordant relationship between classic and hybrid documentary, the presence/absence of the documentary filmmaker in his own film, and the spectator’s reception of the film along the lines of entertainment and/or politics. Three main areas, thus, emerge around which the thesis can be constructed: entertainment, politics and self-sufficiency. The methodology used to attend to these three matters of discussion comes directly from quali-quanti research. This implies calling on discourse analysis but also content analysis (to measure Moore’s presence quantitatively).The history of the United States as well as that of the documentary film are also necessary to situate Moore not only in the footsteps of some of his predecessors but also to measure his own influence on the genre as evidenced by his very own successors. Ultimately, it can be noted that Moore has breathed new life into the documentary film genre by rejecting the traditional info-argument model, thereby making his films as successful as Hollywood blockbusters.This transformation arises from the unique combination of entertainment and politics to make a Michael Moore info-tainment style documentary. With the added third documentary finality of self-sufficiency, the Michael Moore documentary film is marked by a considerable increase of the filmmakers on-screen presence as well as density of the documentarian’s interventions in the editing room. By modifying the traditional documentary film form, Moore has established several strategies of gaze and narrative/storytelling in order to stimulate the effective absorption of his three main documentary finalities into the mind of the spectator
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Victorino, Lilian. "O documentário vai a Hollywood: a paixão pelo \'real\' e os filmes de Michael Moore." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8132/tde-05112014-190949/.
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Esta tese apresenta uma análise sociológica de cinco filmes do cineasta Michael Moore: Roger e Eu (1989), The Big One (1997), Tiros em Columbine (2002), Fahrenheit 9/11 (2004) e Capitalismo: uma história de amor (2009). O principal objetivo da pesquisa foi investigar a particularidade dos filmes de Moore, reconhecido internacionalmente como o cineasta de documentário mais assistido na história do gênero. A partir da construção visual de cada filme, analiso em detalhe: os temas, os grupos formados, os valores sociais, os conflitos, as saídas para os problemas e as diversas construções simbólicas sugeridas para o espectador. Assim, considero que os filmes propõem construções acerca do real que podem ser percebidas e aceitas pelo publico espectador como referências de verdade e de realidade. A tarefa deste trabalho foi desconstruir e mediar o discurso dos filmes por meio de uma leitura sociológica acerca de suas narrativas e das relações sugeridas ao público espectador que conferiu grande audiência as essas obrasMy dissertation presents a sociological analysis of five Michael Moores films: Roger & Me (1989), The Big One (1997), Bowling for Columbine (2002), Fahrenheit 9/11 (2004), and Capitalism: a love story (2009). The main objective of this research is to investigate the particularity of Moores films, as he is internationally recognized as the most watched documentary director in history. Through the visual construction of each film, I analyze in detail the film themes, group formation, social values, conflicts, Moores proposed solutions, and the various symbolic constructions suggested to the viewer. I argue that his movies provide a social construction of the real, which can be accepted and perceived by the audience as an accurate description of reality. The task of this dissertation is to deconstruct and mediate the discourse of his movies through a sociological analysis. I analyse the films suggested stories and the social relations presented to viewers that have led to the popularity of his body of work
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Ohlsson, Martin, and Martin From. "Humanistisk patriot eller auktoritär clown? : En studie av filmkritikernas Michael Moore." Thesis, Mid Sweden University, Department of Information Technology and Media, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-9116.
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Michael Moore är en av världens allra mest berömda dokumentärfilmare. Med sin personliga stil och sitt tydligt politiska patos har han blivit både hatad och älskad i USA. I sin senaste film Sicko, gick han till hård attack mot det amerikanska sjukförsäkringssystemet, och propagerade för att USA skulle ta efter de europeiska länderna, det vill säga skapa ett system där staten åtminstone i teorin garanterar vård för alla.Den här uppsatsens syfte var att undersöka vad det är som gör Michael Moore så kontroversiell. Vi ville se hur filmkritiker bedömde filmen och på vilka grunder. Vi gjorde därför en kvalitativ innehållsanalys där vi noggrant läste igenom texterna för att se hur tendenserna såg ut. Vi läste igenom recensionerna och försökte dela in dem i olika kategorier efter vad kritikerna tyckte. Vi läste igenom texterna och genom att tolka både vad som stod ordagrant och vad som gick att läsa mellan raderna.Vi kom fram till att filmens budskap påverkade recensenternas åsikt om filmen i mycket hög grad och att de som verkligen gillade filmen inte brydde sig så mycket om de ”regler” som finns för dokumentärfilmer. Tendensen var att de som höll med Moore (vilket de flesta gjorde) gillade filmen. Den som ogillade filmen mest verkade också vara den som tyckte sämst om Moores politiska åsikter. De flesta kritiker infann sig dock i ett slags mellanskikt. De gillade filmen och dess budskap, men hade ändå vissa invändningar.
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Häll, Karin. "En retorisk analys av Fahrenheit 9/11 ur ett dokumentärhistoriskt perspektiv." Thesis, Högskolan Dalarna, Medie- och kommunikationsvetenskap, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:du-2723.
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The history of rhetorics in documentary film is a long one. The French brothers Louise and Auguste Lumiére were among the first persons who produced a documentary and their work has had a big impression in the history of documentary during the 1900 century. John Grierson has been called “the father” of documentary film. He produced films in the English speaking part of the world and he is the founder of the concept “documentary film”. Propaganda filming has a big part in the history of documentary film. Most frequently it appeard in Germany before and during the secound WW II, but propaganda films has been produced in Great Britain and USA as well as in other parts of the world. Rhetorics are of current interest today. It effects the news, papers, magazines, books and movies. The purpose with this essay is to investigate the rhetorics in Michael Moores controversial documentary of September 11th, Fahrenheit 9/11. The main question is: what rhetorical tools does Michael Moore use in order to communicate his politcal message in Fahrenheit 9/11? The rhetorical analysis includes exordium, narratio, propsitio, argumentatio and conclusio as well as ethos, logos and pathos. In order to conduct the analysis I have used Kurt Johannesson’s book Retorik eller konsten att övertyga, Maria Karlberg and Brigitte Mral’s book Heder och påverkan. Att analysera modern retorik. And at last a chapter by Brigitte Mral named Retorikanalys in the book Metoder i kommunikationeverenskap, by Mats Ekström and Larsåke Larsson. For the background about the history of documentary film I have used Barsam M. Richard, Nonfiction Film A Critical History and Bjørn Sørenssen’s book Å fange virkeligheten –Dokumentarfilmens århundre.The analysis shows that Moore uses different rhetorical tools in order to point out that George W Bush is the wrong man for the role as the president of United States of America. Some of the most effective tools that Moores uses are his own voice, pictures who awakes emotions, recordings and sharp arguments. His way of using ethos, logos and pathos is very clear. The disposal can also be distinct discern, however there are some exceptions towards the classical rhetoric. One example is that Moore doesn´t describe the arrangement of the movie in exordium.
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Oberacker, Jon S. "The people and me Michael Moore and the politics of political documentary /." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/open_access_dissertations/65/.
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Rodriguez-Blanco, Veronica. "Moral objectivity and law : between the legal theories of Ronald Dworkin and Michael Moore." Thesis, University of Cambridge, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.621804.
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Hadley, Tiffany Sunshine. "Not All Reality Is Created Equal: A Rhetorical Hybrid Conspiracy and Diatribe in Michael Moore’s Fahrenheit 9/11." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1141244903.
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Lange, Christiane. "Meinungsmacher Michael Moore? der Einfluss des Films Fahrenheit 9/11 auf das Nationenimage Amerikas in Deutschland ; eine empirische Analyse." Hamburg Diplomica-Verl, 2006. http://d-nb.info/987352318/04.
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Nesvačilová, Petra. "Autorovo Já v dokumentárním filmu Na pomezí hrané tvorby a dokumentu: autor uchopuje sám sebe jako hlavní postavu ve filmu." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-251457.
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The aim of my thesis is to show based on a compilation of selected documentary films and my own creation that originated documentary department, which does not yet have a specific name . And it is a kind of documentary film in which the central protagonist of director. Based on analyzes of individual directors approach and my own experience in the end trying to create instructions or procedures , which could be used to better understand how this new documentary department directorial grab and how to treat it . In my work I will try to find rules which governed tetno direction .
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Moore, Jan Peter aus dem [Verfasser], Alexandra [Akademischer Betreuer] Spitz-Oener, and Michael C. [Akademischer Betreuer] Burda. "Essays on the impact of economic shocks in local labor markets / Jan Peter aus dem Moore. Gutachter: Alexandra Spitz-Oener ; Michael C. Burda." Berlin : Humboldt Universität zu Berlin, Wirtschaftswissenschaftliche Fakultät, 2013. http://d-nb.info/1033586676/34.
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Moore, Jan Peter aus dem Verfasser], Alexandra [Akademischer Betreuer] Spitz-Oener, and Michael C. [Akademischer Betreuer] [Burda. "Essays on the impact of economic shocks in local labor markets / Jan Peter aus dem Moore. Gutachter: Alexandra Spitz-Oener ; Michael C. Burda." Berlin : Humboldt Universität zu Berlin, Wirtschaftswissenschaftliche Fakultät, 2013. http://nbn-resolving.de/urn:nbn:de:kobv:11-100208349.
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Williams, Mark. "Radical fantasy : a study of left radical politics in the fantasy writing of Michael Moorcock, Angela Carter, Alan Moore, Grant Morrison and China Miéville." Thesis, University of East Anglia, 2010. https://ueaeprints.uea.ac.uk/19302/.
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Mariano, Márcia Corrêa de Oliveira [UNESP]. "Leituras e imagens do 11 de setembro: reavaliações da história em Falling Man (2007), de Don DeLillo e em Fahrenheit 9/11 (2004), de Michael Moore." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/151183.
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Os atentados de 11 de setembro originaram diversas manifestações artísticas buscando não apenas explicações para a tragédia, mas também tentando repensar os acontecimentos. Neste sentido, esta pesquisa apresenta uma investigação a respeito da maneira como um romance e um documentário se apropriaram desse episódio para reavaliá-lo. Com os ataques, os Estados Unidos experimentaram uma forte sensação de vulnerabilidade, desencadeando reações do governo americano, que formulou com bastante rapidez uma nova doutrina de segurança nacional, baseada no combate ao terrorismo. Esta dissertação analisa as estratégias narrativas utilizadas pelo autor americano Don DeLillo no romance Falling Man (2007), e pelo cineasta Michael Moore, no documentário Fahrenheit 9/11 (2004), e como eles abordam fatores históricos, socioeconômicos e políticos que desencadearam a tragédia, a fim de reexaminá-la. Textos teóricos e críticos sobre a relação entre Literatura e História, ficção Pós-Moderna, aspectos do documentário e questões sobre terrorismo fundamentam as discussões apresentadas no trabalho. Este estudo objetiva ampliar os questionamentos acerca dos fatos que levaram à catástrofe e suas consequências, examinando personagens e grupos ligados ao 11 de setembro, revelando múltiplas verdades, condicionadas social, ideológica e historicamente
September 11 has originated a wide range of artistic manifestations which have not only searched for plausible explanations for the tragedy, but also tried to review the events. In this sense, this thesis aims at showing how a novel and a documentary reevaluate this episode. The attacks made the United States experience a strong sense of vulnerability, triggering reactions from the American government, who quickly established a new national security strategy, associated with the war on terror. This thesis analyzes the narrative strategies employed by the American author Don DeLillo in his novel Falling Man (2007) and by the filmmaker Michael Moore in the documentary Fahrenheit 9/11 (2004), as well as the way they approach socioeconomic and political factors that caused the tragedy in order to reevaluate it. The debate of the topics is based on texts concerning the relationship between literature and history, postmodern fiction, documentary aspects and issues on terrorism. This study contributes to enrich the discussion related to the events that led to the catastrophe and its aftermath, examining characters and groups linked to the September 11 terrorist attacks, revealing multiple truths subjected to social, ideological and historical conditions
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Mariano, Márcia Corrêa de Oliveira. "Leituras e imagens do 11 de setembro : reavaliações da história em Falling Man (2007), de Don DeLillo e em Fahrenheit 9/11 (2004), de Michael Moore /." São José do Rio Preto : [s.n.], 2012. http://hdl.handle.net/11449/151183.
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Orientador: Giséle Manganelli FernandesBanca: Manuel Fernando Medina
Banca: Norma Wimmer
Resumo: Os atentados de 11 de setembro originaram diversas manifestações artísticas buscando não apenas explicações para a tragédia, mas também tentando repensar os acontecimentos. Neste sentido, esta pesquisa apresenta uma investigação a respeito da maneira como um romance e um documentário se apropriaram desse episódio para reavaliá-lo. Com os ataques, os Estados Unidos experimentaram uma forte sensação de vulnerabilidade, desencadeando reações do governo americano, que formulou com bastante rapidez uma nova doutrina de segurança nacional, baseada no combate ao terrorismo. Esta dissertação analisa as estratégias narrativas utilizadas pelo autor americano Don DeLillo no romance Falling Man (2007), e pelo cineasta Michael Moore, no documentário Fahrenheit 9/11 (2004), e como eles abordam fatores históricos, socioeconômicos e políticos que desencadearam a tragédia, a fim de reexaminá-la. Textos teóricos e críticos sobre a relação entre Literatura e História, ficção Pós-Moderna, aspectos do documentário e questões sobre terrorismo fundamentam as discussões apresentadas no trabalho. Este estudo objetiva ampliar os questionamentos acerca dos fatos que levaram à catástrofe e suas consequências, examinando personagens e grupos ligados ao 11 de setembro, revelando múltiplas verdades, condicionadas social, ideológica e historicamente
Abstract: September 11 has originated a wide range of artistic manifestations which have not only searched for plausible explanations for the tragedy, but also tried to review the events. In this sense, this thesis aims at showing how a novel and a documentary reevaluate this episode. The attacks made the United States experience a strong sense of vulnerability, triggering reactions from the American government, who quickly established a new national security strategy, associated with the war on terror. This thesis analyzes the narrative strategies employed by the American author Don DeLillo in his novel Falling Man (2007) and by the filmmaker Michael Moore in the documentary Fahrenheit 9/11 (2004), as well as the way they approach socioeconomic and political factors that caused the tragedy in order to reevaluate it. The debate of the topics is based on texts concerning the relationship between literature and history, postmodern fiction, documentary aspects and issues on terrorism. This study contributes to enrich the discussion related to the events that led to the catastrophe and its aftermath, examining characters and groups linked to the September 11 terrorist attacks, revealing multiple truths subjected to social, ideological and historical conditions
Mestre
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Schwartz, Pontus. "Critical Literacy through Critical Documentaries - How Bowling for Columbine and Michael Moore hates America can be used to teach argumentative writing and source criticism to students in upper-secondary school in Sweden." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-73019.
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This essay seeks to illustrate how critical literacy and source criticism can be incorporated in argumentative thinking and reasoning in an assignment based on authentic materials constructed for students studying English 6 in Swedish upper-secondary school. The assignment seeks to, grounded in critical literacy theory, increase the students’ source criticism and improve their argumentative thinking and reasoning. These goals are directly connected to the aims presented in the syllabus for the English subject in Swedish upper-secondary school. The essay will state why authentic texts are suitable when teaching critical literacy skills. The essay will also present different theories to critical literacy and conclude that "the four resources model" (Luke & Freebody, 1990) can be considered most suitable for students assigned to produce argumentative texts. The authentic materials chosen for this assignment consist of three themes identified in the critical documentaries Bowling for Columbine (2002), directed by Michael Moore, and Michael Moore hates America (2004), directed by Mike Wilson. The three themes that are selected for the assignment, and presented in this essay are: The NRA, The 2 nd amendment and Is Michael Moore anti-American? The students will get a theme assigned to them and are supposed to, through instructions based on critical literacy theory, develop an argumentative text about their specific theme. Subsequently, the students are supposed to present their argumentative text in front of the class. Additionally, the goals stated in the curriculum for the English subject and the aims from the syllabus for English 6 in Swedish upper-secondary school will be presented and explained in relation to the assignment constructed for this essay and how the assignment will make them to achieve those goals.
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Haylock, Bradley John, and brad@newethic org. "The Front Line is Everywhere: For a Critique of Radical Commodities." RMIT University. Global Studies, Social Science and Planning, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080213.095326.
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This dissertation addresses the phenomenon of 'radical commodities'-commercial products which advance an oppositional politics. Examples of such include the products of Rage Against The Machine, a 'revolutionary' rock band; Michael Moore, a best-selling author and award-winning documentary filmmaker; Naomi Klein, a journalist and author of the international bestseller No Logo; The Body Shop, a multinational manufacturer and retailer of 'natural' cosmetics and toiletries; Freitag, a company which manufactures bags, wallets and other fashionable accessories from recycled materials, and; the Adbusters Media Foundation, publisher of Adbusters magazine and producer of Blackspot shoes. Radical commodities are fundamentally paradoxical objects whose apparent ethic would appear to be at odds with the fact that they are commodities. This dissertation asks: can a commodity-object legitimately serve as a vehicle for social and political critique? It is reasoned that the problem of radical commodities is principally structural. Marx's seminal writings on the commodity accordingly represent the logical point of departure. The Marxian analysis illuminates not only the commodity-structure, but also the political problematic which emerges from that structure-for Marx, the commodity is a mechanism of exploitation. From an orthodox Marxist perspective, the idea of a radical commodity would therefore be most contradictory, or indeed impossible. It is argued, however, that the Marxian analysis is inconclusive. This dissertation traces a genealogy of analyses of the commodity, which variously advance or diverge from the orthodox Marxist position. From a perspective of the consumption of commodity-objects, the radical commodity would appear to be possible. Yet, the relationship between the commodity-structure and the capitalist ideology runs deep. The question of the radical commodity is therefore markedly more complex than it might initially appear. With regard to the ideological consequence of the commodity-structure, however, certain streams of post-Marxist analysis are themselves problematic, for they ultimately short-circuit historical critique and destabilise the very possibility of politics. In contrast, this dissertation seeks to reaffirm a place for politics and, in so doing, to establish the theoretical possibility of radical commodities. To contend that the idea of a radical commodity is not fundamentally contradictory, however, says nothing of the political potency of such objects. These are undoubtedly complex objects, whose peculiarities cannot be ascertained by abstract theorisation alone. For this reason, this dissertation also employs empirical analyses of a number of radical commodities. In sum, it is argued that the sphere of commodities should be admitted as a possible site for the expression or implementation of a radical politics, and thus that radical commodities should be understood as a legitimate vehicle for social and political critique, but that such objects are by no means free from contradiction, and that the political efficacy of these products is anything but guaranteed.
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Zhang, Aixiu (Monica). "Transactional Distance in Web-based College Learning Environments: Toward Measurement and Theory Construction." VCU Scholars Compass, 2003. http://scholarscompass.vcu.edu/etd_retro/94.
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Michael Moore's theory of transactional distance, developed in the age of correspondence schools, contributed greatly to theory building in distance education. The theory needs revision, however, when applied to web-based learning environments, specifically by defining transactional distance to include students' relationships with other elements in the learning environment that prohibit their active engagement with learning. The new theoretical model of transactional distance has four dimensions: transactional distance between student and student (TDSS), transactional distance between student and teacher (TDST), transactional distance between student and content (TDSC), and transactional distance between student and interface: online course management system (TDSI). A preliminary item pool of more than 200 items to measure the constructs of TD, TDST, TDSS, TDSC, and TDSI was generated and sent to a panel of experts for review. Items that the reviewers considered weak or very weak in terms of relevance to the constructs and/or clarity and conciseness were eliminated. After a pilot test and further revisions, the proposed scale of transactional distance was administered to a sample of 100 college students. Confirmatory factor analyses and exploratory analyses indicated that the measurement models, especially after modifications, possessed good fit for the data, and the modified scales possessed factorial validity. Reliability analyses indicated that the scales possessed strong internal consistency, with Cronbach alpha coefficients ranging from 0.8169 to 0.9530. Structural equation modeling procedures tested for the causal relationship between the four dimensions and students' general sense of transactional distance in web-based courses. Results indicate that the proposed model of transactional distance is acceptable. The strongest factor that affected students' sense of transactional distance and engagement with learning was found to be transactional distance between student and students (TDSS), followed by transactional distance between student and teacher (TDST), and then by transactional distance between student and content (TDSC). The findings have implications for the development of a revised theory of transactional distance in online education, and provide strong support for constructivist learning theories and social learning theories, reinforcing the importance of establishing learning communities in online learning environments.
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Schuiling, Floris Jan. "Animate structures : the compositions and improvisations of the Instant Composers Pool Orchestra." Thesis, University of Cambridge, 2015. https://www.repository.cam.ac.uk/handle/1810/273767.
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Founded in 1967, the Amsterdam-based improvising collective the Instant Composers Pool is one of the longest consistently performing groups in improvised music. This thesis forms an ethnography and musicological study of the ICP Orchestra, which originated when the "pool" developed a more coherent line-up around 1980. With a background in experimental music as well as free jazz, their performance practice differs in many respects from the practices of American forms of jazz. Whereas most accounts of improvisation emphasise orality and creative interaction in opposition to the performance of composed music, 'instant composition' defines improvisation precisely in terms of compositional thinking. Moreover, founding member and orchestra leader Misha Mengelberg composed a very diverse repertoire for the group which draws on styles from Duke Ellington to John Cage and uses various forms of compositional and notational techniques to explore the different improvisatory possibilities that they afford, thus blurring the distinction between improvisation and composition both in name and in practice. Apart from a detailed historical and ethnographic description of a group that is central to a genre that has been underrepresented in music-historical research, this thesis investigates the repertoire of the ICP and its use as an opportunity to reconsider the relation between musical text and performance. Drawing on my observations and interviews with the musicians, and connecting these to theories of material culture and science and technology studies, it develops a concept of compositions as animated and animating objects in performance, tools and materials that participate in the creative interactive process of improvised performance rather than textual representations of 'the music itself'. I substantiate this theory with detailed descriptions of ICP performances recorded during fieldwork. This contributes to a rethinking of musical notation and simultaneously brings new insights into improvisation as a creative practice.
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Banfield, Callum Colin [Verfasser], Michaela Akademischer Betreuer] Dippold, Michaela [Gutachter] Dippold, Stefan [Gutachter] Scheu, and Thomas [Gutachter] [Scholten. "Carbon Turnover in Subsoil Hotspots: Are Biopores more than Voids? / Callum Colin Banfield ; Gutachter: Michaela Dippold, Stefan Scheu, Thomas Scholten ; Betreuer: Michaela Dippold." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2019. http://d-nb.info/1181427436/34.
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Banfield, Callum Colin Verfasser], Michaela [Akademischer Betreuer] Dippold, Michaela [Gutachter] Dippold, Stefan [Gutachter] Scheu, and Thomas [Gutachter] [Scholten. "Carbon Turnover in Subsoil Hotspots: Are Biopores more than Voids? / Callum Colin Banfield ; Gutachter: Michaela Dippold, Stefan Scheu, Thomas Scholten ; Betreuer: Michaela Dippold." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2019. http://d-nb.info/1181427436/34.
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Pontén, Joon. "Less is More : Copyright som censur i Control Societies, och hur mindre censur tenderar att bli mer reglering." Thesis, Stockholms universitet, Institutionen för mediestudier, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-86948.
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In what French philosopher Gilles Deleuze labelled Control Societies, mechanisms reminiscent of censorship – that is, restriction of information that administrators of power wish to regulate the spreading of – are present in the concept of copyright. This kind of censorship has theadvantage of not being scrutinized by public eyes in the way that the work of institutionalized censorship agencies such as the Swedish Statens Biografbyrå was. It is not unlikely that expanded possibilities for punishing anyone who spreads copyrighted material will result in larger and larger areas that may not be accessed, as the avoiding of conflict and repressive actions will emphasize the behaviour to take detours around information that is deemed taboo and therefore suspicious and dangerous. The ACTA trade agreement is one proposed tool for such extended possibilities for punishment. This essay does not however claim that copyright and censorship are the same – but rather that the institutional execution of power that was previously a matter of state censorship has a lot of similarities with current and prognosticated application of copyright laws by corporations. While claiming to protect the individual, the disciplinary power executed actually aims to protect the one executing it; the purpose of the power structure is to replicate itself.
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Malchiodi, Emmanuel William. "Paul Verhoeven, media manipulation, and hyper-reality." Honors in the Major Thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/467.
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Does the individual really matter in the post-modern world, brimming with countless signs and signifiers? My main objective in this writing is to demonstrate how this happens in Verhoeven's films, exploring his central themes and subtext and doing what science fiction does: hold a mirror up to the contemporary world and critique it, asking whether our species' current trajectory is beneficial or hazardous.; Dutch director Paul Verhoeven is a polarizing figure. Although many of his American made films have received considerable praise and financial success, he has been lambasted on countless occasions for his gratuitous use of sex, violence, and contentious symbolism--1995s Showgirls was overwhelmingly dubbed the worst film of all time and 1997s Starship Troopers earned him a reputation as a fascist. Regardless of the controversy surrounding him, his science fiction films are a move beyond the conventions of the big blockbuster science fiction films of the 1980s (E.T. and the Star Wars trilogy are prime examples), revealing a deeper exploration of both sociopolitical issues and the human condition. Much like the novels of Philip K. Dick (and Verhoeven's 1990 film Total Recall--an adaptation of a Dick short story), Verhoeven's science fiction work explores worlds where paranoia is a constant and determining whether an individual maintains any liberty is regularly questionable. In this thesis I am basically exploring issues regarding power. Although I barely bring up the term power in it, I feel it is central. Power is an ambiguous term; are we discussing physical power, state power, objective power, subjective power, or any of the other possible manifestations of the word? The original Anglo-French version of power means "to be able," asking whether it is possible for one to do something. In relation to Verhoeven's science fiction work each demonstrates the limitations placed upon an individual's autonomy, asking are the protagonists capable of independent agency or rather just environmental constructs reflecting the myriad influences surrounding them.B.A.
Bachelors
Arts and Humanities
Humanities
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Gutiérrez, Basulto Víctor Didier [Verfasser], Carsten [Akademischer Betreuer] Lutz, and Michael [Akademischer Betreuer] Zakharyaschev. "Towards More Useful Description Logics of Time, Change and Context / Víctor Didier Gutiérrez Basulto. Gutachter: Carsten Lutz ; Michael Zakharyaschev. Betreuer: Carsten Lutz." Bremen : Staats- und Universitätsbibliothek Bremen, 2013. http://d-nb.info/1072156512/34.
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Wolf, Kathrin [Verfasser], and Michael [Akademischer Betreuer] Frese. "Shifting Perspectives - Towards a Better Understanding and a More Effective Promotion of Women Entrepreneurship in Sub-Saharan Africa / Kathrin Wolf ; Betreuer: Michael Frese." Lüneburg : Universitätsbibliothek der Leuphana Universität Lüneburg, 2019. http://d-nb.info/1189418983/34.
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Jourde, Pierre. "Geographies imaginaires : thomas more, l'utopie; julien gracq, le rivage des syrtes; henri michaux, ailleurs; jrr tolkien, le seigneur des anneaux; jl borges, fictions." Paris 12, 1989. http://www.theses.fr/1989PA120022.
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Ce travail, a travers l'etude de cinq oeuvres: l'utopie de thomas more, ailleurs d'henri michaux, le seigneur des anneaux de jrr tolkien, le rivage des syrtes de julien gracq, fictions de jl borges, se veut une contribution au defrichage du vaste domaine des mondes imaginaires, des pays qu'aucun atlas ne mentionne, de l'ailleurs. La premiere partie analyse les paysages, elle tente de montrer comment un lieu imaginaire synthetise en une forme complexe le deroulement du recit et les enjeux profonds de l'oeuvre. La seconde partie concerne la structure de l'espace, son degre de deter -mination dans l'oeuvre, le rapport du texte et de la carte. La troisieme partie s'interesse aux civilisations imaginaires: elle insiste sur le role que peut y jouer la notion de decadence, elle compare les formes du pouvoir et cherche dans la plethore des peuples et des ethnies la trace de la diffraction de l'etre. La quatrieme partie propose une typologie des mondes imaginaires et etudie leur relation au monde reel: reflet dans le miroir ou franchissement du miroir. Elle voit dans la geographie imaginaire une image des tensions a l'oeuvre dans toute demarche creatrice, et en particulier de la quete de l'inaccessible genese, du centre derobe autour duquel gravi -te l'ecriture monderneThis work, through the study of t. More's utopia, jrr tolkien's the lord of the rings, h. Michaux's ailleurs, jl borges' fictions j. Gracq's le rivage des syrtes, is a contribution to the clearing of a vast field: the imaginary worlds. The first part analyses the landscapes, the way they can synthetize in a complex pattern the tensions at stake in the work. The second part analyses the structure of space, especially the relation between texts and maps. The third part is concerned with the imaginary civilisations, and the fourth one is a study of the relation between real world and imaginary world: reflection in a looking class or crossing of the looking-glass. It shows how the imaginary geogra-phy can become the stage where takes place the quest of the unreachable genesis
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Oberacker, Jon Scott. "The People and Me: Michael Moore and the Politics of Political Documentary." 2009. https://scholarworks.umass.edu/open_access_dissertations/65.
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Perhaps no one has had more influence on the role of political documentary in the contemporary public sphere than filmmaker Michael Moore. His unique melding of committed political arguments with an ironic reflexive style have changed the very look and feel of documentary film, contributing significantly to the form's newfound popularity. Furthermore, his steadfast commitment to progressive politics has given the issue of socioeconomic "class" the kind of attention it rarely receives within the mainstream media. However, Moore's films have also been the recipient of viscous attacks from his political opponents, and subject to some of the most contentious public debates over the documentary form since the 1960s. This study integrates documentary theory and poststructuralist discourse analysis within a critical/cultural studies perspective to map out the ways in which generic conventions, interpretive strategies and rhetorical maneuvers have often combined to undermine the political goals and cultural legitimacy of Michael Moore and his films. First, I look at the ways in which Moore's own deployment of a patronizing mode of address transforms his films into "fantasies of advocacy"; narratives that invite an imagined audience of fellow advocates to evaluate and judge the lives and behaviors of the working-class subjects depicted on-screen. Such a depiction only works to strengthen middle-class forms of social authority which have worked, historically, to encourage class resentment. Second, I describe the ways in which Moore is also undermined by a mass media system within which progressive views are not often welcome. I explain how a number of discursive logics worked to frame Moore at various times throughout his career as an untrustworthy documentarian pushing Leftist propaganda, as an "indie film auteur" providing innovative cinematic experiences to middle-class audiences, and as a savvy celebrity-huckster selling political entertainment to embattled liberals. Finally, I describe how Moore's opponents on the political Right exploited the problematic aspects of both his rhetorical strategies and public reception to paint Moore as a "Liberal Elitist," a move that worked to derail the political effectiveness of Fahrenheit 9/11 during the 2004 election. By describing the complex, public articulations of Michael Moore and his films, this study contributes to the fields of documentary studies, media studies, cultural studies and political rhetoric.
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Radostová, Kristýna. "Vidění nás klame: Problematika pravdy a reality v současné dokumentární tvorbě." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-334721.
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This thesis examines the issue of depicting reality and truth in contemporary documentary. Documentaries are often considered to be a mirror to the real world, but this is not always the case. Filmmakers can manipulate their work in a manner that changes the story to be more interesting for viewers. This thesis introduces a documentary discourse, provides contexts of documentary history in the 20th Century and looks more closely at issues of depicting reality and truth. This is shown through textual and visual analysis of chosen contemporary documentaries made by Errol Morris and Michael Moore.
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Le, Grange Marcell. "Die toepassing van Field se drietoneelstruktuur op drie dokumentêre rolprente van Michael Moore / Marcell le Grange." Thesis, 2014. http://hdl.handle.net/10394/11740.
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Internationally, there is concern among judges and organisers of documentary film festivals pertaining to the lack of a proper storyline in documentary films.
According to certain documentary film producers and theoreticians, however, there is a solution. They are of the opinion that the three-act structure that was originally applicable to fiction films can also be applied to documentary films. The three-act paradigm serves as a guideline for the writing of successful fiction film screenplays. Should the three-act structure be applied to documentary films, the three-act paradigm could possibly achieve the same measure of success.
Therefore, the research questions are, firstly: What are the basic elements of successful screenplay writer, Syd Field’s three-act structure? Secondly, to what extent do the three selected films by Michael Moore namely Bowling for Columbine (2003), Sicko (2007) and Fahrenheit 9/11 (2004) adhere to the requirements of Syd Field’s three-act structure?
The research for this study was performed by means of a literature overview of Field’s three-act structure; secondly, by means of semi-structured interviews with four South African documentary film producers; and thirdly, a qualitative content analysis of three of Michael Moore’s films.
The interviews consisted of semi-structured questions about the problem pertaining to story structure in documentary films, and how Syd Field’s three-act structure can make a contribution to the success of the documentary film.
The study entails a qualitative content analysis of three selected documentary films by Michael Moore. The three-act structure of Syd Field was analysed by means of a literature study and seven main elements were identified as the important elements for a three-act structure. The three films by Michael Moore were analysed by means of a qualitative content analysis based on the seven elements to determine whether the three films adhere to the three-act structure elements.
The findings of the study are as follows: The three documentary films by Michael Moore, namely Bowling for Columbine, Sicko and Fahrenheit 9/11, possess all seven elements of the analysis framework that was composed according to Syd Field’s three-act structure.
The conclusion can therefore be drawn that a large part of the success of the three selected films by Moore is based on the three-act structure elements that can be found in all three films.MA (Communication Studies), North-West University, Potchefstroom Campus, 2014
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Chen, Pin-jung, and 陳品蓉. "More Than Survival: Violence and Humanity in Michael Ondaatje''s Anil''s Ghost." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/93723816194665737561.
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碩士國立中興大學
外國語文學系所
100
Michael Ondaatje’s Sri Lankan civil war novel, Anil’s Ghost, concerning the inhuman situation in the civil war and the follow-up discussion on human rights and subjects, has been widely discussed from the perspectives of politics, cultural differences and international intervention. However, this thesis will discuss the issue of human rights on a global scale rather than the conventional West/East binary and return the focus to the subjects—the main characters, and their life journeys. In this thesis, I will probe into the issue of subject and social violence by first analyzing the discourse of human rights related to the novel. In this character-centered war novel, each major figure has their own personal issue, bias and passion to try to help with the seemingly helpless situation happening around them. However, as I want to elaborate that through the journey of Anil’s mission to uncover the identity of skeletal remains in an effort to accuse the government of state-sponsored killing, they all undergo the process of rethinking their ways of responding to the outside world. Eventually they form an alternative, intimate relationship both to each other and to themselves. In chapter one and two, I apply Pheng Cheah’s destructive theory on the discourse of human rights. In the later part of the thesis, the focus is on how the main characters change their attitude toward the outside chaotic world and their own lives through their encounters produced within Anil’s journey and develop a more intimate relationship with others and themselves because of their encounters with each other. Through the discussion of intimacy in the novel, their encounters serve to the beginnings of their change in attitude. In Chapter three, the changes in chapter two are exposed as temporal and vulnerable. Here, the theory of affect is used to explain the alternative relations which are described as pietas are triggered by the major events that happen in the end of the novel. These alternative relations have the power to change main characters’ way of responding toward the outside world, their profession and their own lives.
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Waddington, George Roland. ""Something more than fantasy": fathering postcolonial identities through Shakespeare." Thesis, 2005. http://hdl.handle.net/2152/2356.
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Moors, Michaela [Verfasser]. "Normale humane neurale Progenitorzellen als In-vitro-Modellsystem für entwicklungsneurotoxikologische Untersuchungen: molekulare und zellbiologische Charakterisierung / vorgelegt von Michaela Moors." 2007. http://d-nb.info/98485360X/34.
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Gonçalves, Diogo Pereira da Silva 1990. "A espacialidade na escultura do séc. XX : do espaço fechado ao espaço negativo." Master's thesis, 2018. http://hdl.handle.net/10451/33691.
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In this Master in Sculpture Studies we try to expose and analyze the question of space in sculpture, from the beginning of modernism to the present day, mentioning some close previous situations and following R. Krauss logic of expanded space in sculpture. In this sense, we look to a better understanding of how to transit from a closed space to a negative one, through the history of sculpture of the 20th century. Enunciating these same changes, focusing on the different approaches made before, from analyses of both artists thoughts, as well as artist’s deposition on writings and interviews among other sources. We wish above all, not loose sight of the relation’s between, artist, work of art and spectator, having has main concern the historical-conceptual dimension of the works of art in relation with space
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Mills, Stephen. "Sublime Subjects and Ticklish Objects in Early Modern English Utopias." 2013. http://scholarworks.gsu.edu/english_diss/116.
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Critical theory has historically situated the beginning of the “modern” era of subjectivity near the end of the seventeenth century. Michel Foucault himself once said in an interview that modernity began with the writings of the late seventeenth-century philosopher Benedict Spinoza. But an examination of early modern English utopian literature demonstrates that a modern notion of subjectivity can be found in texts that pre-date Spinoza. In this dissertation, I examine four utopian texts—Thomas More’s Utopia, Francis Bacon’s New Atlantis, Margaret Cavendish’s Description of a New World, Called the Blazing World, and Henry Neville’s Isle of Pines—through the paradigm of Jacques Lacan’s tripartite model of subjectivity—the Imaginary, the Symbolic, and the Real. To mediate between Lacan’s psychoanalytic model and the historical aspects of these texts, such as their relationship with print culture and their engagement with political developments in seventeenth-century England, I employ the theories of the Marxist-Lacanian philosopher, Slavoj Žižek, to show that “early modern” subjectivity is in in fact no different from critical theory’s “modern” subject, despite pre-dating the supposed inception of such subjectivity. In addition, I engage with other prominent theorists, including Fredric Jameson, Jacques Derrida, and Donna Haraway, to come to an understanding about the ways in which critical theory can be useful to understand not only early modern literature, but also the contemporary, “real” world and the subjectivity we all seek to attain.
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Holmstedt, Janna. "Are you ready for a wet live-in? : explorations into listening." Doctoral thesis, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-139510.
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Listen. If I ask you to listen, what is it that I ask of you—that you will understand, or perhaps obey? Or is it some sort of readiness that is requested? What occurs with a body in the act of listening? How do sound and voice structure audio-visual-spatial relations in concrete situations? This doctoral thesis in fine arts consists of six artworks and an essay that documents the research process, or rather, acts as a travelogue as it stages and narrates a series of journeys into a predominantly sonic ecology. One entry into this field is offered by the animal “voice” and attempts to teach animals to speak human language. The first journey concerns a specific case where humanoid sounds were found to emanate from an unlikely source—the blowhole of a dolphin. Another point of entry is offered by the acousmatic voice, a voice split from its body, and more specifically, my encounter with the disembodied voice of Steve Buscemi in a prison in Philadelphia. This listening experience triggered a fascination with, and an inquiry into, the voices that exist alongside us, the parasitic relation that audio technology makes possible, and the way an accompanying voice changes one’s perceptions and even one’s behavior. In the case of both the animal and the acousmatic, the seemingly trivial act of attending to a voice quickly opens up a complex space of embodied entanglements with the potential to challenge much of what we take for granted. At the heart of my inquiry is a series of artworks made between 2012 and 2016, which constitute a third journey: the performance Limit-Cruisers (#1 Sphere), the praxis session Limit-Cruisers (#2 Crowd), the installations Therapy in Junkspace, Fluorescent You, and “Then, ere the bark above their shoulders grew,” and the lecture performance Articulations from the Orifice (The Dry and the Wet). The relationship between what is seen and heard is being explored and renegotiated in the arts and beyond. We are increasingly addressed by prerecorded and synthetic voices in both public and private spaces. Simultaneously, our notions of human communication are challenged and complicated by recent research in animal communication. My work attempts to address the shifts and complexities embodied in these developments. The three journeys are deeply entwined with theoretical inquiries into human-animal relationships, technology, and the philosophy of sound. In the essay, I consider as well how other artistic practices are exploring this same complex space. What I put forward is a materialist and concrete approach to listening understood as a situated practice. Listening is both a form of co-habitation and an ecology. In and through listening, I claim, one could be said to perform in concert with the things heard while at the same time being changed by them.Avhandlingen är även utgiven i serien: Malmö Faculty of Fine and Performing Arts, Lund University: DoctoralStudies and Research in Fine and Performing Arts, 16. ISSN: 1653-8617